Vintage Synths Vol I is the culmination of extensive multi-sampling sessions with some amazing keyboards from the 70s and 80s. It includes the Voyetra From Mars, Micro From Mars, SH5 From Mars and DX100 From Mars, bundled together at a largely discounted price.
Our most popular synth sampling to date, the Voyetra Eight is a rare, polyphonic 8 voice analog rack synth developed in New York in the early 80s that many people regard as one of the best sounding analog synthesizers ever built. Not even the Jupiters can compete with this thing in terms of sound. The patches are huge - wide open, and lush, with thick bass, juicy resonance, unique DC source modulation (which makes it sound like the circuits are dying in the most beautiful fashion), linear FM and classic sync. Read more here.
The Micromoog is a seriously underrated vintage synth, containing virtually the same filter as the original Minimoog. And honestly, its oscillator and filter have 1000x more character than any modern Moog, including the Voyager. It's an aged, slightly unstable American VCO - powerful, rich, and capable of everything from thick and smooth to downright dirty and brash.
The Micro comes with a fully featured, three page Kontakt GUI instrument - including an arpeggiator which allows you to record in a pattern with your keyboard. Read more here.
The top line of the revolutionary SH series is rarely talked about, yet it includes some of the most powerful synthesizers of all time. There's the SH-101, SH1, SH-3A, SH-7... the list goes on. And while these synths are all excellent sounding in their own right, the SH-5 is undoubtedly the King, with its huge oscillators, multimode filters, extensive modulation possibilities and a brilliant mixer at the heart of it all. In our opinion, the SH-5 is one of this company's greatest mono synths of all time. You can read more here.
The Yamaha DX100 is a miniature FM synth from the mid 80s. It's similar in sound to the famous DX7 but grittier and tougher, due to its overdrive-able DAC. In fact, it has a similar vibe to the SP-1200. It is the sound of early Detroit techno (specifically the Solid Bass patch), Roger Troutman's talkbox (the Hard Brass patch), countless 80s Lynch-esc soundtracks, hotel lounge vibes and so much more.
Because of the nature of FM synthesis, the DX100 is capable of many sounds that analog subtractive synthesis simply is not: hard bodied bass, dirty FM rhodes, fake brass, Seinfeld bass, metallic bells, clavinets, helicopters, bird chirping and more. So if you've been collecting all sorts of analog sounds the DX will really stand apart and cut through your mix in the best way possible. Plus you can add a strap, play it like a keytar, and look like a boss.