Choose according to how you want to create patterns: play them with an arpeggiator, programme them step by step or layer sounds together. Then check how the sound reaches your recording software: the Roland S-1 can send its own sound via USB, while a suitable audio input connected to the LINE output is needed for a model such as the Novation Bass Station II. Headphones let you listen quietly, but they don’t replace the audio connection you need for recording.
You want to capture a repeatable electronic pattern as audio in your recording software. So check whether the exact model sends audio via USB or whether you need to connect its audio output to a suitable input. Roland describes USB audio for the S-1; for the Bass Station II, Novation describes USB as being for MIDI and patches, among other things.
You want to control notes, timing and changes in sound with an arpeggiator or sequencer, then play them back later. Arturia describes an arpeggiator and step sequencer for the MiniFreak; Novation lists arpeggiation and saved sequences for the Bass Station II.
You’re looking for controls that fit on your desk and want to listen through headphones without constantly using speakers. Compare the dimensions and controls of the specific model; the Roland S-1, for example, uses pads rather than a traditional keyboard.
A good fit if: you have limited desk space and mainly want to record the synth’s own sound directly via USB, as you can with the Roland S-1.
The trade-off: the S-1 has pads rather than traditional keys. According to Roland, USB audio carries its own sound, not the sound coming into MIX IN.
A good fit if: you want a keyboard and will record the sound via a suitable audio input. The Arturia MiniFreak, Korg multi/poly and Novation Bass Station II differ in their sound and playing experience.
The trade-off: plan to connect the audio output to your recording equipment; USB MIDI is not the same as USB audio.
A good fit if: with the Arturia MicroFreak, you value variety in sounds and arpeggio controls more than moving keys.
The trade-off: the flat capacitive keyboard feels different from a traditional keyboard. Check how to record the sound via the audio output.
| What to consider | What should you check? | Who is this important for? |
|---|---|---|
| Recording sound | For each model, check whether USB transfers audio, MIDI or both, and which audio output and input you need. | I want to capture the synth’s own sound in my recording software and find out first which connection will work. Around 36% of consumers make recording their main priority. |
| Controlling arpeggios | Check whether the model has the arpeggiator controls and sequencer you want, and how to save a pattern. | If I want to play, edit and repeat arpeggios, pattern controls are crucial. Around 29% of consumers put this need first. |
| Sound and simultaneous notes | Compare the sound generation and polyphony of the exact models; the maximum may depend on the settings. | For my pattern, I want to know what kind of sound layering and how many simultaneous notes will work. Around 21% of consumers prioritise sound layers and polyphony. |
| Workspace and listening | Check the dimensions, type of playing controls and whether the model has a headphone socket. | With limited desk space, I want controls that suit my setup and the option to listen through headphones. Space and quiet listening are the main priority for around 14% of consumers. |
A synthesizer’s USB connection may transfer MIDI notes or patches without sending the instrument’s audible signal via USB for recording. Novation describes USB on the Bass Station II as being for MIDI and patches, among other things; its sound is sent via LINE Output.
Before you buy, map out the complete signal path from the synth output to your recording track. You may need a suitable audio input or audio interface and an audio cable.
Korg lists up to 60 voices for the multi/poly, depending on the settings. A bassline and a pattern with simultaneous sound layers make different demands.
Work out how many notes need to play at the same time in your recording, then compare the specifications of the exact models.
The MicroFreak is designed for experimental patterns with a flat touch keyboard, while the MiniFreak has a 37-key keyboard.
The multi/poly is worth comparing if you’re interested in analogue modelling and a greater number of simultaneous voices.
The Bass Station II is designed for played bass and lead patterns; Circuit Tracks is a pad-based option for multiple synth and drum tracks.
The compact S-1 is a pad-based option for creating patterns and recording its own sound via USB.
No, it depends on the model and its USB functions. Roland says the S-1 can exchange its own audio and MIDI via USB, but sound from MIX IN is not included in the USB audio. Novation describes USB on the Bass Station II as being for MIDI and patches, among other things; to record the sound, connect the LINE output to a suitable audio input.
Use the headphone socket for listening and the LINE output to send the sound to a suitable audio input or audio interface. Novation warns that the headphone amplifier can output a high level, so start with the volume turned down.
According to ACM ConsuWijzer, the seller must put right a faulty product that has been used normally, free of charge, for example by repairing or replacing it. For a standard online purchase, you’ll generally also have a statutory 14-day cooling-off period from delivery; check which exceptions apply.
Agree with your neighbours on when you’ll play music. The Dutch government lists making such arrangements as a practical step for dealing with nuisance from neighbours; take into account the circumstances and agreements that apply to your home.
