Analog SUPER MODELS

Aug 1, 2002 12:00 PM, By Geary Yelton

Back in the day, real musicians played real analog synthesizers. Minimoogs, Odysseys, Putneys, and Electrocomps — those were true analog machines, subject to constant retuning by hand and all the groans and the glory of predigital technology. Every time you wanted to play a new sound onstage or in the studio, you turned the knobs and pressed the switches until just the right combination of elements finally produced the sound you heard in your head. When microprocessor control came along to offer an assist, the earliest analogs gave way to Prophets, Memorymoogs, Jupiters, and Xpanders — instruments that memorized every nuance of an entire bank of tailor-made sounds. Such capabilities also made it possible to share your synth patches with other synthesists, as they shared theirs with you.

Yet the sound-generating circuitry remained just that — circuitry. What put the analog in synthesizer? It was the vast collection of microchips, resistors, capacitors, and circuit boards that changed the sound of music, if not forever, then probably at least for the rest of your life.

By the 1980s, advances in microprocessor technology led to the development of digital synthesizers such as the Yamaha DX7 and the Korg M1. Those instruments and their progeny offered alternatives to the sound, expense, and eccentric behavior of the previous generation of synthesizers. Unfortunately, one of the capabilities that was lost in the process was the breadth of control that analog synthesizers offered. Panels full of knobs and buttons gave way to more economical user interfaces: tiny displays with a few buttons for changing pages and parameter values. Electronic musicians temporarily lost the immediate, hands-on control that analog synthesizers gave us. After a few years of digital synthesis techniques such as FM, wavetable, and sample playback, we also began to long for the warmth and fullness of analog synthesizers.

RIGHT HERE, RIGHT NOW

Physical modeling now makes it possible to emulate any type of sound production that programmers understand well enough to describe in detail to a computer. Instruments that employ physical modeling reproduce the originals by simulating their components using digital signal processing (DSP). The computers inside musical instruments have become so powerful that musicians no longer need machines that contain specialized oscillators, filters, envelope generators (EGs), and amplifiers. Instead, analog-modeling synthsesizers duplicate those functions digitally.

For this article, I assembled a group of ten analog-modeling synths from Japan, Sweden, England, and Germany. The instruments represent every hardware-based virtual-analog synth platform that was shipping at the time this was written, though some specific instruments are missing. Some instruments — such as the Korg MS2000, Nord Rack 3, and Waldorf MicroQ — are available in keyboard and rackmount configurations; only one of each was included. Some synths that I wanted to include were not available at the time of this writing; for example, the Access Virus B and Indigo had been discontinued, but the Virus C and Indigo-2 weren't shipping yet. Neither were the Hartmann Neuron, the Waldorf Q+, or the latest version of the Red Sound DarkStar. In addition, EM was unable to get its collective hands on the Novation Supernova II or Alesis Andromeda A6 by the time I needed them.

Nonetheless, the instruments we assembled represent a wide range of what's available in music stores today. Nearly half of them — including the Clavia Nord Rack 3, the Novation K-Station, the Red Sound Elevata, and the Roland SH-32 — were introduced just this year. The Clavia Nord Modular, the Korg MS2000, and the Roland JP-8080 have been around for a while. The others — the Korg Electribe A, the Waldorf MicroQ, and the Yamaha AN200 — first shipped a year or two ago. Some are keyboards, and the rest are desktop devices, rackmount units, or combinations of the two.

CLAVIA NORD MODULAR

First introduced more than four years ago, the Clavia Nord Modular ($1,999) is a fusion of hardware and software that emulates a modular analog synthesizer. Unlike traditional modular instruments, the Nord Modular is extremely compact and doesn't require dozens of wires to connect a fixed number of modules assembled by hand; you simply connect a huge variety of onscreen modules by clicking and dragging virtual patch cords with the computer's mouse.

The Nord Modular's hardware is a tabletop unit that you can play (but you can't program) without a computer. Its Velocity-sensitive, two-octave keyboard doesn't generate Aftertouch data, and it lacks any left-hand controllers for Pitch Bend or Modulation. On the front panel are 18 assignable knobs, 18 buttons, 32 indicator LEDs, a rotary data dial, a Master Volume knob, and a 32-character LCD (see Fig. 1). On the back are four assignable outputs and two inputs — all of them unbalanced 1/4-inch TS jacks — as well as a 1/4-inch stereo headphone jack, a control-pedal jack, and a footswitch jack. Two MIDI In and two MIDI Out ports let you connect one pair directly to your computer's MIDI interface and the other to an external MIDI controller.

The software half of the Nord Modular is the Modular Editor, an application for Windows and the Mac OS, in which you program and modify Patches (see Fig. 2). I used the Modular Editor with Mac OS 9.1, which requires the use of Open Music System, and I thoroughly enjoyed the experience. When you connect the Modular to your computer and open the Editor, all the synth's Patches are quickly transferred from the synth to the computer. When you change Patches on the Modular, every detail immediately shows up on your computer's display. Likewise, when you open a file on the computer, it is instantly transferred to the synthesizer.

Programming the Nord Modular is very much like programming a real modular, except all the modules and patch cords exist only in software, and many more of them are available. More than 100 types of modules are organized into In/Out, Oscillator, LFO, Envelope, Filter, Mixer, Audio, Control, Logic, and Sequencer categories. When you're creating or modifying a Patch, you create each module by simply dragging its icon into the Patch window. Modules automatically line up in neat rows and reposition themselves to make room for new modules.

To connect one module to another, click on an onscreen jack and drag a virtual patch cord to another onscreen jack. Initially, you specify parameter values with onscreen knobs; later you can assign the hardware unit's knobs to control any parameters you might need to change in real time. When you click on an onscreen knob, its value is conveniently displayed. If you make a mistake, the Editor supports 16 levels of Undo and Redo, which is a real godsend when you're editing complex Patches.

With so many modules to choose from, the selection is extremely varied. Among the oscillators, for instance, you can select from standard waveforms, FM operators, noise generators, synced noise, formants, percussion, and sine-wave banks. Filters include practically every response and slope you can think of, as well as vocal simulation, a 16-band vocoder, a 14-band filter bank, and parametric and shelving equalizers. Envelope generators are as simple or as complex as you desire. Effects processors include chorus, phaser, compressor, delay, and overdrive. Because the Nord is modular, modulation possibilities are virtually endless. Many popular types of synthesis are at your disposal: subtractive, additive, FM, AM, and ring modulation.

From the factory, the Modular contains 500 Patches that do a fine job of showing off its capabilities. They range from excellent electronic textures and instrument emulations to 16-step sequenced grooves and external-sound processors. Almost 1,400 Patches are included on the installation CD-ROM, categorized by type. If that's still not enough, you can download even more from Clavia's Web site (www.clavia.se) and other online sources. I only wish that each Patch had a text file attached for the sake of documentation.

The Nord Modular's processing muscle is provided by four DSP chips (expandable to eight) called Sound Engines. Each Patch uses a single Sound Engine, and four Sound Engines make the Nord Modular four-part multitimbral. Which and how many modules you use in a Patch determine how much processing power is required and hence the Load on a Sound Engine, which in turn affects polyphony. The Load for each Engine is indicated in the Editor as a percentage.

Two alternate versions of the Nord Modular provide functionality that's similar to the original. The Nord Modular Rack ($1,899) is identical, minus the keyboard, and works equally well as a tabletop or rackmount device. The Nord Micro Modular ($749) is a much smaller model with only one Sound Engine; it offers less polyphony, no multitimbral Performances, and a much lower price. All three models feature the same voice architecture, Program compatibility, and superb sound.

CLAVIA NORD RACK 3

Last year Swedish synthesizer-maker Clavia released the Nord Lead 3. It was the third in a series of keyboard instruments that began with the original Nord Lead, which introduced the world to virtual analog synthesis in 1995. As promised, this year Clavia introduced the Nord Rack 3 ($2,499), a rackmount version of the Lead 3. Except for the lack of a keyboard, Mod wheel, and Pitch Stick, the Rack 3 is identical to the keyboard model, with the same architecture, user interface, and external connectors. Consequently, the majority of my comments apply to both models.

Like all Nords, the Rack 3 is housed in bright red rolled steel (see Fig. 3). If you choose not to install the rack ears, the Rack 3's sloped front makes it quite comfortable to use as a tabletop unit. Most parameters have dedicated knobs, buttons, and indicator LEDs on the front panel. All but 5 of 31 knobs are of the infinite-rotary-encoder variety, each with 15 red LED segments that encircle the knob like the spokes of a wheel and indicate the knob's position at a glance. A larger rotary data dial is available to change Programs and parameters that appear in the 32-character LCD, and four Slot buttons below the display let you select any of four Programs in a multitimbral Performance.

Accompanying almost all of the 42 buttons are green and red LEDs that indicate their status. Either LFO Rate knob, for instance, has ten LEDs that indicate waveform, sync status, and other parameters. On a darkened stage, the Nord is lit up in red and green like a Christmas tree. Among the instruments in this article, the Nord 3 definitely wins the prize for providing the most visual feedback.

Like its predecessors, the Nord 3 combines virtual analog with two- and four-operator FM synthesis to produce a varied range of timbres. Two oscillators generate the usual four basic waveforms, as well as noise and synced noise (variable pitched waves with fixed formats). Oscillator 2 also generates dual sine, a combination of two sine waves tuned an octave apart for use in FM synthesis. The harmonic content of most waveforms is continuously variable by means of either the Oscillator Shape knob or a modulation source. A 3-character LED displays oscillator pitch data such as frequencies, intervals, and FM partials.

In addition to lowpass, highpass, bandpass, and band reject, the Nord 3's two filters offer two other filter types. Classic is a lowpass response with a nonlinear rolloff slope varying between 12 and 24 dB per octave, and its resonance peak is only half that of the standard lowpass filter. Another filter type, distorted lowpass (Dist LP), is a 2-pole filter with an oversaturation control. You can switch the lowpass, highpass, and bandpass slopes between 6, 12, and 24 dB per octave. The two filters can be combined into more complex filter types, including a Multi Peak type that works like a comb filter. All those choices greatly contribute to the Nord 3's tremendous timbral variety.

Eight Banks of 128 Programs contain an immense range of synthesized sounds, and 256 Performances contain multitimbral combinations in layers and splits. All locations are in RAM, so you can replace any of the factory Programs and Performances with your own.

The sound of the Nord Rack particularly impressed me when I realized that it had no effects processors. Most of the sounds are rich and complex, and many make good use of the onboard arpeggiator. An innovative Sub Arpeggio feature can play a separate pattern for every note you play in a chord, creating much more complex arpeggios than previous Nord arpeggiators could.

Using a feature called Morph Group, you can simultaneously control as many as 26 parameters with a single modulation source. By setting up the right combination of parameters and defining their ranges, you can effectively morph from one sound into another using keyboard range, Velocity, Aftertouch, the Modulation Wheel, or a control pedal.

Practically my only criticism of the Nord Rack 3 is that it generates too much heat, so you need to give it lots of space in your rack setup. Extra space is also required because all the connectors are on top when it is mounted in a rack.

Clavia calls the Nord Rack 3 an advanced subtractive synthesizer. Incorporating FM as well as virtual analog synthesis, it's a fine instrument for developing new sounds from the ground up. Its large collection of factory Programs are consistently high in quality, its depth of hands-on control is exceptional, and its timbral versatility is outstanding.

KORG ELECTRIBE A

The Electribe A (EA-1; $399) is the analog-modeling component of Korg's Electribe line of budget-minded groove machines. It's also the least expensive synth in this roundup by far. As such, it lacks many of the bells and whistles you might expect to see in a modern synthesizer. No bigger than an average phone book, the EA-1 still provides enough front-panel control to make it highly interactive in real time (see Fig. 4). Although its synthesis capabilities are limited, the compact EA-1 provides extras such as a Motion Sequencer and Tap Tempo. Its real strength, however, is pattern-based sequencing.

You can store as many as 256 Phrase Patterns in memory and arrange them into a maximum of 16 Songs. Each Pattern can be up to 64 steps and 4 measures long. Like other groove boxes, the EA-1 begins playing a Pattern when the previous one is complete. You can enter notes either by step sequencing or by real-time loop recording. If you record in real time, of course, your input is automatically quantized to conform to the 16 steps of each measure.

The EA-1 is two-note polyphonic and two-part multitimbral, so each timbre is monophonic, and there's no need to distinguish programs from performances. Programs don't exist separately from Patterns, and each combination of a synth sound, Pattern, and Motion Sequence is called a Part. To edit a sound, then, you need to select the Part that contains the sound you want to edit. Each Part is assigned to its own audio output.

A Part has two oscillators, a lowpass filter, an amplifier, and three simultaneous effects. Each of the oscillators generates either sawtooth, square, or triangle waveforms. You can offset the pitch of one oscillator relative to the other, and you can control the balance between them. In addition to oscillator sync and ring modulation, a type of modulation called the Decimator resamples Oscillator 1's output at Oscillator 2's frequency, which effectively adds grit to the sound. A knob in the oscillator section controls the rate of Portamento.

You can process external sounds by routing them into the Audio In jack. You can route audio through the effects, of course, but you can also decimate and ring-modulate external sounds, for example. If mixer channels are in short supply, pressing the Audio In Thru button routes the external audio signal through the EA-1 unaffected.

Instead of a multistage envelope generator, the resonant lowpass filter has knobs for EG Intensity and Decay. EG Intensity changes the fixed envelope's modulation depth and is capable of negative modulation, effectively closing rather than opening the filter. With negative modulation from the envelope, the Decay parameter controls Attack time. The Amplifier section has a Level knob for controlling the Part's output and a Distortion button; distortion can be turned on or off, with no control over distortion level. The Amplifier provides no envelope modulation whatsoever.

The Effects section offers Tempo Delay and Chorus/Flanger. Tempo Delay provides an echo that can sync to Pattern tempo or an external MIDI Clock. When you select Chorus/Flanger, turning the Depth knob changes from one effect to the other. The effects are nothing fancy, but at least they add animation to the sound.

By pressing the Keyboard button, you can play notes and trigger Patterns using the row of 16 buttons at the bottom of the EA-1's front panel. Whether you play the buttons or a MIDI keyboard, the Electribe doesn't respond to MIDI Velocity or Aftertouch; all notes have identical Velocity. When you write a Pattern, though, you can select notes to accent.

Nonsynthesis parameters, such as Pattern and Song settings, are selected with the aid of a front-panel matrix. You maneuver the matrix using up and down buttons and a row of four buttons that are labeled Pattern, Song, Global, and MIDI. Once you select the parameter you want to edit, you simply need to turn the data dial in order to change its value. If the Pattern parameter is selected during playback, you can use the data dial to change Patterns on the fly.

The Electribe A is so squarely oriented toward dance music that I question its suitability for any other musical style. Just try a few of the factory Patterns and you'll see what I mean; most of them definitely put the “electronic” in electronica. The factory Patterns, which can be rewritten by the user, make good use of the instrument's limited resources.

If you're accustomed to programming sounds with complete control over the envelopes and modulation routing, the EA-1 will probably disappoint you. The idea is to create sounds within a limited architecture. Indeed, most of the timbres do sound rather primitive compared to what all the other synths in this roundup are capable of producing. Nonetheless, the EA-1 sounds modern, and it makes sounds that might be hard to reproduce using more complex synthesizers.

KORG MS2000

The MS2000 ($1,150) is a physically modeled instrument that was designed to combine the personalities of the Korg MS-20 analog synthesizer, VC-10 vocoder, and SQ10 analog sequencer made in the late '70s and early '80s. The MS2000 is 4-note polyphonic and 2-part multitimbral, and its 44-note keyboard transmits MIDI Velocity but not Aftertouch. A version without the keyboard, the MS2000R, operates as a desktop or rackmount device and provides a Keyboard button to enable entering notes using the 16 Program buttons.

The MS-2000's well-organized front panel contains 35 knobs and 49 buttons for hands-on control of synth timbres and sequencer functions (see Fig. 5). Buttons that light up, dozens of LEDs, and a bright, 32-character LCD contribute to the abundant visual feedback. Printed on the front panel are a list of all editable parameters and several handy block diagrams that illustrate signal flow in the synthesizer and vocoder.

Programs are arranged in 8 Banks of 16. You select a Bank with increment and decrement buttons and then select from a row of 16 Program buttons. In LCD Edit mode, you use the same 16 buttons to select parameter pages. Whenever you turn a knob or touch a button, the affected parameter is instantly shown in the LCD. If the synth is in Program Play mode instead of LCD Edit mode, the controls react to your changes, but the parameter values aren't displayed. When you return a knob to the position of any parameter's programmed value, however, an Original Value LED lights.

Two oscillators generate traditional analog waveforms, as well as a Vox wave, which emulates a human voice, and Digital Waveform Generation System (DWGS) wavetables, which were the foundation of the Korg DW-6000 and DW-8000 synthesizers in the early '80s. Oscillator 1's Control 1 knob provides a means to modulate the waveform using pulse-width mod, cross-wave mod, and the like. The Control 2 knob routes the LFO to control that function, but you can apply other mod sources, as well. A pair of 1/4-inch Audio In jacks lets you process external sounds or use the MS2000 as a 4-voice, 16-band vocoder. A switch toggles between line- and mic-level input.

The resonant filter provides lowpass response with 12 or 24 dB-per-octave rolloff in addition to bandpass and highpass responses with 12 dB-per-octave rolloff. You can change filter cutoff with any modulation source, and the filter can track the Mod Sequencer as well as the keyboard.

The front panel's Virtual Patch section provides buttons for connecting eight modulation sources to eight destinations. Four Virtual Patch knobs let you control modulation depth for four selected sources. When you turn a knob, LEDs light to indicate the modulation routing being affected.

Two effects processors provide delay and modulation effects but no reverb. Modulation effects are chorus/flanger, phaser, and ensemble, and the delays are StereoDelay, CrossDelay, and L/R Delay. To change effects types, simply press the Mod FX button and select an effect from a parameter page in the display.

Using the Mod Sequencer, you can store one 3-track sequence for each Program. Each track controls pitch, step length, filter cutoff, panning, or 1 of 26 other parameters. Specify the track's length, and then adjust each of as many as 16 knobs to specify the value of each sequencer step. Using the step sequencer is intuitive enough, but just as it was on analog sequencers in the 1970s, specifying pitch with knobs can be tedious. If one track is controlling pitch, playing a note on the keyboard transposes the sequence as it plays. The Mod Sequencer provides a degree of sound-shaping control that distinguishes the MS2000 from most other synthesizers.

A feature called Motion Rec lets you record front-panel knob movements into a Mod Sequence. Rather than continuously recording knob turns, however, Motion Rec records a knob's position at the beginning of each step.

Thanks to the miracle of physical modeling, the MS2000 sounds warmer and fatter than some real analog synths I've played. Although most of the factory patches have a dance-music orientation, there are enough classic analog timbres to satisfy almost any electronic musician. The bass sounds alone are sufficient reason to want an MS2000 in your studio or onstage. I only wish the polyphony exceeded four notes; fortunately, a MIDI overflow mode lets you link two MS2000s together for additional polyphony.

NOVATION K-STATION

The K-Station ($899), one of the latest models from U.K. synth-maker Novation, is a compact, eight-voice, analog-modeling instrument with a two-octave keyboard (see Fig. 6). Although it is based on the sound-generating engine of Novation's flagship Supernova II, the K-Station is not multitimbral, and it lacks the Supernova's extensive modulation routing, multimode filters, and overall complexity. Nonetheless, the K-Station is full of great sounds. Despite its econosynth status, the K-Station's architecture offers some unexpected extras, including three audio oscillators per voice, a 12-band vocoder, and the ability to process external audio more flexibly than most synths.

Like compact synths in days of old, the uncomplicated K-Station is refreshingly straightforward to operate. You can control dozens of performance-oriented parameters with the front panel's 25 knobs, 4 sliders, 29 buttons, and Pitch-Bend and Mod wheels, and they all add up to an effective hands-on user interface. Every control transmits MIDI Control Change (CC) or nonregistered parameter number (NRPN) messages. When you turn a knob or push a slider, the 16-character LCD instantly shows you the precise value of the parameter you're changing. Pressing the Menu button accesses pages that range from Program-specific parameters such as arpeggiator patterns and effects settings to global parameters such as Pitch-Bend range and Velocity curve.

Each of the three identical oscillators produces the four basic analog-synth waveforms — sine, triangle, sawtooth, and variable-width pulse waves. All waveforms except the pulse can be doubled within an oscillator, producing a thickening that sounds like even more oscillators. Just as you can modulate pulse width, you can modulate the phase offset of doubled waveforms. Ring modulation and FM provide inharmonic timbres, and a noise source generates unpitched sounds.

Another sound source is external audio. Because the K-Station responds to input levels, audio signals can trigger note events. If you plug an amplified drum in to the audio input, for example, you can set the sensitivity threshold so that every beat you play will trigger the envelopes, which in turn will open the filter and the amplifier. If you'd rather use the K-Station as an effects processor for external sounds without triggering events, you can do that, too. Combined with the vocoder, such capabilities make the K-Station's input stage quite flexible.

Each voice contains a resonant lowpass filter (which Novation calls a Warm Liquid filter) that can be modulated by an ADSR, a dedicated LFO, and key tracking. A switch changes the filter's cutoff slope from 12 to 24 dB per octave. For hands-on control, both EGs share the same set of four sliders. The remainder of the K-Station's modulation routing is minimal but effective.

I was very pleased to discover that the K-Station's effects section provides seven effects simultaneously. Delay, reverb, chorus/phaser, distortion, panning, vocoder, and one band of EQ each offer between two and eight programmable parameters — not an overabundance of parameters, but enough to contribute to sound design.

The LCD is small, but it's bright and easy to read. When you change Programs, instead of displaying each Program's name, it reads “Prog Number” followed by a 3-digit number ranging from 100 to 499. On an instrument capable of displaying 16 characters, I expected to see names instead of just numbers. I hope that Program naming will be addressed in a future update. Half the Program locations are blank, so there's plenty of room to store your own timbral creations. I imagine that the K-Station will sell well enough that plenty of third-party Programs will soon be available, but I wish that Novation's programmers had already filled the slots.

Novation obviously sacrificed features to keep a ceiling on the K-Station's cost. Perhaps the most bewildering shortcoming is the lack of footswitch or pedal inputs. Fortunately, every parameter receives MIDI CC or NRPN messages, but that doesn't help you if the K-Station is your only MIDI instrument. At the price, though, the K-Station's fat sound and intuitive user interface make it a definite winner.

RED SOUND ELEVATA

From the British company Red Sound, the Elevata ($899) is an analog-modeling synthesizer with an unusual name and shape. The combination rackmount and desktop unit gets its name from its adjustable, “elevating” front panel (see Fig. 7). With the base chassis lying flat, the front panel swings up to one of four angles, from parallel to perpendicular. The 45 and 60-degree angles are convenient for desktop use, and the 90-degree angle turns the Elevata into a 3U rackmount device.

The rear panel is on the back of the base chassis, where you'll find the power button, two main and four assignable analog outputs, and MIDI In, Out, and Thru ports. Also on the rear panel are a pair of 1/4-inch analog audio inputs, an input for the optional 11-band Vocoda ($49), and a DIN connector for the optional external joystick ($49). The chassis contains EPROM bays for future expansion. Because the Power button is located in back, it can be difficult to reach if the Elevata is rackmounted.

On the front panel are 21 knobs, 39 buttons, a joystick, and an 8-character LED display. Because of the unusual typeface on the front panel, most of the labels are difficult to read. You can simultaneously change two assignable performance parameters with the x-y joystick, which has a Hold button to freeze its value at any position. The ⅛-inch stereo headphone jack on the front panel seems like an odd choice when you consider that most studio headphones use 1/4-inch plugs. As you'll soon see, it's not the only odd choice in the Elevata's design.

You can change Programs and selected parameter values with a knob just below the LED display, but when I first turned it to change Programs, nothing happened. I discovered that you need to push it every time you want to change Programs, but not when you change parameter values. My initial confusion quickly became annoyance. I expected that when a Program was shown in the display, turning the knob would change the Program number, and when a parameter was shown in the display, turning the knob would change its value.

Most of the front panel is divided into functional sections: Oscillators, Mixer, Filter, LFOs, Envelopes, Output, and Multitimbral Parts. Each section has a Menu button to access parameters that don't have a dedicated knob or button. You step through the menus with the same two buttons used to Save and Compare, which sounds rather hazardous, but I never encountered any problems.

There are dedicated buttons for the basic 7-pattern arpeggiator and for the Sound Wizard, a feature that randomizes parameters in an attempt to suggest new programming possibilities, kind of like tossing the dice to see what comes up. One nice twist is that you can choose which parameters are randomized. You can select whether the Audition button plays a single note, a bass pattern, or a chord pattern, but when you change Programs, Audition always defaults to playing a low note.

The Elevata is 16-note polyphonic and 8-part multitimbral. It stores 128 factory ROM Programs and 128 User Programs, but because it doesn't receive MIDI Bank Change messages, you can change only User Programs with Program Change messages. There are 10 preset multitimbral setups and 80 user-programmable multitimbral setups; the manual never mentions how to save or retrieve them, but it's no more difficult than saving or retrieving Programs. Eight dedicated buttons conveniently let you select individual Parts for editing within a multitimbral setup. In conjunction with the Menu button, you can quickly change parameters for each Part.

Two oscillators produce a waveform that's continuously variable from sawtooth to pulse wave. You can change the waveshape either by turning the Waveform knob or by modulating it with one of two ADSR generators or two LFOs. You can vary pitch and pulse width in the same manner, and the Oscillator menu lets you select additional waveform variations. You can also sync the oscillators and apply ring modulation.

One downside is that the Elevata's output level is considerably lower than that of any synth I've heard lately. For most sounds, I had to boost the signal at least 6 dB to get it to match my other synths. As a result, signal-to-noise ratio might become a factor when you're recording multiple layers of Elevata tracks. You can improve the situation by editing the Volume levels of individual Programs and then resaving them.

The Elevata shares a problem with the Novation K-Station: the display is large enough to read “PROG 128,” but Program names are not displayed. Although the Elevata has programming potential, not one of the factory sounds cries out, “Take me home!” The 12 dB-per-octave filter sounds a bit thin and anemic. To put it bluntly, the Elevata won't be your first choice when you're looking for thick, juicy sounds, but it might present a nice timbral contrast to your other, fatter synthesizers. It definitely has its own personality, and among synthesizers, that's a plus.

ROLAND JP-8080

Like the original Clavia Nord Lead, the JP-8080 ($1,595) is considered one of the granddaddies of analog-modeling synthesis. Descended from the JP-8000 keyboard synth and first introduced in 1998, the standalone module focuses firmly on emulating an analog synthesizer by means of physical modeling, and it does that well. The JP-8080 is ten-note polyphonic and two-part multitimbral, and it offers a wide range of features such as an arpeggiator, a vocoder, external audio processing, sound morphing, real-time loop sequencing, and SmartMedia storage.

The JP-8080 is a 6U-rackmount unit that works well as a tabletop synth if you remove the rack ears (see Fig. 8). On the back panel, two 1/4-inch inputs, two 1/4-inch outputs, three MIDI ports, and an IEC power-cable jack are recessed deeply enough to accommodate the necessary plugs in a rackmount configuration. The logically organized front panel is densely populated with 30 knobs, 60 buttons, 12 sliders, 69 indicator LEDs, and a clearly backlit, 32-character liquid-crystal display. Like many of the other desktop units, the JP-8080 features a Preview function that lets you play an octave of notes from the front-panel buttons.

For the most part, the JP-8080's architecture is typical of an analog synthesizer: two oscillators, a multimode filter, two LFOs, and three envelope generators. Three Banks of 128 Preset Patches are supplemented by one Bank of 128 User Patches. Anyone who's serious about synth programming is going to wish for additional User locations; fortunately, the SmartMedia card slot makes user storage practically unlimited. There are 192 Performances and 64 user-programmable Performances. Each Performance contains two Patches and parameters such as the key mode and arpeggiator settings. Because the Patches are saved as part of a Performance, you can edit them without affecting other Performances that use the same Patches.

Two oscillators offer variable pulse wave, sawtooth, triangle, and noise waveforms. Oscillator 1 also generates Super Saw, Triangle Mod, and Feedback Osc. You can continuously modify each waveform's harmonic content and other parameters with two Control knobs; their precise functions depend on which waveform is being modulated. For example, for the pulse wave, they control pulse width and pulse-width modulation; for noise, they control a dedicated filter's cutoff and resonance.

The resonant filter operates in lowpass, bandpass, and highpass modes, and you can switch the slope from 12 to 24 dB per octave. The filter and amplifier have dedicated ADSR generators, and a two-stage EG modulates pitch. The Effects section includes Bass and Treble knobs, a Multi-FX Level knob, and Delay Time, Feedback, and Level knobs. The tone controls and delay are applied globally to the JP-8080's output, and the multi-effects are applied to individual Patches in a Performance.

Instead of selecting the Multi Effects Type in the Effects section, you make the selection in the Patch menu, like most other parameters that lack dedicated controls. Considering that there are only 13 types of effects, I'd much prefer to see a rotary knob or at least a dedicated button to step through the effects choices. All the multi-effects types are variations on chorus, flanger, phaser, and distortion.

Like many of the synthesizers in this roundup, the JP-8080 is capable of processing an external input. A pair of line-level inputs is on the back panel, and a 1/4-inch mic-level input is on the front panel; a front-panel switch selects the source. Using the External Trigger function, an external audio signal can trigger the envelopes as though they had received a MIDI Note On message. The external inputs also provide access to the Voice Modulator, which is Roland's name for a stereo 12-band vocoder. When you use the Voice Modulator, polyphony is reduced to eight notes.

The Real-time Phrase Sequencer (RPS) lets you trigger a sequenced pattern by playing a single note, either on your MIDI controller or by pressing a front-panel button in Preview mode. When you record in RPS, you can overdub notes into a loop as it repeats. An RPS loop can be from one to four measures long, and you can control the quantization and gate time of patterns you play back. The JP-8080 makes it easy to record, edit, and copy RPS patterns. As long as you have enough notes to spare on your MIDI controller, RPS lets you do practically anything you can do with a real analog step sequencer and more.

A function called Motion Control records any knob and slider movements you make into a sequence. The maximum length of recording is eight measures, and a sequence can be either played back once or looped indefinitely. Like RPS, Motion Control lets you overdub, so you can layer control data over previously recorded data. The JP-8080 has two storage locations for control sequences (which are called Motion Sets), but you can store four more on a SmartMedia card. Every control on the JP-8080 sends MIDI CC messages, and every function responds to them, so it's also easy to record every nuance of control with an external sequencer.

ROLAND SH-32

The SH-32 ($595) was designed to be a 21st-century update of the SH series of synthesizers Roland made in the 1980s. With its lab-white metal housing and cluttered front-panel graphics, the SH-32 is a tabletop unit that looks more like medical test equipment than a musical instrument (see Fig. 9). Sporting 8 knobs, 17 sliders, and 55 buttons, the SH-32's front panel is jam-packed with real-time sound-editing controls. In Manual mode, every parameter is defined by the controls' positions, which is useful for creating new Patches from scratch.

At the heart of the SH-32 are two oscillators that generate 67 waveforms; most are variations on the traditional waveforms most commonly used in subtractive synthesis. The SH-32 organizes them into groups such as saw, square, pulse, triangle/sine, and noise in addition to a group of more complex waveforms classified as Spectrum. A suboscillator is also available, but using it disables pulse-width modulation, ring modulation, and oscillator sync.

Other elements of the SH-32's analog-modeled architecture include a multimode filter, three EGs, and two LFOs. The filter offers lowpass, bandpass, and highpass types, as well as a peaking type that boosts harmonics around the cutoff frequency. You can switch the filter slope from 12 to 24 dB per octave and invert the filter's response to its dedicated ADSR generator.

The SH-32 provides one processor for insertion effects and another for global reverb and delay effects. A choice of 35 insertion effects includes EQ, autowah, overdrive, distortion, compression, limiting, chorus, and flanger. Some of the more unusual effects are Slicer, which chops a sound into rhythmic slices, and Isolator, which can cut a selected frequency range by as much as 60 dB. Most effects have four user-variable parameters. In Performance mode, you must select which insertion effect will apply to all four Parts.

The SH-32 contains two banks of 64 Preset Patches and two banks of 64 User Patches, but the User Banks are identical to the Preset Banks. Apparently, Roland is in the habit of providing redundant data just in case users accidentally delete their favorite Patches stored in User locations, but creative timbre programming is one reason people love Roland synthesizers; I'd much rather see another 128 Patches. You can replace any of the 64 Performances, each of which combines either four Patches or three Patches and a Rhythm Set.

The Rhythm Sets operate independently of the analog-modeling synthesis. Each Rhythm Set contains 88 drum and percussion sounds, but there's a lot of duplication among the four Sets. Two Preset Sets and two User Sets are heavy with TR-808 and TR-909 sounds, with a few TR-707, CR-78, and original percussion sounds thrown in for good measure. Synthesized percussion effects have names such as Zap, Zing, and Blip. In the Roland tradition, the Rhythm Sets sound consistently excellent.

The SH-32's Arpeggiator is more elaborate than most, providing 64 preprogrammed Styles that you can overwrite. Most Styles are rhythmic motifs rather than simple patterns containing notes of equal length. Some play only one note at a time, whereas others can turn a chord into a complex theme that can inspire compositional ideas. Many Performances combine arpeggios with Rhythm Patterns that are applied to a Rhythm Set, forming instant grooves you can play by holding down any note or chord.

By pressing the Preview button, you can enter notes on the two bottom rows of buttons as though they were a one-octave keyboard. Unlike many desktop synths, the SH-32 lets you specify the Velocity value of notes you enter in Preview mode by holding a note and pressing the Value up or down buttons.

Pressing the Chord button accesses a feature called Chord Memory, in which each note plays a complete chord. Sixty-four Chord Forms are provided, enough for just about any chord you'll need. If you need a chord that isn't preprogrammed, you can replace any of the factory chords with your own. Because there's no quick way to switch from one type of chord to another (unless the one you want just happens to be next on the list), Chord Memory seems useless. When I asked about the applications of Chord Memory, Roland said that the feature isn't necessarily for the musically literate. Chord Memory provides an instant musical vocabulary that's especially useful in combination with the Arpeggiator.

Roland calls the SH-32's synthesis engine the Wave Acceleration Sound Generator; it is said to be the end result of analyzing and emulating vintage synths, analog-modeling synths, and other music gear. Nonetheless, the SH 32 doesn't sound like any analog instrument I've ever heard. Instead of imitating analog warmth, its overall timbral character is decidedly cold and digital; that's not necessarily a bad thing, but if sounding analog is the goal, the SH-32 falls short.

Radical sounds abound in the SH-32. Although many of the timbres are appropriate for throbbing, in-your-face dance music, others are fine for styles that are more traditional. Many of the Patches make good use of stereo panning to give them animation. Among the clangorous effects and trance-style arpeggios are some nice pads and sweeps, but don't expect them to sound warm and creamy. The SH-32 makes some of the rudest, harshest musical sounds I've ever heard, but that might be just what you're looking for.

WALDORF MICROQ

From veteran German synth-maker Waldorf, the MicroQ ($995) packs a lot of synthesizer into a relatively small package (see Fig. 10). For this review, I borrowed the keyboard model; a rackmount version and a scaled-down MicroQ Lite are also available. Unlike the rack, the keyboard version has a three-octave keyboard, Pitch-Bend and Modulation wheels, buttons for octave transposition, a Program Select section, and sustain pedal and control-pedal jacks. A 1/4-inch stereo headphone jack is on the keyboard model's back panel rather than on the front, as on the rack model.

Of all the instruments covered in this article, the MicroQ is the most complete standalone synthesizer. With features such as 25-note polyphony, three oscillators, two multimode filters, four EGs, two effects processors, extensive modulation routing, a sophisticated arpeggiator, and a 40-character display, there's nothing micro about it unless you compare it to Waldorf's flagship synthesizer, the Q.

The MicroQ's program RAM contains 300 Sounds, 100 Multis, and 20 Drum Maps. (Although I usually favor standard nomenclature, I'm glad that the MicroQ's sounds are called Sounds rather than programs or patches.) As many as four Instruments are layered into each Sound, and as many as four Sounds are in each Multi. Multis are ideal for use with sequencers because you can play 16 Instruments on 16 MIDI channels.

The MicroQ is one fat synthesizer. Kicks have plenty of thump, and leads cut through the thickest mix. Basses are laden with bottom, and pads are appropriately atmospheric. The MicroQ's Sound library is obviously the product of deep and creative patch programming. Most manufacturers put a synthesizer's signature sound in the first memory slot; instead of a creamy pad or a bodacious bass, Sound A001 on the MicroQ is a thunderous kick drum with plenty of reverb called LosAngeles2019. On many Sounds, the Mod wheel produces some wonderful variations — so many, in fact, that I wish the instrument had a third wheel just for vibrato. One of my favorite Sounds, the kotolike Meteor, has an acoustic complexity that kept me enthralled for what seemed like hours.

The MicroQ has some of the juiciest filters I've ever heard. Both resonant filters offer lowpass, bandpass, highpass, and notch modes with 12 and 24 dB-per-octave cutoff slopes. A fifth filter type provides positive and negative comb filtering, which produces sounds that most synthesizers can't achieve. Additionally, a Drive control lets you oversaturate the filter for warm distortion.

Although I loved the MicroQ's sound, I was frequently perplexed by its arcane user interface. I had to consult the manual just to turn the power off (hold down the Power button for four seconds). None of the knobs are dedicated to particular functions. You navigate your way through a maze of parameters by referring to a matrix of 50 parameter names printed on the front panel. (Half the lettering is gray on a dark blue-gray background, so it can be difficult to find what you're looking for until you learn your way around.) Six knobs and a data wheel rotate infinitely, and their functions change depending on the selected parameter. Not until you turn a knob does the affected parameter appear in the main display. Four cursor keys assist in maneuvering through the matrix.

Thanks to its thick sheet-metal housing, the MicroQ is a surprisingly heavy ten pounds. Its relatively sharp, hard edges protrude as if they were rack ears, but the MicroQ is almost four inches too wide to mount in a standard rack. Waldorf might want to reconsider its design with product liability in mind; if someone were to accidentally fall on one of the protruding metal corners, they could be seriously hurt. (When my brother was a small child, he had a bad run-in with a coffee table.)

At the 2002 winter NAMM show, Waldorf announced a 75-voice version that is called the MicroQ Omega. A 50-voice expansion for existing MicroQs is also forthcoming.

YAMAHA AN200

A component of Yamaha's Loopfactory series, the AN200 ($630) is a combination analog-modeling synthesizer, phrase-based sequencer, and sample-playback rhythm machine. Yamaha calls it a Desktop Control Synthesizer, but you might call it a groove box. The AN200 has 5-note polyphonic analog modeling — enough to play chords — and 32-note polyphonic AWM2-based sample playback. Almost all the sampled sounds are percussion, bass, and synthesized effects that you can use for backing tracks.

Most knobs on the AN200's front panel are devoted to editing virtual-analog Voices (Yamaha's term for programs), and most buttons control the sequencer (see Fig. 11). Sequences are assembled in a linear fashion, one Pattern after another. Each of the Patterns contains one synth track and three sampled rhythm tracks, and you can play each track's sounds using MIDI. If you don't have a MIDI controller handy, just press the Keyboard button to play the Pattern-Select buttons as though they were keys on a one-octave keyboard.

I had great fun just running the AN200's sequencer and changing Patterns on the fly. Each Pattern finishes before the next Pattern begins on the downbeat of the next measure. The AN200 stores 256 Preset Patterns and 128 User Patterns. The excellent library of presets runs the gamut from Aphex Twin — like ambiences to instant Kraftwerk-in-a-box. During playback or editing, you can transpose Patterns and change their tempo, and a Swing function changes their rhythmic feel. To create your own Pattern, enter notes in step time by turning the bottom row of eight knobs or loop-record in real time either by pressing the buttons or by playing a MIDI controller.

Each Voice is stored within a Pattern. To edit a Voice, you must first select the Pattern that contains it. You can't select Voices separately from Patterns, but you can copy a Voice from one Pattern to another. The Scene buttons let you switch between two variations on the same Voice. Turning the Scene knob morphs from one Scene to another and allows you to select numerous stages between the two Scenes.

The AN200's analog-modeled architecture is simple and straightforward, and its sound is warm and fat. Two oscillators provide a handful of basic waveforms. A single resonant filter offers lowpass, bandpass, highpass, and band-eliminate responses, and you can select 12, 18, or 24 dB-per-octave lowpass slopes. You can apply the filter to the rhythm tracks as well as the synthesized Voice. The filter and amplifier each have dedicated ADSR generators, and you can apply negative envelope modulation to the filter. The effects, in addition to distortion and EQ, let you choose from delay/reverb, flanger/chorus, phase-shifter, or guitar-amp simulator.

Free EG is Yamaha's name for a sequencer that records control changes in real time. When you enable recording, play a Pattern, and begin turning knobs, Free EG records any live edits you make to the Voice. A maximum of four knobs are recorded, each on a separate Free EG track, or if you prefer, you can record four separate takes of turning the same knob. Because all the AN200's knobs transmit MIDI CC messages, you can record control changes into an external sequencer without the one-knob-per-track limitation.

The AN200 ships with a dual-platform CD-ROM containing the AN200 Editor application with its own 72-page PDF manual. The Editor presents an onscreen control panel that's more detailed than the hardware unit's front panel (see Fig. 12). Rather than the 18 knobs on the AN200 itself, the software user interface provides 45 knobs for Voice and Pattern editing. Using the Editor on your computer, you can create and edit User Patterns and assemble them into songs, one phrase at a time, and then transfer them to the AN200 for playback.

The AN200 owner's manual is a little unusual in that it's organized into 92 tips and an appendix. Such a tutorial approach, although quite helpful when you're learning to use the AN200, takes some getting used to. When you're simply scanning the manual for information, finding quick answers can sometimes be difficult. I'd prefer to see a manual that offers a tutorial section and a reference section.

Yamaha was an early pioneer of physical-modeling synthesis, including analog modeling. Consequently, I'm somewhat surprised that the AN200 is Yamaha's only current model devoted to analog modeling. I certainly hope the company has plans to introduce an instrument to replace the popular AN1x keyboard. Fortunately, most of the AN1x's features are available on the AN200, but in a desktop form factor. If you already own an expandable Yamaha synth such as the S80 or CS6x, the PLG150AN plug-in board can add most of the AN200's synth engine to those instruments. If I were in the market for a groove box, though, the AN200 would probably be at the top of my list.

THE SUM OF THEIR PARTS

Like real analog synths, every instrument in this roundup has a very distinct personality. None of them closely resembles the others, and all of them have features that make them stand out from the crowd. Granted, all things are not equal; most notably, prices range from $399 to $2,499. Some, such as the Novation K-Station and the Waldorf MicroQ, are amazing instruments for the price; others, such as the Clavia Nord or the Roland JP-8080, are simply amazing instruments.

More than half of these instruments are sound modules that lack keyboards, but they aren't necessarily the least expensive models; at $2,495, the Clavia Nord Rack 3 is the most expensive of the lot and worth every penny. The Red Sound Elevata module, though priced the same as the K-Station keyboard, is the biggest disappointment in the bunch. The Korg Electribe A and the Yamaha AN200 are groove machines with synth engines that focus their functionality on built-in sequencers. The Clavia Nord Modular is a timbre-programming powerhouse that should provide years of making sounds that no other instrument is capable of producing.

If you're looking for acoustic piano or any other sample-based sound, analog-modeling synths are not for you. They have a timbral character that's out of place in certain styles of music and perfectly at home in others. If you love the sound of analog synthesizers, you might discover a new love in the sound of virtual analog.

I WANT ONE OF EACH!

Almost every instrument in this roundup is worth owning, some for better reasons than others. When I'm shopping for a virtual analog synth, I want something that can do everything a real analog synth can and then some. I want an instrument that sounds great and offers jaw-dropping factory programs, plenty of hands-on control, and flexible programming capabilities.

If I had to narrow my choice down to just one synthesizer, it would be a tough decision. If I had enough money, it would probably be a toss-up between the Nord Modular, the Nord Rack 3, and the JP-8080. They all sound fabulous, and they all offer wonderful programming depth. I really wish I could afford all three!

If I had less than $1,000 to spend, I'd have a difficult time turning down the K-Station, but I'm a knob tweaker at heart, and the MicroQ offers tremendous bang for the buck. I'm not too crazy about its user interface, but its programming depth would make it worth learning every detail. If I had a little more cash, the Korg MS2000 would certainly enter the running. All three instruments sound great.

If I were on a really tight budget, I might choose the Roland SH-32, but more likely, I'd keep saving up for a MicroQ or a K-Station. On the other hand, the SH-32 offers a lot for the money, and you might like its sound and its looks better than I do. If I were in the market for a groove box, I'd happily choose the Yamaha AN200; I love its sound, and it's a lot of fun to play.

The choice you make comes down to what kind of music you play, how much programming you want to do, and what you can afford. With the possible exception of the Elevata, there isn't an instrument here that I wouldn't recommend; the exact model would depend on your needs. Real analog synthesizers have their place, but today's virtual analog synthesizers can do just about anything a real analog can do and much more.

---

Geary Yelton is an associate editor for EM. He's gradually making the transition from owning a ton of gear to having a totally virtual electronic-music studio. Special thanks to George Rendulic and Michael Ragan of Guitar Center in Charlotte, North Carolina, for the loan of the K-Station and the MicroQ.

CONTACT SHEET

Armadillo Enterprises

tel. (727) 519-9669; e-mail info@armadilloent.com;
Web www.armadilloent.com

Korg USA

tel. (516) 333-9100;
Web www.korg.com

Novation USA

tel. (888) 782-3166;
e-mail salesusa@novationusa.com;
Web www.novationusa.com

Roland Corp. U.S.

tel. (323) 890-3700;
Web www.rolandus.com

Waldorf

tel. 49-2636-7001;
Web www.waldorf-gmbh.de

Yamaha Corp. of America

tel. (714) 522-9011; e-mail info@yamaha.com;
Web www.yamahasynth.com

SYNTHS AND SENSIBILITY

One obvious trend that I've observed is smaller instruments. None of the synths that I gathered for this article had a full-size keyboard. Even if I had acquired a synth with a 61-note keyboard, I don't think it would have given me a richer synthesizing experience than some of the instruments I played. Nearly half were tabletop models with no keyboard at all. Their tabletop design is significant in that it has become so common; even models with small keyboards are quite at home on a tabletop or packed tightly together on a keyboard stand. Most tabletop synths are designed to be rackmountable, as well, but only the Roland JP-8080 comes with rack ears installed (they are removable).

As front-panel controls have grown more numerous, synthesizers have still managed to become smaller. Instruments that are more compact have many advantages, not the least of which is that you can pack more of them into a smaller space and thus put more of the knobs you need to turn and buttons you need to press within easy reach. A three-tiered keyboard stand, instead of holding three full-size keyboards, can now hold from six to nine instruments.

Another common thread running among these instruments is that their displays are all rather small. Not one of them has a generous display, but then again, neither do real analog synthesizers. A detailed display is a lot less necessary when the front panel is filled with dedicated controls. Kudos go to the Waldorf MicroQ for the densest display in the group. Also, when the MicroQ has been dormant for a while, the LCD runs animated screen-saver graphics. The MS2000's 32-character, bright yellow-green display is the best balance of density and legibility. The Elevata's red LED display is actually larger, but it shows only eight characters. The K-Station's light-blue-on-bright-blue LCD is the brightest of the LCDs, but it displays just 16 alphanumeric characters.

A more disappointing observation is that none of the synths have digital-audio I/O of any kind. The older instruments can be forgiven because digital-audio ports have only recently become features that users expect, and most of the newer synths in the roundup are economy models that cut corners whenever possible. I just hope that whatever replaces the higher-end synths includes digital-audio outputs.

Analog-Modeling Synthesizer Specifications

(Clavia-Novation)

	Clavia Nord Modular	Clavia Nord Rack 3	Korg Electribe A	Korg MS2000	Novation K-Station
Retail Price	$1,999	$2,499	$399	$1,150	$899
Maximum Polyphony	(32) notes	(24) notes	(2) notes	(4) notes	(8) notes
Multitimbral Parts	(4)	(4)	(2)	(2)	(1)
Oscillators (per voice)	almost unlimited	(2)	(2)	(2)	(3)
Suboscillator	almost unlimited	none	none	none	none
Oscillator Waveforms	(4) basic, noise, synced noise, formants	(5) basic, noise, synced noise	(3) basic	(4) basic, (64) DWGS, noise	(4) basic, noise
Oscillator Sync	yes	yes	yes	yes	yes
Ring Modulation/ FM	yes/yes	yes/yes	yes/no	yes/yes	yes/yes
Filters	almost unlimited	(2)	(1)	(1)	(1)
Filter Types	lowpass, static or dynamic multimode, vocal, vocoder, resonant bank, parametric and shelving EQ	lowpass, bandpass, highpass, band-reject	lowpass	lowpass, bandpass, highpass	lowpass, EQ
Filter Resonance	yes	yes	yes	yes	yes
Filter Slope (dB / octave)	12, 18, 24	6, 12, 24, nonlinear	12	12, 24	12, 24
Envelope Generators	almost unlimited	(2) ADSR, (1) AD	(1) D	(2) ADSR	(2) ADSR; (1) AD
LFOs	almost unlimited	(2)	none	(2)	(2)
LFO External Sync	yes	yes	no	yes	yes
Number of Keys/Note-Entry Buttons	(25) keys	none	(16) buttons	(44) keys	(25) keys
Velocity Sent	yes	no	no	yes	yes
Aftertouch Sent	no	no	no	no	no
Aftertouch Received	Channel	Channel	no	Channel	Channel
Portamento	yes	yes	yes	yes	yes
Left-Hand Controllers	none	none	none	(1) Pitch-Bend wheel; (1) Modulation wheel	(1) Pitch-Bend wheel; (1) Modulation wheel
Sequencer	32-event, 16-step control; 16-note	none	(256) user patterns; (16) songs; (65,500) events; tempo tap	16 steps x 3 tracks	none
Arpeggiator	none	(4) preset patterns, Sub Arpeggio	none	(6) preset patterns, Mod Sequencer control of pitch	(6) preset patterns
Effects	modules include: chorus, compressor, delay, expander, overdrive, phaser, waveshaper, ring mod	none	(1) distortion; (1) tempo delay or chorus/flanger	(1) modulation: chorus/flanger, ensemble, phaser; (1) delay; (1) EQ	(7) simultaneously: delay, reverb, chorus, distortion, EQ, panning, vocoder
Vocoder	16-band vocoder	none	none	16-band vocoder	12-band vocoder
Single Programs	(500) RAM	(1,024) RAM	(256; inseparable from patterns)	(128) RAM	(400) RAM (half are blank)
Drum Kits	none	none	(256; inseparable from patterns)	none	none
Multitimbral Programs	none	(256) RAM	none	none	none
Audio Outputs	(4) unbalanced 1/4" TS; (1) 1/4" stereo headphone	(4) unbalanced 1/4" TS; (1) 1/4" stereo headphone	(2) unbalanced 1/4" TS; (1) 1/4" stereo headphone	(2) unbalanced 1/4" TS; (1) 1/4" stereo headphone	(2) unbalanced 1/4" TS; (1) ⅛" stereo headphone
Audio Inputs	(2) unbalanced 1/4" TS	none	(1) unbalanced 1/4" TS	(2) unbalanced 1/4" TS	(1) unbalanced 1/4" TS
Controller Inputs	(1) sustain footswitch; (1) assignable footswitch;	(1) sustain footswitch; (1) “Not in Use”	none	(1) assignable footswitch; (1) assignable pedal	none
MIDI Ports	(2) In, (2) Out	In, Out, Thru	In, Out, Thru	In, Out, Thru	In, Out, Thru
Special Features	Modular Editor software	none	Motion Sequencer; external audio processing	Mod Sequencer; external audio processing	none
Options	DSP expansion ($499)	none	none	footswitch, pedal	none
Display	16-character x 2-line backlit LCD	16-character x 2-line backlit LCD	3-character LED	16-character x 2-line backlit LCD	16-character backlit LCD
Power	fixed 3-pin AC	removable 2-pin AC	9V wall wart	9V wall wart	9V wall wart
Weight	14.5 lb.	13 lb.	2.75 lb.	15.6 lb.	8.8 lb.
Dimensions	18.6" (W) x 3.5" (H) x 10.4" (D)	19.00" (W) x 5.00" (H) x 6.25" (D)	11.8" (W) x 2.1" (H) x 8.9" (D)	28.8" (W) x 5.8" (H) x 14.5" (D)	21.00" (W) x 3.25" (H) x 12.00" (D)
EM Review	August 1999	February 2002 (Nord Lead 3)	November 1999	August 2000	n/a

 

Analog-Modeling Synthesizer Specifications (Red Sound—Waldorf)

	Red Sound Elevata	Roland JP-8080	Roland SH-32	Yamaha AN200	Waldorf MicroQ
Retail Price	$899	$1,595	$595	$630	$995
Maximum Polyphony	(16) notes	(10) notes	(32) notes	(5) notes AN, (32) notes AWM2	(25) notes
Multitimbral Parts	(8)	(2)	(4) synth or (3) synth and (1) rhythm	(1) AN, (3) AWM2 rhythm tracks	(16)
Oscillators (per voice)	(2)	(2)	(2)	(2)	(3)
Suboscillator	none	none	(2)	none	none
Oscillator Waveforms	continuously variable from sawtooth to pulse, noise	(6) basic, noise	(7) groups, (64) types, (63) rhythm waveforms	(12)	(4) basic, (2) wavetables, noise
Oscillator Sync	yes	yes	yes	yes	yes
Ring Modulation/ FM	yes/no	yes/yes	yes/no	no/yes	yes/yes
Filters	(1)	(1)	(1)	(1)	(2)
Filter Types	lowpass, bandpass, highpass	lowpass, bandpass, highpass	lowpass, bandpass, highpass, peaking	lowpass, bandpass, highpass, band-eliminate	lowpass, bandpass, highpass, notch, comb
Filter Resonance	yes	yes	yes	yes	yes
Filter Slope (dB / octave)	12	12, 24	12, 24	12, 18, 24	12, 24
Envelope Generators	(2) ADSR	(2) ADSR; (1) AD	(2) ADSR; (1) AD	(2) ADSR	(4) ADSR
LFOs	(2)	(2)	(2)	(1)	(3)
LFO External Sync	yes	yes	yes	yes	yes
Number of Keys/Note-Entry Buttons	none	(13) buttons	(13) buttons	(16) buttons	(37) keys
Velocity Sent	no	yes	no	no	yes
Aftertouch Sent	no	Channel	no	no	Channel
Aftertouch Received	Channel	Channel	Key, Channel	Channel	Key, Channel
Portamento	yes	yes	yes	yes	yes
Left-Hand Controllers	none	none	none	none	(1) Pitch-Bend wheel; (1) Modulation wheel
Sequencer	none	real-time loop recording (RPS); (48) user patterns	none	(16) step; (256) preset patterns; (128) user patterns; (10) songs; swing; reverse; tempo tap	none
Arpeggiator	(7) preset patterns	(4) preset patterns; (90) rhythms	(32) steps; (64) user Arpeggio Styles; (64) user Rhythm Styles	none	(16) steps; (15) ROM patterns, (1) user pattern
Effects	chorus, flanger	(1) 2-band EQ; (1) delay (5 types); (1) multi (13 types)	(35) insertion effects; (10) reverb/delay	(1) distortion; (1) EQ; (1) multi: delay, reverb, flanger, chorus, phaser, amp simulator	(2) processors (7 types: chorus, flanger, phaser, distortion, delay, sample reduction, overdrive)
Vocoder	optional	24-band Voice Modulator	none	none	vocoder
Single Programs	(128) ROM, (128) RAM	(384) ROM; (128) RAM	(128) preset; (128) user	(256; inseparable from patterns)	(300) RAM
Drum Kits	none	none	(2) preset; (2) user	(1) preset	(20) RAM
Multitimbral Programs	(10) ROM; (80) RAM	(192) ROM; (64) RAM	(64) RAM	(inseparable from patterns)	(100) RAM
Audio Outputs	(6) unbalanced 1/4" TS; (1) 1/4" stereo headphone	(2) unbalanced 1/4" TS; (1) 1/4" stereo headphone	(2) unbalanced 1/4" TS; (1) 1/4" stereo headphone	(2) unbalanced 1/4" TS; (1) 1/4" stereo headphone	(6) unbalanced 1/4" TS; (1) 1/4" stereo headphone
Audio Inputs	(2) unbalanced 1/4" TS; (1) 1/4" TS vocoder input	(1) unbalanced 1/4" TS mic-level; (2) unbalanced 1/4" TS line-level	none	none	(2) unbalanced 1/4" TS
Controller Inputs	(1) external joystick DIN	none	(1) footswitch	none	(1) sustain footswitch; (1) assignable pedal
MIDI Ports	In, Out, Thru	(2) In, (1) Out	In, Out	In, Out	In, Out, Thru
Special Features	x-y joystick; Sound Wizard	Motion Control; SmartMedia storage	Chord Memory (64 user chord forms)	Free EG; computer software	Random Sound
Options	Vocoda conversion kit ($49); external remote joystick ($49)	none	footswitch	none	none
Display	8-character LED	16-character x 2-line backlit LCD	3-character LED	4-character LED	20-character x 2-line backlit LCD
Power	9V lump-in-the-line	removable IEC 3-pin AC	9V wall wart	12V wall wart	removable IEC 3-pin AC
Weight	10 lb.	9.94 lb.	4.25 lb.	3.5 lb.	10 lb.
Dimensions	19.00" (W) x 2.00" (H) x 8.25" (D)	5U x 3.5" (D)	11.9" (W) x 3.6" (H) x 9.0" (D)	13.31" (W) x 2.04" (H) x 8.22" (D)	24.5" (W) x 13.0" (H) x 3.7" (D)
EM Review	n/a	July 1999	n/a	n/a	n/a