Virtual Analog Subtractive Synthesizers 2
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Odsay is a two-oscillator virtual analog synth featuring subtractive synthesis. The VST features sawtooth, square, and pulse waveforms which can be modulated by: LFO or ADSR-envelope, white/pink noise, oscillator-sync modulated by ADSR, an LFO or sample-and-hold. May 21, 2017 Xhip is a free software subtractive synthesizer. Other synthesizers claim to do analog modeling; Xhip is not a VA. Type: Analog subtractive Polyphony: Monophonic. The MiniBrute is a compact analog synthesizer that’s part of Arturia’s Brute series. The two octave synth comes with everything you’d expect from a small build synth– three oscillators, filters and filter envelopes, mixer, amp envelope, LFOs, effects controls, and an arpeggiator. Oct 23, 2013 With innovative new performance features, advanced layering and synchronization possibilities, new filter types and on-board effects, the Nord Lead 4 is a synthesizer dream come true. Nord Lead 4 is a 4-part multi-timbral synthesizer sporting a brand new 2-oscillator virtual analog sound engine with 2x oversampling.

on Jan 08, 2017 in Synths & Sound Design 4 comments

There's no doubting the joy of using a real hardware synthesizer. The tactile controls are difficult to beat. But when it comes to sound these 7 virtual synths more than hold their own.

1. Spectrasonics Omnisphere 2

Omnisphere is one of those synths that would probably turn up on just about everyone’s lists. Like many of the synths on this list, Omnisphere (currently Omnisphere 2) combines a number of synthesis techniques, including both oscillators and sample-based source material (including user waves), wavetable synthesis, granular synthesis, and even FM. Combining a huge factory library with comprehensive programming options, the emphasis is on heavily processed sounds of all kinds, from traditional synth tones to dense swirling pads to arpeggios to shifting, chugging, twinkling soundscapes and musical noises that defy easy description. Playability includes nice touches like the Orb, a real-time joystick-type controller that can simultaneously vary many parameters. Omnisphere has been around for quite a while, and has certainly earned its place on a list of soft synths that hardware synths really can’t touch.

Web:https://www.spectrasonics.net/products/omnisphere/index.php

Review: https://ask.audio/articles/review-spectrasonics-omnisphere-2

Courses:https://ask.audio/academy?nleloc=application/omnisphere

2. NI Massive

Native Instrument’s Massive is another synth that’s been around for years, and its popularity and sound pretty much guarantee it a place of honor. Massive follows a traditional subtractive synthesis models, with oscillators (three, plus noise) filters (two), amplifier, modulation (LFO), and effects. But there’s much more to it than that simple description suggests.

Massive’s oscillators are more than just simple analog waves (like sine, square, sawtooth, pulse, etc.)—they’re Wavetables, which, besides those basic, traditional shapes, also include a large collection of richer and more complex wavetables to use as raw material, making for a much wider range of possible sounds. The overall subtractive architecture is familiar enough to be accessible to most synthesists, yet it offers extra levels of flexibility, accessed from the various programming tabs in its center panel, like the Routing panel, where you can view and tweak the signal flow of the various modules that make up a patch, and the drag-and-drop icons that make quick work of building up modulation patching. All in all, Massive’s combination of accessibility and flexibility have made it a perennial favorite among synthesists of all stripes.

Web:https://www.native-instruments.com/en/products/komplete/synths/massive/

Virtual Analog Subtractive Synthesizers 2

Courses:https://ask.audio/academy?nleloc=application/massive

3. NI Reaktor

Another entry from Native Instruments, Reaktor (currently Reaktor 6) is not really a synthesizer per se—it’s potentially every synthesizer you could imagine. Reaktor is an object-oriented programming environment for building your own synthesizers, and it’s one of the most powerful tools available for those who want ultimate control over their instruments. But you don’t have to have a degree in computer programming or DSP to use Reaktor—while it does contain a daunting set of under-the-hood tools and building blocks, it also comes with a large collection of finished synthesizer designs—called Ensembles—and there are many more available from third-parties as well. Some of these are available as separate, stand-alone synths, like NI’s own Razor (an additive synthesis design), Prism (a physical modeling instrument), and Monark (a well-regarded take on the venerable Minimoog).

But the real power of Reaktor comes when you go behind the front panel, and delve into the nuts & bolts of synthesizer architecture. Taking full advantage of everything the programming environment has to offer may require a significant investment in time and energy, but for inveterate tweakers it’s well worth the effort, going well beyond even the possibilities available from assembling your own modular synth in the real world.

Web:https://www.native-instruments.com/en/products/komplete/synths/reaktor-6/

Review: https://ask.audio/articles/review-native-instruments-reaktor-6

Courses:https://ask.audio/academy?nleloc=application/reaktor

4. Rob Papen Blue II

Rob Papen offers a number of popular synths (like Predator, Blade, and others, including the now-discontinued Albino), but Blue (currently Blue II) is probably the flagship of the line. Utilizing when Papen has dubbed “Cross-Fusion Synthesis”, Blue II combines FM, Phase Distortion, Waveshaping, and Subtractive synthesis, to create one highly flexible and great-sounding instrument. No less than six (!) oscillators freely combine all the different methods of sound generation in a single patch, and the graphic display makes routing and processing relatively easy for a synth with so many options. The helpful graphic displays include features like a straightforward FM matrix and graphic envelopes, along with sequencer and arpeggiator pages, and make Blue II’s programming power readily accessible, making it easy and efficient to tweak sounds—far easier than twiddling hardware knobs blindly.

Review: https://ask.audio/articles/review-rob-papen-blue-ii

5. LennarDigital Sylenth

Virtual Analog Subtractive Synthesizers For Sale

LennarDigital’s Sylenth has become a very popular synth of late. Unlike many of the other entries in this list, it’s not a be-all, do-all, end-all design. Sylenth is designed to do one thing—emulate classic analog synthesis—but do it exceptionally well. It’s a dual-layered design, with 4 traditional analog-style oscillators, and a classic subtractive synthesis architecture. All the virtual analog components were carefully designed to offer the rich sound of their real analog counterparts, with alias-free oscillators, and filters that include nonlinear saturation and self-oscillation options.

A comprehensive set of envelopes, modulators, and an arpeggiator is rounded off with a full array of audio effects—everything needed to achieve classic analog synth sounds with the warmth and edge of traditional hardware synths is included. A faux LCD panel helps simplify programing the more tweaky features, and flexible routing allows for the two oscillator layers to cross-feed the filters, making for an especially nice bit of analog character in the digital world.

Web:https://www.lennardigital.com/sylenth1/

Course:https://ask.audio/academy?nleloc=topic/sylenth

6. U-he Diva & Zebra 2 & Repro 1

U-he is not a synth, it’s a company—actually it’s software developer Urs Heckmann (plus a small staff), who’s come