Analog Synthesizer roundup
Analog Synthesizer: A Complete Buyer's Guide
Buying an analog synthesizer means deciding between mono and poly, VCO and DCO, integrated and semi-modular, and matching the instrument to how you'll actually use it.
Buying an analog synthesizer involves more decisions than most instrument purchases. The range runs from £100 desktop modules to £3,000 professional polysynths, with fundamentally different architectures, voice counts, and design philosophies at each level. This guide works through what actually matters when choosing one.
Define What You Need It to Do
Start with musical purpose, not specifications. Different applications call for different instruments:
- Bass lines and leads (monophonic): a monosynth is the right tool — one note at a time, maximum character and expressiveness.
- Chords, pads, harmonic textures (polyphonic): you need multiple voices. Decide how many: four voices can produce chords but is limiting; six or eight is more versatile.
- Experimental, modular integration: semi-modular designs or full Eurorack systems suit exploratory use where flexibility matters more than immediate playability.
Analog Synthesizer Types: Mono vs Poly — What You're Actually Choosing
A monosynth is not simply an inferior analog synthesizer design. Many of the most influential synthesizer sounds in recorded music — the Minimoog bass, the SH-101 lead — come from monophonic instruments. The single-voice architecture allows every aspect of the design to be focused on one note's character. At the same price point, a monosynth will often have better oscillators, a better filter, and more expressive control than a polyphonic equivalent.
A polysynth requires independent circuitry for each voice, which multiplies the engineering complexity. True analog polyphonic instruments at the four-voice level cost significantly more than equivalent monosynths, and at six or eight voices this increases further.
Voice Architecture: What to Look For
Within a given instrument, check:
- Number of oscillators per voice: two oscillators allow detuning for fat sounds; one is thinner but often cleaner.
- Filter type: the filter is the most character-defining component. Moog ladder filters and Korg cascaded filters have distinct personalities. If possible, listen to the specific filter before buying.
- LFO and envelope flexibility: how many LFOs? Can they be free-running? Are envelopes ADSR or more complex?
- Modulation routing: can the LFO modulate both pitch and filter independently? Can the filter envelope affect the oscillator?
Keyboard Size and Connectivity
Many synthesizers are available as keyboard instruments or as desktop/tabletop modules (without keys). Desktop versions are cheaper and more portable; keyboard versions are more immediately playable without external MIDI gear. Common keyboard sizes:
- 25 keys: two octaves; portable, limited range. Common in entry-level and travel instruments.
- 37 keys: three octaves; manageable for leads and bass without being too large.
- 49 keys: four octaves; practical minimum for playing chords and melody together.
- 61+ keys: full stage/studio range; common on flagship instruments.
Also check: does it have MIDI in/out? USB? CV/gate connections for modular integration? These affect how the instrument fits into your existing setup.
Budget Guide
| Budget range | What to expect |
|---|---|
| Under £200 | Desktop monosynths from Behringer (Model D, Neutron) and some Arturia models. Genuine analog circuitry at accessible price points. |
| £200–£500 | Korg Monologue, Arturia MiniBrute 2. Capable analog monosynths with full-size keys and solid build quality. |
| £500–£1,000 | Korg Minilogue (4-voice polysynth), Moog Werkstatt (educational/semi-modular). Serious instruments with professional-grade sound. |
| £1,000–£2,000 | Moog Subsequent 37, Roland SH-4d, Arturia MatrixBrute. Professional monosynths and capable polysynths in this range. |
| £2,000+ | Sequential Prophet-6, OB-6, Moog Matriarch. Flagship instruments with definitive analog character and build quality. |
VCO vs DCO: Does Tuning Stability Matter?
A VCO (Voltage-Controlled Oscillator) drifts in pitch with temperature — this is part of the analog character, but it also means retuning during live performance. A DCO (Digitally Controlled Oscillator) is more stable; the Korg Minilogue and classic Roland Juno series use DCOs. For live use, DCO stability is often more practical. For studio work where drift is an acceptable trade-off for character, true VCOs may be preferred.
Semi-Modular Analog Synthesizer as a Starting Point
A semi-modular instrument like the Moog Grandmother or Behringer Neutron has a default signal path that works immediately without any patching, plus exposed patch points for signal routing. This makes it both immediately useful and extensible — a good starting point if you're curious about modular synthesis but not ready to commit to a full Eurorack system.
What to Avoid
- Buying a complex instrument before understanding subtractive synthesis basics — you'll hit walls quickly and not know how to solve them.
- Prioritising looks or brand over how the instrument actually sounds in your context.
- Assuming more features means better — simpler instruments often push musical creativity further than complex ones.
For a detailed explanation of how subtractive synthesis and the VCO/VCF/VCA chain actually works, the analog synthesizer explained guide covers the technical side. If you're just getting started with synthesis, the beginner's guide is a better first read.
Comments