The Elektron Monomachine is a synthesizer and music sequencer by Elektron. The Monomachine is available as SFX-60 model, which is a desktop sound module, and was available as the SFX-6 model, which has a keyboard and a joystick controller. During the last quarter of 2007 Elektron released the SFX-60 MkII, which is a revision providing higher signal-to-noise ratio, a slimmer design and the ability to add user waveforms, introduced with OS 1.20 in July 2008. The Monomachine's major difference in comparison to other synthesizers is its sonic flexibility.
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I've been using the Virus for more than a year now, mostly doing club music (techno, electro) but also downtempo and trip-hop. I have to admit it's my first hardware synth and I was a bit scared by the interface (both hardware and software) but after reading the tutorial book it came with and watching the videos the Access guys keep making, I've grown very accustomed to it and I find it intuitive and easy now. The grey metal, the pots and the wood sides make it a very nice and modern looking piece of gear in the studio, but it's not just about the looks.
You're looking for a stereo compressor. You want pristine sound and can't accept compromise in terms of signal quality. You don't want a one trick pony, but a flexible machine that covers all the standards and then some. And ruining yourself in order to get it is not really an option... You're looking for the xpressor. Its discrete audio path running in constant class-A mode combines a clear and open sound with a good lot of punch. The clearly laid out functions get you going straight away, while the extended features let you treat dynamics like never before.
More I use this beautiful red machine makes me wonder if there is any other as proper synths for the buck. It cost me 800€ (used) back in 2008 or so. It's really heavy and well built and the feel of it tells you why the sound is so fat as well. Keys and the mechanics are by Kurzweill, correct me if I'm wrong. There's two Oscillators and 3 Lfo's two separate filters and a bunch of internal effects and nice vocoder. Routing possibilities for Lfo's are numerous. Virusb is 16 voice multitimbral so it's kind of u only need one synth.
Introducing the Virus Classic, a legend in it's own time. This red-hot synth advances the Virus Classic Line to the full specs of the award winning Virus b, packed with power, polyphony, fx, output and of course, knobs! Optimized manufacturing allows us to deliver the Virus Classic with an extremely competitive price tag. The heart of the reborn Virus is a Virus b Desktop and it comes with a couple of welcome additions. The mahogany side panels can be exchanged for the included 19" rack mounts and the user manual is redesigned and bilingual.
The Virus TI Polar is a "roadster" version of the ground breaking Virus TI Desktop. It has virtually the same sound engine as the TI Desktop, but adds 37 keys to make it a compact yet powerful performance synthesizer. It also has a striking design (no doubt a descendant of the Virus Indigo), with a white-out front panel and a mix of aluminum and wood siding. The LEDs are white as well as the LCD display panel. Simply put, the Polar puts all the power of the Virus TI into a keyboard meant to be taken on the road.
Not long after the release of the Nord Lead 4 the Nord Lead A1 was announced to some surprise at the Winter NAMM show. With the name and the simplified front panel it definitely seemed to be pushing the analogue-modelling side of things so let’s look at the concept… The A1 is designed as an analogue-modelling synth, yes, but there’s more to it than that. The interface is streamlined to allow for ‘ fast-track programming’ in that it moves away from the slightly more complex architecture of the Lead 4 and straight into the bare bones of analogue programming. (Not that I thought the 4 was particularly tough to master – indeed, I thought many of its hands-on performance features were out of this world.)
For the past decade or more, Roland's flagship workstations have been large, heavy and imposing, and replete with big knobs, long faders and, more recently, large touch-sensitive screens. Everything about them has screamed, 'I'm the real deal'. Yet here I am, sitting in front of the new, top-of-the range FA08, and it boasts none of those attributes. It's small, it's light, and it's constructed from plastic. There are no faders (long or otherwise), its screen is small and insensitive, and it looks like nothing so much as a stage piano with some extra features thrown in. Can it really replace the mighty Fantom G8?
The FA-06 is the smaller of two new workstations – as is often the case with keyboard ranges its bigger brother, the FA-08, has a better and bigger 88-note ‘ivory-feel’ keyboard – and is designed to sit in your DAW setup or be taken on the road. At just 5.7kg you can certainly do just that, and the broad range of sounds will certainly appeal to the live player. Here, though, we’re going to focus on studio integration because this is the big difference between the FA range and the previous workstation Fantom-G range Roland had – see the Fantom History box for more on this.
Tiny, mighty, and affordable, the JD-Xi puts a true analog synth engine, Roland’s famous SuperNATURAL synth sounds, and many other creative tools under one hood. Equipped with 37 mini keys, this compact instrument delivers fat, warm analog bass and lead tones with ample controls for hands-on tweaking, plus polyphonic PCM essentials like pads, strings, brass, and more. Create impressive loops in a flash with the pattern sequencer and built-in drum kits, and explore expressive vocal textures with the gooseneck mic, Vocoder, and AutoPitch.