The ASM Hydrasynth’s digital filters contribute a lot of character to its sound. You can choose between serial or parallel routing. Filter 1 has 11 types to choose from. These include 12 and 24-dB-per-octave slopes, ladder and MS-20 emulation, compensated and uncompensated choices (which determine whether more resonance increases bass response), and lowpass, highpass, and vocal formant types. One standout feature is the variable drive control, which pushes the filters to a warm growl or drives the amp into distortion. Filter 2 is a sweet two-pole state-variable type. Like Oberheim’s SEM filter, it morphs smoothly between lowpass, bandpass, and highpass. I have only scratched the surface and am thrilled to start creating my own sounds. Out of the Box the Hydrasynth is very intuitive, no heavy DEEP MENU diving necessary (man how I hated the DX7 for that). It is also built like a tank! You can't get a better build quality. With 2x different Filters (which can be used in Parallel or Serial mode) detailed sound shaping is simple on the Hydrasynth. The first Filter covers 11x different Models (including 12/24dB Low-Pass, High-Pass and Vocal). The second Filter is a state variable, and works with a slope of 12 dB and can be crossfaded continuously from Low-Pass via Band-Pass to High-Pass (similar to the SEM Filter). insert effects, with Chorus, Flanger, Rotary, Phaser, Lo-Fi, Tremolo, EQ, Compressor, Delay (5 types), and Reverb (4 types)

Macro setups can be stored and named, too, so that you can apply your favourite buttons’ macro setups to any of your custom patches. Much like ‘control routes’ on the Alesis Andromeda –which give you a way to ‘interrupt’ the mod paths – Macros can also control mod-matrix mod routes too, You might expect that just eight waves couldn't compare with the longer tables of older synths, but in practice I didn't find this to be the case. One of the common misconceptions concerning wavetable synthesis is that it's all about endless transitions, but in my experience, the coolest results are achieved by morphing between one or two markedly different waveforms. In such cases, the in-betweens are often as interesting as deliberately prepared waves. Before moving on, it's worth mentioning that the ring modulator can make use of any oscillator, Mutator, Mod input or noise (white, pink or brown). It therefore opens up either Mod input as a potential source of external audio, as we'll see later. For now, it's worth knowing that all audio sources — internal and external — may be panned and processed by a pair of filters, a balance control setting the amount for each. Filters The new Mutator, called PhazDiff, creates a new waveform which is derived from the difference between the incoming waveform and its inverted and phase-shifted counterpart. Sine, triangle, Square, Saw up, Saw down, S&H, Low random, Noise, Pulse width 25%, Pulse Width 12.5%.I've never had such a "Sonic Experience" with a Synthesizer before (except for maybe a Sony Prototype I was hired to DEMO at the AES Convention in NYC in 1980). Furthermore, oscillators 1 and 2 are routed into Mutators which allow you to seriously shape your sound. Come up with something completely new or recreate classic synth sounds. Mix and Filter Deeply complex synthesizers are nothing new. At this price, though, a synth with the sound, usability, features, and build quality of the Hydrasynth certainly is. ASM describes it as a “digital wave-morphing synth with FM and other synthesis methods.” That puts it in a class by itself. A minor addition to the Deluxe and Explorer models is support for note‑off velocity. Limitations in the original Keyboard design meant this was impossible, although it could be assigned in the modulation matrix and triggered from an external keyboard. The Deluxe and Explorer keybeds can now support this natively. Perhaps unsurprisingly, I found it much more reliable on the more expensive Deluxe keybed. Hydrasynths offer four effects slots, which can all be active at once. There are two multi‑effects slots with flanger, chorus, phaser, rotary, lo‑fi, tremolo, EQ, compression and distortion, plus dedicated reverb and delay slots. I’m not usually a fan of onboard effects on synthesizers, but here they sound impressive and are flexible enough to feel like part of the synthesis rather than a cheap add‑on.

Dual filters — 1 x multimode (11 types) and 1 x variable LPF-BPF-HPF, with series/parallel routing options As well as performance controls, we saw earlier how straightforward it is to rope in conventional modulators. Of those, the five LFOs are identical, having all the expected waveforms, noise, plus a user waveform with up to eight steps. Each step of this 'almost sequencer' is programmed by those ever-present encoders, with a smoothing option if necessary. Five LFOs and five DAHDSR envelopes are on board the Hydrasynth, further powering your sound shape shifting adventure. Instead of pitch and modulation wheels, the Explorer offers touch‑strips, which are OK but less precise. I’m not a huge fan, but they’ll do. It does not have the ribbon controller from the Keyboard and Deluxe, or the CV inputs, which double as audio inputs. Finally, if you need a MIDI thru port or an expression pedal input, you won’t find them here either. In Macro mode, each knob-and-button pair in the Master Control section lets you manually, simultaneously control as many as eight parameters of any module, as well as CV out, MIDI out, and mod matrix parameters. Because each patch has its own macro setup, you have 16 knobs and switches to shape your sound in real time. You also have with 13 dedicated filter and arpeggiator knobs and switches.Many modulation sources are available to add movement to your sound, including five LFOs, five envelopes, and the usual MIDI suspects. All of which are handled by a generous 32‑slot modulation matrix. Because of the 24 polyphonic pressure sensitive pads, you can play the Hydrasynth Desktop synth without any external controllers. But it doesn’t end there; two filters offer 12 modes in total, from LPG to 12dB octave-morphing. Then there’s the LFOs, 5 envelope generators, ring modulator, noise generator, mixer and effects (including modulation, ambience and more) so you can send your signal on whatever wild path you choose. Tactile User Interface

For the uninitiated poly aftertouch allows you to play a chord and add modulation to one (or multiple) notes in the chord. This is incredible because you can achieve effects played by one hand that can sound like a melody and accompaniment in one – all the while your other hand is free). The Hydrasynths are often referred to as wavetable synthesizers, although this isn’t strictly accurate. Wave‑scanning allows you to choose up to eight static digital waveforms and morph between them. The sonic result is similar to wavetables, even though you can’t save or import your own.Filter 2 is a 12dB per octave state-variable filter, which means it can sweep continuously from either low pass > bandpass > high pass or low pass > notch > high pass. It is similar to the classic SEM filter in many ways. LFOs per voice, with 11 waveforms — Sine, Triangle, Saw Up, Saw Down, Square, Pulse27%, Pulse13%, S&H, Noise, Random, and Step The next section is where you will find the CV ins/outs and arpeggiator, and an area called ‘main system’. This is where you change patches and banks, save, choose favourite patches, initialise, and – with a feature I also love on Korg's Wavestate – create patches out of thin air with the random button.

While we are talking performance controls, let's look at the unique paddle-style pitch and mod wheels. The paddles are clever and add a more nuanced method of moving the wheels. They also light up in several rather lovely colours along with the big selector wheel, and you can customise this when saving your patches. Finally, the Modulation Matrix offers 32 user-definable modulation routings are available for you to bridge 29 modulation sources and 155 modulation destinations. You can route the modulation in almost any direction, including the effects, arpeggiator and Modulation Matrix points. Specifications This synth does have a sweet spot however, as one reviewer on you tube reveals. SO you have to find that to get it to sound its best. Whereas the Peak has a wider sweet spot so everything sounds good on it. Also quoting the reviewer, however I would agree with that. Not having the Peak, but having the HydraSynth and listening to the Peak on You Tube I would agree. MusicRadar verdict: This is a very impressive debut release. The Hydrasynth looks and sounds great, dares you to explore it further – plus, it is impeccably built and fairly priced. There is a lot to like here. The web says In September 2019, a new company called Ashun Sound Machines (ASM) announced that its first synthesizer, the Hydrasynth, was already in production. Never heard of ASM? Perhaps you’re familiar with their VP of Product Development, Glen Darcey. He conceived and brought to market several products for Akai and Arturia.Speaking of mod routes, we have 32 here. This is where you can really let your imagination run wild! You can set the levels and pan the input source with the mixer. A balance control allows you to adjust the amount of signal you route to each filter from each source. The effects section contains four modules. Pre and Post have one slot each to fill with a pitch-modulation, bit-smashing, EQ, or compression effect. Nestled between them are the delay and reverb. The effects sound very good, and you can use any source in the mod matrix to modulate their parameters.