{{Short description|Computer program that generates audio}} {{Use dmy dates|date=March 2014}} A '''software synthesizer''' or '''virtual instrument''' is a software app<ref name="AttackiOS">{{cite web|title=Ten Of The Best: iOS Synths|url=https://www.attackmagazine.com/reviews/the-best/ten-of-the-best-ios-synths/|website=Attack Magazine|access-date=30 October 2025}}</ref> or plug-in that generates digital audio, usually for music. Virtual instruments can be played in real time via a MIDI controller, or may be readily interfaced with other music software such as music sequencers typically in the context of digital audio workstation (DAW) software. Virtual instruments exist for essentially every musical instrument type, emulating various types of synthesis, orchestral instruments, drums, guitars, pianos, and even recreations of specific models of hardware synthesizers and classic keyboards.<ref name="MixSep2014">{{cite web|last=Anderton|first=Craig|title=The State of the Software Synth|url=https://www.mixonline.com/recording/the-state-of-the-software-synth|website=Mix|date=29 September 2014|access-date=29 January 2024}}</ref>
Mainstream virtual instruments were first introduced in the late 1990s, and popularized by Steinberg's introduction of VST instruments in 1999. As computer processing power increased into the early 2000s, virtual instruments could produce what previously required the dedicated hardware of a conventional synthesizer or sampler.<ref name="SOSNov2000">{{cite web|last=Walker|first=Martin|title=Software Studios — Practical Solution Or Second-best?|url=https://www.soundonsound.com/sound-advice/software-studios-practical-solution-or-second-best|website=Sound On Sound|date=November 2000|access-date=10 October 2025}}</ref> By 2014, virtual instruments had become the second-largest music software product category in terms of revenue, with the first being DAW software.<ref name=MixSep2014/>
==Background== In 1957, while working at Bell Labs, Max Mathews wrote MUSIC, the first widely accepted program for making music (in actuality, sound) on a digital computer.<ref>{{cite book|last=Manning|first=Peter|title=Computer and Electronic Music|publisher=Oxford Univ. Press|date=1993}}</ref><ref name="MusicRadarOct2008">{{Cite web|title=A brief history of computer music|url=https://www.musicradar.com/news/tech/a-brief-history-of-computer-music-177299|website=MusicRadar|date=13 October 2008|language=EN-GB|access-date=23 October 2025}}</ref> Barry Vercoe followed Mathews' work with Music 11, and went on to develop the audio programming language Csound at the MIT Media Lab in 1985.<ref>{{cite book|last=Vail|first=Mark|title=The Synthesizer|publisher=Oxford University Press|year=2014|isbn=978-0195394894}}</ref>{{sfn|Vail|2014|p=102-112}}
In 1986, Aegis released Sonix for the Amiga. Alongside a graphical score editor, Sonix leveraged the Amiga's Paula sound chip for a 4-voice software synthesizer. It featured MIDI input, a recognizable user interface, waveform drawing, an envelope, LFO, and non-resonant filter - calculating the synthesized result in real-time and sending it out, polyphonically, to the Amiga's 4 PCM-based channels.<ref>{{cite web |last=Kirn |first=Peter |date=8 June 2023 |title=Dazzle at the soft synths of the Commodore Amiga – including a forgotten 1985 gem |url=https://cdm.link/soft-synths-of-the-amiga/ |access-date=16 May 2025 |website=Create Digital Music}}</ref> In 1988, Digidesign Turbosynth software enabled users to patch together digital signal processing modules with functionality ranging from various forms of synthesis, to filters and a variety of modifiers. The sound produced by the software modules could be exported as samples to be played on a hardware sampler.<ref name="MTSep1988">{{cite magazine|last=Rich|first=Robert|title=Digidesign Turbosynth|url=https://www.muzines.co.uk/articles/digidesign-turbosynth/2295|magazine=Music Technology|date=September 1988|access-date=29 October 2025}}</ref>{{sfn|Vail|2014|p=104-106}}
==History==
In 1994, Seer Systems, under the direction of Sequential founder Dave Smith, demonstrated the first software-based synthesizer running on PC. The second generation of this software synthesizer was licensed to Creative Labs in 1996 for use in their AWE 64 line of soundcards. The third generation, renamed Reality, was released in 1997, and was one of the first commercial software synthesizers. Reality combined various forms of synthesis, including subtractive, additive, PCM, wavetable, FM, and physical modeling, with multi-mode filters, LFOs, and envelopes.{{sfn|Vail|2014|p=56}}<ref name="SOSNov1997">{{cite web|last=Walker|first=Martin|title=Reality PC|url=https://www.soundonsound.com/reviews/reality-pc|website=Sound On Sound|date=November 1997|access-date=28 October 2025}}</ref>
In 1997, Propellerhead Software released ReBirth RB-338, which emulated classic Roland instruments commonly associated with techno: two TB-303 Bass Line synthesizers and a TR-808. A TR-909 drum machine was added in version 2.0.{{sfn|Vail|2014|p=108}}<ref name="SOSJan2003">{{cite web|last1=Poyser|first1=Debbie|last2=Johnson|first2=Derek|title=Ernst Nathorst-Böös|url=https://www.soundonsound.com/people/ernst-nathorst-boos|website=Sound On Sound|date=January 2003|access-date=14 October 2025}}</ref> Also in 1997, NemeSys introduced GigaSampler, the first software sample player that could stream samples in real time directly from a hard drive.<ref name="SOSAug2008">{{cite web|last=Walker|first=Martin|title=Tascam Gigastudio 4|url=https://www.soundonsound.com/reviews/tascam-gigastudio-4|website=Sound On Sound|date=August 2008|access-date=29 January 2025}}</ref> The same year, Native Instruments (whose name itself referred to software-based instruments) was founded with the Generator modular synthesizer software.<ref name="SOSOct2006">{{cite web|last=Price|first=Simon|title=10 Years Of Native Instruments|url=https://www.soundonsound.com/music-business/10-years-native-instruments|website=Sound On Sound|date=October 2006|access-date=24 October 2025}}</ref> Two years later, Generator would be superseded by Reaktor.{{sfn|Vail|2014|p=110}}
In 1999, when Steinberg released Cubase VST 3.7, they updated the VST standard introduced in 1996 to support VST instruments (VSTi), allowing users to run software instruments (including synthesizers) as plug-ins, and releasing the first VSTi, Neon.<ref name="MusicRadarOct2008"/><ref name="Attack10Key">{{cite web|title=10 Key Moments in Music Production History|url=https://www.attackmagazine.com/features/long-read/10-key-moments-in-music-production-history/|website=Attack Magazine|access-date=29 October 2025}}</ref> This helped integrate software synthesizers into DAW software, streamlining usage and triggering a wave of new software instruments. As computers became more powerful, software synthesizers did as well. This led to developments in new forms of synthesis such as granular synthesis.<ref>{{Cite web |last=Kovarsky |first=Jerry |date=2022-05-02 |title=History of the Synthesizer, Part 2 |url=https://hub.yamaha.com/keyboards/synthesizers/history-of-the-synthesizer-part-2/ |access-date=2025-03-17 |website=Yamaha Music |language=en-US}}</ref> By the early 2000s, several software samplers, such as Emagic's EXS24, Steinberg's HALion, and Native Instruments' Kontakt were available, and shortly thereafter emerged a trend of companies that specialized in sample libraries developing their own sample-based virtual instruments,<ref name="SOSJan2005">{{cite web|last=Johnson|first=Derek|title=Ultimate Sound Bank Ultra Focus|url=https://www.soundonsound.com/reviews/ultimate-sound-bank-ultra-focus|website=Sound On Sound|date=January 2005|access-date=29 October 2025}}</ref> Software synthesizers utilized sample playback and even physical modelling to imitate instruments ranging from acoustic pianos, drums and percussion, stringed and wind instruments, to electromechanical instruments such as tonewheel organs and electric pianos.
==Types== [[Image:Cubase 6 feature - software instruments and software effects.svg|thumb|Steinberg HALion Sonic SE sample player (top left), Groove Agent ONE drum sample player (top center), and Software effect processors (bottom) in Cubase 6]] Virtual instruments exist for essentially every musical instrument type, emulating various types of synthesis, orchestral instruments, drums, guitars, pianos, and even recreations of specific models of hardware synthesizers and classic keyboards.<ref name="MixSep2014"/> Alternately, many virtual instruments are unique.<ref>{{Cite book |last=Hosken |first=Dan |title=An Introduction to Music Technology |date=31 July 2014 |isbn=9780203539149 |edition=2nd |location=New York |publication-date=31 July 2014}}</ref>
Software synthesizers represent the full range of synthesis methods, including subtractive synthesis (including analog modeling, a subtype), FM synthesis (including the similar phase distortion synthesis), physical modelling synthesis, additive synthesis (including the related resynthesis), and sample-based synthesis.<ref name=":0">{{Cite book |date=2013-12-19 |title=Musical signal synthesis |url=https://www.taylorfrancis.com/chapters/edit/10.4324/9781315078120-2/musical-signal-synthesis-gianpaolo-borin-giovanni-de-poli-augusto-sarti |publisher=Taylor & Francis |language=en |doi=10.4324/9781315078120-2 |doi-broken-date=1 July 2025 |archive-url=https://web.archive.org/web/20240418023209/https://www.taylorfrancis.com/chapters/edit/10.4324/9781315078120-2/musical-signal-synthesis-gianpaolo-borin-giovanni-de-poli-augusto-sarti |archive-date=2024-04-18}}</ref>
thumb|Bristol Mini emulation of the Moog Minimoog Many popular hardware synthesizers are no longer manufactured but have been emulated in software,<ref name="MixSep2014"/> with the emulation often having a GUI that models the appearance of the original hardware and even the exact placements of the original hardware controls. Some emulations (sometimes referred to as software clones) can even import sound patches for the original hardware synthesizer and produce sounds nearly indistinguishable from the original. Many of these emulations have additional functionality not available on the original hardware versions.<ref name="Attack10emulations">{{cite web|title=Ten Soft Synth Emulations That Are Better Than The Hardware|url=https://www.attackmagazine.com/reviews/the-best/ten-soft-synth-emulations-that-are-better-than-the-hardware/|website=Attack Magazine|access-date=30 October 2025}}</ref> Popular synthesizers such as the Moog Minimoog, Yamaha CS-80 and DX7, ARP 2600 and Odyssey, Sequential Circuits Prophet-5, Oberheim OB-X, Roland Jupiter and Juno Series, Korg M1, and dozens of other classics have been recreated in software, with some versions officially endorsed by or even released by the original manufacturer.<ref>{{cite web|title=GForce launch Oberheim OB-X emulation|url=https://www.soundonsound.com/news/gforce-launch-oberheim-ob-x-emulation|website=Sound On Sound|date=12 October 2023|access-date=29 September 2025}}</ref><ref>{{cite web|title=Roland Juno-60|url=https://www.soundonsound.com/reviews/roland-juno-60|website=Sound On Sound|date=May 2021|access-date=29 September 2025}}</ref><ref>{{cite web|last=Reid|first=Gordon|title=Moog Model D|url=https://www.soundonsound.com/reviews/moog-model-d|website=Sound On Sound|date=July 2018|access-date=29 September 2025}}</ref>
thumb|Native Instruments Massive wavetable synth There is also a variety of popular software synthesizers that are exclusively software and not emulations of hardware synthesizers. Examples include Spectrasonics' Omnisphere,<ref name="SOSDec2008">{{cite web|last=Stewart|first=Dave|title=Spectrasonics Omnisphere|url=https://www.soundonsound.com/reviews/spectrasonics-omnisphere|website=Sound On Sound|date=December 2008|access-date=14 October 2025}}</ref> Native Instruments Massive, Future Audio Workshop's Circle,<ref>{{cite web |title=Future Audio Workshop Circle |url=https://www.soundonsound.com/reviews/future-audio-workshop-circle |website=Sound On Sound |access-date=11 January 2026}}</ref> Xfer's Serum, Vital Audio's Vital,<ref name="Attack10wavetable">{{cite web|title=Beyond Serum: The Ten Best Wavetable Soft Synths You're Not Using|url=https://www.attackmagazine.com/reviews/the-best/beyond-serum-the-ten-best-wavetable-soft-synths-youre-not-using/|website=Attack Magazine|access-date=30 October 2025}}</ref> Arturia's Pigments,<ref name="SOSJun2025">{{cite web|last=Vincent|first=Robin|title=Arturia Pigments 6|url=https://www.soundonsound.com/reviews/arturia-pigments-6|website=Sound On Sound|date=June 2025|access-date=6 October 2025}}</ref> u-he's Zebra,<ref name="AttackUH">{{cite web|title="We do it because we want to, not because we see commercial opportunities" - Urs Heckmann|url=https://www.attackmagazine.com/features/interview/we-do-it-because-we-want-to-not-because-we-see-commercial-opportunities-urs-heckmann/|website=Attack Magazine|access-date=29 October 2025}}</ref> and even the Alchemy synth integrated in Logic Pro, which developed from the original Camel Audio version after that developer was acquired by Apple.<ref>{{cite web|title=Logic Pro 10.2 integrates Alchemy synth|url=https://www.soundonsound.com/news/logic-pro-102-integrates-alchemy-synth|website=Sound On Sound|date=25 August 2015|access-date=29 September 2025}}</ref>
Specific models of classic keyboards, such as the Hammond B-3 organ,<ref>{{cite web|last=Rogerson|first=Ben|title=IK Multimedia’s B-3X plugin is the first official emulation of the classic Hammond organ|url=https://www.musicradar.com/news/ik-multimedias-b-3x-plugin-is-the-first-official-emulation-of-the-classic-hammond-organ|website=MusicRadar|date=26 September 2019|access-date=24 October 2025}}</ref> Rhodes and Wurlitzer electronic pianos,<ref>{{cite web|last=Walker|first=Martin|title=Applied Acoustics Lounge Lizard EP3|url=https://www.soundonsound.com/reviews/applied-acoustics-lounge-lizard-ep3|website=Sound On Sound|date=March 2006|access-date=24 October 2025}}</ref><ref>{{cite web|last=Reid|first=Gordon|title=Arturia Wurlitzer V|url=https://www.soundonsound.com/reviews/arturia-wurlitzer-v|website=Sound On Sound|date=December 2012|access-date=24 October 2025}}</ref><ref>{{cite web|last=Inglis|first=Sam|title=Rhodes V8 & V8 Pro|url=https://www.soundonsound.com/reviews/rhodes-v8-v8-pro|website=Sound On Sound|date=August 2023|access-date=24 October 2025}}</ref> Mellotron,<ref>{{cite web|last=McAllister|first=Max|title=9 Best Mellotron Plugins / 2023|url=https://producelikeapro.com/blog/best-mellotron-plugins-free-paid/|website=Produce Like A Pro|date=6 May 2023|access-date=24 October 2025}}</ref> and others have been recreated as virtual instruments. These software recreations recreate the sounds and functionality of the original instruments, while being more readily available, less expensive to acquire and maintain, and often having additional features the originals did not.<ref>{{cite book |last=Aikin |first=Jim |title=Software Synthesizers: The Definitive Guide to Virtual Musical Instruments |date=2003 |url=https://www.google.com/books/edition/Software_Synthesizers/Ipn3e2SLNkUC?hl=en&gbpv=1&dq=software%20synthesizers&pg=PA244&printsec=frontcover |publisher=Backbeat Books |isbn=0-87930-752-8 |language=en}}</ref>{{sfn|Aikin|2003|p=6–7}}
thumb|Applied Acoustics Pianoteq physical modeled grand piano Sampled pianos and piano emulations are also a popular virtual instrument category, with several examples sampling specific models by Steinway, Yamaha, Bösendorfer, Fazioli, C. Bechstein, Blüthner, and others.<ref name="SOSJan2008">{{cite web|last=Senior|first=Mike|title=Software Pianos Buyer's Guide|url=https://www.soundonsound.com/reviews/software-pianos|website=Sound On Sound|date=January 2008|access-date=30 October 2025}}</ref><ref name="SOSOct2008">{{cite web|last=Stewart|first=Dave|title=EastWest / Quantum Leap Pianos|url=https://www.soundonsound.com/reviews/eastwest-quantum-leap-pianos|website=Sound On Sound|date=October 2008|access-date=30 October 2025}}</ref> Some piano VIs even sample a specific piano, such as Abbey Road Studios' "Mrs Mills Piano,"<ref name="SOSMar2021">{{cite web|title=Spitfire Originals: Mrs Mills Piano|url=https://www.soundonsound.com/news/spitfire-originals-mrs-mills-piano|website=Sound On Sound|date=25 March 2021|access-date=28 October 2025}}</ref><ref name="MMpiano">{{cite web|title=Introducing the Originals Mrs Mills Piano from Abbey Road Studios & Spitfire Audio|url=https://www.abbeyroad.com/news/introducing-the-originals-mrs-mills-piano-from-abbey-road-studios-spitfire-audio-2944|website=Abbey Road|date=25 March 2021|access-date=30 October 2025}}</ref> the piano at Château d'Hérouville studio,<ref name="SDSilva">{{cite web|last=D'Silva|first=Sonal|title=Spitfire Audio Château Piano|url=https://www.soundonsound.com/reviews/spitfire-audio-chateau-piano|website=Sound On Sound|date=November 2025|access-date=28 October 2025}}</ref> and even the pianos personally owned by Alicia Keys and Hans Zimmer.<ref name="SOSNov2016">{{cite web|last=Stewart|first=Dave|title=Spitfire Audio Hans Zimmer Piano|url=https://www.soundonsound.com/reviews/spitfire-audio-hans-zimmer-piano|website=Sound On Sound|date=November 2016|access-date=28 October 2025}}</ref>
Another popular virtual instrument category is drums, with many drum VIs available.<ref name="SOSJul2024">{{cite web|last=Wood|first=Luke|title=Virtual Drum Software|url=https://www.soundonsound.com/reviews/virtual-drum-software|website=Sound On Sound|date=July 2024|access-date=28 October 2025}}</ref> Some of these companies offer numerous expansion libraries for their drum VIs that allow users to add additional drum kits and drum patterns, often times played by such notable drummers as Roger Taylor, Chad Smith, Clyde Stubblefield, and John Tempesta, and recorded by such notable engineers as Hugh Padgham,<ref name="SOSDec2022">{{cite web|last=Walden|first=John|title=Toontrack Hitmaker SDX|url=https://www.soundonsound.com/reviews/toontrack-hitmaker-sdx|website=Sound On Sound|date=December 2022|access-date=28 October 2025}}</ref> Al Schmitt,<ref name="SOSDec2019">{{cite web|last=Gordon|first=Mark|title=Toontrack Decades SDX|url=https://www.soundonsound.com/reviews/toontrack-decades-sdx|website=Sound On Sound|date=December 2019|access-date=28 October 2025}}</ref> Steve Albini,<ref name="SOSMay2017">{{cite web|last=White|first=Paul|title=Toontrack Alt-Rock EZX|url=https://www.soundonsound.com/reviews/toontrack-alt-rock-ezx|website=Sound On Sound|date=May 2017|access-date=28 October 2025}}</ref> and Eddie Kramer,<ref name="SOSSep2020">{{cite web|title=Eddie Kramer SDX unveiled by Toontrack|url=https://www.soundonsound.com/news/eddie-kramer-sdx-unveiled-toontrack|website=Sound On Sound|date=9 September 2020|access-date=28 October 2025}}</ref> in such recording studios as Capitol,<ref name="SOSDec2019"/> AIR,<ref name="SOSSep2020"/> Sunset Sound,<ref name="SOSMay2023">{{cite web|title=Michael Ilbert Signature EZX from Toontrack|url=https://www.soundonsound.com/news/michael-ilbert-signature-ezx-toontrack|website=Sound On Sound|date=31 May 2023|access-date=28 October 2025}}</ref> Real World,<ref name="SOSNov2025">{{cite web|last=Walden|first=John|title=Toontrack Real To Reel SDX|url=https://www.soundonsound.com/reviews/toontrack-real-reel-sdx|website=Sound On Sound|date=November 2025|access-date=28 October 2025}}</ref> Rockfield Studios,<ref name="SOSJan2022">{{cite web|last=Gordon|first=Mark|title=Toontrack Fields Of Rock SDX|url=https://www.soundonsound.com/reviews/toontrack-fields-rock-sdx|website=Sound On Sound|date=January 2022|access-date=28 October 2025}}</ref> and others.
Companies including EastWest, Vienna Symphonic Library, Spitfire Audio have released extensive and detailed VIs focused on orchestral instrumentation, partnering with composers like Hans Zimmer,<ref name="SOSSep2024">{{cite web|last=Korff|first=Chris|title=How Virtual Instruments Work|url=https://www.soundonsound.com/techniques/how-virtual-instruments-work|website=Sound On Sound|date=September 2024|access-date=27 October 2025}}</ref> orchestras such as the BBC Symphony Orchestra, and utilizing recording spaces such as Abbey Road Studios, EastWest Studios and Maida Vale Studios.<ref name="SOSNov2019">{{cite web|last=Stewart|first=Dave|title=Spitfire Audio BBC Symphony Orchestra|url=https://www.soundonsound.com/reviews/spitfire-audio-bbc-symphony-orchestra|website=Sound On Sound|date=November 2019|access-date=28 October 2025}}</ref><ref name="SOSOct2020">{{cite web|title=Spitfire team up with Abbey Road|url=https://www.soundonsound.com/news/spitfire-team-abbey-road|website=Sound On Sound|date=28 October 2020|access-date=28 October 2025}}</ref><ref name="MixJan2012">{{cite web|last=Eskow|first=Gary|title=Virtual Instrument Libraries - The Hybrid Score|url=https://www.mixonline.com/sfp/virtual-instrument-libraries-hybrid-score-369311|website=Mix|date=1 January 2012|access-date=28 October 2025}}</ref>
Also of note is software like Csound, Nyquist, and Max (software), which can be used to program software instruments.{{sfn|Aikin|2003|p=199-220}}<ref name="SOSJan2016">{{cite web|last=Sherbourne|first=Simon|title=Native Instruments Reaktor 6|url=https://www.soundonsound.com/reviews/native-instruments-reaktor-6|website=Sound On Sound|date=January 2016|access-date=30 October 2025}}</ref>
==Comparison to hardware synthesizers== Softsynths suffer their own issues compared to traditional hardware. Softsynths tend to have more latency than hardware; hardware synths also offer more stability.<ref>{{Cite book |last=Kleimola |first=Jari |title=Design and Implementation of a Software Sound Synthesizer |date=31 August 2005 |publisher=Helsinki University of Technology }}</ref> This is why oftentimes a composer or virtual conductor will want a "draft mode" for initial score editing and then use the "production mode" to generate high-quality sound as one gets closer to the final version. Hardware synths also have dedicated controls and audio outputs, where softsynths rely on a separate MIDI controller and audio interface, as well as the computer itself required to run the VI software application.{{sfn|Aikin|2003|p=24}}
Softsynths have the advantage of lower manufacturing and shipping costs, making them less expensive than hardware synths. They can also benefit from the processing power of the computer they're running on. Computer memory capacity allows for much larger sample libraries, offering enhanced velocity layering, and "round robin" sampling (a random, different sample per struck note), among other techniques. Software GUIs benefit from more space and flexibility for complex synthesis and complex routing techniques. Finally, software integrates very well with DAWs, for easier parameter automation and instant patch recall that saves sound settings and automations with a project.<ref name="MRApr2023">{{cite web|last=Jones|first=Andy|title=Hardware synths vs software synths: which is right for you?|url=https://www.musicradar.com/news/hardware-synths-vs-software-synths|website=Music Radar|date=24 April 2023|access-date=30 October 2025}}</ref>{{sfn|Aikin|2003|p=24}}
== Notable virtual instrument companies == {{div col|colwidth=15em}} * Arturia<ref name="SOSJun2024">{{cite web|last=Reid|first=Gordon|title=Arturia V Collection X|url=https://www.soundonsound.com/reviews/arturia-v-collection-x|website=Sound On Sound|date=June 2024|access-date=28 October 2025}}</ref> * Audio Modeling * EastWest<ref name="MixOct2014">{{cite web|last=Kenny|first=Tom|title=On the Cover: EastWest Studios, Hollywood|url=https://www.mixonline.com/recording/cover-eastwest-studios-hollywood-367577|website=Mix|date=1 October 2014|access-date=28 October 2025}}</ref> * GForce * IK Multimedia * Image-Line * Native Instruments<ref name="SOSOct2006"/> * Roland * Spectrasonics * Spitfire Audio * Steinberg * Toontrack * u-he<ref name="AttackUhe">{{cite web|title=Urs Heckmann|url=https://www.attackmagazine.com/features/interview/we-do-it-because-we-want-to-not-because-we-see-commercial-opportunities-urs-heckmann/|website=Attack Magazine|access-date=29 October 2025}}</ref> * UVI<ref name="AttackUVI">{{cite web|last=Scarth|first=Greg|title=Analysis & Iteration: The UVI Development Story|url=https://www.attackmagazine.com/features/long-read/analysis-iteration-the-uvi-development-story/|website=Attack Magazine|access-date=29 October 2025}}</ref> * Vienna Symphonic Library * Xfer Records * XLN Audio {{end div col}}
==See also== * Digital audio editor * Modular synthesizer * Music sequencer * Sound module * Synthesizer * ''SynthFont'' * TiMidity++
* List of music software * :Category:Software synthesizers * :Category:Music software plugin architectures
==References== {{reflist}}
{{Computer music}}
{{DEFAULTSORT:Software Synthesizer}} Category:Music software * Category:MIDI