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<\/a><\/p>\nSyrinx and Pan \u2014 A Look into Mythology<\/h2>\n
T<\/span>he story has potential: In ancient mythology, the nymph Syrinx flees from the importunate shepherd god Pan. To escape his pursuit, she transforms herself into a reed. The aggressive breath of the approaching god of shepherds sweeps through the reeds, producing wondrous sounds. Captivated by them, Pan crafts a flute from the reeds. Voil\u00e0: the Syrinx<\/em> (pan flute) was born.<\/p>\n Another story suggests that the sound of the Syrinx flute probably wasn\u2019t all that incredible after all. Pan challenges Apollo to a musical duel, which – not surprisingly- the god of light clearly wins on his Kithara<\/em>. Subtext 1: Flutes aren\u2019t cool. Subtext 2: Even in ancient times, musicians were confronted with the ubiquitous dominance of plucked string instruments. There is a certain irony in the fact that the name of the Synton Syrinx \u2014 which sounds so wild and unrestrained \u2014 is derived from a gentle spirit or, more specifically, from the pan flute that originated from it. Nevertheless, the events surrounding the nymph now seem to be repeating themselves: Hardly any other vintage monosynth is as coveted as the Syrinx; musicians around the globe are on the hunt for this instrument.<\/p>\n I<\/span>n addition to this foray into mythology, it\u2019s also worth taking a brief look at the synthesizer universe of the 1980s. Three instruments saw the light of day: Synton Syrinx<\/strong> (1982), Crumar Spirit<\/strong> (1983) and OSC OSCar<\/a> (1983). These late \u201cMade in Europe\u201d mono synthesizers have quite a bit in common: they were produced in limited quantities, have mediocre hardware, and yet feature a fabulous filter design \u2014 which, as said before, makes them rare collector’s items. F<\/span>irst, it is worth noting the interesting fact that a Synton Syrinx already existed in 1973 (source: dutchsynth.eu<\/a>), a 4-octave synthesizer in the style of the Steiner-Parker Synthacon. However, it was the instrument developed in the early 1980s that eventually went into production. The prototype of the Synton Syrinx<\/strong> was unveiled in May 1982 at the AES Convention <\/strong>in Montreux<\/strong>, Switzerland.<\/p>\n In the 1980s and 1990s, these Audio Engineering Society (AES) conventions were among the most important platforms for innovative studio technologies \u2014 alongside the Musikmesse in Frankfurt and Midem in Cannes. The Fiato Fair<\/strong> in Amsterdam<\/strong> is cited as another venue where the Syrinx was presented. The Mono-Synth was distributed by Synton<\/strong> itself, as well as by PPG<\/strong> (Germany), Rod Argent\u2019s Keyboards<\/strong> (UK), and Big Briar<\/strong> (USA).<\/p>\n The Syrinx, developed by Felix Visser<\/strong>, Marc Paping<\/strong>, and Bert Vermeulen<\/strong>, remained in production until late 1984 \/ early 1985. Its retail price was 1,500 DM, making it slightly more expensive than a Korg MS-20 (1,200 DM). Given today\u2019s collector prices, it was still a bargain, though. In addition to the classic black<\/strong> color, the Syrinx was available in blue<\/strong>, red<\/strong>, titanium (silver-white)<\/strong>, white<\/strong>, purple <\/strong>and orange<\/strong> (assuming the information in synth-literature on this subject is correct), and possibly in other colors as well.<\/p>\n After several hundred Syrinx units had been manufactured and production stopped end of 1984 or early 1985, a final series of six \u201cLast-Syrinx\u201d units was released in 1995. These models \u2014 all in red \u2014 were made from leftover inventory and were offered exclusively as tabletop synthesizers with DIN\/MIDI connector due to the lack of available keyboards (see the images from a Reverb auction further below). And with these six “Special & Last Edition” units, the Syrinx chapter came to a definitive end.<\/p>\n So much for a brief look at the history. Synton<\/strong> \u2014 founded as early as 1973 and led by Felix Visser \u2014 produced not only the mono-synth<\/strong> Syrinx<\/a>, but also modular systems<\/strong> (e.g. 3000 Series<\/a>), various vocoders<\/strong> (Syntovox<\/a>), and other studio equipment<\/strong> (e.g. VC Phaser<\/a>). Starting in the late 1990s \u2014 by which time Synton had already ceased to exist \u2014 the F\u00e9nix<\/strong> modular system was finally released.<\/p>\n Around 2020 there were also new developments in a modern Syrinx known as the Syntonovo PAN<\/strong>. The instrument, which was showcased at SuperBooth in 2017, 2018, and 2019, caused quite a stir with its XYZ Expression keyboard and its various prototypes, but \u2014 as far as we know \u2014 never made it into mass production. Sadly, co-developer Felix Visser<\/a> passed away in late 2025.<\/p>\n T<\/span>he monophonic Syrinx features:<\/p>\n x<\/span><\/p>\n In addition, the Syrinx features:<\/p>\n Dimensions \/ weight:<\/p>\n B<\/span>efore we get to the Syrinx\u2019s unmistakable musical strengths, allow me to offer a bit of criticism regarding its hardware. The Syrinx is encased in an all-metal housing \u2014 as simple, functional, lightweight, and slim as it gets. The rotary knobs are all a bit wobbly and lack resistance, which does take some of the joy out of operating the Syrinx (here, the striking parallel to the Crumar Spirit is evident).<\/p>\n This lack of sturdy<\/em> potentiometers could be remedied relatively easily by attaching extra washers to the Syrinx’ surface (see similar solutions on the Sequential Pro-One<\/a>). In fact, we\u2019ve already done this on a Syrinx (with good results), but with a synthesizer worth several thousand Euros, attaching washers with superglue is a decision that requires careful consideration. We wouldn\u2019t do it that way anymore.<\/p>\n E<\/span>xplicitly praising the Syrinx\u2019s potential may seem like stating the obvious. And yet it never ceases to amaze me what soundscapes the routing options and filters conjure up. And the mixing of sound sources. And the oscillator synchronization. And the ring modulator. And the LFOs. But it is only through the right kind of performance that all of this comes to life \u2014 namely, that performance via the touchpad.<\/p>\n This touchpad may feel unfamiliar at first to long-time Roland Bender (or Moog Wheel) users. Critics claim that the tool is \u201ctoo\u201d sensitive and often difficult to control. That may be true. But that is precisely what makes the Synton Syrinx so appealing: its wild, uncontrolled, and untamed timbres, its biting and at times malevolent dynamics. Its overdrive, its overtones…<\/p>\n That brings us to the key word: dynamics<\/strong>. What sets the Syrinx apart is its liveliness. Extremely quiet, extremely loud – changes in a fraction of a second. Extremely rough, extremely clean (the CEM oscillators can\u2019t quite hide their origins), also in a fraction of a second. What tool could be used to achieve this? Bender? No! Wheel? No! Touchpad … Voil\u00e0.<\/p>\n The beauty of it (and I\u2019m sure most fans of vintage synthesizers will nod in agreement here) is that the Syrinx requires LIVE performing. Vocal sounds created by tweaking Peak 1 \/ Peak 2 and applying VCF movements via touch pad … wonderful. No triggering via DAW, no external controller … nope \u2014 it\u2019s up to the musician<\/em> \u2014 touch the Syrinx and bring it to life!<\/p>\n The resulting sound can be heard in the attached 40+ minutes of audio material. Or at least part of it. In terms of sound, the Syrinx is certainly hard to categorize … there isn’t just \u201cone\u201d typical Syrinx sound! Some elements are reminiscent of the OSCar synthesizer, some of the Crumar Spirit, some of the Roland SH-5, others of the ARP 2600 or Sequential Pro-One, and some of a solo voice from the Yamaha CS-50\/60\/80.<\/p>\n In short, there\u2019s no way to categorize it. While there\u2019s the Moog Sound<\/em> and the Roland SH Sound<\/em> \u2014 each with its own nuances \u2014 there\u2019s no such thing as a distinctive Synton Sound<\/em>. And that\u2019s excellent. It\u2019s what makes the Syrinx the one-of-a-kind synthesizer that it is. A true replacement isn\u2019t really in sight, although there have been attempts to create modern alternatives to the Syrinx in the 21st century – such as, for example … T<\/span>he Belgian company AnalogFX<\/a> has taken on the challenge. With the SER-2020<\/strong>, it offers a rack-mount replica of the Syrinx. SER-2020 features CV inputs and outputs as well as a touchpad (anything else would be surreal). MIDI and USB are a given. It also comes in a variety of colors. Quite appealing, thanks to its consistently solid design, Eurorack compatibility, and (now-updated) high-quality hardware. All of this for a tenth (or one-twentieth) of the vintage price. Thanks! As a bonus, AnalogFX also offers the \u201cKing\u201d of the series, the LARYNX<\/strong>. It comes with a keyboard and thus looks quite similar to the original Synton Syrinx. The crucial question, of course, is: How does the instrument sound<\/em>? Judging by the demo videos, the sound quality is very good<\/em>. Whether the sound has the vintage vibe<\/em> people are looking for, we can\u2019t tell. While the manufacturer attempts to stay true to the original using CEM3340-based VCOs<\/strong> and a triple CEM3350 filter architecture<\/strong>, it\u2019s up to each listener\u2019s own ears to decide whether it actually succeeds. T<\/span>he rarity of the Syrinx stems primarily from the small number produced. In the early 1980s \u2014 a monophonic synthesizer overshadowed by emerging digital technology \u2014 only a few hundred Syrinx units were made, and that was it. Added to its rarity is its iconic sound \u2014 and so, since the 1990s, most Syrinx units have found a permanent home in studios around the world. This has led to some outlandish prices on today\u2019s used market. 15k or more for a Syrinx? It\u2019s not out of the question …<\/p>\n Be that as it may, we all know that such exorbitant asking prices and the prices actually paid are usually not<\/em> the same. And since quite a few of the rare Syrinx auctions end with a successful bid, exact sale prices cannot be determined afterward. In any case, it is clear that the Syrinx commands high prices among collectors, whether it’s a model in black or in one of the (even more sought-after) color variations. And if you\u2019re lucky, you find one of those units that features a comprehensive CV upgrade on the back (most likely implemented by Synton).<\/p>\n W<\/span>ay back in 1984, buying a handful of Syrinx models would have been a great investment. Preferably Syrinxes in several colors … blue, red, titanium … if<\/em> you\u2019d already been around (I was) and if<\/em> you’d had some savings set aside (I didn\u2019t). Originally available at a bargain price of 1,500 DM, the instrument is worth many times as much now. But what\u2019s the point: \u201cIf only \u2026 would have, could have, should have\u201d<\/em>\u2026 hindsight is always 20\/20. In 1984, the eventual success of this Dutch mono-synth was certainly not foreseeable at all.<\/p>\n Today’s perspective: the Syrinx is exactly what it is … unique! It delivers pure dynamism that comes to life in real time through the touchpad and human interaction. Vocal sounds and filter drones at their finest. Sequencing performances in every shade imaginable (we recommend listening to the sample “No Mercy 1<\/a>“), ranging from barely perceptible to frighteningly aggressive (you can almost feel the breath of Pan, the god of shepherds). Lead and bass sounds with subtle nuances and powerful drama, shifting in a matter of seconds. No other instrument can do this.<\/p>\n But of course, not everything is perfect<\/em> with the Syrinx. Longer envelope times, more modulation destinations for LFO 1, additional CV jacks, knobs that don’t wobble as much, and a slightly more refined chassis would have been a nice touch for the instrument. There are also questions about service availability today (the all-important CEM 3350 VCF chips are almost impossible to find). In light of these considerations \u2014 and given the high prices on the used market \u2014 a reissue of the Syrinx would therefore be highly desirable.<\/p>\n
\nx<\/span><\/p>\n<\/a><\/p>\nSyrinx, Spirit and OSCar \u2014 A Look Back at the ’80s<\/h2>\n
\nx<\/span><\/p>\n<\/a><\/p>\nAES Convention in Montreux \u2014 The Birth of the Syrinx<\/h2>\n
<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\nStructure of the Syrinx<\/h2>\n
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\n(parallel and serial connection of PEAK and LPF)<\/li>\n<\/a><\/p>\n\n
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<\/a><\/p>\nCriticism of the Hardware<\/h2>\n
<\/a><\/p>\nPraise for its sound potential<\/h2>\n
<\/a><\/p>\n<\/a><\/p>\n
\nx<\/span><\/p>\n<\/a><\/p>\nSER-2020 and LARYNX from AnalogFX<\/h2>\n
\nx<\/span><\/p>\n<\/a><\/p>\n
\nx<\/span><\/p>\n<\/a><\/p>\nSecondhand prices<\/h2>\n
<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\nAll in all<\/h2>\n
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