Looking for a hardware synth for your Trance productions, and unsure which one to get? Curious to hear how your favorite synth’s SuperSaw sound stacks up against other synths’ SuperSaw style sounds? Bored, and want to find out what the best hardware SuperSaw sound is?
Wonder no more!
Watch our Grand SuperSaw Showcase, a big A vs B vs C vs… test of many classic and modern VA and analog synths’ SuperSaw sounds, and decide for yourself which is your favorite!
In the market for a solid, awesome keyboard synth to take your Trance productions to the next level? Did you read our previous article about the Top 10 Desktop Hardware Synths For Trance, and wonder what else is out there for live play?
Whatever your reason, here's a list of 10 keyboard synths ranging from tiny budget synths all the way up to monster flagship units. This list contains virtual analog, digital, and analog synths. We've tried not to repeat any synths from our previous list (since most come in a keyboard and desktop version). This list is in no particular order, but you can listen to soundset samples of each to decide which keyboard suits your music best.
The successor to the legendary SuperNova II (its engine is even based on the SNII), this is a solid all-arounder workhorse synth that can make any type of sound you need, and it’ll fit right in the mix with ease. While minimal on knobs and front panel controls, its submenus are logically arranged, and there’s a free VST Editor/Librarian from Novation to help you create, edit, and save patches. If you’re looking for a JP8000 alternative with more polyphony (and FX), or want that classic Nova trance sound in a more modern synth, this is a great choice.
The only differences between the UltraNova and the MiniNova are the size difference, and the Mini will not double as an interface/ sound card. Otherwise the two are functionally the same and sound identical.
Polyphony - Up to 18-note polyphony (dynamic voicing)
Multitimbral - Mono-Timbral (1 Part)
Synthesis Method - Based on Supernova II
Waveforms include: Square, sine, tri, sawtooth, pulse, 9 x saw:pulse combinations. 20 x digital waveforms. 36 x wavetables
Effects- Distortion - up to 2 instances. Compressor - up to 2 instances. Chorus/Phase - up to 4 instances. Delay - up to 2 instances. Reverb - up to 2 instances. Gator. EQ. 12 band vocoder.
Arpeggiator - 33 patterns. Chord function - lock up to 10 notes
Patch storage up to 512 on hardware (ships with 300 factory patches)
Controllers - 8 x touch sensitive encoders. 1 x large smooth encoder (with back-lit filter lock buttons). 1 x large patch select/speed dial encoder. 2 x volume & monitor mix dials. 39 x LED lit/indicated buttons. 1 x Pitch wheel (LED lit). 1 x Modulation wheel (LED lit)
37-note keyboard with velocity and aftertouch
Connections - XLR dynamic mic input. 2 x ¼" jack inputs. 2 x ¼" jack outputs. 2 x ¼" jack aux outputs. 1 x ¼" jack headphone output. SPDIF digital output on RCA connector. Expression pedal on ¼" jack input. Sustain pedal on ¼" jack input. MIDI in/out/thru. 12 volt power input. USB port (UltraNova can be powered via USB). Kensington Lock port
No doubt the more seasoned persons among you will recognize this name. Dave Smith Instruments (now Sequential) have been long been pioneers in the music world. While their Prophet 5 and 10 are true icons, and nearly every big name has (or did in the past) use a DSI synth in their music, their synths remain relatively underutilized in Trance. A scant few like Above & Beyond and Tritonal use a Prophet 08, and Zombie Nation used a Prophet 5, but Prophet users in Trance are far and few between. So this makes the Rev2 perfect for this list, since it hasn’t been used to death in a million records, and has enough features and flexibility to make a solid all-arounder for big uplifting anthems (we recommend the 16 Voice version, to experience the real power of this synth).
Polyphony - 8 or 16 voice polyphony (8 voice version is expandable to 16 with installation of additional voice card)
Oscillators - 2 digitally controlled analog oscillators (DCOs) per voice (plus sub octave on oscillator 1) with selectable sawtooth, triangle, saw/triangle mix, and pulse waves (with pulse-width modulation). Glide (portamento): separate rates per oscillator. White noise generator. Analog VCAs. Hard sync
Filters - 1 analog Curtis low-pass filter per voice, selectable 2- and 4-pole operation (self-resonating in 4-pole mode)
Envelopes - 3 envelope generators: filter, VCA, and assignable (four-stage ADSR + delay); Envelope 3 can loop.
Sequencer - Polyphonic step sequencer with up to 64 steps (6 notes per step), and ties and rests. Separate 16 x 4 gated step sequencer. Each layer can have a separate sequence.
LFOs - 4 LFO’s with key sync per LFO
Modulation - 8-slot modulation matrix, 22 sources, 53 destinations, 5 additional dedicated sources: mod wheel, pressure, velocity, breath controller, footswitch
Arpeggiator - Programmable arpeggiator with up, down, up+down, random, assign modes. Selectable note value: 16th note, 8th note triplet, 8th note, dotted 8th note, quarter note. One, two, or three octave range. Re-latching arpeggiation. Note repeat
Controls - 5-octave keyboard with semi-weighted action, velocity, and aftertouch. 55 knobs and 35 buttons enable deep and comprehensive editing with little to no menu diving.. Spring-loaded pitch wheel and assignable mod wheel
Memory - 512 Factory Programs (4 banks of 128) and 512 fully editable User Programs with 2 layers (2 separate sounds) in each Program
In/Out - MIDI In, Out, Thru. Main stereo audio output: 1/4″ unbalanced. Output B stereo audio output: 1/4″ unbalanced. Sustain pedal input: accepts normally on or normally off momentary footswitch.
Pedal/CV input - responds to expression pedals or control voltages ranging from 0 to 5 VDC (protected against higher or negative voltages). Headphone output: 1/4″ stereo phone jack.
A thoroughly underrated mini synth that punches far above its weight. Based on the sound engine of the Korg Radias, its tiny cheap-feeling plastic frame hides synthesis and sonic capabilities that rival synths hundreds of dollars more expensive. Between its unison mode and extra waveform features, it’s capable of a wide variety of tones, and its many distortion and FX options (except Reverb, strangely) can turn it into a powerhouse synth that could serve as a primary synth for tech trance or hard trance producers.
Voice polyphony - Maximum 8 voices (when using Vocoder, it is 4 voices)
Synth 2 oscillators + noise generator
Oscillator 1 Waveform - 8 types (Sawtooth, Pulse, Triangle, Sine, Formant, Noise, DWGS, Audio In), Modulation: Waveform, Cross, Unison, VPM
Oscillator 2 Waveform - 4 types (Sawtooth, Pulse, Triangle, Sine)
Modulation: Ring, Sync, Ring+Sync
Tone Generator System MMT (Multiple Modeling Technology)
Program Multi Timbral Maximum 2 (when using Layer, Split, or Multi)
Waveshape Type - Drive, Decimator, HardClip, OctSaw, MultiTri, MultiSin, SubOSCSaw, SubOSCSqu, SubOSCTri, SubOSCSin, LevelBoost
Multimode Filters Filter 1 - -24 dB/oct LPF ~ -12 dB/oct LPF ~ -12 dB/oct BPF ~ -12 dB/oct HPF ~ Thru
Filter 2 - LPF, HPF, BPF (switchable)
Vocoder - 16 channel vocoder, adjustable level and pan for each channel, Formant Shift function, Formant Hold function
Keyboard - 37 notes (Natural Touch mini-keyboard, velocity sensitive)
Controller - Pitch bend wheel, Modulation Wheel
Effects - Timbre 2 band EQ Master effect 2 units, 17effect algorithms.
Arpeggiator - Six types: UP, DOWN, ALT1/2, Random, Trigger, Individual step on/off function
Programs - 128 programs (A/B banks x 8 genres x 8 category)
Inputs - [AUDIO INPUT 1] (1/4” phone jack, unbalanced, with MIC/LINE switch) – Rear Panel
[AUDIO INPUT 1 (MIC)] (XLR jack / balanced) – Front Panel
Outputs - [L/MONO, R] (1/4” Standard phone jacks / unbalanced)
[Phone] (1/4” Stereo Standard phone jacks)
MIDI In/ Out: USB Type B
For a more unconventional Trance synth, the Moog Sub37 (and Subsequent37) is a standout unit. It’s monophonic, and comes from the newer generation of Moogs, so it has a somewhat brighter, more in-your-face tone, but it has that analog grit and warmth that makes it perfect for basslines, midbasses, leads, and monophonic plucks. Pair it with a quality reverb, delay, and chorus, and you have a killer keyboard that can shake windows from their frames, or peel the paint from your walls. It can even manage rudimentary SuperSaw-like sounds with its 3 oscillators, and the detuning and modulation capabilities that make it able to do detuned leads that will add serious dirt to your lower layers.
Polyphony - Monophonic / Duophonic
Timbrality - 2
Oscillator - 2
LFO - 2
Synthesis type - Analog subtractive
Filter - 1 selectable 6, 12, 18 or 24dB/octave low-pass
Attenuator - ADSR
Aftertouch expression - yes
Velocity expression - yes
Storage memory - 256 patches
Effects - none
Keyboard - 37 keys
External control - MIDI, CV/Gate
A newcomer on the scene, the Summit is the Novation Peak’s bigger sibling, with more polyphony and a generous keyboard for playing epic sounds in realtime. Its Oxford oscillators are digital, and based on a new design that recreates much of the magic of pure analog, without the more annoying quirks of true analog. Its signal path after the oscillators is all analog though, and that gives it a special character untouched by any other. Trance artists who use this will certainly stand in a class of their own with this synth.
Polyphony - 16 note polyphony (dependent on voices used per note). 2-part-timbral. Layered, Split, Dual Bi-Timbral Modes. 5 Voice Modes - Mono, MonoLG, Mono2, Poly, Poly2
Oscillators - 3 oscillators, 1 noise generator with HP filter control, 1 ring modulator, 2 LFOs, 1 amp envelope and 2 mod envelopes (ADHSR + looping), 1 filter
Waveforms - Sine, tri, sawtooth, square / pulse, plus 43 wavetables of 5 waveforms per row
Filter - 1 state variable OTA filter per voice, 12/24dB slope, Low-pass / band-pass / high-pass / dual filter (separation of each 12dB filters), dual filter: LP > HP, LP > BP, HP > BP, LP + HP, LP + BP, HP + BP, LP + LP, BP + BP, and HP + HP, Pre-filter overdrive, Post-filter distortion
Modulation - 16 modulation slots per patch, 2 sources per destination per slot
Mod Sources - Direct (depth), Modulation wheel, Aftertouch (polyphonic and channel AT), Expression pedal 1, Expression pedal 2, Keyboard velocity, LFO1 positive, LFO1 bi-polar, LFO2 positive, LFO2 bi-polar, Amp envelope, Mod envelope 1, Mod envelope 2, Animate 1, Animate 2, CV mod input bi-polar, Bend Up, Bend Down
Mod Destinations - Oscillator 1-3 frequency, v-sync level, shape amount and level, Noise source level, Ring modulator output level, Overall synth output level, Filter drive, distortion, cut-off frequency and resonance, LFO 1 and 2 frequency, Amp env / mod env 1 / mod env 2 attack, decay and release, FM Osc 1 -> osc 2, osc 2 -> osc 3, osc 3 -> osc 1 and noise -> osc 1, Osc 3 -> filter cutoff frequency, Noise -> filter cutoff frequency
Effects - FX are per part, Analogue distortion, 3 chorus types, Delay with 16 types of delay sync, LP and HP damping, slew and stereo
FX Mod Matrix Source - Direct (depth), Mod wheel, Aftertouch, Expression pedal 1, Expression/breath pedal 2, Velocity, Keyboard, LFO 1 +/-, LFO 2 +/-, LFO 3 +/-, LFO 4 +/-, Amp envelope, Mod envelope 1 & 2, Animate 1 & 2, CV +/-, Bendwheel +/-, Bend up, Bend down
FX Mod Matrix Destinations - Distortion level, Chorus level, Chorus rate, Chorus depth, Chorus feedback, Delay level, Delay time, Delay feedback, Reverb level, Reverb time, Reverb low pass, Reverb high pass
Misc - FM controls on front panel, Global LFO 3 & 4, Arpeggiator with key latch – 33 patterns. Patch storage - up to 512 on hardware (ships with 256 factory patches). All knobs (excl. volume), sliders and most buttons transmit and receive MIDI cc commands for external control and mapping. Microtuning with Scala table import and table tuning creation. Manual mode. Multi pot mode: Relative, Pot pick-up, Snap
If there were ever a Holy Grail Synth in the trance world, this just might be it. The Virus and the JP8000 may be more popular, but the A6 commands a degree of respect few others do. And for good reason. It’s 100% analog. It’s got 16 Voices of polyphony, and comes loaded with plenty of knobs and features. It’s a sound designer’s dream, and it makes fabulous trance tones like no other. Sadly, it was expensive to build, notoriously finicky, and prone to needing a lot of repairs. As such, it proved to be Alesis’ undoing in the early 2000s. You can still find these synths floating around in the market, and if you can afford it, and are willing to maintain it, this synth can give you an edge unlike any other.
Polyphony/Multitimbral Parts - 16/16
Waveform Memory ROM/RAM - N/A
Filter Types/Resonance - 4-pole/2-pole multimode/Y
Single Programs ROM/RAM - 256/128
Multitimbral Performances ROM/RAM - 128/128
Portamento - Yes
Number of Keys - 61
Number of Keyboard Zones - 16
Left Hand Controllers - (2) wheel; (1) ribbon
Aftertouch (Poly/Channel) - Y/Y
Number and Type of Controller Inputs - (2) switch; (1) pedal up to 16 steps
Number of Sequencer Tracks/PPQN - 1/16
Sequencer/Memory (Notes) - 16
Arpeggiator - Yes
Number of Effects Processors/Effects Programs - 2/28
Number of Outputs/Type - (4) 1/4" bal mains + aux/16 indiv outs
And here we come to the newest synth on the list. The JD-08 from Roland. It’s their boutique take on the 1991 classic digital synth the JD800, and despite the tiny size, it packs a lot of power. Where the original could only muster 24 Voices of polyphony, the JD-08 can manage 128.
While not strictly a “keyboard” synth by default, the additional purchase of the Roland K-25M keyboard turns this into a minikey synth in the same vein as the Mininova or MicroKorg XL, and thus merits inclusion on this list. Right out of the box it comes with all the original waveforms and presets from the JD800, and it comes with the added bonus of USB-C connectvity, a 3.5mm stereo analog out port, and a headphone jack, and it can function as its own audio interface. So you can pack this synth in your backpack and take it on the road. And it can be powered via USB or batteries, giving you even more flexibility for where and how you use it. It seems to be a little bit brighter in sound than the original, which makes it perfect for more modern productions (and means sounds need less processing to fit in the mix). This synth it is digital through and through, and is proud of it.
Number of Keys: 25 (with optional K-25M keyboard)
Polyphony: 128 notes (dependent on patch load)
Presets: 64 x Original JD-800 Presets, 21 x Factory, 171 x User
Oscillators: 4 x Tone Palettes
Waveforms: 108 x Waveforms
Envelope Generator: Multi-phase Time-variant Envelope
LFO: 2 x LFO (triangle, sawtooth, square, pulse, noise)
Filter: Multimode Lowpass/Bandpass/Highpass
Effects: Distortion, Phaser, Spectrum, Enhancer, Delay, Chorus, Reverb
Arpeggiator: Yes
Sequencer: 2-part, 8-note per part, 64-step, 128 patterns
Analog Inputs: 1 x 1/8" (mix in)
Analog Outputs: 1 x 1/8"
Headphones: 1 x 1/8"
MIDI I/O: In/Out/USB
Other I/O: 1 x 1/8" (clock in)
USB: 1 x USB-C
Power Supply: USB bus power / 4 x AA batteries (included)
In the continuing tradition of excellence, Clavia brings us the Nord Lead 4. A powerful synth with a distinctive sound, it has less polyphony than the Lead 3, but comes with more Unison options, FX, and a number of extra modulation features that make it especially attractive for deeper sound design than most of its predecessors. You can find it in the studios of legends like Giuseppe Ottaviani and Tinlicker (and even Deadmau5).
Oscillator - OSC 1 generating sine, triangle, sawtooth, fixed and modulateable pulse waveforms and 128 wavetables. OSC 2 generating triangle, sawtooth or fixed and modulateable pulse waveforms or noise. OSC MOD section with Hard- and Soft sync plus 3 different Frequency Modulations of OSC 1 from OSC 2.
Filter - Multi-mode filter with 12 dB (2-pole) low pass, 24 dB (4-pole) and 48 dB (6 pole) low pass, band pass, high pass, Ladder M and Ladder 303 characteristics. Cut off, Resnance, envelope amount, envelope amount controlled by velocity. ADSR envelope. Filter keyboard tracking can be set to off, 1/3, 2/3 or 1/1. Adjustable Filter Distortion.
Amplifier - ADSR envelope, velocity control on/off, gain control
Mod Section - LFO 1 generates a square, triangle or any of 4 different types of saw- and inverted sawtooth waveforms. LFO 1 can be routed to Filter Frequency, Osc Mod, Osc Mix, Osc 2 Pitch, Amplitude and FX section. The modulation amount can be set as positive or negative/inverted. The LFO 1 rate can be synchronized to the Master Clock. The LFO 1 section is used to control the rate, range and directions for the arpeggiator. Arpeggiator: Range: 1 - 4 octave. Modes: up, down, up/down, random, Poly. The Arpeggio rate can be synchronized to the Master Clock. LFO 2 generates a square, a regular and inverted sawtooth, LF filtered noise and random staircase waveforms. LFO 2 can be routed to Filter Frequency, Osc Mod, Osc 1 and/or Osc 2 Pitch, Pan and Pulse width. The modulation amount can be set as positive or negative/inverted. The LFO 2 rate can be synchronized to the Master Clock. Modulation Envelope (Attack, Decay/Release) for Osc Mix, Osc Mod, Osc 1 and/or 2 Pitch, FX section and LFO 2 amount. The modulation amount can be set as positive or negative/inverted. The Modulation Envelope can be manually triggered by the Impulse Morph buttons. Patterns: the cyclic waveforms of the LFOs can be replaced by a pattern behavior. There are 128 different patterns, grouped in 6 different styles.
Performance - Voice modes: Poly, Legato with portamento, Mono, True Unison 1, 2 & 3. Four program slots for layering possibilities.
Effects - FX section with continuous Drive/Modulation control. Crush, Drive, 2 different Talk effects, Compressor and Comb Filter. Selectable Delay or Reverb. Delay times at up to 1400 ms can be manually set or synchronized to the Master Clock. Reverb has three algorithms, Room, Stage and Hall with adjustable brightness.
Number of keys - 49-key octave velocity sensitive keyboard with octave shift buttons (+/-2 octaves).
External Control - 3 momentary Impulse Morph Buttons, 7 combinations. Keyboard Split with 2 slots for the upper and lower section. Modulation Wheel, Pitch Stick (with no dead zone at zero crossing), Programmable Pitch bend range, up to +/- 4 octaves, Separate up/down bend range: -12 or -24 semitones, + 2 semitones, 1 pedal input for sustain, 1 pedal input for expression pedal.
User Interface - 3 character LED display, 29 knobs and 20+ buttons for program and performance editing
Memory - Programs (single sounds): 4 x 99 locations. Performances (multi sounds): 99 locations
Audio Out - 4 outputs. Each slot can be assigned to its own output. Headphones output. High resolution low noise 24 bit DACs.
MIDI Features - All control knobs and switches send and receive control change messages. System exclusive bulk dumps. One program or all programs. Master Clock will sync to incoming MIDI clock. Soft Thru.
Connections - 4 Line Level Audio Outputs - ¼", 6,35 mm jacks, unbalanced. Stereo Headphone Output - ¼", 6,35 mm stereo jack. Sustain Pedal - ¼", 6,35 mm jack. Use a momentary pedal, like e.g., Roland DP-2, DP-6, Yamaha FC-4, FC-5, Fatar VFP1-25 etc. Control Pedal - ¼", 6,35 mm TRS stereo jack. Use a Yamaha FC-7, Roland EV-7, Roland EV-5, Korg EXP2 or Korg XVP10. USB connector with MIDI capabilities. MIDI In & Out - 5 pin DIN connectors
Waldorf returns, this time in the form of the MicroQ! Based on the legendary Q, this synth condenses the Q’s keyboard and controls into a more compact package for traveling musicians and artists with smaller studios. Some say it sounds different from the Q, but we think whether or not it does is irrelevant - it sounds awesome. Interesting note: its voicing can be expanded, and can be found in different versions with different voice counts.
Polyphony - 25 voices, expandable up to 75 voices Oscillators - 5 oscillators per voice (Pulse with Pulse Width Modulation, Sawtooth, Triangle, Sine, 2 wavetables with 128 waves each and sub-oscillator per alt-wave); Noise generator
Memory - 300 single programs, 100 multi programs, 20 drum-maps
Filter - 2 Filters (including FM and distortion): Low Pass (12dB/24dB), Band Pass (12dB/24dB), High Pass (12dB/24dB), Notch (12dB/24dB), Comb Filter (positive/negative feedback)
VCA - 4 envelopes, enhanced ADSR configuration with loop and one shot function, bipolar; different trigger modes for each envelope, poly, mono, dual, unison, manual trigger etc.
Modulation - 3 LFOs up to audio range;
Modulation Matrix with 16 slots, freely routable, pre-routed modulation destinations, sources selectable
Effects - 2 effects per program, up to 5 effects in Multimode (Effects: Chorus, Flanger, Phaser, Distortion, Delay, 5 FX, Vocoder)
Arpeg/Seq - Arpeggiator with 16 preset plus 1 user pattern, including accents, timing information, swing, glide, chords and more
Control - MIDI In/Out/Thru (16 parts)
A newcomer, Behringer brought classic analog sound in an affordable package to the masses, and musicians have taken notice. Modeled after the famed Juno 106, it’s intended userbase are synth enthusiasts looking to add some classic and vintage analog vibes to their music. But don’t let that fool you. It’s not just a synth for brass stabs and funk leads. This machine can dish out some sweet sounds great for any trance tune, and at a much lower price than the bigger more pedigreed analogs further up the list. This is a synth to watch out for - it may find itself on a future list of Classics before we know it.
Polyphony (max) - 12 voices
Oscillators - VCO: 2
VCF - 1
Envelope Generator (EG) - 3
LFO - 2
Mixer - Info not available
Included presets - Info not available
User preset slots - 1024
Number of keys: 49
Key size: Full
Aftertouch / Velocity: Both
Output - Stereo TRS
MIDI Connectivity - MIDI In/Out/Thru
Line input - Info not available
USB Connectivity - Yes
Headphone out - Yes
Onboard Features - Sequencer: 32-step. Arpeggiator: Yes. Display: LCD. Effects: Yes. Pitch bend/Modulation: Both