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IK Multimedia announces Syntronik
38 iconic synthesizers and string machines sampled to utter perfection and immortalized in one powerful, cutting-edge virtual instrument
May 25, 2017 – IK Multimedia is proud to introduce Syntronikâ˘, the new cutting-edge virtual synthesizer for Mac/PC, which will be available in July 2017 and is now open for pre-order. Syntronik raises the bar in virtual instrument technology, sound quality and flexibility thanks to a brand new combination of the most advanced sampling techniques with a new hybrid sample and modeling synthesis engine, an arsenal of high-quality modeled effects and innovative instrument features that provide players and producers with the ultimate and best-sounding collection of vintage synthesizers to date.
A breakthrough in the world of virtual synthesizers
Syntronik includes 17 amazing instruments, available as a collection or separately, with over 2,000 preset sounds covering a wide selection from 38 of the most iconic to ultra-rare and painstakingly multi-sampled vintage synthesizers. Syntronik’s synthesis engine goes well beyond traditional sampling thanks to a brand new analog modeled filter section built with the highest expertise from IK, the pioneer in virtual circuit modeling. This is coupled with the new exclusive DRIFT⢠technology to accurately reproduce the behavior of oscillators from real hardware synths. All of this combined with an effects section that is unrivaled in the world of virtual instruments along with advanced features like 4-part layers, splits and arpeggiators make Syntronik the ultimate source of inspiration with the widest palette of synthesizer sounds ranging from exact reproductions of the originals to sounds never heard before that will stand out from the crowd in productions covering any genre and style.
Capturing the synthesizer DNA of a collector’s dream
IK Multimedia has spared no effort in crafting an instrument that provides the highest standard of sound quality. Only the best synthesizer models have been sourced from private collections and carefully selected prior to being meticulously multi-sampled using the most advanced techniques developed by the IK team to ensure that the authentic character of the originals is captured and reproduced down to the tiniest nuance. 70,000 individual samples and 50 GB of extreme-quality sounds later, Syntronik is ready to set a new standard in the world of virtual instruments.
The 38 instruments included in Syntronik are: Modular Moog, Minimoog Model D, Moog Voyager, Moog Taurus I, Moog Taurus II, Moog Taurus 3, Polymoog, Moog Opus 3, Moog Rogue, Realistic Concertmate MG-1, Multimoog, Micromoog, Moog Prodigy, Sequential Circuits Prophet-5, Sequential Circuits Prophet-10, ARP 2600, Oberheim SEM, Oberheim OB-X, Oberheim OB-Xa, Yamaha CS-80, Yamaha GX-1, Yamaha CS-01II, Yamaha SY99, Roland Juno-60, Roland Jupiter-8, Roland Jupiter-6, Roland Jupiter-4, Roland JX-10, Roland JX-8P, Roland JX-3P, Roland TB-303 Bassline, Alesis Andromeda, PPG Wave 2.3, ARP String Ensemble, Elka Rhapsody 490, Hohner String Performer, Roland RS-505 Paraphonic, Roland RS-09 Organ/Strings.
Hybrid Synthesis Architecture
IK Multimedia developed a new synthesis engine for Syntronik that models 4 of the best sounding analog filters of all time: Moog transistor ladder, (found in the Minimoog and Modular Moog), Roland’s IR3109 chip (found in the Jupiter-8 and Juno-60), the famous Curtis CEM3320 chip (found in the Prophet-5, Oberheim OB-Xa and Memorymoog) and the Oberheim SEM state variable filter. This hybrid architecture allows for pristine reproduction of the most critical section of every synthesizer. Plus, every filter is selectable within each included synthesizer, enabling users to create their own combinations by mixing or matching at will – like using a Moog filter with Oberheim oscillators – to produce sounds beyond imagination. Syntronik also provides powerful digital filters like Formant and Phase filters that can take the analog source oscillators into other dimensions for modern timbral exploration.
New DRIFT⢠Technology
When it comes to accurately reproducing the real sound of vintage synthesizers, sampling their oscillators is the only way to ensure truly authentic results. IK developers have worked tirelessly to capture multiple round robins of single oscillators as well as oscillator combinations (including sync and FM sweeps). Syntronik also includes a new DRIFT algorithm that breathes more life into the sampled oscillators themselves. Typically sample-based synthesizers have the limitation of having always the same exact sample attack, something that does not happen in their true hardware counterparts. IK’s DRIFT technology varies the phase, color and pitch of the sampled oscillators to keep them moving just like the real analog oscillators do. Much more than simple detuning or even multiple-source modulation, DRIFT emulates the way real analog circuits behave over time. The result is the organic, living sound of analog that is the start of any classic synthesis chain.
4-part layering and arpeggiators
Syntronik’s streamlined interface allows for quick layering and combining of up to 4 different synthesizer parts, quick mapping and playing sounds simultaneously as well as creating advanced splits for maximum flexibility and performance. In addition to this, each synthesizer part features a powerful note and chord arpeggiator with its own assignable range and settings as well as the ability to store all information for instant recall, enabling users to build complex rhythmic textures and sequences in a snap.
An arsenal of effects
Syntronik comes with 38 high-quality effects derived from IK’s world-class T-RackS mix and mastering suite and AmpliTube guitar workstation plus new effects like the new Ensemble Chorus and vintage analog Channel Strip. 5 effects can be simultaneously inserted on every instrument via an attractive “lunchbox-style” interface that allows for immediate visualization and editing of every parameter from a single screen.
SampleTank-ready
Syntronik’s sounds can be opened seamlessly in SampleTank 3 allowing them to be used together with the ever-growing number of acoustic and electronic instruments included in the industry-standard sound and groove workstation, to build complete soundtracks for any style of music.
Pricing and availability
Syntronik is expected to ship in July 2017, and will be priced at $/âĴ299.99* with a crossgrade version available for $/âĴ199.99 (eligible to any registered IK users with a purchase of $/âĴ99.99 or greater). The 17 instruments comprising Syntronik will also be available separately for $/âĴ49.99 each upon release.
Syntronik can be pre-ordered now at a special 50% discount introductory price of only âĴ/$149.99 with crossgrade for as low as only âĴ/$99.99.
*All prices excluding taxes
For more information, please visit:
www.ikmultimedia.com/syntronik
For audio and video demos of Syntronik, please visit:
www.ikmultimedia.com/syntronik/video
www.ikmultimedia.com/syntronik/audio
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Photo: Self-portrait by Melissa Auf Der Maur
Melissa Auf Der Maur is a Canadian bassist who played with Tinker, Hole, and The Smashing Pumpkins. She released her own work and is a photographer with photos published in Nylon, Bust, and National Geographic. She released her â90s Rock Memoir âEven The Good Girls Will Cryâ on 17 March 2026.Â
KB: Did you always want to be a singer-musician growing up?
Iâve played music my whole life. In school, I played trumpet and sang in a childrenâs choir, so music was always within me. My mother was the first female disc jockey on the Montreal airwaves; her record collection played a huge role in my inspiration and love of music.
KB: When did you start playing bass, and why this instrument?
When I was 19, the early 90s music explosion began to percolate in tiny clubs around the world. I was lucky to be a ticket girl at Montrealâs underground music club. In one year, I saw Hole, Sonic Youth, Smashing Pumpkins, White Zombie, and The Breeders â all had female bass players. Thatâs when the seed was planted. By the age of 22, I was the bass player of Hole.
KB: Which brands of basses have you used in your career, and which one are you using now?
The first bass that I learned on was a vintage Squier Precision. Hole was sponsored by Fender guitars, so I upgraded to Fender Custom Shop Precisions. That is all I play, but I have a cool vintage 8-string Greco that I use on recordings to thicken up guitar parts.
KB: What equipment do you use or have you used with your basses?
Ampeg SVT amps and cabinets, a couple of Sans-Amp pedals, and that is it.
KB: How did you become a member of Hole, and what is your fondest memory of that time?
Billy Corgan of the Smashing Pumpkins was helping scout a replacement for (RIP) Kristen Pfaff, Holeâs bass player. My band, Tinker, opened for them on the Siamese Dream tour, so Billy had seen me play and could vouch for me. Courtney trusted her talented friend, and that was it. I initially said âno thank youâ due to my commitment to my photographic studies and the drama and chaos surrounding the band during the âLive Through Thisâ album release. Courtney took it as a good sign that I said no, so convinced me to reconsider, and soon after, I accepted their invitation, in the name of helping put females in the male-dominated landscape of rock music. My fondest memory is every show we played as a mostly female band, symbolizing what a woman could do in a rock band. Every show had a purpose: get more women to play music.
KB: You are a photographer as well. What makes a great picture? Do you shoot in color or b/w?
I started shooting photographs at age 15. Initially only shot black & white and worked in the art school darkroom. In university, I took a color photography course, and shifted mostly and forever to that, because it was easier to process film on the road when I joined a rock band. I experimented with many cameras, point and shoots, manual, polaroids, medium format, and vintage finds. The trick to a good photograph is to shoot many and all the time â the magic is in the edit and selection process.
KB: Are there artists you would love to collaborate with or wish you had?
??Iâve been lucky to collaborate with some of my favorite musicians in my career. I would still love to collaborate with a new generation heavy electronic artist on an analog bass, heavy electronic drums, and synths collaboration project. Take me out of my usual zone, merging the past and future: my love of 80s dark new wave and new artists exploring that genre. It was very futuristic back then, and we are now, after all, living in the future. I am in the mood to play bass to heavy beats I want to dance to.
KB: What are your 7 favorite bass lines in music across all genres? And why these 7?
âMountain Songâ â Janeâs Addiction (love a rambling, rolling bass line â feels like the ocean waves)
âBlack Top â Helmetâ (was the first bass line I taught myself)
âGold Dust Womanâ â Hole from âThe Crow 2â Soundtrack (it was my first bass line contribution to the band)
âGet Readyâ â The Temptations (Motown just feels so good, because of the bass)
âLucretia My Reflectionâ â Sisters of Mercy (makes me want to hit the dance floor and play bass simultaneously)
âBe My Druidessâ â Type O Negative (full chord bass playing at its best by iconic, demonic, Peter Steele, RIP)
âRomantic Rightsâ â Death from Above (1979 – unique distorted overdriven tone, combined dance rhythm and melodic intelligence, all in one shot â also! Shout out to a bass & drum only band, which is awesome, and we should have more of, but the bass player needs to be a killer to fill that role.
KB: What are you currently up to?
Releasing my â90s Rock Memoir âEVEN THE GOOD GIRLS WILL CRYâ. Visceral healing process, it was to get it out of me and write it, but I suspect the real magic will begin by putting it into the world and reflecting with others on what the magic of the â90s was all about. Powerful music decade that carried us into what is now a brave new world of digital corporate weirdness â may the past shed a light on our future. Thatâs my hope for this book release and tour.
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