Only modules used in a particular patch are displayed, reducing front-panel clutter, and making for a more streamlined interface. The U-he line includes several synths, but I want to focus on two of the most popular, Zebra 2 and Diva. 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.
#Reaktor factory selection full#
No less than six! Sylenth is designed to do one thing-emulate classic analog synthesis-but do it exceptionally well.Īll 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.Ī 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. 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. 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. Massive follows a traditional subtractive synthesis models, with oscillators three, plus noise filters two, amplifier, modulation LFO, and effects. Playability includes nice touches like the Orb, a real-time joystick-type controller that can simultaneously vary many parameters. 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.Ĭombining 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.
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