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ON TEST Studio Electronics Boomstars Analogue Synthesizers 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, ring 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 PROS (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 CONS 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 SUMMARY 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.

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