The Pros of Hardware Synths
First up, the sound. Many will argue that the sound of a hardware synthesizer will always be superior, as with valve vs. solid state amps. The discrepancy in sound is often most apparent with analog synths. The waveforms, by nature, are a different shape, resulting in an objective sound difference. It’s much harder to tell with digital hardware synths vs. softsynths – either way, many people maintain that hardware does sound better – because once you’ve found that perfect sound, it’s pretty hard to imitate.
Next up, the value; the price of hardware synths varies massively (more on this later). Having said that, there are way more affordable options on the market these days. Not only that, but hardware synths tend to hold their value. Many old-school units (even as recent as early ‘00s) sell for more than their original value. So if you one day decide to sell your hardware on, you won’t lose much money on it – you might even make a little profit!
(above – the Dave Smith Instruments / Sequential Prophet Rev2 and the Behringer Model D)
Finally, there’s the tactile nature of having a solid chunk of engineering in front of you. Buttons, knobs, faders, patch connections. Part of the beauty of making music is the interactive nature of the process – hardware synths embody this perfectly. Never underestimate the value in being able to reach out and interact with your music. There’s also an element of unpredictability – tweak that control, patch one connection to another – who knows what’ll happen? It’s all part of the fun, and it makes a world of difference in this writer’s opinion.
The Cons of Hardware Synths
As mentioned earlier, the price of a hardware synth can vary massively. You’ve got plenty of great budget options from the likes of Behringer, Korg, Arturia and more. Then you’ve got the middle ground; digital and hybrid workstations from the likes of Roland, Sequential and so on. At the top of the food chain are the titans. Premium analog or hybrid polysynths that offer enormous choice and jaw-dropping sound (Moog One, Waldorf Quantum, Yamaha Montage). If it’s choice you want, you’ll be aiming higher – premium synths cost anything from £1500 to pushing £8000.
Earlier, we mentioned how cool it is having something to reach out and interact with. There’s a flipside; hardware synths take up physical space, certainly more than software (obviously). If you’re working from a compact studio or a home setup, space may be limited. Then there’s the portability; it’s way easier to take a laptop full of hundreds of synth sounds than it is to carry a handful of desktop synths.
Finally, let’s talk about versatility. Hardware certainly has its limitations, particularly in the case of analog gear. Take a popular release like Behringer’s Neutron; tons of parameters, 2 oscillators, a hefty patch bay. But ultimately, it still boils down to 5 waveforms and a distinctly analog tone. We adore the sound as much as the next enthusiast, but compare circa-£300 worth of hardware to softsynths of the same value – you’re almost guaranteed to get more choice. So ask yourself: how much choice do you really need, and how much choice do you really want? There’s no right or wrong answer, folks…
Software synths
In the ‘90s, computers started to play an increasingly crucial role in music production – and the softsynth market gradually grew in parallel. Innovations like MIDI and VST (Steinberg’s Virtual Studio Technology) facilitated access to a broader range of sounds and a fluid workflow that proved irresistible for musicians and producers alike.
Nowadays, the software synth category is undeniably enormous. It ranges from emulations of classic hardware (Native Instruments’ Monark, Arturia’s Analog Lab) to totally fresh architecture (Omnisphere, Native Instrument’s Reaktor).