- To start on synthesizer, the most important thing is not the number of features, but a clear interface where every setting makes sense right away.
- Subtractive synthesis (oscillator, filter, envelope) remains the ideal entry point: you understand the sound by shaping it.
- Monophonic, polyphonic, semi-modular: choose according to what you want to play (bass and leads, chords and pads, or exploration).
- Think about connectivity (MIDI, USB), headphones and portable formats: a good first synth should fit easily into your setup.
I still remember the first patch I tinkered with on a little monosynth, in the back room, on a closing night. Three knobs turned at random, and suddenly that round bass filled the room. That’s the magic of the synth: you touch, you listen, you understand. Since then, after advising musicians, I’ve seen the same spark in the eyes of dozens of beginners. So if you’re wondering which synthesizer to start with, you’re in the right place. We’ll go back to the origins of the instrument, break down the types of synthesis, then review some models to help you choose your first synth without getting overwhelmed.
What is a synthesizer?
A synthesizer is an electronic instrument that creates sounds from scratch. No strings, no stretched skin: just an electrical signal that you shape. It’s one of the newest instruments in instrument making, yet its history starts long before our modern keyboards.
Its commercial form dates back about fifty years. But the idea goes back to the very beginning of the 20th century, with the Telharmonium patented in 1897 by Canadian scientist Thaddeus Cahill. A huge machine, weighing several tons, which already posed the fundamental question: how to generate sound using only electricity?
Today, the synth has slipped everywhere. In pop, electro, hip-hop, film music. It’s often there without us really noticing. With the strong comeback of analog synthesis and the boom of modular systems, you can now build a synth that reflects your own image.
Infinite possibilities on one side, beginner’s dizziness on the other. No worries: the basic principle always stays the same. A synthesizer creates a sound from sound synthesis. Different types of synths exist for different types of synthesis, and the whole point of this guide is to help you find your way.
A brief history of synths
The genesis: Moog changes everything
The modern synthesizer owes a lot to a genius tinkerer: Robert Moog (1934-2005). This electronics engineer hung out with musicians exploring electronic machines, but these devices remained inaccessible to the general public. Moog then had a brilliant idea: control the oscillator, filter and amplifier by voltage. Simple, elegant, revolutionary.
The Minimoog, with its built-in keyboard (a novelty at the time), set several standards for analog subtractive synthesis. The first polyphonic synths arrived in 1975 with the Polymoog and the ARP Omni. In 1978 came the revolutionary Prophet-5 from Sequential, then the MS series at Korg, including the famous semi-modular MS-20. From the mid-70s, new models multiplied. The peak of this first wave came in the early 80s.
“Monophonic” and “monodic” are not quite synonyms. A monodic synth plays only one note at a time, but can stack several oscillators on that note to thicken the sound. The Minimoog, for example, uses three oscillators per voice while remaining monodic. To start, just remember the essentials: monophonic = one note, polyphonic = chords.
The Japanese explosion and the digital revolution
The 80s changed the game. New digital syntheses appeared. In 1983, under the NAMM’s guidance, a dozen brands agreed on the MIDI standard (Musical Instrument Digital Interface). This protocol connects everything, and it’s still at the heart of your setup today.
The Japanese learned fast and invested massively. When Yamaha released the DX7 and its FM synthesis, it was a tidal wave: over 420,000 units sold, a world record. In 1987, Roland — founded by Ikutaro Kakehashi in 1972 with seven employees in a rented hangar — had become a giant. After the Jupiter 8, the SH-101 loved for its basses, the JUNO-60 and JUNO-106, the brand released the D-50 based on sample playback. The following year, Korg responded with the M1, the first workstation with multitimbral success worldwide.
The era of reissues
In the early 2000s, the secondhand market for old analogs dried up, and their maintenance became a headache. Manufacturers then had an idea: to remake their vintage synths “in the spirit” of the old machines. Then even exactly the same. Korg started the trend in 2002 with the microKORG. Roland followed with its Aira range, then the Boutique series, which revived among others the Jupiter 8 (JP-08) and the JUNO-106 (JU-06). Moog reissued its own legends with the Voyager and the Model D.
Good news for you who are starting out: this wave of reissues puts legendary sounds within budget reach. Today you can get the DNA of a classic for the price of a compact module. This is exactly the case for several models we'll look at below.
The enthusiasm for semi-modulars
To build a sound, synthesis relies on basic modules: oscillator (VCO), filter (VCF), LFO, and many others. On most keyboard synths, these modules follow a preset path. But you can also make them fully independent and connect them yourself with small cables. This is the principle of the modular synthesizer, and the Eurorack format around which a whole ecosystem revolves.
Between the two worlds, there are semi-modulars: a pre-wired configuration that works without plugging anything in, but that you can modify with cables when you want to explore further. It's an excellent learning ground. You'll find reissues like Korg's MS-20 mini, but also original creations like Arturia's MatrixBrute or Moog's Grandmother. We'll actually come across several in the selection.
Choosing your first synth well: the criteria that matter
Before you commit to a model, ask yourself a few simple questions. They will guide your entire choice.
Polyphony: one note or chords?
Polyphony is the number of notes playable at the same time. A monophonic synth plays only one note: perfect for punchy basses and sharp leads. A polyphonic synth allows chords and pads. Paraphony is in between: several notes, but sharing the same filter and amplifier circuit. To start, just ask yourself: do I want to play melodic lines, or block chords?
Analog, digital or semi-modular?
Analog produces an organic and punchy sound, with a typical warmth. Digital (or analog modeling) reproduces these behaviors very precisely, often cheaper and with more features. The semi-modular invites you to patch your own connections: a great tool to understand how sound flows. None is better absolutely: it all depends on your ear and your way of working.
A synth without preset memory is not a drawback when you're starting out, on the contrary. Since you start from scratch every time, you really learn to build a sound. The MS-20 mini or the Crave work like this: it's the best school to understand synthesis from the inside.
Connectivity, headphones and format
Some practical points make all the difference day to day. Connectivity first: a MIDI port and a USB port let you control the synth from your computer or a master keyboard. The headphones are essential, because a synth is not amplified like a arranger keyboard. Finally, the format matters: a portable module powered by batteries with built-in speaker follows you everywhere, while a full keyboard offers better playing comfort. It's up to you to see where and how you plan to play.
Our selection of synths for beginners
Here are ten machines covering all profiles, from affordable small semi-modular to high-end analog polyphonic. Each has its personality and playground. It's up to you to spot the one that fits your music and your budget.
The MS-20 mini is an official reissue of the legendary MS-20, supervised by the engineers of the original model. You get its nervous analog grain and its somewhat wild character, in a format reduced to 86% of the original size.
It's a 100% analog monophonic with two oscillators and a dual high-pass/low-pass filter known for its musical saturation and self-oscillation. Its patch matrix and 10 supplied cables invite you to experiment: you connect, you listen, you understand. There is no preset memory, and that's better for learning.
On the modern side, the MIDI input and USB-MIDI port connect it easily to your computer or master keyboard. Perfect for acid basses, sharp leads and sound design in techno, electro or ambient.
For whom? The curious who really want to understand how a sound is born, without breaking the bank.
The Crave condenses the spirit of historic monosynths in a robust and affordable desktop format. Its oscillator based on the famous CEM3340 delivers a stable and punchy sound, supported by a vintage-typed 24 dB ladder filter, switchable low-pass or high-pass.
It's an analog monophonic semi-modular with a generous patchbay of 18 inputs and 14 outputs. You can use it as is, then route pitch, gate and modulations yourself when you want to explore. Its 32-step sequencer and built-in arpeggiator make composition immediate, with 64 memory slots for your patterns.
The audio input allows processing external sources, and the MIDI In/Out plus USB-B connectivity integrates it into any setup. You can even chain up to 16 units.
For whom? The beginner on a tight budget who wants to taste analog and semi-modular without compromise on sound.
The SH-4D continues Roland's SH line, that of the SH-101, this “little giant” that became a reference for punchy basses and hypnotic sequences. It takes up its spirit in a robust and portable desktop format, with a resolutely retrofuturistic approach.
Under its 32 knobs and 4 faders, you choose from 11 oscillator models, including the SH-101 and JUNO-106, but also wavetable, FM or PCM. Four synth parts and one rhythm part play together, up to 60 voices of polyphony. The ladder filter with Drive, the envelopes and the LFO remain clear to help you learn subtractive synthesis.
The 5-track, 64-step sequencer, with probability and sub-steps, and the arpeggiator generate quick patterns. On the connections side, the USB-C audio/MIDI (up to 12 channels to your DAW), the MIDI DIN and the clock input let you communicate with a hybrid setup. Battery power with AA batteries is possible to play anywhere.
For who? Someone who wants the DNA of classic Roland and current engines, in a format that fits in a bag.
The JU-06A pays tribute to the JUNO-60 and JUNO-106, those synths that defined the pop and synthwave sound of the 80s. This Boutique module condenses their look, their slider ergonomics and especially their character, in an ultra-portable format.
Its subtractive synthesis with modeled DCOs stays faithful to the originals. You benefit from the famous stereo chorus that instantly widens pads and synthetic strings, the continuous high-pass filter of the 106 and the pulse width modulation style of the 60. Polyphonic 4 voices, it remains punchy and musical.
On the playing side, the arpeggiator, chord memory and 16-step sequencer multiply ideas. MIDI DIN, audio/MIDI via USB and external clock input integrate it into any setup. Battery powered, with speaker, it can be taken anywhere.
For who? The lover of 80s sounds who wants immediate pads and chords, without endless menus.
You hesitate between a synth and a drum machine to start electronic music? Think complementarity. A monosynth for basses and leads, plus a drum machine for the groove, and you already have a complete live setup. Roland Boutique modules and the TR-8S speak the same sync language: they lock in effortlessly.
The TD-3-MO pays tribute to the legendary TB-303, that 80s "Bass Line" that shaped acid house, and the famous modifications it underwent. Behringer takes a 100% analog architecture and adds extended controls: the suffix "MO", for "modded out", promises more modulation and more bite.
It is a monophonic analog synth, with a sawtooth or square VCO, a switchable sub-oscillator and a 24 dB low-pass filter with biting resonance. Accent and slide keep the acid groove, and the 16-step sequencer, in real time or step-by-step, remains an excellent way to understand the mechanics of a bassline by building it note by note.
You benefit from extended controls (variable Slide Time, Accent Sweep, Soft Attack), built-in overdrive and distortion, and complete connectivity: MIDI DIN, USB-MIDI and a generous CV/Gate matrix. Up to 250 patterns in memory, and chaining of 16 units possible.
For who? The future techno or house producer who wants to master step-by-step programming with a cult sound.
The TR-8S brings together the heritage of the legendary TR-808 and TR-909 and adds real modern flexibility. You have the sounds of iconic Roland drum machines, but also the possibility to import your own samples to shape a unique kit.
Its step sequencer inherited from the TR tradition remains incredibly simple: you turn steps on, you listen, you evolve the pattern live without breaking the flow. Each instrument benefits from dedicated controls and effects to sculpt the impact of your kicks, snares and hats.
On the integration side, the TR-8S offers separate audio outputs, USB and MIDI to communicate with your DAW and synths. It is the natural complement to a monosynth: while your synth holds the bass, it holds the rhythm.
For who? Someone who wants a solid and immediate rhythm to accompany their first synths in the studio as well as on stage.
The Grandmother is a semi-modular analog synthesizer by Moog, going back to the brand's modular roots. Its panel with colored zones guides the eye like a cockpit: you immediately spot where to act, making it an ideal companion for newcomers to synthesis.
Analog architecture oriented towards subtractive synthesis, Moog filter with a well-defined character, and a patch bay that lets you explore modulation when you feel ready, without a full modular system. You can play right out of the box, then plug in cables as you progress.
It includes an arpeggiator and a sequencer to create evolving patterns, as well as CV, MIDI and USB connections to integrate it into a hybrid setup. Its character is full, round and warm, faithful to the Moog legend.
For who? The ambitious beginner who wants a real Moog that can grow with their knowledge.
The Subsequent 37 modernizes the Sub 37 approach by reworking the gain staging and the Multidrive. You find the warmth of the Ladder filter and the responsiveness of a fully loaded panel, in a compact format designed for studio and stage.
Its 100% analog engine combines 2 oscillators with variable waveforms, a sub-oscillator, analog noise, and an external audio input routable to the filter. It plays monophonically or in 2-note paraphony for tight chords. The recalibrated Multidrive covers everything from silky to saturated.
With its 37-key keyboard sensitive to velocity and aftertouch, its 40 buttons and 74 switches, its sequencer, arpeggiator, and 256 presets, it offers direct and complete control. MIDI, USB, and line input/output complete the connectivity.
For whom? The keyboardist starting out with ambition who wants a Moog with a keyboard capable of accompanying them for a long time.
Don’t look for the "do-it-all" machine for your first synth. It’s better to have a simple and inspiring instrument that you enjoy turning on every day, rather than an intimidating behemoth that collects dust. Start small, master one type of synthesis thoroughly, and then evolve your setup. Our in-store advisors are here to guide you according to your style and budget.
The Matriarch, here in its Black Edition, embodies the culmination of Moog’s semi-modular philosophy. Designed from vintage circuits of the brand’s classic modules, it combines Moog’s sonic DNA with modern playability, ideal as a studio centerpiece or a live set highlight.
At the heart of the machine, 4 analog oscillators can be configured in unison for a mono wall of sound, or in 4-voice paraphony for organic chords and evolving timbres. The stereo ladder filters and built-in stereo analog delay open a wide and deep sonic space, from punchy slapback to long feedback tails.
The 256-step sequencer and arpeggiator turn an idea into a living pattern. Its large patch bay (90 points), MIDI, USB, and CV/Gate connections, and 49-key keyboard make it an animation hub for hybrid setups.
For whom? The motivated enthusiast ready to invest in a machine that will never limit them, even after years of practice.
With the "Rev4," Sequential delivers a careful tribute to the original Prophet-5 by bringing together, in one instrument, the sonic soul of the three historic revisions. The authentic VCOs and selectable analog filters recreate the muscular grain and dynamic response that marked the history of analog polys.
It’s a 5-voice polyphonic analog subtractive synth: two oscillators per voice, hard sync, 4-pole resonant low-pass filter. Its famous Vintage knob adjusts character from modern stability to the organic instability of vintage machines. Its clear ergonomics remain accessible, though its richness will especially appeal to seasoned ears.
Fatar 61-note keyboard with velocity and aftertouch, 400 presets, MIDI/USB, audio, and CV/Gate: everything is designed for live, studio, and soundtrack creation.
For whom? Someone who looks far ahead and wants to invest in an exceptional instrument to keep for a lifetime.
Types of synthesis
Synthesis is the set of techniques that allow a synthesizer to generate sound. The choice between analog and digital doesn’t change the theoretical foundations: they are the same principles implemented differently. Here are the main families, from the most accessible to the most advanced.
Subtractive synthesis
It’s the oldest and by far the best for beginners. The principle: you start with a sound rich in harmonics, then you remove (you "subtract") what you don’t want with a filter. Emerging in the 1960s, flourishing in the seventies, it made a strong comeback in the 1990s thanks to its massive use in electronic music. Most synths in our selection rely on it.
FM synthesis and sampling
In the 1980s, FM synthesis (frequency modulation) enjoyed huge success with the DX7. Its principle is radically different: one frequency modulates another, creating metallic and bright timbres. Then came sampling synthesis, which isn’t really synthesis in the strict sense since it starts from a pre-existing sound (the sample) to rework it. Two approaches that are more demanding to master when starting out.
Additive, wavetable, modeling, and granular
Additive synthesis builds a sound by layering sine waves. Wavetable synthesis scans through a series of waveforms to create evolving timbres. Analog modeling digitally simulates, with DSPs, the behavior of vintage circuits: this is what the JU-06A or the SH-4D’s SH-101 and JUNO-106 models do. Finally, granular synthesis combines micro-samples of a few milliseconds for experimental textures. Plenty of paths to explore later, once you’ve mastered subtractive.
Basics of subtractive synthesis
Since this is where you should start, here are the five key modules. Understand them, and you’ll be able to read any subtractive synth.
1. The oscillator (VCO)
The VCO (Voltage Controlled Oscillator) generates the starting waveform, which determines the timbre. Four basic shapes always come back: the sine wave (pure sound, close to a flute), the square wave (hollow, clarinet-like), the triangle wave (softer, oboe-like), and the sawtooth wave (rich and brassy). From the mid-1980s, a microprocessor replaced the electric oscillator for more precision and polyphony.
2. The filter (VCF)
The VCF (Voltage Controlled Filter) shapes the sound by cutting certain frequencies. The low-pass keeps the bass and cuts the treble (the most used), the high-pass does the opposite, the band-pass lets through only a range, and the notch removes a specific zone. Two settings are key: the cutoff frequency, which decides where the filter acts, and the resonance, which boosts the sound around that frequency sometimes up to self-oscillation. This is where much of a synth’s character is made.
3. The amplifier (VCA) and the envelope
The VCA (Voltage Controlled Amplifier) controls the volume of the sound over time, driven by an envelope generator. We break down this evolution into four segments: the ADSR. The Attack is the rise time, the Decay the fall, the Sustain the level held as long as you hold the note, and the Release the fade-out time when you release it. A percussive sound has a fast attack and a short release; a pad, the opposite.
4. The LFO and the noise generator
The LFO (Low Frequency Oscillator) is a very slow oscillator (from 0.1 to 20 Hz) that is not heard directly but is used to modulate other parameters: it creates vibrato, tremolo, or filter sweeps. The noise generator produces white or pink noise, useful for percussion, breath, or effects. With these five building blocks, you have the whole logic of a subtractive synth.
FAQ – Choosing your first synthesizer wisely
Which synthesizer to choose when you’re a beginner?
For a true beginner, aim for a clear subtractive synthesis interface, where every control is immediately audible. A semi-modular monosynth like the Korg MS-20 mini or the Behringer Crave is ideal: you learn by touching. The lack of presets forces you to understand the sound rather than endure it.
Should you start with an analog or digital synth?
Both are excellent choices. Analog offers an organic, warm grain. Digital, or analog modeling like on the Roland SH-4D, often offers more features for a contained budget. The important thing is not the technology but the pleasure you get from playing the instrument.
Monophonic or polyphonic: what to choose?
A monophonic synth plays one note at a time: perfect for basses and leads in techno or electro. A polyphonic lets you play chords and pads, ideal for pop or synthwave. Just ask yourself what kind of music you want to make first.
Is a semi-modular synth too complicated for a beginner?
Not at all. A semi-modular like the Moog Grandmother works right out of the box, no cables needed. The patch bay is there when you want to explore further. It’s even a great way to understand how sound flows between modules, at your own pace.
What budget should you plan for your first synthesizer?
You can find excellent first synths starting from a modest budget, especially among compact semi-modulars and reissue modules. No need to aim for high-end right away: better a simple, inspiring instrument you use every day. You’ll evolve your setup later, according to your desires.
How to progress after your first synth?
Once you have your machine in hand, set a simple goal: reproduce a sound you like. A Daft Punk bass, a The Weeknd lead, a Tycho pad. Trying to imitate helps you progress ten times faster than turning knobs at random.
Also consider connecting your synth to your computer via MIDI or USB. You’ll be able to record your ideas in your music software, arrange them, and build real tracks. That’s where your first synth reveals its full potential: it becomes the starting point of a sound universe that belongs only to you.
The final word
Choosing which synthesizer to start with is not an exact science. The best first synth is the one that makes you want to sit down and play. Favor a clear interface, subtractive synthesis to understand the basics, and a format suited to your musician’s life. The rest will come naturally, through your patches and your tracks. And when you’re ready to take the next step, toward analog polyphonic, modular, or workstation, this first instrument will have already taught you everything. Synthesis is a journey: all that’s left is to turn on the machine.
