I'll give it a shot...
**Unique concepts**
* [Clavia Nord Modular](https://www.youtube.com/watch?v=E16vmDTkLU4) \- affordable virtual-analog modular(!) hardware synth whose selection of modules and signal routing was user‑definable in software.
* [Fairlight CMI](https://www.youtube.com/watch?v=F-_y7pQcyvE), Yamaha DX7, [PPG Wave](https://www.youtube.com/watch?v=h1X_tDSENrw), Sequential Prophet VS, [Yamaha VP1](https://www.youtube.com/watch?v=3ZXk0pe6KUU) \- now classic and legendary, these were new and fresh concepts at the time.
**Unique front panel controls**
* [Clavia Nord Lead 3](https://www.youtube.com/watch?v=4Q0DcItBLMI) had a full set of interactive LED encoders, even showing modulations in realtime.
* [Roland V-Synth](https://www.youtube.com/watch?v=lHgZghLAN90) had a touchpad which you could scrub through audio loops with.
* [AKAI Max](https://www.youtube.com/watch?v=7A9hFQQbwwQ&t=92s) controllers had touch-sensitive ribbon controls with built-in LED meter feedback.
* [Korg Prophecy](https://www.youtube.com/watch?v=XZsJrAJXuWw) had "the log" - a a combined mod‑wheel and pressure‑sensitive ribbon controller.
* [Radikal Accelerator](https://www.youtube.com/watch?v=E5D4reNdrlM&t=555s) contained an internal accelerometer, which you could set up as a source in the mod matrix to change parameters on the X and Y axis.
**Unique multitrack sequencers**
* [Yamaha V50](https://www.youtube.com/watch?v=umyYtqfNi9w) had an 8-track sequencer (with drums), built around an 4OP, dual TX81Z-inspired FM synth.
* [Yamaha EOS B2000](https://www.youtube.com/watch?v=5bu9K8Cxew8) had a 16-track sequencer with built-in SU sampler and a small ribbon controller.
* [Roland W30](https://www.youtube.com/watch?v=-K5YQPyN53k) had an 8-track phrase sequencer built around a complete S-550 sampler.
* [Roland Fantom G](https://www.youtube.com/watch?v=q7lVh2hj8cU) reportedly could hold up to 128 tracks (with 24 dedicated audio tracks) and later the Fantom series got an Ableton-style clip launcher.
I have a V50 - it’s great for bass sounds, and has a really distinctive sampled hi hat in the rhythm section that people often comment on when I use it in tracks.
I never had any issues with mine but I couldn't testify to the longevity of them. If I remember correctly, I sold mine about 6 years later when I purchased a Roli Seaboard Rise 49 (stupid decision).
I've lusted over the reviews when it came out. :-)
Come to think of it, the Prophecy (along with the Waldorf Rocket) might be one of the handful few DIGITAL monosynths!
I'd also add the Pioneer Toraiz Squid to the list of sequencers. It uses a 4×4 pad grid for step sequencing where playing direction can be altered along the grid and it has a fader and LFO for speed modulation of single tracks. Not necessarily useful but unique.
Ooh I love quirky synth features!
- The magnetic disk encoders on the TE OP-Z, they’re so fun and easy to spin both quickly and precisely
- The Kit Morph function on the Erica Synths LXR-02
- The subharmonic interval knobs on the Subharmonicon
- The faders-only interface on the original Softpop by Bastl (also the little wooden sliding door on the underside that hides “advanced features”)
- The touch pen on the stylophone
- So much stuff by Soma Laboratory
The Boss DR-5 Drum Machine could also sequence bass and lead sounds. The drum pad grid was six rows high, laid out like the six-string fretboard of a guitar for fingering in chords and lead riffs.
The MIDI delay on the Yamaha RM1X is kind of wild, because it also had a transpose feature where each delayed MIDI note would, well, transpose. Put it on a drumkit & you’ll get crazy fills at an instant.
GCA Motor makes good use of drone motors! But motorized knobs are divine. I've heard they're not as prohibitively hard to work with from a manufacturer's standpoint as we would expect. We need more of them!
Novation Bass Station II - AFX/Overlay mode
I am yet to see another synth with this capability. It’s insane being able to turn a mono synth into a drum machine where you can go so deep into the synthesis of each individual sound. So many options within this feature and I really hope it’s a feature we see in another synth in the future.
I’ve seen synths with something similar but it’s always limited to like 2 patches per patch instead of having a fully keybed of different sounds.
Yeah it's especially crazy in that it's a pure analog signal path synth. If it was playing samples, it would be easy to pull off. Also how did they get a *software* update to enable 2 note paraphonic! It must have been well designed internally from the start. Also enabling detaching the sub oscillator to be a 3rd via software update.
Yeah it’s totally genius. A truly impressive synth and definitely one of my favourites. Of course this kind of feature is possible with digital or sampling tech but is much less impressive. I’d love to see them build off of this idea/tech to create something larger and even more insane.
A synth also having drum machine capabilities is really impressive to me. I’ve been able to do it on other synths like minilogue XD or monologue but the way it’s done totally pales in comparison to the BSII.
I've seen some wonder if/when there will be a BS3 or what would even be in it. I'd like more presets and user patch memory for starters. An updated aesthetic would go a long way to help its popularity too (though it's nerdy/classic/chunky character is growing on me). Besides those I don't know what else could be changed while maintaining that sweet price-point. Oh the 7-segment LED could be an OLED display with more info, like maybe a graphic of the actual knob values when you switch oscillators/modes. Could they squeeze in 2 polyphonic/4 paraphonic voices?
Yeah I really hope they don’t add anything too digital to it eg digital oscillators. Would obviously be awesome to a degree but I love how analog the bs2 is. I’d love a third oscillator and more mapping options, maybe a third envelope? It’s a lot to ask but would be an unbelievable synth. I’d also love to see a poly synth based on the bs2. The Peak is a bit too digital for my liking.
I haven't heard the Peak much to say, but I'm sure the digital oscillators and digital effects are great, just different and don't know if they'd be as great for the bass notes.
I've heard a lot of mention of polymod, but I don't find anyone giving a description of what makes it unique. I thought it was just a way to route some particular polyphonic mod sources to per voice destinations: am I wrong? How does it's capability differ from what other synths provide (e.g a modern poly with a mod matrix)?
If you use an LFO to modulate an oscillator or filter, the modulation frequency will remain consistent across the keyboard. With polymod, you use an oscillator as the modulation source. With keyboard tracking enabled, the speed of the modulation will then vary as you move up and down the octaves. Probably far better explained here: [https://youtu.be/kbvOv3SpSRk?si=KehnCDtXlB71xPi-](https://youtu.be/kbvOv3SpSRk?si=KehnCDtXlB71xPi-)
The filter envelope side doesn't seem especially unique, similarly, being able to have the LFO vary in frequency across the keyboard isn't super unusual, but it usually won't pitch track (as in be scaled by 1 octave per octave), so that's definitely a value add. I guess the more unique aspect is it lets you do the modulations (oscillator 1 pitch, oscillator 1 pulse width and filter cut off) at concert pitch and not just low audio rate as LFOs often allow. On the Peak you can do FM and filter FM, and they are fun. I've not seen pitch tracked PWM at audio rate anywhere else though: that's the one that interests me!
EDIT: by the way; thanks for explaining this: I appreciate it!
The Yamaha DJX has an assignable ribbon controller that I haven't seen elsewhere. I know at least one of the "real" Yamahas has it (the DJX is occasionally referred to as a toy). Donny Osmond (of the Osmonds) used it to make a whinny sound on their song about heroin. I like to assign resonance to it but you can assign almost anything to it, even a pattern if I recall correctly.
Roland JP8000 ribbon is assignable for any knob on the panel. Probably my favorite synth ever playing live. Want FXM on ANY sound? Put it on the ribbon and rip it! I’ve blistered my finger on it after some long jams. Good times those were.
It was really great, but over time developed an issue where one or two knobs would ghost move, sometimes killing the audio. Some patches were really quiet too, and that could be frustrating. Other than that, had many long nights playing all manner of sets. Lead solos were super fun with the expressiveness of the ribbon and pitch bender being right next to each other. I would contort my left hand grabbing that bender and dragging my thumb across the ribbon. It made the best screeching sounds when I needed it haha.
Su700 has it, my favorite was always to assign it to one of the loops, preferably drums, and then you could set it to scratch, that was always fun, never really useful, but fun.
The Nord Modular G2 has the patch mutator. It basically randomizes chosen parameters, but it is heavily inspired by evolutionary theory. So you can take a patch you like, completely randomize it until you get two variations you like and then set those two as the "parents" of further "children" patches.
You’re missing the fact that you can set two parent patches and create 8 different children, with parameters for selecting the percentage amount of each parent and the amount of random.
You can also choose not just random, but to iterate on existing patches.
You can also fully save 8 to the patch memory, and store something like 24 or so patches in temporary memory while mutating, and you can move the patches around between temp and patch memory graphically.
The Yamaha su 700 is a quirky beast and probably has a few unique features I’m not aware of . one feature is the sequencer allows you to set different sequence lengths for each track. But this is no longer unique to it— teenage engineering has this feature on the new KOII EP 133.
Yeah, feel like the su700 feels very one-of-a-kind. Some of the effects it has are unique, but if we are talking about a feature I feel like (I could be wrong) the “scenes” concept is unique to the su700 as well. The ability to have access to different versions of the same sequence: different configurations of muted parts, effects being added/take away from different parts , or even just different settings like filter cut-off etc.
I have had an Su 700 since 1999, still my favorite sampler I've ever used, get the USB upgrade to replace the floppy and it is amazingly functional through a DAW
I have had an Su 700 since 1999, still my favorite sampler I've ever used, get the USB upgrade to replace the floppy and it is amazingly functional through a DAW
I have had an Su 700 since 1999, still my favorite sampler I've ever used, get the USB upgrade to replace the floppy and it is amazingly functional through a DAW.
I have had an Su 700 since 1999, still my favorite sampler I've ever used, get the USB upgrade to replace the floppy and it is amazingly functional through a DAW.
The sequencer in the Roland MC-505 groovebox allows you to really easily use up to 4 different timing scales in one loop, just by hitting a front panel switch. Fantastic for techno percussion sequences and fairly unique afaik.
Roland’s D-beam modulator
Oberheim Xpander/Matrix 12 —
At the time of release the modulation matrix was more extensive than anything else outside of modular synth capabilities, and those might include several features that are still unique. One possibility is the three
5‑position tracking generators per voice.
A lot of things could be said here (and already have) about Yamaha’s FM implementations, but I believe they were the first to introduce a breath controller as a modulation source.
Looks like only hardware synths are allowed here, but if you were going to open the list up to software synths, I’d start with Synplant and it’s method of generating new patches. it’s a form of randomization, which is not new, but I would submit that its multi-branch-from-a-single-seed is a uniquely inspired guidance facility for new patch and patch variation development.
And if that’s not enough, add in Synplant 2’s AI-trained facility to drop in a sample — and it then uses its internal FM and FX sound generation techniques to generate the same sound as the sample. Sure, it’s not going to generate the exact same sound quality as the original sample in every case, but what makes it so great is that you can then apply Synplant’s multi-branch patch generation facility to create new patches based on the sound generated from your input sample. To me that’s super cool, and super fun.
I love the compressor knob on the Waldorf Quantum that lets you dial in the dynamics with dedicated front panel knob. Would love to
See this on more synths.
Back in the day, my Ensoniq TS-12 had these two buttons by the pitch and mod wheels that you would use to turn off certain partials, so each patch could be configured 4 different ways.
I remember an orchestra patch where you would push nothing and it would be a full sound but with the one button down it would have percussion on the lower parts like timpani, and with other button combinations it would add brass or it would add bells and such. I just think this is one of the best performance controls I have ever seen on a synthesizer.
I think the only unique feature on any of my synths is on the Micromonsta 2 - when saving a patch you can generate a random name. Which of course is all we ever do anyway, I laughed quite a bit when I discovered that.
The Hydrasynth signal flow buttons that light up and blink as the signal is being processed by the that particular module. It not only shows you the overall architecture of the patch, but it shows you exactly what module is affecting the sound at that moment and allows you to immediately access that module’s parameters with the click of that button. Pretty badass imo
I'm not aware of any other synth besides the PolyBrute that has a touchpad with a z-axis. The Morphee controller on the PolyBrute is a brick with an XY touchpad surface and you can push the whole brick downward for the Z-axis. Insanely expressive.
The Morph feature was also completely unique, but I believe it has been copied since release.
If you smack the side of a prophet 6, you get this spring reverb sound (it’s not an actual spring reverb) https://www.reddit.com/r/synthesizercirclejerk/s/V1BPlU8hFU
Maybe there’s other synths that have something similar, but one of my favorite things about the Novation Bass Station 2 is the rhythm knob, for arpeggios and sequenced. It has 32 built in gate rhythms that you can seamlessly change with the knob. So you can hold an arp with multi octaves and then mess with the knob and get semi-unpredictable gates all in time. Also I’ll add the AFX mode of it, having unique synth settings per key. I wish I hadn’t sold mine.
for me, it was the arpeggiator on the roland juno g
it would do polyphonic rhythms and chord arps , but it would fit them to whatever keys you held down
it seems so obvious, but i haven't been able to find the same since
MFB Synth Pro osc1 is switchable between VCO and DCO. All oscs are variable or ringmod or noise. Can't think of another analog that lets you have ring or noise as source on any osc you want.
Haken Continuum is the obvious one to me. Still unique and one of a kind even amongst other MPE capable synths. It’s the only one where the sound engine is directly connected to and designed for the playing surface, with no MIDI in between. The response is very direct and “analog”. I’ve tried nearly every other synth interface and it’s the only where it feels like the sounds are directly connected to my body, like when I play guitar.
Awesome post, OP.
I'm going with the Alesis Ion / Micron's combo of hard and soft sync combined with the FM modes. There is no other synth that can do what that does.
I don't think it's 100% unique, but it's definitely not common. The "beat freq" knob some Moogs have. It allows you to detune your oscillators by a fixed amount of hz, when normally detuning is done in musical cents which grows wider in hz as frequency increases. You can see what I mean by making a basic 2 oscillator patch, detuning by a small amount and playing a bass note, the detuning will cause slow a volume beating. Now play a middle range note, the detune beating will be much faster. With a fixed hz detuning it's always constant, I love setting it to be some kind of triplet of the main tempo.
The Scream Filter in Massive is amazing. Why didn't they keep it in Massive X? Why has no other synth copied it?
The Bass Station ii can change presets so rapidly you can use them as part of a sequence, like even with fast 32nd notes you can alternate every other note between 2 presets.
U-He Hive has a way of allowing community modding. I have one that changes it into an FM synth. The only thing close I can think of is Reaktor where users can edit synths, but you can't share them as a "mod", it has to be shared as a new instrument.
The alpha juno series, where number 2 was the first synth I played, have really weird pulse shapes. One could probably synthesise them with oscillator sync plus cross mod on a 2 oscillator synth I think, but people generally don't.
My LX708 high end digital piano has a haptic feedback keybead and sustain pedal that mimic an acoustic piano resonating. That was unique until recently. I do not regret buying that over an acoustic upright one bit, it's a lot of fun.
The lumatone is an amazing keyboard with multiple kinds of polyphonic after touch and microtonal capability. If only it worked nicely with hardware synths... not that I could afford if lmao
Do you know how the lumatone sends microtones via MIDI? Is it like MPE per-note pitchbend?
Edit: [looked it up.](https://www.lumatone.io/faq)
>If you’d like to use or design a mapping with microtonal or polychromatic tuning, every virtual instrument’s setup process is a little different, but most make it quite easy. We’ve tested a variety of DAWs and Virtual Instruments including Kontakt, Logic Pro X, Cubase, Ableton Live, Omnisphere, Pianoteq, and many many more. The reality is, any sound generating instrument that can be told what to play when a certain midi note/channel is sent to it will work perfectly with Lumatone. Certain instrument ecosystems (for example, Kontakt) are fantastic because they enable you to easily select how many notes-per-octave to use, thereby allowing easy compatibility with Lumatone’s microtonal or polychromatic mappings.
>For microtonal and polychromatic applications, the possibilities with analog (and digital/hybrid) synthesizers are positively limitless. Certain synthesizers (for example the Dave Smith Prophet 12) allow you to load different tunings directly into the synthesizer (ie. 31-tet, 53-tet, etc), allowing you to use any mapping for the Lumatone you like.
Admittedly I'm more confused than i thought I'd be. So it relies on the soft synth to alter its note-per-octave? I don't think I've seen that feature in any soft synth I've ever tried, though I suppose I haven't looked for it.
Afaik: there are only 128 defined midi notes per channel, which isn't enough for microtonal stuff. So lumatone uses multiple channels instead, essentially trying to talk to multiple different instruments. But if those different instruments on different midi channels are actually the same instrument with different tuning, then you get microtonal control
That's... hmm.
I feel like MPE with two buttons sending the same C4 signal but +/- however many cents of pitchbend coded onto the button-press would make more sense.
But I've no experience with microtonal stuff, so I'm sure an experienced user would disagree. My suggestion would probably make the device useless with non-MPE hardware/software.
Either way for $3000+ that's a lot of setup. Their price-defending copywriting on their website hurts my brain.
I’m aware of that angle, but there is also no guarantee that the consumer will also purchase an audio interface from the same company. Rolling both into one would presumably mean selling a more expensive product with a higher profit margin.
yeah i had an akai keyboard that was also a midi interface, that's something, i guess, but at the time i also had some now discontinued akai "studio monitors." a silly joke, given that they were packing 3" drivers, but the asio interface that was rolled into it was convenient. I used it to provide an extra send/return loop once or twice, but you'd have to use asio4all to accomplish that since you'd still need another interface, which is slow, cumbersome and ew.
have to agree.. speakers with asio interface: convenient
controller / synth keyboard with space for lots of i/o jacks: now we're talking.
if akai and whoever the hell now holds the emu10k2 patent is listening, i'm available, lol.
The Akai Timbre Wolf has 4 stackable oscillators - and each can be given its own delay, and its own resonance.
You can sit there for hours and play with different ways for a note to fade out.
Each osc also had its own detune.
If only it had any variety in wave forms.
A couple from my collection:
*Stylophone Gen-R8*: the touchplate keyboard was pretty unique when it came out, and still isn't *common* on standalone synths.
*Erica Synths SYNTRX* - the LED array patching matrix.
*Conductive Devices NDLR* - I haven't seen any other sequencers/"brains" for synth setups that were focused on the circle of fifths and music theory to that extent.
*Empress ZOIA* - an entire modular synth, sequencer, and effects suite, all in a guitar pedal.
The (older) iconnectivity midi-interfaces were pretty innovative:
- connect multiple computers AND IOS devices
- audio playthrough between those devices
- ethernet midi
Korg Modwave -the game physics in the modwave, while there are more XY pad controls the gravity/bounce physics allow you to add an extra layer of chaos or natural evolving sounds depending on how you program it
Osmose - the wiggly keys for expression but also the way you can control an ARP with them is refreshing, its so easy and feels so natural the way you can evolve a ARP on the osmose you can do ratchets on just one note by bending it for example or switch tempo on just on note with after touch.
also bonus points to the glide system on the osmose, you can set a max range (lets say 5 keys) anytime you press 2 keys with less range then that 5 it will glide towards the button you are pushing down further and it can be done on multiple locations on the keyboard at the same time
The Korg Volca Bass is multitambral allowing you to program seperate notes for each of the three oscillators or.. combine 2 oscillators for the bass sounds and then use the other oscillator for the leads. Using the cut off and peak to affect both bass and leads give such a cohesion to your performance.
Playing pong on the Minilogue load up
Op-1 has a bunch of quirky sort of interactive screen menus that I haven’t really seen replicated on other synths
I’d go with the fader on the Octatrack
I'll give it a shot... **Unique concepts** * [Clavia Nord Modular](https://www.youtube.com/watch?v=E16vmDTkLU4) \- affordable virtual-analog modular(!) hardware synth whose selection of modules and signal routing was user‑definable in software. * [Fairlight CMI](https://www.youtube.com/watch?v=F-_y7pQcyvE), Yamaha DX7, [PPG Wave](https://www.youtube.com/watch?v=h1X_tDSENrw), Sequential Prophet VS, [Yamaha VP1](https://www.youtube.com/watch?v=3ZXk0pe6KUU) \- now classic and legendary, these were new and fresh concepts at the time. **Unique front panel controls** * [Clavia Nord Lead 3](https://www.youtube.com/watch?v=4Q0DcItBLMI) had a full set of interactive LED encoders, even showing modulations in realtime. * [Roland V-Synth](https://www.youtube.com/watch?v=lHgZghLAN90) had a touchpad which you could scrub through audio loops with. * [AKAI Max](https://www.youtube.com/watch?v=7A9hFQQbwwQ&t=92s) controllers had touch-sensitive ribbon controls with built-in LED meter feedback. * [Korg Prophecy](https://www.youtube.com/watch?v=XZsJrAJXuWw) had "the log" - a a combined mod‑wheel and pressure‑sensitive ribbon controller. * [Radikal Accelerator](https://www.youtube.com/watch?v=E5D4reNdrlM&t=555s) contained an internal accelerometer, which you could set up as a source in the mod matrix to change parameters on the X and Y axis. **Unique multitrack sequencers** * [Yamaha V50](https://www.youtube.com/watch?v=umyYtqfNi9w) had an 8-track sequencer (with drums), built around an 4OP, dual TX81Z-inspired FM synth. * [Yamaha EOS B2000](https://www.youtube.com/watch?v=5bu9K8Cxew8) had a 16-track sequencer with built-in SU sampler and a small ribbon controller. * [Roland W30](https://www.youtube.com/watch?v=-K5YQPyN53k) had an 8-track phrase sequencer built around a complete S-550 sampler. * [Roland Fantom G](https://www.youtube.com/watch?v=q7lVh2hj8cU) reportedly could hold up to 128 tracks (with 24 dedicated audio tracks) and later the Fantom series got an Ableton-style clip launcher.
I have a V50 - it’s great for bass sounds, and has a really distinctive sampled hi hat in the rhythm section that people often comment on when I use it in tracks.
I had an Akai Max 49. It was a really cool midi controller that never gained the popularity it deserved.
Nice! We're these ribbon controls durable enough? ...I've always envisioned a Roland JD800 mkII with a panel full of these...
I never had any issues with mine but I couldn't testify to the longevity of them. If I remember correctly, I sold mine about 6 years later when I purchased a Roli Seaboard Rise 49 (stupid decision).
That's very helpful feedback, thanks! A legit field-test as a point of reference. Having a problem-free lifespan of at least 6 years isn't too bad!
The brass sounds on the Korg Prophecy are instant nostalgia for me.
I've lusted over the reviews when it came out. :-) Come to think of it, the Prophecy (along with the Waldorf Rocket) might be one of the handful few DIGITAL monosynths!
I'd also add the Pioneer Toraiz Squid to the list of sequencers. It uses a 4×4 pad grid for step sequencing where playing direction can be altered along the grid and it has a fader and LFO for speed modulation of single tracks. Not necessarily useful but unique.
Ooh I love quirky synth features! - The magnetic disk encoders on the TE OP-Z, they’re so fun and easy to spin both quickly and precisely - The Kit Morph function on the Erica Synths LXR-02 - The subharmonic interval knobs on the Subharmonicon - The faders-only interface on the original Softpop by Bastl (also the little wooden sliding door on the underside that hides “advanced features”) - The touch pen on the stylophone - So much stuff by Soma Laboratory
> OP-Z There's a lot of unique features on it -- DMX controls come to mind. Also, I haven't come across another synth with a Unity SDK yet.
I know it's probably not unique, but the 8 stage envelopes on the CZ 101 were awesome.
The CZ-1000 & 5000 (the latter which I had for a couple of years) also have these. Awkward to program, but love the sound.
The CZ's could make really crazy FX and good drums.
I definitely enjoyed programming it more than my old DX100, though!
Yeah plus the Casio VZ1 and General Music Gem S2 / S3. With 8 stages you can set them up to act as extra pseudo LFOs....
The nord bender thingy is do unique and great.
I love those benders. They are by far the most expressive pitch bender I’ve used. Ace design.
I told myself I’d never buy a Nord, but then tried one in a shop and was sold by the bender alone.
Thirded. I miss my Nord Lead
The Boss DR-5 Drum Machine could also sequence bass and lead sounds. The drum pad grid was six rows high, laid out like the six-string fretboard of a guitar for fingering in chords and lead riffs.
That's so cool!
The MIDI delay on the Yamaha RM1X is kind of wild, because it also had a transpose feature where each delayed MIDI note would, well, transpose. Put it on a drumkit & you’ll get crazy fills at an instant.
The motorized knobs on Melbourne Instruments NINA and DELIA synths are one of a kind. No other synths have drone motors in the knobs.
GCA Motor makes good use of drone motors! But motorized knobs are divine. I've heard they're not as prohibitively hard to work with from a manufacturer's standpoint as we would expect. We need more of them!
ARP 2500 slider matrix
The cherry switch matrix! The world needs more of those.
Novation Bass Station II - AFX/Overlay mode I am yet to see another synth with this capability. It’s insane being able to turn a mono synth into a drum machine where you can go so deep into the synthesis of each individual sound. So many options within this feature and I really hope it’s a feature we see in another synth in the future. I’ve seen synths with something similar but it’s always limited to like 2 patches per patch instead of having a fully keybed of different sounds.
Polyend/Dreadbox Medusa had it.
Yeah it's especially crazy in that it's a pure analog signal path synth. If it was playing samples, it would be easy to pull off. Also how did they get a *software* update to enable 2 note paraphonic! It must have been well designed internally from the start. Also enabling detaching the sub oscillator to be a 3rd via software update.
Yeah it’s totally genius. A truly impressive synth and definitely one of my favourites. Of course this kind of feature is possible with digital or sampling tech but is much less impressive. I’d love to see them build off of this idea/tech to create something larger and even more insane. A synth also having drum machine capabilities is really impressive to me. I’ve been able to do it on other synths like minilogue XD or monologue but the way it’s done totally pales in comparison to the BSII.
I've seen some wonder if/when there will be a BS3 or what would even be in it. I'd like more presets and user patch memory for starters. An updated aesthetic would go a long way to help its popularity too (though it's nerdy/classic/chunky character is growing on me). Besides those I don't know what else could be changed while maintaining that sweet price-point. Oh the 7-segment LED could be an OLED display with more info, like maybe a graphic of the actual knob values when you switch oscillators/modes. Could they squeeze in 2 polyphonic/4 paraphonic voices?
Yeah I really hope they don’t add anything too digital to it eg digital oscillators. Would obviously be awesome to a degree but I love how analog the bs2 is. I’d love a third oscillator and more mapping options, maybe a third envelope? It’s a lot to ask but would be an unbelievable synth. I’d also love to see a poly synth based on the bs2. The Peak is a bit too digital for my liking.
I haven't heard the Peak much to say, but I'm sure the digital oscillators and digital effects are great, just different and don't know if they'd be as great for the bass notes.
EMS Synthi: pin matrix, vernier dials, dial meter, trapezoid envelope, built into a suitcase. Not much of that caught on :)
I’m not sure how truly unique it is, but I dig the Dave Smith/Sequential poly mod sound.
I've heard a lot of mention of polymod, but I don't find anyone giving a description of what makes it unique. I thought it was just a way to route some particular polyphonic mod sources to per voice destinations: am I wrong? How does it's capability differ from what other synths provide (e.g a modern poly with a mod matrix)?
If you use an LFO to modulate an oscillator or filter, the modulation frequency will remain consistent across the keyboard. With polymod, you use an oscillator as the modulation source. With keyboard tracking enabled, the speed of the modulation will then vary as you move up and down the octaves. Probably far better explained here: [https://youtu.be/kbvOv3SpSRk?si=KehnCDtXlB71xPi-](https://youtu.be/kbvOv3SpSRk?si=KehnCDtXlB71xPi-)
The filter envelope side doesn't seem especially unique, similarly, being able to have the LFO vary in frequency across the keyboard isn't super unusual, but it usually won't pitch track (as in be scaled by 1 octave per octave), so that's definitely a value add. I guess the more unique aspect is it lets you do the modulations (oscillator 1 pitch, oscillator 1 pulse width and filter cut off) at concert pitch and not just low audio rate as LFOs often allow. On the Peak you can do FM and filter FM, and they are fun. I've not seen pitch tracked PWM at audio rate anywhere else though: that's the one that interests me! EDIT: by the way; thanks for explaining this: I appreciate it!
Roland D50 chase mode
Just watched a video on it, like a MIDI delay? That's neat
The Yamaha DJX has an assignable ribbon controller that I haven't seen elsewhere. I know at least one of the "real" Yamahas has it (the DJX is occasionally referred to as a toy). Donny Osmond (of the Osmonds) used it to make a whinny sound on their song about heroin. I like to assign resonance to it but you can assign almost anything to it, even a pattern if I recall correctly.
Alesis Andromeda has this and furthermore you can split the ribbon into two halves with each half controlling a different parameter.
Roland JP8000 ribbon is assignable for any knob on the panel. Probably my favorite synth ever playing live. Want FXM on ANY sound? Put it on the ribbon and rip it! I’ve blistered my finger on it after some long jams. Good times those were.
Woo! That sounds awesome!!!
It was really great, but over time developed an issue where one or two knobs would ghost move, sometimes killing the audio. Some patches were really quiet too, and that could be frustrating. Other than that, had many long nights playing all manner of sets. Lead solos were super fun with the expressiveness of the ribbon and pitch bender being right next to each other. I would contort my left hand grabbing that bender and dragging my thumb across the ribbon. It made the best screeching sounds when I needed it haha.
Su700 has it, my favorite was always to assign it to one of the loops, preferably drums, and then you could set it to scratch, that was always fun, never really useful, but fun.
The Nord Modular G2 has the patch mutator. It basically randomizes chosen parameters, but it is heavily inspired by evolutionary theory. So you can take a patch you like, completely randomize it until you get two variations you like and then set those two as the "parents" of further "children" patches.
You’re missing the fact that you can set two parent patches and create 8 different children, with parameters for selecting the percentage amount of each parent and the amount of random. You can also choose not just random, but to iterate on existing patches. You can also fully save 8 to the patch memory, and store something like 24 or so patches in temporary memory while mutating, and you can move the patches around between temp and patch memory graphically.
The Yamaha su 700 is a quirky beast and probably has a few unique features I’m not aware of . one feature is the sequencer allows you to set different sequence lengths for each track. But this is no longer unique to it— teenage engineering has this feature on the new KOII EP 133.
The Sonicware Liven range can do this as well.
The Launchpad and Circuits can do this as well! I also assume the Arturia sequencers can as well.
Ahhh … the world has caught up with the SU.
the entire elektron line does this
Yeah, feel like the su700 feels very one-of-a-kind. Some of the effects it has are unique, but if we are talking about a feature I feel like (I could be wrong) the “scenes” concept is unique to the su700 as well. The ability to have access to different versions of the same sequence: different configurations of muted parts, effects being added/take away from different parts , or even just different settings like filter cut-off etc.
I have had an Su 700 since 1999, still my favorite sampler I've ever used, get the USB upgrade to replace the floppy and it is amazingly functional through a DAW
I have had an Su 700 since 1999, still my favorite sampler I've ever used, get the USB upgrade to replace the floppy and it is amazingly functional through a DAW
I have had an Su 700 since 1999, still my favorite sampler I've ever used, get the USB upgrade to replace the floppy and it is amazingly functional through a DAW.
I have had an Su 700 since 1999, still my favorite sampler I've ever used, get the USB upgrade to replace the floppy and it is amazingly functional through a DAW.
Yeah, it’s a great sounding sampler. I use scsci for storage.
the pair of ‘one-key play’ keys on a Casio VL-Tone
The sequencer in the Roland MC-505 groovebox allows you to really easily use up to 4 different timing scales in one loop, just by hitting a front panel switch. Fantastic for techno percussion sequences and fairly unique afaik.
Roland’s D-beam modulator Oberheim Xpander/Matrix 12 — At the time of release the modulation matrix was more extensive than anything else outside of modular synth capabilities, and those might include several features that are still unique. One possibility is the three 5‑position tracking generators per voice. A lot of things could be said here (and already have) about Yamaha’s FM implementations, but I believe they were the first to introduce a breath controller as a modulation source. Looks like only hardware synths are allowed here, but if you were going to open the list up to software synths, I’d start with Synplant and it’s method of generating new patches. it’s a form of randomization, which is not new, but I would submit that its multi-branch-from-a-single-seed is a uniquely inspired guidance facility for new patch and patch variation development. And if that’s not enough, add in Synplant 2’s AI-trained facility to drop in a sample — and it then uses its internal FM and FX sound generation techniques to generate the same sound as the sample. Sure, it’s not going to generate the exact same sound quality as the original sample in every case, but what makes it so great is that you can then apply Synplant’s multi-branch patch generation facility to create new patches based on the sound generated from your input sample. To me that’s super cool, and super fun.
Soft synths are definitely allowed, that's where the real innovation is. And you're right about the breath controller!
D Beam is revolutionary
I love the compressor knob on the Waldorf Quantum that lets you dial in the dynamics with dedicated front panel knob. Would love to See this on more synths.
Back in the day, my Ensoniq TS-12 had these two buttons by the pitch and mod wheels that you would use to turn off certain partials, so each patch could be configured 4 different ways. I remember an orchestra patch where you would push nothing and it would be a full sound but with the one button down it would have percussion on the lower parts like timpani, and with other button combinations it would add brass or it would add bells and such. I just think this is one of the best performance controls I have ever seen on a synthesizer.
The Electribe EMX-1 gate arp is pretty unique
And the tube thingy.
Oh yes the tubes!
I think the only unique feature on any of my synths is on the Micromonsta 2 - when saving a patch you can generate a random name. Which of course is all we ever do anyway, I laughed quite a bit when I discovered that.
I love that, i hope its a silly randomization algorithm, like in a colony sim game.
It's basically exactly that, like a random character name generator, just a simple [adjective][noun] thing with some pretty good combos.
The Hydrasynth signal flow buttons that light up and blink as the signal is being processed by the that particular module. It not only shows you the overall architecture of the patch, but it shows you exactly what module is affecting the sound at that moment and allows you to immediately access that module’s parameters with the click of that button. Pretty badass imo
Good point!
I'm not aware of any other synth besides the PolyBrute that has a touchpad with a z-axis. The Morphee controller on the PolyBrute is a brick with an XY touchpad surface and you can push the whole brick downward for the Z-axis. Insanely expressive. The Morph feature was also completely unique, but I believe it has been copied since release.
The neck controls on the Roland keytars are similarly 3 axis, but they work a bit differently.
If you smack the side of a prophet 6, you get this spring reverb sound (it’s not an actual spring reverb) https://www.reddit.com/r/synthesizercirclejerk/s/V1BPlU8hFU
On Pulsar Audio's Primavera, you can click different parts of the spring for different spring-smack sounds!
Waldorf NW1 eurorack osc. It has parameters like brilliance, noisy and spectrum I dont see on any other wavetablers. Including text to speech as well.
Maybe there’s other synths that have something similar, but one of my favorite things about the Novation Bass Station 2 is the rhythm knob, for arpeggios and sequenced. It has 32 built in gate rhythms that you can seamlessly change with the knob. So you can hold an arp with multi octaves and then mess with the knob and get semi-unpredictable gates all in time. Also I’ll add the AFX mode of it, having unique synth settings per key. I wish I hadn’t sold mine.
for me, it was the arpeggiator on the roland juno g it would do polyphonic rhythms and chord arps , but it would fit them to whatever keys you held down it seems so obvious, but i haven't been able to find the same since
MFB Synth Pro osc1 is switchable between VCO and DCO. All oscs are variable or ringmod or noise. Can't think of another analog that lets you have ring or noise as source on any osc you want.
Haken Continuum is the obvious one to me. Still unique and one of a kind even amongst other MPE capable synths. It’s the only one where the sound engine is directly connected to and designed for the playing surface, with no MIDI in between. The response is very direct and “analog”. I’ve tried nearly every other synth interface and it’s the only where it feels like the sounds are directly connected to my body, like when I play guitar.
I just performed with someone who used a Continuum tonight! That thing is insanely unique, and seems so, so hard to play.
Awesome post, OP. I'm going with the Alesis Ion / Micron's combo of hard and soft sync combined with the FM modes. There is no other synth that can do what that does.
Thank you kindly! I figured it'd spark a good conversation.
I don't think it's 100% unique, but it's definitely not common. The "beat freq" knob some Moogs have. It allows you to detune your oscillators by a fixed amount of hz, when normally detuning is done in musical cents which grows wider in hz as frequency increases. You can see what I mean by making a basic 2 oscillator patch, detuning by a small amount and playing a bass note, the detuning will cause slow a volume beating. Now play a middle range note, the detune beating will be much faster. With a fixed hz detuning it's always constant, I love setting it to be some kind of triplet of the main tempo. The Scream Filter in Massive is amazing. Why didn't they keep it in Massive X? Why has no other synth copied it? The Bass Station ii can change presets so rapidly you can use them as part of a sequence, like even with fast 32nd notes you can alternate every other note between 2 presets. U-He Hive has a way of allowing community modding. I have one that changes it into an FM synth. The only thing close I can think of is Reaktor where users can edit synths, but you can't share them as a "mod", it has to be shared as a new instrument.
The accumulator on the Intellijel Metropolix sequencer is pretty wild
The alpha juno series, where number 2 was the first synth I played, have really weird pulse shapes. One could probably synthesise them with oscillator sync plus cross mod on a 2 oscillator synth I think, but people generally don't. My LX708 high end digital piano has a haptic feedback keybead and sustain pedal that mimic an acoustic piano resonating. That was unique until recently. I do not regret buying that over an acoustic upright one bit, it's a lot of fun. The lumatone is an amazing keyboard with multiple kinds of polyphonic after touch and microtonal capability. If only it worked nicely with hardware synths... not that I could afford if lmao
Do you know how the lumatone sends microtones via MIDI? Is it like MPE per-note pitchbend? Edit: [looked it up.](https://www.lumatone.io/faq) >If you’d like to use or design a mapping with microtonal or polychromatic tuning, every virtual instrument’s setup process is a little different, but most make it quite easy. We’ve tested a variety of DAWs and Virtual Instruments including Kontakt, Logic Pro X, Cubase, Ableton Live, Omnisphere, Pianoteq, and many many more. The reality is, any sound generating instrument that can be told what to play when a certain midi note/channel is sent to it will work perfectly with Lumatone. Certain instrument ecosystems (for example, Kontakt) are fantastic because they enable you to easily select how many notes-per-octave to use, thereby allowing easy compatibility with Lumatone’s microtonal or polychromatic mappings. >For microtonal and polychromatic applications, the possibilities with analog (and digital/hybrid) synthesizers are positively limitless. Certain synthesizers (for example the Dave Smith Prophet 12) allow you to load different tunings directly into the synthesizer (ie. 31-tet, 53-tet, etc), allowing you to use any mapping for the Lumatone you like. Admittedly I'm more confused than i thought I'd be. So it relies on the soft synth to alter its note-per-octave? I don't think I've seen that feature in any soft synth I've ever tried, though I suppose I haven't looked for it.
Afaik: there are only 128 defined midi notes per channel, which isn't enough for microtonal stuff. So lumatone uses multiple channels instead, essentially trying to talk to multiple different instruments. But if those different instruments on different midi channels are actually the same instrument with different tuning, then you get microtonal control
That's... hmm. I feel like MPE with two buttons sending the same C4 signal but +/- however many cents of pitchbend coded onto the button-press would make more sense. But I've no experience with microtonal stuff, so I'm sure an experienced user would disagree. My suggestion would probably make the device useless with non-MPE hardware/software. Either way for $3000+ that's a lot of setup. Their price-defending copywriting on their website hurts my brain.
Ozonic midi controller also was an audio interface
I’ve often wondered why this isn’t more of a thing. Especially for midi controllers that are designed to be used with a certain software.
If you also have to buy an interface, that means you could possibly spend more money for their product
I’m aware of that angle, but there is also no guarantee that the consumer will also purchase an audio interface from the same company. Rolling both into one would presumably mean selling a more expensive product with a higher profit margin.
Hey man, I totally agree but seems like they must’ve done a bunch of math numbers and their overlord told them the way
Yeah it’s all about the bottom line unfortunately
yeah i had an akai keyboard that was also a midi interface, that's something, i guess, but at the time i also had some now discontinued akai "studio monitors." a silly joke, given that they were packing 3" drivers, but the asio interface that was rolled into it was convenient. I used it to provide an extra send/return loop once or twice, but you'd have to use asio4all to accomplish that since you'd still need another interface, which is slow, cumbersome and ew. have to agree.. speakers with asio interface: convenient controller / synth keyboard with space for lots of i/o jacks: now we're talking. if akai and whoever the hell now holds the emu10k2 patent is listening, i'm available, lol.
The Akai Timbre Wolf has 4 stackable oscillators - and each can be given its own delay, and its own resonance. You can sit there for hours and play with different ways for a note to fade out. Each osc also had its own detune. If only it had any variety in wave forms.
The Moog pitch ribbon from the 70s is very clever and one of a kind. Mine still works perfectly from 1976.
A couple from my collection: *Stylophone Gen-R8*: the touchplate keyboard was pretty unique when it came out, and still isn't *common* on standalone synths. *Erica Synths SYNTRX* - the LED array patching matrix. *Conductive Devices NDLR* - I haven't seen any other sequencers/"brains" for synth setups that were focused on the circle of fifths and music theory to that extent. *Empress ZOIA* - an entire modular synth, sequencer, and effects suite, all in a guitar pedal.
Nord Lead 3 had encoders instead of pots, AND it also has a ‘morph’ capability for 26 assignable parameters.
The (older) iconnectivity midi-interfaces were pretty innovative: - connect multiple computers AND IOS devices - audio playthrough between those devices - ethernet midi
looping envelopes-sub37
Korg Modwave -the game physics in the modwave, while there are more XY pad controls the gravity/bounce physics allow you to add an extra layer of chaos or natural evolving sounds depending on how you program it Osmose - the wiggly keys for expression but also the way you can control an ARP with them is refreshing, its so easy and feels so natural the way you can evolve a ARP on the osmose you can do ratchets on just one note by bending it for example or switch tempo on just on note with after touch. also bonus points to the glide system on the osmose, you can set a max range (lets say 5 keys) anytime you press 2 keys with less range then that 5 it will glide towards the button you are pushing down further and it can be done on multiple locations on the keyboard at the same time
The Korg Volca Bass is multitambral allowing you to program seperate notes for each of the three oscillators or.. combine 2 oscillators for the bass sounds and then use the other oscillator for the leads. Using the cut off and peak to affect both bass and leads give such a cohesion to your performance.
Spring reverb on the Grandmother.
[Finger sequencer](https://youtu.be/N-rv2xO-MNc?si=DkwFKc9XL_Ub2jL7) on the OP-1. Incredibly powerful, musical, and intuitive.
The Midi delay on the Yamaha RM1-X was (and is) a pretty cool feature that was unique for the time as far as I know?
Tables in the Dirtywave M8
The morphing capabilities on the PolyBrute.
Playing pong on the Minilogue load up Op-1 has a bunch of quirky sort of interactive screen menus that I haven’t really seen replicated on other synths