A multitimbral synth can play two or more distinct sounds, or “timbres,” at the same time. Multitimbrality is useful in all sorts of creative ways, like layering two complementary sounds together, playing different sounds with different parts of the keyboard, or playing multiple MIDI parts from a single multi-channel sequencer. This extra capability makes owning a multitimbral synth a lot like owning multiple synths rather than one.

Let’s dig into how this awesome feature got its start, the reasons why multitimbral synths are so useful, and why this largely overlooked feature is starting to pick up steam again. We’ll also go over how you can use multitimbral synths to improve your music-making workflows and jams.

A Brief History & How Multitimbral Synths Work

When multitimbral synths first gained traction in the mid-1980s, the proposition of one synthesizer that could perform the job of two or more held a lot of weight. One of the most iconic multitimbral synths of the era, the Oberhiem Xpander, is still one of the most fully-featured instruments of its type—and a great platform for reviewing the different ways synths play multitimbral patches. That said, let’s take a look at the Xpander as a model for how multitimbral synthesizers work as a whole.

[Editor's note: if you're curious to dive deeper into the Xpander, we recommend you check out our dedicated article about its keyboard-laden sibling, the Oberheim Matrix-12.]

Assigning Timbres to Voices

The Xpander had six voices, and each one could be set to produce a completely different sound from the others. It’s important to note that multitimbral functionality doesn’t magically double your synth’s voices; you’re still limited by your synth’s maximum voice count. Some multitimbral synths allow you to choose exactly how many voices to allocate to each sound, while others automatically divvy up the voices or shift them between voices, as needed. Also, most multitimbral synths can’t play a different sound on every voice, instead limiting you to just a few distinct timbres across some higher number of voices. The Xpander was just particularly awesome.

So with its six-part multitimbral capability, the Xpander could deliver a kick, snare, high-hat, bass, and power chords all at once. At the time, it was as close as you as you could get to DAW-like functionality from a single device. It was so complex and sophisticated in its time, that the Xpander was priced at nearly $4,000—and we’re talking 1980s money!

Controlling Your Different Timbres

The Xpander, just like modern multitimbral synths, allowed you to decide how each timbre was controlled. You could play sounds on top of one another all at once using the keyboard, referred to as layering. You could also assign a certain range of keys to the sound so it only played when using a particular section of the keyboard, called assigning zones.

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[Above: control routing options from the Oberheim Xpander user manual.]

Today, many multitimbral synths simplify this concept by dividing the keyboard into halves, with each half dedicated to a different sound or set of sounds, referred to as a keyboard split. The Xpander also allowed you to assign any voice to a specific MIDI channel (new tech at the time) or to a dedicated CV input. So, you had four ways of addressing individual timbres: directly via MIDI or CV, or via dedicated "zone," or by layering with other timbres.

As a testament to the Xpander’s excellence, there are very few multitimbral synthesizers today that employ this much control method variety. Most do allow for layering, MIDI control, and keyboard splits—but both CV addressing and the sheer granular detail with which you could specify control in the Xpander are rare.

The Xpander also allowed for each sound to be summed through a stereo output and/or sent to a dedicated direct out. Many modern-day multitimbral synths include direct outs for each timbre—but sadly, many also don’t, so this is something to look out for when picking a synth. With a dedicated output, you can track and process timbres individually, just as if you had two synths. If you don’t have that, then when recording or processing your sound, each timbre will be linked to the same audio channels…a potential downside, depending on your workflow.

Into the 1990s + 2000s

After the Xpander, digital synth tech opened the flood gates some of the first iconically popular multitimbral synths, such as the Nord Lead and Access Virus virtual analog synthesizers, each with up to 16-part multitimbrality (requiring an expansion in the case of the Nord Lead); the current versions of both, the Lead and Virus, remain solid multitimbral picks to this day.

[Above: the Nord Lead and Access Virus.]

Eventually, multitimbral synthesis evolved into the massive keyboard workstations that ruled supreme in the 1990s. These digital monsters gave the power of an entire orchestra to the player for the first time proving to be a big step forward for writing music with synthesizers.

But, as we know, keyboard workstations aren’t exactly the hot ticket these days, as home computers have become much more powerful, and DAWs have largely taken over the roles of tracking and providing virtual instruments. Unfortunately, as a result, multitimbral synthesizers are often viewed similarly: a relic of the time before DAWs.

Why would you need your synth to play two patches when you can just track separately in a computer? Because it extends your sound design range, helps you maintain creative momentum while composing, and makes for way better synth jams.

Why Go Multitimbral?

Multitimbral synths are useful in every stage of the music enjoyment process. From writing to tracking to playing live, more sounds at once means more possibilities and often a more streamlined workflow. More than all that, though, multitimbral functionality allows you to get more value out of one piece of gear, so it’s an excellent route for the budget-conscious and for those who prefer more minimal setups.

Layering

Let’s talk about one of the prime modern uses for multitimbral synths: layering, or combining two sounds into one.

Building sounds with two patches gives you more of everything. Instead of, say, two oscillators, you get four, along with double the filters, modulation, and whatever else the synth has to offer (excluding global parameters). With a surplus of sonic resources, you’re able to apply a laser focus to your sound crafting and dedicate more patch elements to specialized roles.

Layering often takes the form of sculpting extra-rich soundscapes on the fly—a special kind of magic reserved for multitimbral instruments. Stacking an evolving drone beneath a shimmering pad or a crashing wave of saturated harmonics without dancing between your synth and a DAW is just a different experience. And because it all comes from the same place, the different sounds are often more cohesive, requiring less processing to glue together in a pleasing way when compared to the results you get pairing your synth with a VST or another synth.

Layering can also be one heck of a problem solver, especially when you want to add to a patch without ruining what you’ve built so far.

Maybe you want some modulating sizzle on top of your bass without applying a heap of distortion or raising the filter; use another timbre to layer some saturated and high-passed airy tones or moving noise. Or, what if you’re happy with the movement of your slightly detuned chords but need more oomph in the low-mids: load up another layer with a saw or square to prop things up, maybe with some saturation and a band-pass, if you got it. Using multiple sounds to make an already good sound even better is often a lot quicker and easier than reworking things from the ground up.

Performing & Composing

Multitimbral synths are a huge asset to live performers, as they can take care of multiple parts, giving you a bigger sound with less gear. This is amplified by the fact that multitimbral synths tend to be highly-flexible sound shapers, allowing for totally different parts of a track to come from the same machine. Next time you’re synth shopping, consider the possibility of filling two chairs with one synth.

For many synthesizer-powered music-makers, the writing process isn’t too different from a live jam, and that’s exactly why multitimbral synths help with composing—you can play more parts at once and make more present judgments. And again, the value of multitimbral synths really hits you the first time you don’t have to get back the computer to set up another VST track or rig up another synth—you’re able to keep your momentum. That immediacy is nurturing to new ideas that are so often lost in the synth-to-DAW shuffle.

Top Multitimbral Synths Today

While multitimbral synths saw a decline with the rise of DAWs, multitimbral functionality has had something of a resurgence, with more people becoming interested in the hands-on approach of hardware and less interested in staring at computer screens. Thankfully, the current multitimbral synth options are in a pretty good place, with more emerging all the time. Here are some of the best multitimbral synths available today.

ASM Hydrasynth Deluxe

The Hydrasynth Deluxe is an extremely versatile multitimbral synth capable of splitting its 16 voices across two patches, with eight voices per patch. You can layer the patches or split the keyboard to play the sounds separately.

Melbourne Instruments Nina

It’s safe to say you can do things on the Melbourne Nina that are impossible on any other standalone synth. This pioneering instrument is special in many ways, but here we focus its unique multitimbral capabilities.

In nearly every aspect of its design, the Melbourne Nina is tasteful and innovative—and, of course, it sounds incredible. This one should definitely be on your radar.

Elektron Digitone

Moog One

Sequential Prophet Rev2

More Sounds = More Fun

In addition to presenting big advantages for composing and performing live, multitimbral synths make powerful jam companions. Being such versatile instruments, providing synthesizers with multitimbral functionality just makes sense, and it’s surprising we don’t see the feature more often.

Anyone interested in getting more out of their gear should take a close look at their multitimbral options. Choosing a multitimbral synth could mean more ideas, better live sets, or even buying one synth instead of two. Most importantly, having more sounds at once is just more fun.