Which synthesizer for which music style?

[Antoine]

Hi everyone,

We are often asked this kind of question, and responses vary depending on who replies.
Aside the fact that any well-specified synth can produce more or less any "analog" sound, each model has its proper color and could be more targeted to some music styles than others.

To guide the newcomers, confront the ancients' experience, or even raise yet unheard synth usages, please let us know what synthesizer do you find the most adequate for your style of music.

Okay let's start the thread, for my intervention I will arbitrarily reduce the range to electronic music, and of course I mean "programming", not "preset browsing": 

• Jupiter-8V: well known for Trance arpeggios, but can also produce abrasive Dn'B leads
• Prophet-V/VS: more convenient for EBM/TBM basslines
• MiniMg-V: phat basses for House tracks
• ARP-2600V: Electro, but TBM and Hardcore as well (I really love its filthy filter!!!)
• Mg Modular V: 9 oscillators for guts-disturbing Dub & Dubstep basses
• CS-80V: difficult to define, as it can do about everything, particularly cosmic pads (but angry basses as well)

Of course, all this is highly subjective and should not be taken for more than a sole person advice. But hey, we are in the "Free Speech" zone after all! 

And you, yes you, which synth do you find particularly suitable for which music (not only electronic)?

[Sweep]

2600V - a very organic sounding synth, warm, liquid, beautiful. Filters rich and harmonically pleasing when used with lead lines. See `Intervening Shoreline' on my website. I've never heard anyone achieve these sounds with a hardware 2600.

Mg Modular V - capable of rich and complex sounds, including sounds that aren't usually associated with analogue synths. See `Rainfall in Kyoto' on my website. It also does the most beautiful bell sounds.

MiniMg V - capable of an organic richness that differs from my Mg Voyager. The two synths overlap but also each does things the other doesn't. Polyphony is nice, too. This synth excels at manually playable sequences via the arpeggiator. See `Waikato' on my website when it's up there (soon) - Berlin school sequencing with real manual control.

CS80V - capable of real delicacy. Gentle, fragile sequences, warm leads and pads. I did a demo a couple of years ago mostly using the CS80V and the person who received it was very surprised to find a computer had been involved at any point, the whole thing sounded so `natural.'

It also did a great Jon Hassell style electric trumpet on `For Jon Hassell' (about three minutes into the piece).

BTW the site's at http://sweep.infinite9ths.com  in case anyone doesn't know.

[Sweep]

As I mentioned, the sounds I appreciate getting with the MMV differ massively from the gut-wrenching dub sounds suggested by Antoine - which shows just how versatile this instrument is.

Thinking of the MMV in terms of sheer sound quality (when used with a really good soundcard), I've just completed a piece for Balinese flute and various percussion instruments. Most of the percussion is done with samples that I made myself from a Balinese gamelan instrument and from various other things from kalimba to cowbell.

But some of the most beautiful percussion tones come from the other instrument I used - the MMV. It easily holds its own when placed among acoustic instruments. You'd think the context with acoustic sounds would show up tonal limitations with the softsynth, but not at all. The MMV easily sounds as good as or better than the acoustic instruments - and with sounds that you wouldn't normally expect to be that good from an analogue design of synth. You'd expect to use FM or similar for this level of synthesis of bell tones. The MMV is that good.