- Synthesizers come in many shapes and sizes, but we can boil it down to 6 main types.
- This article breaks down their features, strengths, and limitations.
- We help you choose the best synthesizer for your specific needs!
Synthesizers became commercially available in the 1960s, opening up a new world of possibilities for musicians. In their early days, synthesizers were operated by specialized technicians and physicists, but over the decades, they inevitably fell into eager musicians’ hands.
Since commercial release, synthesizers have branched off and evolved with various approaches and synthesis techniques.
You can read more on the types of sound synthesis here.
In this article, we’ll look into the six main types of synthesizers, what features define them, and how to choose the synth that will best serve your creative vision.
Types Of Synthesizers
Analog
Let’s begin with a rivalry as old as time — analog versus digital. What’s the difference? Analog synths use an electrical current to drive their VCOs, or Voltage Controlled Oscillators. These oscillators produce waveforms of different frequencies depending on the input voltage. For a synth to be truly analog, each stage of signal flow, such as filters and amplifiers, must be voltage-driven.
Two great minds, Bob Moog and Herbert Deutsch, joined forces to create the first VCO-driven synthesizer in 1964, named the Moog Synthesiser. This was also the first commercially available synthesizer in history.
Other notable analog synths include:
- Moog Minimoog
- Prophet 5
- Arturia Matrix Brute
- Korg Minilogue
- Yamaha SY20
Digital
Digital synthesizers take a computerized approach, driving their oscillators using binary numbers produced at a particular sample rate.
The sample rate of an audio signal refers to the number of samples taken per second. Higher sample rates produce a more accurate representation of audio information. This approach to generating sound provided many advancements in synthesis technology and some shortcomings.
Digital sound programming began in 1957 with Max Mathew’s invention of Music I, which ran on an IBM 704 mainframe computer. Although it could generate a triangle wave, it was not a playable instrument. It wasn’t until 1976 that the first entirely digital synthesizer was produced. New England Digital Corporation released the Synclavier, opening the doors to purely digital sound synthesis.
Notable digital synths include:
- Fairlight CMI
- Roland D-50
- UVI Digital Synsations
- Nord Lead
Hybrid
As the name suggests, hybrid refers to combining digital and analog components. This essentially provides the best of both worlds and allows a synthesizer to utilize the strengths of both analog and digital.
The legendary Synthi 100, created in 1971 by Electronic Music Studios, showcased the first application of digital technology to an analog synthesizer. A modular system with analog components such as VCOs and filters, this synthesizer used digital sequencing and a computer interface.
]However, the sound was not generated digitally until RMI’s Harmonic Synthesiser was released in 1974. This was the first digital oscillator, or DCO, synthesizer. The filters and amps in this synth were analog.
Notable synthesizers that utilize the powerful crossover of analog and digital include:
- Korg Nautilus
- Behringer Pro VS Mini
- Arturia Mini Freak
- Roland JD-Xi
- Novation Summit
Modular
Modular synthesizers can be both analog, digital, or a hybrid of both. These types of synthesizers are made up of modules, each with a different purpose, allowing us to control various parameters throughout the signal flow.
Modules include, but are not limited to, oscillators, filters, amplifiers, and LFOs. Modules are connected via cables, allowing you to control the signal flow between modules. When a group of modules is linked together, it is referred to as a synth patch.
In 1959, Harold Bode presented the idea of modular sound synthesis to the world. He called it the Audio System Synthesiser. His vision was to create complex sounds by maximizing signal flow options.
As more designers started to explore the idea of modular synthesis, they began to vary in build specifications depending on who made them—the years that followed brought us the Moog Modular, Buchla 100 Series, ARP 2500, and Doepfer A-100.
Different companies had their own build specifications for their modules. However, Moog and Eurorack are the two dominant options in the industry. Moog followed the 5U form, whereas Eurorack modules were in 3U form, differentiating in vertical height where 1U equals 1.75 inches.
Semi-Modular
Synth designers began to realize that users would often connect specific modules in the same sequence. To streamline the synthesis process, many semi-modular synths started to appear. These synthesizers were a standalone collection of modules that presented various patching options and signal pathways.
Some notable semi-modular synths include:
- Korg Arp 2600 FS
- Korg MS-20
- Behringer Neutron
- Behringer Crave
- Moog’s DFAM
Soft Synths
Soft synths, or plugin synthesizers, are synths in software format, generally used within a Digital Audio Workstation such as Ableton Live or
The first software synth, Satie, was conceptualized in 1994 by Seer Systems, a company founded to create the world’s first software synth. Seer Systems released the first commercially available soft synth, Reality, in 1997. The same year, Propellerheads released Rebirth RB-338, which simulated two Roland TB-303 synths and a TR-808 rhythm machine.
As technological developments advanced exponentially, the decades that followed provided musicians with an overwhelming selection of software synths.
VST synths can have different approaches to creating sound. In sample-based VSTs, waveforms traditionally produced by oscillators are replaced with audio recordings or samples. This method can deliver unusual and complex sounds since the starting waveforms already contain sonically unique information.
Granular synthesis takes a similar approach; however, samples are chopped into grains somewhere between 1 and 50 milliseconds in length. These grains are then manipulated in the following stages of synthesis using various parameters, much like sample-based synthesis.
Physical modeling has a mathematical approach, where formulas and algorithms are used to model waveforms that can virtually replicate real instruments. This allows us to synthesize organic-sounding instruments and complex, unfamiliar sounds.
Examples of some great software synths include:
- Xfer Serum
- Native Instruments Massive
- Reveal Sound Spire
- LANDR Chromatic
Differentiating Features to Know
After covering the main types of synthesizers on the market today, its also important to understand the additional differentiating factors. This section will examine voicing options, timbrality, physical format, and usage preferences.
Synthesis Type
In addition to synthesizer type, we also have types of synthesis! The main variations include subtractive, wavetable, FM, additive synthesis.
They each have their own sound, and it’s worth familiarizing yourself with each of them before you go out and buy your first synth.
Check out our in-depth comparison between the main types of synthesis.
Voicing
A synth’s voicing can be broken into three main categories – monophonic, polyphonic, and paraphonic.
Monophonic
A monophonic synth uses one voice architecture, meaning all oscillators are routed through the same amp, filter, and envelope generator. These synths can only play one note at a time; however, different pitches of each note can be played.
Although monophonic synths may seem limiting in only having one voice, there are many circumstances where a singular voice is all you’d use. For example, mid-bass grooves, sub-bass, many wind instruments, harmonically simple leads, and most foundational lower-pitched instruments.
Limitations in sound design often push creativity, so monophonic synths are a great option if you’re looking for a focused approach to making music. They are also much smaller and lighter than their polyphonic hardware counterparts, with a lower price tag.
Polyphonic
A polyphonic synth sits at the other end of the spectrum. These synths have independent filters, amps, and envelope generators for different oscillators. Each independent signal pathway creates a voice. Some polyphonic synths only have two or more voices. However, some synths take polyphony to the extreme, like the 128-voiced Roland XV-3080.
Polyphonic synths are more of an all-star. If you’re looking for the ability to do the bulk of your sound design with one synth only, it would most likely be polyphonic. With the ability to create texturally rich pads, lush chord progressions, complex leads, and simpler sounds, many producers opt for polyphonic as their first synthesizer.
Although there are many positives of having a synth that can do it all, greater creative potential does not always lead to better music. Hardware polyphonic synths are larger and significantly more expensive than monophonic synths. However, with so many software synths available, it is possible to find a VST version within your budget.
Paraphonic
Now, we have paraphonic synths. This category often causes much confusion, even for more experienced synth users. Paraphonic synths have independently controllable oscillators routed through the same voice architecture. It can be seen as a sort of hybrid between monophonic and polyphonic.
Although oscillators can be tuned to separate pitches and altered independently to one another in some ways, they ultimately use the same amp, filter, and envelope generator. This means that they can only play one voice at a time.
A sub-category of paraphonic synths is duophonic synths. Where paraphonic allows multiple separately pitched oscillators within one voice, duophonic synths only have two separately pitched oscillators.
Paraphonic synths are a great option to create harmonically rich sounds with a simplified approach. They are well suited to pads, drones, wind instruments, bass lines, and textured leads created within the constraints of singular voicing.
Although they may not be able to fulfill all your creative desires, they can certainly create some beautiful and complex sounds.
Timbrality
Typically, synthesizers are either monotimbral or multitimbral.
A multitimbral synthesizer is a synthesizer that is capable of producing multiple voices simultaneously, often with the ability to assign different sounds to different MIDI channels. This allows the synthesizer, like a Novation Summit, to be used as a “virtual orchestra” or “workstation,” with the ability to create complex arrangements of multiple instruments or sounds within a single device.
This means you can play a bass synth with your left hand while playing a lead with the right. This gives us the ability to access multiple instruments at once.
On the other hand, a monotimbral synthesizer can only play one voice at a time.
This is an exciting feature for many musicians, especially those performing live. However, this feature is unnecessary for many creatives and does add complication and expense to a synth.
Format
When choosing a synth, it is essential to think about its creative capabilities as much as its physical format. The four main format choices are desktop, keyboard, rackmount, and modular.
Desktop
Desktop synths are fully functional units with a somewhat pre-determined signal chain. While there are desktop synths that come with built-in input sources like key-beds or sequencers, most rely on external input sources like MIDI, USB, or CV.
One of the main appeals of desktop synthesizers is their compact design, allowing for easy transport and saving on precious studio space. Another is their simplified workflow, with a largely pre-patched signal flow; making great sounds is efficient and easy. This can appeal to musicians seeking a smooth introduction to synthesizers or those with more experience looking to streamline their workflow.
Desktop synths can be analog, digital, or hybrid and range from drum machines and mono synths to complex polyphonic synths. Some units can re-patch and manipulate certain aspects of the signal flow, allowing for a little more creative freedom.
Overall, desktop synthesizers are an excellent option for anyone with a budget looking for access to a thoughtfully curated collection of sounds.
Keyboard
Keyboard synths are the complete package. They are a standalone, playable unit that allows varying levels of control in the signal flow depending on the synth. With anywhere from 25 to 88 keys, keyboard synths are the obvious go-to for any live performer or producer who wants easily accessible sound at their fingertips.
The downside of keyboard synthesizers is their often bulky build, which can take up precious studio space and be annoying to transport. Although there are more compact options with fewer keys, this compromises playability.
In addition to this, they often come with a jaw-dropping price tag, especially among the vintage classics. Having said this, they often maintain and, in some cases, increase in value when maintained correctly. Keyboard synthesizers are a standout option for those looking to invest in a synthesizer that will deliver instant sonic rewards and satisfying usability.
Rackmount
A rackmount synth comprises all the synthesizer components minus the playable controls and, therefore requires some kind of input, such as a MIDI device or sequencer. This may be a dealbreaker for those who like a simple and tactile approach to sound design since they lack the all-in-one appeal of keyboard synths.
Although some exceptions exist, rackmount synths are traditionally designed to fit a standard 19-inch rack. They come with many features and capabilities and are patchable with other units. The tidy and organisable format frees up desktop space, which is a big plus for anyone working with limited space.
Many keyboard synths will have a rackmount version available, often a fraction of the price. Rackmount synthesizers are a great option if you’re looking for a versatile synthesizer to compliment your studio setup at a low cost.
Modular
Breaking sound synthesis down into modules allows for specific control throughout every stage of signal flow. Producers that lean towards modular synthesis often do so for this reason. In allowing for the completely customizable combinations of modules, sound design possibilities become quite endless.
Modular synthesizers are designed to be re-arranged, re-patched, and experimented with, making them a favorite among producers looking to jump head-first into the possibilities of sound synthesis. Modules are also relatively small and can be organized in specialized cases and packed safely enough to travel.
Some may find modular synthesis an unnecessarily complex approach for their creative style. In addition to this, it can quickly become expensive when adding modules. It all comes down to knowing your approach to making sounds. If you like to have ready-to-play sounds at your fingertips, modular synthesis may not be the right choice for you.
However, modular synthesis is worth exploring for those looking for a challenge and wanting total control in their creative process.
Application Intent
Lastly, we’ll look at some different sound-specific synthesizers. Some synths, such as the Moog DFAM, Xfer’s Nerve, Korg Monologue, or the Roland TB-303, to name a few. These synths were designed with a specific sound in mind.
For the Roland TB-303 and Korg Monologue, bass lines were the focus, whereas the Moog DFAM and Xfer’s Nerve were designed for drums.
Regardless of hardware/software, research is key to finding the best synth for creating a specific instrument or sound.
To recreate a vintage vibe more than a particular instrument, consider investigating what synths were used during that era.
Wrapping Up
After covering all the major synthesizer variations available to us, it is important to step back and consider a few things:
Budget, available space, transportability, practicality, creative needs, workflow, and tactile preferences are all things to remember while choosing the right synth for you.
Before you go, check out our related guides:
