Synths organized by Class
A table listing hardware attributes

Notes on synth architecture and abbreviations used in describing features-

      You will see terms like DCO, VCO, VCF etc. strewn about these pages. The 'V' usually stands for "voltage". THe 'C' usually stands for "controlled". 'O' is usually "oscillator" and 'F' is "filter", except in the case of "LFO" which means "low frequency oscillator"; a circuit often used to stimulate a vibrato or tremelo effect. 'D' usually denotes "digital". This...is where things get confusing.
     Well, in one way they do. Because when manufacturers say "digitally controlled" they might mean several things.


     Anyway, moving right along, the first synths are generally referred to as 'modulars' and contain discrete components labelled 'vco' and so on. Patch cords are used to assemble the synthesizer as the user desires. Many keyboards have a variety of switches which take the place of these patch cords and allow for a similar configurability. Monophonics are particularly known for this. But a modular is ultimately flexible in how it can be arranged and expanded to the extent the power supply/case dimensions allow!
     A monophonic synth of course can only play one note at a time. Usually there is some kind of priority or system set up to decide, if two notes are hit at once, which actually triggers a sound at that moment. Duophonic synths can play two notes at once. Often by splitting apart two oscillators normally stacked on one another...and often each having its own sound.
     And of course 'polyphonics' are those with greater than two notes sounding at once. Oberheim was noted for creating the first of these stringing together their SEM modules with an 'assigner' circuit. Beyond this though, we begin to consider whether a keyboard is 'multi-timbral' or not. That is whether it can sound more than one sound at a time. SCI Six-Trak was the first with this innovation in polyphonic synths. As I said many duophonics could already do this with their two independent voices.... but usually...you didn't want them to. :-)
     And finally, 'voices' are usually referring to a complete tone that sounds when a key is hit. Many synths have the capability of stacking more than one oscillator on each voice. The SCI Prophet 600 in fact can stack all 12 oscillators on a single voice if you know the trick! (Saving with the voice mix all the way one direction as I recall). The Chroma Polaris can, when glide is set stack the remaining voices when the pedal is hit. For instance, if you are holding a three note chord with the left hand you can solo over it with the other three remaining voices stacked! The wonders of the microprocessor!


     Ok, now let's talk architectures. FIrst let's get a special class of synth out of the way. These are often referred to as "String Machines" even because their predominate strength tends to be in creating string ensemble sounds, as per the name of the first ARP product of this type. They use divide down chips similar to those used in most non-tone wheel type organs. The resultant waveforms are pseudo-square waves (whose resemblance to a perfect/impossible square wave varies depending on the device used slightly though I've not read a commentary on how much this affects the overall sound that results. Probably not much) These square waves are then filtered to emphasize the desired harmonics and often the user is given access to some of those filtering facilities. Thus, these are really a sub-class usually of our first major class; Subtractive. Classically thought they add a final phaser effect using delay line devices called 'bucket brigade devices' usually to help simulate the feel of many instruments playing together. Sound on Sound has a good article on these machines though and they deserve a special mention as they are sort of the first hybrids which combine additive synthesis (through the ability to select or mix footages from the divide down network) with often fairly elaborate subtractive.
     "Subtractive" synths start with a harmonic laden waveform like a square or sawtooth or pulse or noise usually. A filter is then used to selectively alter the harmonic content according to time (using an envelope) after the key is hit, velocity, lfo or other mod sources....or just the basic setting of the 'cutoff frequency' control! This architecture was basically the standard overall until digital synths appeared, save a few strange ones.

     Additive synthesis involves taking less harmonically laden sounds in general, and adding them together often with distinct envelopes and other modulations. The RMI Harmonic Synthesizer is the first of this type I know. Kurzweil and Kawai followed using digital technology about a decade later! But these renditions of the additive architecture were focused more around creating a sound by adding the harmonics you want at the time you want it. The Kawai K5 for instance had the ability in each patch to stack two 63 harmonic sets alongside or in linear order up to 126...and to assign each one to one of the 4 busses available for each half. Each buss had a 6 segment envelope and various modulations. Then the 'signal' went on to a digital filter on each half and a final "DDA" as they called it. A 7 segment envelope. Anyway that's only a small part of what the machine would do.
     Many machines had the ability to perform frequency modulation (Octave Cat for instance or modulars) long before the Yamaha synths appeared which were called "FM synthesizers". This is because their ability to do so was still more of a 'side show' to their overall design. The Cat is primarily still a subtractive synth architecture as it lacks dynamic control of the FM abilities it has save the player turning knobs. Machines may include other sound altering elements like this or ring modulation. But when the digital technologies came of age, programmers were now able to design machines that would emulate properties of nature that would be vastly complex and expensive to build with analog circuits.
     Yamaha's efforts created a totally new sound that sold like mad. Other manufacturers tried to follow with their own ideas. Casio with 'phase distortion'. Kawai and Kurzweil with their harmonic synths and so on. With software, there are no bounds basically. This may be a good thing in some ways...it may be bad in others. I find that the human spirit benefits most from contemplating real natural 'struggles'. In software, there is no such thing. Only the modelling thereof at best. Hearing actual work being done by electrons in a vast array of analog circuits though...there is nothing quite like it. -Bob




Below see Synths organized by architecture and features!

***Note that there are 'gray areas'. For instance the Siel boards use SSM2031 analog HF oscillators to drive a divide down network chips. Whereas most other DCO synths actually use digital clock based processing to originate the waveforms which may be pulsed to an op amp as pre ROland JX8P/JX10/MKS70, or 8253 Programmable timers maybe be used as per Kawai SX, Roland JX3P etc.***
Also read FAQ on how memory is commonly implemented in analog machines.

Monophonic single oscillator simple subtractive-
ARP Axxe, JEN SX-1000, JEN SX-2000, KORG 770, Moog Micromoog, Roland SH-3a, Roland SH-09, Siel Mono, Teisco/Kawai Synthesizer 100-F, Yamaha CS-5, Yamaha CS-10

Monophonic single oscillator subtractive with significant other features-
Octave Kitten, Roland SH-1, Roland SH-101

Monophonic single oscillator subtractive with digital control from presets-
ARP Pro-Soloist(DGX), ARP Explorer, Conn Electric Band, Elka Soloist 505, Korg M500 micro preset, Moog MinitMoog, Moog Satellite, Roland SH-1000, Roland S-2000, Yamaha SY-1, Yamaha SY-2

Monophonic dual oscillator simple subtractive-
Moog Prodigy, Moog Multimoog, Moog Rogue, Moog Taurus II, Roland SH-2, Yamaha CS-15

Monophonic dual oscillator subtractive with significant other features-
ARP Solus, Crumar DS series, Crumar Spirit, KORG MiniKorg700s, Moog MG-1, Moog Liberation, Oberheim 2-voice, Roland SH-5, SCI Pro One, Yamaha CS-15D, Korg Sigma (last two have presets and various controls), Yamaha CS-30 (around 80 knobs, 2VCF, 3ADSR)

Duophonic subtractive-
ARP Odyssey, Korg MaxiKorg 800DV, Moog Sonic 6, Octave Cat, Roland SH-7, Yamaha CS-40M

Monophonic dual oscillator with memory-
Moog Source, Oberheim OB-1, OSC Oscar, Roland ProMars MRS-2, Teisco/Kawai Synthesizer 110-F, Yamaha CS-20M

Monophonic three or four oscillator subtractive-
Moog Minimoog(3 vco wide range), Korg Mono/Poly (4 vco narrow range, but poly mode though only one SSM2044 VCF) Murom Aelita (3VCO driving divide down network, 1 LFO)

5-voice or less polyphonic subtractive-
Oberheim 4-Voice, Oberheim OBX(a)(4voice) Roland JP-4, SCI Prophet 5, Yamaha CS-50

6-voice polyphonic subtractive, one VCO/voice-
Akai AX-60, Akai AX-73, Korg PolySix, SCI Six-Trak, SCI MAX, SCI Multi-Trak

6-voice polyphonic subtractive, two VCO/voice-
Fender Chroma Polaris, Oberheim OBX(a)(6voice),Roland JP-6,SCI Prophet 600

6-voice polyphonic subtractive, three VCO/voice-
Moog Memorymoog

8-voice polyphonic subtractive, one VCO/voice-
SCI Split 8/Pro-8, Yamaha CS-60

8-voice or more polyphonic subtractive, two VCO/voice-
Elka Synthex, Oberheim OBX(a)(8voice), Oberheim OB-8, Oberheim Matrix 12, Rhodes Chroma(or 16voice 1 osc/voice),Roland JP-8, Roland MKS-80, SCI Prophet T8, Yamaha CS-80

6-voice polyphonic subtractive, one DCO/voice-
Roland Juno-6, Roland Juno-60, Roland Juno-106

6-voice polyphonic subtractive, two DCO/voice-
Crumar Bit One, Crumar Bit 01, Crumar Bit 99, Cheetah MS-6, Elka EK-22, Roland JX-3P/MKS-30, Roland JX-8P, Korg Poly 61(M), Oberheim Matrix 6, Siel DK-600/Opera 6,

8-voice polyphonic subtractive, one DCO/voice-
Kawai SX-210

8-voice polyphonic subtractive, two DCO/voice-
Akai AX-80, Kawai SX-240

Polyphonic DCO paraphonic VCF.-
Korg Poly800(II), Siel DK-70, Siel DK-80 (two DK-70's using only 6voice per chip instead of 8)

Bi-Timbral polyphonic subtractive analog with various DCO designs-
Roland JX-10, Roland MKS-70

Digital divider oscillators, Full Paraphonic analog-
Arp Solina String Ensemble, ARP Quartet, ARP Omni (1/2), Crumar Orchestrator, Crumar Performer, Korg Delta, Moog Opus 3, Roland RS-09, SCI Prelude, Siel Orchestrator (1/2), Yamaha SK series(combo synths; some containing 7 vc polysynth or monosynths)

Digital divider oscillators from VCO's, Full Polyphonic analog-
Korg Lambda, Korg PSS series, Moog Polymoog synth, Moog Polymoog keyboard

Digital divider oscillators, paraphonic analog with mono section-
Crumar DS-2,SCI Fugue, Yamaha SK30, SK50D

Divide down oscillator, polysynth hardware /combo synths-
Crumar Stratus (organ and 6 voice para-poly scheme), Crumar Trilogy (adds string section to Stratus)

Digital synths with analog filters (hybrids)-
Ensoniq ESQ-1, Ensoniq SQ-1, Ensoniq SQ-80, Kawai K3, Korg DW-6000, Korg DW-8000

Digital physical modelling; FM-
Yamaha DX series, Yamaha SY-22, Yamaha SY-55, Yamaha SY-77, Yamaha SY-99, Yamaha YS-200

Digital physical modelling; Additive-
Kawai K5, Kawai K5000, Kurzweil K150

Digital physical modelling; Phase distortion and vintage misc.-
Casio CZ series, Korg DS-8, Korg 01 series, Peavey DPM series, Roland JD-800

Digital physical modelling; Acoustic-
Korg Prophecy, Yamaha VL-1

Digital physical modelling; Analog-
Access Virus series, Clavia Nord Series, E-mu Vintage Keys, E-MuMorpheus, Ensoniq Halo, Korg MicroKorg, Korg MS-2000, Oberheim OB-12, Roland JP-8000, Roland J* series, Yamaha CS-1x, CS-2x, Yamaha CS-6x

Digital physical modelling;Established instruments (Hammond, Wurlitzer and Rhodes EP, Clavinet Clavinet)-
Clavia Nord Electro, E-mu B-3, Hammond XB-2, Korg CX-3, Voce V series

Digital sampling synth, with Analog filters-
E-mu Emulator series, Ensoniq Mirage, Korg DSS-1, Korg DSM-1, SCI Prophet 2000, SCI Prophet 3000

Digital sampling synth-
Casio SK-1, Ensoniq ASR series, Ensoniq EPS(16(+)), Fairlight CMI, Kurzweil K250, Roland S-series

Wavetable synth-
Ensoniq SD-1, Ensoniq Fizmo, Ensoniq VFX(SD), Korg Wavestation series, PPG Wave, SCI Prophet VS, Waldorf Microwave

Miscellaneous ROM sample based synths of interest-
Alesis QS series, E-mu Proteus series, Ensoniq TS series, Kawai k1 series, Kawai K4, Kawai XD-5, Korg M1, Kurzweil K1000 series, Roland/Rhodes MK-60/80, Roland D series, Roland JD series, Yamaha SY-85

Advanced workstation synths-
Ensoniq MR series, Korg Karma, Korg Triton series, Kurzweil K2xxx series, Roland Fantom, Yamaha Motif series
















Table showing architectural class, and essential component type if analog


Model Architecture(s) Oscillator(s) Envelope(s) Filter(s> Amplifiers Effect(s)
Akai AX80 subtractive Digital Digital CEM3374 Discrete NA
Akai AX60/73 subtractive CEM3394 Digital CEM3394 LM13600/CEM3394 MN3009
ARP Odyssey, Axxe, Pro-soloist subtractive Discrete Discrete Discrete Discrete n/a
ARP Omni/ Omni 2 Subtractive/String LC VCO, MK50240 TOS and Dividers Discrete Discrete Discrete MN3002
Crumar Multiman and early Performer subtractive/String TOS/Divider Discrete Discrete Discrete TCA350Y/Z
Crumar Performer subtractive/String TOS/Divider Discrete SSM2040 Discrete TCA350Z
Crumar DS-1/2 subtractive/String(2) DCO Discrete Discrete Discrete n/a
Crumar Spirit subtractive uA726 Discrete Discrete Discrete n/a
Crumar Stratus, Trilogy subtractive/String TOS/Dividers CEM3310 CEM3320 CEM3330, SSM2020 TCA350Z
Crumar Composer subtractive/String TOS/Dividers CEM3310 CEM3320 CEM3330 TDA1022
Crumar Bit One, 99, 01 subtractive/String DCO Digital CEM3328 LM13700 n/a
Kawai 100F/110F subtractive uA726 discrete discrete discrete n/a
Kawai 100P subtractive uA726 discrete discrete discrete MN3009
Kawai SX-210/SX-240 subtractive digital digital SSM2044 BA6110 OTA's MN3009 BBD
Kawai K3 subtractive digital digital SSM2044 BA6110 OTA's MN3009+MN3011 BBD
Korg 700/700S/800DV subtractive discrete discrete TS201012 module discrete n/a
Korg MS/PS series subtractive discrete discrete Korg 35 discrete n/a
Korg Sigma subtractive discrete discrete Korg 35 discrete n/a
Korg Delta subtractive/String discrete VCO/M50241TOS discrete LM13700 discrete 2-MN3004
Korg Lamda subtractive/String discrete VCO/M50241TOS discrete discrete discrete MN3010
Korg Trident subtractive uA726 SSM2056 SSM2044 discrete 3-MN3004/2-NE571
Korg Mono/Poly subtractive SSM2033 SSM2056 SSM2044 discrete MN3004
Korg Polysix subtractive discrete SSM2056 SSM2044 discrete MN3004
Korg Poly-61 subtractive digital SSM2056 LM13700 discrete NA
Korg Poly800 subtractive DCO Digital 1-NJM2069 NJM2069 MN3209/NE570
Korg Poly800 II subtractive DCO Digital 1-NJM2069 NJM2069 Digital
Korg DW6000/DW8000 DSS-1/DSM-1 subtractive Digital Digital NJM2069 NJM2069 Digital
Moog Minimoog subtractive uA726 Discrete Discrete Discrete NA
Moog Polymoog subtractive uA726/MK50240 Discrete Discrete CA3080 NA
Moog Memorymoog subtractive CEM3340 CEM3310 CEM3320 CEM3360 NA
Oberheim OB1 subtractive discrete discrete 4xCA3080 CA3080
Oberheim OBX subtractive discrete CEM3310 2xCA3080 CA3080
Oberheim OBXa/OB8 subtractive CEM3340 CEM3310 CEM3320 CEM3360 R5106 or 5107
Oberheim Matrix 6 subtractive digital digital CEM3396 CEM3396 R5106 or 5107 delay
Oberheim Matrix 12/xpander subtractive cem3374 digital CEM3372 CEM3372/
Roland SH-1000/2000 subtractive Discrete Discrete Discrete Discrete NA
Roland SH-3a subtractive Discrete Discrete Discrete CA3080 NA
Roland SH-5/7 subtractive uA726 Discrete Discrete CA3080 LM1496 r.m.
Roland SH-1/2? subtractive uA726 Discrete CA3080 CA3080 NA
Roland JP4 (Jupiter-4) subtractive Discrete pulsed capacitors IR3109 BA662 MN3004/MN3101 BBD
Roland SH-101 subtractive CEM3340 Discrete IR3109 BA662 NA
Roland JP8 (Jupiter-8) subtractive discrete IR3R01 IR3109 BA662 n/a
Roland Juno-6/60 subtractive digital IR3R01 IR3109 BA662 MN3009/MN3101 BBD
Roland JP6/MKS80(early) subtractive CEM3340 Digital IR3109 CEM3360, BA662 n/a
Roland JX3P subtractive digital digital IR3109 Transistor MN3009/MN3101 BBD
Roland MKS-30 subtractive digital digital IR3109 (in module) BA662 (in module) MN3009/MN3101 BBD
Roland Juno-106 subtractive digital digital IR3109 (in module) BA662 (in module) MN3009/MN3101 BBD
Roland MKS80 (later) subtractive IR3R03 digital IR3R05 CEM3360, BA662 MN3009/MN3101 BBD
Roland JX8P/JX10/MKS70 subtractive digital digital IR3R05 M5241 MN3009/MN3101 BBD
Roland Alpha Juno 1/2 subtractive digital digital IR3R05 M5241 MN3009
Siel DK600 (Opera 6) subtractive SSM2031 VCO Custom Divider IC's Disc. WSC SSM2056 SSM2044 SSM2024 n/a
Siel DK70 DK80 subtractive SSM2031 VCO Custom Divider/WSC IC's Digital SSM2045 SSM2045 n/a
Yamaha SY-1/2 subtractive Discrete Discrete Disc. Module CA3080 n/a
Yamaha CS series subtractive IG00153 VCO
IG00158 WSC		 IG00159 IG00156 IG00151 n/a
Yamaha SK series subtractive Custom IC's IG00159 IG00156 IG00151 and IG02600 MN3009



Table showing feature comparison of Analog Synthesizers and some digitals


Synth Model Architecture Keys/Velo/AT? Editing i/f (1) R/T Control Interface(s) Poly* Multitimb. Memory osc/note Filter(s) Amplifier(s) Envelope(s) effects
Akai AX80 subtractive 61u/Yes/No dial-2 Pitch/Mod Wh. MIDI 8 1 32 pre
64 usr		 2 DCO Analog Analog Digital N/A
Akai AX60 subtractive 61u/No/No Sliders Pitch/Mod Wh. MIDI 6 1 64 usr 1 VCO Analog Analog Digital analog
Akai AX73 subtractive 73u/Yes/No cursor-2 Pitch/Mod Wh. MIDI 6 1 100 usr 1 VCO Analog Analog Digital analog
ARP Odyssey subtractive 37u/No/No Sliders pitch knob
or PPC pad		 CV/gate 2 1 none 1 VCO Analog Analog Analog None
ARP Pro-Soloist subtractive 37u/No/Yes Sliders AT switches none 1 1 30 preset 1 VCO Analog Analog Analog None
ARP Solina SE subtractive 49u/No/No Sliders None CV/gate 16p1 1 6 preset 1 VCO Analog Analog Analog bbd phaser
ARP Explorer subtractive 37u/No/No Sliders bender none 1 1 8waves/noise 1 VCO Analog Analog Analog None
ARP Omni1/2 subtractive 49u/No/No Sliders None CV/gate 49p1 1 none 1 VCO Analog Analog Analog bbd phaser
ARP Axxe subtractive 37u/No/No Sliders none CV/gate 1 1 none 1 VCO Analog Analog Analog None
ARP Quadra subtractive 61u/No/20ct Sliders none CV/gate and ASI 1 1 16 semi 2 VCO + divide down Analog Analog Analog Phaser,S+H
ARP Solus subtractive 37u/No/No Sliders none CV/gate out 1 1 none 2 VCO Analog Analog Analog none


* px = Paraphonic with x facilities. eg. many oscillators share 'x' eg/filter circuits in some part of synth. String synths commonly have AR envelopes for each note, but often there is just one synth filter/eg.

Note 1) Editing interfaces with dial or cursor keys: type 1= parameter picked from num pad type 2= parameter picked from dedicated or semi-dedicated button, type 3= paramter picked from switch matrix