{"id":514399,"date":"2023-11-28T14:55:48","date_gmt":"2023-11-28T13:55:48","guid":{"rendered":"https:\/\/www.thomann.de\/blog\/?p=514399"},"modified":"2023-11-22T16:13:57","modified_gmt":"2023-11-22T15:13:57","slug":"different-types-of-synthesizers-explained","status":"publish","type":"post","link":"https:\/\/www.thomann.de\/blog\/en\/learn\/different-types-of-synthesizers-explained\/","title":{"rendered":"Different Types of Synthesizers Explained"},"content":{"rendered":"

There are different types of synthesizers<\/a> \u2013 for every taste, every style of music, and every budget. But which one is right for you? Due to its specific features, a synth that is just right for one thing can be totally useless for something else. To help you find the right synth for your musical endeavours, we take a look at various types of synths and the differences between them.<\/b><\/p>\n

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1. <\/strong>Monophonic analogue synths<\/b><\/h2>\n

An analogue synthesizer<\/b> creates and shapes sounds using analogue electronic circuits. Many believe that this method produces particularly organic, powerful sounds that \u2013 despite all technological advances \u2013 cannot be achieved by digital means. In recent years, analogue synthesizers have become much more affordable and have experienced an unprecedented surge in popularity. By the way, the term \u201canalogue\u201d only refers to those parts of the synth that are actually involved in creating the sound. This means that even analogue synths can contain some digital components, for example for patch memory, MIDI control, or the sequencer. Analogue synthesizers are best suited for sounds that are meant to sound electronic \u2013 they don\u2019t work very well for emulating the sounds of acoustic instruments.<\/p>\n

\"Moog<\/a>
Moog Mother-32<\/figcaption><\/figure>\n

Monophonic analogue synthesizers<\/b> are often quite affordable. This is in part due to the fact that they\u2019re monophonic<\/b>, meaning they can only produce one note at a time. While this does mean that you cannot play chords on them, they\u2019re perfect for basses, lead sounds, and sequences. After all, being monophonic didn\u2019t stop the Minimoog or Korg MS-20 from becoming synthesizer legends! Another advantage is that monophonic analogue synths are often relatively easy to use and even beginners will have no trouble finding their way around.<\/p>\n

\"Korg<\/a>
Korg MS-20 mini<\/figcaption><\/figure>\n

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\"Behringer<\/a>
Behringer Model D<\/figcaption><\/figure>\n

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2. <\/strong>Polyphonic analogue synths<\/b><\/h2>\n

Polyphonic Analog Synthesizers<\/b> also produce sounds using analogue circuitry, but with several voices, which makes it possible to play chords. This means that they must contain the analogue circuits several times \u2013 once for each voice. That\u2019s why polyphonic analogue synths are much more complex and also usually more expensive than their monophonic siblings.<\/p>\n

\"Behringer<\/a>
Behringer<\/figcaption><\/figure>\n

Some of the most famous synths in history were polyphonic analogue synths, e.g. the Sequential Circuits Prophet-5<\/strong>, Oberheim OB-8<\/strong>, or Roland Jupiter-8<\/strong>. Today, several manufacturers are offering synths of this kind again. <\/span>Just like in the golden age of analogue, many of them are among the most exquisite instruments the synth market has to offer. But there are also some more affordable alternatives that offer great value for the money.<\/p>\n

\"Sequential<\/a>
Sequential Take 5<\/figcaption><\/figure>\n

 <\/p>\n

\"Oberheim<\/a>
Oberheim OB-X8<\/figcaption><\/figure>\n

\u00a0<\/strong><\/p>\n

3. <\/strong>Virtual-analogue synths: Analogue, but digital<\/b><\/h2>\n

A virtual-analogue synthesizer<\/b> doesn\u2019t produce its sounds by analogue means. Instead, a digital processor<\/b> calculates and emulates the behaviour of analogue circuitry using algorithms<\/b>. The biggest advantage of this method is that higher voice counts are relatively easy to achieve \u2013 it all comes down to how powerful the processor is. The structure and panel layout of virtual-analogue synths is often derived from their analogue counterparts. Among the biggest classics of this genre are the Clavia Nord Lead<\/a><\/strong>, Roland JP-8000<\/strong><\/a>, and of course the synth that has enjoyed by far the longest production run of all, the legendary Korg microKORG<\/strong><\/a>.<\/p>\n

\"Clavia<\/a>
Clavia Nord Lead A1<\/figcaption><\/figure>\n

 <\/p>\n

\"Korg<\/a>
Korg Micro Korg Analog Modelling Synthesizer<\/figcaption><\/figure>\n

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4. <\/strong>Sample-based synths: Huge variety of sounds<\/b><\/h2>\n

Sample-based synths<\/b> are also digital synths. Unlike their virtual-analogue counterparts, however, they do not emulate the behaviour of analogue circuits. Instead, these synths produce sounds by playing back pre-recorded samples<\/b> from memory at the desired pitch and volume. The biggest advantage of this method, which became popular in the 1980s, is that it works well for reproducing the sound of acoustic instruments. Besides a high voice count, sample-based synths are characterised by their versatility. If you\u2019re looking for a synth that can deliver authentic-sounding pianos or strings in addition to synthetic sounds, a sample-based synth is the right tool for the job. That\u2019s why this type of synth is especially popular with gigging keyboard players who need a wide variety of sounds on stage.<\/p>\n

\"Roland<\/a>
Roland Juno-DS 61<\/figcaption><\/figure>\n

 <\/p>\n

\"Korg<\/a>
Korg Kross 2-61<\/figcaption><\/figure>\n

 <\/p>\n

5. <\/strong>Synthesizer workstations: All-in-one production machines<\/b><\/h2>\n

Auch die meisten sogenannten Synthesizer-Workstations<\/strong> arbeiten \u00fcberwiegend mit Samples \u2013 alles, was samplebasierte Synthesizer auszeichnet, gilt also auch f\u00fcr diese Instrumente. Einige moderne Workstations bieten zus\u00e4tzlich weitere Verfahren der Klangerzeugung wie virtuell-analoge oder FM-Synthese.<\/p>\n

Most so-called synthesizer workstations<\/b> are also mainly sample-based \u2013 everything that characterises sample-based synths also applies to these instruments. In addition, some modern workstations also incorporate other synthesis methods like virtual-analogue or FM<\/p>\n

\"Roland<\/a>
Roland Fantom 8<\/figcaption><\/figure>\n

Au\u00dferdem geh\u00f6ren zur Ausstattung einer Synthesizer-Workstation in der Regel ein integrierter MIDI-Sequenzer<\/strong> sowie eine umfassende Effektsektion<\/strong>. Manche Ger\u00e4te der Oberklasse verf\u00fcgen dar\u00fcber hinaus \u00fcber Funktionen wie Mehrspur-Audio-Recorder oder eine Sampling-Engine zum Erstellen eigener Sounds. Somit erm\u00f6glichen Synthesizer-Workstations das Erstellen kompletter Produktionen mit nur einem Ger\u00e4t. Aufgrund ihrer F\u00e4higkeit, so gut wie jeden Sound zu erzeugen, den man sich vorstellen kann, sind sie aber auch bei Live-Keyboardern sehr beliebt.<\/p>\n

Other features of a synthesizer workstation are a multitrack MIDI sequencer<\/b> and a fully-featured effects section<\/b>. Some of the most advanced instruments also include features like multitrack audio recording <\/b>or a sampling engine<\/b> for creating your own sounds. Synthesizer workstations make it possible to produce an entire track using only a single instrument. Due to their ability to produce nearly any sound you could possibly imagine, they\u2019re also very popular with live players.<\/p>\n

\"Korg<\/a>
Korg Nautilus 88<\/figcaption><\/figure>\n

 <\/p>\n

\"Kurzweil<\/a>
Kurzweil K2700<\/figcaption><\/figure>\n

 <\/p>\n

6. <\/strong>Other digital synths: FM and wavetables<\/b><\/h2>\n

Besides virtual-analogue and sample-based synthesis, there are several other digital synthesis methods, the most popular being FM<\/b> and wavetable synthesis<\/b>. FM synthesis had its breakthrough in the 1980s with the famous Yamaha DX7 \u2013 one of the best-selling synths of all time. Who doesn\u2019t remember the crystal-clear electric piano that graced nearly all power ballads of the \u201880s from Phil Collins to Whitney Houston? Today, FM synthesis is especially popular in the dance and EDM genres due to its ability to deliver thumping basses and piercing leads. That\u2019s why several manufacturers now offer a variety of FM-based synths again.<\/p>\n

\"Elektron<\/a>
Elektron Digitone<\/figcaption><\/figure>\n

Like FM, wavetable synthesis<\/b> initially became popular in the \u201880s and \u201890s with legendary instruments like the PPG Wave and Waldorf Microwave. This synthesis method uses so-called wavetables<\/b>, which are pre-defined sets (tables) containing many different digital single-cycle waveforms. The synthesizer can then move through these wavetables either manually or automatically, seamlessly morphing between the various waves by means of interpolation. This is why wavetable synthesis is capable of a wide variety of sounds. It\u2019s best known for complex sounds with lots of motion. Like FM synthesis, wavetable synthesis is now very popular again. Modern wavetable synths can often import custom wavetables or even let you create your own, which further expands the sonic possibilities.<\/p>\n

\"Korg<\/a>
Korg Modwave<\/figcaption><\/figure>\n

 <\/p>\n

\"Waldorf<\/a>
Waldorf M<\/figcaption><\/figure>\n

\u00a0<\/strong><\/p>\n

7. <\/strong>Hybrid synths: The best of both worlds<\/b><\/h2>\n

A hybrid synth<\/b> is a synth that incorporates both analogue and digital elements. While there are various concepts, the most common is a combination of digital oscillators and analogue filters. This gives you the best of both worlds: the versatility of digital oscillators and the organic, raw sound of analogue filters. One could perhaps say that hybrid synths are the definitive answer to the endless discussions about what\u2019s best, digital or analogue. Instead of limiting yourself by sticking to one or the other, simply use what works best from both worlds. And the massive sound of modern hybrid synths is proof that there\u2019s much to like about this idea.<\/p>\n

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\"Arturia<\/a>
Arturia MiniFreak<\/figcaption><\/figure>\n

 <\/p>\n

\"Novation<\/a>
Novation Peak<\/figcaption><\/figure>\n

 <\/p>\n

\"UDO<\/a>
UDO Audio Super 6 Blue<\/figcaption><\/figure>\n

 <\/p>\n

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Find all the types of Synthesizers in our Thomann shop<\/a>!<\/h2>\n
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Consultation at Thomann: Questions about synthesizers?<\/strong><\/h2>\n

Do you still have questions about synthesizers? Do you need advice to find the right synth for you and your music? Our team in the studio department is happy to advise you – and it’s non-binding. Just get in touch with us!<\/p>\n

E-Mail: studio@thomann.de<\/a><\/p>\n

Tel: +49 9546 9223-30<\/p>\n

Find all the types of Synthesizers in our Thomann shop<\/strong><\/a>!<\/p>\n

 <\/p>\n

Thomann Synthesizer Channel<\/strong><\/a><\/h2>\n
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Are you interested invall types of synthesizers? Get inspired on our YouTube channel Thomann Synthesizers<\/strong><\/a>!<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Your Feedback \ud83d\udcac<\/strong><\/h2>\n

Which synthesizers do you use, which synthesis method do you prefer, and why? Let us know in the comments!<\/b><\/p>\n

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\"\"<\/a><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Here you will find an explanation of the different types of synthesizers and their application areas. \ud83c\udfb9 Take a look!<\/p>\n","protected":false},"author":25,"featured_media":514411,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"tblog_post_audio_url":"","footnotes":""},"categories":[10720],"tags":[5420,24880,24878,10077,24876,24874],"class_list":["post-514399","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-learn","tag-synth-en","tag-synth-difference","tag-synth-types","tag-synthesizers","tag-types-of-synth","tag-types-of-synthesizers"],"category_colors":{"color_key":"learn","css_classes":{"text":"cat-learn","text_light":"cat-learn-light","bg":"cat-bg-learn","bg_light":"cat-bg-learn-light","border":"cat-border-learn","text_on_bg":"cat-text-on-learn"}},"reading_time":{"minutes":8,"formatted":"8 min"},"_links":{"self":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/posts\/514399","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/users\/25"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/comments?post=514399"}],"version-history":[{"count":0,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/posts\/514399\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/media\/514411"}],"wp:attachment":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/media?parent=514399"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/categories?post=514399"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/tags?post=514399"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}