TECH: NYBORG-S4 REVIEW
Analogue Solutions serve up a very lovely new synth module, look mum, no keyboard required
Words: Mark Roland
Analogue Solutions tags itself as a maker of “boutique electronic instruments”, which is a nice way to think of their very desirable gear. The Telemark and Leipzig synth ranges, for example, have the kind of aesthetic and sound designed to appeal to lovers of not just analogue synths, but the era they sprang from, with all that Cold War paranoia and German ingenuity. There’s also their big analogue sequencer, Megacity, which forces users to take different paths to create patterns, reconnecting with the hands-on relationship that is lost in the DAW world of ultimate choice.
Analogue Solutions’ gear is for people who like to free themselves from the computer screen and work without the endless and sometimes paralysing choices of today’s computer studio environments offer. The Nyborg-24 is the latest offering from this fascinating company. There is also a Nyborg-12, the difference being in the filter. The 24 is Moog-like, while the 12 is more akin to the Oberheim SEM.
The Oberheim SEM is probably the most obvious antecedent to the Nyborg, being a standalone synth with no keyboard. The SEM was designed in the 1970s to connect to another synth to fatten the sound, and then Oberheim built them into their own keyboard versions with two-, four- and eight-voice variations. You can daisy-chain two Nyborgs together, or with optional software, up to four. Given how fat and fabulous this unit sounds on it own, a four-unit version is something we’d like to play around with.
Read the full feature in the October Issue of Electronic Sound
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