Syntronik 2 sets the new standard in modern virtual synthesizers. IK’s advanced sampling techniques, combined with a hybrid sample and modeling synthesis engine, power a comprehensive collection of rare and sought-after synths with stunning sonic accuracy and the deepest editing.
This is a massive update to the previous release, adding 11 new synths, exciting new, advanced, and much-requested functionality, and a huge number of all-new presets for the 22 original synths taking advantage of all these new features.
Syntronik 2 offers 33 legendary synths available in 4 different versions or as individual instruments. There are over 5,500 presets that cover a wide range of sounds from 54 of the most iconic to ultra-rare vintage synthesizers. For fans of the original version, all of the Syntronik and Syntronik Deluxe legacy presets are also included and sound identical in Syntronik 2.
Your free entry into Syntronik 2 with 100 presets, 2.4 GB of sound content and full app and plug-in functionality ready for expansion.
Hosts previously purchased synths.
Syntronik 2 “light” with 11 synths, 1000 presets, 13 GB of sound content and full app and plug-in functionality ready for expansion.
Hosts previously purchased synths.
The “full version” of Syntronik 2 with 22 synths, over 4,000 presets, 80 GB of sound content and ready for expansion.
Upgrades previously purchased synths.
The “max version” of Syntronik 2 includes 33 synths, over 5,500 presets and 200 GB of sound content.
Upgrades previously purchased synths.
To accurately reproduce timeless machines from Moog, Oberheim, Sequential Circuits, ARP, Roland and Yamaha, sampling their sound-generating oscillators is the only way to ensure truly authentic results. We captured multiple round-robins of single oscillators, oscillator combinations (including sync and FM sweeps) to reach more than 300,000 samples and over 200 GB.
For highly flexible sound manipulation, while maintaining the exact sound of the original hardware, our synth engine now includes circuit-level models of the 4 best sounding filters ever: the Moog transistor ladder, Roland's IR3109 chip, the famous Curtis CEM3320 chip and the Oberheim SEM state variable filter. Syntronik 2 also provides powerful digital filters like Formant and Phase filters that can take the analog source oscillators into new sonic dimensions.
Syntronik 2 adds a new Edit panel with many new features users have been requesting. There are per-oscillator DRIFT controls, extended envelopes and LFOs along with a programmable modulation matrix. Plus a new Wave Set Browser that lets you choose the sound for each of up to 4 oscillators and 2 suboscillators per preset for a new level of sound design.
IK’s DRIFT technology varies the phase, color and pitch of the sampled oscillators to keep them moving just like the real analog oscillators do. Much more than simple detuning or even multiple-source modulation, DRIFT emulates the way real analog circuits behave over time. The result is the unmistakable sound of analog that is the origin of any classic synthesizer sound.
Syntronik 2 comes with 71 exciting effects derived from our popular T-RackS 5 mix and mastering suite, MixBox processors and AmpliTube 5 guitar workstation. 5 effects can be simultaneously inserted on every instrument via a “lunchbox-style” interface, which offers immediate visualization and editing of every parameter from within a single, convenient location.
An easy-to-use layering interface lets you quickly map and play up to 4 different synthesizer parts simultaneously, as well as create advanced splits for maximum flexibility and live performance, while a brand-new controller filter tab for Syntronik 2 offers detailed filtering of sustain, PB, MW and AT per part for unparalleled sound design.
The 4 synthesizer parts in Syntronik 2 feature a powerful note and chord arpeggiator, each with its own assignable range and settings as well as the ability to store them for instant recall. Along with a new step sequencer, this allows you to build complex rhythmic textures and sequences with extreme ease and inspiring effectiveness.
An advanced browser offers fast and convenient navigation of Syntronik 2’s vast library of presets to let you find the right sounds in an instant. You can browse the content by instrument or search for single sounds. Refine your search using keywords and sort instruments by category, character and type. You can also rate your favorite sounds to find them in a flash.
Individual sounds from Syntronik 2 can be seamlessly read by SampleTank 4* and used together with IK’s ever-growing number of acoustic and electronic instruments. Build complete soundtracks for any style of music within SampleTank alongside new collections such SampleTron 2, Cinekinetik, Electromagnetik and many more.
*requires SampleTank 4.1.5 or later.
Syntronik 2 features more gear, more control and more presets to raise your programming skills and creativity to the next level, all while enjoying the most accurate recreation of legendary synths possible. Here’s what’s new:
*requires SampleTank 4.1.5 or later.
In addition to the 22 synths of the previous release, Syntronik 2 features ultra-realistic recreations of the following 11 rare and sought-after synthesizers, each captured and beautifully rendered with IK’s latest sampling technologies.
The CATO captures the distinctive analog sounds of the Octave Cat SRM and its SSM filter. The pure-analog tonality of this synth is huge, and its modulation capabilities allow for truly unique and stylized timbres. Able to create gigantic Moog-style basses, the CAT can also go in its own sonic direction with its clever oscillator sync implementation.
The GS-V represents the groundbreaking FM sounds of the ultra-rare Yamaha GS1. Fewer than 100 units were produced of this behemoth synthesizer that resembles a baby grand piano, and weighs nearly as much. A pioneering digital synth with a lush analog ensemble effect is reverently recreated in Syntronik 2.
The KW8000 delivers the late ‘80s sound of the digital-analog hybrid Korg DW-8000. The DW-8000 used digital oscillators with short samples of 16 different waveforms, then into an analog low-pass filter. The result is a remarkably warm sounding instrument whose timbres often sound more analog than digital.
The Megawatt features the powerful wavetable synth sounds of the original Waldorf Microwave, a classic digital/analog hybrid. The Microwave was the heir to the PPG Wave legacy with its sweepable digital wavetables and Curtis chip analog filter. The unit we recorded is the most coveted Rev A version.
The M-12 brings the incredible sounds of the monstrous Oberheim Matrix-12 capturing its many filter modes and modulation matrix. The Matrix-12 was a technological marvel for its time, and its innovative modulation matrix gave it ultra-flexible modular synth-like routings combined with patch programmability. We expanded the modes and slopes of our C-Type modeled filter especially for this synth in Syntronik 2.
The Obie One is our recreation of the innovative Oberheim OB-1, excellent at creating classic and fat sounding bass, pad and lead sounds. The new 4-pole slope in our O-Type state variable filter model in Syntronik 2 now captures the distinct difference between the 2- and 4-pole filter sounds of this excellent hardware synth.
The OSC-V is based on the Classic analog-filtered digital monosynth sounds of the Oxford Synthesiser Company OSCar, a British classic. Sometimes called the "British Minimoog," the OSCar can sound deceptively analog and ultra-fat despite its digital oscillators.
The Pro-VS recreates the sound of vector synthesis from the Sequential Circuits Prophet VS with its 4 digital oscillators through an analog filter. A cousin of wavetable synthesis, vector synthesis allows the mixing of 4 oscillators with X-Y controls for extreme animation and liveliness.
The Sorcerer offers the distinctive timbres of the legendary Moog source, two fat analog oscillators through the legendary Moog 24 dB per octave transistor ladder filter. In many ways, the Source was a programmable Minimoog capable of generating massive basses and superior leads.
The Syner-V is based on the Digital Keyboards Synergy ii+ with its wide range of unique soundscapes and glassy, metallic tones. Although it did not officially use the term "FM" due to Yamaha’s trademark, the Synergy did employ the same basic technology of the GS and DX series as well as the Synclavier FM synthesis.
The Triptych is based on the warm sounds of the classic Korg Trident with its separate synth, string and brass sections. The Trident was basically a 2-oscillator Korg Polysix combined with a convincing string machine with dedicated ensemble chorus and a paraphonic brass synth. It is a beast of a synth capable of a wide range of classic analog synth and stringer sounds.
VCF3 is based on the much-revered and tremendously coveted British royal icon, the EMS® VCS3, also nicknamed “the Putney” (from the famous London district where the synth was made at the end of the 1960s). It is a peculiar 3-oscillator patchable analog electronic instrument whose traditional synth sounds and wild, otherworldly sound effects have forever made their mark on both classic rock and pop music, like Pink Floyd’s timeless “Dark Side of the Moon” album, many Brian Eno productions and fan-favorite science fiction TV series like Doctor Who.
Memory-V is based on the classic 18-oscillator monster analog polysynth, the legendary Memorymoog. Manufactured from 1981 to 1985, it’s often described as six Minimoogs in one unit! Its timbral palette is nothing short of impressive, capable of producing a huge variety of sounds including strings, brasses, pads, flutes as well as more percussive sounds.
You’ve asked, and here they are! Based on the uber-famous Korg® Mono/Poly and Polysix synthesizers from the early 80s, the M-Poly brings the classic SSM chip-based sound of these two icons to the world of Syntronik, with deep sampling of 1 to 4 oscillators and all available waveshapes. Of course, we’ve also provided ultra-accurate sampling of evocative Pulse Width sweeps and vivid Pulse Width Modulation of the square waves.
The SH-V is based on two mighty Japanese mono synths from the late 1970s, the Roland® SH-5 and SH-2, known for their robust bass sounds and snappy envelopes, making them perfect for bass-heavy music, synth-funk, G-funk, electro, dance music and many more genres requiring solid bass that cuts through a mix as well as leads and sequences that resonate in your head. And of course in Syntronik, they even excel at pads when played polyphonically!
We used the Modular Moog, EMS VCS3 and Alesis Andromeda synthesizers all cross-patched together to generate driving, powerful synth drums and percussion sounds especially for Syntronik. This unique combination of top-quality synth sources creates album-ready analog drum sounds that will instantly boost the range, depth and quality of every production.
The Syntronik Minimod is based on the Minimoog Model D, Modular Moog and Moog Voyager. The modular Moog, or simply “Moog Synthesizer,” was the first commercially manufactured voltage-controlled music synthesizer. It was a truly “modular” instrument in that each system consisted of several independent modules – such as oscillators, filters, VCAs, mixers, even spring reverbs – that could be mixed and matched to create a truly custom instrument for the musician.
OXa provides two more timeless polysynths in Syntronik; the Oberheim OB-X and OB-Xa. Manufactured from 1979-1981, the OB-X was built on the foundation of the SEM and 4-Voice instruments. It was available in 4, 6 or 8-voice versions.
One of the most loved polysynths of all time, the Syntronik J-8 recreates the Roland Jupiter-8 along with sounds from the Jupiter-6 and Jupiter-4. Manufactured from 1981-1985, the Jupiter-8 was Roland’s top-of-line polysynth intended to compete with the American giants like the Sequential Circuits Prophet-5 and Oberheim OB-series.
The Syntronik Pro-V offers the rich, polyphonic sounds of the Sequential Circuits Prophet-5 and Prophet-10. Manufactured from 1978—1984, the Prophet-5 is perhaps the most popular polysynth of its era. It starts with two selectable-shape oscillators per voice along with a noise generator going into a 4-pole low pass filter. Oscillator sync and FM is available which creates many of the classic pop tones for which the Prophet-5 is known. A creative Poly Mod section lets the second oscillator or the filter envelope modulate the pitch or pulse width of the first oscillator for further tonal flexibility.
The Syntronik V-80 is based on the classic Yamaha CS-80, GX-1 and CS-01 synths. Manufactured from 1976—1980, the CS-80 was Yamaha’s flagship take on the analog polysynth. The CS-80’s voice architecture is an exercise in layering, filtering and modulation. Each selectable-shape oscillator has its own high pass and low pass filter and envelope controls. The sound is fat and organic, and even the slightest introduction of the resonant high pass filter can add a phasey quality to the instrument that gives it even more depth. Some examples of its unique sound can be heard in "Blade Runner" and "Mutiny on the Bounty" by Vangelis as well as "Dune" by Toto.
Syntronik’s Harpy 260 recreates the unique character of the ARP 2600. Manufactured from 1971-1981, the ARP 2600 is without a doubt one of the finest analog synthesizers ever produced and is semi-modular in that it has some fixed routings but could also be more unconventionally routed using patch cables and the modular-style jacks on the main panel.
Syntronik’s T-03 recreates the Roland TB-303 bass line, also known as the "Silver Box", "Acid Dream Machine", or more simply "the 303". Manufactured from 1982—1984, this odd little synthesizer box with a 16-step sequencer started out as to be an accompaniment machine along with its partner product, the TR-606 drum machine. But in the late 80s, electronic dance music artists and DJs embraced the rather inflexible and somewhat quirky sound as a staple of what would become the EDM movement.
The Syntronik Blau recreates the powerful wavetable synthesis sounds of the PPG Wave. Manufactured from 1981—1987, the Wave uses a digital sound generation system combined with analog filtering for a unique hybrid sound. Small digital samples are organized into “wavetables” in place of traditional analog oscillators.
Syntronik’s Bully recreates the thunderous bass sounds of the Moog Taurus series. This organ pedal-style synthesizer is a much-treasured chapter in synthesizer history. The first version of the Taurus became an instant classic in the mid-70s with its distinctive oscillator detuning and unique-sounding sawtooth waveforms. The Taurus II, was based on the Moog Rogue and was never as popular despite much added functionality.
Syntronik’s Galaxy synth offers the authenticity and flexibility of the Alesis Andromeda. Manufactured from 2000-2010, the Andromeda is a 16-voice analog polysynth with 2 oscillators per voice, each with suboscillators, multiple waveform selection and pulse width modulation of the square wave.
The Syntronik SAM is based on the Oberheim SEM synth. Manufactured from 1974-1979, the Synthesizer Expander Module, or “SEM,” is a single voice module containing two variable waveshape oscillators that are mixed together into a 2-pole state variable filter that provides four different filter modes: high pass, band pass, low pass and notch. The SEM state variable filter is probably the second most famous filter in synth history after the iconic Bob Moog transistor ladder filter.
Syntronik’s String Box offers a collection of classic string machines including the Arp String Ensemble, Elka Rhapsody, Hohner String Performer, Roland RS-505 and RS-09. Manufactured from 1974-1981, the ARP String Ensemble uses divide-down organ technology to provide full polyphony.
The Syntronik Polymorph captures the sounds of the Polymoog, Opus 3, Moog Rogue and Realistic Concertmate MG-1. Manufactured from 1975—1980, the Polymoog was a “paraphonic” instrument that used organ-style divide-down technology with resonators and a single 4-pole low pass filter. The famous “Vox Humana” sound, (used by Gary Numan for the great synth lead in his hit song “Cars”) and keyboard-type sounds such as Electric Piano, Clav and Harpsichord make the Polymoog much more than a simple string machine despite its fundamental architecture.
99 is Syntronik’s take on the Yamaha SY99. Manufactured in the early 90s, the SY99 has 16 voices with 4 elements per voice that can be either AWM (samples) or DX-style FM synthesis.
The Roland JX-10 Super JX, JX-8P and JX-3P are brought to life in the Syntronik DCO-X. Manufactured from 1983—1989, the JX line expanded Roland’s use of DCO – Digitally Controlled Oscillator – technology from the Juno-60, in an attempt to compete with the Yamaha DX7 digital FM synthesizer that ruled the mid-80s.
Bringing together 3 classic Moog synths, the Syntronik Noir recreates the Multimoog, Micromoog and Prodigy. Introduced in the late 70s, the Prodigy technically has 3 oscillators, but unlike the Minimoog, the Prodigy’s third oscillator is only used as an LFO for modulation. However, oscillator sync is available in the Prodigy taking a cue from the Micromoog and Multimoog synths.
Syntronik’s J-60 brings users the authentic sound of the Roland Juno-60. Manufactured from 1982—1984, the Juno-60 was the lower-priced alternative to the very expensive Jupiter-8, but it found a place in music production all its own.