With the Synthx V, Arturia further enriches its virtual museum dedicated to legendary synthesizers. This time, it's a model of the Elka Synthex. Let's find out what this new plug-in has to offer and what good ideas it brings.
“Please… draw me a synth!”
Mario was far more isolated than a musician alone in his home studio, jumping to his feet as if struck by lightning. He rubbed his eyes to get a good look. And he saw an extraordinary little man looking down at him. “Draw me a synth…”
So Mario Maggi had no choice but to draw the magnificent Synthex.
Uh… No. It didn’t happen that way, of course, but it makes a nice intro.
Exhumation of a legend of synthesis
In the real world, Mario Maggi was an Italian engineer who first worked on the design of several programmable synthesizers in the 1970s. At the start of the following decade, when the first digitally-controlled programmable polyphonic synthesizers, such as the Sequential Prophet-5 and Oberheim OB-X, were all the rage, he harbored the ambition of creating a synthesizer capable of rivaling these big names.
After working independently for over a year, he approached several Italian keyboard manufacturers with his ambitious project. Only the Elka company, more specialized in organs and string machines, agreed to take on the venture.
Released in 1981, the Elka Synthex was a powerful 8-voice bi-timbral (lower and upper) polyphonic analog synthesizer. It was one of the most complete synthesizers of its time: each voice had two DCOs, a white or pink noise generator, a multimode filter, an LFO, two envelopes, plus a four-track mono sequencer, a master LFO and a superb stereo chorus. The DCOs offered superior stability to its competitors of the time, and above all allowed unique intermodulation possibilities, such as double ring modulation.
Unfortunately, the Synthex was not a great commercial success on its release, and its recognition was late in coming. Its use by artists such as Jean-Michel Jarre, Tangerine Dream and Vitalic, as well as its now-recognized qualities, make it a highly sought-after synthesizer today. Its rarity further accentuates this, so the arrival of Arturia’s modeled version is a real boon for anyone wishing to experience its ample layers, dreamy strings, majestic brass and sharp, metallic leads.
Synth in review
As usual with Arturia, the graphic interface is superb. The main part respects the look and philosophy of the Synthex. At the same time, additional functions, absent from the original instrument, are accessible via a pane that opens at the bottom, replacing the keyboard. A significant effort has been made to ensure legibility on low resolutions. Thus, the Synthx V remains perfectly legible on a small laptop with a 13-inch screen.
A vast collection of presets is included, including those from the original Synthex. They are managed via Arturia’s usual browser, which includes search and tag functions. These presets cover a wide range of timbres, allowing you to discover the full range of possibilities and richness of the instrument. From silky strings and Italo-disco basses to deep layers and majestic brass, the Synthx V impresses. It also excels in bell tones, metallic timbres and special effects; its ring mod and oscillator synchro contribute greatly to this. Its character and areas of specialty are quickly revealed: this is not a synth with an aggressive temperament; its playground is deep, majestic timbres. A certain elegance emanates from its output. Italian class, no doubt.
It’s also interesting to scroll through the original Synthex presets and compare them with the new Synthx V ones. This allows you to measure the extent to which the plugin’s additions enrich the rendering and variety of timbres.
- 01 – Strings – Bachelor01:23
- 02 – Strings – Sin01:11
- 03 – Pad – Lynch Peaks00:41
- 04 – Pad – Exit01:36
- 05 – Bass – Germany Japan (Solo-Dual mode)01:21
- 06 – Synth – Electric00:51
- 07 – Synth – S Dreams00:26
- 10 – Synth – Cars00:41
- 11 – Sync lead – Odysseus00:27
- 14 – Key Sixties00:47
- 16 – Organ – Perfect00:28
- 17 – Harp Lazer – Rdv1 No FX00:50
- 18 – Harp Lazer – Rdv200:45
- 19 – Harp Lazer – Rdv300:36
- 31 – Survivre (3 Synthx V+Drumbox+Reverb)01:07
- 32 – Solitaire (Tout au Synthx V)01:42
- 33 – Clair de Lune (5 Synthx V+Mello-Fi)03:33
- 34 – Cold and Grey01:10
(Unless otherwise stated, all excerpts are made entirely with Synthx V and its effects. Only a control limiter was used at the end of the chain)
Like its inspiration, the Synthx V is a synthesizer with a two-layer architecture; unfortunately, the ability to split the keyboard between these is not included. Arturia points out, however, that it is possible to recreate this functionality via Analog Lab Play (free). While this is indeed feasible, it is admittedly impractical. Analog Lab seems primarily designed as a big preset player, and to edit a patch with two synthesizers, you have to switch from one occurrence to another, which quickly becomes tedious.
MPE compatibility is assured, as is NKS compatibility for Native Instruments keyboards and controllers. Tutorials are offered directly in the GUI.
The Synthx V is offered in standalone as well as in VST, AU and AAX plugin formats for Windows and Mac. As usual with Arturia, installation and authorization are via the Arturia Software Center.
Synthex, ring for us
Let’s get to the heart of the matter, starting with the two oscillators. These are particularly impressive, reproducing the original synthesizer’s DCOs almost identically. The pitch is set via an octave selector offering settings of 1, 2, 4, 8 and 16. Tuning is continuous over two octaves (in semitones over one octave on the original Synthex). Available waveforms include a triangle, an ascending sawtooth, a square, a variable pulse and an unusual PWM, which can be modulated by the other oscillator. There’s also a ring modulater which, unlike on the original synthesizer, can only be activated on one oscillator at a time. You have to choose one or the other, which deprives you of certain sounds that can only be programmed on the Synthex. Note that oscillator 2 can also be synchronized with oscillator 1. The combination of ring modulation and synchronization creates the metallic timbres so emblematic of the Synthex. Finally, a white or pink noise generator is available. These three generators each have their own volume control before being sent to the multimode filter.
This filter models the original Synthex modes: low-pass 24 dB/octave, band-pass 6 dB/octave, band-pass 12 dB/octave and high-pass 12 dB/octave, adding a low-pass 12 dB/octave mode. This filter can self-oscillate by pushing the resonance beyond 6. True to the original, the latter tends to crush the signal. Too bad Arturia didn’t add an optional compensation setting. This filter offers a pretty color, but above all, with its different modes on two layers, it allows combinations that are off the beaten track. On the modulation side, there are two ADSR envelopes: one dedicated to the filter with a bipolar send setting, and the other to the VCA. These two envelopes each have a velocity setting.
Then comes the first LFO with the classic waveforms: triangle, sawtooth, ramp, square, to which Arturia has added a random waveform and synchronization to the host tempo. In addition to a delay, it features two destination groups, each with an intensity potentiometer. The first group modulates the pitch and PW of each oscillator; the second modulates the filter, amplifier and pan. A second general LFO simply provides a triangle wave. Here, each destination has its own slider, allowing you to modulate pitch, PWM, filter, amplifier and pan separately or simultaneously. Although this LFO is primarily intended for use with the modulation wheel, it can also be disconnected from it. What’s more, you can act on just one layer if you wish. Tempo synchronization is also available.
A few words about one of Synthx V’s other assets: its accurate reproduction of the Synthex’s magnificent Chorus BBD. This is a double chorus, which can be activated independently on each layer. When activated, the sound takes on an irresistible flavor. Three positions are available, from softest to most pronounced.
There’s also a portamento AND a polyphonic glide, perfect for THX-style jingling fun, as well as a Spread control to spread voices across the stereo width. We also find Arturia’s usual Voice Dispersion module, which recreates analog tonal quality, this time with a general “Vintage” knob on top to control its intensity.
The number of voices, 16, is double that of the Synthex, and a unison option is included. Where it gets interesting is that the latter is configurable for each layer. For example, it’s possible to have one layer with 8 voices playing in unison and the other with 8 polyphonic voices. Nice.
Index of Arps
The Synthex had a 4-track mono sequencer. Rather than reproduce the latter, which is fairly useless in a modern configuration, Arturia preferred to incorporate 4 arpeggiators.
That was a very good idea: we’re not talking here about simple arpeggiators as we often see them, but a little factory for sequences of all kinds. Each arpeggiator can be assigned to either or both layers. In addition to the usual playback directions — ascending, descending, ascending and descending, random — some 30 patterns are available. The Transpose parameter sets the pitch in which the sequence is played, Octave finely defines the range in which it is played, and Start Offset determines at which step the sequence begins.
The rhythm can then be adjusted by choosing a predefined pattern or programming your own over 16 steps. Again, you can select when the sequence starts. It is then possible to define the length of the notes randomly or not, their repetition and their velocity.
Finally, you can subject the sequence to a scale, either by choosing from the options offered or by programming your own. Of course, the playback speed, synchronized to tempo or not, can also be adjusted.
With this architecture of four arpeggiators on two layers, it’s possible to create highly complex, polyrhythmic sequences. The creative possibilities are almost endless. The Amaretto on the cake: sequences can be sent in MIDI to control another instrument.
Synthex cetera
For the additional modulation section, rather than using an X/Y matrix, Arturia wisely drew inspiration from Pigments, its all-purpose virtual synthesizer. SynthX V contains modules often seen in Arturia products: Random, Function (as the name suggests, a multi-function modulator), a parameter sequencer and an additional envelope called ADSR, which isn’t really an ADSR, since a delay is included, and each segment has its own parameterizable curve. This envelope is quite helpful for programming percussive sounds, as it is faster than those modeled on the Synthex. This whole little world connects via drag & drop and includes useful dynamic visualizations to show us in real-time the movement of modulations.
Finally, a few words about the excellent effects section. Four slots can include a choice of delays, pitch-shift delays, reverbs, filters, chorus (including the Jun-6 V), compressor, distortion and more. All are excellent and integrate perfectly with the synth as well as with a mix. Note that while effects can be dragged and dropped in any order, the entire chain cannot be saved. A nice addition would be a general bypass accessible from the main interface without the need to unfold the bottom window.
Note that in this version 1.0, CPU consumption is a little high — without being gargantuan — but the software will no doubt be better optimized in a future update. On the other hand, there were no bugs to spoil the party.
One more legend in the most beautiful virtual museum dedicated to vintage synthesizers. And, given the success of this latest arrival, we’re starting to dream of a Big Blue fueling wavetables and a polyphonic Moog we can’t erase from our memories…