Some pics in via Soviet Space Child taken exclusively for MATRIXSYNTH! Mouse over the first image and use the controls on the left and right to move through the slideshow. If the controls don't load, click here for the set on Flickr.
"I tried my best to capture the manufacturers as well as their gear, as I think that the folks who make this stuff are just as interesting as the products that they showcase."
Update5: We now have confirmation with an official video from Moog Music.
"After more than 30 years, the Minimoog Model D returns with a pilot-production run at Moogfest 2016 in Durham, NC. Handcrafted in the Moog Pop-Up Factory, the pilot-production units built during the festival will only be available for purchase on-site in the Moog Store by Guitar Center."
Update6: and a video from Moogfest:
Moog Reintroduces The Minimoog Model D - Moogfest Video
Published on May 19, 2016 Synthtopia
"At Mioogfest 2016, Moog Music has reintroduced the classic Minimoog Model D.
We talked with Moog's Nick Montoya about the new Minimoog Model D, what's changed and what they've kept the same.
They've gone to great lengths to recreate the iconic Minimoog sound - but also added a new LFO, a better keyboard and support for additional control voltage options."
Inside The New Minimoog Model D
Published on May 22, 2016 Synthtopia
"At Moogfest 2016, Moog reintroduced the classic Minimoog Model D.
We talked with Moog's Nick Montoya, gave us a tour of the inside of the new Minimoog Model D, and explained some of the lengths they went to to nail the original Minimoog sound, and also what they changed to make the new Minimoog more reliable."
How To Build A New Minimoog Model D Synthesizer
Published on May 26, 2016 Synthtopia
"At Moogfest 2016, Moog reintroduced the classic Minimoog Model D synthesizer.
They also had a 'pop-up factory' onsite at the event. Basically, they moved their production line to Durham for the week and were assembling the new Minimoog's at the festival.
We talked with Moog's TJ Mills, who gave us a tour of their assembly process.
They start from a collection of individual parts and pre-assembled components from suppliers. The circuit boards, for example, are supplied pre-populated, using a variety of new and 'new old stock' parts. And the metal components are supplied reshaped and drilled to Moog's specifications.
In the video, TJ discusses what gets done at each stage of their assembly process, and how they calibrate and test the synthesizer once it is assembled."
I heard a rumor that it might have been shown at the Musikmesse, but there were no images at the time. This looks a bit more legit, unless of course that's just a vintage Model D being refurbished for Moogfest. :)
Update: via the Herald Sun: "A Moog Pop-Up Factory, featuring the interactive Global Synthesizer Project and assembly of Minimoog Model D synthesizers, opens in the Power Plant Gallery of the American Tobacco District."
Note the plural in "assembly of Minimoog Model D synthesizers". These are real and new. Soviet Space Child also noticed the three MINI jacks on back and the lack of an S-Trig jack on the left.
Update2: Another pic in via Soviet Space Child below. This one shows a dedicated LFO knob in the mod wheel section.
Update3: One more image of the parts spread out below and a quick video test of one being played by Gene Stopp.
Update1:Soviet Space Child noticed the Instrument section under the main display has the additional numbers found on later models of the Q. This might actually be a later prototype panel that matches the original color concept. Soviet Space Child noted: "The Q was originally designed as a 4 part multitimbral synthesizer, and later expanded to 16 parts multi via an OS update. This explains why the FX unit is only 4 part multi, as the hardware architecture ran off of 3 DSP's, two for 8 voices of polyphony each, and one dedicated to 4 FX parts. On the original Q models the 4 instrument buttons above the display were labeled 1-4, but later revisions had additional numbers to reflect the added multi parts, as seen in the prototype panel photos." It's also worth noting the original Wave came in different colors including Sahara yellow and Crimson Red. There was also a green Microwave. That backs up Waldorf wanting to go bold with the Q.
Update2: Swissdoc heard back from Waldorf's Frank Schneider and he stated this is the Jade panel. It makes sense as Jade is green and this panel is greenish in color. What's odd though is the render in the promo sheet appears white in color but is labeled as Jade. Also, according to swissdoc, the Q actually did come 16 multi-timbral to start: "The Q came from the start with 16 part multi, just the yellow case had only 4 labeled. See the changelog from here."
Update3: it looks like the Q was 4 part multi prior to release according to this SOS preview for the Q (via Soviet Space Child): "In keeping with modern synth architectures, the Q promises 16-part multitimbrality and 16-part layers/splits that Waldorf call 'Multis', but neither of these is implemented in the current operating system" later followed by "Early reports suggested that the Q would include a dedicated drum section with the ability to emulate popular analogue machines such as the Roland TR808 and TR909. In recent weeks, Waldorf has shelved the idea in favour of expanding the multitimbrality of the instrument from 4-part to 16-part."
So the preview model sent to Sound on Sound was 4 Part multi, and they made it 16 for release. Update4: I remember now. The Q was released pre V1.0 and was updated later. I forget if it was 4 or 16 part multi on release. There was a bit of excitement about the Q, as you can imagine, on the various forums and email lists at the time. Sonic State's The Gas-Station was THE forum at the time and there was a Waldorf email list.
The original post:
swissdoc and I were exchanging emails about the recent Waldorf posts featuring the JADE Q, non-Nextel Pulse, and the manuals for the XT, and MicroWave. Some interesting bits of info came out of our exchange. You can find them in updates in those posts. Possibly even more interesting are the images you see here in this post. Swissdoc sent them my way with the following. What you are looking at is the original design prototype color concept? [see above] for the Waldorf Q.
"I got the pics from a guy called pixeldealer in Summer 2014. He said it was the original Q-prototype in turquoise/silver color and the first design by Axel Hartmann. It was never released, the Q was released in yellow Nextel as we know. Axel Hartmann is telling the same story in an interview on Amazona.de (last section). He bougth the case (without electronics etc) from the production partner of Waldorf in Troisdorf. He was looking to sell the parts.
Axel said:
Die ersten Q wurden geboren, als der Markt für virtuell analoge Synthesizer noch durch Clavia mit ihren grellroten Nordsynthesizern beherrscht wurde. Wolfgang wollte daher ein stärkeres optisches Statement, als es unser bekanntes, dezentes Dunkelblau zulies. Wolfram (Franke) hatte dann die Idee mit dem schrillen Gelb, das wir in den finalen Layouts umgesetzt haben.
Unsere ersten Farbkonzepte für die Q Synthesizer gingen in eine völlig andere Richtung. Wir hatten in unseren Entwürfen ein dezentes, sehr helles, grünliches Grau in Kombination mit Aluminium und Nussbaum Anbauteilen visualisiert. Wie gesagt, das war den Waldorfern damals aber einfach nicht laut genug…
Deepl.com Translation:
The first Q were born when the market for virtual analog synthesizers was still dominated by Clavia with her bright red northern synthesizers. Wolfgang therefore wanted a stronger visual statement than our well-known, subtle dark blue. Wolfram (Franke) then had the idea with the shrill yellow, which we implemented in the final layouts.
Our first color concepts for the Q synthesizers went in a completely different direction. In our designs we had visualized a subtle, very bright greenish grey in combination with aluminium and walnut add-on parts. As I said, that simply wasn't loud enough for the Waldorfers back then..."
"Yamaha Montage Synth, Based On Entirely New Technology
YAMAHA’S NEW MONTAGE synth offers unprecedented ways for keyboard players to control and interact with sound.
For more than 40 years, Yamaha has developed industry-leading synthesiz-ers, from the revolutionary DX7 in the 1980s to the renowned Motif series, one of the best-selling synthesizers of all time. The Montage, available in 61-, 76-, and 88-key configurations, features the Motion Control Synthesizer Engine, a powerful and intuitive way to interact with and control sound.
The Motion Control Synthesizer Engine controls two iconic Sound Engines: Advanced Wave Memory 2 (AWM2) and FM-X. Compatible with previous generation Motif libraries, the AWM2 engine is exponentially more powerful than the previous Motif XF flagship with nearly ten times more wave memory, integrated flash, double the effects, and twice the polyphony. Joining the powerful AWM2 engine is FM-X. A sophisticated pure FM (Frequency Modulation) synthesizer engine is capable of producing classic ‘80s or cutting-edge EDM sound with excellent dynamic range, power, and fidelity.
Montage also features a brand new user interface with color touch screen, endless rotary encoders and the Super Knob: a macro control allowing users to control multiple parameters simultane-ously.
‘Montage is the culmination of over forty years of synthesizer legacy and innovation,’ said Nate Tschetter, mar-keting manager, music production, Yamaha Corporation of America. ‘Playing and experiencing Montage is, quite simply, inspiring.’
Yamaha’s Montage con-tains two discrete sound engines for expanded tonal flexibility."
Update: A quick note on the evolution of this post. As typically happens, stuff gets sent in, I parse it, post it, and then updates come in. Below is the original blob of text I was confronted with from the source site. This was before the scans went up. It appears the source site did a bad copy and paste of the article and jumbled sections out of order. Imagine reading it first. Some of you did and got to enjoy my experience. For those that didn't here you go. A Tacky what?
"NEW PRODUCTS Yamaha Montage Synth, Based On Entirely New Technology user interface with color touch screen, endless rotary encoders and the Super Knob: a macro control allowing users to control multiple parameters simultane-ously. “Montage is the culmination of over forty years of synthesizer legacy and innovation,” said Nate Tschetter, mar-keting manager, music production, Yamaha Corporation of America. “Playing and experiencing Montage is, quite simply, inspiring.” Anaheim Marriott Marquis Ballroom http://4wrd.it/Montage Yamaha’s Montage con-tains two discrete sound engines for expanded tonal flexibility. VATER TACKY SACK VATER PERCUSSION’S new Tacky Sack Grip Enhancer, the first product of its kind to be marketed to the drumming world, features a sack of grip-enhancing rosin powder that absorbs moisture and provides drummers additional control of their drumsticks while performing in humid and sweaty conditions. Gently “clapping” hands on the Tacky Sack applies rosin powder to the palms. A cord is included to hang Tacky Sack from a snare drum, stick bag, or hard-ware. “Once again, Vater knows just what I need, even before I do,” said Slipknot’s Jay Weinberg. “Especially in intense, sweaty environments, Tacky Sack allows me to lose myself in the vibe of a song without worrying if I’m going to send a stick flying from my palms. My grip relaxes, and I’m better able to avoid carpal tunnel-like problems. Tacky Sack lets me thrash with com-plete control.” Marilyn Manson’s Gil Sharone added, GRIP ENHANCER YAMAHA’S NEW MONTAGE synth offers unprecedented ways for keyboard players to control and interact with sound. For more than 40 years, Yamaha has developed industry-leading synthesiz-ers, from the revolutionary DX7 in the 1980s to the renowned Motif series, one of the best-selling synthesizers of all time. The Montage, available in 61-, 76-, and 88-key configurations, features the Motion Control Synthesizer Engine, a powerful and intuitive way to interact with and control sound. The Motion Control Synthesizer Engine controls two iconic Sound Engines: Advanced Wave Memory 2 (AWM2) and FM-X. Compatible with previous generation Motif libraries, the AWM2 engine is exponentially more powerful than the previous Motif XF flagship with nearly ten times more wave memory, integrated flash, double the effects, and twice the polyphony. Joining the powerful AWM2 engine is FM-X. A sophisticated pure FM (Frequency Modulation) synthesizer engine is capable of producing classic ‘80s or cutting-edge EDM sound with excellent dynamic range, power, and fidelity. Montage also features a brand new Vater Tacky Sack Grip Enhancer. 224 MUSIC TRADES February 2016"
Update: and a slightly longer one on YouTube sent my way via Soviet Space Child:
MONTAGE is coming soon Published on Jan 15, 2016 yamahacorporation
"Yamaha flagship Synthesizer MONTAGE is coming soon"
Per the description: "I am in beutiful Japan together with Luigi Scarano, our Synthesizer Innovation leader.
Stay tune from some big news - and i mean BIG news.
Uli"
Note who looks like KORG's Hiroaki Nishijima in the back left. I thought that might be Korg's Fumio Mieda on the right, but I'm not sure. You can find a pic and interview with Hiroaki Nishijima and Fumio Mieda here. Some of the other faces look familiar as well, especially the gentleman on the front left. If you can ID them, please comment.
Behringer meeting with any representatives of another large scale synth company is a big deal. It will be interesting to find out what this is all about.
Update: Announcement below with a new pic, also in via Soviet Space Child. It looks like Hiroaki Nishijima is indeed joining Behringer.
“Synthesizer Icon Hiroaki Nishijima to Lead Behringer’s New Synthesizer Innovation Center in Japan
Behringer announced today that Hiroaki Nishijima, synthesizer icon and inventor of the famous Korg MS-20 Synthesizer, will lead Behringer’s new high-tech innovation center in its Tokyo headquarter.
Behringer’s vision is to build a large research and development center and invite many talented Japanese engineers to focus on flagship synthesizers, samplers and other innovative product designs.
About Hiroaki Nishijima
“Ever since I was a child, I was always excited to disassemble toys and explore how they work. My father and grandfather helped nurture that side of me by teaching me electronics and how to solder while attending third year of elementary school.
During that time, I got into music. I started playing with my brother’s classical guitar and eventually got lessons from an actual classical guitar teacher. I continued to play and improve until I noticed I was becoming better at it than my brother.
As my skills grew more diverse, so did my taste in music. Pink Floyd, King Crimson, Genesis, ELP and I Pooh became my inspirations. In junior high school, I bought an electric guitar and formed a band. That’s when I saw a synthesizer for the first time. It was amazing and I wanted one for myself, but it was just too expensive for a student like me.
When I entered university, I studied electronic engineering and played in a band. While that was going on, I’d also repair my friends’ amps and would design effects on the side. After graduation, I joined Korg to develop synthesizers like the MS-20 series, Sigma, KES and PME-40X series, Z3 and even Korg’s component modeling technology.
Over the past few years I have watched Behringer deliver high-quality synthesizers and pursue a very strong mission to deliver impressive instruments to musicians around the world. I reached out to Uli Behringer because I wanted to be part of his mission and help Behringer design world-class musical instruments. This is my dream, too.
These days, it’s difficult for current Japanese companies to create the types of synths that I used to develop. This is why I joined Behringer because my ambition to create professional analog synthesizers coincides with Uli Behringer’s love of musical instruments and with that I’m very excited to see what we can dream up.
I am currently looking for experienced embedded software leaders and engineers for our new Innovation center in Tokyo. Please can contact us at yuka.ishigami@musictribe.com.”
About Music Tribe
Uli Behringer, Founder of Behringer and Music Tribe commented: “I am extremely proud to have Nishijima San on our team. This man is a legendary synth icon with decades of experience.
Ever since I designed my own synthesizer in 1977, I have always been obsessed with synthesizers and today, Behringer is on a mission to bring back classic synthesizers as well as design completely new instruments and make them available at prices everyone can afford. We at Behringer believe that everyone should have access to the amazing synthesizers and sounds of the 70’s and 80’s.”
Uli continues: “We are currently recruiting experienced synthesizer engineers from all over the world to join us in our synthesizer mission. People interested can directly contact me at uli.behringer@musictribe.com.”
http://sovietspacechild.bandcamp.com/ Serge Animal and Roland RE-501 Space Echo. "3 passes of animal, each pass going through my RE-501 Space Echo" Some clipping in this one so be careful.
In the 5th video you can see the name of the synth is the DeepMind12, and it will include routable effects and a graphical screen. You can also see a Powered by KLARK TEKNIK on it. KLARK TEKNIK are makers of signal processors and mixers. Note there are 4 FX slots. Effects seen include various types of Chorus, RackAmp, Delay, Reverb. Mood Filter, Flanger, Enhancer, and Dual Pitch can also be spotted as well. Each affect appears to have a number of editable parameters. You can see the RackAmp has parameters for PRE, BUZ, PMC, CRM, DRV, LVL, LOW, HI, CAE. The DSP algorithms are from Klark Teknik and TC Electronic. There is also expected to be a dedicated iPad Editor. At :16 you can see what appears to be it resting on top on top (screen grab further below). Note the different Reverb types in the editor. At :21 in the video you can see the routing of the effects change. At :34 it appears you can stack the same effect types - you can see Hall Reverb in slot 1 and in slot 4 pictured below. Word is it will have a built in arpeggiator as well.
Update2: An update via Uli Bheringer on the new DeepMind12, spotted by Soviet Space Child:
"The DeepMind12 has 4 integrated FX Engines which can we used simultaneously but also synced to the synthesizer itself. Each engine is loaded with more than 30 high-quality FX algorithms from TC Electronic and Klark Teknik. These are true world-class FX, many of which have been derived from TC Electronic's acclaimed signal processors as well as Midas' high-end mixing consoles.
As a world's first, the DeepMind has built in Wifi and allows for full remote control of nearly all parameters - all through typical tablets.
While the price has not been confirmed nor any price indication been given to retailers, we like to manage expectations.
With approx. 4,000 components, the DeepMind12 is one of the most complex synthesizers that has ever been built. Due to its discrete design structure, it has vastly more components than you will likely find in any of the current synthesizers on the market.
While it has always been our company philosophy to work on very small margins, we would however never sacrifice component or manufacturing quality nor sell below cost. Like all our products, the DeepMind12 will come with a 3 Year Warranty program.
These are truly exciting times and thank you for all your interest and support :-)
Synths: The first sound that you hear is the Q+. The chimes and pad that follow are the XTk 30. The brassy parts which come in at 0:46. and again at 2:17 are the Alesis Andromeda A6.
The track: "This is my first attempt at a cover, in this case giving the Robocop theme an 80's makeover, where the original was an orchestral score.
I haven't seen this movie in a very long time, and I never realized how dark it was. As a kid, I remember liking it because it was about a badass robot who shot up the bad guys. In reality, it's a film about a normal guy who loses his humanity. Dark stuff indeed. The new film has some very big shoes to fill."
A couple of renders by Axel Hartmann, sent my way via Soviet Space Child.
You might remember the previous teaser pic here, which kind of mixed design cues from both Moog and Waldorf. That was no surprise as Axel Hartmann designed the "look" of Waldorf and Moog synths as well as numerous others.
Axel Hartmann's first self branded synth was the Hartmann Neuron.
The question is what will 20 Electronics produce? Is it a new design house similar to Design Box, or is it a new hardware manufacturer like Hartmann?
ECHT appears to translate into a number of meanings. As a noun it is marriage. (strike that. I accidentally grabbed the Dutch translation). In German it translates into "real", "authentic" like in "the real deal".
Update via Holger Steinbrink of Waldorf:
"Only 20 black and 20 silver will be made | Waldorf / Sledge Synthesizer Engine | SPL Supra Op-Amp audio technology | Wavetables | Hartmann Neuron Synthesizer Sampleset | Pure aluminium shell, milled from a massive block | Collapsable, milled ultra thin aluminium panel | Custom-built pure aluminium knobs and wheels | Custom-built acrylic-glass switches | Highest quality, custom-built, all black Fatar TP 8 Keybed"
Roman Filippov as you know is the man behind Sputnik Modular, Black Corporation, and various Buchla DIY projects. Black Corporation is focused on full blown desktop synths including Deckard’s Dream, Kijimi, Xerses, as well as some erurorack adaptations of various components of these synths. Sputnik focuses on Roman's line of primarly west coast inspired eurorack modules. Roman has also offered one-off creations of classic designs for the DIY market.
Update: "It has stereo, quad outputs as well. Will be 8 voices, 3osc per voice with built in enveloppe and VCAs - fully 24osc synth (shouldn't the VCA be LPG on the OG?). Inputs wil be via digital buss from 221r. You'll have to have both modules to make 360 funtcionnal. Also coming this summer. 300 computer open source module is also in the works."
"The 360r will have 15 programmable outputs with full control from the 221r (standard midi messages), it uses a 16-core mcu/dsp by XMOS and 24b/216KHz 16ch codec by Cirrus Logic.
The 221r will have midi and usb i/o and 4x digital ports for communication with the other modules. It also uses a combination of accelerometer and gyroscope for the bend function. also i hope to decode 200e I2C buss, it already has it connected."
We've seen the new Behringer synth videos. It looks like Behringer is going to form a new synth division, which means new synths from Behringer should eventually come. The following was spotted by Soviet Space Child. It is from Uli Behringer.
"The response for this synth has been so overwhelming that we have decided to establish a comprehensive Synthesizer Division. We are currently hiring 30 engineers and product managers in the UK and Canada; feel free to apply.
Please share with us what synths, drum machines, samplers etc. or features you like to have. Be assured we will carefully listen.
Uli"
As for what department made the current new Behringer synth, Soviet Space Child stated: "For the first synth they tapped the engineers from their recently acquired Midas division in the UK. It's essentially a Midas synth but with Behringer branding."
Disk (save)
Infinity (loop?)
Interconnected rings (connecting loops -> "song" mode?)
3D box (room/reverb?)
saw wave
tire track/nazi runes (hopefully the former)
A twisted box (convolution reverb?)
Wrench+waveform (configure waveform)
Circles multiplying (something with subdivisions? stereo delay with feedback?)
Growing/shrinking circles (no idea)
Pencil+tuning fork (custom tunings)
Circle + circle&blackcircle (I get a feeling it has something to do with rhythm?)
tab or sideways start/stop marker
repeat
back and forth arrows (looping back and forth feature?)
forward forward arrows (trigger sample and repeat maybe?)
curved up arrow and bars (fade in?)
>>>> forward/tire tracks (fast forward?)
19-28 are self-explanatory words
+24 (sample pitch)
127 is the maximum midi value, could represent anything.
Maybe the filled out circles have to do with morphing something? and the empty ones mean something related to that?
EDIT: What if it has something to do with granular synthesis!!! The dots could represent grains!"
"im hoping granular. looks like it might be 6 voices comprised of 2 oscillators one based on a 'machine' and the other on a sample layer. Each machine probably has its own type of resonator attached to it to mimic the physics of the percussion instruments they're representing."
The following is via Soviet Space Child who has a Q+, an XTk, and a Quantum coming. He spent some time with the manual and found that the structure of how sounds are built on the Quantum differs from the cohesive synth engines of the Q and Microwave series. Yes there are new synth engines on the Quantum, but is it a replacement for Waldorf's classic synths? Perhaps not. Note, I have not had time to check out the manual myself, so this is solely Soviet Space Child's take. Also, he is still excited about the Quantum as you can see further below. If you have an opinion, feel free to leave a comment. You can find the manual on Waldorf's website here.
"Just sharing a few initial impressions as someone who has been using Waldorf synths for over 15 years now...
Judging by the manual, there's a great deal that the Quantum can do which previous Waldorf synths cannot. The reverse is also true, in that there are features in older Waldorf synths, specifically the Pulse, XT, Q, and Blofeld, which do not exist in the Quantum. This new synth really makes it feel like theres been a generational leap akin to when PPG's legacy shifted to Waldorf, i.e. the difference of going from the PPG Wave to the Waldorf Wave, and then MicroWave II/XT. Where as Wolfgang Palm was no longer involved in the new series of Wave synths, similarly the Stefan Stenzel era has given way to Rolf Wohrman. That's not a bad thing, but it really feels like this new synth was developed by a new company.
In terms of specifics where the older Waldorf synths offer more robust features, the Quantum lacks modulation modifiers, whereby two modulation sources can have operations such as '+', '-', '*', 'min', 'max', 'and', 'or', and 'xor' performed on them. The Quantum's 'komplex' modulation source partially alleviates this, though. The Quantum also lacks a random patch generator. While this is seemingly a minor features, the random patch generator on the XTk and Q is a source of great fun. It's easy to get lost in those synths for hours at a time just due to that one feature. There's also the lack of stereo capabilities on the analog filters, which was available for the analog filters on the Q+.
The biggest area where the older synths might seem to shine more than the Quantum, though, is the lack of modulation capabilities between the oscillators and the filters. That is to say, there are currently no FM or sync capabilities between the three 'oscillator' sections, and there are no FM capabilities on the digital formers. Where the Q and XT each felt like one large complex timbre, with the option to layer simpler timbres per voice, the Quantum feels like each voice is up to three simple timbres layered on top of one another.
Stereo analog filters aside, most of these things can be added later via OS updates, and here's hoping that the Quantum has a long life ahead of it in terms of customer support is concerned. Anyone who sells a Q and/or XT with the intent of replacing either with the Quantum might be left disappointed though, at least until the Quantum OS is given some time to mature, and even then the core sound of the synthesizer might be different, especially considering how characterful the Q and XT are.
With all that said, my XTk's and Q+ are not going anywhere, and I'm very much looking forward to having them in the studio with my Quantum."
First a quick note on leaks: I don't enjoy posting them as I admit they make me feel a bit shady. Manufacturers work hard to make sure a product release goes smoothly. Leaks throw a wrench in that. On the other hand I feel obligated to you my readers. If the news is out there, I feel like it is my job to post it and let you all know. My policy on the site has always been not to leak unless the info is already out there and already leaked. Once it is, it's just a matter of time before all sites pick it up. That said, manufacturers need to do a better job at not leaking info out there. All info ultimately comes from the source. I sometimes wonder if manufacturers actually allow carefully placed leaks to get out. Who knows...
Second: This is still in the rumor stage. Read below and decide for yourself.
It might actually be real. Not the render, but a new poly from Moog. Rumor is it will be the "Moog One", currently trademarked by Moog. Note August/September would correspond with a Knobcon release. Update: Soviet Space Child mentioned, "Summer NAMM starts this week, maybe the reveal was scheduled for later in the week? That would make more sense for a potential August release." That is a good point. You rarely see major synth product announcements during Summer NAMM, but that would make for a surprise with little competition to steal the limelight. It would also be a little closer to Moogfest, which would explain the previous rumor. Often product announcements get pushed out, as you know.
Details follow, spotted and sent in via Soviet Space Child. I will admit I sat on it for a bit as the original source post was pulled, however, it went up elsewhere, so here it goes:
[Disclaimer: the following seems a bit shady to me. Why would this guy post it w/o mentioning the dealer? How could any dealer think it's OK to announce it w/o Moog announcing it first?]
"Ok this is copied directly from my personal email from my rep who is a senior rep, and personal friend of mine:
Oh, it's cooler than that! So glad I can actually spill some details for you now.
It's polyphonic, and comes in 8- and 16-voice versions. (Moog has not only set us up as the earliest dealer with stock (around mid-August), but we'll have an exclusive until they launch with other retailers in September. And they've also promised us a number of low-serial-number units (2-10) on each unit, though this does run an extra $500 (and also gets you a letter from Mike Adams, and a signed photo by the techs who built it). Sounds incredible, and check this out!
• 3 VCOs per voice
• 3 part multitimbral - 3 synths in 1
• Knob per function
• 4 LFOs per synth with easily assignable modulation
• Arp and sequencer (per synth)
• Clock sync
• Assignable CV ins and outs
• Lots of i/o for routing synths and effects
• Eventide reverbs built in
• Unrestricted number of presets
Oscillators
create complex waveforms
Noise
• Dedicated envelope for transient shaping
Filter
• Stave variable filter AND Moog Ladder Filter
• HP, LP, BP or notch
• link filters together for ganged sweeps
• assign sources to SVF ladder or both in the mixer
Envelope
• 3 envelopes (amp, filter, and assignable)
• easily assignable mod matrix
Sequencer and Arp
Effects
• True bypass effects
• effects per synth and a master effects bus
• 2 assignable macro controls - customizable per patch
• Vocoder
Modulation
• Easily repeatable mod mattrix routings
• 4 LFOs - 1 button destination routing
• Fine tune and ccreate complex modulation via transforms
• Easy assign performance controllers
• XY pad for expressive control
Not too shabby, eh? Admittedly, I'm always pretty impressed when Moog comes by, but this was probably the biggest shock I've ever had at seeing their products early under an NDA…and the toughest to keep private until we could talk about them! I figured you'd appreciate knowing about it as much as anyone, since you've been involved in MI retail for so long, and have probably seen most things under the sun to date.
Still not sure when we'll have it up on the website, but we are taking orders, if you're interested. 8-voice version is $5999.00, and the 16-voice version is $7999.00. I've got a little wiggle room for you, but a bit less than usual…they really don't want us deep-discounting these due to anticipated demand, obviously.
Uploaded on Jan 20, 2016 Dave Smith Instruments - "Tom Oberheim & Dave Smith Introduce the OB-6"
Update: new demo video from INHALT in via Soviet Space Child below! Update2: DSI / Tom Oberheim - OB6 - live looping demonstration by Daniel Davis added below.
Awesome video! You'll find an audio demo at the bottom of this post. So, if you weren't sure NAMM had any big surprises coming, well here you go. A brand new six voice polyphonic Oberheim synth based on the original SEM's discrete VCOs and filters, complete with trademark blue pin strips, and a few extras. This is not a CEM based Oberheim. This is discrete analog with some modern capabilities. Think closer to the original Oberheim FVS and classic OB-X (CEM VCOs & VCFs came with the OB-Xa). A new Tom Oberheim six voice polysynth has arrived!
The following is the official press release:
"Tom Oberheim and Dave Smith Unveil OB-6 Analog Synthesizer
Legendary Poly Synth Creators Team Up on New Instrument with Discrete VCOs and Filters
Anaheim, CA—January 21, 2016—Dave Smith Instruments today announced the OB-6, a new 6-voice synthesizer with an all-analog signal path and discrete VCOs and filters developed in collaboration with Tom Oberheim. Boasting a sound engine inspired by Oberheim’s original SEM (the core of his acclaimed 4-voice and 8-voice synthesizers), the new instrument is designed to provide true, vintage SEM tone with the stability and exibility of modern technology.
Said Smith: 'Tom and I have been friends and friendly competitors since the late 1970’s. Back in the day, people were typically in either the Prophet or the Oberheim camp. Now, with the Prophet-6 out and doing so well, we thought it would be fun to combine our strengths and bring back Tom’s classic polyphonic sound, too — in a modern format.' Added Oberheim: 'A lot of people, myself included, have always felt that the SEMs had a certain uniquely big, organic sound unlike anything else. Working with Dave to make that sound widely available again with some modern touches and full programmability has been real a pleasure.'
The OB-6 features two discrete voltage-controlled oscillators (plus sub-oscillator) per voice, with continuously variable waveshapes (sawtooth and variable-width pulse, with triangle on oscillator 2). There is a classic SEM- inspired state-variable lter (low-pass, high-pass, band-pass, and notch) per voice. Voltage-controlled ampli ers complete the all-analog signal path. 'The classic, bold SEM sound is all there,' said Oberheim.
Present also is X-Mod, with lter envelope and oscillator 2 as modulation sources (with bi-polar control). Destinations include oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse width, lter cutoff, and lter mode. The knob-per-function front panel puts virtually all parameters at a user’s ngertips. Toggling on the Manual switch enables live panel mode, in which the OB-6 switches to the current settings of its knobs and switches.
A dual effects section provides studio-quality reverbs, delays (including standard and BBD), chorus, and faithful recreations of Tom Oberheim’s acclaimed phase shifter and ring modulator. The effects are digital, with 24-bit, 48 kHz resolution, but a true bypass maintains a full analog signal path. Additionally, the OB-6 features a multimode arpeggiator and a polyphonic step sequencer with up to 64 steps (and up to 6 notes per step) plus rests. It allows polyphonic keyboard input and can sync to external MIDI clock.
The full-size, four-octave, semi-weighted keyboard is velocity and aftertouch sensitive. Said Dave Smith, 'As with the Prophet-6, we made size a primary concern on the OB-6. It’s the right mix of power and portability and it ts right in on-stage or in the studio.' Added Oberheim, 'And of course, it’s got that unmistakable SEM sound that’s going to turn a lot of heads. '
The OB-6 is manufactured and sold by Dave Smith Instruments. It will be available in March, with a projected MAP of $2,999."
"As long time users of the Oberheim OB8 and 2 Voice (take a listen to our "Occupations" EP as both are on it all over the place) we were pleasantly surprised when Dave Smith Instruments showed us their new analog workhorse and collaboration with the inimitable Tom Oberheim— the OB6. The allure for the Oberheim polyphonic sound, for us, has always been it's unique melancholic tone colour. No matter what kind of sounds are programmed, Oberheim's tend to have this wonderful midnight music vibe, like driving in a car late at night circa 1983. We're pleased to report that the OB6 captures this sound quality effortlessly and in spades.
Our approach to the design of the factory bank patches we submitted (most of which you hear in the demo) was rather simple: we made the same kinds of sounds we would program on our Oberheims, and barring a couple, largely ones we would find useful in a production context. Though we don't typically record synthesizers with FX printed on the same track, the FX engine is so wonderful sounding on the OB6, and highly controllable, that it made us reconsider. In short, the FX engine is no slouch, and for the many decades spent dismissing the on board FX of most 'modern' synths, this is the first time that we've heard an FX engine exude the same quality as the top end hardware units from Lexicon, Eventide, or AMS that we tend to use in the production process.
Everything you hear on the demo was done entirely on the OB6. Absolutely NO additional FX or sequencers were used. We simply ran the stereo output from the OB6 into a DI and a stereo mic pre amp directly into Pro Tools HD and tracked it in."
DSI / Tom Oberheim - OB6 - live looping demonstration
Published on Jan 21, 2016 Daniel Davis
"DSI / Tom Oberheim - OB6 - live looping demonstration
Live looping demonstration of the new OB6 analog synthesizer. Only used the OB6 and Pigtronix Infinity looper."
I own an OB-Xa and the two videos above nail the sound and then some.
Update2:
NAMM2016 Introducing the New Dave Smith OB 6 Desktop Synth
Published on Jan 21, 2016 Analogue Zone Showroom / Synths and Studio
"Introducing the New Dave Smith OB 6 Desktop Synth
@dsiSequential
In this 5th video you can see the name of the synth is the DeepMind12, and it will include routable effects and a graphical screen. You can also see a Powered by KLARK TEKNIK on it. KLARK TEKNIK are makers of signal processors and mixers. Note there are 4 FX slots. Effects seen include various types of Chorus, RackAmp, Delay, Reverb. Mood Filter, Flanger, Enhancer, and Dual Pitch can also be spotted as well. Each affect appears to have a number of editable parameters. You can see the RackAmp has parameters for PRE, BUZ, PMC, CRM, DRV, LVL, LOW, HI, CAE. The DSP algorithms are from Klark Teknik and TC Electronic. There is also expected to be a dedicated iPad Editor. At :16 you can see what appears to be it resting on top on top (screen grab further below). Note the different Reverb types in the editor. At :21 in the video you can see the routing of the effects change. At :34 it appears you can stack the same effect types - you can see Hall Reverb in slot 1 and in slot 4 pictured below. Word is it will have a built in arpeggiator as well.
Update: An update via Uli Bheringer on the new DeepMind12, spotted by Soviet Space Child:
"The DeepMind12 has 4 integrated FX Engines which can we used simultaneously but also synced to the synthesizer itself. Each engine is loaded with more than 30 high-quality FX algorithms from TC Electronic and Klark Teknik. These are true world-class FX, many of which have been derived from TC Electronic's acclaimed signal processors as well as Midas' high-end mixing consoles.
As a world's first, the DeepMind has built in Wifi and allows for full remote control of nearly all parameters - all through typical tablets.
While the price has not been confirmed nor any price indication been given to retailers, we like to manage expectations.
With approx. 4,000 components, the DeepMind12 is one of the most complex synthesizers that has ever been built. Due to its discrete design structure, it has vastly more components than you will likely find in any of the current synthesizers on the market.
While it has always been our company philosophy to work on very small margins, we would however never sacrifice component or manufacturing quality nor sell below cost. Like all our products, the DeepMind12 will come with a 3 Year Warranty program.
These are truly exciting times and thank you for all your interest and support :-)
Uli"
DeepMind12
Powered by KLARK TEKNIK with four FX slots.
iPad with editor resting on top.
Also note the parameters for RackAmp on the DeepMind12's display.
Note the routing is different in this screenshot and below.
This one in via Soviet Space Child, via the DSI forums. Note the thread is dated Tue Aug 6, 2013 but that appears to be when it was created for the first OS updates. Also note the latest OS on the DSI site is currently 1.2.0, so this is new. You can see a history of OS updates for the Prophet 12 in that thread. Be sure to read it if you plan on updating earlier. Soviet Space Child mentioned there are some bugs with the release which might explain why it's not on the DSI site yet. The news hear is DX7 style linear FM has been added to the Prophet 12.
"Main OS 1.2.9.2
NOTE: Reset globals or enable the screen saver global after installing this OS unless you absolutely do not want it on to save your OLED lifespan
Alternate tunings/scales added. You can load these in the globals section after sending the attached MIDI sysex file for alternate tunings. Read the Prophet 6 manual for more information
Linear FM (DX7 style). An additional parameter has been added in the Osc section to toggle between exponential and linear FM modes
Unison now selectable from 1-12 voices or in split/stack from 1-6 voices
Arp can now output the MIDI notes it is playing. A global has been added to enable this
New mod destinations added:
Osc 1-4 Slop
Osc All Shape Mod
Delay All Time
LFO and Envelope destinations can now be assigned by holding down the LFO/Envelope button and moving the destination you wish to set, in the same way the mod destination button works
Added global to toggle MIDI program change messages being sent
Added global to turn off screen saver mode
Fixed bug: Delay buffer overruns minimized to fix audio dropouts and some clipping issues
Fixed bug: BPM calculation smoothed to improve delay performance from quick tempo changes or an inconsistent clock source
Fixed bug: Delay buffers now cleared when changing programs
Fixed bug: Show response not working correctly when pots set to passthru
Fixed bug: Screen glitches when coming back from sleep mode
Fixed bug: Program Volume (CC#7) no longer sent when MIDI send off
Fixed bug: Crash/Lockup when receiving clock in MIDI: Slave Thru mode
Fixed bug: Arp playing incorrect notes in certain combinations of params/keys
Fixed bug: In some cases cannot switch programs from a DAW/Host
Fixed bug: BPM acquisition time improved"
It appears to be a desktop version of the Quantum minus analog filters.
"Waldorf Iridium has made the impossible possible. The mighty synth engine from Quantum is now available in a compact form. Tracing the footsteps of its bigger brother, Iridium features all the synthesis elements of Quantum as well in a rack-compatible format. The combination of the powerful engine, incredible flexibility and detailed sound shaping facilities creates sheer endless possibilities of sound. Yet, the comprehensive layout and easy-to-understand structure lets you design your own sounds in no time. Sporting a solid metal casing and the same high level of craftsmanship like Quantum, Iridium is now ready to take over studios and stages throughout the world.
Contributing another entry in Waldorf's rich history, Iridium joins the family as a direct descendant of the PPG Wave. Though, Iridium offers much more than its ancestor. Five different synthesis models are provided by Iridum for each of the three oscillators:
I heard a rumor that it might have been shown at the Musikmesse, but there were no images at the time. This looks a bit more legit, unless of course that's just a vintage Model D being refurbished for Moogfest. :)
Update: via the Herald Sun: "A Moog Pop-Up Factory, featuring the interactive Global Synthesizer Project and assembly of Minimoog Model D synthesizers, opens in the Power Plant Gallery of the American Tobacco District."
Note the plural in "assembly of Minimoog Model D synthesizers". These are real and new. Soviet Space Child also noticed the three MINI jacks on back and the lack of an S-Trig jack on the left.
Update3: it looks like the Q was 4 part multi prior to release according to this SOS preview for the Q (via Soviet Space Child): "In keeping with modern synth architectures, the Q promises 16-part multitimbrality and 16-part layers/splits that Waldorf call 'Multis', but neither of these is implemented in the current operating system" later followed by "Early reports suggested that the Q would include a dedicated drum section with the ability to emulate popular analogue machines such as the Roland TR808 and TR909. In recent weeks, Waldorf has shelved the idea in favour of expanding the multitimbrality of the instrument from 4-part to 16-part." 
You might remember the previous teaser pic here, which kind of mixed design cues from both Moog and Waldorf. That was no surprise as Axel Hartmann designed the "look" of Waldorf and Moog synths as well as numerous others. 
The following is the official press release:
Anaheim, CA—January 21, 2016—Dave Smith Instruments today announced the OB-6, a new 6-voice synthesizer with an all-analog signal path and discrete VCOs and filters developed in collaboration with Tom Oberheim. Boasting a sound engine inspired by Oberheim’s original SEM (the core of his acclaimed 4-voice and 8-voice synthesizers), the new instrument is designed to provide true, vintage SEM tone with the stability and exibility of modern technology.
Said Smith: 'Tom and I have been friends and friendly competitors since the late 1970’s. Back in the day, people were typically in either the Prophet or the Oberheim camp. Now, with the Prophet-6 out and doing so well, we thought it would be fun to combine our strengths and bring back Tom’s classic polyphonic sound, too — in a modern format.' Added Oberheim: 'A lot of people, myself included, have always felt that the SEMs had a certain uniquely big, organic sound unlike anything else. Working with Dave to make that sound widely available again with some modern touches and full programmability has been real a pleasure.'
The OB-6 features two discrete voltage-controlled oscillators (plus sub-oscillator) per voice, with continuously variable waveshapes (sawtooth and variable-width pulse, with triangle on oscillator 2). There is a classic SEM- inspired state-variable lter (low-pass, high-pass, band-pass, and notch) per voice. Voltage-controlled ampli ers complete the all-analog signal path. 'The classic, bold SEM sound is all there,' said Oberheim.
Present also is X-Mod, with lter envelope and oscillator 2 as modulation sources (with bi-polar control). Destinations include oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse width, lter cutoff, and lter mode. The knob-per-function front panel puts virtually all parameters at a user’s ngertips. Toggling on the Manual switch enables live panel mode, in which the OB-6 switches to the current settings of its knobs and switches.
Update: new pic of the front panel.
The combination of the powerful engine, incredible flexibility and detailed sound shaping facilities creates sheer endless possibilities of sound. Yet, the comprehensive layout and easy-to-understand structure lets you design your own sounds in no time. Sporting a solid metal casing and the same high level of craftsmanship like Quantum, Iridium is now ready to take over studios and stages throughout the world.
