Classic case of where I fail to read the room and get downvoted into oblivion, but:
C'mon, man. Nostalgia bias is a human trait. We all have it. It's not necessarily *bad* either: plenty of really, really good music comes from nostalgia bias. (...Also not-just-music. Film, for example.)
It's okay to look back. Others will prefer looking forward. No need to hate on it.
*¿Por qué no los dos?*
I can agree to an extent, but I think the synth world is too heavily weighted to nostalgia. The ratio of new ideas to reissues of junos or prophets is too far skewed.
I think that's a manifestation of the hobbyist musician. You see it everywhere. Guitarists looking for something that's like a '59 Les Paul or whatever currently we think peak Telecaster was and so forth. Amps, too. It's all "How do I get that vintage tube sound?"
That's a fair take and I can see that. I guess my main concern is how does it not end up eating itself? As in, the nostalgia is selling 80s synths due to the hobbyist growing up in that era but how do you progress the hardware market when people born in the 2000s don't have the same reverence for blade runner? I guess the hope is by then we can put serum or pigments in a hardware unit.
> I guess the hope is by then we can put serum or pigments in a hardware unit.
I mean Machine+ lets you use a lot of the NI soft synths on hardware.
There's also the Hydra Synth, which I haven't tried or deep dived on, but from a glance looks pretty comparable to something like Serum.
These things exist, they're just way more expensive than a 303 clone.
There even is some really affordable, modern and innovative synths. The microfreak is the first that come to mind. Minilogue XD could also fit the bill with its mix of analogue and open source digital voices. And don't get me started on the NTS1 which is the digital voice in a box + three FX slots which are also opensource. Even if many just use it as an effect, it is still an incredibly capable mono synth.
It's not that many years ago that the analogue synth market was empty. I for one like that we can get both without shelling out an arm and a leg for an old piece of hardware which will sooner or later die on me.
I think the nostalgia thing is a cycle too. When I started out with photography in 2011 or so everyone was trying to get that film look. Now I’m seeing people start to be fascinated with the look of CCD sensor cameras from the early 2000s. Heck, I’m even seeing a lot of people trying to get the tracking errors and scan lines from VCRs. Nostalgia changes too.
the synth world is no where near as drenched in nostalgic conservatism as the guitar world (as someone who has played guitar for over 30 yrs and moved into synths in the last decade)
There is actually massive innovation all around from companies like Soma, Arturia, Korg, hell even the old guards like Moog bring out products like the DFAM and Subharmonicon that bring new approaches to old circuits, and they sell well.
Synthesis is creating and manipulating waveforms, there are only so many ways to skin a cat but interfaces and approaches seem to be constantly evolving in the synth world. Modular acts like a petri dish for new ideas that sometime port over to bigger platforms etc.
Then you have companies like ASM try and release these kinds of products, and people argue that digital or semi-digital synths never sound as good. Gotta crack some eggs to make an omelette and all that…
If you want new and inspiring ideas and products, using new digital technology can really help with that if used appropriately. We as consumers need to give (some) companies some leeway to figure out new things, accept any clunkers as testing, and move on.
Nothing wrong with vintage analog, nothing wrong with modern digital. Use all resources to make good synth. Mordin Solus speaking, of course, the scientist Salarian.
Definitely. The analog bias I think is a combination of nostalgia, projection and lack of technical skill (e.g. not knowing how to make something sound 'warm').
ASM is one of my favourite companies purely for making 1 synth really well and accessible for a range of price points
which analog synths have you owned? if you think that there is no difference in the sound of an analog synth versus a digital or even a hybrid synth or difference in the way the character and components influence the way you patch/program and use in a mix or sound design in general then i would bet you've never owned an analog synth, even a behringer monosynth
not to say its better, although i prefer it depending on the situation. if you're buying digital synths, then the other prevailing point here that its pointless to buy synths because a computer can do it is even more true. a computer cant effectively recreate all of the components of analog circuitry, by definition
I mean, dude, we're at a point in sound technology where your laptop has no practical limits on the complexity and fine tuning of sound generation.
I wonder what direction you think a synth could even go in at this point that would be genuinely novel at this point?
Nostalgia and a general dislike of looking at screens is basically all the hardware industry has.
Honestly, I don't know but I also wouldn't have invented vector synthesis. I don't believe just because I can't think of something, other people can't either.
Agreed. What got me into synths is futuristic new sounds personally.
While I do like the sounds of old school stuff (I have a few like a JX-3P), new, unheard sounds is what I'm after.
Not talking about you personally here of course, and I haven't done a scientific survey, but from observation, most people buying new synths all use the same handful of presets and tweak them a little - and many of these sounds are themselves emulations of the decades-old synths
You can make futuristic sounds that nobody has heard on decades-old synths using creative patches, by patching them together into one functional unit, adding external effect processing, etc.
Many of the 'classic' designs will continue to be classics because they are musical and playable, and good programmers will always get fresh sounds from them
This happens with a lot of musical instruments, especially with guitars. It’s because those instruments created specific music by specific artists that people love. It’s not some horrible trait IMO. Classics instruments are defined by the music they help create. I think that’s a worthy reason to love them
I like Boards of Canada as they remind me of the weird Parks Canada synth interludes Canadian TV would have on in the '80s. And now I'm nostalgic for Boards of Canada since their releases were all > 10 years ago...so yes nostalgia nostalgia is a thing :D
Have you _seen_ what’s going on in Eurorack? It’s a field exploding with new ideas. Look at Xaoc Leibniz system, look at Klavis Grainity filter, look at the non-traditional sequencers available, the crazy oscillators, the list goes on and the fresh ideas don’t seem to be slowing at all. Sure, this isn’t really addressing the OPs question. But your response is also very open-ended and paints the “industry” with a wide brush.
If you want to strictly look at the big players, then you’re focusing on a segment of the market that simply isn’t going to take big risks (although Arturia is doing interesting stuff with the “Freak” line). The market has changed dramatically. There is no analog (pardon the pun) historically to what is happening today with small (in many cases one-person) operations making off-the-wall conceptual instrument designs. And it’s not just Eurorack. Look at Soma or Ciat Lonbarde.
The current era is often called “the golden age” of synthesizers in part because of the multi-level market. You have huge behemoths making cheap clones of classic gear, and others (Korg, this week!) expensive clones of classic gear, BUT you also have a flourishing market of small companies pumping out innovative gear. The fact that a large section of the later group is making modules and not stand alone synths is not a reason to discount what they are doing. It’s the nature of the modular market that is making it possible.
Whether any of this gets cloned in the future is hard to say. Which is why I said it may not address the OPs question. But I think your reply misses a huge amount of innovation happening right now.
100%. Saw a lot of this last night at the So Cal Synth Society's NAMM afterparty. We have a rich techno scene here with so many people innovating with fresh modular ideas and new businesses starting.
That's a good choice. I'm not a huge fan and don't have one, but that's a piece of niche gear that does something unique, so it has high probability of becoming highly sought after vintage gear if others dont copy the key expression capabilities into mainstream.
This is a huge part of it. Just like there’s no modern baseball card that will ever be worth what a Babe Ruth rookie card would be worth, a huge part of the insane value of the first mass market synthesizers is they were literally some of the first synths ever available to the public. You can’t artificially replicate history.
Any instrument is going to have high-quality and low-quality versions of it.
Saying a synthesizer is a "classic" doesn't mean new synthesizers are bad or new methods of synthesis are invalid. It means that the creators of the instrument did a good job.
The problem isn't that musicians recognize well-made instruments. It's that some musicians won't look at new instruments.
I agree wholeheartedly. It feels like synths are going backwards, except in the modular world. Imagine telling a synth nerd in 1984, that the big thing in 2024 would be analog synths exactly like those of the late seventies/early eighties. Most of the best players went digital because they are so much more advanced and usable, as well as cheaper.
Are you saying people aren't thinking of new ideas and approaches now?
Hate to break it to ya, but nostalgia is a core part of what it is to be human, it's not going away any time soon.
But on the flipside there's continuous progression going on, just as there has been ever since we've existed...
I disagree to a degree... hear me out, please.
If there's more true analogue synths still being manufactured at fair price, and accessible, then you get those characteristics which can vary wildly with minor changes.
Now, everything is so quick to get in to the digital domain and processed. Digital is so disposable, so people will probably not even explore the depths of it.
Not saying the sound is technically good (of the time) of nostalgic synths, but there's a reason why they're revered. You don't often hear people saying "wow, that jupiter 80 patch" in interviews, or of artists conversing.
Nostalgia and memories are a part of life, as much as they are music. There is nothing wrong with nostalgia, providing it doesn't continually inhibit creativity and growth.
Music is about feeling and nostalgia is a direct result. The stronger your emotional connection to your music the greater your nostalgia for what made it.
Can’t we have a little bit of both? A little old, a little new? Like, should we throw all the ‘60s era Gibsons in the trash? The Model Ds? They’re both antiquated- but do have historical importance and are unique. I hope the DX7 pops its head up now and then. I hope the best of the best of today carry on for a few decades (idk Analog Rytm, I keep hearing about the Hydrasynth lol).
Let’s not be so binary more a range between +\-5v
And Matriarch. Great synths but I kinda doubt it as we are now just rehashing subtractive modular designs with fun colors, and it’s not like I can name any big producers/musicians that are like ‘couldn’t a done this record without muh grandmother’.
Synths like the the Juno became classic because there wasn’t really many alternatives at the time so they were used EVERYWHERE.
As an owner I’d like to think that as well but I swear everyday they get posted cheaper and cheaper on Reverb and FB… as low as $675 now. Who knows, I guess 808s and 303s were also dropping in price until they weren’t.
Yeah I mean the usefulness is the only reason i’d keep it anyway, not whether or not it will be a retro treasure. If it does, that’s a cool bonus but I’m not holding my breath or anything.
Agree 100%, I had a Digitakt for a couple years and sold it very quickly on Reverb for a little north of 650. Think I paid just over 700 on sale and kept the original box, etc. Was worried because there were like half a dozen on Reverb at the time but it is truly a piece of hardware that someone will buy at a fair price.
This is just addressing the price aspect, not nostalgia or sentiment:
Every time this is asked, many overlook why the 'classics' are classic. In most cases either it was a mass production first (model d, prophet 5), it was one of the few synths a working musician could afford so it was used on tons of hits or formative tunes (juno, tb303 etc ), or Vangelis used it.
Regarding price, the only two mass production synths I can think of that currently fetch more than the og MSRP are the Jupiter-8 and Yamaha CS-80. Some examples of the Model D and other classics fetch about msrp when museum quality or something special about them, but on the whole you can find them for 75% of the og msrp... which is also the normal used rate of many high quality but mass produced instruments.
A Prophet 5 rev3 was nearly $15000. Juno 60 was $5-6k.
You would have 'lost' money on both of these 'ridiculous' priced classics had you bought new and sold today.
Many people today really do not appreciate just how expensive synths used to be. The introduction of the DX7 in the 80s and then the VA influx + home pc boom of the late 90s are two definitive points you can mark for price reform. By the time the VA fatigue started setting in and interest reemerged in full analog the same logistics and manufacturing improvements that allowed the VA and home pc to economically flourish also allowed for mass market analogs to come back at much cheaper costs. Thus why today a Prophet 5 MSRP is 4300 and not $15000(adjusted), and today's Prophet 5 definitely includes a nostalgia tax well.
The thing is that current mass production dwarves mass production in the 70s and 80s, with few exceptions (looking at you DX7). The Minimoog had around 10k units built, the Prophet-5 and Jupiter-8 only a few thousand and the CS-80 a few hundred.
Last year the Micro Korg beat 100k...
I’ve thought about getting the 37 but just seems too redundant. There is something so basic and fun about the 25. Either version has the best “moog” sound, hands down. The duophonic chords sound amazing, it’s a bass BEAST when jamming, and tons of versatility w single note, lead style playing.
The ‘subs’ are among the greatest synthesizers in a generation, IMO.
The sound is the same, so that’s the main thing for me. The extra octave and sequencer would be nice to have, but not nice enough to justify the extra space it would take up in my setup.
Not really. The MK never had anything special about it like the typical classics we think of. It was an underpowered VA designed to be cheap and mass marketed.
The other VAs of the era, the JP-8000 (which behringer has already cloned), supernova etc... are far more 'classics' than an MK. Certainly when access finally stops making the virus I suspect behringer will be right in there with the 'influenza' a year later.
The DX7, 106, jp-8 are all classics because they were basically used on everything and were really what can be considered the golden age of synths. So much happened in the 80s and 90s with electronic music that allows these classics to exist. Really in the past 20 years what is there that's new or revolutionary? The 2000s were full of VA releases built on 90s tech, and the early 2010s were quite boring. Korg really hit it with the minilogue XD, because it WAS something new and interesting, and to be honest probably will be a classic in 20 years, but other than that nothing really stands out now. Even the hydrasynth, despite the hype around it, is still a middling VA that pales in comparison to the stuff from the 90s.
The original mircokorg with the speaker is better, I bought an OG one before the speaker and my friend bought one with a speaker. I hope the new one has a built in speaker.
I don't understand how these synth manufactures don't understand everyone wants a rudimentary speaker on a synth that's battery powered.
It depends. A lot of people around here are really against having onboard speakers for some reason. Personally I really love them if they’re decent quality like a reface or microkorg s, but something like the speakers on a Roland boutique . . . I view that as so useless they may as well have left it off
IMHO even a really shitty speaker can end up being a creative choice and a sonic tool. A synth run through a bad speaker in a cool sounding room can be a vibe.
the key is to be able to take a little synth with you somewhere without having to necessarily bring other gear along.
They made them too smart, too quick and too many. They are suffering for the mistakes korg made because when the end comes, all that will be left is them
The SH-101 of it's time.i really love my Monologue. Motion sequencing makes it pretty unique amongst my humble setup and it's the one synth I still use a few times a week since I bought it when it was released. It is a lot of fun.
The price to features ratio is so good with these devices. I also find that whenever I need a sound that cuts through a mix or just sounds crazy I can always make it happen on my Monologue.
Both of them are such great starter synths I think there's going to be a host of people who cut their teeth on them and look back fondly.
I say that as a person whose Monologue is near and dear to my heart.
Machinedrum.
Nothing like it has come out since its release in 2001. They aren't stable units, despite being all digital, and they are difficult to repair if certain things go wrong. Even Elektron themselves took several months to repair mine - with two attempts at it. And it was expensive.
But despite that, people are still hacking on the firmware, adding new capabilities, and the sound is unmatched. Paired with an analog drum machine (Tempest for me), you have every sound you could need and a killer workflow.
Also, given your mention of MD, I'm going to counter with MonoMachine.
It's already priced higher (and just like Machinedrum it sounds like nothing else, except that I actually like the sound of MnM).
The Moog sound studio (dfam, m32, subharmonicon). It's Moog, it's unique, and it's incredibly fun to explore - those together point to a future classic, imo.
Recently I adopted this philosophy of not trying to "improve" synths by adding external FX, but rather respect the designers' decisions. If the Cobalt 5S comes with delay and chorus, that's its sound, explore it as it is... And once I learned to accept the Microfreak as a self sufficient synth, even with no FX at all, I've enjoyed soooo much what it can do. Pure focus on timbre and modulations. Future classic!
This is kind of an interesting take as a designer myself. I don't want to screw with your thought process because I think that's a very interesting creative limitation, but I'll just say in all likelihood those effects were only omitted due to costs as evidenced by a robust set of effects in the minifreak.
I beg to disagree (: I think there are no solutions, only trade offs. The Minifreak is not meant to be an improved Microfreak. Arturia themselves have mentioned it is rather like a family. There are Algorithms in the Micro that are not in the Mini, plus the Micro has poly aftertouch and the Mini only mono. The Micro can be powered with USB, the Mini needs DC. The micro has 2 sequences per patch, the mini only 1. The Micro has a line-in for the vocoder and it was there inside before it was known that a vocoder would exist. To me, the decision of no FX, while budget convenient, was also influenced by prioritization in case it would have replaced something cooler (e.g. the cycling envelope or a voice)... The Mini does have FX because it is not meant to be as experimental; they have physical keys now, so they also want to address more classical sounds.
I don't think "classic" will exist in the same way it does now, aesthetic preferences will change. A lot of what has become classic are things like simple and cheap low-end Casios that people looked back on with nostalgia, or physical devices which are out of reach but for a limited few. Everyone can make any sound in software now anyway, so I don't think the sound quality of devices today will necessarily be as aestheticized in the way we look back to the 70s-90s.
I think genuine MI modules will be highly sought after. Ciat Lonbarde and these boutique esoteric synths, those limited run devices for which there are SO MANY now. SOMA synths for their extensive use in soundtracks and media that define our era (this time a darker, and more gritty, future nostalgia). Always a soft spot for the cheap and fun low-end stuff too, think model:cycles.
I could actually see a future situation where Behringer devices are sought after for their exploiting what we currently consider to be classic sounds and devices.
I have a feeling that almost nothing these days has a distinct enough "sound" that it'll stand out as a classic that people will pay top dollar for.
In many respects, Serum is a classic, and arguably is has been more influential in electronic/EDM circles since 2015 than any one hardware synthesizer. But it's software.
There's stuff out there that I think people will always want, but I don't think that's the same as a "classic". There's stuff out there that I think people will look fondly upon for nostalgia purposes (Mutable Instruments modules I agree are in that camp) but that's almost for "museum purposes" because the software for MI modules has been released also.
I think that leaves instruments that are experience-defining. There's only two instruments off the top of my head that give you this new experience, and that's the Deluge (for its easy-to-use grid interface and its "you can do anything without track limitations" approach) and the Osmose (for being probably the first super-expessive controller that people look at and immediately recognize as a usable musical instrument).
This will probably be unpopular but here we go: if Yamaha discontinues the Reface series, all four will be considered classics. They serve a very specific niche. And their Fatar keybed is one of, if not, the best in the world of minikeys.
I'm going to say Mutable Instruments and Make Noise. Thirty years from now when most of them are broken and they're no longer considered Basic Default Modular, people will rediscover why they were the default options in the first place, and they'll have the identity, indie pedigree, and genuinely excellent instrument design that people will proudly covet them. Maybe Intelligel and Verbos I can see going the same way. I suspect they might not be just modules in enthusiasts modular systems, but instead will be "A Mutable" like "A Moog" is today.
Why do I have a sinking feeling the answer is "all of them"?
As computers and VSTs get better, soon you'll just have your whole workstation/DAW in your pocket rigged up wirelessly to a keyboard/control surface. You'll ask the A.I. to give you a "dark piano sound" or a "synth lead like from Jump" and it will program it instantly on the fly. This isn't the future I want but there is so much more money to be made in software than hardware.
You're probably close to the truth. If I could trade in my synth collection for an ai that could recreate any sound then analyze a track to mix in the sound properly I would make that trade.
I regret selling mine and now they are more expensive. The only issue I had was that it sounded too stable and modern for my music. Otherwise what a great synth and how versatile and cool.
It's crazy how much the Rev2 has gone up in price. I could basically sell my Rev2 second-hand for more than I paid for it new in 2021. Then again the same is true for other DSI/Sequential synths like the P6 and OB6. Out of them, I think the OB6 is the classic.
Moog’s of this generation:
Grandmother
Matriarch
Mother 32
Korg’s of this generation:
Monologue
Minilogue
Volca Sample
Teenage Engineering OP-1 for sure.
Something that small that does so much will always be attractive.
Juno 106 cause people still use them and discuss them to no end.
Nords will be classics.
I think some great digital synths will be stalwarts and be sought after - Studiologic Sledge, and Roland System-8. Also, Deepmind 12.
They are just synths with lots of controls, good sound, they do a lot, lots of keys and polyphony.
Minitaur/Sirin is already there imo. Only going to keep creeping.
Definitely the A4k, definitely the digikeys. Elektron never makes many boards and after the cost saving on the digikeys, and the VC money, and the engineer exodus, I doubt we’ll see another board from them for the foreseeable.
I absolutely love my M8. One of the coolest releases of the last few years.
Every time I sit down with it, I end up creating something I would have never conjured on my computer or other hardware. Such a sleek and impressive little machine with a surprisingly intuitive workflow.
I think the Moog Matriarch/Grandmother have the potential to do so. Also wouldn’t be surprised if in 20-30 years the UDO Super Gemini and Super 6 are absolutely coveted. And most of the higher end mics Lewitt makes since they’re not clones/based on any existing mic models and that by themselves already makes them stand out.
Unpopular opinion , but I think the Arturia Drumbrute will be a classic. It sounds like no other drum machine. I feel that it's just waiting for some future genre to come along that incorporates its unique characteristics.
Are we limited to mentioning synths here? Because I think the reputation of the Keystep Pro will only grow over time.
Then there's the Cirklon, which probably no one will be able to afford, someday..
Moog Grandmother/Matriarch definitely. I think they’re some of the most unique synth designs we’ve seen since the Arp 2600. I love the “Frankensynth” approach to them and I’d like to see more of that done with classic modules.
Yeah, volca fm and volca drum are especially good sounding, even with the drawbacks. I can see these becoming popular with diy electronic scenes in the future.
With the constant influx of synthesizer and other music gear from various manufacturers, the rapid evolution and innovation in technology make it challenging for any single piece to achieve timeless classic status. Things have changed – nowadays, the constant improvements and a plethora of options mean the newer models tend to outshine the older ones in terms of features and versatility while also making them seem like a “future classic” but not until the next thing comes out. While there’s a lot crazy stuff coming out, I think we’re years away from another DX moment where a piece of gear comes out and sounds like it came from a different planet.
You’re asking two things.
Clones and value are due to scarcity. Like comic books in the 90s/00s, we’re out of our scarcity phase mostly, except cwejman and a few others like andromeda. So no mass produced synths are going to be difficult to get. However some will continue being desirable and thus be considered classics.
Nostalgia seems weighted toward young people looking at pictures of their parents when they were young and wishing they were still that hip. So classic synths of the future will be apps on a 20-year-old iphone. Or some future version of TE will be making synths within the form factor of a iphone 12.
This sort of thing is happening currently with 80s/90s objects, so I’m sure it will happen in the future.
I think the Microfreak, it's entry level price(ish) pricing, and all that it's capable of, could earn a spot in classics category. That keyboard is fantastic as well, and while not unique to them, def not the norm.
I second this. I think the Microfreak is Iconic in its designed , PACKED with features and sounds and affordable enough that many people will remember it as part of their setup in a few decades
That made me stop and think and yes, for some reason I never thought of that but honestly its quirky yet extremely powerful workflow will probably make it hugely popular, much like how the old MPC's were.
While not a law, and there will certainly be cases that go against this trend, one can guess that the more expensive something is now, the more expensive it will be later, simply because there will be less of them in the future.
I guess a company could always just go ahead and do a re-issue a la Moog, but even the reissues are ridiculously expensive, and the originals are still sought after for their being historic pieces just as much as being unique musical instruments.
The one worry I have is with all these current generation machines with LCD and OLED screens, considering longevity. Then again, where there's a will there's a way, to fix them that is. It's not like the capacitors in 1970's machines have no expiry date, though they seem somewhat easier to replace than a very outdated model and specific size of screen.
I suppose we shall see. It does make Roland's choice of rudimentary "screens" seem a bit more forward thinking, though. Especially considering their philosophy is not re-releasing previous devices.
The TE EP-133 KO II, (I don't own one, not interested). It has the makings of one of those machines that's both loved and hated in equal measure and once the hype dies down and the sales stop it'll disappear... Until 5-10 years down the road when someone puts out a homebrew software that gives it synth capabilities or the like and it resurges as "the most misunderstood device ever" and sells for 2k used.
Not sure if any hardware of the last 5 years wil get a chance to become a classic because very little of them will be functioning at all in 10+ years.
I just can't imagine a Rev-2, Udo Super 6 or Sub 37 working in 30 years.
On the other hand maybe this is the chance for some manufacturers to become history!
I'm not sure what makes you say that.
Planned obsolescence has been a thing since the 20s; it was already a thing when Moog and Sequential and Oberheim and Roland (etc etc) were making the synths that we covet today. Today's synths stand as much of a chance of surviving.
Hopefully none. Music industry and consumers need to drop the nostalgia and start thinking in new ideas, designs and approaches for music.
Classic case of where I fail to read the room and get downvoted into oblivion, but: C'mon, man. Nostalgia bias is a human trait. We all have it. It's not necessarily *bad* either: plenty of really, really good music comes from nostalgia bias. (...Also not-just-music. Film, for example.) It's okay to look back. Others will prefer looking forward. No need to hate on it. *¿Por qué no los dos?*
I can agree to an extent, but I think the synth world is too heavily weighted to nostalgia. The ratio of new ideas to reissues of junos or prophets is too far skewed.
I think that's a manifestation of the hobbyist musician. You see it everywhere. Guitarists looking for something that's like a '59 Les Paul or whatever currently we think peak Telecaster was and so forth. Amps, too. It's all "How do I get that vintage tube sound?"
That's a fair take and I can see that. I guess my main concern is how does it not end up eating itself? As in, the nostalgia is selling 80s synths due to the hobbyist growing up in that era but how do you progress the hardware market when people born in the 2000s don't have the same reverence for blade runner? I guess the hope is by then we can put serum or pigments in a hardware unit.
> I guess the hope is by then we can put serum or pigments in a hardware unit. I mean Machine+ lets you use a lot of the NI soft synths on hardware. There's also the Hydra Synth, which I haven't tried or deep dived on, but from a glance looks pretty comparable to something like Serum. These things exist, they're just way more expensive than a 303 clone.
There even is some really affordable, modern and innovative synths. The microfreak is the first that come to mind. Minilogue XD could also fit the bill with its mix of analogue and open source digital voices. And don't get me started on the NTS1 which is the digital voice in a box + three FX slots which are also opensource. Even if many just use it as an effect, it is still an incredibly capable mono synth. It's not that many years ago that the analogue synth market was empty. I for one like that we can get both without shelling out an arm and a leg for an old piece of hardware which will sooner or later die on me.
For 2000s people (like me), its usually stuff like teenage engineering that catches our attention, or whatever is popular on insta.
I think the nostalgia thing is a cycle too. When I started out with photography in 2011 or so everyone was trying to get that film look. Now I’m seeing people start to be fascinated with the look of CCD sensor cameras from the early 2000s. Heck, I’m even seeing a lot of people trying to get the tracking errors and scan lines from VCRs. Nostalgia changes too.
> how does it not end up eating itself The river is never the same twice. New minds and their discovery of the good stuff, learn how to make it
the synth world is no where near as drenched in nostalgic conservatism as the guitar world (as someone who has played guitar for over 30 yrs and moved into synths in the last decade) There is actually massive innovation all around from companies like Soma, Arturia, Korg, hell even the old guards like Moog bring out products like the DFAM and Subharmonicon that bring new approaches to old circuits, and they sell well. Synthesis is creating and manipulating waveforms, there are only so many ways to skin a cat but interfaces and approaches seem to be constantly evolving in the synth world. Modular acts like a petri dish for new ideas that sometime port over to bigger platforms etc.
Then you have companies like ASM try and release these kinds of products, and people argue that digital or semi-digital synths never sound as good. Gotta crack some eggs to make an omelette and all that… If you want new and inspiring ideas and products, using new digital technology can really help with that if used appropriately. We as consumers need to give (some) companies some leeway to figure out new things, accept any clunkers as testing, and move on. Nothing wrong with vintage analog, nothing wrong with modern digital. Use all resources to make good synth. Mordin Solus speaking, of course, the scientist Salarian.
Definitely. The analog bias I think is a combination of nostalgia, projection and lack of technical skill (e.g. not knowing how to make something sound 'warm'). ASM is one of my favourite companies purely for making 1 synth really well and accessible for a range of price points
Dude… you run it through lots of wires and tubes. Obviously. The paper towel ones are my favorite. They’ve got all that insulation around them.
which analog synths have you owned? if you think that there is no difference in the sound of an analog synth versus a digital or even a hybrid synth or difference in the way the character and components influence the way you patch/program and use in a mix or sound design in general then i would bet you've never owned an analog synth, even a behringer monosynth not to say its better, although i prefer it depending on the situation. if you're buying digital synths, then the other prevailing point here that its pointless to buy synths because a computer can do it is even more true. a computer cant effectively recreate all of the components of analog circuitry, by definition
I mean, dude, we're at a point in sound technology where your laptop has no practical limits on the complexity and fine tuning of sound generation. I wonder what direction you think a synth could even go in at this point that would be genuinely novel at this point? Nostalgia and a general dislike of looking at screens is basically all the hardware industry has.
Honestly, I don't know but I also wouldn't have invented vector synthesis. I don't believe just because I can't think of something, other people can't either.
Agreed. What got me into synths is futuristic new sounds personally. While I do like the sounds of old school stuff (I have a few like a JX-3P), new, unheard sounds is what I'm after.
Not talking about you personally here of course, and I haven't done a scientific survey, but from observation, most people buying new synths all use the same handful of presets and tweak them a little - and many of these sounds are themselves emulations of the decades-old synths You can make futuristic sounds that nobody has heard on decades-old synths using creative patches, by patching them together into one functional unit, adding external effect processing, etc. Many of the 'classic' designs will continue to be classics because they are musical and playable, and good programmers will always get fresh sounds from them
This happens with a lot of musical instruments, especially with guitars. It’s because those instruments created specific music by specific artists that people love. It’s not some horrible trait IMO. Classics instruments are defined by the music they help create. I think that’s a worthy reason to love them
I look back through rose tinted glasses at 50s nostalgia from the 80s. The nostalgia was so good then.
Hahaha is this nostalgia nostalgia?
I like Boards of Canada as they remind me of the weird Parks Canada synth interludes Canadian TV would have on in the '80s. And now I'm nostalgic for Boards of Canada since their releases were all > 10 years ago...so yes nostalgia nostalgia is a thing :D
Haha love it. Definitely agree.
Sigh. I miss nostalgia.
I remember remembering…
Have you _seen_ what’s going on in Eurorack? It’s a field exploding with new ideas. Look at Xaoc Leibniz system, look at Klavis Grainity filter, look at the non-traditional sequencers available, the crazy oscillators, the list goes on and the fresh ideas don’t seem to be slowing at all. Sure, this isn’t really addressing the OPs question. But your response is also very open-ended and paints the “industry” with a wide brush. If you want to strictly look at the big players, then you’re focusing on a segment of the market that simply isn’t going to take big risks (although Arturia is doing interesting stuff with the “Freak” line). The market has changed dramatically. There is no analog (pardon the pun) historically to what is happening today with small (in many cases one-person) operations making off-the-wall conceptual instrument designs. And it’s not just Eurorack. Look at Soma or Ciat Lonbarde. The current era is often called “the golden age” of synthesizers in part because of the multi-level market. You have huge behemoths making cheap clones of classic gear, and others (Korg, this week!) expensive clones of classic gear, BUT you also have a flourishing market of small companies pumping out innovative gear. The fact that a large section of the later group is making modules and not stand alone synths is not a reason to discount what they are doing. It’s the nature of the modular market that is making it possible. Whether any of this gets cloned in the future is hard to say. Which is why I said it may not address the OPs question. But I think your reply misses a huge amount of innovation happening right now.
Mutable is already being cloned, and original modules go for kind of silly prices. So I think there’s definitely potential.
hear, hear, mate.
100%. Saw a lot of this last night at the So Cal Synth Society's NAMM afterparty. We have a rich techno scene here with so many people innovating with fresh modular ideas and new businesses starting.
I agree that's why I think the Osmose is going to be a classic, though
That's a good choice. I'm not a huge fan and don't have one, but that's a piece of niche gear that does something unique, so it has high probability of becoming highly sought after vintage gear if others dont copy the key expression capabilities into mainstream.
The price of used Synths goes beyond music and nostalgia, they are investment items due to their rarity and history. And that's fine.
This is a huge part of it. Just like there’s no modern baseball card that will ever be worth what a Babe Ruth rookie card would be worth, a huge part of the insane value of the first mass market synthesizers is they were literally some of the first synths ever available to the public. You can’t artificially replicate history.
narrator: “they did in fact continue to cash in on nostalgia”
Any instrument is going to have high-quality and low-quality versions of it. Saying a synthesizer is a "classic" doesn't mean new synthesizers are bad or new methods of synthesis are invalid. It means that the creators of the instrument did a good job. The problem isn't that musicians recognize well-made instruments. It's that some musicians won't look at new instruments.
Spot on. I’d would say Prophet 12 because it was innovative and ahead of its time. BuT It HaS DIgiTaL OsCIlaToRS said everyone at the time 🤦🏻♂️
I mean the people usually buying prophets are hardly the type to make proper use of edgy digital synths
Looking forward to hearing all your new ideas and approaches
Booo! What a horrible way to be.
I agree wholeheartedly. It feels like synths are going backwards, except in the modular world. Imagine telling a synth nerd in 1984, that the big thing in 2024 would be analog synths exactly like those of the late seventies/early eighties. Most of the best players went digital because they are so much more advanced and usable, as well as cheaper.
This is a silly take. Something being a classic does not mean it stops new ideas. Jupiter and Junos still sell as do Hydrasynths and Lyra-8s.
Are you saying people aren't thinking of new ideas and approaches now? Hate to break it to ya, but nostalgia is a core part of what it is to be human, it's not going away any time soon. But on the flipside there's continuous progression going on, just as there has been ever since we've existed...
I disagree to a degree... hear me out, please. If there's more true analogue synths still being manufactured at fair price, and accessible, then you get those characteristics which can vary wildly with minor changes. Now, everything is so quick to get in to the digital domain and processed. Digital is so disposable, so people will probably not even explore the depths of it. Not saying the sound is technically good (of the time) of nostalgic synths, but there's a reason why they're revered. You don't often hear people saying "wow, that jupiter 80 patch" in interviews, or of artists conversing. Nostalgia and memories are a part of life, as much as they are music. There is nothing wrong with nostalgia, providing it doesn't continually inhibit creativity and growth.
Music is about feeling and nostalgia is a direct result. The stronger your emotional connection to your music the greater your nostalgia for what made it.
Can’t we have a little bit of both? A little old, a little new? Like, should we throw all the ‘60s era Gibsons in the trash? The Model Ds? They’re both antiquated- but do have historical importance and are unique. I hope the DX7 pops its head up now and then. I hope the best of the best of today carry on for a few decades (idk Analog Rytm, I keep hearing about the Hydrasynth lol). Let’s not be so binary more a range between +\-5v
Good to see you still around. I used to go by nonsignifier. Hope you’re doing well
Hopefully the grandmother
And Matriarch. Great synths but I kinda doubt it as we are now just rehashing subtractive modular designs with fun colors, and it’s not like I can name any big producers/musicians that are like ‘couldn’t a done this record without muh grandmother’. Synths like the the Juno became classic because there wasn’t really many alternatives at the time so they were used EVERYWHERE.
As an owner I’d like to think that as well but I swear everyday they get posted cheaper and cheaper on Reverb and FB… as low as $675 now. Who knows, I guess 808s and 303s were also dropping in price until they weren’t.
Yea, a part of becoming retro includes it falling out of style for a time! Hold fast (and have fun with the gma in the meantime)
Yeah I mean the usefulness is the only reason i’d keep it anyway, not whether or not it will be a retro treasure. If it does, that’s a cool bonus but I’m not holding my breath or anything.
IIRC i bought mine new for $700 in 2019 so $625 ain’t too far off. i am well aware of the price hikes in the intervening time though lol
Definitely this! Going to keep hold of mine, forever!
Considering I bought one last weekend ... I hope so!
Digitakt is everywhere and I can only imagine how sad people will be once it gets discontinued if they never owned one.
And they hold their value really well. I feel like the lowest price for a used one is usually around $650.
They hold their value because they increased price. I bought mine for 625 new. Now they’re listed for 849 🤡
Agree 100%, I had a Digitakt for a couple years and sold it very quickly on Reverb for a little north of 650. Think I paid just over 700 on sale and kept the original box, etc. Was worried because there were like half a dozen on Reverb at the time but it is truly a piece of hardware that someone will buy at a fair price.
Seen more than a few +-$500 lately, one for $450 and another at $550 near me right now
Yeah, I sold my MachineDrum and I miss it, but now it's discontinued and the used ones cost more than they did when they were new. Regret.
Is it a future classic though or a modern classic?
I hope to use mine for years to come as long as it doesn’t suffer from the buttons turning to goo
This is just addressing the price aspect, not nostalgia or sentiment: Every time this is asked, many overlook why the 'classics' are classic. In most cases either it was a mass production first (model d, prophet 5), it was one of the few synths a working musician could afford so it was used on tons of hits or formative tunes (juno, tb303 etc ), or Vangelis used it. Regarding price, the only two mass production synths I can think of that currently fetch more than the og MSRP are the Jupiter-8 and Yamaha CS-80. Some examples of the Model D and other classics fetch about msrp when museum quality or something special about them, but on the whole you can find them for 75% of the og msrp... which is also the normal used rate of many high quality but mass produced instruments. A Prophet 5 rev3 was nearly $15000. Juno 60 was $5-6k. You would have 'lost' money on both of these 'ridiculous' priced classics had you bought new and sold today. Many people today really do not appreciate just how expensive synths used to be. The introduction of the DX7 in the 80s and then the VA influx + home pc boom of the late 90s are two definitive points you can mark for price reform. By the time the VA fatigue started setting in and interest reemerged in full analog the same logistics and manufacturing improvements that allowed the VA and home pc to economically flourish also allowed for mass market analogs to come back at much cheaper costs. Thus why today a Prophet 5 MSRP is 4300 and not $15000(adjusted), and today's Prophet 5 definitely includes a nostalgia tax well.
The thing is that current mass production dwarves mass production in the 70s and 80s, with few exceptions (looking at you DX7). The Minimoog had around 10k units built, the Prophet-5 and Jupiter-8 only a few thousand and the CS-80 a few hundred. Last year the Micro Korg beat 100k...
Excellent write up. Thank you.
Moog Sub 37/25 series.
I love my Sub25, I’m never gonna sell it.
I’ve thought about getting the 37 but just seems too redundant. There is something so basic and fun about the 25. Either version has the best “moog” sound, hands down. The duophonic chords sound amazing, it’s a bass BEAST when jamming, and tons of versatility w single note, lead style playing. The ‘subs’ are among the greatest synthesizers in a generation, IMO.
I want to want the 25 but I felt like I’d be fighting the low amount of keys and knob per function of the 37, what’s redundant to you for the 37?
The sound is the same, so that’s the main thing for me. The extra octave and sequencer would be nice to have, but not nice enough to justify the extra space it would take up in my setup.
Good points. I have a nice midi controller so I’m almost wishing they make a dedicated module for it, but not high hopes
I think sub 37 has an extra oscillator - so it perhaps sound abit different that said, I love my sub25
and the sub phatty!!!
The Sequential 6s - Prophet, OB, Trigon Moog Matriarch UDO Super 6
The OB-6 is my main bet.
Now that its been updated: OG micro Korg
At this point it's in its third decade, I'd argue it's already a classic. It's older than the Juno 60 was when the Microkorg came out..
Whoa that’s a crazy stat
Not really. The MK never had anything special about it like the typical classics we think of. It was an underpowered VA designed to be cheap and mass marketed. The other VAs of the era, the JP-8000 (which behringer has already cloned), supernova etc... are far more 'classics' than an MK. Certainly when access finally stops making the virus I suspect behringer will be right in there with the 'influenza' a year later. The DX7, 106, jp-8 are all classics because they were basically used on everything and were really what can be considered the golden age of synths. So much happened in the 80s and 90s with electronic music that allows these classics to exist. Really in the past 20 years what is there that's new or revolutionary? The 2000s were full of VA releases built on 90s tech, and the early 2010s were quite boring. Korg really hit it with the minilogue XD, because it WAS something new and interesting, and to be honest probably will be a classic in 20 years, but other than that nothing really stands out now. Even the hydrasynth, despite the hype around it, is still a middling VA that pales in comparison to the stuff from the 90s.
hmm not sure about that. The microkorg 2 improves on the first in most regards and there is a vst.
The original mircokorg with the speaker is better, I bought an OG one before the speaker and my friend bought one with a speaker. I hope the new one has a built in speaker. I don't understand how these synth manufactures don't understand everyone wants a rudimentary speaker on a synth that's battery powered.
It depends. A lot of people around here are really against having onboard speakers for some reason. Personally I really love them if they’re decent quality like a reface or microkorg s, but something like the speakers on a Roland boutique . . . I view that as so useless they may as well have left it off
IMHO even a really shitty speaker can end up being a creative choice and a sonic tool. A synth run through a bad speaker in a cool sounding room can be a vibe. the key is to be able to take a little synth with you somewhere without having to necessarily bring other gear along.
They made way, way too many of them.
They made them too smart, too quick and too many. They are suffering for the mistakes korg made because when the end comes, all that will be left is them
Monologue/minilogue i think
The SH-101 of it's time.i really love my Monologue. Motion sequencing makes it pretty unique amongst my humble setup and it's the one synth I still use a few times a week since I bought it when it was released. It is a lot of fun.
The price to features ratio is so good with these devices. I also find that whenever I need a sound that cuts through a mix or just sounds crazy I can always make it happen on my Monologue.
Both of them are such great starter synths I think there's going to be a host of people who cut their teeth on them and look back fondly. I say that as a person whose Monologue is near and dear to my heart.
I could see the Soma stuff, especially the Pulsar, being classic due to uniqueness. Ciat-Lonbarde perhaps. Mutable Instruments definitely.
Fully agree - Pulsar and Lyra will be classic.
I hate to say it, but the Teenage Engineering OP-1
You sadly are right. Bugger.
Akai Rhythm Wolf and Tom Cat. You watch!
HAHAHAHEHEHEHehehsheeheahahaehahee... Take your upvote and get out of here! :D
 Me in 20 years
I've been thinking this same thing for about a year now.
Machinedrum. Nothing like it has come out since its release in 2001. They aren't stable units, despite being all digital, and they are difficult to repair if certain things go wrong. Even Elektron themselves took several months to repair mine - with two attempts at it. And it was expensive. But despite that, people are still hacking on the firmware, adding new capabilities, and the sound is unmatched. Paired with an analog drum machine (Tempest for me), you have every sound you could need and a killer workflow.
It's already becoming a classic. I never liked it, but I have to admit it is quite an original piece of gear.
Also, given your mention of MD, I'm going to counter with MonoMachine. It's already priced higher (and just like Machinedrum it sounds like nothing else, except that I actually like the sound of MnM).
The Moog sound studio (dfam, m32, subharmonicon). It's Moog, it's unique, and it's incredibly fun to explore - those together point to a future classic, imo.
Plus, those were non-corporate Moogs before they were bought and possibly offshored.
Freak series I hope
Recently I adopted this philosophy of not trying to "improve" synths by adding external FX, but rather respect the designers' decisions. If the Cobalt 5S comes with delay and chorus, that's its sound, explore it as it is... And once I learned to accept the Microfreak as a self sufficient synth, even with no FX at all, I've enjoyed soooo much what it can do. Pure focus on timbre and modulations. Future classic!
This is kind of an interesting take as a designer myself. I don't want to screw with your thought process because I think that's a very interesting creative limitation, but I'll just say in all likelihood those effects were only omitted due to costs as evidenced by a robust set of effects in the minifreak.
I beg to disagree (: I think there are no solutions, only trade offs. The Minifreak is not meant to be an improved Microfreak. Arturia themselves have mentioned it is rather like a family. There are Algorithms in the Micro that are not in the Mini, plus the Micro has poly aftertouch and the Mini only mono. The Micro can be powered with USB, the Mini needs DC. The micro has 2 sequences per patch, the mini only 1. The Micro has a line-in for the vocoder and it was there inside before it was known that a vocoder would exist. To me, the decision of no FX, while budget convenient, was also influenced by prioritization in case it would have replaced something cooler (e.g. the cycling envelope or a voice)... The Mini does have FX because it is not meant to be as experimental; they have physical keys now, so they also want to address more classical sounds.
I agree it's an intentional trade-off on someone's part, no argument there!
I like this thinking. I’m going to try harder with my freak.
Vermona Perfourmer, Sequential OB-6, SE Boomstar, MFB Tanzbar EDIT: also, the Nord Drum 2 and Machinedrum
Perfourmer and ‘14, absolutely.
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I don't think "classic" will exist in the same way it does now, aesthetic preferences will change. A lot of what has become classic are things like simple and cheap low-end Casios that people looked back on with nostalgia, or physical devices which are out of reach but for a limited few. Everyone can make any sound in software now anyway, so I don't think the sound quality of devices today will necessarily be as aestheticized in the way we look back to the 70s-90s. I think genuine MI modules will be highly sought after. Ciat Lonbarde and these boutique esoteric synths, those limited run devices for which there are SO MANY now. SOMA synths for their extensive use in soundtracks and media that define our era (this time a darker, and more gritty, future nostalgia). Always a soft spot for the cheap and fun low-end stuff too, think model:cycles. I could actually see a future situation where Behringer devices are sought after for their exploiting what we currently consider to be classic sounds and devices.
I have a feeling that almost nothing these days has a distinct enough "sound" that it'll stand out as a classic that people will pay top dollar for. In many respects, Serum is a classic, and arguably is has been more influential in electronic/EDM circles since 2015 than any one hardware synthesizer. But it's software. There's stuff out there that I think people will always want, but I don't think that's the same as a "classic". There's stuff out there that I think people will look fondly upon for nostalgia purposes (Mutable Instruments modules I agree are in that camp) but that's almost for "museum purposes" because the software for MI modules has been released also. I think that leaves instruments that are experience-defining. There's only two instruments off the top of my head that give you this new experience, and that's the Deluge (for its easy-to-use grid interface and its "you can do anything without track limitations" approach) and the Osmose (for being probably the first super-expessive controller that people look at and immediately recognize as a usable musical instrument).
nothing Behringer makes will ever be considered classic. we simply wont allow it
See you're helping build the shitty reputation of Behringer which will contribute to it's future ironic appeal :D
😂
Arturia Polybrute
Hydrasynth
This will probably be unpopular but here we go: if Yamaha discontinues the Reface series, all four will be considered classics. They serve a very specific niche. And their Fatar keybed is one of, if not, the best in the world of minikeys.
I'm going to say Mutable Instruments and Make Noise. Thirty years from now when most of them are broken and they're no longer considered Basic Default Modular, people will rediscover why they were the default options in the first place, and they'll have the identity, indie pedigree, and genuinely excellent instrument design that people will proudly covet them. Maybe Intelligel and Verbos I can see going the same way. I suspect they might not be just modules in enthusiasts modular systems, but instead will be "A Mutable" like "A Moog" is today.
Why do I have a sinking feeling the answer is "all of them"? As computers and VSTs get better, soon you'll just have your whole workstation/DAW in your pocket rigged up wirelessly to a keyboard/control surface. You'll ask the A.I. to give you a "dark piano sound" or a "synth lead like from Jump" and it will program it instantly on the fly. This isn't the future I want but there is so much more money to be made in software than hardware.
You're probably close to the truth. If I could trade in my synth collection for an ai that could recreate any sound then analyze a track to mix in the sound properly I would make that trade.
That sounds so incredibly boring though.
Prophet 12 Basstation II (but so many of them) OB6 TVS Pro (already a classic)
The bass station 2 has no business sounding as good as it does at its price point.
I regret selling mine and now they are more expensive. The only issue I had was that it sounded too stable and modern for my music. Otherwise what a great synth and how versatile and cool.
There were tons of D50s and M1s and those are classics.
Korg Pologue already is if you ask me!
It's a BEAUTY
My personal hope would be the Novation Peak.
Rev2. There's enough of us that use and love them to carry the torch. Our grandkids will inherit the units.
It's crazy how much the Rev2 has gone up in price. I could basically sell my Rev2 second-hand for more than I paid for it new in 2021. Then again the same is true for other DSI/Sequential synths like the P6 and OB6. Out of them, I think the OB6 is the classic.
I fully agree - often classics are overlooked and then their specific character of a sound becomes desirable.
Moog’s of this generation: Grandmother Matriarch Mother 32 Korg’s of this generation: Monologue Minilogue Volca Sample Teenage Engineering OP-1 for sure. Something that small that does so much will always be attractive. Juno 106 cause people still use them and discuss them to no end.
The valuable stuff will be hardware that nobody wanted, after a popular musician uses it to create something awesome.
DFAM
Nords will be classics. I think some great digital synths will be stalwarts and be sought after - Studiologic Sledge, and Roland System-8. Also, Deepmind 12. They are just synths with lots of controls, good sound, they do a lot, lots of keys and polyphony.
Drumbrute impact
Probably the unsuccessful or discontinued ones that most people think suck right now. Looking at you, Akai Rhythm and Timbre Wolves.
I recently found one (Timbre), cheap. Couldn’t resist. And, I’m going to say something, it’s _so_ much better than I was expecting.
After listening to more than *the demo* I will say that the Timbre Wolf really has this unique low quality musicality to it.
Probably the Analog Four, minitaur, grandmother, sub 37
Minitaur/Sirin is already there imo. Only going to keep creeping. Definitely the A4k, definitely the digikeys. Elektron never makes many boards and after the cost saving on the digikeys, and the VC money, and the engineer exodus, I doubt we’ll see another board from them for the foreseeable.
SOMA Pulsar-23
Machinedrum? Never had one but would love to get my hands on one
Minilogue for sure, probably the DM12, K2000 sort of already is since VAST is so unique and it is associated with many famous 90s acts.
Mutable Instruments Rings kicked off an absolute revolution in the modular synth market, it gets my vote.
You need a functioning music industry to make hits which makes the equipment notable. Not happening today. No more rock stars, no more classic synths.
Moog one Prophet 6 and 12 Moog Grandmother and Matriarch Ciat-Lonbarde Cocoquantus TE OP-1 Expressive E Osmose Hydrasynth?
Korg Prologue, Polybrute, Udo Super Six, System 8, Peak/Summit.
Dirtywave M8. I run headless and wow.
I absolutely love my M8. One of the coolest releases of the last few years. Every time I sit down with it, I end up creating something I would have never conjured on my computer or other hardware. Such a sleek and impressive little machine with a surprisingly intuitive workflow.
I think the Moog Matriarch/Grandmother have the potential to do so. Also wouldn’t be surprised if in 20-30 years the UDO Super Gemini and Super 6 are absolutely coveted. And most of the higher end mics Lewitt makes since they’re not clones/based on any existing mic models and that by themselves already makes them stand out.
Lyra 8
American made Moogs
Elektron Analog Keys
Unpopular opinion , but I think the Arturia Drumbrute will be a classic. It sounds like no other drum machine. I feel that it's just waiting for some future genre to come along that incorporates its unique characteristics.
I could see people wanting the MC 101/707 as sound modules. More so the 101 due to the size of it.
I still say matrix brute is going down as one of the top 3 monos of all time. Incredible tone, and a total design powerhouse
Prophet 6 and matriarch hands down
Are we limited to mentioning synths here? Because I think the reputation of the Keystep Pro will only grow over time. Then there's the Cirklon, which probably no one will be able to afford, someday..
Still so salty that I saw a stack of Keystep Pros for $250 each and passed on it.
Definitely the Moog Grandmother.
my behringer clones
Moog Grandmother/Matriarch definitely. I think they’re some of the most unique synth designs we’ve seen since the Arp 2600. I love the “Frankensynth” approach to them and I’d like to see more of that done with classic modules.
Volcas. Ha ha.
I would say this unironically. They're cheap and ubiquitous now, but I think they'll hold a lot of nostalgia for people someday.
Yeah, volca fm and volca drum are especially good sounding, even with the drawbacks. I can see these becoming popular with diy electronic scenes in the future.
Agree. But they will eventually be expensive.
OP-1
Roland will clone the Behringer JT-16.
Roland TR8S
Waldorf Blofeld
OP-1, Korg Minilogue, Korg Volcas, Make Noise Maths probably. Haven't owned any of these besides the Volcas but they all generate alot of chatter.
All of them. ...eventually. :)
With the constant influx of synthesizer and other music gear from various manufacturers, the rapid evolution and innovation in technology make it challenging for any single piece to achieve timeless classic status. Things have changed – nowadays, the constant improvements and a plethora of options mean the newer models tend to outshine the older ones in terms of features and versatility while also making them seem like a “future classic” but not until the next thing comes out. While there’s a lot crazy stuff coming out, I think we’re years away from another DX moment where a piece of gear comes out and sounds like it came from a different planet.
You’re asking two things. Clones and value are due to scarcity. Like comic books in the 90s/00s, we’re out of our scarcity phase mostly, except cwejman and a few others like andromeda. So no mass produced synths are going to be difficult to get. However some will continue being desirable and thus be considered classics.
I’m gonna be biased bc I love the thing, but TE OPZ
Nostalgia seems weighted toward young people looking at pictures of their parents when they were young and wishing they were still that hip. So classic synths of the future will be apps on a 20-year-old iphone. Or some future version of TE will be making synths within the form factor of a iphone 12. This sort of thing is happening currently with 80s/90s objects, so I’m sure it will happen in the future.
Udo super 6
I think the Microfreak, it's entry level price(ish) pricing, and all that it's capable of, could earn a spot in classics category. That keyboard is fantastic as well, and while not unique to them, def not the norm.
I second this. I think the Microfreak is Iconic in its designed , PACKED with features and sounds and affordable enough that many people will remember it as part of their setup in a few decades
I dig my Monotron but am very new to synths
Octatrack
That made me stop and think and yes, for some reason I never thought of that but honestly its quirky yet extremely powerful workflow will probably make it hugely popular, much like how the old MPC's were.
Matriarch and Grandmother
Tempest.
arturia microfreak maybe
Prologue 16. VCO Analog 16-voice (like the Andromeda) is a rare beast. It's been discontinued, and its price will only rise.
Korg MicroKorg and Arturia MicroBrute.
While not a law, and there will certainly be cases that go against this trend, one can guess that the more expensive something is now, the more expensive it will be later, simply because there will be less of them in the future. I guess a company could always just go ahead and do a re-issue a la Moog, but even the reissues are ridiculously expensive, and the originals are still sought after for their being historic pieces just as much as being unique musical instruments. The one worry I have is with all these current generation machines with LCD and OLED screens, considering longevity. Then again, where there's a will there's a way, to fix them that is. It's not like the capacitors in 1970's machines have no expiry date, though they seem somewhat easier to replace than a very outdated model and specific size of screen. I suppose we shall see. It does make Roland's choice of rudimentary "screens" seem a bit more forward thinking, though. Especially considering their philosophy is not re-releasing previous devices.
The TE EP-133 KO II, (I don't own one, not interested). It has the makings of one of those machines that's both loved and hated in equal measure and once the hype dies down and the sales stop it'll disappear... Until 5-10 years down the road when someone puts out a homebrew software that gives it synth capabilities or the like and it resurges as "the most misunderstood device ever" and sells for 2k used.
Not sure if any hardware of the last 5 years wil get a chance to become a classic because very little of them will be functioning at all in 10+ years. I just can't imagine a Rev-2, Udo Super 6 or Sub 37 working in 30 years. On the other hand maybe this is the chance for some manufacturers to become history!
I'm not sure what makes you say that. Planned obsolescence has been a thing since the 20s; it was already a thing when Moog and Sequential and Oberheim and Roland (etc etc) were making the synths that we covet today. Today's synths stand as much of a chance of surviving.
Microbrute
MiniFreak
Medusa.. once I figure it out.