Erica Synths SYNTRX

Analog Desktop Synthesizer

  • 3 VCOs with a wide tonal range (1Hz - 10 kHz for VCO1 & 2, 0.05 Hz - 500 Hz for VCO3)
  • 2 Mixable waveforms per oscillator (incl. waveshaping)
  • V/Okt. tracking via up to 8 octaves
  • Switchable synchronisation of VCO2 to VCO1
  • Noise generator with filter
  • Low-pass filter with resonance
  • Sample & Hold generator
  • Ring modulator
  • Function generator with AD-, ASR- and loop mode
  • 2 VCAs with panorama control
  • 2 Output filters with infinitely adjustable crossfading from low-pass to high-pass
  • Assignable joystick with attenuator for X- and Y-axes
  • Integrated spring reverb with mix and feedback control
  • VU meter for displaying control voltage or audio level
  • 2 Built-in active speakers with mute switch
  • Switchable between line and microphone levels
  • Digitally controlled modulation matrix with 16 sources and 16 destinations
  • Memory for 256 patches
  • Dimensions (W x D x H): 457 x 309 x 115 mm
  • Weight: 4.05 kg
  • Includes an external power supply (12V DC)
  • Suitable optional case: Art.506035 (not included)

Connectors:

  • 2 CV inputs: 6.3 mm jack
  • 1 Gate input: 6.3 mm jack
  • 2 Audio inputs: 6.3 mm jack
  • 2 Audio outputs: 6.3 mm jack
  • 1 Stereo headphone output: 6.3 mm jack
  • 1 MIDI In/Thru: 5-pin DIN

Further Information

Design Desktop
Polyphony 1
Sound Generation Analogue
Storage Medium Internal
USB-port No
Effects Yes
Arpeggiator No
Number of Analog Outputs 2
Digital Output No
Display No
4 Customer Ratings
  • 5
  • 4
  • 3
  • 2
  • 1
5 /5
  • handling
  • features
  • sound
  • quality
Total
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Not for everyone – but excellent
The Professor, 10.05.2021
Let's start with this: not everyone will like (or need) this synth. The "pin matrix" design is hugely flexible, but also complex; the sound can be gnarly and unruly; and you know that famous vintage machine that it bears a passing resemblance to? Sounds nothing like it.

But for sound-design, inspiration and all-round sonic weirdness, it's unsurpassed. Happy accidents pour out of it. The basic structure is two main VCOs (with quite complex waveform options) plus an LFO which stretches up into the audio spectrum (so can act as a good sub); plus various colours of noise; a "trapezoid" envelope generator; and a variable state self-oscillating filter. Adding to the fun are "output filters" (ie tone controls), built-in speakers with a grungy lo-fi tone, a very neat joystick controller (fully assignable via the patch matrix), a sample-and-hold circuit that can take its feed from the Noise or from Osc 3; and a built-in spring reverb tank. There's a LOT of cool stuff to get your teeth into here.

The video demos I've seen on YouTube have tended towards the "tweak all the knobs and make it howl and squeal" kind of approach, which is cool but gives the impression that all the SynTrx can do is sound like a shortwave radio in distress. In fact, if you hook a MIDI cable into it, it plays with solid tuning across a wide octave range and is eminently usable for leads, basses etc. Sample its outputs and you can generate really unusual, complex pads from this thing, too.

At its heart I'd say this is a sound-design machine – a Pandora's box of sonic excitement :-) There are probably better monosynths out there for "standard" lead and bass duties, and the SynTrx isn't cheap; so it'll come down to whether its brand of strange and unruly sonic joy is worth it to you. Almost certainly not a first synth, but I'm absolutely loving mine and having a blast sampling it into the EPS to make it polyphonic...!
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de Original review (Show translation)
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Endlich!
WilhJohM, 23.03.2021
Der Platz für ein Gerät der britischen Firma EMS war in meinem - zugegebenermaßen bereits gut bestückten - Heimstudio bisher noch immer leer. Der Traum vom Synthi A(KS) oder VCS3 war jahrelang immer am fehlenden Kleingeld bzw. der horrenden Preise auf dem Gebrauchtmarkt und den auch nicht gerade niedrigen Preisen für ein (refurbished oder neues) Gerät bei EMS/Rehberg selbst (Wartelisten und jahrelange Wartezeiten!) gescheitert. Umso erfreulicher, daß die Firma Erica Synths jetzt den Syntrx ins Rennen geschickt hat. Zwar auch kein Schnäppchen, da ebenfalls keine Massenware, aber definitiv günstiger als die Originale oder die wenigen Klone am Markt. Zwar hat Behringer vor einiger Zeit seinen VCS-Klon geflasht, aber ob und wenn ja, wann es ihn geben wird, ist z.Zt. noch unklar. Außerdem: der Syntrx ist kein Klon im eigentlichen Sinne, denn die Schaltungen wurden laut Erica von Grund auf neu entwickelt und nahezu 1-1 in das EMS-Bedienkonzept integriert. So finden sich einige erfreuliche Erweiterungen wie ein Oktavschalter beim Oszillator 1, Sync bei Oszillator 2, eine Sample-and-Hold-Einheit bei Oszillator 3, Feedbackregler für den Federhall, statt der störanfalligen Pin-Matrix eine digital gesteuerte Matrix, die das Speichern von Patches (jedoch nicht der Reglerstellungen!) erlaubt sowie serienmäßig ein MIDI-Interface. Die Fertigungsqualität kann man nur als sehr gut bezeichnen. Built like a Tank! Der Sound ist über jeden Zweifel erhaben, wobei ich mangels Original nicht direkt beurteilen kann, inwieweit dieser tatsächlich mit dem eines AKS oder VCS3 übereinstimmt. Dank der über 8 Oktaven stimmstabilen Oszillatoren ist der Syntrx in der Lage, auch Tonales und Melodisches ohne Schwankungen wiederzugeben, während den Originalen bekanntlich immer der Ruf einer Effektmaschine anhaftete, die für Melodielinien nur sehr bedingt einsetzbar war. Die Bedienung und das Erstellen von Sounds bedürfen allerdings eingehender Beschäftigung und Übung, auch wenn man über einschlägiges Wissen in Sachen Synthesizer verfügt, denn das Bedienungskonzept ist recht eigenwillig und bisweilen gar trügerisch ob der augenscheinlich recht überschaubaren Anzahl von Bedienelementen und Verschaltungsoptionen. Man lernt jedoch schnell und mir persönlich macht es einen Riesenspaß, zu versuchen dieses Biest zu zähmen. Man könnte darüber streiten, ob die Patch-Optionen der Matrix trotz modernerer Schaltungen nicht allzu dicht am Original gehalten worden sind - Stichwort fehlende Modulationsmöglichkeiten der Oszillator-Wellenformen oder der Filterresonanz, aber das ist m.E. Jammern auf hohem Niveau. Der wie beim Original eingebaute Federhall ist wegen der bauartbedingten Rückkopplungsanfälligkeit in vielen Fällen besser wohldosiert einzusetzen, es sei denn, man bezieht die damit erzeugten Feedbackschleifen absichtlich in sein musikalisches Konzept mit ein, was durchaus so vorgesehen ist. Wie sein Vorbild ist der Syntrx ein Instrument für Spezialisten, die bereit sind, sich darauf einzulassen und die dafür mit einzigartigen Klängen und jeder Menge Spielspaß belohnt werden. Ich werde meinen jedenfalls nicht wieder hergeben!
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de Original review (Show translation)
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Ich muss neu lernen ;-)
Schwertmaid, 27.10.2020
1979 lötete ich meinen ersten Synth zusammen und dachte bisher, ich kenne mich mit Synthesizer aus...
Bei diesem EMS VCS Nachbau ist alles anders und ich muss erst lernen, wie DIESER Synth funktioniert, habe allerdings schon das klassische Potential der Maschine erfasst... Aber noch beherrscht er mich (-: aber nicht mehr lange :-)
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B-Stock from kr23,290 available
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