on Jan 08, 2017 in Synths & Sound Design 4 comments
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There's no doubting the joy of using a real hardware synthesizer. The tactile controls are difficult to beat. But when it comes to sound these 7 virtual synths more than hold their own.
Apr 15, 2015 The first synthesizer to take advantage of the next generation of Waves’ Virtual Voltage technology, Element 2.0 includes a vast array of convenient features and functions, including five integrated effects, a 16-step sequencer, MIDI learn for all controls,. ©2019 Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use. MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales.
Any top-10 (OK, top-7) list of virtual synthesizers will, ultimately, be pretty subjective—everyone has their own idea of what constitutes the coolest toys when it comes to making and mangling sounds for creative musical ends. Even so, a list of the most impressive soft synths will certainly end up including some models that would be on anyone’s wish list, along with a few more personal choices—and this collection pretty much fits that bill.
I tried to limit this list in a few ways, to make it more manageable... I omitted instruments that are primarily samplers—even though many of the models here utilize samples as source material, they don’t mainly present them as realistic simulations, but as raw material for heavy processing. I stuck to synths that are—at least to me—geared to playability, and not primarily sound design or scoring effects. And I selected synths that are not emulations of specific classic hardware models, but stand on their own merits.
So without further ado, here are a few of my choices for the slickest soft synths around..
1. Spectrasonics Omnisphere 2
Omnisphere is one of those synths that would probably turn up on just about everyone’s lists. Like many of the synths on this list, Omnisphere (currently Omnisphere 2) combines a number of synthesis techniques, including both oscillators and sample-based source material (including user waves), wavetable synthesis, granular synthesis, and even FM. Combining a huge factory library with comprehensive programming options, the emphasis is on heavily processed sounds of all kinds, from traditional synth tones to dense swirling pads to arpeggios to shifting, chugging, twinkling soundscapes and musical noises that defy easy description. Playability includes nice touches like the Orb, a real-time joystick-type controller that can simultaneously vary many parameters. Omnisphere has been around for quite a while, and has certainly earned its place on a list of soft synths that hardware synths really can’t touch.
Web:https://www.spectrasonics.net/products/omnisphere/index.php
Review: https://ask.audio/articles/review-spectrasonics-omnisphere-2
Courses:https://ask.audio/academy?nleloc=application/omnisphere
2. NI Massive
Native Instrument’s Massive is another synth that’s been around for years, and its popularity and sound pretty much guarantee it a place of honor. Massive follows a traditional subtractive synthesis models, with oscillators (three, plus noise) filters (two), amplifier, modulation (LFO), and effects. But there’s much more to it than that simple description suggests.
Massive’s oscillators are more than just simple analog waves (like sine, square, sawtooth, pulse, etc.)—they’re Wavetables, which, besides those basic, traditional shapes, also include a large collection of richer and more complex wavetables to use as raw material, making for a much wider range of possible sounds. The overall subtractive architecture is familiar enough to be accessible to most synthesists, yet it offers extra levels of flexibility, accessed from the various programming tabs in its center panel, like the Routing panel, where you can view and tweak the signal flow of the various modules that make up a patch, and the drag-and-drop icons that make quick work of building up modulation patching. All in all, Massive’s combination of accessibility and flexibility have made it a perennial favorite among synthesists of all stripes.
Web:https://www.native-instruments.com/en/products/komplete/synths/massive/
Courses:https://ask.audio/academy?nleloc=application/massive
3. NI Reaktor
Another entry from Native Instruments, Reaktor (currently Reaktor 6) is not really a synthesizer per se—it’s potentially every synthesizer you could imagine. Reaktor is an object-oriented programming environment for building your own synthesizers, and it’s one of the most powerful tools available for those who want ultimate control over their instruments. But you don’t have to have a degree in computer programming or DSP to use Reaktor—while it does contain a daunting set of under-the-hood tools and building blocks, it also comes with a large collection of finished synthesizer designs—called Ensembles—and there are many more available from third-parties as well. Some of these are available as separate, stand-alone synths, like NI’s own Razor (an additive synthesis design), Prism (a physical modeling instrument), and Monark (a well-regarded take on the venerable Minimoog).
But the real power of Reaktor comes when you go behind the front panel, and delve into the nuts & bolts of synthesizer architecture. Taking full advantage of everything the programming environment has to offer may require a significant investment in time and energy, but for inveterate tweakers it’s well worth the effort, going well beyond even the possibilities available from assembling your own modular synth in the real world.
Web:https://www.native-instruments.com/en/products/komplete/synths/reaktor-6/
Review: https://ask.audio/articles/review-native-instruments-reaktor-6
Courses:https://ask.audio/academy?nleloc=application/reaktor
4. Rob Papen Blue II
Rob Papen offers a number of popular synths (like Predator, Blade, and others, including the now-discontinued Albino), but Blue (currently Blue II) is probably the flagship of the line. Utilizing when Papen has dubbed “Cross-Fusion Synthesis”, Blue II combines FM, Phase Distortion, Waveshaping, and Subtractive synthesis, to create one highly flexible and great-sounding instrument. No less than six (!) oscillators freely combine all the different methods of sound generation in a single patch, and the graphic display makes routing and processing relatively easy for a synth with so many options. The helpful graphic displays include features like a straightforward FM matrix and graphic envelopes, along with sequencer and arpeggiator pages, and make Blue II’s programming power readily accessible, making it easy and efficient to tweak sounds—far easier than twiddling hardware knobs blindly.
Review: https://ask.audio/articles/review-rob-papen-blue-ii
5. LennarDigital Sylenth
LennarDigital’s Sylenth has become a very popular synth of late. Unlike many of the other entries in this list, it’s not a be-all, do-all, end-all design. Sylenth is designed to do one thing—emulate classic analog synthesis—but do it exceptionally well. It’s a dual-layered design, with 4 traditional analog-style oscillators, and a classic subtractive synthesis architecture. All the virtual analog components were carefully designed to offer the rich sound of their real analog counterparts, with alias-free oscillators, and filters that include nonlinear saturation and self-oscillation options.
A comprehensive set of envelopes, modulators, and an arpeggiator is rounded off with a full array of audio effects—everything needed to achieve classic analog synth sounds with the warmth and edge of traditional hardware synths is included. A faux LCD panel helps simplify programing the more tweaky features, and flexible routing allows for the two oscillator layers to cross-feed the filters, making for an especially nice bit of analog character in the digital world.
Web:https://www.lennardigital.com/sylenth1/
Course:https://ask.audio/academy?nleloc=topic/sylenth
6. U-he Diva & Zebra 2 & Repro 1
U-he is not a synth, it’s a company—actually it’s software developer Urs Heckmann (plus a small staff), who’s come up with many excellent and characterful synth designs (and effects plug-ins) over the years, many available as freeware (like the popular Zoyd synth, and the unique Triple Cheese, which uses comb filters to generate/process its sounds). The U-he line includes several synths, but I want to focus on two of the most popular, Zebra 2 and Diva.
Urs describes Zebra 2 as a “wireless modular synthesizer”—it incorporates many types of synthesis, including subtractive, additive, and FM, along with an equally versatile array of sound-modifying tools like comb-filtering (physical modeling), all freely patchable. Only modules used in a particular patch are displayed, reducing front-panel clutter, and making for a more streamlined interface. The centrally-located modulation grid offers an easy way to connect modules, and helps visualize signal flow in complex patches. And for performance, Zebra 2 offers a “Perform” panel, with no less than four (!) programmable and assignable X/Y pads.
Diva, on the other hand, is a more dedicated analog-style synth—it models the sounds of various classic analog synth modules. But two things set it apart from other analog modelers. The first is that you can mix and match components/modules inspired by different synths, creating hybrid designs. The other is Diva’s cutting-edge approach to modeling analog circuits, which promises to achieve the next level in emulating the nuance of real analog instruments. This faithfulness to real analog sound brings with it a bit of a CPU hit, but users have embraced it, so this Diva may be worth her high-maintenance ways.
Web:https://www.u-he.com
Review: https://ask.audio/articles/review-uhe-repro1
Course:https://ask.audio/academy?nleloc=application/uhe
7. AAS Modeling Collection
Virtual Synthesizer Free
As I said earlier, lists like this typically combine entries that are on everyone’s top-10 with choices of a more personal nature—this last entry probably reflects my interest in physical modeling techniques. AAS—Applied Acoustic Systems—makes a variety of virtual instruments and “sound banks”—their instruments are based on physical modeling, which, as you may know, is a method of creating a sound by emulating the physical way that sound is created in the real world. So instead of traditional oscillators, filters, and envelopes, you’ll typically find exciters, disturbers, and resonators—simulations of different vibrating materials, striking, plucking, bowing, and blowing techniques, and complex resonances and timbral responses.
AAS’s modeling collection includes instruments that put these kinds of tools to use emulating strings, guitars, electric pianos, and even analog synth circuitry, but the two I want to mention are Tassman, a general-purpose physical-modeling synth, and their latest, Chromaphone, which is dedicated to modeling all manner of percussive sounds. Both of these instruments let the user synthesize highly realistic sounds, thanks to the physical modeling of acoustic sound-generation, but those sounds don’t necessarily have to emulate actual instruments—for more creative applications, the modeling tools can be used to create very acoustic-sounding instruments that don’t—maybe couldn’t—actually exist in the real world, but sound (and play) like they do! Physical modeling technology is widely used nowadays for processing—component modeling is routinely employed to simulate the circuit path of classic analog hardware, including synth components like oscillators and filters—and it’s gradually being applied more to instrument design.
Web:https://www.applied-acoustics.com/modeling-collection/
Wrap-up
Like with any list, there are plenty more great synths I could have included but didn’t, for one reason or another (I decided to limit my choices to separate plug-ins, eliminating obvious possibilities like Alchemy and Sculpture, which are exclusively built-in to Logic). I also didn't include any audio examples—how can you boil the characteristic sound of synths that each offer so much variety into a few seconds of one or two patches? There are plenty of audio demos available online, along with trial versions of most, if not all, of the synths I mentioned, and I think the best approach for anyone who wants to get to know what particular models are capable of is to go ahead and try ‘em out yourself—a little homework that, for once, should actually be a lot of fun!
Related Videos
Modular synthesizers are synthesizers composed of separate modules of different functions. The modules can be connected together with patch cords, a matrix patching system, or switches by the user to create a patch. The output (voltages) from the modules may function as (audio) signals, control voltages, or logic/timing conditions. Typical modules are oscillators (operate on frequency), filters (spectrum), amplifiers/gates (amplitude) and Envelope generators (dynamic control).
A Moog 55 (c. 1972 to c. 1981)
A Doepfer A-100 (1995 to present)
EMS Synthi (VCS 3) II
Latest Fénix
Types of modules[edit]
The basic modular functions are: signal, control, logic/timing. Typically, inputs and outputs are an electric voltage.
The difference between a synthesizer module and an effects unit is that an effects unit will have sockets for input and output of the audio signal and knobs or switches for the musician to control various parameters of the device (for example, the rate of a chorus pedal) while a synthesizer module may have sockets for input and output, but will also have sockets so that the device's parameters can be further controlled by other devices/modules (for example, to connect an external Low Frequency Oscillator to a delay module to get the chorus effect.)
There exist many different types of modules. Modules with the same basic functions may have different inputs, outputs and controls, depending on their degree of complexity. Some examples include the Voltage Controlled Oscillator (VCO), which may have options for sync (hard or soft), linear or exponential frequency modulation, and variable waveshape; the Voltage Controlled Filter (VCF) that may have both resonance and bandwidth controls; and the Envelope Follower which may provide outputs at each stage of the process. Examples of more complex modules include the frequency shifter, sequencer, and vocoder.
There are some standards which manufacturers followed for their range of physical synthesizers, such as 1V/octave control voltages, and gate / trigger thresholds providing general compatibility; however, connecting synthesizers from different manufacturers may require cables with different kinds of plugs.
In the past, modular synthesizers were often bulky and expensive. Due to the continuously variable nature of knobs and sliders, reproducing an exact patch can be difficult or next to impossible. In the late 1970s, modular synthesizers started to be largely supplanted in pop music by highly integrated keyboard synthesizers, racks of MIDI-connected gear, and samplers. However, there continued to be a community who chose the physically patched approach, the flexibility and the sound of traditional modular systems. Since the late 1990s,[when?] there has been a resurgence in the popularity of analog synthesizers aided by physical standardization practices, an increase in 'retro' gear and interest, decreased production costs and increased electronic reliability and stability, the rediscovered ability of modules to control things other than sound, and a generally heightened education through the development of virtual synthesis systems such as VCV Rack, MAX/MSP, Pd and Reaktor etc.
Typical modules[edit]
Modules can usually be categorized as either sources or processors [1]
Some standard modules found on almost any modular synthesizer are:
Sources - characterized by an output, but no signal input; it may have control inputs:
- VCO – Voltage-controlled oscillator, a continuous voltage source, which will output a signal whose frequency is a function of the settings. In its basic form these may be simple waveforms (most usually a square wave or a sawtooth wave, but also includes pulse, triangle and sine waves), however these can be dynamically changed through such controls as sync, frequency modulation, and self-modulation.
- Noise source - A source that outputs a random voltage. Common types of noise offered by modular synthesizers include white, pink, and low frequency noise.
- LFO - A low-frequency oscillator may or may not be voltage-controlled. It may be operated with a period anywhere from a fortieth of a second to several minutes. It is generally used as a control voltage for another module. For example, modulating a VCO will produce frequency modulation, and may create vibrato, while modulating a VCA will produce amplitude modulation, and may create tremolo, depending on the control frequency. The rectangular wave can be used as a logic / timing / trigger function.
- EG - An envelope generator is a transient voltage source. A trigger in the presence of a gate, applied to an envelope generator produces a single, shaped voltage. Often configured as ADSR (Attack, Decay, Sustain, Release) it provides a transient voltage that rises and falls. It can be triggered by a keyboard or by another module in the system that produces a rapidly rising trigger in the presence of a gate. Usually it controls the amplitude of a VCA or the cutoff frequency of a VCF, but the patchable structure of the synthesizer makes it possible to use the envelope generator to modulate other parameters such as the frequency or pulse width of the VCO. Simpler EGs (AD or AR) or more complex (DADSR—Delay, Attack, Decay, Sustain, Release) are sometimes available.
- Sequencer, also sometimes called an Analog Step Sequencer, is a family of compound module types which may be a source or a processor, see also below. As a source, depending upon the configuration, it may produce a sequence of voltages, usually set by adjusting values on front panel knobs. The sequencer may also output a trigger, and/or gate, at each step (stage). Sequencers are stepped by a trigger being applied to the trigger input. Designs may allow for stepping forwards or backwards, oscillating patterns, random order, or only using a limited number of stages. An example of an analog sequencer and controller with this level of complexity is the Doepfer A-154, A-155 combination.
Processors - characterized by a signal input and an output; it may have control inputs:
- VCF - Voltage-controlled filter, which attenuates frequencies below (high-pass), above (low-pass) or both below and above (band-pass) a certain frequency. VCFs can also be configured to provide band-reject (notch), whereby the high and low frequencies remain while the middle frequencies are attenuated. Most VCFs have variable resonance, sometimes voltage-controlled.
- VCA - Voltage-controlled amplifier, is usually a unity-gain amplifier which varies the amplitude of a signal in response to an applied control voltage. The response curve may be linear or exponential. Also called a two-quadrant multiplier.
- LPG - Low pass gate, is a compound module, similar to a VCA and a VCF, except that the circuit uses a resistive opto-isolator (vactrol) to respond to the control voltage, which also filters the sound as it amplifies, allowing more high frequency information through at higher amplifications.
- RM - Ring modulator - Two audio inputs are utilized to create sum and difference frequencies while suppressing the original signals. Also called a four-quadrant multiplier or balanced modulator.
- Mixer - A module that adds voltages.
- Slew limiter - Is usually a sub-audio lowpass filter. When used in a control voltage path to an oscillator, this can be used to create glide or portamento between frequencies.
- S&H - Sample and hold, is usually used as a control-voltage processor. Depending upon the design, usually an ascending edge (trigger), captures the value of the voltage at the input, and outputs this voltage until the trigger input reads another voltage and repeats the process.
- Sequencer, (see also above), as a processor, may have a signal input into each step, (location or stage), which is output, when stepped to. An example of this type of sequencer is the Doepfer A-155.
- Custom control inputs - It is possible to connect any kind of voltage to a modular synthesizer as long as it remains in the usable voltage range of the instrument, usually -15V to +15V.
Historic manufacturers[edit]
The earliest commercial modular synthesizers were developed, in parallel, by R.A. Moog Co., and Buchla in 1963. Their designs drew from innovations by inventor Hugh Le Caine, particularly his implementation of control voltage in the electronic sackbut. Moog was also influenced by the sequencers of Raymond Scott. Buchla was influenced by his work on analog computers. The synthesizer both broadened the spectrum, and greatly eased the creation of electronic music, which before was made via tape splicing, use of primitive electronic oscillators, and earlier electronic or electromechanical instruments such as the theremin and the Ondes Martenot. EMS (1969), ARP (1969), EML(1969), Wavemakers (1971), E-mu (1971), Serge (1972), Aries and Polyfusion (1975) versions were soon to follow.
Japanese company Roland released the Roland System 100 in 1975,[2] followed by the Roland System 700 in 1976, and the Roland System 100m in the early 1980s.
Also in the 1970s, there were at least three mail-order electronics kit vendors Paia Electronics, E-mu, and Aries, marketing different lines of simple DIY modular synthesizer systems. The Aries system was modeled on the circuits produced by Bernie Hutchins and published as Electronotes. A large pin-matrix synthesizer, the ETI 4600, was offered in kit form from 1973 in the Australian Electronics Today International (ETI) magazine. In the UK in the 1980s the Digisound 80 Modular Synthesizer, designed primarily by Charles Blakey, was sold as a kit by the company Digisound Ltd. Many of the early modules appeared in the early to mid-1980s as construction articles in two British electronics magazines - Electronics Today International (ETI) and Electronics & Music Maker (E&MM).[3]
As well as manufactured synthesizers, there have been notable bespoke systems created for personal or academic use with no intention of becoming a product, for example the SalMar Construction of Sergio Franco [1]. Joseph A. Paradiso's Massive Modular Synth is among the world's largest home-designed and built synthesizers.
Modern manufacturers of modular hardware synthesizers (alphabetical)[edit]
Hardware offerings range from complete systems in cases to kits for hobbyist DIY constructors. Many manufacturers augment their range with products based on recent re-designs of classic modules; often both the original and subsequent reworked designs are available free on the internet, the original patents having lapsed. Many hobbyist designers also make available bare PCB boards and front panels for sale to other hobbyists.
- Buchla Electronic Musical Instruments (formerly Buchla & Associates)
- Doepfer Musikelektronik (A-100)
- Moog Music (formerly Big Briar, formerly Moog)
Technical specifications[edit]
Form Factors[edit]
Many early synthesizer modules had modules with height in integer inches: 11' (e.g., Roland 700), 10' (e.g., Wavemakers), 9' (e.g., Aries), 8' (e.g., ARP 2500), 7' (e.g., Polyfusion, Buchla, Serge), 6' (e.g., Emu) and width in 1/4' inch multiples. More recently it has become more popular to follow the standard 19' Rack unit system: 6U (Wiard), 5U (8.75' e.g., Moog/Modcan), 4U (e.g., Serge), 3U (Eurorack).
Two 3U unit standards in particular are notable: Frac Rack (e.g., Paia), which uses the entire 3U for the front panel, and Eurorack (e.g., Doepfer) which has a 2mm horizontal lip that the front panels are seated between. Further minor variations exist where European or Japanese manufacturers round a U measurement up or down to some closer convenient metric equivalent; for example the common 5U modules are exactly 8.75' (222.25mm), but non-American manufacturers may prefer 220mm or 230mm.
Electrical[edit]
Other differences are in the plugs used, which can match 1/4-inch or 6.3mm jacks, 3.5mm jacks, banana jacks, or breadboard patch leads[4], in the main power supply, which is most often ±12 V[5]or ±15 V, but can range from 2.5±2.5 V[6]to 0±18 V for different manufacturers or systems, in the trigger or gate voltages (Moog S-trigger or positive gate), with typical audio signal levels (often ±5 V with ±5 V headroom), and with control voltages of volts/octave (typically 1 V/octave, but in some cases 1.2 V/octave.)
Most analog modular systems use a system in which the frequency is exponentially related to the pitch (such as 1 volt/octave or 1.2 volts/octave), sometimes called 'linear' because the human ear perceives frequencies in a logarithmic fashion, with each octave having the same perceptual size; some synthesizers (such as Korg MS-20, ETI 4600) use a volts/hertz system, where the frequency (but not the perceived pitch) is linear in the voltage.
Modular software synthesizers (alphabetical)[edit]
There are also software synthesizers for personal computers which are organized as interconnectable modules. Many of these are virtual analog synthesizers, where the modules simulate hardware functionality. Some of them are also virtual modular systems, which simulate real historical modular synthesizers.
- Arturia Modular V
- Moog Model 15
Computers have grown so powerful and inexpensive that software programs can realistically model the signals, sounds, and patchability of modulars very well. While potentially lacking the physical presence of desirable analog sound generation, real voltage manipulation, knobs, sliders, cables, and LEDs, software modular synthesizers offer the infinite variations and visual patching at a more affordable price and in a compact form factor.
The popular plugin formats such as VST may be combined in a modular fashion.
![First virtual analog synthesizer software First virtual analog synthesizer software](/uploads/1/2/6/0/126068403/910862620.jpg)
Semi-modular synthesizers[edit]
A modular synthesizer has a case or frame into which arbitrary modules can be fitted; modules are usually connected together using patch cords and a system may include modules from different sources, as long as it fits the form factors of the case and uses the same electrical specifications.
A semi-modular synthesizer on the other hand is a collection of modules from a single manufacturer that makes a cohesive product, an instrument. Modules may not be swapped out and often a typical configuration has been pre-wired. However, the manufacturer provides mechanisms to allow the user to connect modules in different orders and often to connect external components or modules (chosen and supplied by the user) between those of the instrument.
Matrix Systems[edit]
Matrix systems use pin matrices or other crosspoint switches rather than patch cords.The ARP 2500 was the first synthesizer to used a fixed switch matrix.The pin matrix was made popular in the EMS VCS-3 and its descendants like the EMS Synthi 100. Other systemss include the ETI International 4600, and the Maplin 5600.
In digital times the clean logical layout of these matrices has inspired a number of manufacturers like Arturia to include digitally programmable matrices in their analog or virtual analog synthesizers.Many fully digital synthesizers, like the Alesis Ion, make use of the logic and nomenclature of a 'modulation matrix', even when the graphical layout of a hardware matrix is completely absent.
Patch Override Systems[edit]
The different modules of a semi-modular synthesizer are wired together into a typical configuration, but can be re-wired by the user using patch cords. Some examples are the ARP 2600, Anyware Instruments Semtex, Cwejman S1, EML101, Evenfall Minimodular, Future Retro XS, Korg MS-10, MS-20, MS-50, PS-3100, PS-3200 and PS-3300, Mungo EnterprisesState Zero, Roland System 100 and Moog Mother-32 .
Make Analog Synthesizers
Electronically Reconfigurable Systems[edit]
Reconfigurable systems allow certain signals to be routed through modules in different orders. Examples include the Oberheim Matrix and Rhodes Chroma, and Moog Voyager.
Free Virtual Analog Synthesizer
Hybrid modular synthesizers[edit]
Hybrid synthesizers use hardware and software combination. In alphabetical order:
- Arturia Origin by Arturia (fully self-contained)
- Clavia Nord Modular and Clavia Nord Modular G2 (these need an external computer to edit patches)
See also[edit]
References[edit]
- ^Austin, Kevin. 'A Generalized Introduction to Modular Analogue Synthesis Concepts.' eContact! 17.4 Analogue and Modular Synthesis: Resurgence and evolution (February 2016). Montréal: CEC.
- ^Rudi Esch, Electri_City: The Düsseldorf School of Electronic Music, page 257, Omnibus Press
- ^Digisound 80 Modular Synthesizer
- ^https://www.tangiblewaves.com/
- ^http://www.doepfer.de/a100_man/a100t_e.htm
- ^https://www.tangiblewaves.com/diy-info.html
Further reading[edit]
First Virtual Analog Synthesizer For Sale
- Austin, Kevin - Introduction to the Analog Synthesizer (1984 - 2017), Concordia University, Montreal, Canada
External links[edit]
First Virtual Analog Synthesizer Machine
- 120 years of Electronic Music has information on classic modular synths.
- Synthmuseum.com Resource for vintage synthesizer information and images.
- Modular Analog Synthesizers Return! Article about new modular systems.
- Modular Music TV Website dedicated to tutorials, news, performances and more using modular systems.
- Generalized Introduction to Modular Analog Synthesis Concepts Article on modular analog synthesis concepts
- ModularSynth.co Network of modular synth manufacturers and producers.
First Virtual Analog Synthesizer For Pc
- Mechanical specifications
Venom Virtual Analog Synthesizer
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