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Article from Electronics & Music Maker, February 1986

A complete rundown of all the polysynths, voice expanders and remote keyboards currently available - plus the comments of our reviewing team on each of them.

E&MM's buyer's guide to end all buyer's guides, with a rundown of all polysynths, voice modules and remote keyboards currently available and soon to be unveiled.

This, ladies and gentlemen, is the only regularly published, regularly updated price guide in the modern musical instrument scene - something that's made it essential reading for musicians the length and breadth of the UK, and beyond.

But Checklist is more than just a price guide in the conventional sense. Because as well as listing available products and their typical selling prices, we also include some brief specification details, and the comments - for, against, and summing-up - of E&MM's reviewing team where possible. That way, you get some idea not only of what machines are available, but also of their relative specifications and how they compare in performance terms.

February is traditionally Frankfurt Musikmesse time, which means the biggest single unveiling of new machines in the musical instrument calendar. We already have preliminary details of some of the synthesisers that'll be on show in Germany this month, and many of these appear in the list below - though obviously, our comments will have to wait until the gear passes through our reviewers' hands. Among the most intriguing of Frankfurt's launches will be Sequential's new Prophet VS, which features a new sound-generating process known as Vector Synthesis; Akai's AX60 budget polysynth, which first appeared in prototype form back in August '85, but which has been extensively refined since; and a new low-cost machine from the company who currently make the world's bestseller — Korg.

If Checklist has a somewhat half-complete look to it this month — Frankfurt is the reason why. Next month's E&MM will contain a full report on the exhibition's proceedings, and, to coincide with the currently burgeoning interest in sound-sampling, a subtle re-structuring of Checklist to include all available sampling machines, from the cheapest modified delay unit, to the most complex computer-based keyboard system.

See you then; same time, same place.



AX60 - £TBA Six-voice, two-oscillator per voice analogue polysynth; 16 preset/programmable voices, five-octave keyboard, stereo chorus, arpeggiator; filter envelope and chorus can be used to edit samples on S612 sampler. Due for release early Spring 1986. To be reviewed.

AX80 - £799 Eight-voice, two-oscillator per voice analogue polysynth; 32 preset and 64 programmable onboard voice memories, five-octave velocity-sensitive keyboard.
+ Three LFOs, chord memory, good keyboard, excellent bar graph system makes digital parameter access more user-friendly;
- doesn't really possess any sonic character of its own;
= recent price reduction makes Akai's first synth more attractive than it previously was. Yer pays yer money...


CZ101 - £345 Four/eight-voice, two/one DCO per voice, Phase Distortion polysynth; 16 preset and 16 programmable voice memories, four-octave miniature keyboard.
+ Excellent range of both 'analogue' and 'digital' synth sounds, five-octave MIDI-compatible octave range, voice layering, comparatively easy to program, built-in ring modulator, 16-voice RAM cartridge storage, eight-stage transient envelopes, fine MIDI implementation;
- small, short keyboard, awkward bend wheel;
= revolutionary Phase Distortion principle offers value for money without sonic compromise - if you can stand the mini-keyboard.

CZ1000 - £495 Spec as for CZ101, but with full-size, four-octave keyboard.
= The professional's Casio: nothing around to beat it for versatility, ease of programming and MIDI features at this price level.

CZ3000 - £695 Spec as for CZ5000, but without sequencing facilities and memory dumping to tape.
= Not just a clever bit of Casio re-packaging, synth is genuine alternative to top-of-range 5000, for people who'd prefer not to have to pay for sequencer.

CZ5000 - £975 Eight/16-voice, two/one oscillator per voice Phase Distortion polysynth; 32 preset and 32 programmable voice memories, five-octave keyboard, built-in eight-track step- and real-time sequencer.
+ Twice the 101/1000's synth facilities means correspondingly greater sound potential, excellent multitrack sequencer is far more than just last-minute afterthought, useful multitimbral MIDI implementation;
- undynamic keyboard, no separate outputs for multitimbral voices;
= the last word in Phase Distortion synthesis, and it works a treat - so don't let the name put you off.


Bit 99 - £699 Six-voice, two-oscillator per voice analogue polysynth; 63 programmable voice memories, five-octave velocity-sensitive keyboard.
+ Superb range of analogue sounds, both acoustic and electronic, plenty of keyboard performance options;
- no sequencing or arpeggiation features;
= all in all, probably the best budget analogue poly, now has better MIDI implementation and programming facilities than Bit One predecessor, and at a lower price, too.


POLARIS - £1699 Six-voice, two-oscillator per voice analogue polysynth; 132 programmable voice memories, five-octave velocity-sensitive keyboard.
+ Good, rich analogue sound, neat onboard sequencer, extensive interfacing facilities include wide range of MIDI options;
- complicated to use, overpriced, some design priorities now outdated;
= a synth with a lot of potential for those with enough patience to exploit it, but the competition is already too tough, and getting tougher all the time.


Synthex - £999 Eight-voice, two-oscillator per voice analogue polysynth; 40 preset and 40 programmable voice memories, five-octave keyboard.
+ Considerable (but largely ignored) sonic versatility, split and layering facilities using two MIDI channels, onboard four-track sequencer, digital ring mod;
- not much, though it won't sound like a DX7;
= good facilities for its (recently reduced) asking price: if this is your sound, go for it.


Poly 800 - £449 Six-voice, two-oscillator per voice analogue polysynth; 64 programmable voice memories, four-octave keyboard.
+ Competitive price, three six-stage envelopes, onboard sequencer and chorus unit, portability;
- only one filter for all six voices, short keyboard,
= the world's best-selling polysynth, in spite of its limitations.

DW6000 - £699 Six-voice, two-oscillator per voice, digital waveform generation polysynth; 64 programmable onboard memories, five-octave keyboard,
+ First synth to combine clarity of digital voicing with easy access of analogue synth configuration, six-stage VCA & VCF envelopes, built-in chorus;
- keyboard has no velocity or aftertouch sensitivity, poor feel of performance control joystick;
= the polysynth world's biggest technological compromise - but it works, and you can pick it up very cheaply now.

DW8000 - £1075 Similar in spec to DW6000, but with pressure- and velocity-sensitive keyboard, built-in DDL.
+ Factory presets are more impressive than 6000's, DDL is more than just a gimmick, dynamic keyboard makes a big difference;
- feel of keyboard and joystick could be better, digital access system little improved by new panel layout;
= corrects most of the DW6000's faults, yet costs less than its predecessor did when it was launched - therefore a real contender.


Matrix 6 - £1750 Six-voice, two-oscillator per voice analogue polysynth; 100 single and 50 multipatch voice memories, velocity- and pressure-sensitive five-octave keyboard.
+ Unparalleled complexity and versatility of synth section means huge quantity of different available sounds, quality is good, too;
- of all the synths that shouldn't have digital parameter access, this one has the worst programming compromise;
= traditional analogue poly that makes brilliant use of modern technology, makes Oberheim quality affordable thanks to new Japanese manufacture, so demand is already outstripping supply.

Matrix 12 - £4599 Spec similar to that of two Xpanders controlled by dynamic keyboard - see Xpander entry for details.


Voyetra 8 - £3999 Eight-voice, two-oscillator per voice analogue polysynth; 100 programmable voice memories, velocity- and pressure-sensitive five-octave keyboard.
+ Excellent sonic potential in the American analogue tradition, built-in polyphonic sequencer and arpeggiator, comprehensive split and layering facilities;
- hideously involved system of parameter access makes editing a real chore, dollar-inflated price-tag, difficult to get hold of in UK;
= competent, professional synth system - at a price.


Alpha Juno 1 - £575 Six-voice, one-oscillator per voice analogue polysynth; 64 preset and 64 programmable voice memories, four-octave keyboard.
+ Best-sounding Juno yet, light weight and compact size, backlit display;
- short, non-velocity sensing keyboard, sound lacks individual character, 'Alpha dial' doesn't make digital access system much easier;
= takes state of the Juno art appreciably further, but see Juno 106.

Alpha Juno 2 - £799 Spec as for Alpha Juno 1 but with five-octave, velocity-sensitive keyboard.
= Better suited to role of main poly instrument than the Alpha Juno 1, but for correspondingly more money.

Juno 106 - £699 Six-voice, one-oscillator per voice analogue polysynth; 128 programmable voice memories, five-octave keyboard.
+ Ease of use, built-in chorus;
- beginning to sound a little dated;
= a classic among budget polysynths, to some degree overshadowed by new Alpha Junos, but proper, non-digital controls mean it's still a contender. Also available: Synth Plus 60 (£899), circuitry of Juno 106 in domestically-acceptable format (built-in amp and speakers), unlikely to venture far outside the average living room.

JX8P - £1199 Six-voice, two-oscillator per voice analogue polysynth; 64 preset and 32 programmable onboard voice memories, five-octave pressure- and velocity-sensitive keyboard.
+ Another example of Roland squeezing new sounds out of old design techniques (the 8P competes with the best of the analogues), voltage controlled mixer section, RAM cartridge voice storage, good MIDI implementation;
- only eight memories hold aftertouch and performance data, requires optional PG800 programmer for sound editing to become straightforward;
= lacks character, but ultimately a rewarding and versatile analogue poly that proves Roland aren't going to be left behind without a fight. Coming soon-top-line JX10 with 12 voices, 76-note keyboard, aftertouch, price around £1900. (To be reviewed.)

Jupiter 6 - £999 Six-voice, two-oscillator per voice analogue polysynth; 48 programmable voice memories or 32 patch presets (for split programs), five-octave keyboard.
+ Inherently flexible and versatile programming system, excellent sonic potential, split-keyboard facilities, sophisticated - and syncable - arpeggiator;
- no velocity- or pressure-sensitivity, might just have too many facilities for its own good;
= excellent analogue synth that continues Jupiter tradition admirably, but complex control layout has meant shortage of takers, hence newly attractive price level.


MAX - £399 Six-voice, one-oscillator per voice, multi-timbral analogue polysynth; 80 preset voice memories, four-octave keyboard.
+ As SixTrak;
- also as SixTrak, but not readily user-programmable without CBM64 and software;
= tries to be computer peripheral and voice expander in one, succeeds in being neither.

SixTrak - £499 Six-voice, one-oscillator per voice multi-timbral analogue polysynth; 100 programmable sound memories, four-octave keyboard.
+ Unique (in this price range) multi-timbrality extends to built-in six-channel sequencer, 'stack' mode and MIDI;
- awkward parameter adjustment, short keyboard, synth doesn't actually sound too impressive;
= in the process of being displaced by newer MAX and MultiTrak, therefore very cheap.

MultiTrak - £799 Six-voice, one-oscillator per voice analogue polysynth; 100 programmable voice memories, five-octave, velocity-sensitive keyboard,
+ Adds 'professional' facilities to SixTrak spec;
- doesn't add anything better in the sound department;
= new low price, and the only choice if you value sequencing and MIDI facilities above sheer sonic potential.

T8 - £3499 Eight-voice, two-oscillator per voice analogue polysynth; 128 programmable voice memories, six-and-a-half octave keyboard sensitive to pressure and velocity,
+ Excellent analogue sound capability, weighted-key action and individual aftertouch for each key, fine split and layering facilities, built-in sequencer;
- heavy on the hand and even heavier on the wallet;
= professional instrument at a professional price.

Prophet VS - £TBA Eight-voice polysynth using new Vector Synthesis technology. Five-octave, velocity-sensitive keyboard, stereo chorus. To be reviewed.


DK70 - £399 Portable synth with spec similar to DK80. To be reviewed.

DK80 - £499 Six-voice, two-oscillator per voice analogue polysynth; 10 programmable and 40 preset voice memories, velocity-sensitive five-octave keyboard,
+ More facilities for the money than just about anything;
- 40 fixed memories, basic sound could be better;
= really astonishing value for money, even better now that distribution has changed hands, even if first impressions might not be all that favourable.


MK1 - £TBA 16-voice polyphonic Fourier Synthesis polysynth; five-octave velocity-and pressure-sensitive keyboard. To be reviewed.


DX100 - £349 Eight-voice, programmable FM digital polysynth, 192 internal factory preset sounds, 24 programmable voice memories, 96 performance memories, four-octave mini keyboard,
+ Excellent sounds (many shared with DX21), portability, performance memories, mains and battery operation, velocity-sensitive via MIDI;
- small size makes programming fiddlier than ever, professionals won't like small keys;
= potentially, the synth that could bring FM to millions of non-musicians, makes an excellent MIDI voice expander for pro players.

DX27 - £499 Spec as for DX100, but with full-sized, five-octave keyboard. To be reviewed.

DX21 - £699 Eight-voice, programmable FM digital polysynth; 128 internal factory preset sounds, 32 programmable voice memories, 32 performance memories, velocity-sensitive over MIDI, five-octave keyboard.
+ Broad selection of factory sounds that rival DX7's for quality, useful voice-specific performance memories, inclusion of split and dual modes, probably easier to program than first-generation DXs, cheap;
- undynamic keyboard, no cartridge storage facilities, could still do with a better display;
= only the first in Yamaha's three-pronged assault on the march of the budget polysynth, and mightily impressive, shows company haven't been resting on DX7 laurels.

DX7 - £1250 16-voice, fully programmable FM digital polysynth; 32 voice memories, five-octave velocity- and pressure-sensitive keyboard.
+ Immense sonic and programming versatility still unmatched by any competing instrument, vast range of custom-designed hardware and software now available to accompany it from a variety of sources;
- a real pig to program, hence many preset sounds becoming cliched, still niggling doubts about its ability to recreate fat, traditional analogue synth sounds;
= an industry standard like no synth before it, and justifiably so - if only it was as easy to edit as it is to listen to...

DX5 - £2999 FM digital polysynth, spec similar to two DX7s with additional performance memories; 76-note touch- and velocity-sensitive keyboard.
+ Excellent sound and facilities;
- beaten on price by Yamaha's own DX7/TX7 combination;
= now you've a choice between convenience and cost, though sizeable back orders for the DX5 indicate some people are wealthier than is good for them.

DX1 - £8999 16-voice polyphonic, FM digital polysynth; 64 programmable voice memories, six-octave velocity- and pressure-sensitive keyboard.
+ Easier editing than cheaper DXs thanks to comprehensive control and display layout, marvellous weighted-action keyboard has individual aftertouch for each key;
- bulky, weighty and outrageously expensive;
= thoroughly desirable - the ultimate dedicated FM poly, but logic says it's outclassed by cheaper hardware from the same stable.



VX90 - £TBA Similar facilities to AX80 poly, but in 19" rack-mounting format. To be reviewed.


Bit 01 - £699 Similar in spec to Bit 99 poly, in rack-mounted casing.
+ Puts excellent analogue sounds in a modular format well-suited to the needs of digital synth owners, factory presets are sonically matched to corresponding Bit 99 voices, rack-mounting convenience;
- a little pricey next to Bit 99, still the odd MIDI hiccup;
= stands out as being the most cost-effective analogue unit in its price bracket - more MIDI modules promised by Italian factory for release in near future, including sampler for Frankfurt release.


EX800 - £249 Identical in spec to Poly 800: 64 programmable voice memories, built-in sequencer.
= All the plus and minus points of Poly 800, but now ridiculously cheap, thus a splendidly affordable analogue expander.

EX8000 - £TBA Identical in spec to DW8000: built-in digital delay. To be reviewed.


Xpander - £3945 Six-voice polyphonic analogue/FM digital hybrid synthesiser; 31 LFOs, 30 EGs, 12 oscillators, 90 VCAs, 100 programmable voice memories, recognises MIDI pressure and velocity information.
+ Vast range of sounds both analogue and digital, easier to program than most digital access designs, matchless programming versatility;
- only the cost;
= brilliantly conceived and superbly built - if you can afford it, don't hesitate.


MKS7 - £950 Rack-mounting MIDI voice module incorporating separate melody, chord, bass and rhythm units. To be reviewed.

MKS10 - £895 Sixteen-voice polyphonic piano-family voice module, velocity- and pressure-responsive, 16 preset voice memories.
+ Neatly styled, built-in chorus/flanger helps strengthen sound output;
- eight voices accessible through mother keyboard only, expensive for what it is;
= only really of value if you've got a keyboard - and a playing technique - that'll do it justice.

MKS20 - £1200 Piano module using new resynthesis system of sound-generation, available April. To be reviewed.

MKS30 - £775 Same overall spec as discontinued JX3P poly, but 64 programmable voice memories, responds to velocity and pressure information.
+ It doesn't sound bad;
- requires optional PG200 programmer for conventional 'pot' control;
= as modules go, not particularly inspiring.

MKS80 - £1800 Similar spec to discontinued flagship Jupiter 8, but improved: eight-voice polyphony, two oscillators per voice, 64 voice memories and 64 patch preset memories onboard, fully responsive to velocity and aftertouch information,
+ Wonderful range of analogue-type sounds, optional RAM packs can hold 128 voices or patch presets;
- again, requires optional programmer (this time the MPG80) for editing not to be a chore;
= an excellent package, notably good value next to other Roland modules, but price puts it firmly in the professional league.


Expander 80 - £299 Similar in spec to DK80 poly, but only monotimbral.
+ Incredibly cheap, so lots of features for your money, cartridge storage facility unexpected on a machine of this price level;
- presets are identical to DK80's, hence more than a few sonic disappointments;
= currently one of the cheapest ways into analogue MIDI synthesis, and a godsend to the impoverished - it's not brilliant, though.


TX7 - £599 Identical in spec to DX7, with addition of performance memories for each voice,
+ A logical upgrade for all DX7 owners;
- but not so much fun if your controlling synth is analogue, as you won't be able to program it without software;
= Yamaha's most economical route to FM duplication.

TX216 - £1899 Two DX7s (or one DX5) in rack-mounted format, with facility for adding TF1 modules (one DX7's worth) at £449 each. For comments see TX816.

TX816 - £3999 Essentially eight DX7 voicing modules in one rack, each with its own MIDI connection,
+ Who could say no to eight DX7s?
- MIDI implementation could be better;
= the ultimate FM music synthesiser - no self-respecting studio should be without one.



MX76 - £TBA Six-and-a-half octave, velocity-and pressure-sensitive, weighted-action splittable keyboard; 96 voice selectors. To be reviewed.


Bit Masterkeyboard - £499 Six-octave keyboard sensitive to velocity and aftertouch, MIDI filtering facilities, built-in sequencer, three-way keyboard split. To be reviewed.


RK100 - £475 Three-and-a-half octave portable keyboard with volume, pitchbend, modulation controllers, 64 voice selectors.
+ Price, spec includes thoughtful touches like lockable MIDI connectors;
- octave range sacrificed in the cause of portability, no dynamics;
= all things considered, the best-value 'poser's keyboard' currently available.


Axis 1 - £799 Three-and-a-half octave portable keyboard with volume, pitchbend, modulation controllers, velocity- and pressure-sensitivity, 120 voice selectors. To be reviewed.

MKB200 - £599 New 61-note controller keyboard, sensitive to velocity and aftertouch. To be reviewed.

MKB300 - £799 76-note mother keyboard, velocity-sensitive, split and layering facilities, 128 voice selectors, volume, pitchbend, modulation controls.
+ Sturdy construction, looks;
- price;
= overshadowed, in most respects, by MKB 1000.

MKB1000 - £1199 Velocity- and pressure-sensitive 88-note keyboard, overall volume, pitchbend, modulation controllers, 128 voice selectors, MIDI split and layering facilities.
+ Excellent action from weighted wooden keys, superlative construction;
- no individual level controls, lack of remote programming facilities, price;
= another professional people's product, though even they might find its acquisition hard to justify.


KX5 - £199 Identical in spec to KX1, but miniature keys. To be reviewed.

KX1 - £699 Three-and-a-half octave, velocity-and pressure-sensitive keyboard, volume, pitchbend, modulation controllers, 32 voice selectors. To be reviewed.

KX88 - £1299 88-note velocity- and pressure-sensitive weighted keyboard, 17 user-assignable performance controllers, split and layering facilities.
+ Vast range of performance options, onboard programming facilities coupled with user-assignable parameter control area, keyboard adds new dimension to many DX voices;
- keyboard has slightly spongey feel absent on DX1;
= more of what a master keyboard should be, but is a piano-type keyboard the best medium for applying aftertouch?

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Publisher: Electronics & Music Maker - Music Maker Publications (UK), Future Publishing.

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Electronics & Music Maker - Feb 1986

Scanned by: Stewart Lawler


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