Complex synths with a good sound and accessible user-interface are always more than worth their money and real "keepers" to me. You can grow with them over decades. I experienced this with my Ensoniq ESQ-1. As a young noob i was merely able do do convincing but simple "bread and butter"-sounds with it and 30 years later i am still exploring its sonic boundaries. So the Hydrasynth seems to me another milestone in this "complex" synth heritage starting with legends like the Korg PS 3200, Oberheim Matrix 12.... Thank you for your very excellent videos btw. :-)
That's ace that you can still keep on going with the ESQ-1 after all those years. The Hydra does remind me of the Xpander (and therefore Matrix 12) you mentioned. A kind of lineage as you say. Quite interesting these kinds of instruments crop up along the way.
Is this a good performance synth? I need help. I need a new synth I can perform with in a band that sits on the floor so it must have sustain button (no pedal.... using pedal with knee while sitting in front of a crowd is ridiculous) that has lush sounds that can easily be manipulated. I toyed with the hydrasynth in the shop and it seemed perfect but usually get entranced by new anything while in the shop....
@@thesplendorists You can use the poly aftertouch as an alternative to the footpedal, but being a complex instrument, you may have a good degree of pre-planning to do before a performance. Willful simplifying patches, organizing them etc. In your shoes I'd prefer to haul the less burdensome explorer version to live gigs. I know some keyboardists, especially those with piano backgrounds, might have some distaste for the smaller keybed though. Cost of gig damage or loss is also a consideration. Thankfully Hydrasynths are pretty affordable. A Hydrasynth Explorer is cheaper than a Behringer Deepmind 12, but depending on your stylistic needs, that might also be an inexpensive but versatile option. Deepmind 12s also have aftertouch for the footpedal alternative. Granted I haven't played a Deepmind, so I'm speaking out of at least partial ignorance here, but from what I've heard online, I've been unimpressed with the Deepmind's oscillators in their raw state, say unlike a take-your-pick Oberheim or Prophet, which sounds like heaven from patch initialization. Sorry if this is verbose. TL;DR .... Hydrasynth may be overkill for your application and perhaps a bit heavy to haul, but can absolutely do the job with some pre-planning.
@@thesplendorists it's a little pricey, but an OB-6 has a lot of lush sounds, and with the warm effects (DDL and Chorus but especially the Delay) you might be able to approximate the effect of a sustain pedal while sitting there on the floor. Or with one hand on the keys and the other on the Release knob (the VCA one.)
@@swanofnutella4734 i had the DM 12 for a year or so and i agree with your assessment of the machine. It's an amazing synth, but garbage init. patch and yeah, you can stack the oscillators, but they're never going to sound as rich as a Korg, Moog or Prophet sound from scratch. I found i had to use effects chains continually, in order to get things i liked. For now, I've moved to a Digitone Keys for my poly needs (and time-keeping) and a Moog Sub 25 for the filter and grit. I recommend the DM, but not as a first or an only synth.
I found your unique approach to "reviewing" the Hydrasynth really enlightening and entertaining. It's also humbling, because my normal stance is that _limitations_ inspire creativity. Impressive work by ASM, making flexibility as intuitive as they have. And I find your patches (and jams) *incredibly* musical. Very nice job.
@@AlexBallMusic I agree with Rob & would love to see you compare the features of the Deluxe & explorer models before I decide which new toy to indulge in . . . . . 9-)
@@dijidave Each ASM Hydrasynth has exactly the same sound engine, except that the Deluxe has two of them, so it's bi-timbral. The Deluxe (€1640) has 73 keys, the original Keyboard (€1150) has 49 and the Explorer (€550) has 37. All are velocity-sensitive with polyphonic aftertouch, but on the Deluxe they are full-sized. The Desktop (€800) has 24 pads instead of a keybed. The Deluxe and Keyboard models both have the ribbon controller. Otherwise the hardware is largely similar, except for the Explorer. This has fewer control knobs, though a shift key gives you front-panel access to the other functions. You can view only 4 parameters at once (not 8), though that's still great compared to other synths. It has no expression input, no MIDI thru, and the headphone jack is less conveniently located on the back panel. Unfortunately there's also no CV in, hence no audio input. Personally I'd rather get the Desktop model, which has none of those limitations. The pads can be treated as a bonus interface.
I actually agree with limitations are very good for being creative not having to many possibilities generally drives you to be more creative in a limited set of parameters …. But sure with virtually unlimited possibilities you must limit your selection of variants to sense of such a plethora of choice!!
“Absolutely…not.” Nicely teased there. I have always thought that demos of synths done in the context of fully-fledged musical tracks are the most useful for me as a note-by-note compositional melodic musician. I can hear how they sit in the mix and the extent of their playability as an instrument and not just as a bleep-bloop sequencer toy. Luckily in this instance I already had my own Hydrasynth and knew my own personal answer to the question posed and agreed with your final assessment. But are you now feeling buyer’s remorse, as I am, at having the original when the larger keyboard Deluxe model has been released, similar to how Peak owners must have felt at the announcement of the Summit?
Thank you. I've tried all sorts of things over the years and feel short contextual compositions are the most effect method to demonstrate a synth. Good to know you agree. Buyer's remorse - this was a loaner and its returned to the distributor, but if I was in the market for a poly the Hydra would be a serious contender and I would probably plump for the Deluxe, yeah. I never regretted getting the Prophet~10 instead of 5 for the same reason.
Hello from the future! (18 months after your post). I loved this video. I just received the ASM Hydrasynth Deluxe for my birthday and have been watching all sorts of videos on it so I can better understand how deep this synth actually goes. Very nicely done.
This is one of the coolest demonstrations of what is possible with the Hydrasynth that I've seen. You've managed to combine complexity with musicality in a very impressive way. Your demonstrations remind me a bit of Jexus in a way, but with a heavy lean more towards the typically ever-listenable Alex Ball musicality. Speaking of which, Jexus praises the Hydrasynth a lot while noting that it's a synth that requires you to think about the sound you want to craft. It's clear that even with the complex routings you've got a decent idea of what you're doing and how it's going to sound, and more importantly, how to use it in a mix. As impressive as some of the Jexus patches are, you go a full step further by incorporating everything together, and that's very noteworthy. In fact, it's what sets you beyond pretty much every other synth player on UA-cam. It's fun to listen to a demo and hear what's possible when a talented person comes up with interesting patches, but it's another experience entirely to hear a full composition using them. (Shoutout to Keen on Keys for doing similar.) Great video!
Alex, well done ( would expect no less!) As already mentioned, sound design is one of the pieces that goes into the multi-dimensional contrict that results in 'music'. Context is what ultimately matters, i.e. how is one assembling the pieces of their puzzle. Often times (over) complexity doesn't serve the result; you need to recognize that and know/learn when it's time to stop or go further. The key take away for those watching this -- it's all in the Hydrasynth there if you need/want it, but it doesn't have to be used it it doesn't suit the context. I've been involved & around a lot of synths over the years, and there's a number of industry veterans that came together in making the Hydrasynth IMHO one of the most significant synths in the last decade or more. They nailed the sweet spot of power, versatility, UI, controllability and bang for the buck.
Definitely. I was pushing it more than you'd realistically want to in most situations. A kind of hyped version to see what that sounds like. As you say, it's always a case of choosing what you need. There's always more notes, chords, rhythms, note divisions etc when writing music and using them all in every composition would be fatiguing and ultimately not very satisfying.
Honestly I love this thing. I think Alex could get a good tune out of damn near anything but it sounds incredible on its own and sits really well in a mix too. Georgous stuff
I think you nailed several of the specific features of the Hydrasynth there well Alex. It's an immensely capable instrument capable of both analogue-like warmth, wavetable-like metallic harshness and most in between. For me the mutants, the poly AT, that cracking little arpeggiator, large modulation matrix and the number of parameters/configurability associated with LFOs, envelopes and most everything else is an endless source of inspiration. As you did, I also found it to gel well with my other gear in a mix, especially the analogue synths. I've persuaded two people to get one and underwritten the purchase with a promise to buy it from them for what they paid for it if they didn't like it. Both were some months ago and neither took me up on that offer, preferring to keep it for themselves :-)
I totally agree the Hydrasynth unlock a creative potential like never before. It also fits in the mix with many other Synthesizers. I'm never board on the Hydrasynth
I think you did a fine job of achieving your goal, Alex. For me, the clear winner was you - your creativity, playful sense of irony, and deep understanding of the Hydrasynth's possibilities were entertaining and edifying. When I played an earlier one in a NYC music store I was impressed by the interface, some of the waves' pure sounds through the internal effects and filter, and their use of the color orange. With my pedestrian taste in synths, and a Jupiter 80, an old V-Synth, a DeepMind and 2 fine DS poly's here, there's not a real 'hole' in my rig which this synth would plug, so it's cool to experience one being pushed, vicariously, in your deft hands.
This is the first new synth in a long time that grabbed my attention. That 'random' button sold me! Like MIDIQuest for about any synth - that 'randomize' feature allows you to turn your old synths into new ones. Love the interface, especially the way they sort of took the Ensoniq ESQ-1 design for the visual layout of the buttons/signal path. Great vid as always!
Loving this demo, very inspiring. And especially thank you for the reminder that it has an audio in through the Mod Ins, I have been lacking some effects and I just realized the Hydrasynth can provide them for me nicely!
I love the Hydrasynth. Sometimes it's a bit too much for me but I love playing it with a Prophet-6 and OB-6. They're so different but blend wonderfully and never get in each others' way. I LIVE the arpeggiator and especially the module select layout on the right hand side. Oh and then there's the poly aftertouch! Macros: I dont understand them yet but you can just have fun with editing presets or starting with a basic patch and go as far or not far as you want. I need to get the 1.5 OS update loaded, so I can try the SEM style filter!
A macro is usually a knob or button that you can link to multiple parameters to, at what ever amount you set it to. So when you move the knob it will move all the parameters you have assigned to it at the same time. My HS arrives tomorrow so I haven't tried it yet but that's usually what it is in other programs.
Thanks for another thoughtful and fun video Alex. Lots of inspiration from watching you play those sounds - I'd love to see a "deep dive" on how you programmed some of those patches in the future. Also, 11:05 is about how deep I've dived into my Hydrasynth so far :p
You're on a roll lately. Great video. I really enjoy the Hydrasynth. I haven't spent enough time with mine yet but every time I turn it on, I find it inspiring.
I consider myself to be pretty much a vintage analog purist (AKA an old fart), but I really like the sound and capabilities of my Hydrasynth. I think it's quite distinctive, really well designed, and has its place among all the old favorites. I think it's going to age well and become a revered classic. And no, complexity is not bad for your music! 😵💫
This is a killer demo, Alex. In the final minutes of April 2024, the model I’m perched on the cusp of ordering is the Hydrasynth Explorer. Your demo makes me wish I could get the standard 49-key version instead. (Love that ribbon controller; your usage of it demonstrates the debt that all ribbon controllers from Moog, Alesis, Yamaha, Kurzweil and ASM owe to the Ondes Martinot.) However, portability and economy are taking priority over esthetic preferences. My regret will be if I get it only for the aftertouch and its capability of emulating Moog, ARP, Oberheim and Sequential synths when it’s also got Yamaha FM and Ensoniq wavetable architecture in it.
One of the best parts of the Hydra is the UI. Moving between sections is extremely well thought out. I also love that you can use it as a basic 3 oscillator into a filter synth without cracking the manual. So you don't have to use all of the complexity and capabilities. Then as you dive a bit deeper, you can explore a particular mutant (for example).
Synthtaur did a nice little interview with Glenn back in October where he said they have few years of development on Hydrasynth line already in the works. But I'm only getting more tempted to jump in with the Deluxe right now. I'm glad you and others have videos deep diving on different things on this synth. Very nice work on this video exploring some interesting ideas and questions. Something else that really fascinated me was the FM sounds it can make. Sonicstate has a nice video on that and one of the patches blends wavescanning with FM and just comes out as this big, beautiful, emotive, and unashamedly digital pad. I have to wonder how layering sounds like that with slight differences between the engines could turn out.
I love and hate the complexity all at the same time! You make it sound great! I on the other hand would just end up getting bogged down in its many features, mostly because I’m just not that well versed in the mountainous amount of routing and complexity. It looks and sound like a fantastic synth especially in your able hands!
I've used a friends Desktop Hydrasynth and found it very enjoyable - it reminded me of my Ensoniq SQ-80 in some ways (not just from poly aftertouch). As such, it would be interesting to see an ASM sampling workstation. I'm sure that would be awesome too!
Fun way to look at a synth. Personally, this is in my Top-5 synths of this century. I find it absolutely stunning in terms of programming/timbral potential, and the poly-aftertouch is killer!
To your title, for me, probably lol. But WOW, loved all your jams and songs today, especially the funky intro! You made this powerful beast shine so well.
Great demo Alex! I’ll be honest I got halfway through your explanation of the first patch, had to pause have a small nap then coffee, listen to,it again.....but it still went over my head ☺️.....Regardless of my limitations- it seem like a great synth to me but one you obviously have to put the time in get good musical results. (the corollary being its clearly not for those who are happy sticking with intuitive exploring of basic subtractive, analogue synthesis). Not sure if I’ll ever get one myself but I’m really glad ASM have put it out there!
You have so much skills, using so much synthesis power to great effect is not easily achieve by most of us ! I remember when beeing first confronted to a complex synth, it took me more than 2 years to eventually "master" it And even now, I'm sure there are new things I could find on it
Okay, so that initial jam was the first time I've gone YEP, I get it! So many things it can do, but nobody (I've encountered) did simple Juno-ish or Prophet-ish sounds on it. So it does that too, in addition to all the weird stuff! Sweeeeeet.
That's because it's trying not to be a Juno or a Prophet. It really wasn't designed to be just another VA, so it's a curb stomping wavetable synth instead. The thing I personally love about it is how well you can actually get warm lush pads out of it.
Thank you for the video. After 2 years of doubts and thinking, listening and viewing YT videos I bought another 'complex' synth. The Waldorf Iridium. However. After one hour, I returned it to the shop. Nice (sometimes over complex) sounds. That can't be denied. But in no way BAM IN YOUR FACE like the Hydra....
Beautiful job as always! It mostly boils down to interface regarding if a piece of kit seems too complicated. The interface/layout of the Hydrasynth seems very well thought out! To pick nits: I have to say in the context of the "dense" demos the Hydra seemed a bit distant or hollow. I think it might be whatever ambience or "size modelling" had been assigned.
Hi Alex. How are you? I must confess that I put you in the "only analog rules" category for a while but this video proves I have been the subject of my own preconceptions in stead. Your approach and argumentation are excellent. Every platform has it's strength and weaknesses and being disciplined is enough to take away most preconceived digital disadvantages. The real art is to not put everything on 11 all the time (insert Spinal Tap clip). :-)
Hey Marc! I'm good, how are you? I love digital too. In fact, in some cases (like vintage delays) digital is way more interesting. I'm happy to explore whatever. Definitely agree with your comment. Everything is about balance and control, much to Nigel Tufnel's dismay.
@@AlexBallMusic Hi Alex. I'm doing well. Busy as ever. Yeah, I for instance have a very deep apreciation of the old PPG stuff, especially the 360 Wavecomputer and the later Wave 2.3 plus Waveterm system. At the time that stuff brought really fresh new sounds into play and contrasted well with analog. Thomas Dolby and Tangerine Dream used the 360 extensively and because of it's relative simplicity (no filters, ma!) it always sounded rather pure and in your face. It couldn't even do 11! Those where the heady days!
I'm glad you made this. I've been considering one of these or the Peak(I know this has analogue elements) but I can't decide if I'm just better off having VSTs for digital stuff and only buying Analogue hardware. This appears to have some great performance modes which this video clearly shows. I love that ribbon.
I’ve had a Peak for a couple of years and it’s my favourite synth I’ve owned. Currently selling other gear and am looking at adding a Hydrasynth. Have some interest in the deluxe but don’t really have the room and the cost is fair but I don’t think I’ll spend that much. I also have considered selling the Peak and getting a summit but again room/cost is a factor.
I think complexity and a high ceiling makes for excellent value for musicians buying physical instruments - ultimately you want something very flexible and is able to generate a wide variety of sounds for many kinds of musical applications, as you have demonstrated. The more you use it and get familiar with the interface, the more options and possibilities open up.
I like complex synths. I‘m just creating sounds about 90% of the time and sometimes some sounds fit together and a song happens. 😂 While sound designing i need complex synths, cause the simple and more restricted synths get boring pretty fast. But hey, that‘s just my way of doing it. I guess, there are as many ways to approach making music as there as are musicians and everyone has to find the way that works best for them. :)
You like the potential. I'm a bit the same. A good analogy is a box full of Lego. A box full of chaos. But the more pieces you have, the more you can draw from, the more you can build.
I enjoy sitting in front of something like the Hydrasynth or my modular wall for the same reasons you describe. There are many, many ways that you can go. I've sold a few simper synths over the years because there were only really a dozen things they did and once you'd done them all a hundred times the inspiration goes. That said, I do still own a TB-303 that does one thing. Haha.
Excellent stuff as usual, Alex. You covered the topic comprehensively. I agree about control being crucial to getting the most out of Hydra. It sort of reminds me of a similar issue with MatrixBrute, which is a synth that requires careful gain staging in order not to sound "overcooked".
Great video. You have showed a variety of usage scenarios. Very useful and refreshing :). Only thing is now I want one while don't needing it really ;). And indeed it is how you use it. Any instrument is capable of good sound if used in the right scenarios.
In decades of dealing with music - as a listener, performer, composer, producer, analyst, etc. - I have concluded that music is a multi-dimensional medium. I have also discovered that when you take all factors, there is a balancing act/trade off between simplicity and complexity. A piece of music may have some aspects that are quite simple like a melody or a chord sequence, but may contain other aspects that are quite complex such as timbre, arrangement or form. For the creator, music is the result of making an infinitesimal number of choices. For the listener, you are hearing that result and then trying to “figure it all out”. And in the end, how much or how little does depend on the beholder.
I've been in the box for a few years now, and over gear acquisition syndrome in general (have had studios full of gear over the years), but this synth really appeals to me. Having said that, I just know I'll be ebaying it in 18 months due to not using it enough. Sounds great in Alex's hands though.
@@AlexBallMusic you're cool, just reminding myself in public why I don't buy the latest HW anymore. I miss the buzz, I don't miss having to dust it while not powering it on anymore!
That "Glade Runner" song made all the malenky little hairs on my plott standing endwise and the shivers crawling up like slow malenky lizards and then down again. Thanks for that.
Great video just subscribed thanks!! I had a Korg Wavestate but sold it as it was holding me back musically!! My music turned from dance type music to film scores and classical stuff!! It was too complex for me as well so it’s always good to try synths (if you got some money!!) but personal choice and what you are aiming to achieve musically with a synth is what it all comes down to!! I decided I’m more of a groove box merchant in the end!! Thanks for the video!👍
Nice demo. I liked what you did with the ribbon controller. Hard to believe that they can sell the "Explorer" version of this amazing machine for US $599.
Really depends on how you use it and how easily it’s navigable. Complexity isn’t bad for music. It’s just often bad for mixes. Stellar example pieces as usual. Only complaint is, when a multi-track, the complex patches muddy up the mix. It’s harder to appreciate each element, as they step on each other. Sometimes quite a bit. Unless you want 1 instrument taking up most of your bandwidth, it’s often better to stick with simple. Fits better in a mix once combined. Not always an issue but over saturation and imaging issues do happen a lot more with complex synths. I think your examples would sound more concise, if you had used simpler synths with maybe just one super complex synth patch in an area that could handle a huge sound. Along those lines, the best sounding examples you made were with only 1 instance of the complex synth running, as it doesn’t leave much room for much anything else. IMO overly complex synths can get in the way of actual melodic composition, by eating a lot of time with too many options, hiding good melodies with overwhelming superficial sound elements, and/or simply doing the composing for you. If a melody sounds bad on a simple instrument, it would behoove the composer to write a better one, instead of just finding a synth patch that hides it. By the same token, if one writes a great melody, you don’t want a patch mucking it up. On the flip side, highly complex synths can be godly IF one uses the variables subtly. In this way one can achieve a very organic sound, while keeping the primaries simple enough to fit in a mix well and allow good melodic writing to shine. The other way it can be good, is if you just simply want to swim in ambient mush and watch people complain about your mix. Which I can be guilty of. If sticking with presets, these kinds of complex synths are good for ambient pad pieces, where you literally have only 1 or 2 patches running to fill an atmosphere, because, realistically, that’s all the mix has room for lol. : )
Thank you for making this amazing demo, Alex! Can you weigh in on the performability of the interface? Specifically, I'm curious about those weird and slightly ugly wheels, and the key action. I had a very bad experience with a Medeli key action on the Kurzweil PC4 and I don't want a repeat performance!
‘ Glade Punner ‘ ooooh Alex, my daily sunset coffee is now sprayed all over the garden table 😂…mate if being a complicated individual is anything advantageous towards creativity, the same could be applied to this bundle of joy ! even though i heavily fall into the glory of simplicity can achieve delicious sounds, the hydrasynth has one of the best ‘ play ( with ) it again sam ‘ potential meters on the spectrum analyzer of my heart 🤘😍🤘
It stands well next to the classics, different magic. Great fx, filters slighty more harsh then some analog I have, but still pretty good. And the MPE keyboard is very useful for me.
I think it's mostly about your musical ability and how well the instrument sits in a mix. In most videos I ve seen from hydrasynth, they usually use it for pads and other basic sounds. Not everyone gets into the level of complexity you demonstrated cause not everyone is able to make something musical out of all this complexity. Personally, I have a Microfreak which is super fun to mess around but quite often I end up recording a tb3 instead just cause it sits better in the mix for my leads.
Thanks alex. I have so much to say on this topic. Its essentially the digital/analogue debate. Aren't synths all awesome in their own way? That thing is an absolute monster. Remember a time when you wished you could do "anything"?
The user interface on the HS is inspired, and in layer mode it can produce crazy sounds, but it definitely has a digital character to its tone. No surprise of course, it’s a digital synth. The Summit gets you half way to a warmer sound with the amount of polyphony. Give up 10 voices and you get the warmer tone of the Polybrute. I feel very lucky to own all three.
I love the outro! Im not convinced by this synth though. I keep trying to be, but there are others I would prefer. Its a bit 'jack of all trades' ...reminds me of the VSynth , as an overall package, ( not sound) which I have & love. I feel like Iv got plenty of digital hardware synths that cover what this can do, though I love the randomisation feature & its selectability. Thats the feature that nearly sways me on this. Poly aftertouch... meh. I have a GEM S2 which has a really nice keyboard action & poly afterttouch, & I bought it primarily for its PA capability, have quite a few P/A capable synths, & I havnt really gotten into it like I thought I would. Everyone raves about this synth & I dont quite get it. If I didnt already have loads of complex digital synths & wanted one, I guess this would be a great contender though. Im guessing you are not totally convinced either, though I may be wrong there.
@@DavideCerriGA i see , i had never heard of them either (medeli ?), and i have been doing stuff for 30years. I have a few Korg's though. I am in UK though . .
Quite possibly the best all-around synth on the market right now. It's easy to use, does virtually anything imaginable, has an exceptionally good set of keys, and is surprisingly affordable.
I've been recreating my Reason Rack in hardware. Needed something to cover the Maelstrom wavetable territory. This is what I got. I still need to sit down with it and learn it. Beautiful synth imho. And I think Glen Darcey is a brilliant guy.
I have one. I've lent quite a bit of gear out as I don't have space for it all in the same location, so it'll be in a friend's studio somewhere, I'll have to look back to remember where. I wasn't planning to do a video on it specifically, although it is a cool thing.
Dang that was a big departure from the normal musical style you have and it sounds great. I especially liked your use of the strip to sound like a stylophone lead. It's a unique sound and the the extra power of the Hydrasynth really lets you play around with that style of instrument.
Awesome synth and awesome demo Alex - I think I'd either get lost in all those endless features or more likely just use a tiny fraction of it's capabilities, which would be a bit of a waste!!! I still yearn for that Syntrx that you featured a few weeks ago.......... Coo, just spotted your subscriber count, tantalisingly close to 100k.
It can be as simple or as complex as you want I guess. Just hit INIT and then decide how far you want to wander today. 🙂 Syntrx - that thing is amazing. Over the moon that they've left it with me.
@@AlexBallMusic Yeah, I guess you could keep it simple but there would be that temptation to go crazy!!! Pretty amazing machine. Glad they've left the Syntrx with you, I'm sure you'll put it to good use - not envious at all!!!!!
The Hydrasynth sounds very modern and clean. I have to say that the sound of the older synths you use suits your music better. Totally subjective and personal opinion off course, but there you go!
@@fjfrancois You can make it flaky in various ways, with phase randomization, random or noise lfos, an analog feel setting, distortion, modulatable envelopes, and for pads you get a really human sound just moving slowly and being yourself: polyAT adds quite a bit of random life to a sound. Getting there from INIT which is clean and precise is a journey.
The Hydrasynth sounds really good, is a well thought out machine and have excellent aftertouch, the ribbon is cool and have nice effects, would prefer more voices since the beginning but that is covered in the new deluxe version. To resume, I haven't seen a nice synth like this one in years, I have my eyes one, price is reasonable. Thanks Alex!
Yeah I've been watching a few vids on this synth lately and am really into it. The workflow seems very familiar and easy to me. It reminds me of the workflow on an Ensoniq keyboard. At the same time I'm a bit frightened by it as in will it get along with my other gear.
Great video- I absolutely love your musical language- it's always fun and a bit dark- cute but kinda scary. So I am kinda curious as I really love the sound- about how long (on average) did it take you to program the patches on the Hydrasynth (for the more complex patches especially (i.e. demos 3 & 5- not really 4 because I'm sure it took a while extra to do all of the modular stuff)? The interface looks easy to move between sections and functions. I really like the look of the workflow of this and plus the complexity you can achieve. And do you personally prefer working with modular or something menu based when you're just messing around having fun? Which system gives you the best balance of speed to get to a sound you like as well as feeling like you've got all of the hardware capability you need to find that sound? You're an absolute legend- keep on doing what you do.
Complex synths with a good sound and accessible user-interface are always more than worth their money and real "keepers" to me. You can grow with them over decades. I experienced this with my Ensoniq ESQ-1. As a young noob i was merely able do do convincing but simple "bread and butter"-sounds with it and 30 years later i am still exploring its sonic boundaries. So the Hydrasynth seems to me another milestone in this "complex" synth heritage starting with legends like the Korg PS 3200, Oberheim Matrix 12.... Thank you for your very excellent videos btw. :-)
That's ace that you can still keep on going with the ESQ-1 after all those years.
The Hydra does remind me of the Xpander (and therefore Matrix 12) you mentioned. A kind of lineage as you say. Quite interesting these kinds of instruments crop up along the way.
Is this a good performance synth? I need help. I need a new synth I can perform with in a band that sits on the floor so it must have sustain button (no pedal.... using pedal with knee while sitting in front of a crowd is ridiculous) that has lush sounds that can easily be manipulated. I toyed with the hydrasynth in the shop and it seemed perfect but usually get entranced by new anything while in the shop....
@@thesplendorists You can use the poly aftertouch as an alternative to the footpedal, but being a complex instrument, you may have a good degree of pre-planning to do before a performance. Willful simplifying patches, organizing them etc. In your shoes I'd prefer to haul the less burdensome explorer version to live gigs. I know some keyboardists, especially those with piano backgrounds, might have some distaste for the smaller keybed though. Cost of gig damage or loss is also a consideration. Thankfully Hydrasynths are pretty affordable. A Hydrasynth Explorer is cheaper than a Behringer Deepmind 12, but depending on your stylistic needs, that might also be an inexpensive but versatile option. Deepmind 12s also have aftertouch for the footpedal alternative. Granted I haven't played a Deepmind, so I'm speaking out of at least partial ignorance here, but from what I've heard online, I've been unimpressed with the Deepmind's oscillators in their raw state, say unlike a take-your-pick Oberheim or Prophet, which sounds like heaven from patch initialization. Sorry if this is verbose. TL;DR .... Hydrasynth may be overkill for your application and perhaps a bit heavy to haul, but can absolutely do the job with some pre-planning.
@@thesplendorists it's a little pricey, but an OB-6 has a lot of lush sounds, and with the warm effects (DDL and Chorus but especially the Delay) you might be able to approximate the effect of a sustain pedal while sitting there on the floor. Or with one hand on the keys and the other on the Release knob (the VCA one.)
@@swanofnutella4734 i had the DM 12 for a year or so and i agree with your assessment of the machine. It's an amazing synth, but garbage init. patch and yeah, you can stack the oscillators, but they're never going to sound as rich as a Korg, Moog or Prophet sound from scratch. I found i had to use effects chains continually, in order to get things i liked. For now, I've moved to a Digitone Keys for my poly needs (and time-keeping) and a Moog Sub 25 for the filter and grit. I recommend the DM, but not as a first or an only synth.
I found your unique approach to "reviewing" the Hydrasynth really enlightening and entertaining. It's also humbling, because my normal stance is that _limitations_ inspire creativity. Impressive work by ASM, making flexibility as intuitive as they have. And I find your patches (and jams) *incredibly* musical. Very nice job.
Thanks Rob. I thought it would be a fun way to give it a test drive, good to know it came across well to you.
@@AlexBallMusic I agree with Rob & would love to see you compare the features of the Deluxe & explorer models before I decide which new toy to indulge in . . . . . 9-)
@@dijidave Each ASM Hydrasynth has exactly the same sound engine, except that the Deluxe has two of them, so it's bi-timbral. The Deluxe (€1640) has 73 keys, the original Keyboard (€1150) has 49 and the Explorer (€550) has 37. All are velocity-sensitive with polyphonic aftertouch, but on the Deluxe they are full-sized. The Desktop (€800) has 24 pads instead of a keybed. The Deluxe and Keyboard models both have the ribbon controller. Otherwise the hardware is largely similar, except for the Explorer. This has fewer control knobs, though a shift key gives you front-panel access to the other functions. You can view only 4 parameters at once (not 8), though that's still great compared to other synths. It has no expression input, no MIDI thru, and the headphone jack is less conveniently located on the back panel. Unfortunately there's also no CV in, hence no audio input.
Personally I'd rather get the Desktop model, which has none of those limitations. The pads can be treated as a bonus interface.
I actually agree with limitations are very good for being creative not having to many possibilities generally drives you to be more creative in a limited set of parameters …. But sure with virtually unlimited possibilities you must limit your selection of variants to sense of such a plethora of choice!!
To make sense of such a plethora of choice sorry bad English
So the moral of this is: Just because you can, doesn't mean you should. But if you want to, it's possible.
That can be applied to more than just synths my friend.
“Absolutely…not.” Nicely teased there. I have always thought that demos of synths done in the context of fully-fledged musical tracks are the most useful for me as a note-by-note compositional melodic musician. I can hear how they sit in the mix and the extent of their playability as an instrument and not just as a bleep-bloop sequencer toy. Luckily in this instance I already had my own Hydrasynth and knew my own personal answer to the question posed and agreed with your final assessment. But are you now feeling buyer’s remorse, as I am, at having the original when the larger keyboard Deluxe model has been released, similar to how Peak owners must have felt at the announcement of the Summit?
Thank you. I've tried all sorts of things over the years and feel short contextual compositions are the most effect method to demonstrate a synth. Good to know you agree.
Buyer's remorse - this was a loaner and its returned to the distributor, but if I was in the market for a poly the Hydra would be a serious contender and I would probably plump for the Deluxe, yeah.
I never regretted getting the Prophet~10 instead of 5 for the same reason.
@@AlexBallMusicdang was reading the book you wrote before you edited and condensed it :)
Hello from the future! (18 months after your post). I loved this video. I just received the ASM Hydrasynth Deluxe for my birthday and have been watching all sorts of videos on it so I can better understand how deep this synth actually goes. Very nicely done.
What a cool birthday present, I’m gonna get one myself soon
This is one of the coolest demonstrations of what is possible with the Hydrasynth that I've seen. You've managed to combine complexity with musicality in a very impressive way. Your demonstrations remind me a bit of Jexus in a way, but with a heavy lean more towards the typically ever-listenable Alex Ball musicality.
Speaking of which, Jexus praises the Hydrasynth a lot while noting that it's a synth that requires you to think about the sound you want to craft. It's clear that even with the complex routings you've got a decent idea of what you're doing and how it's going to sound, and more importantly, how to use it in a mix. As impressive as some of the Jexus patches are, you go a full step further by incorporating everything together, and that's very noteworthy.
In fact, it's what sets you beyond pretty much every other synth player on UA-cam. It's fun to listen to a demo and hear what's possible when a talented person comes up with interesting patches, but it's another experience entirely to hear a full composition using them. (Shoutout to Keen on Keys for doing similar.)
Great video!
Thanks Adam!
Yes, it's quite like a semi-modular synth in terms of the workflow. So you get the best results whilst wearing that kind of cap.
Dude … you are one of the only UA-cam synth players that can actually play lol … your jams are always so excellent !!
You’re one of the first to display it this way!!!!!!
Alex, well done ( would expect no less!) As already mentioned, sound design is one of the pieces that goes into the multi-dimensional contrict that results in 'music'. Context is what ultimately matters, i.e. how is one assembling the pieces of their puzzle. Often times (over) complexity doesn't serve the result; you need to recognize that and know/learn when it's time to stop or go further. The key take away for those watching this -- it's all in the Hydrasynth there if you need/want it, but it doesn't have to be used it it doesn't suit the context. I've been involved & around a lot of synths over the years, and there's a number of industry veterans that came together in making the Hydrasynth IMHO one of the most significant synths in the last decade or more. They nailed the sweet spot of power, versatility, UI, controllability and bang for the buck.
Definitely. I was pushing it more than you'd realistically want to in most situations. A kind of hyped version to see what that sounds like.
As you say, it's always a case of choosing what you need. There's always more notes, chords, rhythms, note divisions etc when writing music and using them all in every composition would be fatiguing and ultimately not very satisfying.
...and yes, it's a significant modern synth for sure. Agree there.
Honestly I love this thing. I think Alex could get a good tune out of damn near anything but it sounds incredible on its own and sits really well in a mix too. Georgous stuff
Cheers Adam.
I think you nailed several of the specific features of the Hydrasynth there well Alex. It's an immensely capable instrument capable of both analogue-like warmth, wavetable-like metallic harshness and most in between. For me the mutants, the poly AT, that cracking little arpeggiator, large modulation matrix and the number of parameters/configurability associated with LFOs, envelopes and most everything else is an endless source of inspiration. As you did, I also found it to gel well with my other gear in a mix, especially the analogue synths. I've persuaded two people to get one and underwritten the purchase with a promise to buy it from them for what they paid for it if they didn't like it. Both were some months ago and neither took me up on that offer, preferring to keep it for themselves :-)
You should be on commission Eddy. 😉
Agree with your comments, you can dive off in very different directions with it. Was hugely fun to do this video.
I totally agree the Hydrasynth unlock a creative potential like never before. It also fits in the mix with many other Synthesizers. I'm never board on the Hydrasynth
Bought it on release and I’m still amazed by its intuitive design layout and endless possibilities. Easily my favorite synth.
I think you did a fine job of achieving your goal, Alex. For me, the clear winner was you - your creativity, playful sense of irony, and deep understanding of the Hydrasynth's possibilities were entertaining and edifying. When I played an earlier one in a NYC music store I was impressed by the interface, some of the waves' pure sounds through the internal effects and filter, and their use of the color orange. With my pedestrian taste in synths, and a Jupiter 80, an old V-Synth, a DeepMind and 2 fine DS poly's here, there's not a real 'hole' in my rig which this synth would plug, so it's cool to experience one being pushed, vicariously, in your deft hands.
This is the first new synth in a long time that grabbed my attention. That 'random' button sold me! Like MIDIQuest for about any synth - that 'randomize' feature allows you to turn your old synths into new ones. Love the interface, especially the way they sort of took the Ensoniq ESQ-1 design for the visual layout of the buttons/signal path. Great vid as always!
Great one Alex! This synth had me at poly aftertouch.
Loving this demo, very inspiring. And especially thank you for the reminder that it has an audio in through the Mod Ins, I have been lacking some effects and I just realized the Hydrasynth can provide them for me nicely!
I love the Hydrasynth. Sometimes it's a bit too much for me but I love playing it with a Prophet-6 and OB-6. They're so different but blend wonderfully and never get in each others' way. I LIVE the arpeggiator and especially the module select layout on the right hand side. Oh and then there's the poly aftertouch! Macros: I dont understand them yet but you can just have fun with editing presets or starting with a basic patch and go as far or not far as you want. I need to get the 1.5 OS update loaded, so I can try the SEM style filter!
A macro is usually a knob or button that you can link to multiple parameters to, at what ever amount you set it to. So when you move the knob it will move all the parameters you have assigned to it at the same time. My HS arrives tomorrow so I haven't tried it yet but that's usually what it is in other programs.
Thanks for another thoughtful and fun video Alex. Lots of inspiration from watching you play those sounds - I'd love to see a "deep dive" on how you programmed some of those patches in the future.
Also, 11:05 is about how deep I've dived into my Hydrasynth so far :p
You're on a roll lately. Great video. I really enjoy the Hydrasynth. I haven't spent enough time with mine yet but every time I turn it on, I find it inspiring.
Cheers Jim. A fun compliment for things like your Prophet too. Can imagine you letting rip.
I consider myself to be pretty much a vintage analog purist (AKA an old fart), but I really like the sound and capabilities of my Hydrasynth. I think it's quite distinctive, really well designed, and has its place among all the old favorites. I think it's going to age well and become a revered classic. And no, complexity is not bad for your music! 😵💫
Definitely good for both old and new farts. 😄
Good to hear a positive and open minded opinion - there's so much nonsense spoken about digital and analogue synths.
Nice Demo. I really liked it at around 5:17. Beautiful sounding synth and that's why I bought one.
This is a killer demo, Alex. In the final minutes of April 2024, the model I’m perched on the cusp of ordering is the Hydrasynth Explorer. Your demo makes me wish I could get the standard 49-key version instead. (Love that ribbon controller; your usage of it demonstrates the debt that all ribbon controllers from Moog, Alesis, Yamaha, Kurzweil and ASM owe to the Ondes Martinot.) However, portability and economy are taking priority over esthetic preferences. My regret will be if I get it only for the aftertouch and its capability of emulating Moog, ARP, Oberheim and Sequential synths when it’s also got Yamaha FM and Ensoniq wavetable architecture in it.
One of the best parts of the Hydra is the UI. Moving between sections is extremely well thought out.
I also love that you can use it as a basic 3 oscillator into a filter synth without cracking the manual. So you don't have to use all of the complexity and capabilities. Then as you dive a bit deeper, you can explore a particular mutant (for example).
The UI is amazing. I definitely had a "oh that's all it is!" moment when using it. Couldn't believe how straightforward it was.
Agreed. The beauty of this synth is that you grow as you use it, and because of its versatility, it has great utility.
That second jam... "do you even Prodigy?" I love it! Great video
Awesome......... as long as there is creativity , there is no complexity that can't be conquered ....... Thanks for the vid , Alex
Some interesting variations there mate. Definitely showing the tool off. Very good.
Cheers Paul.
Synthtaur did a nice little interview with Glenn back in October where he said they have few years of development on Hydrasynth line already in the works. But I'm only getting more tempted to jump in with the Deluxe right now. I'm glad you and others have videos deep diving on different things on this synth. Very nice work on this video exploring some interesting ideas and questions. Something else that really fascinated me was the FM sounds it can make. Sonicstate has a nice video on that and one of the patches blends wavescanning with FM and just comes out as this big, beautiful, emotive, and unashamedly digital pad. I have to wonder how layering sounds like that with slight differences between the engines could turn out.
always enjoy your videos, got a special kick out of the jexus / WCOG styling of the scario part!
@11:46 Indeed! But tve beauty of Marcos is that you can automate cross-fades by adding negative settings across multiple parameters
I love and hate the complexity all at the same time! You make it sound great! I on the other hand would just end up getting bogged down in its many features, mostly because I’m just not that well versed in the mountainous amount of routing and complexity. It looks and sound like a fantastic synth especially in your able hands!
I've used a friends Desktop Hydrasynth and found it very enjoyable - it reminded me of my Ensoniq SQ-80 in some ways (not just from poly aftertouch).
As such, it would be interesting to see an ASM sampling workstation.
I'm sure that would be awesome too!
All cool patches that you used very musically!!!! The key factor is your application of them rather than the really interesting patches!!! So cool!!!!
I’ve got one and I love the hell out of it . PWM ( 3 flavors ) on any wave form shape alone was enough to hook me let alone the mods .
Fun way to look at a synth. Personally, this is in my Top-5 synths of this century. I find it absolutely stunning in terms of programming/timbral potential, and the poly-aftertouch is killer!
I can see the appeal having now used one.
To your title, for me, probably lol. But WOW, loved all your jams and songs today, especially the funky intro! You made this powerful beast shine so well.
Thank you!
Great demo Alex! I’ll be honest I got halfway through your explanation of the first patch, had to pause have a small nap then coffee, listen to,it again.....but it still went over my head ☺️.....Regardless of my limitations- it seem like a great synth to me but one you obviously have to put the time in get good musical results. (the corollary being its clearly not for those who are happy sticking with intuitive exploring of basic subtractive, analogue synthesis). Not sure if I’ll ever get one myself but I’m really glad ASM have put it out there!
You have so much skills, using so much synthesis power to great effect is not easily achieve by most of us !
I remember when beeing first confronted to a complex synth, it took me more than 2 years to eventually "master" it
And even now, I'm sure there are new things I could find on it
Thannks Alex. I was tempted with the Hydrasynth desktop version last year, but opted for the Cobalt 8M instead.
Not played the Cobalt. So many great synths out there
Excellent video once again man! Absolutely love my Hydrasynth it’s a fav in my studio ❤️
Great to try one. I have to agree, very cool synth..
Okay, so that initial jam was the first time I've gone YEP, I get it! So many things it can do, but nobody (I've encountered) did simple Juno-ish or Prophet-ish sounds on it. So it does that too, in addition to all the weird stuff! Sweeeeeet.
It does everything basically. Quite the power house.
That's because it's trying not to be a Juno or a Prophet. It really wasn't designed to be just another VA, so it's a curb stomping wavetable synth instead. The thing I personally love about it is how well you can actually get warm lush pads out of it.
Thank you for the video. After 2 years of doubts and thinking, listening and viewing YT videos I bought another 'complex' synth. The Waldorf Iridium. However. After one hour, I returned it to the shop. Nice (sometimes over complex) sounds. That can't be denied. But in no way BAM IN YOUR FACE like the Hydra....
I loved your demo tracks congratulations beautiful ! Well done!
Beautiful job as always! It mostly boils down to interface regarding if a piece of kit seems too complicated. The interface/layout of the Hydrasynth seems very well thought out!
To pick nits: I have to say in the context of the "dense" demos the Hydra seemed a bit distant or hollow. I think it might be whatever ambience or "size modelling" had been assigned.
Hi Alex. How are you? I must confess that I put you in the "only analog rules" category for a while but this video proves I have been the subject of my own preconceptions in stead. Your approach and argumentation are excellent. Every platform has it's strength and weaknesses and being disciplined is enough to take away most preconceived digital disadvantages. The real art is to not put everything on 11 all the time (insert Spinal Tap clip). :-)
Hey Marc! I'm good, how are you?
I love digital too. In fact, in some cases (like vintage delays) digital is way more interesting.
I'm happy to explore whatever.
Definitely agree with your comment. Everything is about balance and control, much to Nigel Tufnel's dismay.
@@AlexBallMusic Hi Alex. I'm doing well. Busy as ever. Yeah, I for instance have a very deep apreciation of the old PPG stuff, especially the 360 Wavecomputer and the later Wave 2.3 plus Waveterm system. At the time that stuff brought really fresh new sounds into play and contrasted well with analog. Thomas Dolby and Tangerine Dream used the 360 extensively and because of it's relative simplicity (no filters, ma!) it always sounded rather pure and in your face. It couldn't even do 11! Those where the heady days!
Excellent Alex, good demo of the Hs potential taking an interesting angle to do so so;. (Gleam is like Sakamoto meets Pogo. Nice)
I'm glad you made this. I've been considering one of these or the Peak(I know this has analogue elements) but I can't decide if I'm just better off having VSTs for digital stuff and only buying Analogue hardware. This appears to have some great performance modes which this video clearly shows. I love that ribbon.
I’ve had a Peak for a couple of years and it’s my favourite synth I’ve owned. Currently selling other gear and am looking at adding a Hydrasynth. Have some interest in the deluxe but don’t really have the room and the cost is fair but I don’t think I’ll spend that much. I also have considered selling the Peak and getting a summit but again room/cost is a factor.
great review A.B. Your creativity knows no limits.
I think complexity and a high ceiling makes for excellent value for musicians buying physical instruments - ultimately you want something very flexible and is able to generate a wide variety of sounds for many kinds of musical applications, as you have demonstrated. The more you use it and get familiar with the interface, the more options and possibilities open up.
Definitely. The more you go there, the more it just becomes second nature to dive right in.
I like complex synths. I‘m just creating sounds about 90% of the time and sometimes some sounds fit together and a song happens. 😂
While sound designing i need complex synths, cause the simple and more restricted synths get boring pretty fast.
But hey, that‘s just my way of doing it.
I guess, there are as many ways to approach making music as there as are musicians and everyone has to find the way that works best for them. :)
You like the potential. I'm a bit the same. A good analogy is a box full of Lego. A box full of chaos. But the more pieces you have, the more you can draw from, the more you can build.
I enjoy sitting in front of something like the Hydrasynth or my modular wall for the same reasons you describe. There are many, many ways that you can go.
I've sold a few simper synths over the years because there were only really a dozen things they did and once you'd done them all a hundred times the inspiration goes.
That said, I do still own a TB-303 that does one thing. Haha.
Excellent stuff as usual, Alex. You covered the topic comprehensively. I agree about control being crucial to getting the most out of Hydra. It sort of reminds me of a similar issue with MatrixBrute, which is a synth that requires careful gain staging in order not to sound "overcooked".
very good video, the dual step lfo for a poly rhythm blew my mind. I was like duh! I couldn't see it until I saw it!
Great tunes, Alex! You always deliver.
Great video. You have showed a variety of usage scenarios. Very useful and refreshing :). Only thing is now I want one while don't needing it really ;). And indeed it is how you use it. Any instrument is capable of good sound if used in the right scenarios.
Demo 3 is really awesome. Sounds great
I want full versions of all of these please 😃
In decades of dealing with music - as a listener, performer, composer, producer, analyst, etc. - I have concluded that music is a multi-dimensional medium. I have also discovered that when you take all factors, there is a balancing act/trade off between simplicity and complexity. A piece of music may have some aspects that are quite simple like a melody or a chord sequence, but may contain other aspects that are quite complex such as timbre, arrangement or form. For the creator, music is the result of making an infinitesimal number of choices. For the listener, you are hearing that result and then trying to “figure it all out”. And in the end, how much or how little does depend on the beholder.
Thanks for the thoughts Derek. Definitely have to agree with you here.
Another awesome video! How the heck does this channel only have close to 100.000 subs?
Cheers. Niche content I guess. If I wanted subs I'd do memes or gaming videos. 😆
I've been in the box for a few years now, and over gear acquisition syndrome in general (have had studios full of gear over the years), but this synth really appeals to me. Having said that, I just know I'll be ebaying it in 18 months due to not using it enough. Sounds great in Alex's hands though.
I can understand the appeal of just having a computer, but I'm definitely in the "full of gear" stage of life at the moment. 🙂
@@AlexBallMusic you're cool, just reminding myself in public why I don't buy the latest HW anymore. I miss the buzz, I don't miss having to dust it while not powering it on anymore!
10 month later edit - just bought one...
@@kristianTV1974 Have you sold it yet? Is it a keeper?
That "Glade Runner" song made all the malenky little hairs on my plott standing endwise and the shivers crawling up like slow malenky lizards and then down again. Thanks for that.
Great video just subscribed thanks!! I had a Korg Wavestate but sold it as it was holding me back musically!! My music turned from dance type music to film scores and classical stuff!! It was too complex for me as well so it’s always good to try synths (if you got some money!!) but personal choice and what you are aiming to achieve musically with a synth is what it all comes down to!! I decided I’m more of a groove box merchant in the end!! Thanks for the video!👍
Nice demo. I liked what you did with the ribbon controller. Hard to believe that they can sell the "Explorer" version of this amazing machine for US $599.
Really depends on how you use it and how easily it’s navigable. Complexity isn’t bad for music. It’s just often bad for mixes. Stellar example pieces as usual. Only complaint is, when a multi-track, the complex patches muddy up the mix. It’s harder to appreciate each element, as they step on each other. Sometimes quite a bit. Unless you want 1 instrument taking up most of your bandwidth, it’s often better to stick with simple. Fits better in a mix once combined. Not always an issue but over saturation and imaging issues do happen a lot more with complex synths. I think your examples would sound more concise, if you had used simpler synths with maybe just one super complex synth patch in an area that could handle a huge sound. Along those lines, the best sounding examples you made were with only 1 instance of the complex synth running, as it doesn’t leave much room for much anything else.
IMO overly complex synths can get in the way of actual melodic composition, by eating a lot of time with too many options, hiding good melodies with overwhelming superficial sound elements, and/or simply doing the composing for you. If a melody sounds bad on a simple instrument, it would behoove the composer to write a better one, instead of just finding a synth patch that hides it. By the same token, if one writes a great melody, you don’t want a patch mucking it up.
On the flip side, highly complex synths can be godly IF one uses the variables subtly. In this way one can achieve a very organic sound, while keeping the primaries simple enough to fit in a mix well and allow good melodic writing to shine. The other way it can be good, is if you just simply want to swim in ambient mush and watch people complain about your mix. Which I can be guilty of. If sticking with presets, these kinds of complex synths are good for ambient pad pieces, where you literally have only 1 or 2 patches running to fill an atmosphere, because, realistically, that’s all the mix has room for lol. : )
Amazing !! I think I will buy the Deluxe for the 6 octaves keyboard and the 16 voices : single, dual or split like the summit.
Thank you for making this amazing demo, Alex! Can you weigh in on the performability of the interface? Specifically, I'm curious about those weird and slightly ugly wheels, and the key action. I had a very bad experience with a Medeli key action on the Kurzweil PC4 and I don't want a repeat performance!
‘ Glade Punner ‘ ooooh Alex, my daily sunset coffee is now sprayed all over the garden table 😂…mate if being a complicated individual is anything advantageous towards creativity, the same could be applied to this bundle of joy !
even though i heavily fall into the glory of simplicity can achieve delicious sounds, the hydrasynth has one of the best ‘ play ( with ) it again sam ‘ potential meters on the spectrum analyzer of my heart 🤘😍🤘
It stands well next to the classics, different magic. Great fx, filters slighty more harsh then some analog I have, but still pretty good. And the MPE keyboard is very useful for me.
Jam at 1:30 is absolutely amazing 😃
I think it's mostly about your musical ability and how well the instrument sits in a mix. In most videos I ve seen from hydrasynth, they usually use it for pads and other basic sounds. Not everyone gets into the level of complexity you demonstrated cause not everyone is able to make something musical out of all this complexity. Personally, I have a Microfreak which is super fun to mess around but quite often I end up recording a tb3 instead just cause it sits better in the mix for my leads.
Thanks alex. I have so much to say on this topic. Its essentially the digital/analogue debate. Aren't synths all awesome in their own way? That thing is an absolute monster. Remember a time when you wished you could do "anything"?
But it has no 'sound' Everything sounds at the back in the mix. Not the front. No sparkle nothing. This is what all digital and flat DA's do.
Awesome... almost like watching a "Jexus" demo with the camera angles.. 😉 God damn I want this synth... 😬
I don't have the retro camera setup, immense patience and godly synth talents he does.
The user interface on the HS is inspired, and in layer mode it can produce crazy sounds, but it definitely has a digital character to its tone. No surprise of course, it’s a digital synth. The Summit gets you half way to a warmer sound with the amount of polyphony. Give up 10 voices and you get the warmer tone of the Polybrute. I feel very lucky to own all three.
Haha given the complexity of your modular patches I think we already know how you'll answer that question. Nice music as always.
😉
This is the first time I've heard anyone make the Hydrasynth sound warm and squashy, but then most people don't have a fraction of your talent.
Thanks. It's pretty easy to make it sound warm, there's even a setting for it funnily enough!
The first track is an absolute banger, great work again
Thanks!
I love the outro! Im not convinced by this synth though. I keep trying to be, but there are others I would prefer. Its a bit 'jack of all trades' ...reminds me of the VSynth , as an overall package, ( not sound) which I have & love. I feel like Iv got plenty of digital hardware synths that cover what this can do, though I love the randomisation feature & its selectability. Thats the feature that nearly sways me on this. Poly aftertouch... meh. I have a GEM S2 which has a really nice keyboard action & poly afterttouch, & I bought it primarily for its PA capability, have quite a few P/A capable synths, & I havnt really gotten into it like I thought I would. Everyone raves about this synth & I dont quite get it. If I didnt already have loads of complex digital synths & wanted one, I guess this would be a great contender though. Im guessing you are not totally convinced either, though I may be wrong there.
I'd revisit that GEM. PolyAT can really humanize held notes. It makes static things breathe with just a little amp or filter modulation.
company from out of nowhere makes the best value synth at the moment , just need to spend a decade with it to master its depth.
Asm is part of medeli, I would not call that out of nowhere. Given Korg employee less than 500 and medeli over 1300, that is quite a big nowhere.
nothing comes out of nowhere..
@@DavideCerriGA i see , i had never heard of them either (medeli ?), and i have been doing stuff for 30years. I have a few Korg's though. I am in UK though . .
@@Wil_Dsense I don't think anyone schaw me coming.
@@user-rv8wb1nl1b they are big in the Asian market, so most people in eu or us likely never heard of them.
Quite possibly the best all-around synth on the market right now. It's easy to use, does virtually anything imaginable, has an exceptionally good set of keys, and is surprisingly affordable.
I've been recreating my Reason Rack in hardware. Needed something to cover the Maelstrom wavetable territory. This is what I got. I still need to sit down with it and learn it. Beautiful synth imho. And I think Glen Darcey is a brilliant guy.
Amazing stuff. Makes me question if I’m truly making complex enough patches myself!
At least 5 LFOs at all times, as a rule of thumb. 😉
When I read the title I thought this video was going to be full of spicy jazz chords and modes :)
I wish you had a longer version of 7:08 Demo 4: Innie-Outie...?
Cheers. Just a litte jam for the video. Didn't have time to extend it.
have you had a look at the minifreak? wonder what you think of that, 'd love to see what you can do with it
I have one. I've lent quite a bit of gear out as I don't have space for it all in the same location, so it'll be in a friend's studio somewhere, I'll have to look back to remember where.
I wasn't planning to do a video on it specifically, although it is a cool thing.
Outro Jam reminded me of "The Whale" by ELO :) Maybe the ribbon on Richard Tandy's CS80 was a big part of the sound
Anyhow the way they've set up the workflow in this beast makes everything very easy, especially assigning mods.
Dang that was a big departure from the normal musical style you have and it sounds great. I especially liked your use of the strip to sound like a stylophone lead. It's a unique sound and the the extra power of the Hydrasynth really lets you play around with that style of instrument.
Awesome synth and awesome demo Alex - I think I'd either get lost in all those endless features or more likely just use a tiny fraction of it's capabilities, which would be a bit of a waste!!! I still yearn for that Syntrx that you featured a few weeks ago..........
Coo, just spotted your subscriber count, tantalisingly close to 100k.
It can be as simple or as complex as you want I guess. Just hit INIT and then decide how far you want to wander today. 🙂
Syntrx - that thing is amazing. Over the moon that they've left it with me.
@@AlexBallMusic Yeah, I guess you could keep it simple but there would be that temptation to go crazy!!! Pretty amazing machine.
Glad they've left the Syntrx with you, I'm sure you'll put it to good use - not envious at all!!!!!
Pretty sure Wendy Carlos answered this question in 1968? ;)
P.S. Entertaining video, as always, Alex.
The Hydrasynth sounds very modern and clean. I have to say that the sound of the older synths you use suits your music better. Totally subjective and personal opinion off course, but there you go!
Yeah, different sounds are good andI guess what we then gravitate to is our own thing as you say.
Yes this synth doesn't have the Raw of a totally analog synth.
@@fjfrancois You can make it flaky in various ways, with phase randomization, random or noise lfos, an analog feel setting, distortion, modulatable envelopes, and for pads you get a really human sound just moving slowly and being yourself: polyAT adds quite a bit of random life to a sound. Getting there from INIT which is clean and precise is a journey.
that RIBBON controller! ❤
I love my HydraSynth.
You have an incredible way of making me go from meh about a piece of gear to being how much is it & how fast can I get my hands on one? Thank You!
Thank you!
In its early UA-cam demos I thought it sounds very cold and harsh, but your playing presents it very well.
Cheers Glenn. Depends how it's used, it can sound very glass like or very rich. Good to experience it to find out.
The Hydrasynth sounds really good, is a well thought out machine and have excellent aftertouch, the ribbon is cool and have nice effects, would prefer more voices since the beginning but that is covered in the new deluxe version.
To resume, I haven't seen a nice synth like this one in years, I have my eyes one, price is reasonable.
Thanks Alex!
If I was in the market for a poly, the Hydrasynth would be a serious contender, definitely. The Deluxe looks amazing.
Yeah I've been watching a few vids on this synth lately and am really into it. The workflow seems very familiar and easy to me. It reminds me of the workflow on an Ensoniq keyboard. At the same time I'm a bit frightened by it as in will it get along with my other gear.
Muito bom !! Esse synth tem um peso enorme no som. E de onde está vindo o som dessa Drum machine ?
Drums are Barry Beats one shots.
barrybeatsakasispex.bandcamp.com/album/barrys-ultimate-fakes-and-beats-vol-1-sample-pack
@@AlexBallMusic love it. That synth is awesome. Great work. Cheers from Bahia, Brazil.
It’s about time I found a “Practical “ video!!!!!!
Great video- I absolutely love your musical language- it's always fun and a bit dark- cute but kinda scary. So I am kinda curious as I really love the sound- about how long (on average) did it take you to program the patches on the Hydrasynth (for the more complex patches especially (i.e. demos 3 & 5- not really 4 because I'm sure it took a while extra to do all of the modular stuff)? The interface looks easy to move between sections and functions. I really like the look of the workflow of this and plus the complexity you can achieve. And do you personally prefer working with modular or something menu based when you're just messing around having fun? Which system gives you the best balance of speed to get to a sound you like as well as feeling like you've got all of the hardware capability you need to find that sound? You're an absolute legend- keep on doing what you do.
"Not absolutly digitalise signal" means ... the modern electronica? It so good. Thank you.
Q can you map the ribbon strip to the pitch wheel if you have the explorer version?
or a spare knob on the synth?