NYCSYNTH

The Ensoniq SQ-80 is a hybrid digital/analog synth that utilizes wavetable oscillators and analog filters using CEM chips. It earns a five star review from me because of its unusual feature set. Its three-oscillator-per-voice architecture is unusual for the era, and while lacking "knobs", it has arguably one of the best button-based interfaces for a synth of the era. Additionally, it provides analog-synth style features like ring modulation and oscillator sync, which are rare on digital synth of the era. Like its predecessor, the ESQ-1, it is a stereo synth that allows voices to be panned in the stereo field. It is almost identical in function to the ESQ-1, and indeed can load ESQ-1 patches, but adds additional waveforms as well as aftertouch. And let's talk about aftertouch! The SQ-80 is one of the only synths of the era (along with some other Ensoniq synths) to provide **polyphonic** aftertouch, as opposed to channel aftertouch. Many modern synths such as the Novation Peak, Summit, and soft synths like Arturia's clone of the Yamaha CS-80, can be configured to respond to poly aftertouch. Other than that, the keybed is not spectacular, in my opinion. It has a very light touch, and some complain that it is "clacky", an issue that can only be resolved through a hard-to-find bushing replacement kit. (Check Syntaur for these.) On the plus side, the design of the keybed was state-of-the-art for its day, and due to the way it works, does not really have parts that can wear easily. Along those lines, it should last a lifetime. Those looking for the SQ-80 sound on a budget (without poly-aftertouch) should check out its cheaper, more popular cousin, the ESQ-1.

The Novation Summit is a monstrous synthesizer with vast sound design capabilities. It is easily one of my favorites.

The Kawai K3 (and K3m) is a hybrid digital / analog synth that uses wavetable oscillators and an analog filter section using the legendary SSM2044 filter chips, which some say are the best sounding filter chip made. Despite not having knobs, the front panel contains dedicated buttons for parameters and is fairly easy to edit. There are also software (and hardware) editors available for this synth. In addition to standard waveforms, the K3 has several interesting waveforms oriented towards bells and traditional instruments. There is also a programmable additive waveform that is constructed using partials, a hint to their later forays into additive synthesis with the Kawai K5 and Kawai K5000. This synth lacks some features like PWM, but it has a great bottom end and is a favorite of mine for pads and bass sounds. Overall, I think this is an underrated piece of gear; those who own it would rarely consider parting with it. The rack module is, in my opinion, the preferred (but more rare) synth, because the keyboard only has one wheel (as opposed to the pitch bend AND modulation.)

The Kawai XD-5 is a digital rackmount synthesizer that is optimized for drums and percussion. Nearly identical in architecture to the Kawai K4/K4r synthesizer, the unit provides 256 ROM-based samples with a mix of attack sounds and waveform cycles, up to 4 of which can be combined in a patch. Modulation can be achieved via routing velocity, after touch, and an LFO to various parameters. The XD-5 also includes a resonant low pass filter. The XD-5 does not include dedicated trigger inputs for drum pads like many of its contemporary counterparts. However, as a true synthesizer rather than simply a ROM playback unit, it is far more flexible when it comes to sound design. Additionally, in addition to its dedicated stereo mix output, the XD-5 provides 6 additional outputs for routing sounds to dedicated mixer channels. If you're looking for a very unique source of drums and percussion sounds, are a sound designer, and don't mind some menu diving (although the interface is rather intuitive, and there are editors available) then the XD-5 is a sleeper. People are starting to catch on to this and prices seem on the rise. Get yours before prices go to the stratopshere!