Certain instruments outlive their designers' ability to produce them, even though they arguably become "obsolete." The Vox AC30TB is a classic example: While amplifier technology continues to create lighter, more versatile amps -- the AC30 sounds terrific, but it is neither light nor very versatile -- guitarists still shell out big bucks for a real '60's Vox. It's the same way with analog synthesizers like the Minimoog and Prophet-5. You can sample all day, and you still won't end up with the warmth, fatness, and power of a good analog synth.
Enter: "modeling" technology. Rather than trying to sample a perfect copy of the source, then working to eliminate all of the sonic artifacts added by the recording process, modeling uses the power of high-speed digital processing to re-create the sound of the original analog circuits on demand. This method allows for greater variation in timbre, and even permits adding some randomness to the process. The AN1x is one of the second generation of these synthesizers.
The following are facts and subjective impressions about the Yamaha AN1x Analog Modeling Synthesizer, which I have owned and used for almost two years.
I should start off by saying that I don't use the AN1x for dance, house, or techno music. I play in old-school style bands with guitar-keys-bass-drums which play small to medium sized clubs. The synth certainly seems to have a bunch of features to make those other venues shine, but it's also great for basic rock-n-roll.
The AN1x is a 100% digital synthesizer which simulates the sound created by analog tone generation systems, including the nuances associated with some of the "classic" synths like the Minimoog, Prophet-5, and Jupiter-8. The AN1x uses digital simulation of VCOs, VCAs, VCFs, etc. -- Yamaha calls it "Analog Modeling Synthesis" -- to provide its sounds. The AN1x has a hybrid interface, providing a combination of menu-driven and real-time controlled programming methods. The lightweight unit includes a 61-key keyboard, pitch bend and modulation wheels, a ribbon controller, eight programmable knobs, a built-in arpeggiator and step-mode sequencer, stereo effects, and a robust set of MIDI controls.
The AN1x uses an external power supply, which doesn't please me, but I'm learning to live with it. (The AN1x is far from alone in this regard.)
The AN1x can provide mono or stereo output and up to 10-voice polyphony.
As with any analog synthesizer clone -- especially in this price range -- there's some room for improvements in the AN1x's design, but I believe it is an extremely convincing substitute for an analog synthesizer. This review criticizes the AN1x on some fine points, but it's a great choice for keyboard players who desire the sound of an analog synth, but cannot afford to gig with the real thing.
The AN1x has a number of advantages over real analog synths:
Oh, and believe it or not -- the AN1x actually sounds fatter than some of the synths that it's imitating! (Suspend your disbelief for a little while; I'll explain more later.)
The AN1x is housed in a standard sized 61-key case, with the Pitch Bend and Modulation wheels directly to the left of the keyboard, in standard fashion. A ribbon controller is also provided above the wheels, with pressure sensitivity for additional expression similar to the "PPC" controller on some later ARP Omnis. The keyboard is fully velocity and aftertouch responsive as well. It has an extremely nice feel for an unweighted keyboard, and though they are typical synth-style keys with the short front face , glisses are not a problem.
Despite the decidely "consumer" look and feel of the deep blue plastic case, the AN1x's outer body is remarkably durable. I've banged into the case with heavy-duty MIDI and audio cables, and even dropped the entire unit onto a keyboard stand from almost a foot above(!), yet the finish of the unit looks as good as the day I bought it. If you ding the case, just wipe the area with a soft cloth and the scratch seems to disappear!
Mono, stereo, and headphone outputs are provided, plus assignable Foot Volume, Foot Controller, and Footswitch jacks, which can be sent to the MIDI stream. MIDI functions include the standard IN, OUT, and THRU jacks.
The AN1x has ten knobs: a dedicated master volume control, eight control knobs to adjust patch parameters in real time, and a 6-position rotary switch to select which parameter edit menu is being accessed for non-knob functions. During editing, the function of the eight parameter knobs is controlled by a set of eight switches to the right of the knobs. Press the VCF button, for example, and the knobs begin controlling filter depth, cutoff, VCF envelope settings, and keyboard tracking. Press the VCA button, and the same knobs change to VCA level, etc. Similar function sets are provided for VCO1, VCO2, LFO, Sync/FM, Assign, and Mix functions. The AN1x uses this method to allow real time control of parameters without resorting to the complexity and expense of a full set of digitized controls.
When not in Edit mode, the knobs can be programmed as eight real time controls, providing the kind of "hands on" control that analog synths are known for. Each knob can be programmed to output the full range of its control, or limited to a range that is more useful in performance.
Sound complicated? All of these functions are silkscreened over the knobs, plus you can always find the current function of a knob by pressing on its top, which sends the current function description to the display -- a great feature on such a complicated synthesizer, plus it works in performance mode, too.
In addition to the control knobs, the AN1x has ten up/down rocker switches to control modulation, arpeggiator/sequencer, effect, and utility functions. Most of these functions are also available in real time. The specific function of the switches is controlled by the rotary switch, moving from one bank of features to another. It's a little cumbersome, but Yamaha has placed similar functions in the same bank, so chances are that you can leave the switch in place for a series of adjustments.
The control possibilities on this keyboard are remarkable. You can do everything that a classic performance analog synth could ever do, and a few neat tricks that would have taken a room full of gear to pull off in the Golden Years of analog synths. The oscillator sync and cross-mod control is dead on; the two-operator, multi-waveform FM won't make you sell your DX-7, but it's useable within its limitations; and having five or ten oscillators available in Unison modes certainly takes the worry out of whether the patch will cut through in a band mix.
The eight knobs, ribbon, and wheels combine to give you more adjustments than you'll probably need in most live situations, and then there's the velocity sensitivity and aftertouch -- two items that the vintage synths rarely offer. There are a couple of synth and EFX parameters that I wish were available in the control matrix (ex: delay time and chorus feedback are adjustable, but can't be assigned to a knob), but all in all, it's pretty customizeable to your preferences.
The arpegiator is fun to use, and contains all of the common single, double, and multi-octave patterns that vintage synths have. All in all, I've found that about half the 30 sequences are useful. The other half? You'll have to decide for yourself.
Luckily, the AN1x also includes a 16-step sequencer, and each patch can have its own stored sequence, plus there are 128 available user sequences, so you can add the riff you need as a sequence, if you can't arpeggiate it. The sequencer is not especially easy to program until you get the hang of the unique programming interface, but it is pretty flexible for what it is.
All of the features of the AN1x are programmed through the eight knobs and eight function select buttons, plus a set of ten up/down rockers and a rotary selector. The AN1x has a complex synth engine, with multiple sources for each modulation method, and this austere user interface isn't always up to the job at hand. Put plainly, it's a bear to program through the on-board interface alone. I've been playing synths since the early 70's, and I can probably program a Minimoog or a Prophet-5 in my sleep. I can't do the same with this synth, though, because the eight-knobs-and-too-many-buttons user interface can't simplify the programming for us mortals. The free software editor provided on Yamaha's UK website is a must, and it greatly improves the experience of getting the exact sound you want, thanks to it's visual setup
The manual is long, but very detailed. It's must reading for anyone who is serious about customizing the sounds to his or her personal taste. The index is detailed and accurate, and you'll probably find yourself needing it for the first few weeks of ownership.
The AN1x includes a "Free EG" (envelope generator) which allows the user to record up to 16 seconds of the real-time use of four control positions; basically, a 4-channel MIDI-style recorder, but without the MIDI cables and such. The stored data can even be looped continuously, and allows for complex timbre changes over time during performance, with the need for a free hand to work the knobs.
The AN1x is a decent master controller, although not up to the level of Yamaha's KX-76 or a Roland A-80. The keyboard can receive on two different channels, but can only transmit on one -- OK, two, if you count the arpeggiator/sequencer. Many of the AN1x's internal parameters can be mapped to a MIDI controller for on-stage or sequencer control. The biggest complaint that I have is that some of the internal controls on the AN1x can't be remapped; if there's a conflict with another piece of gear, you have to resolve the issue on the other end.
How does the AN1x sound? In a word: fat. (I hate that expression, but it really applies here.) The sounds easily cut through a band mix, and there's no strident sound on any of the waveforms, like wavetable synths often have. In Mono Unison mode, each note gangs five tone generators together -- that's ten oscillors on one pitch!
Does the AN1x really sound like a Minimoog or a Prophet-5? In 99.9% of the cases, yes. I've seen critiques where people have claimed that the synth sounds "digital", but frankly, I can't hear it, and I've owned and played analog synthesizers for years.
Like most modern synthesizers, the AN1x's advantages include portability and oscillator stability, plus lack of maintenance. Since it's a small all-in-one design, my gear is more portable than carting around a Moog modular system, or even a Jupiter-8 and sequencer -- and that's about the level of performance we're talking about here.
The unit retailed for US $1295 when last sold (1999). Street prices for used models vary quite a bit; prices of around US $500-600 for a mint-condition piece seem about right.
This is a Yamaha product, so expect to deal with all of the issues that big musical companies place in your way. On the other hand, the online support is pretty good -- especially from Yamaha UK -- and there are a number of unofficial AN1x sites on the Internet, complete with support groups, reviews, and help.
It's been a long time since I've had the pleasure of owning an analog synth. (OK, I still don't really own one...) I'm VERY glad that I bought the AN1x; for the money, you can't beat the sound -- it's extremely fat and rich. I've rediscovered the joys of free musical expression again as a keyboard soloist, something that I haven't been able to do on the baker's half-dozen wavetable synths that I've owned over the last ten years.
The AN1x is a superb product for those players who want a the sound of a classic analog synth without the size, weight, and temperment that goes along with such instruments. The AN1x offers all of the sound and features of the Minimoog, Profit-5, and Oberheim 4-voice -- and more -- all in a very portable package. As with any product, the AN1x has its good and bad points, but the unit offers fat, expressive sound at a reasonable price, and it weighs a tiny fraction of a Moog modular system. If you're in the market for an analog solo or pad synth, you really should check out the AN1x before plunking down big bucks for that beat-up ARP 2600 or Jupiter-8 in the local music store.
My final test: If it was damaged or stolen tomorrow, would I go out and buy another one? In a heartbeat ...
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