Hypersynth Xenophone Monophonic Synth £795
Bruce Aisher gets tweaking to see if the Xenophone can compete for your hard-earned cash
Although best known for their synth editing software, for a while Hypersynth made a hardware SID-chip synth system. Ultimately, they pursued the software emulation route with their SIDizer VST plug-in, but they’re now back in the hardware game with the Xenophone, a monophonic, multioscillator desktop synth. There are some nods to the SID, but this is an altogether more advanced beast.
The synth comes in the form of a somewhat plain looking, rectangular box laden with LEDs, interspersed with knobs, and hosting a basic LCD screen. Angled wooden end-cheeks do improve the aesthetics somewhat, and help provide a better view of the controls and screen.
The unit is powered by an external 12V DC PSU. On the back panel you will also find a USB port, MIDI In/Out, stereo line-level outputs, mono audio input and headphone socket plus volume control. CV/Gate interfacing is supported by a multi-use TRS jack socket. This is used for input or output of analogue control signals, but not both at the same time. You must select in software which way the interfacing goes (plus the right cable). Although it appears similar to a conventional unbalanced insert cable, the manual does not make this clear. In fact, overall I feel that the various manuals and notes could have been consolidated as there is a certain lack of coherence. This was also evident when attempting to configure the USB port, which is far from plug-and-play. To be frank, the set-up of various drivers and multiple pieces of software to get it working is a real pain, and perhaps reveals the ‘boutique’ origins of the synth more than it should given the price point.
The most important thing here though is the sound engine, and the Xenophone does not disappoint. There are three independent oscillators available. The first two are broadly similar and equally flexible. Each offers conventional saw, square and triangle waves alongside versions that morph between wave shapes via the Shape control (also available as a modulation destination) plus square wave sub oscillators with ring mod capacities. Oscillator 3 is much simpler and offers a square wave or three different noise types – including the famous C64 pitched noise. There is also a whole host of phase, sync, glide and detune options available here including the import ‘Analog Drift’.
The internal mixer combines the output of all the various audio sources (including external audio) before further processing, though it is easy to overload things here. The clipping isn’t that favourable in sonic terms, so caution is required.
Next we have the filter section, which again is very flexible – there are six (self-oscillating) filter types with three different slopes – one of the standout features of the synth in my book. Three six-stage envelopes are directed to Amp, Filter and general modulation duties. It’s good to see a choice of curve types here, as this can make quite a difference when emulating older synths or creating drum sounds.
LFOs 1 and 2 have different rate and wave selections, but by default route to the same six modulation destinations. LFO 3 has a different set of targets. However, the 8-slot mod matrix allows for more complex routings across a wide range of sources and destinations.
Onboard arpeggiation and sequencing is a nice addition, though a simple LCD screen makes complicated sequence programming tedious (see below for a solution).
My initial feelings about the Xenophone were mixed. The uninspiring aesthetics are of little consequence in the grand scheme of things, and the presets, although not bad, didn’t particularly inspire. It is only when you start building a sound from scratch that you start to get a measure of the synth. The oscillators are fat and flexible, and filtering is varied and strong. Modulation capabilities are also excellent. The front panel layout could be rationalised and the division between functional sections could be clearer. A wider case would help here, allowing the Amp and Filter envelopes to have their own controls. When the four soft knobs below the screen are used, it is confusing as to which parameter they point to, and when dedicated knobs or buttons are required. Some rationalisation here could also help, though the use of encoders (rather than pots) is a good choice in this context.
The built-in digital effects are okay, but lack much in the way of editing or interesting and unusual manipulation capabilities, plus take up valuable panel space. The distortion effect would perhaps have been best served with a single knob.
In many ways the Xenophone is trying to be too many things. Despite this, sonically, at its core, it is strong and the voice architecture is very flexible. Analogue drum hits, basses, brassy swells, leads and FX are all easily within its grasp – and if this was a four-voice then I would be well and truly sold. However, as a mono, with paraphonic potential, it is still certainly one to try.