“Last summer, Modena-based IK Multimedia (later IKM) released Syntronik, a new suite of vintage synthesizers, among the few available on the market. Among the various peculiarities, being a library based on sampling, Syntronik incorporates the new DRIFT technology which returns a particularly dynamic and effective sound.”
A quick summary
Even though we had already announced it here, let's summarize the main features of this new “multiSynth”.
Syntronic collects 17 tools, to be understood as GUI, in which well samples were collected 38 vintage synthesizers, some even difficult to find in excellent condition. Since these are samplings, and not reconstructions Virtual analog, you will need to make room for about 60GB of new data on your computer (details later).
To better understand how the synthesizers have been divided, you can refer to the following diagram:
Considering the sampling synthesis and the fact that the entire library, in addition to living its own life with a specific GUI, is also compatible with Sample Tank 3, it is easy to imagine that other tools could be developed in the future to be incorporated into Syntronik.
In the meantime, if you are unsure what to do, if you have an account IK Multimedia, you can download Syntronic Free accompanied by a minimal library, always sampled, of approximately 1,5GB, which will allow you to try all the 17 tools supplied.
Installation
Make yourselves comfortable!
Installing the entire library of Syntronic it takes a little time, since once the application has been downloaded and installed IK Multimedia Authorization Manager, with which to authenticate the software via serial, on the products page of your personal account you will find the main installer and the rest of the libraries. The total files are 24 and are divided according to user MacOS o Windows. In the case of macOS, they are beyond that 50 Gb to download and then start the installation one by one. Even considering a fast line, the download alone will take some time.
After downloading, if for installing the plugins basically the times are normal, for the individual libraries I encountered a further waiting period, due to the fact that the FileVault of MacOS Sierra took several minutes to check and open Mg downloaded. Only the actual installation phase of each individual Sound Pack, however, took on average about a minute to complete.
It should be noted that the initial Installer, as in the case of Syntronic Free, already contains some Presets for each of the 17 instruments that can be tested while installing the additional Sound Packs. The Syntronik library, version only stand-alone however, it updates automatically without the need to close the program, except for a few seconds of blackout, the time necessary for Syntronik to redo the rendering of the Presets. Well!
A strange detail to note: my account (but I think it only applies to my trial version) detects a term of 180 days within which to download the libraries. I wonder, once this deadline has expired, if you will lose the possibility of proceeding with the download if you format your PC and do not have the possibility to keep the Sound Pack files.
PS: In case you are among those who don't like to wait, consider the possible purchase on USB Drive (prices at the end of the article).
GUI – Presets
Surely, once you have installed the first file, you will want to hear how Syntronik sounds. Preset selection can be done in different ways. If you do not make a specific selection, Syntronik displays the entire available sound arsenal in 3 columns. Complete, the entire library has over 2.000 Presets.
However, you can decide to select only the instrument concerned (first column “Synth”) or the sound categories (second column “Filters”). Each subsequent selection adds to the previous one, it is not an alternative, so if you want to reset the selection you will have to act on the small "x" that appears on the right of the tools header, or click again on the previously selected tool/category. To simplify the selection process, IKM engineers have ensured that, by opting for an Instrument, the subsequent Filters also adapt based on the Tags used for each individual Preset. A fourth column shows a brief description of the selected Preset.
At the top of the third column, the name of the selected Preset appears and, on the edges, two small icons. The one on the left, which shows the Instrument in use in miniature, allows the Preset selection screen to be ON/OFF; the one on the right shows the options for Save/Save as of your programming. If you press on the name of the instrument, only the Preset column appears. Considering that we are at release 1.0, I wouldn't mind if, in the next minor release, IKM could add two Up/Down arrows for an even faster excursion of the Presets, with the further possibility of recalling it via keyboard commands (Shift+Click , for example).
GUI – Summary parameters
With Syntronik, IKM has developed a new proprietary technology applied to Oscillators called DRIFT. With this technology, respecting the micro variations that characterize analog sound, IKM has ensured that the Syntronik sound does not repeat itself statically, as is typical of sampling, but creates continuous variations in phase, pitch and frequency spectrum .
Below is a short example, audio and graphic, created with the Preset "1984 Polysynth 1", without FX, with notes repeated at 127 Velocity.
Audio example 1984 Polysynth 1
Apart from this aspect, which is nevertheless not insignificant, it must be said that IKM, unlike others, has followed its own philosophy, giving the user a single summary screen, even if the graphics change depending on the Tool recalled (even the eye wants its part, right?).
The parameters in total are approx 30, arranged on the 5 usual sections of OSC, Filters, EG, Modulation/LFO and Control (the latter collects the controls for PitchBend, Mod Wheel and Portamento/Legato). This choice means that the user, once familiarized with the sections and/or parameters, finds himself able to intervene, I quickly add, whatever the instrument called up, even under external control (read the “MIDI Learn” paragraph).
It is obvious, at this point, that the control potential of the starting sound, in particular the "Filter" sections, becomes decisive.
Even for this section, IKM did not hold back. There are 7 types of multimode filters that can be used, 4 of which are modeled on the original circuits of milestones in the analogue sector:
M-Type: refers to Moog transistors ladder (used in minimoog e Modular Moog);
R-Type: reconstructs the sound of Roland IR3109 (used in Jupiter 8 e Juno-60);
C-Type: based on Curtis CEM3320 (used in Prophet-5, Oberheim OB-Xa e memory moog);
O-Type: clearly referring toOberheim SEM state variable filter.
In addition to these, “Phaser” (with replacement controls for Polo 1, 2, 4, 8; Depht and Feedback), “Formant” (with the addition of the Morph parameter) and “Classic”, a non-standard multimode filter, are also available. attributable to any specific model. With “OFF”, this stage is completely bypassed.
As regards the other sections and the distribution of the relevant parameters, there is nothing particular to note other than an AHDSR type envelope, where H indicates the holding time of the sound before the Decay, and the possibility of activating a second Oscillator with related Detune control which, in my opinion, should be considered an added value to the modification of the starting sound, even if anachronistic compared to some original synths which only had one (CS-01 or TB-303, for example).
Two small personal notes
1) if you operate with MIDI Learn activated on Filter 12/24dB/oct, Drive and Resonance at maximum, playing with the filter of some lead sounds the SPL "goes up which is a pleasure": so be careful to also keep the General volume;
2) I don't know whether to consider it a programming anomaly or a deliberate choice. Try acting with the “Vel/Velocity” parameter present at the end of the Amplitude/Loudness EG. By bringing the value to the maximum, you obtain an excursion from zero Volume to the one programmed by default depending on the keyboard dynamics, and so far so good.
If, however, you act in the opposite direction, the minimum value of the Knob corresponds to a boost in the sound, as you hit the keyboard (or go from the edge towards the inside of the key on the virtual one), which is not insignificant, which makes Syntronik the plugin with the widest dynamic range I have encountered so far, with that typical "sound in your face" that will make more than one electronic producer (EDM and surroundings) happy. Calculated empirically, the Boost obtained is approximately 30dBfs!
GUI – MIDI Learn
All parameters, except for the choice of Multimode Filter (LPF, HPF, BPF, Notch) and the related slope (6, 12, 18, 24), can be assigned to any external controller (but it could simply be a youth bug . Ed). Thanks to the logic of a single GUI, once the parameter has been assigned, it remains stored even when the instrument is changed. MIDI Learn, which can be called up close to the desired parameter with the right mouse button, remains functional even if Layers are programmed, respecting the individual Instruments and the assignments made. Optimal!
However, we must keep in mind what, also in this case, seems to be a youthful bug: in Preset mode, the MIDI Learn programming works until Syntronik is closed, while it remains unchanged when working in Layer mode, so if You don't want to lose your programming, but continue working in Preset mode, just save the default Layer containing a single Instrument, to be recalled as the first option when starting Syntronik, and then switch to the other mode.
A more complete "MIDI Assignments" panel, which can be called up from the same pop-up menu as MIDI Learn, allows you to modify the assigned CC, the range with percentage values of min/max, any control latch and with the " x” the cancellation of all assignments.
Here too, two small personal notes
1) I tested the MIDI Learn with an external controller that manages the 128 standard MIDI values with 8bit resolution, well below that obtained by operating the mouse on the single parameter, probably at 10bit. Therefore, by operating in this way, it cannot be avoided that the ear perceives the stepped steps, typical of the MIDI 1.0 protocol, on whichever continuous parameter is operated.
2) there is no way, for this first release, to operate directly with the automation of the DAW: the parameters are simply not recognized (I used Logic Pro Ed). However, there is a way around the problem, albeit in a rather laborious manner. Step by step you need to: (A) assign, via MIDI Learn, the CC to the parameter; (B) via MIDI Assignments verify the assigned CC; (C) set this CC in the DAW automation and write it with the mouse (in the case of Logic in “Region” mode and not in “Track”). In this way, the problem of point 1 is also avoided.
GUI – Layers
Up to four instruments can be managed with an overlapping (layer) or keyboard division (split) logic. This management, in IKM terminology, is called Layer (not to be confused, even if the reference is obvious, with the term of the same name which indicates the overlapping of instruments).
The four instruments share the same MIDI channel, the one set in the Syntronik preferences, but they can use different arpeggiators. Personal Layers can be saved as individual memories in addition to Instrumental Presets. If you decide to keep one or more instruments fixed within the Layer, including speed programming and keyboard extension, simply lock them with the padlock icon located to the left of the name: in this way, while recalling a new Layer, only the unblocked slots will be loaded. It is unfortunate that in this first release the IKM designers did not have the opportunity to program some examples: this, in my opinion, would have given the user the opportunity to appreciate the "vintage" potential of Syntronik even better.
Another important plus, and not always found in plugins, concerns the fact that Layers can be assigned, in the Preferences page, to Program Changes. Even if sampling loading must be taken into account, this aspect also makes Syntronik interesting for use in Live Performances, with sound recall via Master.
Finally, it should be noted that, if you have needs that go beyond the possibilities offered by the Layers, including addressing multiple MIDI channels, SampleTank 3 (version 3.7 and later) recognizes all Syntronik Instruments without problems, consequently offering sound up to to 16 instrumental splits/layers.
Arpeggiator
An Arpeggiator can be associated with each Instrument. Even if the default modes are "only" 7 (Up, Down, Up/Down, Down/Up, Random, As Played, Chord), the possibilities for intervention are many and such as to allow notable variations to the basic structure. Each of the possible 32 Steps can:
- be turned On/Off;
- function as a single note or chord (except for Chord mode which does not include single notes);
- be transposed by semitones (+/-12) and managed dynamically;
- have length over multiple consecutive steps (obtained by dragging the individual Steps horizontally).
The general parameters, however, provide up to 4 octaves of extension and the modification of any Swing or a more general Gate (“Length” knob) and MIDI Velocity control, which varies the individual values proportionally. Furthermore, the Rate can be established in musical figures (including triplets / dots), be latched (when the button is released it remains activated), synced to the DAW or remain linked to the internal BPM. A parameter that is not always found is "Trigger", with which the start of the Arpeggiator is subjected to quantization. The possible values are: Now (starting is immediate), 16th, Beat and Bar, with which the player activates subsequently, respecting the set value. Finally, considering that, in Layer mode, each of the 4 Instruments can be associated with a different Arpeggiator, it is clear that the limit of use is probably the user himself.
The Arpeggiator comes with around 130 patterns and more can be saved by the user. As with the Presets, the Patterns must also be recalled one by one from the drop-down menu. I suggest IKM implement the serial recall mode with darts as soon as possible.
FX
38 modules directly taken from the suites T-Racks e AmpliTube, organized into 6 main categories: Amplifiers (4 modules), Distortions (6 modules), Dynamics/Eq (6 modules), Modulations (12 modules), Rev/Delay Environments (6 modules) and Filters (4 modules).
The GUI is structured with clear reference to the API 500 format, sufficient to group the parameters necessary for each module without too many frills. All parameters can be assigned to MIDI Learn.
As with the Layers, in this initial release there are no Presets supplied, but the user can save his own on each individual module and the programming follows the module itself in any slot it is used, even on different instruments. More than the factory Presets, I noticed the lack of the possibility of saving, as an independent memory, an entire Channel Strip, as well as the possibility of being able to turn off all the effects together, in order to speed up the changes on the raw sound. Although redundant, it is however possible to turn the modules ON/OFF individually.
General Aspects and Preferences
This paragraph is only to add that, as always, the Preferences pages refer, on 5 separate Tabs, to the general options of the instrument: Audio/MIDI, Library, Program Change (read the Layer paragraph), Remote (for the management of some windows), Info.
Feature to note: the Syntronik window can be resized as you like, just drag the bottom right corner to adapt it to your screen and resolution.
But how does it sound?
Syntronik sounds great and good. Each tool, probably for a dynamic boost programmed at the base of the code or obtained, through compression, during the sampling phase itself, it produces that "in your face sound" so dear to modern productions.
There are no appreciable background noises, not even on sustained and slowly decaying sounds, a tangible sign of an obsessive sampling carried out by the IKM technicians (the materials used for this phase of the work are not explained).
If we then consider, as already indicated, the further Boost that is obtained by modifying the "Velocity" parameter of the AMP Envelope, we must be careful not to damage the monitors in the studio.
Conclusions
Let's start with the few sore points. If you really want to raise some criticism of Syntronik, you have to look for it in the current way of managing the Presets/Patterns/Memories, in some redundant sampled sound, if you consider the possibility of obtaining approximately the same sound by acting on the parameters, and in the simplified summary interface. I leave out of the minuses the download time of the sounds, not exactly short but unfortunately necessary given that they are multi-sampling.
About thesummary interface, in the intentions of the IKM designers this represents the strong point of Syntronik, given that the user, by familiarizing himself with the few synthesis parameters available (about thirty) and not with design philosophies referring to the original, will immediately find himself comfortable in quickly shaping your sound. In this perspective, also consider the MIDI Learn of the parameters, which remains unchanged even when changing instruments, and the possibility of activating the second Oscillator with correlated Detune, although not philological compared to some vintage originals.
The simplicity of programming is also found in the Layers page and with the Arpeggiator, an aspect of no small importance for those who need to quickly structure an audio production.
Not to be outdone, and probably also the most important feature, is the consideration of the sound in general: the sampling is excellent, with practically non-existent background noise. A sound, that of Syntronik, aligned in terms of presence, usefulness and ductility to both the most renowned analog synths and their digital counterparts, thanks also to the technology DRIFT for the micro variations of the Oscillators.
Useful news
Distributor: IK Multimedia
Price: Euro 99 VAT included
For completeness, we remind you of the costs (all VAT excluded), knowing that each license gives you the right to 10 authorizations (more than enough for any production environment):
Full version €299,99 (Download), €329,99 (Boxed/USB Drive);
Cross Grade (for those who are already users of IKM software whose price list is at least €99,99) €199,99 (Download), €229,99 (Boxed/USB Drive).
If you opt for Syntronic Free, each individual Tool will cost you €49,99.
PRO
– Sound;
– DRIFT Technology for Oscillators;
– Filter templates;
– Simplicity of programming;
– Program Change for remote recall of Layers.
AGAINST
– default memories are missing in the Layer and FX Channel Strip sections;
– switches can be added to recall some functions;
– the time, unfortunately necessary, for downloading the Presets;
Last hour
Syntronik is now also available as App per system iOS (iPhone e iPad). The version Free, identical in terms of intervention possibilities to the version MAC/PC, weighs approx 500 MB and incorporates one or two sounds for each synth contemplated. The remaining part of the library, which can be evaluated both entirely and per single synth, is available as an inApp Purchase. The cost of “Syntronik Full”, if you need a “portable” vintage library, is €43,99.
Nota: While aiming to be fully objective, this test is still based on the direct experience of the writer, so all evaluations and indications must then be mediated by the skills and knowledge gained by the end user.
Good music to all
