Synth types, sound engines, MIDI controllers and what the specs mean in practice.
Subtractive, FM, wavetable or a hybrid groovebox: the first synth decision is really about how you want to work, not which logo is on the panel.
The analog-versus-digital argument is older than most players. What still genuinely differs is workflow, tuning behaviour and modulation depth — not magic warmt
A controller makes no sound on its own — which is exactly why the key count, pad layout and software integration matter more than the spec sheet suggests.
Oscillator counts, filter slopes, envelope stages and polyphony figures look intimidating on a spec sheet; here is what each line actually tells your hands and
Three boxes can all make electronic sound, but a groovebox, a workstation and a plain synth are built for very different ways of working.
Before USB there were control voltages and 5-pin DIN cables, and both are still around; a short guide to what actually travels down each cable.
Two spec lines decide whether your pad cuts off mid-chord or your split layers vanish: how many notes can sound, and how many sounds can play at once.