street priceThe Akai VX90 is a 6-voice polyphonic analog synthesizer released in 1986, designed as a rack-mount version of the AX73 with an identical voice structure. This MIDI-equipped instrument combines analog sound generation with advanced digital controls and functions, offering a compelling option for musicians seeking authentic analog synthesis in an affordable, space-efficient package.
Unlike the glamorous analog polysynths adorned with rows of sliders that typically command attention in studios, the VX90 takes a pragmatic approach. Housed in a white 19-inch rack unit with Akai's signature red branding, it doesn't exude the stardom appeal of classics like the Roland Jupiter 6. However, what it lacks in visual drama, it compensates for with reliable performance, solid sound quality, and surprising versatility at an accessible price point.
The VX90 features a straightforward menu-driven digital interface that proves remarkably intuitive despite initial appearances. Simple up and down buttons navigate through pages, with one parameter per page and no confusing branched menus or global settings. The descriptions are immediately understandable to anyone with basic synthesizer experience, making it one of the most accessible menu-driven systems available. This interface design offers practical advantages: clear visibility of current values, the ability to name sounds, and storage capacity for 100 patches.
MIDI implementation is basic but functional, responding to notes, velocity, program changes, pitch bend, and modulation. While it lacks sysex or extensive controller support — typical for its era — the MIDI functionality works reliably. For backup purposes, patches can be saved to cassette tape or, in modern contexts, directly to a computer's sound card.
While factory presets featuring classical instrument emulations don't showcase the VX90's true capabilities, exploration of its parameters reveals a versatile and competent analog synthesizer. It excels across a broad sonic spectrum: acid leads, techno basslines, screaming synth leads, lush pads, and industrial textures are all within reach. The instrument has its own distinct character rather than emulating other designs, though its closest sonic relative would be the Roland MKS-7 (Juno 106).
The VX90 particularly shines with pads and softer sounds, benefiting from its polyphonic capability, though it's equally capable of aggressive industrial tones. Its stunning sonic range rewards users willing to dive into programming.
Despite its simple one-oscillator-per-voice design, Akai implemented several clever features to expand sonic possibilities. The oscillator offers saw, triangle, pulse, and saw+triangle waveforms, with the latter providing a richer harmonic content that proves particularly useful. Pulse width modulation isn't limited to pulse waves—it works across all waveforms, adding timbral variety even from a single oscillator source.
The heart of the VX90's sound lies in its 24 dB/octave resonant 4-pole filter. The filter section includes both lowpass and highpass capabilities, a feature inspired by Roland designs that significantly broadens the sonic palette. A unique VCF OWFM (Oscillator Waveform Modulation) function allows the cutoff frequency to be modulated by the VCO, opening up FM-type sounds and adding welcome unpredictability to patches.
A flexible LFO provides multiple variable waveforms with control over depth, speed, and delay, routable to VCO, VCF, or VCA. Two ADSR envelope generators offer standard attack, decay, sustain, and release parameters with flexible routing options.
The built-in chorus effect appears to be closely modeled on Roland's implementation, particularly that found in the Juno series. With off, chorus 1, and chorus 2 settings, it sounds characteristically noisy but proves invaluable for warming and thickening sounds.
The VX90 offers polyphonic, dual, and unison modes with detune options for creating thick, layered sounds perfect for rave and techno anthems. The stacked unison mode delivers particularly fat lead sounds.
An auto-tune function — a valuable feature on any analog synthesizer—helps maintain tuning stability. Perhaps most intriguing is the sampler integration capability: a female DIN-13 connector allows connection of Akai's S-612, S-900, and S-950 samplers, enabling users to process sampler outputs through the VX90's analog filters and envelope sections. This feature can be switched with a pink noise oscillator, adding another dimension to the instrument's sound design possibilities.
The VX90 measures 482.6mm (W) × 88.1mm (H) × 367mm (D) and weighs 6.0 kg, fitting standard EIA 2U rack spaces. Some units feature unique modifications, including seven RCA connectors next to the sampler input that appear to be factory installations. The unit outputs mono via line out, with stereo left/right outputs and headphone jack also available. Notably, there is no sustain pedal jack.
As with all analog polysynths, the VX90 is subject to the typical maintenance concerns multiplied by its six voices. However, its reliability and straightforward design make it more manageable than many vintage alternatives. While it may not be a conversation piece, it represents a practical solution for musicians seeking genuine analog polyphony without breaking the bank—a rare find in a market where analog polysynths are typically either old and expensive or new and expensive.
Audio Outputs:
MIDI:
Sampler Integration:
Data Storage:
Additional:
Country of origin / production: Japan
Recommend product to a friend| Usage area | |
|---|---|
| Sound Module/ Tone Generator | |
| Usage Design/ Form Factor | |
| Rackmount, 2U | |
| Archetype | |
| Analogue (A) | |
| Polyphony | |
| Voices | 6 |
| Multi Timbral Capacity | |
| Monotimbral | |
| Tone Generator / Sound Synthesis | |
| Synthesis Method | Analog Subtractive |
| Oscillator Type | VCO (Voltage Controlled Oscillator) |
| Oscillators per voice | 1 |
| Waveform/ Spectral form (main generator) | Sine |
| Waveform/ Spectral form (main generator) | Square |
| Waveform/ Spectral form (main generator) | Triangle |
| Waveform/ Spectral form (main generator) | Saw/ Triangle |
| Waveform/ Spectral form (main generator) | Saw |
| Waveform/ Spectral form (main generator) | White Noise |
| Programs/ Voices/ Timbres | |
| Patches | 100 |
| Filter | |
| Voltage Controlled Filter (VCF) | |
| High-pass Filter (HPF) | |
| 4-pole | |
| 24dB | |
| Resonance | |
| Envelope Generator (EG) | |
| ADSR | |
| MIDI in/ out | |
| IN | |
| OUT | |
| THRU | |
| Display | |
| Display type | LCD |
| Color resolution | Monochrome |
| Power | |
| Power Supply | Built-in, internal |
| Case/ body | |
| Metal | |
| Color | |
| White | |
| Production start | 1986 |
| Production ended | |
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