Using ultra-precise "High Resolution Oscillators" (essentially finely tuned DCOs), the "analogue" in the title isn't being used as scare quotes - it's a question of how far analogue synthesis can go before it can really be called analogue anymore. Designed by Tom Oberheim, this synth has a significant amount of history pulled from the Matrix 1000, with its 10-slot modulation matrix and multiple origins and destinations.
Slow envelopes and a buggy mod matrix cause some headaches, but this synth shows its strength with string patches, weird FM timbres, and generally surprising effects. Use the mod matrix to liven up patches; without the mod matrix, this can sound quite lifeless.
Best edited with SoundDiver. There may be a way to edit this on an iPad via Lemur, but not certain.
Limited to 250 units worldwide.
Two VCOs per voice, with well-featured modulation options (pitch scaling up to 100%, x-mod, envelope depth, PWM...). A high-pass and low-pass filter and two envelopes round out the basic functionality of this synth.
The best part - it sounds incredible. No matter what type of patch you make, it'll just sound good.
Roland began manufacturing these with Curtis chips, with these synths commonly called Rev 4's. Rev 1-3 presumably exist, but the differences between those are unclear. In any case, at a certain point Roland switched over to their own proprietary chips in around 1985. It's claimed that earlier models sound better, but we've also heard that any patch on a Rev 4 can also be recreated on a Rev 5 with a few tweaks. For reference, the unit in the Library is a Rev 5.
Best edited with the official MPG-80, or even better, the Retroaktiv Synthesizers MPG-8X.
Intended to be a device to play karaoke backing tracks, the MKS-7 is divided into four "parts" (Chord, Melody, Bass, and Rhythm). The former two parts sounds like a marginally cut-down Juno 106, the Bass like a very cut-down SH-101, and the Rhythm like most of a TR-707.
The Chord and Melody parts are four voices and two voices respectively. They take most of their functionality from the Juno 106, including a chorus, but have some elements cut out. For example - only one chorus (on or off).
That said, it is velocity sensitive, unlike the Juno-106. Additionally, the Chord and Melody parts can be combined into one six-voice patch, or kept separate for multi-timbral playing on different MIDI channels.
The Bass part is a simple monophonic synth with a choice of either pulse wave (with no PWM) or sawtooth, a filter, and a single envelope. No LFO, and no chorus either. Finally, the Rhythm part has some basic PCM sounds from the TR-707, but with no variations and no extra sounds like cowbell.
Best used for its Juno-style sounds, though the Bass and Rhythm parts come in handy.
Primarily monophonic, though with the option to switch to a 4-voice polyphonic or unison modes, the SH-01A has the same snappy "rubber" characteristics of the original SH-101.
One VCO with an adjustable source mixer of pulse, saw, square sub-osc, and noise waves, the SH-101 was renowned for being easy to use but always sounding just right. All it takes is one oscillator, one filter, one envelope, and one VCA to get excellent basses, lead sounds, or any bread-and-butter monophonic patches needed for many styles of electronic music.
The SH-01A ups its functionality by introducing patch memory, polyphonic modes, and unison, while still retaining the same characteristics that make a 101 a 101.
Excellent for acid, electro, house, techno, or really just about any electronic genres that focus on bass, bleeps, or leads. Not a sound design powerhouse, but it doesn't need to be.
Two VCOs, a low-pass filter borrowed from the MS-20, and a quaint sixteen-step sequencer.
The Monologue is excellent at punchy, hard-hitting, and dynamic basslines. Its sequencer allows for four lanes of motion recording in addition to note sequences, permitting filter sweeps across the entire sequence or jerky oscillator shape changes on a step-by-step basis. Or both!
At the same time, the Monologue can also make very nimble, light bass or lead patches if the resonance is kept low.
With room for 100 presets, the Monologue is an excellent entry point to synthesis. Alternatively, look for its bigger brother, the 4-voice Minilogue.
It contains the same drum sounds and programmability as the original TR-808, though with some added bonuses accessible in menus.
Like the decay of the original 808's kick drum, but wish it went a little longer? No problem - make the decay extra long using the menu options, or add compression to the kick drum and/or snare drum. Similarly, adjusting MIDI CC allows for per-step tuning of all instruments. Or decay. Or level.
Small knobs and buttons make this not as easily enjoyable as the original 808, but sequencing via MIDI is a dream. The other drawback is that it has a single stereo output, unless using it as an audio interface over USB. Try recording important instruments (BD, SD, CP) by solo-ing them and recording sequentially.
Excellent for acid, house, and electro.
Intended to be the sibling of the famous TB-303, the TR-606 from 1981 is the same physical size and has most of the same general layout.
Programming is extremely straightforward; just select the instrument and punch in the appropriate steps using the 16-step sequencer. Pattern chains can be made by pressing two patterns at once, and songs can be written directly on the TR-606 if more than 4 patterns need to be chained together.
The lack of MIDI input and output is remedied using the excellent Tubbutec Unipulse. It also allows for multiple extra sounds (essentially solo'd elements of the normal sounds) to be accessed over MIDI notes. Unfortunately, only the decay of the open hat is accessible through MIDI CC. It would be nice to also be able to adjust other sound options that aren't traditionally on a TR-606, such as snare drum decay or kick drum pitch.
Excellent for electro and acid. Try compressing it very hard and layering a real-life clap sample over it.
Rather than providing some basic sounds, the SC-40 has editable voices that can be saved into banks of 8. 4 voices can be played at once (compared to 2 voices in its sibling, the Pearl SC-20).
Voices are made from 16 parameters, including initial wave (very short digital samples of wave-cycles), pitch, modulation, and VCF frequency. The digital wave samples are not solely ones produced by traditional drums - there is ample opportunity for pitching tones chromatically, or creating simple drum sounds from more complex waves, with the addition of a noise source built-in to the SC-40.
Is it analogue? Is it digital? Does it matter? The SC-40 has some very interesting behaviour when sending multiple MIDI notes to the same instrument at once. The pitch rises higher on the second note than it does the first, regardless of if the velocity was exactly the same. Almost like a TB-303 resonance-type behaviour when using multiple accented notes sequentially...
While it can create very interesting sounds that generally are of a lower pitch, such as kicks, snares, and toms, it's more challenging to create realistic hat sounds and crashes. Not impossible, but definitely not straightforward.
MIDI implementation is very bare-bones, responding to note on/off and velocity only. No sysex, and MIDI Omni is enabled every start-up. Assign this one to its own MIDI port.
Appears to show up more often in Japan than anywhere else in the world. 100v versions of the SC-40 are more common than 120v and 240v, but the latter two do exist, and are available from time to time. The Library used to also own its predecessor, the DRX-1, but no longer has one.
Each voice on the K5m is technically two parts, each containing up to 64 harmonics, which are all individually assignable by level. That said, the two parts can be combined into one super-part which contains 128 harmonics, again individually assignable.
Each harmonic can be assigned to one of four envelope generators. The end result flows through a DCF, then a DCA, and finally a digital formant filter. Additionally, 16 patches can be saved per bank, and these patches can be combined into a performance mode, where specific sounds are triggered by certain MIDI channels.
The K5m can make incredibly bright, twinkly sounds, but doesn't work so well for basses. Electric pianos and rough simulacra of real instruments are this synthesizer's specialty.
Very overwhelming to get around at first - try using an editor. Strongly recommended is Dr. T's Kawai K5m editor, which has been made freeware since its initial release on Atari ST in the early 1990s.
The Library's first acquired synthesizer, the TX81Z is a classic of house and techno music.
It offers simplified FM editing with its four operators. But the TX81Z isn't weaker than its six-operator big brother, the DX7; each of its four operators can be given a different waveform which is intended to act as a sort of "free" two-operator shape. This leads to sonic differences between itself and the classic six-operator Yamaha's, where it can't recreate all patches, but the DX7 also can't create some of the TX81Z's patches.
Well-known for its Lately Bass patch. But buying a TX81Z just for Lately Bass is a loss. This unit can produce beautiful long pads, strong bell tones, and excellent basses.
Microtuning is also possible on the TX81Z, either as a twelve-tone scale repeated through the octaves or with each MIDI note custom tun-able. Similar to the K5m above, it is strongly recommended to use an editor. Matt Gregory's TX81Z Programmer is an excellent tool to get the most out of the TX81Z.
The Library's first acquired effects unit, the Quadraverb is a staple in forward-thinking electronic music.
It can produce extremely fake reverbs, delays, pitch shifts, and modulation with ease. None of it sounds remotely realistic, but that's not the point - the Quadraverb has a distinct tone by its low-resolution DSP.
Placing a chorus alongside a reverb creates that classic Warp Records reverberant effect. Run a drum machine through it for unintentional flanging of the hi-hats, or try a synth pad to get beautiful space-y reverbs. Plus, with it being possible to obtain effects such as ring modulation, and since it can receive custom MIDI CC for multiple user-specified parameters per patch, the Quadraverb is an undeniable classic in reverb units.
Absolutely essential for recreating the 1990-1995 IDM/braindance sound.
A rare spring reverb rack unit, the RV-3 can produce reverb on two channels, either mixed together for stereo or run independently.
A three-band EQ on each channel allows some sonic shaping of the resultant reverb. Additionally, separate input, output, and mix knobs allow for usage in multiple scenarios, such as in-line or as a send effect.
The RV-3 sounds excellent, with low noise level on the outputs. Unfortunately, the unit uses a built-in limiter (which lights up when engaged) that cannot be disabled. No pushing this thing too hard.
Hard to find, but an excellent, clean-sounding spring reverb.
An upgraded version of the classic API 2500, the 2500+ provides an expanded threshold control and mix-controls, permitting parallel compression from in-unit.
The 2500+ sounds excellent as a drum bus compressor. In fact, the Library uses it this way in the majority of cases. Add some attack, short release, and medium-to-high ratio, and an incredibly punchy drum tone shines through the mix.
"Glue" is an overused statement in bus compressors and processors, but if there's one unit to really be described as "gluing" a mix together, this is the one. The API improves just about any mix that goes through it.
Not cheap - try a VST version first.