TAL-PHA: Yes, It Hoovers

Written by Bytemapper

Roland is a bit of a mixed bag. For the classics they've put out in hardware, you've got fiddly menus, awful control setups, and a general lack of care toward legacy. Don't get me wrong, I love the sound of a Roland synth, but synths like the Alpha Juno 2 aren't remembered solely for the user experience. 

The Alpha Juno 2 is back, in a way, with the release of Togu Audio Line's TAL-PHA. It joins the revered TAL-UNO-LX, Bassline 101, and J8 in bringing those 80s synth classics to the 21st century. So, before you buy, let's take a dive and see how it works. 

Interface

One of the big things I appreciate when it comes to TAL's synths is the no-nonsense interfaces. Everything you need is present on a single tab. You don't have to go futzing about to find mod points, envelopes, filters, and so forth. 

The Alpha Juno 2 is a simple synth at first glance, a single DCO section, filter, and envelope are the only things to be concerned with. As such, there's some extra real estate on the screen for additional controls on the interface. 

You've got access to the likes of the effects, arpeggiator, unison, and everything that matters. Simply put, it's a masterclass in design, as I'll say with anything else Patrick over at TAL has published over the last decade. 

Compared to its direct inspiration, TAL-PHA is a dream to program. Sure, the multi-stage Roland envelopes of the era aren't my favorite, but they give some degree of flexibility. 

There are a few bits and bobs hidden away from the direct view. The VT menu pops open your voice tuning, which is fine. I don't need trimmers and controls for the voices directly next to the filter. 

My simple take, this is an instrument built for musicians and respects your time above all else. I've got a slew of TAL instruments, and they all adhere to the same general design ethos. 

Sound 

You don't listen with your eyes, so how does it sound? I love the filter on this thing, which has a sweet spot a mile wide. The DCO section oozes with character. 

Further, you've got a voice tuning section that allows you to impart a simulated analog touch to things, with each of the specified voices having separate offsets for the filter, envelope, and pitch.

This comes together to make a great bread-and-butter synth with a few tricks up its sleeves. Yeah, it does the Hoover, which is one of the default presets to come with TAL-PHA. However, in my explorations, it can drip with warmth, warbling along almost like I dubbed its output to bad tapes.

The envelopes are fiddly at first glance, but if you're used to the D-50, JV-1080, or just have thirty minutes to spare, it's easy enough to parse. You can force them to function like an ADSR, it's relatively simple. 

As such, this is a synth built around sweet spots, much like its predecessor. I've lost track of how easy it is to dial in great sounds for TAL-U-NO-LX, and TAL-PHA follows the same design ethos. 

The synth wants to sound good, and I wouldn't be shocked if there was a wave of new rave presets to get folks rolling over the coming months since its release. 

I'm too lazy to sit down and purchase presets, so coming from the perspective of a synthesist, this is all aces. What it lacks in deep modulation, it makes up for with fast results in the box when you want them. 

Basses sound huge, pads and swells wash around, leads can squeal along with resonance. If you're doubting its retro pedigree, it can more than accomplish those Juno basses and string pads for the synthwave producers in the audience. 

Its big draw is the selection of oscillator shapes. They're the usual suspects, saws and pulses, but you've got options to spare. 

Effects

I can hear you griping, you've got effects to spare. Hear me out though, sometimes I don't want to dial in a reverb. Sometimes, I just want something that sounds good right now. 

The delay and reverb on offer are excellent. I'd hazard a guess that they are based on TAL Dub-X and the wonderful TAL Reverb 4. They pair quite well with the character of TAL-PHA. 

Additionally, there is a chorus, which sounds like a Roland chorus to my ears. It's washy, it gives some useful stereo information if you're looking to make those thick plucky basses. You don't get much control over it, but that isn't entirely necessary. 

I'd prefer to have a phaser or flanger, but I've got those in the box already, so it isn't a huge deal. The effects are rounded out by a basic EQ. You've got a single filter with adjustable bandwidth, ranging from 20Hz to 20kHz. 

I use it as a backup resonance or static notch. If you're an Ableton or Bitwig user, you can slap a LFO on it and call it a day.

Operating Systems and Formats Provided

Before we part ways, let's cover the available formats. Well, it'd be easier to say what isn't covered, but I digress. TAL-PHA is available for Windows, Mac, and Linux. Supported plugin formats are VST, VST3, CLAP, AU, and AAX. 

It is Apple Silicon native, which is a huge selling point for me. Even in 2024, this isn't a given with some legacy developers, but TAL was one of the first outlets to readily prepare its plugins for the new Apple architecture. 

Essentially, you could run this on everything from a Windows desktop, MacBook Pro, or Steam Deck if you want. Flexibility is key, and TAL has more than accounted for its user base.

Final Thoughts

With a suggested retail price of 89.00 USD, TAL-PHA might seem a bit steep. However, it's a faithful recreation of a rave classic with a few extra tricks up its sleeve. 

As with all TAL plugins, you've got a fully-featured trial with the occasional burst of noise. TAL does Black Friday sales, so penny pinchers might want to wait. 

Still, it's become an indispensable tool in my Warp Records influenced noodling. It might just become an indispensable part of yours.