IK Multimedia

ilter types can be modulated by a dedicated
envelope and ive diferent LFO shapes.
The ilters are available universally,
throughout the entire suite, and by way of
helpful clues, the ilters are often preixed by a
letter; M-type relates to a Moog-style ladder
ilter, C-type replicates the Curtis chips found in
Prophets and OBXa synths, with further ilter
facsimiles from Roland and the Oberheim SEM.
Some of the ilters also ofer a variable state
which can include high, band and notch-pass
iltering, alongside the prerequisite low pass. We
also really loved the formant ilter, providing
vocalise as a stylish alternative to the original
low-pass default.
New sounds abound
One of the many highlights of this updated suite
would be the addition of 11 new synth models.
With so many of the classics already in situ,
there are some interesting alternatives, ranging
from the Octave Cat and Synergy ii+, to the
Moog Source, OSCar and Waldorf Microwave.
These could probably justify the price-tag alone,
but with the existing 22 synths, Syntronik 2 feels
very complete.
We’re not rich enough to be able to compare
all of the synths to the originals in sonic terms,
but you get some way to being able to do so
when you throw open the versatile architecture,
with the ability to mix and swap ilters. What is
assured is the earthiness and realism in the
sound; the depth in the basses and lower mids is
substantial across the board. Some classics
didn’t always perform so well in the lower
echelons, but the lexible programming
architecture allows any gripes to be altered
eiciently. It just depends what you want for
your mix, and in this, Syntronik plays a blinder.
Stack attack
Editing can be undertaken within the
environment of a standardised universal view,
which provides an eicient way of getting at all
of the editable content. It also opens the
modulation matrix, which provides deep
complexity for programming mutations. But for
our money, we love the visual treat of the
original machines in GUI form as IK have spent
quite a bit of time recreating lovely eye candy.
If the raw individual patches and
programming options aren’t enough for you,
there’s always the layering mode, where up to
four synth patches may be stacked, either as a
full multi-patch in itself, or with capacity for
simple key-zoning. Add in 71 efects and
processing elements, and a programmable
arpeggiator, and Syntronik 2 adds up to a
sizeable tome of synth goodness.
Vintage finality
There’s an awful lot that we like about this suite;
the sheer wealth of hearty sampled vintage-
ness, the capacity to make the samples sound
analogue, and then there’s the beautifully
designed GUIs. The GUIs are large in scale and
very desirable as a result, with more elaborate
programming capacity from within the universal
editing display. You get the feel of the originals,
without the component failure and excessive
pricetag, alongside a bewildering choice of
popular stalwarts and unique oddities. It’s an
abundant collection with plenty for musicians
and producers, from all walks of genre.
Web ikmultimedia.com
IK Multimedia
Syntronik 2 MAX €399
Verdict
For Comprehensive suite of classics
Full bodied sonic architecture, derived
from samples
Mix-and-match ilter employment
Layering capability is impressive
Against Preset selection takes time
Not always entirely faithful
A worthy compendium of classic synths
that ofers great samples alongside nicely
crafted iltering options and stylish GUI
9/10
Alternatively
UVI Vintage Vault 3
€599
A blistering collection from UVI,
which also adopts a sampled route
to audio, from 250 classics
Arturia V Collection 8
292 » 10/10 » €599
Goes way beyond analogue, with
representations of digital classics,
such as the Fairlight CMI
When it comes to packages which ofer
a calling toward the vintage classics,
they tend to fall into one of two camps;
sampled or modelled. The process of
sampling has largely come of age, as
represented by the colossal sampling
suites that will allow you to recreate an
entire symphony orchestra. By and
large, sampled synths don’t require
anything like as much sampling
capacity, when compared to their
acoustic counterparts, unless you want
to create literal synth patches,
generated by the original machines
themselves. The modelled alternatives
tend to do the math(s) in the computer,
calculating the sound in real-time.
Some might argue that this can ofer a
more realistic experience, but the
reality is that it’s down to a sum of
parts. In the case of Syntronik 2, IK have
prepared a truly wonderful set of
samples, drawn from the original
machines. The genius is through the
application of a number of ilter types,
which all exhibit diferent behaviours
and sounds, meaning that you could
apply a Roland ilter to a Moog sound
source, or any other permutation that
you might care to justify. It’s very easy
to get bogged down by the process, but
with so many products on the market
projecting similar values, the argument
should be more about use, lexibility
and just how good it sounds, and in all
cases, Syntronik 2 scores very high.
Sampled vs modelled
Full enchilada or stripped down package? Check the
website for the breakdown of costs
“We’re not rich enough
to be able to compare
to the originals, but
what is assured is the
earthiness and realism
in the sound”
5. Pick a filter, any
style, any shape!
March 2022 / COMPUTER MUSIC / 69
ik multimedia syntronik 2 max / reviews <
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