Top 10 Hardware Synths For Dubstep & Riddim
Hit a wall with Serum and Massive, and looking for something more to produce with? Looking to integrate some hardware into your setup? Just want something more hands on to work with? Then read on, and check out 5 hardware synths that are ideal additions to any basshead’s studio. These synths are are beasts capable of everything from insane wavetable snarls to filthy FM growls, and near-infinite combinations of both! These are listed in no particular order, and includes a mix of bigger flagship synths and budget units.
WALDORF BLOFELD
A modern, underrated classic. Known mostly in synth geek circles as a drone and soundscape machine, it’s a modern descendant of the Q and Microwave series, and it packs serious punch. Being a VA and Wavetable synth, it can easily make any standard sub basses and leads you might need, as well as all the filthy growls and snarls you want for your nastiest riddim bangers. It has a deep mod matrix, piles of FX, and many parameters (including the wavetables themselves) can be used as FM sources. Some of the onboard FX aren’t super great, and the interface can be intimidating for newcomers to sound design, but the distortion options and wavetables are perfect for dubstep that goes beyond what Serum can pump out. And it even has the ability to use User Samples and User Wavetables (with the separate SL License)!
Polyphony - 25 voices maximum (Poly, Mono, Dual or Unison modes)
Multitimbral - 16 parts
Sampler - 44.1kHz mono with 60 Mb RAM
Oscillators - 3 oscillators per voice (128' to 1/2') plus noise, frequency modulation, ring modulation
Waveforms - All Q Oscillator models: sine, saw, triangle, square with PWM; 68 digital 16-bit wavetables from Microwave II/XT/XTK
LFO - 3 LFOs per voice with square, sine, saw, triangle, S&H, random with delay and fade in/out
Modulation - Modulation Matrix with 16 Slots, freely programmable
Filter - 2 independent Multi Mode Filters per voice: Low pass, High pass, Band pass, Notch, Comb; 12 or 24 dB/oct modes
Envelope - 4 Envelopes per voice, ADSR, AD1S1D2S2R, One Shot, Loopable
Effects - 2 Effect units with Chorus, Flanger, Phaser, Overdrive, Decimator, Delay, Reverb
Vocoder - None
Sequencer - None
Arpeggiator - Programmable, 16 steps, Up, Down, Alt Up, Alt Down, Random
Memory - 1,024 sounds, 128 multi sets
Control - MIDI IN (plus OUT on Keyboard), USB
CLAVIA NORD LEAD 3
Another underrated synth, the NL3 has the distinction of having one of the best user interfaces of any hardware synth ever made. It’s great for bread & butter sounds for the more trance-like Future Bass and Chillstep sounds, but despite being a VA from 2000, it packs a powerful 4 operator FM synth under the hood, and a surprisingly versatile modulation engine. While it lacks the wavetables of later Nord Leads, with a little cunning, it can generate some gritty FM screeches and growls that rival anything from Serum or Massive. And the keyboard version of this synth has a really nice and playable keybed that’s ideal for live performances.
Polyphony - 24 voices
Oscillators - 2 oscillator groups each with Six waveforms: sine, saw, triangle, square (pulse with width modulation), noise, synced noise, dual sine; 2- and 4-op FM and differential FM; osc-sync; ring-modulation; variable unison.
LFO - 2 per voice, syncable to MIDI. Triangle, saw, square, smooth and stepped random, and triple-peak sine waveforms. Seperate vibrato effect.
Filter - 2 multi-mode filters (series or parallel). Lowpass, Bandpass, Highpass, LP-HP, LP-LP and Classic mode. 1-, 2-, or 4-pole.
VCA - ADSR envelopes for amplitude and filter; Amplifier Gain control
Memory - 1,024 patches, 256 performances
Control - MIDI IN/OUT/THRU (4-parts)
KORG MICROKORG XL
An unexpected synth on this list, it’s one of the least expensive, and one of the most powerful. The minimalist interface hides a powerful sound engine (based on the Radias no less), and Korg packed a ton of features into it. The XL can pump out standard synth sounds as well as grittier sounds from its PCM library that are great for riddim snarls - and the synth has a surprisingly high headroom, so you can really push its distortion without hitting a wall of clipping.
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
KORG MODWAVE
A newcomer to the game, the Modwave is Korg’s reimagining of the classic DW-8000 with piles of new features. It isn’t talked about too much in the Dubstep world, but a wavetable synth with as many modulation capabilities and features as the Mofwave definitely has all the potential to be another hardware Serum. It even has an X-Y touch pad for exotic modulations beyond what anything except Omnisphere can do. Plus, it boasts 32-voice polyphony, and multiple filter types and 200+ wavetables that can be cross-modulated, so what’s not to love?
Keyboard - 37 keys (velocity and release-velocity sensitive)
Maximum Polyphony - 32 stereo voices
Sound generating system - modwave synthesis engine
Controllers - Mod Wheel, Pitch Wheel, Kaoss Physics, 4x Mod Knobs
Other Sources - 4x Envelopes, 5x LFOs, 2x Mod Processors, 2x Key Track, Seq Lanes A-D, Step Pulse, Tempo, Program/Performance Note Count, Program/Performance Voice Count, Poly Legato, Velocity, Exponential Velocity, Release Velocity, Gate, Gate+Damper, Note-On Trigger, Note-On Trigger+Damper, Note Number, Aftertouch and Poly Aftertouch (external MIDI only), MIDI CCs +/-, MIDI CCs +
Destinations - Most parameters can be modulated, including parameters of individual Motion Sequence Steps. Depending on Motion Sequence length, there can be more than 1,000 potential modulation targets per Program.
Effects -Pre FX Decimator, Graphic EQ, Guitar Amp, Modern Compressor, Parametric EQ, Red Compressor, Ring Modulator, Tremolo, Wave Shaper
Mod FX Black Chorus/Flanger, Black Phase, CX-3 Vibrato Chorus, EP Chorus, Harmonic Chorus, Modern Chorus, Modern Phaser, Orange Phase, Polysix Ensemble, Small Phase, Talking Modulator, Vintage Chorus, Vintage Flanger, Vintage/Custom Wah, Vox Wah
Delay L/C/R Delay, Multiband Mod Delay, Reverse Delay, Stereo/Cross Delay, Tape Echo
Master Reverb Early Reflections, Overb
Master EQ 4-band parametric EQ
Inputs/outputs - Headphone (6.3 mm stereo phone jack), OUTPUT L/MONO and R (impedance-balanced 6.3 mm TRS phone jacks), DAMPER (6.3 mm phone jack, half-damper not supported), MIDI IN and OUT connectors, USB B port
ACCESS VIRUS TI2
No list of killer dubstep synths would be complete without the TI2. It has the most mod options besides the Blofeld, and it sports the best onboard FX of any hardware synth on the market. Its oscillators aren’t quite as bright as some of the other synths on this list (that’s a feature, not a bug. It’s intended to sound more Analog and Warm), but the onboard EQs can solve that conundrum. It has wavetables and rudimentary FM, allowing you to take it into some seriously gnarly territory with only a few knob twists and button presses. If you have the $$$ this one is not to be missed.
Polyphony - Over 90 voices
Multitimbral - 16 parts
Oscillators - 3 osc + subosc + noise, FM, Sync
Waveforms - Sine / pulse / saw / hypersaw / wavetable / granular / formant
Filter - dual LP/HP/BP/BR with envelopes and addtional multi-pole analog emulations (includes Minimoog 4-pole emulation)
LFO - 3 LFOs, multiple options plus mod matrix 18 slots
Envelope - Amp / Filter / 'LFO as envelope' option
Sequencer - none onboard
Arpeggiator - Up / Down / Random / Chord / Multiple additions, editable in software to any variation
Effects - Reverbs, Delays, EQs with Q and freq control, Tape Delays, Distortions (multiple), Phasers, Flangers, Chorus, Analog EQs, Vocoder.
Memory - 128 patches in each of 30 banks plus USB storage / Librarian with additional free patchbanks provided regularly by Access
Control - MIDI, USB, 16-part multitimbral in Multi or sequencer modes
NOVATION ULTRANOVA / MININOVA
While the Ultranova isn’t what comes to most folks’ minds when talking about dubstep synths (despite it and the Mininova having Dubstep as one of its preset categories!), it’s another budget keyboard that hides a mountain of features and killer capabilities that are grossly overlooked. Like its smaller sibling the Mininova, it is perfectly-geared towards Trance, House, and Psytrance sounds, and can make Chillstep and Future Bass leads and pads as good as the Virus or Nord Lead 3. But it also has wavetables and a deep mod matrix that makes it useful for wobbles and gritty tones. It lacks FM, sadly, but its onboard FX are great, and expand its capabilities greatly. And the VST librarian and editor that Novation makes available for free opens up the synth considerably.
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
CLAVIA NORD LEAD A1
The Nord Lead A1 may not be the first synth that comes to mind when one thinks of dubstep, it’s a synth that definitely deserves a proper look. While some of its modulation and envelopes are limited compared to the NL3, it shares a sound engine with the Nord Wave, and has additional waveforms hidden in the second oscillator that expand it beyond conventional virtual analog synths. Its FX are better than the NL4’s, and with 2-op FM capabilities, and hefty distortion, with some layering and adventurous use of the sampled waves, you can achieve some gritty, screaming sounds worthy of any peaktime dubstep banger.
Keyboard - 49-key octave velocity sensitive keyboard with octave shift buttons (+/- 2 octaves)
Keyboard Split with 2 slots for the upper and lower section
Controls - 1x Modulation wheel, 1x Pitch stick (with no dead zone at zero crossing), 1x 1/4" (6.3 mm) pedal input for sustain pedal, 1x 1/4" (6.3 mm) pedal input for expression pedalPitch Bend RangeProgrammable up to +/- octaveUser Interface3x LED displays, 23x knobs, 3x encoders, 20x buttons for program and performance editing
Waveform - Multiple Oscillator waveforms; traditional analog, extended analog, pulse waveforms, wavetable
OSC - Configuration Knob Categories: pitch, detune, shape, sync, ring modulation, noise, dual OSC, FM
Filters - Multi-mode Filter: 12 dB (2-pole) low-pass, 24 dB (4-pole) low-pass and band pass, high pass
Ladder M and Ladder 303 characteristics
Control - Cut off, resonance, envelope amount, LFO amount, drive
Envelope - ADR/ASR
Tracking Ability - Filter keyboard tracking can be set to off, 1/3, 2/3 or full
Distortion - Filter Distortion: Adjustable
Modulation - LFO1 Generates: triangle, square, sawtooth, inverted sawtooth or sample and hold waveforms
Routing - can be routed to filter frequency, pitch, shape and OSC mod
Sync - Can be synchronized to the Master Clock
Modes - can be switched to Env mode with three different characteristics and sample and hold is manually triggered by keyboard
Arpeggiator - Range: 1 to 4 octaves
Modes - up, down, up/down, random, Poly
Sync - arpeggio rate can be synchronized to the Master ClockEnvelopeADR/ASR
Velocity control - on/off
Inverse Envelope - on/off
Amplifier - ControlADR/ASR envelope
Gain control
Individual Pan Control - per program
Velocity Control - on/off
Voices - Poly, legato with portamento, Mono, True Unison 1, 2 & 3
Layering - 4x program slots for layering possibilities
Effects - Types: flanger, phaser, ring modulation, chorus, ensemble and drive
Delay - Types/Controls: Tap tempo, four stages of feedback, ping-pong, dry/wet mix
Sync - delay speed can be synchronized to the Master Clock
Reverb - Types: room, stage 1, stage 2, hall 1, hall 2
Programs - Single Sounds: 8x 50 (400) locations
Performances (Multiple Sounds): 4x 50 (200) locations
Audio Output
Output - 4x unbalanced 1/4" (6.3 mm) (each slot can be assigned to its own output), 1x 1/4" (6.3 mm) stereo headphone output, 24-bit DACs
MIDI Type - USB MIDI
5-pin DIN in
5-pin DIN out
THRU - soft
Control - All control knobs and switches send and receive control change messages
MIDI Dumps - System exclusive or all programs
Sync - Master Clock will sync to incoming MIDI clock
KORG OPSIX
It may seem strange to be veering into DX7 territory with an FM synth, but for those of you who don’t already know, a lot of the craziest gnarliest dubstep sounds, especially from the 2010 era, were FM-based, not wavetable based. The gritty monster growls of Skrillex? Originally came off the FM7 vst. While wavetables may be back in vogue again, FM will always be useful paired with distortion and crafty modulation for some filthy wobbles and snarls. And now Korg has a 6 operator FM synth out that aims to capture some of the glassy, metallic, gritty magic of the DX7, and even go beyond the DX series, but in a more compact, easy to use keyboard.
Keyboard - 37 Keys (Velocity and Release-Velocity Sensitive)\
Sound Generation - Altered FM Sound Generator
Polyphony - 32 Voices (or Maximum of 24 Voices, Depending on Settings)
Structure - 6 Operators
11 Filters
3 Envelope Generators
3 LFOs,
3 Effect Engines,
Step Sequencer
Arpeggiator - Algorithm40 Presets + User Algorithm (Unique to Each Program)
Operators - 5 Modes - FM, Ring Mod., Filter, Filter FM, and Wave Folder
Oscillators - 21 Waveforms: Sine, Sine 12-Bit, Sine 8-Bit, Triangle, Saw, Saw HD, Square, Square HD, Additive Saw3, Additive Sqr3, Additive Tri3, Additive 12345, Additive 1+2, Additive 1+3, Additive 1+4, Additive 1+5, Additive 1+6, Additive 1+7, Additive 1+8, Noise S/H, Noise White
Filters - 11 Types: LPF 12, LPF 24, LPF MS-20, LPF POLY6, HPF 12, HPF 24, HPF MS-20, BPF 6, BPF 12, BRF 6, BRF 12
Envelope Generators - 3 x ADSRLFO23 Waveforms: Triangle, Saw Down, Saw Up, Square, Sine, Sample&Hold, Guitar, Exp. Triangle, Exp. Saw Down, Exp. Saw Up, Step4 Triangle, Step6 Triangle, Step4 Saw Down, Step6 Saw Down, StepRnd:Time, StepRnd: Lvl & Time, StepRnd:Level, Random:Time, Random: Lvl & Time, Triangle+, Saw Down+, Saw Up+, Square +Virtual Patch12 Routings
Effects - 30 Types: Chorus, Unison Ensemble, Phaser, Phaser (BPM), Auto Pan, Auto Pan (BPM), Flanger, Flanger (BPM), Rotary Speaker, Auto Wah, Exciter, Enhancer, LFO Filter, 3-Band EQ, Distortion, Guitar Amp, Decimator, Grain Shifter, Master Limiter, Compressor, Delay, Delay (BPM), Autopan Dly, Autopan Dly (BPM), Tape Echo, Tape Echo (BPM), Early Reflection, Reverb, Shimmer Reverb, Spring Reverb
Sequencer - Step Sequencer (Up to 16 Steps, Up to 6 Notes per Step), Motion Sequencer (Up to 6 Lanes)
Arpeggiator - 7 Patterns (Manual, Up, Down, Alt1, Alt2, Random, Trigger)
Programs - 500 (250 Preset Programs and 250 User Programs as the Factory-Set Default)
Favorite - 64 (16 Slots × 4 Banks)
Controllers - Modulation Wheel, Pitch Wheel, Ratio OP 1-6 Knobs, Level OP 1-6 Sliders, Data Entry A-F Knobs - Inputs/Outputs
Headphone - 1/4" / 6.35 mm Stereo
Output (L/Mono and R) - 2 x Impedance-Balanced 1/4" / 6.35 mm TRS
Damper - 1/4" / 6.35 mm (Half-Damper Not Supported)
MIDI In and Out - 2 x 5-Pin DIN
USB Type-B Port
MOOG SUB 37
Most folks don’t think of analog mono/duophonic synths when they think of dubstep, but they’re the ones missing out. Like the Nord Lead 3, the Sub37 has a very nice, easy too navigate physical user interface. And its analog oscillators and filters give it a fatness and grit that enables you to create some super heavy saw, triangle, and pulse basses (and even detuned reese basses with the right settings!), and the feedback oscillator and overdrive circuit allow you to push your sounds to even dirtier depths. It’s flexible LFOs allow you to make some nice hefty wobbles and growls, and if you want to counterpoint your colder wavetable and digital sounds with something with more weight, the Sub 37 is your best option.
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
ROLAND JD-Xi
And what synth list would be complete without a Roland? Boasting more waveforms and modulation and synthesis capabilities than the JP and SH series synths, the JD-Xi is a solid budget option that, like the Blofeld, hides a lot under its hood. With 129 voices for the digital parts, the possibilities are near-endless, once you figure out the interface. What’s more, there are piles of free banks and patches available for it, so you have access to loads of useful sounds for your bass tracks.
Keyboard - 37 mini keys (with velocity)
Sound Generator Section Maximum Polyphony - 129 voices (Digital Synth/Drum Kit: 128, Analog Synth: 1)
(Max. polyphony of the Digital Synth parts: 64 voices)
Parts - 4 Parts (Digital Synth Part: 2, Drums Part: 1, Analog Synth Part: 1)
Tones - Digital Synth Tone (SuperNATURAL Synth), Analog Synth Tone, PCM Drum Kit
* For an analog synth tone, the oscillator, sub-oscillator, and filter sections consist of analog circuits.
Effect1 - (Distortion, Fuzz, Compressor, Bit Crusher)
Effect2 - (Flanger, Phaser, Ring Mod, Slicer)
Delay - 2 types
Reverb - 6 types
Pattern Sequencer - Tracks: 4
Vocal Function - Vocoder, Auto Pitch, Auto Note
Other - Favorite, Arpeggio
Controllers - Pitch Bend/Modulation Wheel
Display - 16 characters 2 line LCD
Connectors - Headphones Jack: Stereo 1/4-inch phone type
Output Jacks (L/MONO, R) - 1/4-inch phone type
Input Jack (LINE(MONO) / Guitar Input) - 1/4-inch phone type
MIDI Connectors (IN, OUT) - USB COMPUTER Port (USB Hi-Speed AUDIO/MIDI)
(Use a USB cable and a computer with a USB port that support Hi-Speed USB.)
DC IN - Jack
MIC Input Jack - XLR type, unbalance