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M-Audio Venom 12-Voice Virtual Analog Synthesizer

   (1 review)

The M-Audio Venom 49-key synthesizer combines the character of classic analog synths with modern digital processing to deliver an aggressive, infectious new sound. Whet your appetite with the included presets, then sink your teeth into creating original sounds—from atmospheric and subtle, to angry and downright nasty. Easily tweak parameters from the intuitive top-panel interface, or explore endless sound design and configuration possibilities with the included software editor. Perform bass lines, leads, and more with a full-size keyboard designed to satisfy serious players. You can even use Venom as an audio interface with Pro Tools* and other music software—forming a powerful production machine to take your music in dangerous new directions.

Instant Inspiration

Venom comes fueled with 512 Single patches and 256 Multi-sound (layered) patches created by a world-class sound design team—so you can start playing everything from bombastic basses, blistering leads, and 8-bit drums to grainy pads, menacing textures, and glitchy effects right out of the box. You'll also find a classic arpeggiator for added animation. Tweak the sounds using the intuitive top-panel performance controls—or dig in deep using the supplied software editor.

A Killer New Sound

Thanks to a completely new M-Audio synth engine, Venom merges analog flavor with digital power—providing a unique sonic signature that stands apart from the glossy sheen of other virtual analog synths. You get 41 oscillator waves and 53 drum sounds sampled from the most awesome vintage keyboards of the past four decades—complete with DSP-induced oscillator drift for a retro vibe. Each of the 12 simultaneous virtual analog voices features three oscillators, giving you tons of flexibility for octaves, intervals, and fat, detuned offsets. Venom even offers FM, sync, and dynamic wave-shaping on all waveforms for unique hybrid sounds.

For even more sound-shaping possibilities, the Venom resonant multimode filter features 12dB/octave (2-pole) and 24dB/octave (4-pole) operation, with tube saturation limiting on the input for that classic overdriven sound. Each voice also sports three LFOs with selectable sample-and-hold to create evolving, rhythmic sounds—plus three AHDSR envelopes for total control of your unique sound.

A Pleasure to Play

Why settle for a synth with toy-like keys or a clunky user interface? The Venom synth's 49 full-size, velocity-sensitive keys deliver a satisfying and inspiring musical experience for serious players. The four-octave keyboard is perfect for banging out bass lines, synth stabs, and blazing leads—while the intuitive top panel performance controls give you easy access to key synth parameters.

Go Mad with Multi-Control

Venom's Multi mode feature lets you trigger drum, bass, and melody parts simultaneously—perfect for performing live. Each part has a phrase sequencer for playing back drum patterns and pulsating synth lines, all BPM-synced via tap tempo. You can even switch melody and rhythm patterns on the fly—ideal for songwriting. With 256 separate patterns available across 256 Multi patches, you'll find plenty of rhythmic inspiration for a wide range of electronic music styles.

Endless Tweaking Possibilities

The included Vyzex Venom software editor offers a clear visual representation of all Venom settings and parameters, freeing you to explore the synth's limitless sonic territory. Arrange sounds into banks, rename patches, save backups on your computer, and share sounds with other users. Use the innovative patch collider feature to mash up multiple patches and create new hybrid sounds. Venom offers more sound design flexibility than any other synth in its class.

Sculpt Your Sound with Extreme Effects

Explore new sonic territory with a large complement of onboard effects. Two global effects buses include Reverb, Delay, Chorus, Flanger, and Phaser. But it doesn't stop there. Each of the Venom synth's four multitimbral parts has its own effect insert for Compression, EQ, and Distortion—plus Bit Reduction and Decimation for the ultimate in lo-fi and glitchy electro. You also get Tremolo and AutoPan via an additional modulation path. These powerful effects can even be used to process external audio signals via the integrated USB audio interface.

Personalize Your Performance Instrument

The Venom synth lets you spread its 12-voice polyphony across up to four assignable keyboard ranges. Use splits and layers to create custom stacked patches and keymaps with different sounds on separate sections of the 49-note keyboard. Dig in deep with keymaps and customize everything from velocity range to the response of wheels and pedals. You can also assign each sound to its own MIDI channel as you arrange compositions in your DAW.

A Powerful Production Machine

Thanks to a built-in USB 2.0 audio/MIDI interface, Venom unleashes the production power of Pro Tools* and other popular music software. Microphone, line, and stereo line inputs let you record vocals, guitar, and other instruments directly into your DAW—without the hassle of any additional gear. You can also record MIDI tracks into your software, then play them back in real time using the Venom synth sound engine. You can even conjure up wild new sounds by routing instruments and external audio signals through the synth's filters, envelopes, and LFOs.

Technical Specifications
Type: Digital
Synthesis: SuperSaw, Virtual Analog
Oscillators: 3
Waveforms: Pulse, Pulse Variable, Saw Down, Saw Up, Sine, Square, Triangle, White Noise
Osc Modulation: After Touch, Envelope, Keyboard, Knob, LFO, Mod Wheel, Oscillator, Ring Modulation, Sync Hard, Velocity
Oscillator Notes:
+ 41 waveforms
+ 53 drum sounds
+ Waves sampled from vintage analog synths, FM digital synths, and drum machines
Envelopes: 3
Evelope Paramerters: Attack, Decay, Sustain, Sustain Level, Release
Filters: 2
Types: 12dB Slope (2-pole), 24dB Slope (4-pole), Band Pass, High Pass, Low Pass, Resonance
Filter Modulation: Envelope, Keyboard, Knob, LFO, Mod Wheel, Portamento, Velocity
Filter Notes:
+ tube saturation limiting
LFO: 3
LFO Parameters: Sample & Hold, Saw Up, Sine, Square, Triangle, Clocked
LFO Notes::
Other waves: Sine+, Linear Sample and Hold, Logarithmic Sample and Hold, Logarithmic Square, Exponential
Square, Logarithmic Up Saw, and Exponential Up Saw.
Polyphony & Tuning
Polyphony: 12
Timbrality: 4
Tuning: Standard
Modes: Polyphonic
Patches RAM: 512
Multipatches RAM: 256
Storage: Internal, USB
Editing: MIDI, USB
+ Modes: up, down, and alternating patterns
+ tap-tempo and manual BPM control
+ 2 global bus effects
+ Reverb, Delay, Chorus, Flanger, Phase
+ 1 insert effect per multitimbral part (4 total)
+ Compression, EQ, Distortion, Bit Reduction, Decimation
Chips and Operating System
Vyzex Venom Editor/Librarian
Case: Keyboard
Keyboard: 49 keys, Non-weighted, Plastic
Controls: Velocity, Buttons, Knobs, Mod - Wheel, Pitch -Wheel
Display Type: LCD, LED, Backlit
Audio Output Connections: 1/4" Phone Jack, Stereo Main, Stereo Headphone
Audio Output Count: 4
Inputs: 2 x 1/4" Audio Inputs
Year Released: 2011
Used By
Crystal Method
Design Notes:

Synthesizer engine designed by Taiho Yamada.

Some of black prototypes have been seen on Ebay. Pictured below.
Manuals & Documents

Product Links
Company Product Sites:
[+] www.m-audio.com
MSRP List Price: $499 - convert
Retail Street Price: $450 - convert
Used Price: $150 - $250 - convert
References & Sources

  Report Synthesizer

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Jack Hertz


When AVID's M-Audio group announced they were releasing a synthesizer. It was met with confusion and skepticism. The makers of pro-recording gear getting into the hardware synthesizer game left everything to be imagined. Slowly the name, details and price of a VA synth engine were revealed. 

It was at NAMM 2011 that we got to see and hear what the Venom was all about. Venom had a lot of support at NAMM from the designers and artists like the Crystal Method who were there in-person to promote what turned out to be a serious bit of gear with 3 oscillators, real-time control and multi-timberal ability. Making the Venom, arguably, one of the most popular Synths at NAMM this year. Is their first hardware synth up to snuff? M-Audio sent me this Venom to review. So join me as I walk through what this little beast can do and not.

Virtual Analog

Billed as a Virtual Analog, the traditional aspects of the synth lay in Venom's subtractive synth engine. It features the customary array of oscillators, filters and amps that generate the sounds with software modeled circuits instead of real ones. Comparisons to an Analog depart from there. Beginning with the look of this machine. The smoothly molded off-white case with orange lettering and a day-glo green LCD is different to say the least. Nothing retro about this puppy. Indeed, as Ken Scott said at NAMM, "It looks like a Storm Trooper." The all plastic case is extremely light weight and incredibly sturdy too. The color annoyed me at first, but it has grown on me. More on that later.

Performance Gear

There's much debate over hardware versus software these days. The venom is both and a good bit more with a USB audio interface, MIDI interface and a mixer with stereo RCA and 1/4 inch mic and instrument inputs. All of which are accessible and configurable via the Vyzex editing software.


Perform it does. I had the Venom out of the box and was jamming on it inside of 15 minutes. The knobs and buttons are laid out in such a fashion that I could figure out my way around without reading the manual. The modulation knobs seemed scant at first, but I soon found the page access to be quick and easy to use. With 512 single patches and 256 multi-voice patches to choose from. I dialed up a preset with some really nice scratchy drums and big wobbling bass. Using the handy latch option on the Arp. My hands were freed up to press one of the 4 element buttons that will edit that part of the multi-voice in real time. Modding the filters, oscillators and effects was seamless and hiccup free. I then pulled out the iPhone and plugged it into the RCA jacks. The input's audio signal came up in the mix without having to turn anything on. Using the dedicated gain knob to set the level just right, I got to jamming along on the Moog Filtatron app without cracking the Venom manual.

The Synthesizer

As mentioned, the Venom is a subtractive synthesizer that utilizes an array of three oscillators to produce sounds that are then shaped by filters, LFOs, envelopes, modulation routing and effect. Pretty straight forwards stuff. The Venom really differentiates itself as synthesizer in their selection of waveforms, filter and modulation routing that I will examine individually below.



The Venom is a completely new engine designed by M-Audio for making a lot of different sounds. The sounds range from the standard German school fare to more contemporary techno and even noise type sounds. This VA has been spiced up with quite a bit of edge giving it a unique feel that that also makes it easy to create glitchy and percussive sounds with the 41 oscillator waves and 53 drum sounds you have available.


Starting with the traditional sine, square, triangle and saw they continue with a pretty diverse selection of waves that include drum sounds and samples from other classic synths. When they say classic sounds. These are indeed classic down to the subtle nuances between the square waves. Comparing the MG (Moog), OB (Oberheim) and SH (Roland) waves shows some subtle but definite differences. A slight shift in the wave or accentuated harmonics shows that not all waves are created equal.

I don't have the experience to vouch for how well they captured the character of the classic hardware. But, I do appreciate being able to access them specifically by brand as well as mix them together. Surely, the community at large will assess how well M-Audio has done their wave homework.

The future is not lost on the Venom. If you're looking for something to grind your synth ax, create brash analog drums or venture into dark ambient techno grooves. The Venom is ready to rumble. Don't let the color fool you. Living up to it's name, hissing poisonous sounds are this creature's forte. Even with the stock patches. I found it effortless to dial up some percussive grooves, overdrive the filters, and pump the FX for endless variations on dark dank beats and bass lines.

Capable of replicating classic sounds, Venom shows its fangs on hard bass lines with modulated analog drum tracks. What used to require me processing the hell out of a synth with delay, compression and distortion is all in there. This is clearly intentional with selection of wave forms such as RP Zap 4 and AL FM Inharmonic that make it simple to dial up a nice grinding sounds in seconds by simply switching the waveforms. Another trick Venom lets you do is replace a Wavefrom with a sample. In this way, a sample can be tuned up or down to create a niecly chaotic harmonic mix. The osc sample wave can also be used as a modulation source. Tuning the OSC very low will make it act like an LFO. Tuning it very high will drive the destination more like an oscillator.

Low Frequency Oscillators

If you like LFOs, Venom does not dissappoint with three of them. Four if you count the dedicated AMP modulator. Each one's got your choice of the classic geometric options as well as some more obscure shapes with three different sample and holds, exponential and logrithmic squares and saws too. Great stuff for making amporhous kinds of sounds and effects. Each of the LFOs can be tempo driven with it's own tap button. LFOs 1 and 2 have extensive paratmeters to control rate, depth, attach and start phase. The AMP LFO is setup to create temolo and auto panning effects.



The Venom features a multi-mode filter with 2-pole 12dB and 4-pole 24 dB options for each of the Low Pass, Hi Pass and Band Pass filter modes. Access to the frequency and resonance controls are always there via the hardware controller knobs. Behind the scenes, there's additional control options you can patch into via modulation routing. I cannot put my finger on it, but the Venom filter has a different sound that is more digital than analog sounding to me. The filter frequency that sweeps with 1024 increments, makes for smooth filter changes on the fly. However, the low-end seems to flatten out as you dial it down. Where I am used to getting heavy woofer flexing bass. The Venom seems challenged to reproduce really thick sounds. The resonance parameter was also a bit mysterious for me as it seemed to lack dynamic range. Either it would not oscillate enough or too much with little room in-between. I found playing around the with Mod levels helped somewhat.

Modulation Matrix

The Venom serves up a hearty number of options for modulating the synthesizer with up to sixteen modulation patches. Each patch includes a source, modulation amount and destination. Source elements can chose between any of the 3 envelopes, 3 LFOs with polar and fine / wide options, velocity, key track, pitch bend, channel touch, expression, sustain and mod wheel. Many with positive (+) and negative (-) modulation choices which allow patches to remove modulation as well as add it.


For destinations you can choose between Filter Cutoff, Pitch, Osc 1 Pitch, Osc 2 Pitch, Osc 3 Pitch, Amplitude, Filter Resonance, Ring Mod, External Input Level, FM Amount, Osc 1 Waveshaper, LFO 1 Rate, LFO 2 Rate, Osc Detune, Osc 1 Level, Osc 2 Level, and Osc 3 Level. With this many sources and destinations, you can see and hear how the Venom synth is able to produce highly active sounds that morph and evolve over time. In this regard, the matrix is quite effective for turning an arppegiated chord into a warped grinding bass sound or generate some evolving industrial synth percussion. This also applies nicely to pad type sounds when that ever evolving effect is desired. One thing that is really sweet is the inclusion of the External Input Level as a modulation destination. This lets you modulate the audio inputs with an envelope, LFO or any of the other sources.

Effects Processing

The Venom includes some pretty serious on-board effects processing with two separate effect global effects buses that can configure run two processors at once. On the Aux FX 1 bus, choose between Plate Reverb, Room Reverb, Hall Reverb, Mono Echo, Stereo Echo, Mono 3/4 Echo, Stereo 3/4 Echo, Mono 4/4 Echo, Stereo 4/4 Echo, Mono Triplet, Stereo Triplet, Long Mono Delay, and Long Ping Pong Delay to use. The Aux FX 2 bus allows you two choose from the following Chorus, Flanger, Phaser or Delay. There is plenty of variety here between reverbs and delay effects. The delays are also enabled with extensive tempo sync options. They can be locked at various time signatures, set by tapping a tempo or switched to manual data entry with a range of 0 to 127, it is not entirely clear how many seconds of delay are available.


Additionally, each Venom patch can be processed using the local inserts that can assign any one of the EQ Bandpass, Compressor, Auto Wah, Distortion, or Reducer effects. Each effect has a fairly detailed set of controls for tweaking it to your needs. For example, envelop controls are available for the compression and auto wah effects. As well as depth and and frequency parameters for bandpass, distortion and reducer processing.

To top it all off the Venom also includes a 3-band parametric equalizer that is applied to the master section. You can boost or cut 12 dB between 20 Hz and 1 kHz for the low band, 300 Hz to 10 kHz for the mid band and 500 Hz–10 kHz at the high band. Very handy stuff for keeping the final mix in control.

Arps and Patterns

The Venom's arpeggiator is decent, offering the classic up and down functions as well as some interesting options. There is a Standard Mode that works like you might expect. Holding one or more notes will cycles arpeggiated up, down, up and down, down and up, or played as a repeated chord at the rate of the current tempo setting. The Phrase Mode allows you to play and transpose one of a collection of pre-set phrase patterns. Third Arp option is a Drum Mode that appears to be the Phrase Mode applied to the drum kits patches for triggering any of 51 pre-set patterns.


Sadly the pre-set patterns cannot be altered. The editor pattern page does have a section blocked out that says "RESEVED FOR FUTURE EXPANSION" that I hope and suspect will be a pattern editor. There are two buttons dedicated to the Arp control. One to turn the pattern on and off. This button also works with in combination with the tempo button as a latch when both are pressed at the same time. The Venom Arps will also send the pattern notes to the MIDI OUT port. You will need the Venom Editor Software to change it via in the MIDI section of the Global Settings Page.


Controller and MIDI

As mentioned earlier in the review, I would come back to the Venom's color. Let me be candid here. M-Audio choice of colors is different with a vengeance. In fact, I hated it at first. However as I got to know the Venom. I found the look suits it's character well. The all plastic case is super light and feels quite sturdy. As a controller. The Venom was not designed to replace your master keyboard. The smaller format favors portability with easy access to the most essential performance elements. With keyboard, internal synth engine, interface, mixer, MIDI and USB. Venom offers most everything you need in one box by limiting the controller to just the essentials.


The keyboard sadly is probably one of the more lacking aspects of the Venom. While the keys are solid and hold up well under the hard banging I had to inflict on them to get some response. I felt there was kind of stiffness to the velocity response. If not what felt like just a bit of latency. Lead sounds were not as snappy and responsive as I wanted them to be. Feeling more like an older analog than I wanted it to. The pitch and modulation wheels are also smaller than I am used to. This generally didn’t both me, but on occasion I found it hard to move the mod wheel as gradually as I would have liked to due to the smaller radius of the wheel.


The Venom's knobs are also something else. They appear to be have some sort of acceleration sensing built into them that can sense how fast you are turning them. Changing the data values, Venom increments in small steps when you move the knob slowly. Conversely, moving the knob faster will step across more data in the same distance. This feature seemed a bit wonky at first, but it was really quite handy once I got the hang of it. Allowing me to skip to values I wanted to hit up or down with fewer turns.

Inputs and Outputs

Initially, I thought the audio inputs were a redundant when I already have an interface for my DAW. Later, I found them quite nice for inserting another synth or my iPhone to process and play along with the Venom. Features like the tap tempo button make it easy to get Venom playing along with other devices.


There are four audio inputs set up as three sources. A pair of RCA jacks set up at the Aux inputs. A 1/4 inch input labeled for instruments. A second 1/4 inch input labeled for microphone. The pre-amps on these inputs are pretty good actually. I noticed right off that the iPhone and my MFOS synth had a nice hot signal that match -10db line levels better than my DAW's interface. You also get a MIDI IN and OUT port for direct connections to other MIDI devices. It is worth noting that MIDI data is sent over the USB connection as well. So I was able to use the keyboard and arpeggiator to drive other synths in my rack via my MOTU MIDI router.

Vyzex Venom Editor

By now, you'll have looked many Venom editor screens in this review. If you have not gathered already. Most of the Venom’s features are accessible only with the Vyzex editor that needs to be run over USB connection from your Mac or PC. I am a big fan of this combination. Editing patches is a breeze with everything on the screen. Changes to the interface echo to the keyboard so you can hear what you are changing in real time. It is also easy to manage and organize the 100s patches you can store. There's even a handy MIDI activity monitor for helping you set up continuous controllers and other stuff.


However, what has been most annoying is the Vyzex editor application itself. I had quite a bit of trouble getting it to work. After a full install of the USB driver and Editor software I would get repeated errors of various sorts. Missing default files and worst of all was a blue screen level operating system crash. That happened a few times before I hit the support pages. Finally, after a reloading of all the applications and a performing a factory reset of the Venom hardware. I was able to get rid of the blue screen crashes. However, the warnings about default files no found at start up cannot be resolved with no manner of saving or file renaming I have tried. Not the end of the world.


The Venom is a great little synthesizer. It is a mistake to try to compare this to other BIG keyboards because that is not what this creature is all about. What you get is all the the essentials of hardware and software in a portable package at a super affordable price. I did some price checking and it seems AVID have even under cut themselves. The Venom is selling for $499 MSRP compared with their 49-key Axiom controllers at $439 MSRP for the Mk I and $599 MSRP for the PRO version. That's not a big price difference for such a huge difference in functionality.

Like with any synthesizer, the style of music you are making determines how you will like the Venom's sound. The Venom may not work for all styles of music. Especially those where highly sensitive real instrument type sounds are desired. Likewise, you're not going to replace your ARP 2600 with a Venom. For those looking for a different set of colors to add to their sound pallet the Venom may fit right in.

The Good

As I just pointed out. The price of the Venom is just unbeatable. The only thing that comes close to the features and functions at this level is the Ultra Nova that sells for $699 MSRP. I also really like Venom synth engine. A gnarly little beast that has a character all its own. Creating dark drones and grainy industrial beats is the Venom’s forte. The audio inputs turned out to be feature I didn’t know I wanted. Plugging stuff in with the on-board mixer makes it easy to bring other sounds into the Venom.

The Bad

Ironically, as much as I like the synthesizer. There's some aspects of the synth's character such as the weak sounding bottom end and resonance that makes the Venom sound a bit on thin side. Even in multi-mode with up to four sounds going at once. The Venom has a compact sound that may not be good enough for the production of entire tracks. Depending on your style of music, this may be a good or a bad thing. The spongy keyboard also takes points off this synth's otherwise great offering.

Check out the official M-Audio Venom product page for all the details and updates on the synthesizer at http://www.m-audio.com/products/en_us/Venom.html

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