SYNTH ANATOMY Unleashes the NRSynth Quatuor: Four-Voice Fury at SynthFest France

SYNTH ANATOMY kicks things off at SynthFest France 2026, spotlighting the NRSynth Quatuor—a polyphonic analog synth that’s more than a nod to the Oberheim Four Voice. This isn’t some mass-market reissue; it’s a hand-built, boutique instrument with four independent analog voices, each ready to go rogue or work as a team. The Quatuor takes the DNA of the classic and injects it with fresh French attitude, making it a new contender in the polyphonic arena. If you’re looking for a synth that’s got history in its circuits but isn’t afraid to break the mould, this is your jam.

Visually, the Quatuor ditches the old-school clone look for something sharper. It rocks a wood panel that wouldn’t look out of place in a rave bunker or your nan’s living room—classy but ready for action. The layout is modern, with a Prophet-style vibe, and the controls are built for real-time tweaking, not menu-diving. It’s a synth that looks as good as it sounds, and SYNTH ANATOMY makes it clear: this is no museum piece, it’s a playable, hands-on instrument for today’s electronic warriors.

Under the hood, the Quatuor is loaded with features that make it more than just a pretty face. You get a five-octave Fatar keybed with aftertouch and velocity, pitch and mod wheels, and a MIDI interface designed by the mind behind the Center 10. There’s a built-in arpeggiator and sequencer, both dead simple to use but powerful enough for serious performance. The synth offers four or five playing modes—polyphonic, monophonic, and more—so you can shape your workflow to fit any set.

Each voice can be split across MIDI channels, giving you multi-timbral action straight out of the box. Want to run four tracks in Cubase, each with its own analog soul? No problem. The arpeggiator and sequencer can run in polyphonic mode, and you can sync everything internally or via MIDI. It’s a flexible setup that begs for experimentation, and SYNTH ANATOMY’s coverage makes it clear: this machine is built for both the studio and the stage.

The Quatuor keeps things unapologetically old-school where it counts. There are no presets—what you dial in is what you get, every time. Each voice is a true analog soloist, complete with the original Oberheim-style filter for that unmistakable creamy sweep. But it’s not just a nostalgia trip: ring mod, pan spreader, and individual outputs for each voice mean you can get weird, wide, and wild. This is a synth for players who want to shape sound in real time, not just recall patches. If you want vintage character with modern flexibility, the Quatuor’s got your back.