SUPERBOOTH 2026: US brand Buchla is closely associated with West Coast synthesis; an approach to modular instrument design with an emphasis on complex oscillators, which lends itself to adventurous, experimental music making.

Buchla gear is also known for being expensive – often almost prohibitively so. The company’s iconic, suitcase-housed Easel synths retail for around £/$5000, while its full Skylab modular system is priced at an eye-watering $15,000. So the arrival of a new, self-contained Buchla synth with a retail price (just) below £/$1000 is something worth getting seriously excited about.

Ziggy is a desktop monosynth that brings the look and character of classic Buchla synths to a self-contained and relatively accessible instrument.

At the heart of its sound engine is a complex oscillator, a sine wave generator that can be shaped via audio-rate modulation of either its amplitude or frequency. This is paired with a second modulation oscillator with a wide frequency range that allows it to function like both an LFO and audio source.

The oscillator section also includes a wavefolder for further shaping the output – a feature typical of Buchla synth designs.

The oscillators are shaped using a low-pass gate, another classic feature of West Coast synth design, which is based around a Sallen-Key filter and combines the functionality of both an amp envelope and low-pass filter.

Ziggy also has a modulation generator labelled Cycler. This can function in a variety of ways, from producing punchy percussive envelopes to cycling like a classic LFO, and can also be triggered for single-cycle modulation via MIDI or CV. It also has an ‘uncertainty’ parameter, for creating randomised modulation variations. A further XLFO provides an additional triangle wave modulation source.

READ MORE: East Coast vs West Coast synthesis: what's the difference?

One of the most notable aspects of Ziggy’s design is that, unlike the vast majority of Buchla gear, it’s not a modular instrument, meaning there’s no need to physically patch one element to another in order to produce sound. Instead the instrument is equipped with a flexible modulation system that allows users to route one element to another by adjusting the front panel dials or sliders.

Ziggy’s design combines elements of both analogue and digital. Its complex oscillator, modulation sources and low-pass gate are all analogue, but are digitally controlled, allowing the synth to save and recall patches. The sound engine is also complimented by a digital effects module, capable of applying processes including reverb, delay and distortion.

According to Buchla, “Ziggy incorporates many of the Buchla innovations that have long been taken for granted: digital control over the analogue audio, additive synthesis, unique and musical interactions, and the focus on making an ‘instrument’ rather than a ‘synthesizer.’”

Although Ziggy isn’t a modular synth, it does include CV inputs for gate, pitch and modulation, allowing it to be integrated into Eurorack setups. As well as these analogue control inputs, the instrument also has both MIDI and USB connections, along with an auxiliary audio input. Ziggy has a stereo pair of main outputs, joined by a 3.5mm headphone output port.

Ziggy is available to preorder now priced at $999/£915. The first units are estimated to start shipping in August or September of this year.

Ziggy is also designed to pair with Buchla’s own LEM218 touch keyboard, and can be ordered as a bundle for $1,999.

Head to the official Buchla site for more information, where you can also hear audio examples of it in action.

Waldorf has announced a new version of its desktop synth Iridium, which ups the power of the original and adds several new features that have been informed, in part, by a collaboration with Aphex Twin.

First launched in 2020, Iridium is based on the same multi-engine design as Waldorf’s flagship Quantum, which combines various complex digital synthesis approaches including wavetables, granular, physical modelling and modulation synthesis.

Although its specs are trimmed down compared to the behemoth Quantum, Iridium is still a hugely powerful synthesizer, offering dual layers with three oscillators a piece, multi-functional digital filters, a hugely capable effects section and a generous array of modulation tools.

Now Waldorf has launched Iridium Desktop Mk2, which appears to double down on all the most impressive aspects of the original.

Notably, Iridium Mk 2 increases the power of the original, with extra RAM for the sample-based synthesis approaches and an improved CPU. This extra grunt allows the Mk2 to up the multitimbral capabilities, now offering four distinct synth layers, rather than two.

As well as adding extra layers, Iridium Mk 2 offers new ways for these multitimbral elements to interact. Like Waldorf’s recent compact synth Protein, Iridium can now cycle through timbral layers in round robin or randomised patterns.

There’s a new synthesis mode on offer too, named Seed, which Waldorf describes as being “inspired by wavetable synthesis, in which each wavetable represents a timbral journey, Waldorf has found a way to base these timbral journeys not only on static waveforms, but also to dynamically synthesize each waypoint from sub-oscillators we called ‘Seeds’.”

The Seed mode can also make use of modulation approaches including FM and ring mod.

Possibly the most eye-catching of Iridium’s new features is its per-note parameter locks. This allows users to assign up-to 16 different parameter settings for each note, effectively letting every played note have an entirely different sound, even going as far as changing the synthesis approach for individual notes.

What makes this feature particularly interesting is the fact that it is, according to Waldorf, “the result of a collaboration with legendary Aphex Twin, a long-term Iridium Desktop user.”

Parameter locks are input simply by holding the intended note and then adjusting the parameter using the Iridium interface. Per-note parameter locks are saved with each synth patch and can be edited using a dedicated UI menu.

This is hardly the first time Aphex Twin has offered a brand a few instrument design pointers. In recent years, the likes of the Korg Monologue and Novation Bass Station II have also benefited a little input from Richard D James.

Iridium Desktop Mk2 also gains an assortment of other new features compared to its predecessor, including expanded flash memory for samples, additional presets and a ‘flavour’ control – again, inherited from Protein – which introduces subtle variations in pitch and tone.

Along with the new model, Waldorf has also released a firmware update for all Iridium and Quantum users that adds universal features including a Mutator patch randomiser, polyphonic arpeggiator and microtonal features.

Iridium Desktop Mk2 is out now, priced at £2,095/€2,399/$3,699. Head to the Waldorf site for more info.

Given that it’s been on the market since 2022, you’d be forgiven for assuming that we’d seen all that Syntakt has to offer. But Elektron – a company with a history of releasing lifespan-extending firmware updates for its hardware – isn’t done with it yet, further expanding the scope of the hybrid drum machine with a new sample engine and a raft of sequencing features.

These additions land as part of Syntakt’s free v1.40 update, the highlight of which is the new SP Twinshot machine. Those so-called ‘machines’ are the interchangeable sound generators that Syntakt uses for its semi-modular approach to drum synthesis. Existing machines offer a range of sound creation approaches, including FM and analogue synthesis, as well as SidStation-inspired retro digital synthesis.

Now Twinshot adds samples into the mix. The new machine can trigger two one-shots simultaneously, loaded independently into slots 1 and 2 from a global pool of 64 samples. Each sample can be triggered in forward or reverse direction. Twinshot offers decay and filter controls for slot 1, plus the ability to hold and loop the sample loaded into slot 2. The machine also has a digital overdrive parameter applied to both sample slots simultaneously.

The most obvious application of these two sample slots is creating layered drum sounds, using slot 1 for a punchy transient element while slot 2 provides body. This approach is particularly effective for creating snares, hi-hats or kicks with more complexity than those generated by synthesis alone. Users can upload their own sounds for use by the Twinshot machine using Elektron’s Transfer application, allow users to further customise the synth’s sound palette.

Although the primary focus is percussion, as with many of Syntakt’s other machines, it’s not hard to imagine how Twinshot could be pushed into creating more melodic or textural-focused sounds as well.

Announcing the update, Elektron writes: “Syntakt’s newest machine is an unexpected one. Bringing sample playing to a device already covering so many Elektron bases really does solidify it as a heck of an all rounder. And it’s very much a happy bending of the rules of nature in order for it to be possible, given that Syntakt’s architecture wasn’t designed to accommodate samples. But Twinshot is here, nonetheless, in all its quirky goodness.”

Beyond that new machine, v1.40 also adds a new filter pan functionality to the FX track’s multimode filter, allowing for the filter cutoff to be modulated across the stereo field. Syntakt also gains a new Track Relations feature, which lets users link and layer tracks so that they function in unison, as well as apply mute or choke groups.

There’s a new Personalize menu too, which contains existing parameters for things like LED brightness along with a range of new options controlling recording and automation behaviour. Elektron has also added the option to route keytracking to up-to four destinations, as well as a trio of new trigger conditions, LST, Not LST and Not A:B.

There are numerous other quality of life improvements and bug fixes, details of which can be found within the release notes.

All things considered, it’s yet another impressive update for Syntakt, which we’ve loved since its initial release, and has already been significantly enhanced with 2024’s 1.30 firmware, which added four new machines and a Euclidean sequencer.

Unlike some other similarly aged hardware instruments, Syntakt’s price hasn’t dropped since launch – in fact, it seems to be retailing for slightly more than the original £849/$999 launch price. But considering these various improvements, it remains one of the most powerful drum machines you’ll find for under £1000.

Head to the Elektron website for more information.

NAMM 2026: It’s been long-rumoured (mildly leaked) and giddily anticipated for years, and today every sound design-minded synthesist's prayers were finally answered as Ashun Sound Machines’ Leviasynth finally washed ashore to dwarf its (brilliant, we might add) digital wavetable polysynth predecessor, the Hydrasynth in terms of size, breadth and creative potential.

With an eye-catching new teal colour scheme, Leviasynth is ASM’s all-new flagship hybrid algorithmic synthesizer, offering 16 voices with a whopping 8 oscillators per voice. Driving its rich sounds are an algorithmically-powered merger of analog and digital filters.

The Leviasynth takes the Hydrasynth aesthetic and attitude and looks like it's expanding on everything that was beloved about that latter-day legend.

Available in both keyboard and rackable desktop versions, the Leviasynth’s 8 oscillators can be manually organised into customized groups. Reffered to, as ‘algorithms’, this approach can significantly affect the sonic results in terms of how the oscillators affect each other. It's classic FM synthesis in principle, then, but ultra-modern in attitude.

Couple that with the new idea of ‘algorithmic morph’ (an idea that has seemingly taken its cues from Audio Cookbook’s creative Hydramorph software) and a ‘nearly unlimited’ number of configurations for these individual oscillators are opened-up. 144 preset algorithms are ready to go, all of which offer one additional algorithm that can also be customized per-patch.

All of this programming can be done natively, using an easy-to-navigate user interface, viewable via a snazzy multi-colour touch screen.

The keyboard version comes with a 61-note Polytouch polyphonic aftertouch keybed, with a lengthy 4-octave ribbon controller prompting users to sink into full intuitive control of the Leviasynth’s reactive aural results.

The Leviasynth is also MPE-compatible, and indications are that it has embraced the format in a much more well-rounded way than its rather limited predecessor. The portable desktop version, in contrast, features 16 Polytouch pads.

Back to the tech, and over 300 waveforms can be assigned to each oscillator, each of which have 7 independent oscillator modes to maximise the diversity of the timbral output. There's also 5 LFOs and 5 envelopes, as well as the effects package previously found within Hydrasynth.

The Leviasynth's onboard 3-track sequencer can capture macro information as well as note data. Hydrasynth’s vibrant arpeggiator was a real joy, and Leviasynth ups the ante with a new 'Entropy' function, which allows for realtime note manipulation, among other bells and whistles.

You can switch between Single or Multi modes to allow all 16 voices to be active per-patch, or to split the voices into two parts of 8 voices each, respectively. The additional ASM Patch Manager software for Mac and PC is on hand for more intricate control.

One of the great aspects of Hydrasynth - which we asserted as one of the best synths money can buy - was how easy it was to let the sound lead the way, and conjure impressive results without much menu-diving. The Leviasynth's front control panel builds on Hydrasynth's design philosophy and presents an easily-linked and self-explanatory overview of the routing in play.

The Leviasynth keyboard version is available to order now from retailers for $2499/3299€ while the desktop version's RRP is $1799/2399€.

We'll bring you more details once we’ve got up close and personal with it at this year’s NAMM Show where it’s making its debut. We’re excited to come face-to-face with this prospective new powerhouse.
Meanwhile, ASM has presented some audio demos of the Leviasynth in action. Needless to say, it sounds tasty!

When we launched our Superbooth live report last week, we prefaced it by saying that “Superbooth has grown to become the most significant date in the annual music technology calendar.” That statement remains true, but in retrospect feels like an understatement.

For a few years now, the Berlin synth show has been a focal point for music technology gear announcements, but the 2025 iteration took this to another level. The sheer volume and variety of new music making gear on display in and around the FEZ event space was beyond anything we’ve seen in previous years.

In 2025, Superbooth is more than just a significant date in the annual music technology calendar – it feels like the focal point of the whole industry. Even brands that weren’t at the show itself, such as Roland, got in on the action with conveniently timed synth news. From small DIY projects to major brands releasing flagship instruments, this year’s Superbooth had something fresh around every corner.

If there was anything that was going to sour the vibe at this year's show, it was the looming spectre of tariffs. The implications of Donald Trump’s baffling trade war lent an unspoken air of uncertainty to this year’s Superbooth. More often than not, when we asked brands about price and availability of upcoming products, any information was accompanied by a caveat that uncontrollable factors might change things.

From our perspective, the main problem with this year’s Superbooth was that such a massive volume of exciting new releases makes narrowing things down to a manageable ‘best of’ list incredibly tough. Honestly, we could waffle on here for thousands of words.

As it is, our team on the ground has argued out their favourites and whittled it down to 12 highlights – plus a few honourable mentions. You can hear more of our reasoning along with audio demos of everything mnetioned in the video above. Visit our Superbooth live report for even more from the show.

Synths and keyboards

Frap Tools Magnolia

Italy’s Frap Tools has made a name for itself in the modular world, but Superbooth 2025 sees the company stepping up with its first full polysynth. Based on ideas previously explored in the company’s Bresno oscillator module and Cunsa filter, this 8-voice analogue synth combines ideas from conventional subtractive synthesis with ‘West Coast’ features such as wavefolding, flip sync and audio rate modulation.

Key to the synth’s sound is through-zero FM, applicable between each voice’s two oscillators, but FM can also be applied to the high and low pass filters. Combined, it produces some wonderful metallic tones that can morph into edgy, aggressive territory easily. The company described it to us as like exploring digital sounds in the analogue realm, which seems pretty fitting.

Another important element of Magnolia’s sound is the bi-timbral design, which allows two sounds to be split into dual, keyboard split, morph and unison modes. Assigning these layers appears to be very easy, and in our demos the synth really comes alive when combining elements of bright FM tone with rich, traditional poly patches.

The keyboard has poly aftertouch, along with a user-friendly mod matrix, and assigning expressivity looks like it would open up a lot of interesting sonic potential. It reminds us quite a lot of UDO’s synth designs, which is no bad thing, but already seems to have a distinct sonic palette of its own.

Availability: Towards the end of 2025

Price: TBC, but we’d expect top-end

Moog Messenger

Moog Messenger may be a monosynth with a simple architecture and an accessible knob-per-function interface, but the instrument has a few tricks up its sleeve, specifically wavefolding oscillators inherited from the recently-released Labyrinth and a “next-generation” ladder filter that delivers four modes (4-pole low-pass, 2-pole low-pass, band-pass, and high-pass) thanks to its versatile pole-mixing design.

Filling a hole in Moog’s product catalogue left by the recent discontinuation of the Subsequent 25, Messenger gives music-makers a way to access the classic Moog sound for under $1000, without losing a keyboard and venturing into semi-modular territory.

And it’s clear that with Messenger - as with several recent releases - Moog is attempting to complement the sound that the company is known for with modern enhancements and an exploratory new direction.

In person, Messenger surprised us a little with how compact it is, and we feel this form factor might be divisive. It’s also got some tough competition from other monosynths at this price point. We’ll never complain about getting our hands on a new Moog monosynth though.

Availability: Available to order now

Price: £699/$899

Instruō Seashell

Bridging the knob-twiddling hardware world of modular synthesis with the software landscape via an accompanying plugin, Seashell aims to bring perfect integration with your DAW or software control environment.

The synth itself has a semi-modular architecture fuelled by dual analogue sawtooth-core VCOs sporting sync and cross modulation. There’s a wave folder and lowpass filter (CV controlled) and on the modulation front, there’s an LFO, a flexible envelope generator and a stereo diffusion effect. All of these elements can be manipulated via the accompanying software. It’s also patchable via CV inputs for external signal manipulation.

Connecting to your computer (Mac, Windows or Linux) via USB-C, users can modify any and all of the Seashell's analogue components via the plugin’s fairly contemporary-looking UI, with high resolution digital control (14 bit) over its main areas.

Availability: Available to order now

Price: £649

Drum machines, samplers and grooveboxes

Erica Synth HexDrums

The big news from Erica Synths at Superbooth this year is the release of HexDrums, an analogue drum machine that inherits the DNA of percussion modules from now-defunct Eurorack brand Hexinverter Electronique.

In typical Erica Synths fashion, it’s a beastly-sounding instrument that packs all the percussive firepower one could need into its sleek black-and-yellow shell. It also packs a master compressor, based on Hexinverter’s Mutant Hot Glue module.

We love the chunky sequencer buttons and abundance of hands on control here. In use, HexDrums feels very intuitive and its meaty sound is perfect for raw techno, capable of serving hard-hitting percussion and meaty bass parts side by side.

Availability: Late 2025

Price: TBC

Cre8audio Boom Chick

Boom Chick is a Eurorack-friendly drum machine from Cre8audio and Pittsburgh Modular. Its five drum voices feature the expected kick, snare and hi-hat alongside two multifunctional voices that can be used to craft toms, claps, cymbals and experimental percussive textures through waveshaping and frequency modulation.

The sequencer is surprisingly deep and flexible for such an affordable instrument ($399) and there’s more than enough connectivity here with individual outputs per voice. We’re impressed.

Availability: Mid-May 2025

Price: $399

1010music Bento

Bento is an eight track sampler and sequencer, designed to be the hub of a DAW-free setup. Its neat form factor feels just right to us - small enough to feel light and truly portable, but not fiddly. Its touchscreen is clear and responsive, although it remains to be seen how well it works as an interface for deeper editing.

First impressions are that Bento feels a lot like Polyend’s Tracker, albeit designed for those put off by the more esoteric elements of that machine’s retro-influenced design. With the ability to live play its pads, step sequence and edit on a piano roll via the touchscreen, there’s plenty of ways to sculpt patterns.

Although sample content is very much the focus, with one-shot, looping and multi samples catered for, the inclusion of the granular engine from 1010music’s Lemondrop adds a touch of textural synthesis to the sound palette. We like the overall look and feel of Bento. And the inclusion of plenty of MIDI and audio connectivity.

It’s worth noting that while the instrument is available to purchase now, some notable features are yet to be implemented, including some clip functions and the ability to process external sounds through effects. These are said to be on the roadmap for the very near future.

Availability: Available to order now

Price: £849/$899

MIDI controllers and sequencers

Novation Launch Control XL 3

Launched in 2014 as a dedicated Ableton Live controller that expanded the capabilities of the dinky Launch Control, Novation’s Launch Control XL has since gained a reputation as a reliable and affordable DAW controller, though it hasn’t been updated since the MK2 version gave it a mostly visual refresh back in 2017 - until now.

Novation’s Launch Control XL 3 sees the controller transitioning from a primarily Ableton-focused device into something that’s aimed equally at users of all DAWS - and those who have ditched them altogether. It’s got out-of-the-box integration with Ableton, Logic, Cubase, FL Studio and more, and now thanks to its new MIDI I/O, it’s a viable option for those looking to control a hardware-based set-up.

XL 3’s hardware also received a complete redesign: its new OLED display makes it easy to reference parameter values and assignments while performing, while LEDs under each encoder denote values via their brightness and colour. It’s also got a sleek and minimalist new look. Launch Control XL has historically been a pretty decent controller at a reasonable price point, but it was looking rather outdated in 2025: this is the update it needed.

Availability: Available to order now

Price: $249/£189/€193

Neuzeit Instruments Drop

Arriving out of nowhere this year is something entirely unexpected from Neuzeit Instruments, a manufacturer best known for its experimentally inclined Eurorack modules. Drop is a formidably powerful snapshot-based MIDI and CV controller: 32 LED-equipped knobs, eight faders, eight mutes, and 20 buttons (all duplicated across two layers) give you tons of control, while 4x MIDI ins and outs and 2x CV ins and outs provide ample connectivity.

The concept at the core of Drop is right there in the name: it’s designed to make it easy to create impactful build-ups, transitions and drops. 20 banks of 20 snapshots can be used to program multiple scenes, which can be pre-scheduled. Line up your drop for a chosen number of bars, then go nuts on the effects to create a dramatic build-up, knowing that the next section of your song will automatically drop in at the specified time.

If you’re working on live performances that incorporate multiple instruments and pieces of gear with complex arrangements and transitions, this could be the controller for you.

Availability: Late-summer 2025

Price: €799

Effects processors

Polyend Mess

The latest in Polyend’s relatively new line in stompboxes, Mess is an abbreviation of Multi-Effect Step Sequencer. There are 125 effects under the hood, including reverbs and delays, granular and glitch processors, overdrives and bitcrushers, pitchshifters, loopers and slicers.

You can use all of these without the sequencer if you wish, stacking them in any combination you like, but there’s almost certainly more fun to be had if you start tweaking those parameters over time.

You can set the speed and length of each track to create polyrhythmic or polymetric patterns, while the chance/probability options introduce elements of randomness and ensure that the effects just keep on changing. 200 presets are included, along with 1000 slots for your own concoctions.

The knob-per-function interface should help to ensure that preset building is as fun as playing, with sequences being built across 16 step pads. Connectivity includes MIDI I/O, Stereo TRS audio I/O, an expression pedal input, USB-C and a slot for a Micro SD card.

On the show floor we got to test Mess on a guitar, and loved the way it could turn simple chords into richly modulated soundscapes. We can’t wait to see what it can do on things like synths or drums.

Availability: June 2025

Price: $599

Innovations

Korg Berlin Phase8

Launched as an experimental offshoot of the Japanese synth company, headed up by Volca designer Tatsuya “Tats” Takahashi, Korg Berlin has spent the last few Superbooths demonstrating its acoustic synthesis concepts in various forms of development.

At Superbooth 2025, the team is finally showing a (near) finished product. Phase8 is a desktop synth built around the concept of acoustic synthesis. Its eight independent voices are electromechanical. Sounds are created using tunable metal resonators–- these can be sequenced and tweaked using envelopes, waveshaping and audio modulation.

Sonically, Phase8 certainly falls into experimental territory. Its sound is somewhere between percussive and melodic, and can initially come across as a little flat and one-dimensional. The beauty of the synth reveals itself, however, as you explore how subtle changes to the velocity of each note, the shape of the envelope and depth of modulation can alter both the tone and rhythm of the sound.

Perhaps the most interesting aspect of Phase8 is the way its resonators can be physically manipulated. Placing a hand or any sort of object on to the resonators can mute the sound or alter the tone in a similar manner to working with a prepared piano.

Availability: Early 2026

Price: TBC, but aiming for below £/€1000

Clank Uranograph

Uranograph is undoubtedly one of the most unique instruments at Superbooth 2025 (and that’s a tough category). Its creator describes it as an instrument that "merges the expressive depth of classical instruments with the limitless possibilities of synthesis.”

In practice, this involves a five voice microtonal synthesizer controlled by dual capacitive keyboards inspired by the expressive articulations of MPE instruments. These keyboards are highly customisable to work with different scales and tunings, and the instrument comes loaded with over 50 keyboard layouts.

The keyboards respond to velocity and aftertouch. There are also articulation plates for creating glissando, staccato and trillo effects.

The synthesis core makes use of additive and phase morphing synthesis, with wavefolding capabilities as well as asymmetrical distortion. There’s also a delay-focused DSP effects engine that can process both internal and external sounds.

This is certainly not an entry level synth – Uranograph looks deep, complex and utterly unique. It sounds pretty fantastic too.

Availability: Available to pre-order

Price: 1st batch €1552, after that €2240

Eternal Research Demon Box

Demon Box works based on the concept of sensing and converting electromagnetic fields. It does this using the 33 ‘hand tuned’ inductors placed on its top panel, which can pick up signals from everyday objects – the company’s Superbooth display had people using phones, power tools, toys and more.

The electromagnetic fields are converted to raw audio, which Demon Box can output via the individual audio outputs. Demon Box can also output signals via MIDI, CV and USB in order to act as a control device for other gear.

Whether used as a way to generate soundscapes from the world around you, or an interesting way to get expressive with other music hardware, Demon Box looks like a fun and innovative device with lots of potential.

Availability: Available to pre-order

Price: $999

Honourable mentions

These are our highlights from the Superbooth show floor, but we’ve barely scratched the surface of what Superbooth 2025 had to offer.

Alongside new gear, there were numerous updated products on display, including some of our favourite bits of kit from recent years. Polyend’s Synth, for example, gained a new dual-sample engine, while Ableton updated its compact Move groovebox with much-requested sample slicing as well as better MIDI capabilities.

Several existing products gained impressive looking new siblings too. Groove Synthesis’ excellent 3rd Wave is one of our favourite synths of recent years, but it’s expensive and probably has more voices than a lot of us need. That’s why its new smaller, relatively affordable sibling the 3rd Wave 8M is a welcome addition.

Bastl has added another addition to its always-fun Kastl 2 range of mini synths. The latest Kastl model, named Wave Bard, is a stereo sample player that looks like it will be great fun for experimental sound mangling.

Superbooth 2025 also saw the release of a huge wealth of Eurorack and modular gear we’ve barely had a chance to touch in this roundup. If we were forced to highlight a single module, it would have to be Make Noise’s new Polimaths – an eight-channel function generator that expands on the design of its widely-loved Maths module.

What is it?

PWM is the brainchild of Paul Whittington who, besides the name, bestows the company with a wealth of music-related product design experience. The brand's products so far have very much been a collaborative effort, and with some distinct nods to the past.

Paul has stated that PWM’s initial aim was to create three different synths, each embracing different sound-generation approaches. The first (Malevolent) was a modular, all-analogue collab with Future Sound Systems, and the third is likely to be an all-digital affair. The focus of this review though is a product that sits firmly between these two camps – Mantis, a ‘Duophonic Hybrid-Analogue Synthesizer’. In simple terms, this equates to digital oscillators running through analogue filters and VCAs, and the duophonic bit being an ability to play two notes at the same time – though as we’ll see, it’s a little more complex than this, and depends on how a sound is set up and played.

Before we move on to specifics, it is worth noting the lineage into which the Mantis fits, both in terms of design and personnel involved in its creation. The synth is heavily influenced by the, now legendary, EDP Wasp – a (relatively) low-cost hybrid synth from over 40 years ago. In fact, Chris Huggett, its original designer, contributed directly to Mantis, with his signature taking pride of place on its rear panel. Sadly, Chris died before the Mantis arrived in shops, but if his back-catalogue is anything to go by (OSC Oscar, Akai S1000, Novation BassStation, Supernova…), potential purchasers would be crazy not to at least take it for a spin.

On paper the Mantis is a duophonic hybrid-analogue synth, though you only get the full range of sound-shaping options in monophonic mode. This provides two oscillators and a sub-oscillator (plus ring modulator and noise source) running into a filter section consisting of 12 or 24dB/octave filters in a range of shapes alongside two LFOs and two independent envelopes. Control comes from the keyboard and arpeggiator or MIDI, and polish is provided by digital reverb and chorus.

Pricing

• Original price: $1,499 | £1,349 | €1,599

PWM Mantis was originally announced at Superboth 23, but it was a while before we got to see the hybrid synth on sale.

Prices have dropped since launch in most territories, with the biggest savings to be had in the UK, where you can get up to £300 off the original launch price.

Performance

Take the Mantis out of its box and you’ll find a dark knob-laden front panel and three-octave full-size keyboard. Oddly, you will also have to attach the two green side panels, which stay in place magnetically. Well, as long as you don’t try and lift the synth, in which case they’ll detach and you’ll be left holding them in your hand. We're not quite sure this approach works as well as it might.

Other than this oddity, the synth doesn’t present anything too out of the ordinary in terms of connectivity or interface design. One quibble might be that the parameter controls themselves feel a little small (with some lateral movement), and those that function as rotary switches do also feel a little stiff to turn. A bigger issue, for us at least, is the rather small font used for control names. We're sure this could have been a little larger and clearer without sacrificing anything in terms of real estate.

That being said, the controls are laid out in a familiar and logical way, which shouldn’t present any problems to those with a broad familiarity with subtractive synthesis. In fact, we initially navigated presets and tweaked sounds without referring to the manual. It was at this point, when we wanted to delve deeper and see if we were missing anything, that it became apparent there was no manual in the box or even available to download. This is a real shame, as a decent manual, as well as serving as a useful reference, can really help sell a synth and point both active and prospective users to hidden functions or just cool and interesting stuff. This means that all views of the synth were based solely on interaction and the published spec list.

Delve a bit deeper into the architecture and and you’ll find some neat features which take Mantis beyond conventional subtractive monosynth territory. Each oscillator has additional ‘non-analogue’ wave options and a shape control which can be easily modulated, and Oscillator 2 adds a Density and Density Rate for dialling up ‘supersaw’ and other layered and detuned waves.

Also, if you are happy to forgo the 24dB/octave and ‘Wide’ filter types then the synth can play two voices at once. There is a also a Quad mode, but this loses independent filtering per voice and, though nice to have, can be a little frustrating in practice. In reality this means that the Mantis is more capable than many other monosynths with a paraphonic/duophonic feature.

Verdict

Overall, we enjoyed using the Mantis. It is a decent-sounding and flexible synth. The oscillator topology allows you to create thick and complex audio even before you hit the filters. We really like the nicely resonant 12dB/octave low-pass filter, with our only criticism here being that the Mantis could have taken its usability up a significant notch if only PWM had added a couple more filter circuits, therefore allowing true 4-note polyphony. An overall high-pass filter (a la Roland’s '80s analogous) would also have been nice (and quite easy to implement we think), alongside an extra option of delay instead of the mono-only reverb.

There is no such thing as a perfect synth, but Mantis embraces aspects of past and present to deliver a synthesizer that is both easy to use and fun to play whilst maintaining a decent degree of programming depth and flexibility.

Hands-on demos

PWMusic

Alternatives

Specifications

What is it?

The brainchild of company founder Vlad Kreimer, Soma Laboratory has become known for its esoteric electronic instruments. These include Terra, a conceptual synth built into wooden housing to resemble a tree stump, the Theremin-like Flux, which is controlled using multi-polar magnetic sensors, and Messiever, described as an ‘irrational’ radio receiver.

Soma’s best known instruments are those derived from the company’s original breakthrough release, the Lyra-8. The Lyra synths are described as ‘organismic’ instruments, due to the way their design is influenced by the behaviour of living organisms. Their designs are based on individual components that are fairly straightforward, but which interact in unusual and often unpredictable ways.

Alongside the flagship Lyra-8, these general principles have trickled down to the Pulsar-32 drum machine as well as the more compact Lyra-4, which has recently been reissued.

Pricing

• Full price: €360 (excl. taxes)

While it works well on its own, Lyra-4 also pairs up with another Lyra-4, delivering the same sonic power but in stereo.

Whether you want to run solo or as a pair, then Soma has you covered with cases for both single and dual Lyra-4s. Plus, there's also the option of buying a plastic cover

• Soft case (€45)
• Soft case Duo (€60)
• Plastic cover (€45)

All prices exclude tax

Performance

At a very basic level, the Lyra-4 is essentially half a Lyra-8. It’s based around four of the same analogue voices as its bigger sibling, which are arranged in pairs allowing for various forms of audio-rate modulation.

These voices are loosely based around the tone generators found in vintage electric organs, and are controlled by a set of parameters that deviate somewhat from the controls of a standard analogue VCO.

This begins with how each voice is triggered. Rather than use a traditional keyboard, sequencer or MIDI input, the Lyra-4 is triggered using four sensors, each of which consists of two contact points. Placing a finger – or any other conductive material – across these will complete a circuit that triggers the associated voice.

Each sensor triggers an envelope that will respond to the speed and pressure applied to the sensor. A lighter touch will result in a slower attack and less velocity, while more forceful presses result in stronger signal from the triggered voice. These sensors can also be influenced by moisture, meaning they may respond in unexpected ways depending on the conditions the instrument is used in.

Above the sensors are a pair of switches labelled Fast. Each pair of voices shares one of these, which is used to alter the response of the envelopes for those voices. When engaged, the voices have a shorter release time. These work in conjunction with the global Hold control, placed at the top of the unit, which is used to open the envelopes of all voices simultaneously. At lower levels it acts like a release control, but creates an always-on drone mode when raised to a higher level.

Notably, these sensors do nothing to control the pitch of each voice. Instead, pitch is set using individual tuning dials for each voice, in combination with a global Pitch control, which alters the pitch for the whole instrument while maintaining the relative intervals between voices.

The first two voices have a lower range than the latter too, meaning they’re more adept at bass frequencies. The most intuitive way to use the Lyra-4 as a melodic tool is to tune these four voices to different note intervals, essentially creating a four note chord or four points in a scale that can then be triggered using the sensor.

Due to the experimental nature of the synth, these voices aren’t quantised to the chromatic scale and hence can be used for microtonal and non-western tuning systems.

These manual pitch controls are only half the story when it comes to creating sounds with the Lyra-4 though. A key part of the synth’s character comes from the various sources that can be used to modulate these voices.

The voices are arranged in pairs, which share a modulation control, increasing which will dial in modulation of the frequency of those two oscillators. A switch placed above each pair selects the source of this modulation.

In the upper positions, these switches put the Lyra into FM mode, creating a pair of cross-modulation loops where the frequency of the voices are modulated by one another. This modulation happens post-amp envelope, as it would with an FM operator, meaning the level modulation decreases as each voice’s amp decays.

While it takes its cues from the four-operator FM of synths like the DX7, the results here are far less melodically precise and predictable. With FM engaged for all voices, each new touch of the trigger sensors will create weird textural and atonal shifts, particularly evident in the lower frequencies. With the Mod dials all the way up, the routing creates a sort of self-oscillating feedback loop that can create some fascinating modulated drones.

With the modulation selector switches in their lower position, modulation comes from a master modulation source. This can come from one of two places, depending on the position of the Total FB switch. With this disengaged, the Lyra-4’s modulation comes from its Hyper LFO – more on this shortly – but with Total FB engaged the synth’s master output becomes the modulation source, essentially creating a massive feedback loop.

Each voice pair also shares a Sharp parameter. This alters the waveshape created by the voices, essentially morphing from a sine to a square wave. The effect of this, though, is to introduce more high frequency harmonics into the output, so its result is similar to raising the cutoff frequency of a low-pass filter.

The voices share a single vibrato switch too, which engages vibrato across all four voices, although each has its own modulation source, so the vibrato rate differs across the four voices.

It’s worth noting that the Lyra-4 also has a rear panel CV input that allows for the pitch of the voices to be modulated from an external source. While it is possible to hook up an external sequencer or CV controller to this in order to create patterns or play the synth, it’s worth noting that the input is treated as a modulation source and doesn’t adhere to the 1V/Oct or Hz/V formats used for pitch by other analogue hardware.

All of which is to say, if you’re looking for a hardware synth to play precise music lines or generate melodic patterns, this is not it. What the Lyra-4 really excels at, however, is unique modulated timbres, atonal drones and microtonal sequences that seem to reinvent themselves each time you dare to touch the synth.

LFO and effects

Like almost everything else about the Lyra-4, the onboard LFO is a little unusual. Dubbed a ‘Hyper LFO’, the module comprises two simple LFOs that combine to generate a complex waveform.

Each LFO is a square wave and has its own rate control. An And/Or switch dictates where the output of these are added together or multiplied. A Sync switch, meanwhile, can engage cross modulation from one simple LFO to the other.

It’s fittingly complex and unpredictable, but works well as an addition to the Lyra design. Routed to modulate the voices with the envelopes set to Fast mod, it can function a little like a rhythmic sequence and create some nice polyrhythmic percussive patterns.

The final elements of the Lyra’s design are its delay and distortion effects. The delay is analogue, and features a modulator for its time parameter. Depending on settings, this can create short, metallic reverbs, vintage chorus effects or spiralling dub delays. Pushing the Feedback control to maximum provides yet another source of wild self-oscillation in the Lyra signal chain.

The delay also features a rear panel CV input for modulating the time, adding another way to incorporate the Lyra into a wider setup.

Finally, the analogue distortion offers just drive and mix controls, but is capable of radically reshaping the tone of the overall synth. Push beyond half way, the effect creates rich harmonic saturation that floods the mid-range and really suits the tone of the synth. With the output routed to act as a modulation source, it provides yet another way to alter the harmonic quality of the modulated sound.

With the relaunch of the Lyra-4, Soma is encouraging users to experiment with the idea of running two synths side-by-side. In fact, Lyra-4 is now available in both black and white colour schemes, which can be paired together for a ‘yin-and-yang’ effect.

The company suggests using these in a stereo pairing, with one in the left channel and one in the right. Doing so can create some fascinating stereo signals, particularly when using the synths with Hold raised to create drones. It’s also possible to route the output of one Lyra and use it as a CV input to modulate another.

Soma claims that using two Lyra-4s can be significantly different to using a single Lyra-8 – which is essentially two sets of Lyra-4 in a single box. Personally, I haven’t had a chance to try the two side-by-side, but I’ll take the company’s word for this – it’s not hard to imagine how the addition of extra delay and distortion modules, and two Hyper LFOs, could create an interaction that is substantially different from using everything as a self-contained synth.

Verdict

In all, Lyra-4 is weird, and that’s something you will either love or hate. As an experimental instrument, it’s not the most functional tool in the world – this isn’t something you sit down with in order to generate melodic lines you’ve pre-composed in your head, or quickly rustle up a staple synth patch.

There is nothing quite like Soma’s synth designs, and the compact and lightweight Lyra-4 is by far the most affordable and convenient route into the company’s world of ‘organismic’ designs. If noise and oddball sound design are your thing, this is the type of device you can get lost in for hours on end. Just don’t be surprised if your neighbours aren’t best pleased.

Hands-on demos

SOMA Laboratory

Alternatives

Specifications

What is it?

In the early 2010s, hardware FM synths were something of a rarity. Despite the massive success of Yamaha’s DX7 and its various siblings throughout the ‘80s and ‘90s, and the impact those synths had on popular music, by the turn of the millennium frequency modulation synthesis had largely fallen out of fashion.

While it made something of a resurgence in the plugin realm, primarily via Ableton Operator and Native Instruments’ FM7/FM8, for most of the ‘00s and early ‘10s hardware FM synths were thin on the ground.

Around a decade ago, that all changed, with a new wave of modern, affordable FM synths ushered in by the arrival of Yamaha’s Reface DX and Korg’s Volca FM.

One of the key drawbacks to traditional FM hardware was how awkward it was to program. With its ratio-based operators, algorithms and multitude of envelopes, FM synthesis is inherently more fiddly and mathematical than the free-flowing knob twiddling of analogue hardware. Key to the success of the contemporary wave of FM synths is their ability to make interacting with the sound engine more expressive and hands-on.

It’s on this front that Elektron’s original Digitone, released in 2018, really stood out. Its four-operator engine is neither the most powerful or innovative take on FM we’ve seen in recent years, but its approach to sound shaping, which combined elements of traditional FM and subtractive design, along with Elektron’s powerful, dense sequencer, makes for a formidable combination.

Now, following on the heels of last year’s Digitakt II, Elektron has released a direct follow up.

Whereas the update to Digitakt expanded the capabilities of the sampler without fundamentally changing its design – doubling the audio tracks and adding stereo sampling, but not altering the fundamental workflow – Digitone II is a more significant and transformative update to the original.

Pricing

• Full price: $999 / €1049 / £899

Digitone II sees a significant price jump compared to the original at launch, but bearing in mind the increased polyphony, multi-timbral layers and synth/sequencer capabilities, we feel it's fairly priced.

Performance

As with Digitakt, Elektron has doubled the audio capabilities here, increasing the overall polyphony of Digitone from eight voices to 16. Digitone II also significantly enhances the multi-timbral capabilities too though.

Whereas the original featured four independent synth layers, this version allows for up-to 16 independent synth tracks to be programmed using the onboard sequencer, more akin to the 16 audio tracks found on Digitakt.

This has the effect of making Digitone II feel less like a pure synth and more like a full-on groovebox than its predecessor, which is a smart move. I’ve spent a fair amount of time using the original Digitone over the past few years, and increasingly I’ve ended up using it primarily for percussive sounds and rhythmic patterns.

FM synthesis is particularly well suited to creating drum sounds thanks to the way it uses several stable digital waves, each equipped with its own envelope generator. That combination allows for the creation of complex tones with plenty of low-end presence, but also fine control over shape and transient of a sound.

That’s not to say that the original Digitone is only capable of drum sounds – it works very well as a more traditional synth too – but for my money the combination of that percussion-friendly sound engine and the versatility of Elektron’s deep, flexible step sequencer is where you’ll find Digitone’s sweet spot.

Spreading Digitone II’s voices across up-to 16 tracks makes it quicker to program complex multitimbral patterns that combine numerous elements of percussion and melody. This was something that the original could do using various workarounds, allowing the user to go beyond the limit of four available synth layers, but the design here makes for a quicker and more intuitive workflow.

Of course, this doesn’t mean that users are forced to use all 16 tracks. For a more traditional polysynth workflow, it's possible to sequence or play patches using a smaller selection of channels, and Digitone has options for controlling how the 16 voices are distributed and stolen (or not) across multiple tracks.

Ghost in the Machines

As with other recently upgraded Elektron gear, Digitone II now makes use of a system of ‘machines’. These are interchangeable elements that make the instrument function more like a virtual semi-modular.

Here that setup is used to significantly expand the capabilities of the instrument, adding four interchangeable synth engines that can be paired with a new range of filters in a mix-and-match fashion.

The first of these synth engines is named FM Tone, which is the four operator FM engine from the original Digitone, carried across here with no notable changes. As before, it offers a nicely modernised way of interacting with a classic ‘80s-style FM engine.

Although crafting sounds from scratch within the multi-page menus can still be fiddly, the top level controls are well-chosen. These allow the user to do things like make broad changes to operator waveshapes, introduce feedback and blend between A and B output operators. These options make it easy to alter or modulate the timbre of an FM patch without needing to dig too deep into the architecture of a sound.

The remaining three machines add new capabilities to the synth. Elektron is clearly with me when it comes to seeing Digitone’s potential as a drum machine, as the first of these new synth machines is named FM Drum.

Elektron has prior form on this front, as FM synthesis is used as a core element of the company’s Syntakt and Model:Cycles drum machines.

Fundamentally, the FM Drum engine isn’t all that different to FM Tone. Once again, it makes use of a four operator FM setup with envelope controls for each operator. The main differences come in how users can interact with it.

Here, the envelopes for each operator are simple decay-based designs well suited to percussion. The engine also introduces additional features including waveshaping, as well as an additional noise/transient source.

Wavetone, meanwhile, is a two-oscillator synth that looks fairly traditional at first glance, but has a multitude of tricks up its sleeve. Each oscillator can make use of one of two wavetables, allowing them to morph between various waveshapes. The first table consists of simple virtual analogue waves while the second contains waves with more complex harmonics.

These two oscillators can also make use of a phase distortion function that warps the shape of the waveform in a manner similar to pulse width modulation, albeit for any waveform. The Wavetone engine also benefits from a multitude of other interesting features including linear tuning offset, ring modulation and oscillator drift.

Particularly when paired with the synth’s modulation and sequencing tools, it makes for a formidable combination that’s considerably more powerful than a standard two oscillator VA synth.

The final synthesis engine is named Swarmer. This is focused around a primary oscillator accompanied by a cluster of six additional oscillators that can be spread out across the frequency range around it.

Detune and Mix controls allow the user to adjust the balance of this oscillator swarm, while Animate and Noise Modulation options can introduce movement, driven by a hidden array of LFOs or a white noise source, respectively.

In a nice touch, the primary oscillator of the Swarmer machine can be tuned to sit one or two octaves below that of the swarm itself, allowing it to act as a weighty sub beneath the more fuzzy and animated oscillator swarm.

Much like Digitakt II before it, this new Digitone also benefits from an expanded range of filter machines. Here the filter from version one – renamed Legacy LP/HP – is joined by a new morphable multimode filter, a more abrasive 4-pole low-pass, + and - configurations of comb filter and an EQ module.

Only one of these filter modules can be used on each track at any one time – although each track also has a simple Base-Width filter, which is a basic non-resonant low/high pass filter that proves handy for controlling frequency bloat.

The ability to mix and match filter designs with synth machines significantly expands the sonic range of Digitone though. The original’s FM synthesis capabilities were already hugely capable, but the ability to pair oscillator swarms with comb filters or combine percussive synthesis with modulated filtering, for example, creates a hugely deep well of sound design potential.

On the subject of modulation, Digitone II also gains a third LFO per voice – another feature addition that mimics the updates on Digitakt II. The effect is more transformational here though. The original Digitone had two available LFOs for each of its eight synth voices, whereas II now has three available for each of the 16 voices. As a result, the total number of LFOs available rises from 16 to 48.

I’ve always really liked the implementation of LFOs in Elektron gear. The array of features for each modulator strikes a nice balance between immediacy and depth. The additional modulation sources are very handy here too, since many of the new machines – particularly the comb filters and Wavetone synth engine – really benefit from a little movement and modulation.

Effects and connectivity

Along with these sound-creating machines, Digitone II also sees refinements to the onboard effects. Digitone II has delay, chorus and reverb effects, which function as sends. These are fairly simplistic in their design, but each offers enough sound shaping parameters to tailor the effect to your particular project, from tight room reverbs to out-there dubby effect washes. As well as sending individual tracks to these effects – or an external audio feed – the effects can also be sent to one another, which is a nice touch.

Each individual synth track features a digital distortion effect, which can be placed pre- or post- filter. For Digitone II, that’s also joined by new bit rate and sample rate reduction effects, which add an additional, digital flavour of grit to the sound engine.

The synth also features a master compressor, which works well for tying together disparate sounds when using Digitone to simultaneously create beats and melodies. Again, the audio inputs on the rear allow for external audio to be compressed alongside the internal sounds.

This means that Digitone II can function as a pretty neat effects processor even if you disregard its internal sounds (although, given the price point, it’s not worth buying for this purpose alone).

On the subject of external gear, each of Digitone II’s 16 tracks can also be repurposed as a MIDI machine, which allows it to sequence and control external gear, making use of things including the internal LFOs (although MIDI tracks have two of these, rather than three). MIDI has gotten a slight bit easier to use since v1, in that the machine now automatically picks up MIDI CC values.

There are a couple of missing features on the MIDI front that currently hold it back ever so slightly. The arpeggiator and chord mode, both available to internal synths and great for inspiring ideas, can’t be routed to external gear, which is a shame.

It’s arguable that Digitone could benefit from some extra I/O too. Its rear panel has a stereo pair of main outs, stereo pair of inputs, along with MIDI in, out and through. While it’s obviously possible to chain and route things creatively to use Digitone as a hub for multiple hardware instruments, I’d love a few more inputs and outputs to both process multiple tracks of external hardware and individually route Digitone’s own synth layers.

Both of these things are set to be facilitated by Elektron’s Overbridge software – the company’s desktop plugin that allows for full control and audio routing from its hardware to your DAW via USB. As has become standard with Elektron releases though, Overbridge compatibility is yet to be implemented for Digitone II and, at the time of writing, is still in an invite-only Beta phase.

What else?

Beyond these headline changes to the sound engine, Digitone II also adds a number of sequencer upgrades, many of which won't be too surprising to regular Elektron watchers. As with Digitakt, the overall length of the step sequencer is upgraded here from 64 steps to 128. The Euclidean sequencer that has been added to both Digitakt II and Syntakt features here again too, and as with both those machines, it makes a fun and well-suited addition to the Elektron workflow.

There are numerous workflow refinements throughout the design too. Presets are now a little easier to access – although I still find the menus a little clunky, and the various divisions of projects, presets pools etc feels needlessly convoluted for a non-sample-based machine.

As with many of Elektron’s releases, Digitone II walks a fine line between being deep and powerful and needlessly convoluted. What side of that line it sits on will likely come down to personal opinion, to an extent. There are undoubtedly more immediate synths out there – even once you’ve got your head around its multiple views, shift presses and hidden options, Digitone II is an instrument that can easily confuse.

Personally, I’m a huge fan of the depth and flexibility of Digitone II’s synth engines and step sequencer – particularly when it comes to the wealth of sonic shaping accessible via the addition of modulation, automation and randomisation. I must admit that I tend to bounce off of Elektron gear when it comes to creating longer compositions though.

While the extended 128 step length and song mode make it possible to create lengthy, evolving compositions – as many of the stock presets demonstrate brilliantly – keeping track of multiple pages of triggers and pattern variations can feel a little fatiguing. Personally, it’s at this point I tend to bounce ideas down to a DAW to keep things more manageable.

One new feature that does help significantly on this front is the page loop functionality, which makes it easier to focus on a single sequencer page in order to make edits and refinements before moving on.

That said, there’s no shortage of capabilities, and I’m sure those that prefer the hardware workflow – or aim to use Digitone as a hub for live performance – will appreciate the ability to create complex arrangements using the hardware alone.

Verdict

Regular readers won’t be surprised to learn we rate Digitone II very highly. We crowned it our favourite synth of 2024 at the end of last year, and now that we’ve had several months to get to know if properly, that opinion hasn’t changed.

As much as the instrument can feel occasionally overwhelming and confusing, that’s only the byproduct of how much Elektron has crammed into the instrument.

Whereas Digitakt II felt like an expanded take on its predecessor – stuffed with luxury extras and more capabilities, but still fundamentally the same sampler – Digitone II is an exponential upgrade. Not only does it double down on what made the original impressive, but it’s added copious new capabilities.

Version 1 already offered a lot of depth through its capable FM engine, which was built to design a range of modulated synth textures and also a dark horse for drum design. Digitone II can still do all of what its predecessor could, but adds a variety of new flavours to the sound palette.

The new synth engines are at once better for more traditional, virtual analogue sounds, as well as rich digital textures. Although the FM Drum mode doesn’t necessarily add much the original couldn’t do, it certainly speeds up the design of percussive sounds.

In all, this is one of the most varied and powerful hardware synths on the market. Yes, you might get a little confused by the workflow at times, but there are worse places to get lost.

Hands-on demos

Alternatives

Specifications

Hot on the heels of last year's fifth major iteration, Arturia has kicked off 2025 with another considerable update to its sound design powerhouse Pigments. Last year, we described said previous update as "One of the finest tools to take you on that sound design cruise you’ve always promised yourself you’d have one day." To keep that same analogy going, with version 6 we're parking up that leisurely cruise and boarding a rocket bound for the outer reaches of space.

Pigments 6 introduces a wealth of new features, namely a vocoder, a Modal engine, a platter of new filters and modulators and a refined user experience. Overall, Pigments now sports six synthesis types, an expansive modulation system, a palette of effects and a tightened-up, intuitive control system.

One of the most significant additions to the mix is Pigments 6's new Modal engine. This system collates what Arturia describe as 'physically-inspired' tones and interactions such as collisions or friction-based simulations. The system incorporates a wealth of starting points, including delicate plucked strings and warm, resonant pads.

The brand-new vocoder allows users to distort and modulate their voice beyond all recognition, or to add some more subtle colours. External vocal (or other instrument) input blending is possible or you can choose to use it in conjunction with Pigments' own engines.

The new filters come in the shape of an analog-centered Multimode V2, Cluster filter (to stimulate kinetic textures), and LoFi to generate those worn-out tones that are still highly en vogue.

More on these new additions are explored in Arturia's official update overview video below

Further improvements come via the all-new modulators - varieties of which can be assigned to different voices with different modulation values. This is a big benefit for sculpting curves, adding deeper 'randomness' and tightly-locked automation to mix elements.

Granular improvements now allow users to scan through samples mid-playback to concoct time-stretched atmospherics, random grain playback for each note and expansive adjustment controls.

Couple these improvements with a general tightening-up of the UI (improved file browser and polished light theme) and this latest evolution of Pigments' seems like an absorbing and option-packed tool for those of us who want to immerse fully in the ocean of sound design. Our hands-on review will be dropping soon - so stay tuned.

Pigments 6 is available now from Arturia for the launch price of €99/£82/$103 (full price €199) - but if you've already purchased a previous iteration of Pigments, you can download the update in its entirety for absolutely free.

Waldorf’s Iridium synths are seriously powerful machines. While the top-end Iridium Keys and Desktop have the most bells and whistles, the cut down Iridium Core still has a hell of a lot of power for the money – and right now Sweetwater has it available for just $1,499, which is a full $900 less than its usual price.

The Iridium Core is a 12 voice digital synth with three oscillators per voice. It makes use of a variety of really interesting synthesis approaches, ranging from flexible wavetable and granular capabilities to the unique Particle, Resonator and Kernel synthesis modes. There’s a ton of deep modulation and filtering options on offer too.

Sonically, it owes an obvious debt to Waldorf’s iconic synths of the ‘80s and ‘90s, such as the Microwave and Wave. While it can do the retro-digital sounds we associate with those synths, its advanced capabilities and the inclusion of various subtractive and virtual analog elements mean that it has real sonic breadth.

When we reviewed the Iridium Core earlier this year, we described it as offering “boundless amounts of creativity in the smallest of footprints”. If you’re looking for a deep synth to get lost in, this should keep you occupied for a very long time.

It’s Black Friday weekend, a time when we’re all overloaded with deals, offers and bargains. It can seem like the entire world is trying to persuade you to buy new music gear. But I am here to remind you of an important fact – new gear probably isn’t the answer to your problems.

Perhaps you’re struggling to finish tracks and think that you just need more plugins? You probably don’t. Maybe you think your music isn’t good enough because you’re using a digital synth rather than a genuine analogue one? That’s almost certainly not true. Do you think that better monitors will instantly make your mixes sound better? It’s unlikely.

Yes, new gear can help us do things quicker, or explore new ideas, or make the overall music-making process easier. But the fundamental truth is that some of the best electronic music of all time has been made with limited, cheap setups. Essentially, more gear does not necessarily equate to better music.

With all that being said, while I don’t want you to think that you need new gear this Black Friday weekend, you might still want it – and I totally get that. I’m lucky enough to review synths and drum machines for a living, and I know how exciting getting your hands on some new creative tool can be.

Although it's not always the route to better music, getting to grips with a new instrument, controller or effect can be a great way to spark creativity. There’s nothing quite like the feeling of exploring the features and capabilities of something, only to hit upon one of those lighting-in-a-bottle moments, when the pieces suddenly come together and you realise, ‘wow, what if I tried doing *this*!?’

With that in mind, I’ve been searching through this weekend’s best synth and drum machine deals, and these are my recommendations. I won’t promise that any of them will make you a better producer or musician. But if you’ve been waiting for Cyber Weekend to drop your hard earned money on something new, exciting and fun, then these are the deals to check out.

I’m going to focus on hardware gear here, but there’s a lot of solid deals on software about this weekend too, which you can keep tabs on in our Black Friday plugin deals hub page.

US Deals

I’m a really big fan of Korg’s recent 37-key digital synths, which each put an innovative spin on classic synth formats. Modwave II is one of the best in the range. It’s a wavetable synth, loosely inspired by Korg’s cult classic DW-8000, but its approach is genuinely innovative, allowing users to craft custom oscillators by blending different wavetables and applying a range of playback modifiers.

Yes, it’s purely digital. And the plastic build and keybed are nothing to write home about. But there’s so much depth and power to this synth. If you’re looking for an instrument that will have you lost down sound design rabbit holes for hours, this is a great purchase for $679.

Sticking to Korg for a moment, Sweetwater is also offering $10 off for most of Korg’s Volca range this weekend. That’s not a massive discount, but the Volcas were a bargain to begin with – and they’re great fun for the price. Personally, I think the Volca Bass and Volca Drum are the ones to go for. Watch our video ranking below for more.

I’ve been using Ableton Live for almost 20 years and, I’ll be honest, as much as versions 1 and 2 of Push impressed me, I drifted away from both and ended up reverting to using a mouse and keyboard. Push 3 is a different story though – I’ve been using it since before it came out last year, and I absolutely love it.

The MPE pads are fantastic, and Ableton has finally cracked its goal of making a controller that feels like a proper instrument. Paired with expressive presets from Live’s Drift and Meld synths, I find Push really expressive (it’s great for me who is, I’ll admit, not a great keys player).

I have the standalone version of Push, which I really rate, although honestly I think the non-CPU-equipped model would be fine for most users, unless you’re planning on performing live or really desperate to be free of your laptop. Either way, both are available at Sweetwater with some sizable discounts this weekend.

Roland's SH-4d was one of my favourite releases of last year, and Amazon has it down to the lowest price I’ve seen this weekend.

Like a lot of Roland’s current crop of hardware instruments, the SH-4d makes use of the company’s Zen-Core engine, but its unique design sets it apart from the bulk of the company’s Zen-Core keyboards. The SH-4d is a five-part groovebox, with four polyphonic synth channels and one multi-track drum machine. Its sound engine makes use of a mixture of virtual analogue, digital synthesis and sampling in order to offer a spectrum of sounds that range from vintage gear emulations to modern tones and an array of percussive kits.

It’s a unique and creative machine, and personally I find it very inspiring. Its characteristic design means that it won’t suit everyone – the lack of a keyboard being an obvious downside for some users – but for less than $400 it’s a lot of synth power for the money.

Donner is better known for its cheap guitars, electronic drums and pianos, but has recently entered the synth market. The B1 was its debut instrument, which takes heavy influence from Roland’s iconic acid machine the TB-303.

The B1 doesn’t look like much – its grey styling looks more like something you’d use to calculate your taxes – but it sounds seriously great. Its analogue oscillator and filter nail the aggressive tones associated with the 303, and the included drive and delay effects really bring the sound to life.

With Donner’s extra 25% this weekend, you can pick up the B1 for $103.99. Trust me, this sounds way better than any $100 analogue synth has any right to.

UK Deals

Waldorf’s Iridium synths are seriously powerful machines. While the top-end Iridium Keys and Desktop have the most bells and whistles, the cut down Iridium Core still has a hell of a lot of power for the money, and at a price only a little over a grand, I think it’s a bit of a bargain.

The Core is a 12 voice digital synth with three oscillators per voice. It makes use of a variety of really interesting synthesis approaches, ranging from flexible wavetable and granular capabilities to the unique Particle, Resonator and Kernel synthesis modes. There’s a ton of deep modulation and filtering options on offer too.

When we reviewed the Iridium Core earlier this year, we described it as offering “boundless amounts of creativity in the smallest of footprints”. If you’re looking for a deep synth to get lost in, this should keep you occupied for a very long time.

Say what you want about Behringer and its approach to synth emulations – or ‘tributes’ as the company prefers – but you can’t knock it for value. This weekend you can pick up Behringer gear over at Thomann for some ludicrously cheap prices.

There are too many instruments on offer to name all of them, but a few stand out as highlights. At a price of £235, the Sequential-inspired Pro-800 is stupidly cheap for an analogue polysynth. Elsewhere, Behinger’s original synth Deepmind 6 has lots of power and flexibility for its price. A steal at less than £400.

I own the RD-8 and RD-9 drum machines, inspired by Roland’s TR-808 and TR-909 respectively, and I think they’re really solid for the money. Obviously, it’s simply not worth spending the money on a real 808 or 909 in 2024. Roland’s own recreations are great, but what I like most about Behringer’s takes are their satisfyingly chunky size and rugged sequencers. While their current prices aren’t actually a Black Friday deal – they’ve simply come down recently – at under £250 a pop it’s still hard to argue.

Personally, I have no real experience with Behringer’s Eurorack modules, so I can’t vouch for them, but the prices look very tempting. £1,150 for the System-55 is a crazily cheap price for a full modular system.

Version 2 of Elektron’s Digitakt sampler-come-drum machine dropped earlier this year. While v2 is undoubtedly more powerful than the original in almost every way, it doesn’t fundamentally change what made the original Digitakt great. In short, while Digitakt 2 is the best version, Digitakt v1 is still an excellent hardware machine – and because v2 now exists, you can pick up the original for a bargain price.

I have the original Digitakt at home, and although I’ve recently reviewed and enjoyed my time with Digitakt 2, the original still provides a great source of hands-on beat-making inspiration. While v1 has fewer audio tracks, it still packs an excellent, deep sequencer, powerful modulation tools and can work smoothly within your DAW thanks to Elektron’s Overbridge software. For a price below £500, I certainly wouldn’t feel bad about missing out on the latest version.

Arturia’s hybrid MiniFreak synth has quickly become one of my go-to tools. What I love about it is its easy-to-use yet broad digital synthesis engine. This lets users combine a multitude of synthesis approaches, including wavetable, granular, FM, additive and more. These are deep and powerful tools, but MiniFreak’s neat interface and user-friendly mod matrix make programming sounds a breeze.

MiniFreak pairs this engine with powerful, gorgeous digital effects. Its smooth analogue filter is the cherry on the cake.

Andertons has a deal on the stylish-looking all-black Stellar Edition. I’ve seen the original version for cheaper than this, but it’s a nice discount for the special edition and a good price overall.

Novation’s Circuit Tracks has always been a lot of instrument for the money. It has two capable digital polysynth engines, four sample-based drum tracks and four MIDI channels that make it perfect for driving external hardware gear.

Honestly, there are deeper synths out there if you’re interested in sound design – to get the most out of Circuit you’ll need to use the browser-based editor – but this makes a really great hub for a studio setup. Its sequencer is fast and surprisingly flexible too. On top of all this, it’s down to a really low price this weekend.

Gamechanger Audio Motor Synth II: What is it?

When the Motor Synth first landed, it’s fair to say everyone was intrigued. Gamechanger Audio even had the likes of Jean-Michel Jarre and Richard Devine enthusing over “the world’s first electro-mechanical desktop synthesizer”, even to the point of getting you to back the IndieGoGo campaign. 

Fast-forward five years and a successful crowdfunding campaign and we’re on to version two of this rather unique synth. Gamechanger Audio is no stranger to esoteric sound sources (see Plasma Voice module), and the Motor Synth II is no different. Eight brushless motors drive discs marked with three concentric patterns representing three waveforms – saw, sine and square – with a fourth ‘M’ wave powered by an electromagnetic inductive sensor on each motor. 

Gamechanger Audio Motor Synth II: Performance and verdict

The original instrument made do with two independent voices and four-note polyphony from the eight motors, but plenty of improvements have been made. New to the Mk II is the addition of a DCO with four digital oscillators and four-note-polyphony. Each oscillator has up to six waveforms (including noise) with PWM, wave-folding and independent pitch, amp, envelope and filtering control. The DCO can be linked to the two electro-mechanical voices at various points along the signal path, too.

With discs as oscillators, physical control of these electro-mechanical sound sources comes in the form of Accelerate and Brake functions that take care of the pitch envelope. Both functions allow you to select the speed at which you wish to travel from one note to another (per voice) in Target mode or a more traditional Glide between triggered notes. Different note ranges and rates can be selected across the three voices independently in Target mode, so you can get some really interesting results. Also new in this edition are two extra polarity rotaries for easier control of the pitch envelopes.

Moving to the right you’ll find the amp envelope with seven envelope types at your disposal (ADSR, AD, AR, DADSR, ADSHR, AD LOOP and ADS). For the number of features available and the size of Motor Synth II, it’s little wonder that many of the features lie within menus with most controls stacked, accessed by the Alt button. The amp envelopes are crammed into just two rotaries, which is fiddly to start with. It doesn’t take long to get over the inconvenience, but a small bank of faders would be preferable for the job. Despite this, Gamechanger has crammed a lot of functionality into the envelopes with the ability to tweak stage levels, curves, time and breakpoints from the menu screen.

There are two identical multimode filters – one per Motor voice – and a digital filter for the DCO. Again, these have been updated with version two. The signal path is polyphonic up until the filter and paraphonic thereafter. Four types of filters are 24dB low-pass, 12dB band-pass, 12dB high-pass and 24dB all-pass. Thankfully, the Filter section has more hands-on control, allowing you to flick between the filters with ease. Also updated is the Modulation section, which features three LFOs, each with two destination slots and switchable polarity control.

There are eight banks each with over 200 sound presets that cover everything from your standard basses, pads, leads, pianos and organs, to the more esoteric soundscape and arpeggiated sounds. Bank Eight is full of patches created by Richard Devine himself. Not to be confused with Projects, Presets will only recall sounds, whereas Projects will contain sound presets, sequences, song arrangements and more. They’re all stored on an included microSD card, so you’re free to overwrite or delete the stock selection. Generally, all the shipped preset sound design does a very fine job of showing off what Motor Synth II can do, and there are plenty of creative jump-off points along the way. By default, each time you start Motor Synth II, you are greeted with the Factory init patch, which can be frustrating if you’re working on a particular project and want to get started on it immediately. There is an option to change that but it’s pretty buried. 

An initialised patch does, however, inspire exploration, it wants you to build from scratch. If you’re still feeling creatively bereft, another helping hand comes in the form of the Random generator – a highly useful feature that can randomise a wide variety of functions with varying degrees and all customisable via the menu screen. Broadly speaking, you can set up randomisation for either sounds or sequences and arp patterns. Dive into the menu and you’re able to select the amount of randomisation for certain parameters. You can even set up and save a set of randomised parameters that can be recalled and applied to any preset in the future. 

Our initial sonic explorations naturally led towards growling and gritty techno bass. Yes, you can easily get big, warm and brassy analogue pads, especially with the newly added Detune and Drift, or intricate percussive tones perfect for those fizzy toplines, but it’s so easy for things to get dark. It’s an angry synth that can turn its hand to many styles and timbres, but you don’t have to push it too far to get it to turn nasty. Luckily, there’s a Sleep switch to instantly mute the sound just in case things get a little too deranged.

There is one huge drawback with the Motor Synth II, though, and we only noticed it when we were in the confines of a quiet studio, despite already seeing one in the flesh at Superbooth. This thing kicks out so much mechanical noise it is insane. Now, it’s not so noticeable in a live environment, such as a tradeshow, but you wouldn’t want to be playing any intimate gigs as you’ll be hard-pushed to drown out those motors and the cooling fan. In the studio, you might prefer to be using headphones. The motor speeds coincide with the pitch: the higher the pitch the faster the rotation, and therefore the louder the motor. One saving grace is that the noise harmonics match that of the notes being played. 

Motor Synth II is deep – there’s so much crammed into this synth that there’s plenty of control hidden beneath the surface. You’ll find there’s a lot of menu-diving on nearly all the features, with some more fiddly than others. Control for each menu can differ from one to the next, to the point it can be quite frustrating. This inconsistency seems indicative of development over time. Considering version two has seen a lot of new features added, it’s not surprising that some things seem to have been shoehorned in.

The two rotary encoders next to the display do a fair job, but sometimes not everything on screen is available to them and instead controlled elsewhere, which seems an odd choice. For instance, within the Mod menu, you use the left display encoder to scroll through menu items down the left-hand side, however, it stops at the point of the rate/division option which you’ll need to use the dedicated knob in the mod section for that. For a system that relies on plenty of menu-diving, a consistent approach to menu control would’ve been more welcome.

For all its finery, this instrument doesn’t feature any effects, and there might be the assumption that an instrument in this price range should have at least something along the lines of reverb, delay or chorus. This is not to say there aren’t plenty of sound-mangling capabilities here. Motor Synth has that in spades. The Drive on the Filter can get very gritty but not out of control. Combine it with the Cross Mod and you can easily rip your patch a new one. You’ve also got the three LFOs and eight lanes of motion sequencing to get plenty of movement going. Interestingly, there are (pre-filter) sends and returns for each voice; ideal for integrating your outboard effects.

Input audio

Just when you think Gamechanger Audio couldn’t cram any more features into this synth, you stumble across the Vocoder/Input Envelope Follower. They don’t seem to shout about it either, presumably as the focus is on those eight motors, but you can connect any audio source to the 1/4” input and make use of the flexible routing options. Both Vocoder and Envelope Follower will route the signal directly into the motors and with the latter, giving you the option of further routing that audio into the Sequencer and Arp, or not. Alternatively, you can select the input signal to mix with the motor and DCO voices. 

Performance

There’s a huge focus on performance in Motor Synth II, centred around the eight pads and four encoders. The pads aren’t velocity-sensitive, but you can shift octaves, albeit with a two-key combo (Clutch and < or >). It’s slightly better than trying to shoehorn a mini-keyboard onto the interface, but this setup won’t please keyboard players. You’ll have to plug in a MIDI controller for that. However, being untethered to the standard chromatic scale with plenty of different scale options at your disposal is a good thing. 

Performance really comes into its own with the Sequencer and Arp. Both are feature-packed and yield usable sonic results. The sequencer features ratchet, step repeat, probability and microtonal control alongside the standard note, gate and velocity options. The Arp is also bolstered by more-than-your-average note repeat, accent, and swing controls to fine-tune the performance of your patch. A boon to Motor Synth II’s crown is the Clutch feature, which you can use to create transitions between patch edits. While holding the Clutch button, any tweaks made will be silent and only heard on release as the changes swell into effect all at once. 

Verdict

What we love most about this synth is that it’s ridiculous, and we mean that in the nicest possible way. The Motor Synth II isn’t for everyone, it’s eye-wateringly expensive and very noisy, but it should be lauded for being different, for pushing synth technology forward, and for being a bonkers idea brought to fruition. It’s not all gimmick and no substance. Even if you replaced the electro-mechanical features there’s still so much synth to play with.

The flexible signal routing and modulation, a plethora of I/O, extensive sequencing and performance functionality all add up to a thoroughly fun and deep machine. The price is steep and, while too rich for some tastes, is worth every penny. You can tell a lot of blood, sweat and tears have been poured into this project and plenty of improvements to warrant a new version. Yes, you could invest in a Model D and that might be the safe option, but don’t pick safe…  

MusicRadar verdict: Motor Synth II is a bastion of ingenuity. It’s noisy and expensive, but so much fun. There’s nothing quite like it.

Gamechanger Audio Motor Synth II: The web says

"In our current synthesizer renaissance, it's always refreshing to see an instrument that is so boldly different from everything else, and we can easily say that Gamechanger Audio succeeded in making the MOTOR Synth MkII beautifully unique."
Perfect Circuit

Gamechanger Audio Motor Synth II: Hands-on demos

Gamechanger Audio

Andertons Synths, Keys and Tech

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Gamechanger Audio Motor Synth II: Specifications

• KEY FEATURES: Hybrid electro-mechanical desktop polysynth, with two independent motor voices and one digital voice. i/0: Audio 1/4” TS In, 1/4” TS/TRS Out, MIDI in/out (5-pin), 3 CV and 3 Trigger inputs, 3.5mm send and return, 3.5mm headphone output, 24v DC power input, USB type-B. 
• CONTACT: Gamechanger Audio

SUPERBOOTH 2024: Last year at the Superbooth gear expo, Korg teased an intriguing prototype that was in development at its experimentally-minded Berlin office, showing a curious instrument they called Acoustic Synthesis_phase 5. 

Twelve months on, and Korg has made significant strides in developing the instrument and has a new prototype to shout about, one that the brand tells us shares "many similarities" with the eventual product release it's ultimately aiming towards. 

As the name suggests, Acoustic Synthesis_phase 8 is an acoustic instrument operates much like a synthesizer. Sound is generated via tuned metallic forks which are stimulated by electromagnetism; these resonators can be used to synthesize both pitched and percussive sounds, and Korg says that the device is "part melodic synth, part drum machine".  

Korg says that it's possible for both the player and the environment to "interact physically" with the instrument, muting, plucking or otherwise interfering with the resonators to sculpt their sound. Feedback can also be harnessed to create unpredictable sounds, much like with an electric guitar.

The instrument has eight independent voices, a polyrhythmic sequencer, and it's also capable of waveshaping, envelope control and tremolo. There are currently five different prototypes, each of which has a unique design.

Korg Berlin says it's still adapting the design of its prototype for mass production, with the intention of having a finished product ready to show off at next years' Superbooth show. 

This isn't the only announcement from Korg to drop today; the brand has also revealed a new version of its popular Minilogue XD synth with inverted keyboard colours, and the ST1K, a tuner designed specifically for tuning analogue synths. 

Watch our interview with Korg Berlin's Tatsuya Takahashi from Superbooth 2023 below.

Hot on the heels of announcing its brand new MIDI 2.0 controller keyboard, Keystage, Korg is also dropping an updated version of Modwave, the Japanese firm's update to the cult-classic DW-8000 synthesizer.

Much like its 37-note stablemate, the Wavestate mkII, Modwave has gone through some internal improvements and also benefits from a slight tweak to the interface. Can you spot the difference?

• What is wavetable synthesis?
• Korg Modwave review

Before you rush in with your answers on a postcard, let's check under the hood. Korg has made some subtle tweaks to the performance, so what has actually changed?

Version two takes in some new features that address some shortcomings of the original. Most notably, the increase in polyphony. 

Modwave mkII now boasts a total of 60 voices of polyphony, compared to the 32 voices of the original.

The other big change comes in the form of vastly improved LFOs. With five LFOs in total, each one now has free running, delayed start, and triggering options. Plus, there are also more modulation sources available for added sonic flexibility.

Elsewhere you'll find a pre/post switch added to the reverb sends and if you hadn't already guessed it, the Kaoss Physics Pad is now sporting a rather fetching crimson hue. Quite how we missed we'll never know, especially considering that olour really pops.

Aside from the addition of 'mkII' on the badge, it's pretty much as you were with the Modwave.

Considering that the Wavestate mkII looked to have coincided with the launch of the SE version we wonder if that means that there'll be a larger Modwave on the cards in the future. 

That's speculation of course, but what you can bank on is that Modwave mkII will be available to buy soon, retailing for £699. Head over to the Korg website to sign up for notifications for when it officially comes on sale.

HALO from WA Production is a new plugin that aims to nail all your EDM needs in one. At its heart it combines multiple, easy-to-build, fast routes to audio with effects and modulation options, and comes out of the box tailor-made for making the thick, hard-hitting, frequency-jamming EDM sounds of now.

As such its sound banks are laden with huge sounding basses, leads, pads and more and there’s plenty of “immense presets” all set to drop straight into your projects (provided you leave enough frequency room for them) or to serve as inspirational start points for further fine tuning.

It's an EDM triple-threat in three parts:

The extensive filter, modulation and effects options give HALO all the characteristics of a synth, with the level of control to make a sound your own with a few simple clicks. 

However, the inclusion of a large bank of ‘raw material’ sounds makes it feel more like a classic, preset-packed ROMpler (ROMplers essentially being samplers that come with all the samples you need already built-in). 

HALO then goes one further, making it easy to add your own custom audio sample by sample – be it simple single waves or hits or fuller, whole-track lifts – then set the plugin's synth and effects controls to work making them unrecognisable.

Dialling through the 360 presets and 300 sample banks there’s everything from deep bass, slab-sided synth impacts, and lush liquid pads to bright zinging leads and more, with – we’re promised – future expansions on the way. At their heart is a library of synth tones originally produced in hardware and software layered with HALO’s built-in synth, effects and processing.

Fine-tune your patch then switch between – or even randomly select – a new sample bank from within a preset to try out your effects and filter settings on a whole new body of sound quickly and easily. Add your own samples or dial in the sub and dual oscillator synth, three effects distortion modes, pitch envelope and modulators. 

HALO looks like it's got all the EDM ammo you need plus the flexibility to make it your own.

It's currently on sale for $49 (down from the usual $120) for a limited time and you can even grab a free Lite version from the WA Production website. 

SYNTH WEEK 2022: Forbidden Planet features over 600 expertly crafted morphing synths across categories such as Arpeggiator, Bass, Drones, FX, Leads, and Poly Synth. 

Freely morph between electronic layers, acoustic instruments, and futuristic sounds - perfect for soundtracks, EDM, hip hop and more. Featuring a brand-new suite of post-processing and mixing tools, insane filter modulation, and an extensive rack of effects, you now have the ability to break away from everything that has come before with new controls, powered by the critically-acclaimed OPUS engine, that offer unprecedented sonic shaping power with presets completely customizable by the user.

The idea for Forbidden Planet started when producers DOUG ROGERS and NICK PHOENIX set out to create EASTWEST's first fully featured synth collection, not based on traditional oscillators, but combining electronic synth layers with orchestral, world instruments, choral samples, sound effects and more into one enormous collection — creating a new sound palette designed for the future, not the past.

Crossfade between sound sources and filter settings with the central XY pad, allowing you to capture morphing hybrid sounds in moments. By moving the Orbital Control, you can dynamically capture broad but smooth shifts in both timbre and frequency content. 

Moving left and right changes the blend amount between two contrasting sources, chosen from analog, acoustic, synthetic, and large-scale cinematic sounds. The vertical position controls filter frequency and is perfect for creating sweeping gestures, manipulating the output however you see fit.

The XY Pad isn’t the only way to control the filter — simply pull up the filter section of the UI and you can pop open the hood, controlling the modulation depth. 

The Mod Envelope allows you to add an ADSR-style envelope onto the filter cutoff, automating its movement with each note, while the Step LFO section produces a gated rhythm as the sequencer modulates the filter cutoff frequency. 

This leaves you free to play with the XY Pad, creating progressive textures and drones to set the tone of the atmosphere you want to build.

The arpeggiators allow you to create staccato and legato patterns, even with portamento or glide as you like. Not only does this make it easy to create highly dynamic and choppy ostinatos, but each of the 2 sound sources gets its own sequencer with the option to desynchronize their speeds. 

The two are adjacent to each other in the UI, giving you unprecedented automation capabilities without digging through multiple different submenus. Copy settings between both and you can produce slight variations that support more depth, creativity, and shimmer than you’ll find anywhere else.

You don’t have to design synth patches from the ground up or settle for outdated analog-modeled hardware sounds. 

Forbidden Planet was designed to give you unfettered access to cinematic sounds rooted in classic film literature, now with the ability to manipulate, process, and combine them with hundreds of electronic and hybrid instruments out of the box. 

You’re up and running in moments, with the option to make modifications to your heart’s content. Every preset combines contrasting dramatic sources, making it a perfect source of inspiration on demand.

EDM, sci fi, horror, world, hybrid music and more — Forbidden Planet gives you the tools to bring them all to life without limitation.

Forbidden Planet is now available in all ComposerCloud plans and will be available for purchase on June 12. Haven't yet tried ComposerCloud+ and the new OPUS engine? You can now sign up for a free 30 day trial to test drive Forbidden Planet and all 70 of EastWest’s award-winning collections.

Find out more about Forbidden Planet here: www.soundsonline.com/forbidden-planet 

SYNTH WEEK 2022: Forbidden Planet features over 600 expertly crafted morphing synths across categories such as Arpeggiator, Bass, Drones, FX, Leads, and Poly Synth. 

Freely morph between electronic layers, acoustic instruments, and futuristic sounds - perfect for soundtracks, EDM, hip hop and more. Featuring a brand-new suite of post-processing and mixing tools, insane filter modulation, and an extensive rack of effects, you now have the ability to break away from everything that has come before with new controls, powered by the critically-acclaimed OPUS engine, that offer unprecedented sonic shaping power with presets completely customizable by the user.

The idea for Forbidden Planet started when producers DOUG ROGERS and NICK PHOENIX set out to create EASTWEST's first fully featured synth collection, not based on traditional oscillators, but combining electronic synth layers with orchestral, world instruments, choral samples, sound effects and more into one enormous collection — creating a new sound palette designed for the future, not the past.

Crossfade between sound sources and filter settings with the central XY pad, allowing you to capture morphing hybrid sounds in moments. By moving the Orbital Control, you can dynamically capture broad but smooth shifts in both timbre and frequency content. 

Moving left and right changes the blend amount between two contrasting sources, chosen from analog, acoustic, synthetic, and large-scale cinematic sounds. The vertical position controls filter frequency and is perfect for creating sweeping gestures, manipulating the output however you see fit.

The XY Pad isn’t the only way to control the filter — simply pull up the filter section of the UI and you can pop open the hood, controlling the modulation depth. 

The Mod Envelope allows you to add an ADSR-style envelope onto the filter cutoff, automating its movement with each note, while the Step LFO section produces a gated rhythm as the sequencer modulates the filter cutoff frequency. 

This leaves you free to play with the XY Pad, creating progressive textures and drones to set the tone of the atmosphere you want to build.

The arpeggiators allow you to create staccato and legato patterns, even with portamento or glide as you like. Not only does this make it easy to create highly dynamic and choppy ostinatos, but each of the 2 sound sources gets its own sequencer with the option to desynchronize their speeds. 

The two are adjacent to each other in the UI, giving you unprecedented automation capabilities without digging through multiple different submenus. Copy settings between both and you can produce slight variations that support more depth, creativity, and shimmer than you’ll find anywhere else.

You don’t have to design synth patches from the ground up or settle for outdated analog-modeled hardware sounds. 

Forbidden Planet was designed to give you unfettered access to cinematic sounds rooted in classic film literature, now with the ability to manipulate, process, and combine them with hundreds of electronic and hybrid instruments out of the box. 

You’re up and running in moments, with the option to make modifications to your heart’s content. Every preset combines contrasting dramatic sources, making it a perfect source of inspiration on demand.

EDM, sci fi, horror, world, hybrid music and more — Forbidden Planet gives you the tools to bring them all to life without limitation.

Forbidden Planet is now available in all ComposerCloud plans and will be available for purchase on June 12. Haven't yet tried ComposerCloud+ and the new OPUS engine? You can now sign up for a free 30 day trial to test drive Forbidden Planet and all 70 of EastWest’s award-winning collections.

Find out more about Forbidden Planet here: www.soundsonline.com/forbidden-planet 

Now firmly established as an emulator of classic hardware synths, Cherry Audio has just announced its first original virtual instrument synth plugin: Dreamsynth.

Despite being a new design, this is heavily inspired by the hybrid digital/analogue synths of the mid to late-’80s - the likes of the Sequential Circuits Prophet VS and Ensoniq ESQ-1.

Cherry Audio says that it’s taken the “distinctive qualities” of these instruments and combined them with the best features of modern software to create a unique 21st century hybrid.

There are three dual-waveform oscillators, equating to six simultaneous virtual analogue or PCM sample-based oscillators with up to 16 voices of polyphony. As a bonus, you also get an additional 16-voice string synth that can be layered and split across the keyboard, independent of the primary synth.

The 12dB/octave multimode stereo filters, meanwhile, are inspired by the Oberheim OB series, while modulation options include more than 20 sources and more than 40 destinations. There are also three tempo-syncable LFOs, an arpeggiator, effects and support for MPE.

Dreamsynth comes with more than 1,000 presets from a roster of pro sound designers, with programming of your own patches taking place on a vintage-style interface. It’s available now for the introductory price of €39 (regular price €59) and runs on PC and Mac in VST/AU/AAX formats. There’s also a 30-day demo.

Find out more on the Cherry Audio website.

GEAR EXPO 2022: For their first release of 2022, EastWest is taking us on a hybrid synth odyssey that’s going to be out of this world...

Forbidden Planet

FORBIDDEN PLANET, produced by Doug Rogers and Nick Phoenix, has a completely different take on what a synth should be and how it should be controlled. Forbidden Planet has an edge and attitude that is unique, offering a carefully curated collection of synth sounds across multiple categories.

A typical Pad in Forbidden Planet uses the mod wheel to cross fade between a custom programmed synth pad run through various modulation pedals and a custom programmed pad on another synth, or through a different chain of pedals. 

For Basses, Forbidden Planet samples and modifies huge basses from the best bass machines out there and brings them into the present with clever crossfading choices and some fantastic FX pedal choices. Over 200 amazing drones will lead you into a fantastic dark and twisted place. 

Forbidden Planet also soars with classic analogue legato Leads and does this better than any other virtual instrument. The mod wheel gives you total control over the character, and there is even a folder of leads dedicated to rap or hip-hop music. 

For Arpeggios, there is a dual structure, one for each layer. This allows you to create your own unique rhythmic combinations between the 2 layers and cross fade between them. Moving Pads use this feature so you can fade arpeggiations in and out of a sustaining pad. 

And lastly, Spaces convolution reverb, dual ring modulators, complex ping pong delays, a new chorus, a vintage ensemble chorus effect, multiple distortions and amp convolution all make Forbidden Planet an FX powerhouse. 

Hollywood Orchestra Opus Edition

The upcoming release of Forbidden Planet comes after a revolutionary year for EastWest. In 2021, they released Hollywood Orchestra Opus Edition, now the best-selling and most awarded orchestral virtual instrument ever created.

At the same time, they also released Hollywood Orchestrator, a must-have tool for composers who want to create a blockbuster soundtrack in seconds. Using the instruments in Hollywood Orchestra Opus Edition, Hollywood Orchestrator allows the user to create complex arrangements across the whole orchestra by playing just a few simple chords with one hand and shaping expression with the other. It includes over 500 customizable presets.

All of this was made possible by last year’s release of the new OPUS engine. “Many improvements were made to the PLAY software engine over the last decade but we suddenly had a unique opportunity,” says producer Doug Rogers. 

“We were able to bring Wolfgang Kundrus in as head of software development. He was the mastermind behind the creation of Cubase, Nuendo, and Studio One. Then we were able to bring in Wolfgang Schneider, the creator of Kontakt. With these two titans of music software development now on our team, we decided it was time to develop a brand-new software engine from the ground up.”

ComposerCloud

While you can purchase these products, the best way to get access to future releases like Forbidden Planet and new releases like Hollywood Orchestra Opus Edition is with a ComposerCloud+ subscription. With EastWest's ComposerCloud+ you get access to over 40,000 award-winning virtual instruments. With a current price tag of $19.99/month (or $199 a year), there is simply nothing else out there on the market that features such a massive and deeply sampled collection of virtual instruments.

While some vintage synths are etched into the consciousness of electronic musicians everywhere - we’re talking about the likes of the Minimoog and the Jupiter-8 - others are less well known. Take the Ensoniq SQ-80, for example, a digital/analogue ‘Frankenstein’ keyboard that was released in 1988.

One company that’s well aware of the SQ-80, though, is vintage synth emulation specialist Arturia, and it’s now revived it in the form of the SQ80 V, a new plugin instrument for your DAW.

Although you might not have heard of the original, there are plenty of reasons to get excited about this reboot, which captures all of the SQ-80’s grainy character while also bringing it bang up to date.

All of the key features have been emulated - such as the three digital oscillators and analogue filter and amp - but you also get loads more waveforms, an arpeggiator, MIDI modulation, 15 built-in effects with two busses, and MPE compatibility.

The result is a synth that sounds both deliciously retro and effortlessly modern, and unlike anything else you have on your desktop. The perfect emulation of the 8-bit 5503 DOC chip from the original SQ-80 means that you can create classic digital tones ranging from smooth to spiky, with the analogue filter and output circuit giving you all the lo-fi warmth you need.

And, although you have masses of sound design potential - the number of possible waveform combinations run into the thousands, and there are plenty of creative features that take the SQ80 V far beyond its hardware forebear - the streamlined interface means that programming this synth is a joy. Forget diving into multiple menus and staring at a tiny screen - this is one ‘retro’ digital instrument that won’t leave you scratching your head.

In fact, the SQ80 V might quickly become your new secret sonic weapon, giving you access to sounds that other producers simply don’t have. Suffice to say, fans of the original SQ-80 will love it, too.

Speaking of which, the SQ80 V comes with all 40 of Ensoniq’s presets, plus 160 more that have been created by Arturia. A couple of additional soundbanks - Dust Factory and Raw Machinery - have been released, too.

A free demo means that you can try the SQ80 V right now, but the even better news is that, if you buy it before 5 October, you can pick it up at a 50% discount for just €99, with both add-on soundbanks included. It runs on PC and Mac, either standalone or as a VST/AU/AAX plugin.

Find out more on the Arturia website.

Keep it locked to our Black Friday plugins deals page for all the latest and biggest software offers.

GEAR 2021: Korg has revived yet another classic from its illustrious history and given it the hybrid treatment, with the new Modwave wavetable synthesizer that promises to take the DW legacy and create a "monster synth" with a little help from Motion Sequencing 2.0 and the brand new Kaoss pad modulation.

It doesn't take a genius to see that this looks like it's the third instalment of forward-thinking hybrid synths from Korg that tap into models of yesteryear with modern features, all wrapped up in a now-familiar 37-key chassis.

The Modwave seems to also take on the same ethos as the Wavestate and opsix with plenty of hands-on control and combining deep synthesis with plenty of filtering options and a whole heap of modulation options with the ability to assign four modulation signals with the Kaoss pad, utilising the new Kaoss physics function.

• NAMM 2021 is cancelled, but we'll be covering all the big January gear announcements right here on MusicRadar.

Modwave's synthesis engine seems to be rather deep with 200 wavetables, each containing up to 64 waveforms. The structure allows you to utilise 30+ Modifiers to change the character and 13 Morph Types for realtime processing. 

Combined with the A/B Blend function, all of this adds up to a dizzying number of wavetable variations, over 230 million to be exact. 

If that doesn't blow the mind enough, you can add more by loading your own custom wavetables in Serum or WaveEdit formats via the Editor/Librarian software.

Modulation takes up a large part of Modwave's architecture with the return of an old friend to help you get more creative results out of the synth. The Kaoss pad is back and Korg has deployed its fabled XY pad controller as a new modulation source.

The pad is part of Korg's new Kaoss Physics feature which models a ball rolling on a surface and/or bouncing off walls. Using the pad you can control the ball, or have it automatically triggered via a Gate + Damper.

The virtual environment allows to either have the walls slow down the movement of the ball, like a cushion or bounce off the walls, accelerating the ball's movement much like a pinball machine.

The Kaoss Physics alongside Motion Sequencing 2.0 from the Wavestate, make for some very interesting modulation possibilities, especially with a choice of four envelopes and five LFOs onboard.

So far we've no word on when we can expect the Modwave to land or for how much. However, considering the Wavestate and opsix both launched with a £699 price tag, we can assume this synth won't differ greatly on that score.

For more info and full specs check out the Korg website.

Bitwig loves a good point release update, and its latest - which brings its eponymous DAW to version 3.3 - has just been released. 

Leading the charge is Polymer, a hybrid modular synth that’s designed to be “fun and quick”. Choose an oscillator, filter and envelope generator and you’re good to go - you can swap out Grid modules at will and create “production-worthy” sounds using just a few controls.

There are further parameters to play with beyond the three main modules, and Polymer supports a multitude of synthesis types. It can also host Bitwig Studio’s new Wavetable module - also available in The Grid - which offers more than 120 wavetables and three unison modes.

The Grid is getting a number of other new and improved devices, too, including two new modulators (Vibrato and Ramp). Bitwig Studio 3.3 offers workflow improvements - free content scaling, for example, means that whatever you select in the timeline can be stretched directly by ALT-dragging the right-hand boundary (you can also type in a percentage using the Scale command).

You can find out more about the 3.3 update on the Bitwig website. It's available now as a free upgrade for everyone on an active upgrade plan.

If you're new to the software, meanwhile, the good news is that you can save up to $100 on it right now. The full version of Bitwig Studio is currently available for $299 (regular price $399) or €379 (regular price €379), while the 16-track version is down to $79/€79 from $99/€99. These prices apply until 10 January 2021.

Korg’s Module iOS app is a fine choice for keyboard players who want a stock of playable and tweakable sounds to use in performance situations, and it’s just got even more flexible thanks to the release of version 4.

This adds the Hybrid synth, a new module that can ‘do’ both analogue and FM-style tones. It’s built on a brand-new engine and, for each sound, the optimal parameters are presented to you on the interface so that you can quickly dive in and season to taste.

There are also a couple of optional expansions for the synth - Hybrid Synth Pack 2 and Cinematic - which are available as in-app purchases. What’s more, Module Pro users who also have Korg’s Gadget app can use Hybrid in Gadget 2 as well, though it’ll be named Fairbanks in that case.

Better still, Module itself can now be used as an AUv3 plugin, meaning that it’ll run inside a suitable host (GarageBand, for example). 

You can try the new version 4 features in the free version of Module; if you want full functionality you’ll have to do so either via in-app purchases or by buying Module Pro, which is currently available at the discounted price of $20/£20.

Find out more on the Korg website. Module 4 runs on iPad and iPhone.

NAMM 2020: It’s been a little while since Dave Smith’s Sequential brand announced a new synthesizer, so we were quietly expecting something new for this year’s NAMM show. Following an initial leak, Sequential has now officially unveiled its latest flagship synth, the Pro 3 – and it looks great!

The Pro 3 is a three-oscillator paraphonic synth that combines both analogue and digital components. There are two analogue oscillators each with saw, triangle and variable-width pulse waves. These are joined by a DSP-powered digital oscillator that can produce 32 types of morphing wavetable, along with analogue oscillator emulations and a supersaw mode. 

This DSP oscillator can also function as a complex wavetable LFO for interesting modulation possibilities. There’s also an additional noise generator, plus controls for hard sync, per-oscillator glide and a Slop feature for introducing analogue-like inaccuracies.

There are three analogue filter types onboard - a Prophet-6 LPF, a Moog-style ladder filter and the continuous, state-variable design from the OB-6. The ladder filter here includes an optional resonance compensation feature to maintain bass presence even with the resonance cranked. The OB-6 model also has a bandpass switch to complement its morphable low-pass, notch and high-pass modes. The inclusion of a drive control lets users add a touch of grit at the filter stage too. 

On the modulation front, the synth has four freely-assignable, looping ADSR envelopes plus three syncable LFOs with phase-offset and slew. A 32-slot modulation matrix with 171 possible destinations should allow for copious amounts of routing options.

On the digital side of things, the Pro 3 has dual effects sections boasting multiple types of reverb, delay and modulation effects including chorus, phasers and flangers. It also promises a programmable analogue distortion and tuned feedback for aggressive tonal effects.

While the Pro 3 is a monosynth at heart, it can also be used in a three-voice paraphonic mode with individually gated envelopes per-oscillator.

Finally, the package is rounded off by a powerful-looking sequencer with 16 tracks, each capable of 16 steps and four phrases. On its rear, the hardware has four CV inputs and outputs, plus a gate out, and it seems the sequencer can be used to control the synth itself and external hardware simultaneously. 

The Pro 3 will be available in two forms, the standard model (pictured below) and a hinged, wooden-ended special edition version (top). Both versions have a 37-note keyboard. There's also a multimode arpeggiator included.

“In many ways the Pro 3 is the evolution of a concept that started with the classic Sequential Circuits Pro-One,” says Sequential founder Dave Smith: “Pack as much power as possible into a compact footprint and make it sound awesome. To do that, we built on the strengths of its modern-day counterpart, the Pro 2, and created a worthy successor to both that sets a new benchmark for raw power and versatility.”

The standard version is due for release by the end of January, priced at $1599 and the wooden paneled special edition will arrive in February with a price of $2099. Find out more at the Sequential site.

With its faux wood panels and retro styling, Tascam’s new Model 16 standalone recorder certainly has the look of an analogue mixer, and the company says that it feels like one, too. However, this is very much a digital recording device - a 16-track one, to be precise - and one that can be used in a variety of situations.

There are 14 top panel inputs for mics, line-level sources and instruments. The first eight channels feature Tascam’s Ultra-HDDA mic preamps with 48-volt phantom power, with channels nine to 15 accommodating other inputs. You can also stream audio to the device via Bluetooth.

The Model 16 is also a 24-bit/48kHz, 16-in/14-out USB audio interface, and there are flexible audio routing options. Each channel gets a 60mm fader and a 3-band EQ, with channels one to eight also benefiting from a one-knob compressor. There’s a built-in effects processor, too.

In fact, the list of recording and mixing features is lengthy, while the Model 16’s small format - it’s a downsized version of the Model 24 - makes it ideal for use in situations where space is tight.

Find out more on the Tascam website. The Model 16 will be available from this month priced at £759. 

Why emulate just one vintage synth in your plugin when you can revive two? UVI’s UVX670 is a sample-based instrument that enables you to layer and combine sounds from Akai’s VX600 and AX73.

These six-voice analogue polysynths weren’t in the ‘80s synth big league, but UVI considers them to be underrated gems. The VX600 offers dual VCOs per voice and specialises in pad sounds, while the AX73 can produce lead and bass sounds via its six-VCO architecture. This offers poly, stacked and unison modes and Curtis 4-pole 24/db resonant low-pass filters.

On the modulation side, the VX600 has a mod matrix, two LFOs per voice and frequency modulation. The AX73, meanwhile, offers a single LFO per voice and PWM.

For the UVX670, Akai sampled fully serviced and restored VX600 and AX73 models. The software enables you to stack the two instruments together, with each synth having its own controls for voice selection, volume, pan, filters, amplitude and filter envelopes, pitch, portamento, stereo modes, modulation targets, and arpeggiators.

The resulting sound can then be run through a selection of effects, and you get more than 300 presets.

The UVX670 runs in UVI’s free UVI Workstation and also the Falcon synth. The regular price is €79, but it’s currently available for €49 (the price will rise after 15 July). 

Find out more on the UVI website.

Superbooth 2019: Bristol-based UDO Audio has teased the first images of its debut instrument, the Super 6. A 12-voice polyphonic, binaural hybrid synthesizer, with Super-Wave technology.

The Super 6 was created by UDO Audio founder George Hearn, who was also responsible for the Modal Electronics 008 and the UI has been designed by none other than Axel Hartmann.

There's not much more than that at this stage, but we can glean from the image that we will be treated to two envelopes, delay and possibly a Juno-like chorus.

We’ve little else to go on at this stage, other than the fact we’ll be seeing the Super 6 in the flesh at Superbooth in just a few weeks.

For more info check out the UDO Audio website and Instagram page.

The company behind the Vector hardware synth, which we reported on last year, is pleased to announced that the hybrid poly has come out of beta testing and enters into an early production phase.

The news is also joined by the announcement of more specs and sound demos. However, the guys behind Vector are keen to stress that there are no plans to upscale production to mass volumes at this time, so numbers will be low and a queueing system put in place.

Vector features and sound demos

• Polyphonic additive/subtractive hybrid synthesis engine
• Complex warp modulator based on Lissajous curves that defines the composition of the partials and the parameters of the per-voice filters
• An extensive arpeggiator with lots of controlled randomization
• A tightly integrated set of effects with high synergy
• A 7” touchscreen to control and perform the vector motion, among other things
• A vast amount of endless rotary encoders

We have received this spec sheet (see below) for a hardware synthesizer, from an anonymous source, with some very impressive specifications and it looks as though the product’s design comes courtesy of synth-legend Axel Hartmann.

Little else is known about this hybrid polysynth, but we must say it certainly has our interest piqued. What we can glean from the list is that 12-voice polyphony and a 4-octave keyboard puts this firmly into the high-end hardware synth bracket.

We’re also liking the sound of a 7-core super-wavetable main oscillator with waveform download and an external audio input, which could lean towards sampling for even more waveform capturing possibilities?

Our initial thoughts were that this could be something from Waldorf, especially when we saw Axel’s name (Waldorf Microwave, Q and Moog Voyager designer) and the FPGA engine (think Waldorf Kyra) listed. However, our source was quick to inform us that the German synth giant is not behind this particular project. 

What is worth noting is that Kyra was originally developed in conjunction with a UK-based company who came up with the Valkyrie. Of course this is all sheer conjecture at this point, but we hope to have more concrete news for you soon.

First shown at Musikmesse in April, it looks like Waldorf’s Quantum polysynth might be heading into production.

Retailers are now listing it and taking pre-orders, with a price of £4000 being suggested. It looks like the synth will be available in mid January, which would coincide nicely with the 2018 Winter NAMM Show.

Curiously, there’s still no mention of the Quantum on the Waldorf website, but specs appear to be as follows:

• 8-voice Hybrid Synthesizer
• 61 Fatar FP 8 keys
• 5 master effects with separate sections for each timbral
• Compressor for the main output
• 3 digital oscillators for each voice, selectable from: wavetable, classical Waveforms, Granular sampler, Resonator
• 6 LFOs in polyphonic and global mode
• 2 analogue Lowpass Filters for each voice
• Load and Save presets and samples from USB and SD Card
• 4 GB Internal Flash memory for samples, presets and wavetables
• Import from Nave presets
• Connections: 2x Line-Output ¼" Jack, 2x Line-Input ¼ Jack, Headphone Out 6.3mm ¼" Jack stereo, 1x Sustain/footswitch input, 1x expression pedal input, USB Host Connection, USB (MIDI), MIDI In/Out/Thru, Integrated Power Supply

We’ll bring you further details as they come in.

Emulating just one classic synth is a pretty serious undertaking, but IK Multimedia has set itself the awesome challenge of packing 38 of the things into its new Syntronik plugin, which has just been released.

This is based on a hybrid sample and modelling synthesis engine that promises to deliver “the best-sounding collection of vintage synthesizers to date”. All the usual suspects are here, including instruments from Moog, Sequential Circuits, Oberheim, ARP, Yamaha and Roland.  

Syntronik ships with a 50GB library containing some 70,000 samples of these synths, but that’s only part of the story. IK says that its new synthesis engine has been used to model four classic analogue filters: the Moog transistor ladder, Roland’s IR3109 chip, the Curtis CEM3320 chip, and the Oberheim SEM state variable filter.

This hybrid architecture is said not only to deliver authentic emulations of the original hardware, but also to enable you to use each of the filters in each synth. So, you could combine a Moog filter with Oberheim oscillators, for example, or choose any other combination that takes your fancy.

Syntronik also features IK’s Drift technology, which is designed to reproduce the ‘movement’ associated with real analogue oscillators, and to emulate the way that analogue circuits behave. You can also layer up to four different synth parts, and each synth comes with its own arpeggiator. Finally, there are 38 effects that are derived from IK’s T-RackS and AmpliTube software, and a few new processors, too.

Syntronik is shipping now for PC and Mac priced at $300/€300. You can also buy each individual instrument for $50/€50, and there are crossgrade options for existing IK customers.

Find out more on the IK Multimedia website.

Having been considered all but obsolete, analogue synths are big business once again, with demand for their rich, warm sound at an all-time high. However, there are still strong arguments for using digital instruments, which offer convenience and flexibility.

The ideal solution, then, would be a synth that marries the sonic character of analogue with the benefits of digital, and that’s precisely what Novation is offering with Peak.

This is a hybrid synth that gives you the analogue sound that you’ve been looking for, but has digital features where they make sense. It’s an eight-voice polysynth module that features three ‘New Oxford Oscillators’ per voice (that’s 24 oscillators in total) that were designed by Chris Huggett, the man behind the classic Wasp and OSCar synths, as well as Novation’s own SuperNova and Bass Station. They may be digital, numerically-controlled oscillators, but they deliver true analogue-style operation and sound, while also offering 17 wavetables and linear FM capabilities.

Post NCOs, the signal path is entirely analogue; this path features a multimode resonant filter for each voice and three distortion points (pre-filter, post-filter and global). If it’s grit and character that you’re looking for, this will deliver them in spades.

Throw in a 16-slot modulation matrix, three ADSR envelopes, two LFOs per voice and an effects section and you’ve got a cutting-edge synth that delivers a timeless sound. Peak is truly the best-of-both-worlds instrument that you’ve been waiting for.

Find out more on the Novation website.

It’s natural to wonder what the sounds of the future might be like, but, remarkably, Eplex7 DSP says that its new synth will enable you to hear them right now.

Particle Collider SX7 is billed as a “scientific hybrid synthesizer” that will give you “the sound of a new century”. It features a wavetable oscillator into which you can load external waveforms, a re-synthesisator, a morpher engine with filters, a Glitch X Buffer and a time tunnel effect.

It all sounds suitably scientific - we’re almost inclined to say that we’re blinded by the science of it - but the bottom line is that Particle Collider SX7 is an instrument that’s designed to be used by anyone who needs modern FX sounds and atmospheres.

Find out more on the Eplex7 DSP website. Particle Collider SX7 is available as a Windows VST plugin and costs €59.90 (introductory price is €28.90). You can download a demo, too. 

Audio Damage's ADM18 Shapes is a new waveshaping Eurorack module and, as stated in the video, will give your analogue signals that digital warmth you know they have been missing.

All joking aside, Shapes aims to add extra character to audio signals via a choice of different onboard waveshapes and saturation algorithms.

The 6HP module features two modes: Lookup and Algorithm. In Lookup mode, the top knob smoothly interpolates between 16 different wavetables, the Param 1 knob selects the width of the table, and the Param 2 knob sets the starting point of the table.

In Algorithm mode, the top knob selects from nine different waveshaping/folding algorithms, and Param 1 and Param 2 alter the effects of those algorithms on the input signal.

With basic signals such as a sine or triangle input, you get a large collection of waveshaping and folding modification, while with other material such as loops, it is effectively a broad palette of distortion, saturation and clipping effects.

Shapes will be available to buy soon, priced at $289. For more information, head on over to the Audio Damage website.

ADM18 Shapes specs

• 50 mA +12V
• 10 mA -12V
• 0 mA 5V
• 6HP
• 23 mm Depth

Dronar: Hybrid Module is a one-stop drone factory for Kontakt. From a single chord, multiple arpeggiators get to work on what promises to be a 'very deep modular multitimbral synth/sampler'.

What looks to be the first in a series of modules, the Hybrid Module works by spreading out a chord in the mid-range, adding a root bass note, a high note and then evolving sound effects. Eight simultaneous different sounds are then animated with LFOs and arpeggiators.

Features include:

• 300 presets
• 16GB of audio (compressed to 8GB)
• Full version of Kontakt 5.5 required
• Audio by Hollywood trailer sound designer Alessandro Camnasio
• Live strings performed by players from the Royal Liverpool Philharmonic Orchestra
• GecoMIDI preset included for use with Leap Motion Controller

Dronar: Hybrid Module is available to download now from Time+Space for the introductory price of £49.95/€64.95 until 22nd February (normally £59.95 / €77.95). Owners of the Hybrid Module will be able to purchase future modules at a discount.

UVI has announced Falcon, a 15-oscillator hybrid synth covering both synthesis and sampling techniques, and that's just the beginning.

The sound sources range from time stretching and granular sample engines to synthesis oscillators including Wavetable, FM, VA, Drum and a Pluck physical modeling oscillator.

Alongside this very extensive selection of sound sources, Falcon also features a vast array of modulation allowing you to either drag-and-drop modulations and sub-modulations, or grabbing one of the many script processors to creatively tune, modify or sequence your patterns.

Advanced users can take instrument design further by creating custom script processors that can generate, or modify MIDI data. You can even design fully-skinned instruments with the Lua language.

The Falcon is available now for introductory price of $229, with a regular price of $349. It's compatible in 64-bit stand-alone and plug-in formats and supports surround setups up to 10.2 channels. It is also compatible with all UVI powered soundbanks, and authorised on a maximum of three iLok keys.

For more information, head on over to the UVI website.

The Roland JD-XA has been a long time coming, but we can finally give you some initial insight on this much-hyped new crossover synth.

Check out the video below, and click through the gallery for our thoughts on the various elements of this analogue/digital keyboard.

The JD-XA feels very similar to the Roland JD-Xi, which means lots of plastic. The chassis is lightweight and portable, with only two strips of metal along the back and front edges of the front panel to add strength and rigidity. However, the shiny facia is a real fingerprint magnet!

The JD-XA is very imposing in the flesh, and will turn heads in the studio and on stage. The red backlighting looks great, is very practical and can be turned off or customised.

All the main controls that you would generally reach for during sound sculpting and performance are all to hand via rotaries and sliders, which is a huge improvement over previous Roland keyboards such as the Jupiter-80. And it’s nice to have the standard Roland mod/bender plus pitch/mod wheels.

The keybed is extremely playable, and it’s great to see aftertouch onboard. It has a shallow key travel and is lightly sprung - much like the keybed on our Alesis Andromeda - making it perfect for bass/lead and chord duties.

On the whole, the JD-XA is easy to use and navigate, with a fairly shallow learning curve. That said, when programming the deeper elements of the digital engine, the reliance on the page cursors and +/- buttons can slow things down a little - like the JD-Xi, the JD-XA would benefit from a jog/data wheel.

The analogue side is pretty much one-knob-per function, which is great.

We are really liking the inclusion of the CV/Gate output, and each track can be set to output MIDI as well as control the internal engine. The JD-XA is missing the drum part that we saw in the JD-Xi, despite this being a feature that we were originally led to believe would be implemented.

Though it’s very quick to record parts using the sequencer, deeper editing requires a little more time to get to grips with. There’s no song mode for putting together full-blown tracks, but it’s a very useful addition if you think of it as a scratchpad/looper.

The overall character is similar to the JD-Xi, but with lots more fidelity. The JD-XA excels at bold, upfront sounds and punchy leads and basses, but can do classic analogue strings and pads, too.

The 4-note analogue polyphony is slightly restricting, especially for those who like to play a bass note in the left and a 4-note chord in the right, but the digital side allows for much bigger chords. Layering a 4-note analogue poly sound with a 6- or 7-note digital chord also works surprisingly smoothly, with little evidence of abrupt note stealing.

The JD-XA is hugely versatile. It can act as a powerful analogue and hybrid mono/polysynth, and features one of the nicest vocoders we’ve used. There are plenty of modulation options onboard, the global and insert FX and new analogue filters sound great, and it’s a powerful MIDI control surface to boot.

All in all this is a great keyboard to have at the centre of any setup, either live or in the studio.

We’ll have a full review of the JD-XA on MusicRadar very soon.

MUSIKMESSE 2015: Following its semi reveal at the NAMM Show, Roland has officially launched its JD-XA analogue/digital 'crossover' synth.

The big brother of the JD-Xi, this is designed to offer musicians the best of both worlds, giving them four-part analogue and four-part, 64-voice digital engines to work with.

There are also effects, a 16-track pattern sequencer and a mic input. Connectivity bases are covered by MIDI I/O, a USB audio/MIDI interface and a pair of CV/Gate outputs.

Find out more in the press release below or on the Roland website. We'll bring you price and availability details when we have them.

Roland JD-XA press release

Roland is pleased to announce the JD-XA Analog/Digital Crossover Synthesizer, an advanced new keyboard that offers a unique and powerful approach to synthesis. Equipped with fully featured analog and digital sound engines that can be used independently or interactively, the JD-XA brings together analog warmth and digital versatility in one super-creative, no-compromise instrument.

With its distinctive crossover design, the JD-XA is truly two synths in one, providing keyboardists and sound designers an incredibly flexible platform for creating any sound they can imagine. The analog and digital engines can be used side by side, or layered together for monstrous hybrid sounds. Additionally, the two engines are able to interact in many creative ways, such as routing digital sounds through the analog filters or using them as modulation sources for the Cross Mod and Ring Mod functions in the analog section.

The JD-XA's analog side features a discrete, four-part engine with true analog filters and a direct dry output. Each part has two oscillators, along with filter and amp sections and four envelopes with incredibly fast attack and response times. There are also two LFOs with super-smooth coverage from ultra-slow to ultra-fast. After building an analog sound, users can route it directly to the dry output, or send it to the onboard digital effects to shape the sound further.

On the digital side, the JD-XA is equipped with a four-part, 64-voice sound engine powered by Roland's acclaimed SuperNATURAL synthesizer technology, providing some of the most expressive and natural sounds available anywhere. The engine is compatible with the synth engine from the INTEGRA-7 sound module, a favorite of top producers, composers, and sound designers. This allows users to take advantage of the large library of custom INTEGRA-7 sounds available for free at Roland's Axial website.

The JD-XA offers an enormous amount of effects horsepower for shaping sounds. Each analog and digital part is equipped with an MFX processor that offers 67 different effect types, including high-impact processing options like Bit Crusher. The essentials are also covered via the five system effects processors, which provide reverb, delay, and master EQ plus two TFX processors with 29 effect types each.

With its comprehensive 16-track pattern sequencer, users can build songs and beats directly inside the JD-XA. There are 8 tracks for internal parts and 8 tracks for external sources, plus real-time and step recording modes for capturing parts in the method that best suits the user's style and music.

Friendly and intuitive, the JD-XA's interface is built around harnessing the potential of its remarkable sound engines. The velocity-sensitive keyboard supports aftertouch, and there are plenty of backlit sliders, knobs, and wheel controllers for direct hands-on control while creating and performing.

JD-XA owners can add an extra dimension to their sound via the synth's built-in mic input. A voice can be used as additional modulation source, controlling filter cutoff, Cross Mod, or other parameters for unique effects. With the Vocoder, users are able to sing into the mic and control the tone and pitch via sounds played on the keyboard. The mic input can be used for normal singing as well, with a high-quality reverb available as a dedicated vocal effect.

Along with standard MIDI I/O, the JD-XA features a USB audio/MIDI interface for working seamlessly with computer music software. It's also equipped with two CV/GATE outputs, making it easy to interface with popular CV/GATE instruments.

NAMM 2015: NAMM had been set aside for the birthing of Roland's JD-Xi, but it turns out the Big R was expecting twins! Potentially stealing the thunder of the mono-analogue-plus-twin-SuperNatural-synth hybrid comes - what is still rumoured to be - a four-voice analogue + digital monster.

The JD-XA was clearly visible at Roland's recently ended pre-show NAMM announcement, though no hands-on was given or any details announced. Still, there it was, on a stand with only a polite rope preventing the press from getting up close.

Our first spy pics are above and first glance indicates that it's a full four-voice analogue polysynth with analogue oscillators AND (in an important distinction from the cheaper, mini-keyed JD-Xi) an analogue filter too. Meanwhile the attractively priced, smaller Xi routes the analogue and digital sound engines through a digital filter on the way to output.

It's shaping up to be an exciting show. We'll be hands-on with this beast just as soon as Roland's guard is down...

NAMM 2015: It broke cover in a fuzzy sneak peek earlier this month and now - as everyone expected - the Roland JD-Xi is real and appearing live at the NAMM show.

Borrowing some styling from Roland's successful Aira series that was introduced last year, the new JD trades on the good name of the company's '90s super synths and therefore swaps Aira green for JD-orange.

The JDs were all-digital synths laden with analogue controls for instant tweaking. This new JD does likewise but goes one important step further, incorporating a genuine analogue synth element for the first time in a Roland synth since the JX-10 in 1986.

The heat is on

The JD-Xi's monophonic analogue oscillator gives proper, fashionable retro warmth, with no Aira-style impersonation required. There are saw, triangle, and square waveforms, with pulse-width modulation and an analogue filter, plus an independent sub oscillator.

The analogue element can be played solo or teamed with a pair of new-for-2015, SuperNatural-derived digital synth engines. There's a microKorg-style gooseneck mic and vocoder, a digitally-derived drum section and, finally, a four-track sequencer with effects that brings all four synth engines together and makes the JD-Xi a real all-rounder.

So, this new hybrid can act as a full analogue machine for those who require fat, in-vogue sounds, but still provides the 128-note polyphony and multitimbrality that today's music-makers expect from big name synths.

Roland's aim here seems to be to best Korg's smash-hit MS-20 and new Odyssey remake, while throwing in a pair of full-on digital synths and drums capable of taking on a whole track. 'Why choose between an analogue or a digital synth when you can have both?', is the question it's posing.

Construction is sturdy but plastic (with Aira-style metal panels) and, while the inclusion of mini keys is a little disappointing, this may have been done in order to hit the rumoured (and highly provocative) £399 UK RRP.

You can find out more on the Roland website.

Roland JD-Xi feature highlights

• Interactive crossover synthesizer with analogue and digital sound engines
• Analogy synth section provides authentic lead and bass tones
• Two digital synth sections with SuperNATURAL synth tones and 128-voice total polyphony
• Four-track pattern sequencer and high-quality rhythm sounds
• Gooseneck mic and vocoder section with pitch correction

Rumours are rife that Roland is set to unveil a new synth at the NAMM Show later this month.

The frenzy began when Japanese artist Daisuke Asakura shared an image of a Roland instrument called the JD-Xi on Facebook (this has since been removed), and it appears that this could be some kind of analogue/digital hybrid.

Create Digital Music speculates that the digital synth section may enable polyphonic operation, but that there's also an analogue oscillator with sub-oscillator. An analogue filter also looks to be on the cards.

Whether this is a new addition to the AIRA range remains to be seen; it may be that this synth will be branded differently, and will be unveiled in addition to new AIRA hardware. We fully expect to see it at NAMM, though; 2015 is already shaping up to be a big year in the hardware synth market.

Sinevibes' synths all share a distinctive look, and the company believes that Torsion, its new release, has a pretty distinctive and original sound, too.

Superficially similar in structure to a common or garden subtractive synth, Torsion differs in that its three oscillators produce additive waves based on just a few partials. You can then add new spectral content using a technique called waveshape modelling.

Other features include a ring modulator and an audio-range oscillator for filter FM, plus four separate LFOs, two AHDSR envelope generators and a two-dimensional 'chaos oscillator' for wide-ranging modulation possibilities.

Specs below - you'll find audio examples on the Sinevibes website. Torsion costs $49 and a demo version is available.

Sinevibes Torsion specs

• Three oscillators each with four basic additive waveforms and four waveshape models
• 24 dB/octave resonant low-pass filter
• 12 dB/octave high-pass filter
• Ring modulator
• Modulation oscillator for low-pass filter FM
• Four tempo-synchronised LFO generators with four waveforms and per-cycle randomisation
• Two AHDSR envelope generators
• Two-dimensional chaos modulation generator based on Lorenz attractor

PRESS RELEASE: Between May 1st and June 30th 2012, any customer registering a new Arturia Hybrid keyboard instrument will be able to choose and download up to four full software instruments free, from Arturia. And, if they register a Spark Creative Drum Machine System, they will be able to download the full V-Collection 2 package for free!

Customers purchasing the 32 Key "The Factory" (or higher) Analog Experience keyboard will, as part of the standard package, receive the Analog Experience software containing 3500 playable sounds based on Arturia's classic analogue synth recreations. And if you own the full version of the instrument a particular preset is based on, you'll be able to open up the full version and tweak to your hearts content!

Find Arturia Analog Experience products at the following dealers.

How do I claim, and which products can I claim free?

Software is available for selection after registering your hybrid product, and will be provided via download from Arturia. To make a claim, visit this link: More info and claims.

Products available for claim with Hybrid Keyboards (quantity depends on keyboard purchased): ARP2600V, CS-80V, Jupiter-8V, Minimoog V, Moog Modular V, Oberheim SEM-V, Prophet-V/VS, Spark Vintage Drum Machines.

Products contained in V-Collection 2 (free with Spark) includes Minimoog V, Moog Modular V, CS-80V, ARP2600V, Prophet V/VS, Jupiter 8V, Analog Laboratory.

What products qualify, and how many products can I claim?

Buy 25 Key / Analog Experience The Player (includes 1000 playable sounds).
Get 1 Software Instrument Free.

Buy 32 Key / Analog Experience The Factory (includes 3500 playable sounds).
Get 2 Software Instruments Free.

Buy 49 Key / Analog Experience The Laboratory (includes 3500 playable sounds).
Get 3 Software Instruments Free.

Buy 61 Key / Analog Experience The Laboratory (includes 3500 playable sounds).
Get 4 Software Instruments Free.

Buy Spark Creative Drum Machine System.
Get V-Collection 2 Synthesizer Anthology Free.

The Analog Experience Hybrid Keyboard range combine a premium aluminium keyboard with dedicated control of the included Analog Factory software, allowing all sounds to be dramatically modified instantaneously and making this hybrid ensemble stand apart from any other instrument.

The keyboard itself can work as a controller for any third-party software or hardware instrument. A premium MIDI keyboard, offering smooth key-action, aftertouch, aluminium casing and an array of real time controls.

Combining the power of analog synthesis, physical modelling and samples, through the intuitive workflow of a hardware drum machine, Spark is a highly creative beat production center. With a complete library including vintage drum machines, electronic analog kits, acoustic & physical drums, Spark is your weapon of choice to create unique grooves whether you are producing in the studio or performing on stage.

The Analog Experience range is now available from Arturia dealers in the UK. To find your nearest dealer, please just click here!

Information taken from official press release, for more visit Arturia

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PRESS RELEASE: ARTURIA announces a series of three hybrid synthesizers: Analog Experience THE PLAYER, Analog Experience THE FACTORY and Analog Experience THE LABORATORY.

Analog Experience THE PLAYER (25 keys) is the smallest, most lightweight and simple version of the series. It features a compact MIDI keyboard controller and light version of Analog factory software giving a very easy-to-use and affordable package including the very best of Arturia's signature sounds and a dedicated quality keyboard perfect for the mobile musician.

Analog Experience THE FACTORY (32 keys) (previously named "Analog Factory Experience") adds a dedicated keyboard to the Analog Factory software, allowing all sounds to be dramatically modified instantaneously and making this hybrid ensemble stand apart from any other.

Analog Experience THE LABORATORY (49 keys) is the professional grade version of the series. It features a top-notch MIDI keyboard controller and THE LABORATORY version of Analog software that has the same preset-based collection of sounds. This premium controller gives the fullest access to Analog Laboratory software with pre-assigned controls.

For more information, visit http://www.arturia.com

Information taken from official press release

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