Arturia Synthx V: Dual-Layer Synthesis Reimagined for Modern Workflows

At the heart of Synthx V is its dual-layer design, effectively giving users two independent synthesizers to blend, stack, or split as needed. Each layer—clearly color-coded for workflow clarity—comes with its own oscillators, filters, envelopes, LFO, chorus, and pan controls, all accessible from the top panel. This separation allows for intricate stereo imaging, contrasting timbres, or simply doubling up for massive sounds, with the option to edit layers independently or link them for unified control.

The middle section of the interface houses shared master functions, such as the master LFO and layer control, which govern both layers simultaneously. This architectural choice streamlines the process of creating complex, evolving patches without getting bogged down in menu-diving. The ability to copy, solo, or link layers adds further flexibility, making it easy to experiment with sound design strategies that would be cumbersome on single-layer synths.

Synthx V’s oscillators serve up classic waveforms—triangle, sawtooth, square, and pulse—with modern enhancements like pulse width cross modulation, ring mod, and hard sync, all per layer. The cross modulation feature, in particular, allows one oscillator’s pulse width to be modulated by the other, opening up dynamic timbral shifts that go well beyond the original hardware’s capabilities. Add in per-layer unison with adjustable detune, and you have a recipe for everything from lush pads to aggressive basses.

The filter section is equally flexible, offering multi-mode options (low pass, high pass, band pass, notch) and emulating the Curtis chip’s 12 dB/octave mode alongside the original’s low pass. Each layer gets its own envelopes for filter and amp, with velocity sensitivity for expressive playing. The chorus section, a hallmark of the Synthex sound, is faithfully recreated and can be dialed from subtle width to full-on ensemble lushness. Pan and stereo spread controls further enhance spatial possibilities, especially when stacking layers or arpeggios.

Moving into performance territory, Synthx V’s multi-arpeggiator lets you stack up to four independent arps, each assignable to either layer or both. The advanced panel reveals a robust effects engine with four slots and 17 effect types, all reorderable via drag-and-drop. Modulation is taken to another level with three extra modulators (ADSR, function generator, random, or sequencer) that can be drag-assigned to virtually any parameter, making complex, evolving patches a breeze to construct.

Synthx V’s advanced modulation system is built for creative workflows. The keyboard section supports velocity, aftertouch, and polyphonic expression, allowing nuanced control over sound parameters based on playing dynamics—provided your MIDI controller supports these features. This level of expressivity is especially valuable for live performance and nuanced studio work.

Macros are another highlight: users can assign multiple parameters to a single macro knob, enabling sweeping changes with a single gesture. The interface is designed for easy macro assignment and fine-tuning, supporting both on-the-fly tweaks and carefully programmed transitions. Arturia’s focus on user-friendly routing and performance tools is evident throughout, making Synthx V a flexible choice for both DAW-based and DAWless setups.