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Studio Electronics Boomstars Analogue Paul Nagle Studio Electronics’ new synth modules come n launching the Boomstar range, in a range of different colours, each with its Studio Electronics have stepped from own distinctive filter and identity. I the protective cover of 19-inch racks and on to the desktop. Produced in six different models to date, the Boomstars The quartet vying for attention today most efficient — if not necessarily most are monophonic analogue synthesizers are fitted with Moog, ARP, Oberheim and user-friendly — pattern possible. It’s no that share a common design and layout; Roland filters. Whichever flavour appeals, mean feat to provide adequate space their individual personalities are shaped each represents a whole lot of synthesis around every control on a sloping panel by the classic filters they contain. If per square metre. just 220 x 180 mm in size. It’s even possible this cunning ploy tempts you to start to squeeze two Boomstars side by side a collection, there’s extra incentive in Boom Boxes in a 19-inch rack, providing you have the the form of a MIDI overflow function. Having cleared sufficient desk space to optional adapter (sadly not supplied with This enables several units to be chained set up all four, my first impressions were the review models). Half a dozen 3.5mm together polyphonically, as far as your favourable. Each is built into a solid and jacks, the majority conveniently situated budget stretches. Alternatively, they compact metal box with 23 large knobs, in the top right-hand corner, are your are equally content to be triggered by 10 ‘knobless shafts’ and 18 switches. This gateway to analogue connectivity. analogue CV/Gate synths and sequencers. barrage of controls is crammed into the The paint jobs are indicators of the

36 August 2014 / www.soundonsound.com and remains on for as long as the clock is present. This behaviour has the unfortunate side-effect of masking the LED flash of received MIDI notes. Ordinarily, the MIDI output serves as a soft Thru, but when you press the adjacent ‘Overflow’ button, out switches to ‘note overflow’. This is a scarily simple means of achieving polyphony, with unused notes passed to other Boomstars further down the line. We’ll check how that works in practice a little later... With no The Boomstars’ back panels are fairly filters inside, with Moog (Minimoog) in headphone jack, audio for each module simple affairs, with just a quarter-inch black, ARP (2600) in grey and Oberheim is from a single quarter-inch output. And, audio output, MIDI I/O sockets with (SEM) in cream, leaving silver for Roland despite selling at a price for which you attendant Learn and Overflow buttons and an input for the external power supply. and their TB303 filter. In all other respects might reasonably expect an internal power they’re the same — except when a filter supply, what you get is a fairly bulky line- includes extra modes and therefore lump resembling that of a laptop. requires additional controls. Studio Electronics have resisted the temptation to Star Quality embrace surface-mount technology based A Boomstar consists of two VCOs, two on the conviction their synths will be fast hardware envelopes, a single software easier to service in years to come. These LFO and that model-specific VCF. Ably little ‘stars are therefore heavier and more assisting your chosen classic filter are substantial than the analogue hardware attributes such as filter FM, oscillator cross we’re becoming used to. modulation, , feedback The LED nestling in the front-panel and overdrive, not forgetting old regulars Boomstar logo turns red when power is PWM and oscillator sync. It seems that supplied (there’s no switch). When MIDI Studio Electronics were determined to clock is received, the LED turns yellow (or cover all the bases! orange depending on the viewing angle) I opted for MIDI connectivity and what must be the fastest means of channel selection yet conceived. All that’s Studio Electronics required is a quick press of the ‘Learn’ Boomstars button while you play a few notes. As long as you’ve got a recent Boomstar p r o s (OS2.0 or above), the learnt channel is • They’re big, fat, powerful synths in small retained after power-down. MIDI’s few metal boxes. hard-wired connections are: mod wheel • Versatile synthesis and a generous allocation of knobs and switches. to vibrato, aftertouch to filter cutoff • Choose the colour, choose the filter. and CC7 to volume. Other than velocity • MIDI or CV/Gate operation, plus extra control over filter envelope depth — for patch points to interface with Eurorack some much-needed dynamics — it’s an gear and suchlike. old-school approach throughout. The c o n s knobs don’t send MIDI CCs and the synth • The style and uniformity of knobs takes doesn’t listen for them. There isn’t even away some of the joy. a way to add legato-induced glide, which • MIDI implementation pretty basic. puts constraints on any sequenced 303 • Not cheap. • External power supply. patterns you might eventually conjure up. Studio Electronics are currently working on s u m m a r y an update to (optionally) swap the actions An excellent-sounding range of analogue of the mod wheel and aftertouch. They’re synths, each with its own classic filter. The considering other additions too, such as only problem is which to choose. controlling the phase and speed of the

www.soundonsound.com / August 2014 37 on test Studio Electronics Boomstars

LFO via MIDI. Existing owners to whom as a genuine mixer, they work fine in the these enhancements appeal will need to space available. organise an EPROM replacement as the Continuing the space-conservation updates aren’t MIDI-flashable. theme, there’s only enough room for Unless you’re in a darkened attic trying one set of controls for pulse-width to navigate the very black 5039, the adjustment and envelope-sourced chances are you’ll have spotted the 10 tiny PWM. The first oscillator wins those knobs along the bottom. Or, rather, 10 tiny but doesn’t have all the best stuff. For knob shafts. They feel up to the standard a start, it’s tuned via a tiny master tune of those used elsewhere but, within knoblet, which I occasionally grabbed the available space, it wasn’t possible by accident. Fortunately this type of to cap them. We’ve coped with such confusion should only be an issue inconveniences before — eg. on the Korg when multiple Boomstars are arranged Monotrons — and I’d agree it’s better to in a line. VCO2’s regular-sized pitch have the extra functionality, even if the knob has a range of seven semitones implementation isn’t perfect. However, up or down. This holds true until you knobs small and large earn the same deactivate keyboard tracking, when the general complaint; they’re entirely black knob’s range is dramatically extended. with no white indicator lines or dots. Visual VCO2 has fewer waveform choices feedback is something we take for granted but isn’t the poor relation. Amongst on synths with no patch memories. The its alternative charms, I was blown ability to see a patch and know instantly away by the smooth oscillator sync. what to expect is a major contributor to Flick a switch and either envelope may such an instruments’ appeal. I hope Studio be used to drive the pitch. It’s also Electronics will consider this plea for the worth remembering that sync doesn’t future: new knobs, please! have to involve moving harmonics at all: it’s a valuable tool for carving out Digging In interesting new waveforms. The ring In order to become familiar with the forest modulator takes that idea even further, of controls, I connected my Sequentix P3 into atonal, bell-like territory. It performs sequencer and began firing note patterns the expected sum and difference magic at all four synths simultaneously. Several on the VCOs and is represented by days later I came up for air, remembering a single level control in the mixer. I was meant to be writing a review! I hope The mixer comprises five knob-stalks it isn’t too much of a spoiler to say that that, as well as the ring modulator, the Boomstars are fat, friendly and full include the VCOs, white noise and — in the best trans-Atlantic tradition. Unstoppable basses, proggy solos and sound effects with extra balls gush readily Overflow Mode from any of them. Eventually, instead of flitting from If you have two or more Boomstars, each can be connected in a MIDI chain. model to model in childish delight, When the Overflow button is pressed, I restricted myself to one so I could any notes the first synth can’t handle are formally explore the architecture. I chose passed onwards via the MIDI out socket. the SEM because its off-white paint job The notes received at the next input are showed up best in my shadowy studio. given the same treatment, and so on. This Let’s start with the oscillators. This pair should be good for at least 10 Boomstars before any MIDI delay is experienced. have important differences, but we’ll look The voices are always triggered from at the similarities first. They cover a range the first available rather than the more from 32’ to 2’, plus an ‘LO’ setting, common round-robin fashion. This which shouldn’t be a surprise when you therefore is a major influence on the way learn the oscillators are broadly based you play. Polyphony also has a bearing on the Minimoog. VCO1 offers up to on the type of patches you program. After all, polyphonic Minimoog bass three simultaneous waveforms; a choice is just plain wrong. No conventional of triangle or sawtooth, sine or variable polysynth offers such variations between square, plus a square sub-octave. The voices, although you’re faced with switches’ middle positions act as ‘offs’ but a large number of controls to set up even when the waveforms are engaged they’re once — let alone multiple times. While at a fixed maximum level, except for the potentially interesting, it’s possible sub-oscillator, which offers a half volume polyphony could place quite a high demand on your patience. setting. While switches aren’t as elegant

38 August 2014 / www.soundonsound.com on test Studio Electronics Boomstars

feedback. Even with all volumes at zero, can be given another role — that of connections not covered. there’s a small amount of oscillator a simple LFO. When the attack and decay Thanks to more of those ever-useful bleed-through on every Boomstar I tried. phases are set to loop, the envelope can switches, the LFO can be routed to the Plus there’s an audible clicking from be a source of extra vibrato or additional pitch or pulse width of either VCO, and, the envelopes, most obviously from the pulse-width modulation independent of of course, to the filter cutoff. A useful filter envelope at short decay times. the regular LFO. by-product of the three-way switch Dropping out of analytical mode for The envelopes have yet more to give. implementation means the middle position a moment, I found these noises were more The output of either can be inverted (‘off’) is always ready as a neat escape if character-adding than problematic in (I’m sure somebody has a use for that) you get bogged down in crazy modulation. normal use. However, the grey ARP model and although the VCA envelope has no Speaking of which, oscillator cross was noticeably noisier than the rest. With looping facility, it has something even modulation (Xmod) involves VCO2 instruction, I was able to make a small better: LFO triggering. When this is assaulting VCO1’s pitch or pulse width. improvement by adjusting the VCA offset switched on and the LFO is synchronised Audio level modulation is an invaluable via its trim pot, accessed from holes along to MIDI clock, you’re suddenly inspired to source of freaky harmonics and usually the the front. produce all manner of smoothly decaying province of true VCOs rather than DCOs. phrases of a type more common in the The second oscillator can also serve as Envelopes & LFO pre-MIDI days when a note’s pitch and a modulation source for the filter cutoff Ordinarily, the next logical stage following triggering were separate events. (sadly at the expense of the LFO). This the signal path from oscillator to output While you can sync to incoming MIDI provides everything from taser-like zaps is the filter. Deviating from logic slightly, clock at the flick of a switch, there’s no to Forbidden Planet levels of abstract the filters are rounded up and summarised precise indication of the clock division. madness, the degree of insanity varying in the ‘Boomstar Shootout’ section. Here As far as I could tell the range is from according to the filter within. we’ll look at the envelopes which, as a leisurely eight bars up to 16th-note defined in classic synth lore, translates to triplets at top speed. Usually, I found it Boomstar Shootout an ADSR for the VCF and another for the to be a case of ‘turn until it sounds right’. Studio Electronics have a long-established VCA. I’m glad to report they’re fast and The LFO’s continuous waveform selector record for filter swapping. My first snappy, with a noticeable bump at the top starts at sine and progresses through eight encounter was the different colours of of the attack phase that adds extra weight other waves, including random (in regular the ‘Analogue Tone Chameleon’ ATC1 to percussive patches. and slewed varieties). Knowing that the back in 1996. Coincidentally, it’s the same If that bump is reminiscent of the LFO was software, I asked whether noise selection of filters here as then. Minimoog, the decay handles more might be added to it in the future. After 5089: The classic 24dB Moog ladder like the Arturia Minibrute in that all the all, it’s a modulation source welcomed by filter in this model has a wet resonance optimum times for snappy sequencing Minimoog fans and one of the very few that squelches like wellies in festival are crammed into a small sweet spot of knob movement. Happily, the full gamut from long sweeps to punchy blips is yours in return for a spot of (sometimes careful) tweaking. The envelopes have a maximum release time of around 14 seconds (averaged amongst the four), plus an unusual quirk not often found in hardware: they must be retriggered before the sustain level can rise above its current value. In practice it’s a minor inconvenience, meaning you can’t ‘fade in’ a held but fully decayed note by the action of raising its sustain level. Depending on your playing style, you’re free to trigger the envelopes in smooth, Minimoog-like fashion or adopt the fast and precise multi- triggering of the ARP Odyssey. Flip the VCA switch to ‘drone’ and the envelopes are bypassed, which makes life easier when filtering external signals. It’s also good if you happen to like drones. Alternatively, flip the same switch to ‘Master’ and the first envelope is disconnected from the filter. This isn’t quite so pointless as it might seem because the filter envelope The Boomstar 5089 has a distinctly Moogy personality.

40 August 2014 / www.soundonsound.com on test Studio Electronics Boomstars

mud. It’s an eternally smooth, warm and hit oscillation, although this SEM gets musical low-pass filter and everyone closer than my dear-departed Oberheim should probably own at least one. When Two Voice ever did. Comparisons are overdrive is kicked in, the filter becomes probably misguided though as the hard-edged — but never too hard. Add Boomstars have a markedly different low levels of feedback and it really does architecture. For example, I chanced resemble the Minimoog regenerative across a very un-SEM-like ‘fluffy acid’ effect of feeding the headphone output patch by setting the notch and feedback back in. Keep increasing the feedback and to around 10 o’clock, overdrive on and “Having played four of them on most days over a three-week period, I’m still The Boomstar 3003 is based on the characteristic hard-pressed to decide which I’d go for.” filter of the TB303. Of the four, it is the closest in tone to the it quickly degenerates into a noisy screech, resonance to max. That took care of 5089, but while the 3003’s filter is rightly shredding the signal from around the another afternoon! famed for bass, that’s not all it can do. half-way point onwards. 4075: The grey-faced Boomstar is fitted I found it slightly darker than the Moog Feedback is worth exploring with with the 24dB filter from the ARP 2600 and it retains more bottom end at higher every filter and at all resonance levels for and boy does it rasp and scream! In theory resonance. Set at maximum, the resonance the many unsettling and warping effects it’s Moog-like but in practice the least turns into liquid acid, and who can resist it brings. Typically, a small amount goes predictable of the filters and the one with dialling up a fat Moogy sawtooth or a long way. the most cutting — but not unpleasant square wave, a spot of glide, and doing SEM: Having said that, feedback has — resonance. When auditioning low-pass what comes naturally? the least impact on the cream-faced SEM. filters, resonance is usually the most Switching into overdrive puts the The filter is in recognisable homage to proverbial ‘donk’ on it, while feedback the 12dB multi-mode filter used in the progressively destabilises — as it does original (and current) Oberheim SEM. It for all the filters in varying degrees. When might even be my favourite of the four, in fed high levels of resonance and feedback, contrast to my thoughts 18 years ago. the 3003 will eat the bass then howl at Where the Oberheim SEM had its the moon. band- pass selection incorporated into Regardless of the model chosen, all the notch control, here it’s a separate (and filters are up for a bit of external signal rather stubby) little switch. Fortunately the processing. There are also several key effect is the same. As long as band-pass factors that change the filter response. isn’t selected, the notch control sweeps Oscillator level is always important and from low-pass response through to here, having tiny controls means setting high-pass in a single, unbroken movement. accurate levels is a bit hit and miss. The SEM is therefore capable of lighter, With three of the models, if you exceed The Boomstar 4075 is inspired by the ARP 2600. more subtle tones than the other three a level of approximately 75 percent, the models. This isn’t to suggest the filter’s obvious characteristic that separates them. filter starts to be gently overdriven. The low-pass mode can’t cater for fat and High resonance became a key component SEM filter has a lower input threshold punchy, because it can. in almost all my favourite 4075 patches. and therefore ‘browns out’ somewhere At maximum resonance you don’t quite Pairing a resonant sweep with the rich around 65 percent, which incidentally oscillator sync produced an endless line edges it closer to the saturated of quality solo patches as applicable Oberheim SEM sound. Filter tracking isn’t to progressive rock as psy trance. With continuously variable but is offered at half a full bass end too, the filter is sure to be or full. Finally, for a blatant overdrive, flip popular as a Moog alternative. the switch in the VCA section. It’s basically I’d describe its response to feedback what you’d expect ‘11’ to sound like. as ‘unrestrained’. Indeed, feedback alone, with the noise and oscillators turned right Conclusion down, can summon up a monster sound The Boomstars are brand-new analogue source. If you then introduce an oscillator, synthesizers covering a generous range even at very low levels, you should prepare of classic tones. The choice of models for several hours of indulgent bog-eyed presents something of a dilemma though. soundscapes. Having played four of them on most 3003: As you no doubt guessed, the days over a three-week period, I’m still No prizes for guessing that the Boomstar SEM silver 3003 is fitted with a 24dB TB303 hard pressed to decide which I’d go for. is based on Tom Oberheim’s classic Expander Module. filter (these are very popular, apparently). The 5089’s Moog filter is as musical,

42 August 2014 / www.soundonsound.com Alternatives polyphonic use. However, polyphony is so complete. Ditto the external power A number of alternatives come to mind, a minor consideration. After all, with rich supply. Finally, in an ideal world there’d including the more expensive Oberheim modulation on offer and that irresistible have been either a more comprehensive SEM, which exists in three versions including a fully patched-out model. For the authentic oscillator sync, any Boomstar would MIDI spec or more CV inputs. However, sound of Moog, the Minitaur is cheaper be a great addition to a sequencing or all these shortcomings are easy to forgive but also much less complex. In its favour soloing arsenal. because the Boomstars sound so damn the Minitaur has extensive MIDI chops and With the possible exception of the grey good. In spite of their size, they are software that acts like a plug-in. Or there’s the not-very-knobby Waldorf Pulse 2 with its 4075, the noise levels were acceptable, hands-on synths full of character, choice trio of DCOs, in-depth modulation matrix and but I did have some misgivings. For and tweakability. patch memories. example, during development, I’d have expected someone to have ventured the following thought: wouldn’t it be nice ££ £799 each including VAT. T versatile and desirable as ever. The 12dB to see where all the knobs are pointing? T MSL Professional +44 (0)207 118 0133 EE [email protected] SEM filter is very distinctive, its multiple Similarly, I realise that knobless shafts are WW www.mslpro.co.uk modes giving extra scope despite its useful space-savers, but they also feel like WW www.studioelectronics.com restrained resonance. In contrast, the compromises on a synth that’s otherwise 4075 is pure unfettered attitude and the one best suited to work as a stun weapon. This leaves the 3003 and its deeply acidic tones and chirpy resonance. If it’s hard to pick a favourite out of four, it’s probably just as well the other two Boomstars didn’t arrive in time for this review. The latest additions to the range are fitted with the Korg 700 filter and that of Yamaha’s CS80 respectively. Each filter has its own character, yet there’s enough commonality to make chaining different models at least feasible. Given the number of controls, I have my doubts whether it’s practical to tweak, say, four of them for CV/Patch Points

If you still regard MIDI as one of those passing fads with no future, the Boomstars are readily played from their CV and Gate inputs. I connected the 1V/Oct CV and Gate signals from my MFB Tanzbär and took a further CV output to control the filter cutoff. Incoming voltage can also drive the VCA level and thus provide external dynamic control. Outputs are rather thinner on the ground. There’s just one: the combined signals of the two VCOs. If you have several Boomstars you could therefore achieve a degree of cross modulation between them, although separate CV inputs for each oscillator would give that idea far more weight. Finally, in other developments, the individual filters are planned to be released as Eurorack modules in conjunction with Pittsburgh Modular. So far the 4075, 5089, and 3003 filters are ready, plus there’s a discrete VCA module also ready to go. I’m told there are future plans for a fully modular Boomstar with a comprehensive CV-to-MIDI module.

www.soundonsound.com / August 2014 43 Mix with the best!

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This article was originally published in Sound On Sound magazine, August 2014 edition

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