In the all-important feel category, none of the knobs on the synths we looked at this month felt positively flimsy, but those on the Yamaha AN1x and the Quasimidi units were definitely a bit looser. (The AN knobs are also pushbuttons ‹ a type of dual function not found in any of this month's other synths.) The knobs on the Clavia Nord Lead 2 are like a rock, with a satisfying amount of resistance and a pleasant rubberized feel. The knobs on the FutureRetro 777 and Access Virus, which appear to have come from the same parts supplier, are also very solid.
All of the synths have a variety of LEDs, some of which flash or blink. I won't try to rate how sensible ‹ or how cool-looking ‹ these are. In the data display department, a not-exactly-generous two-line LCD is the norm. The Korg Z1's large display is by far the most informative, and the Nord's stingy 3-digit LED data readout is at the bottom of the heap.
If more knobs means more playability, then the Waldorf Q rates top marks. Its knobs are the only ones in the roundup that have infinite spin, which means there's never a jump in the sound when you grab a knob and turn it. Working without a manual, though, it took me a little time to find the controls I was looking for. There's no dedicated knob for LFO depth, for instance ‹ neither in the filter section nor in the oscillator section.
Eventually I figured out that the Q uses several different methods of accessing knob functions. Some knobs are dedicated to one purpose. Some switch between two functions depending on whether you've pressed the Shift button (the LED beside the button blinks to let you know it's active). Some entire banks of knobs switch between two modules when you press a selector switch in the bank; the filter knobs, for instance, control both filter 1 and filter 2 (or both), and the switch steps the knobs from one set of controls to the other. On top of which, there's a modulation matrix, in which you patch sources to destinations in the LCD.
The big problem with the Novation Supernova's panel is that the unit is a rackmount. There just about isn't any convenient way to play the knobs in a rack unless you're fond of sore shoulders. Aside from that, the layout makes sense. Two knobs control 25 modulation routings in the oscillators section, but lighted buttons make it easy to see what the knobs are assigned to. The most relevant controls, including five effects level knobs, are right out front.
The Novation Nova puts essentially the same synthesis engine in a tabletop module. This makes it easier to play the knobs, but there aren't quite as many of them. Principally, there's one row of four envelope knobs instead of two rows, and one multi-purpose effect level knob instead of five dedicated ones.
The Z1 doesn't have as many knobs as most of the competition, but it gains points for the fact that five of the knobs are user-programmable and can be assigned to multiple destinations. Not only that, but you can limit the range of each knob's output to a musically useful sweep. Add to those features the X/Y touchpad control surface and the dedicated filter and ADSR knobs, and you have a very respectable front panel.
The Virus has no visible knobs or buttons at all for several features, so at best its panel rates as average. I thought it didn't have any effects until I started poking around in the edit menu. But it has one thing that's rare and useful: a relative value knob mode. In this mode, the knob never jumps to a new value when you grab it and twist. The sonic change is always smooth. There are musical reasons why you might prefer an absolute value mode, though, and the Virus lets you choose ‹ truly excellent. It also has two definable knobs that can do several modulations at once.
The AN1x provides both absolute and relative value modes for its eight knobs. You have to press the knob while turning, though, to take advantage of the latter mode. A set of buttons changes the assignments of the knobs, so you can't just grab one and turn it without worrying about what effect it will have. The cool part is that one whole set of knob assignments is user-programmable. Add to that the left-hand ribbon controller and the Free EG (recordable knob movements) and you've got a very playable panel.
The Roland JP-8080 aims at bringing every single control out to the panel, which is good, but the oscillators' control knobs change function depending on the waveform, so you'll have to read the manual to find out what they do. The choice of sliders rather than knobs for the filter and envelope controls is a bit odd. If you want to see the data value of the knob or slider you're moving as you move it, you have to hold down a button with your other hand; on most of the Euro synths, the LCD jumps briefly to display the value, and then jumps back to where it was before. The latter type of behavior is disorienting at first, but I've come to appreciate the convenience. On the other hand, with the JP you can view a data value without changing it, something that's not possible on the Supernova and Q, for instance.
The Korg Electribe EA-1's knob complement is as skimpy as its synthesis features. It has the basics ‹ filter cutoff, envelope decay, effect depth, and a few other things ‹ but no frills.
Because it requires computer production software, we didn't include the Clavia Nord Modular in this round-up ‹ but its panel is noteworthy because each of the 18 knobs is programmable (though limited to a single parameter per knob). The Modular's panel layout can change for each patch, which can be at least as confusing as it is useful.
