The Elka Synthex stands as one of the most influential and revered polyphonic synthesizers ever created, despite its relatively limited production run. This Italian masterpiece, produced from 1981 to 1985, was the brainchild of independent designer Mario Maggi and represents a remarkable achievement in synthesizer design that challenged and often surpassed the dominant American polysynths of its era.

Design Philosophy and Innovation

What set the Synthex apart from its contemporaries was its revolutionary approach to polyphonic synthesis. While American manufacturers like Sequential Circuits and Oberheim were struggling with the inherent instability of analog oscillators, the Synthex employed digitally controlled oscillators (DCOs) implemented with TTL circuitry. This groundbreaking technology delivered perfect tuning from power-on and maintained rock-solid stability throughout performance - a feature that was nothing short of miraculous in the early 1980s.

The genius of the Synthex's digital oscillators lay not in creating perfect theoretical waveforms, but in accurately recreating the rough approximations that analog oscillators actually produced. This approach gave the instrument the warmth and character of analog synthesis while maintaining the precision and reliability of digital control.

Sound Architecture and Capabilities

The Synthex features a sophisticated dual-oscillator architecture with unprecedented flexibility. Each of the two oscillators per voice can be independently modulated for pulse width, synchronized to each other (even simultaneously for extreme effects), and processed through ring modulation or cross-modulation - all without compromising the instrument's poly-mod capabilities. This level of routing flexibility was simply unmatched by contemporary instruments.

The filter section represents another area where the Synthex excelled beyond its competition. The 4-pole analog filters offered not only the standard low-pass operation but also high-pass and two different widths of band-pass configurations. This multi-mode filtering capability opened up thousands of timbral possibilities that American polysynths couldn't approach, making the Synthex capable of everything from cutting lead sounds that could "carve through the fullest backing tracks" to solid bass foundations and lush pad textures.

The Chorus Difference

Perhaps no single feature distinguished the Synthex more than its built-in chorus unit. While this innovation was initially dismissed by traditionalists as "cheating," it proved to be a game-changer. The three carefully crafted presets each served distinct purposes: the first provided subtle ambience, the second offered moderate thickening without obvious effect coloration, and the third delivered full-on richness that transformed thin synthesizer strings into full ensemble sounds. This chorus capability made the Synthex the only polysynth of its era that could compete with dedicated string synthesizers on their own terms.

Performance Features

The Synthex's performance capabilities were equally impressive. The instrument offered both layering and split modes, allowing two different sounds to be played simultaneously. In layer mode, users could combine patches for complex, rich textures - such as pairing brass sounds with chorused strings to achieve the sonic equivalent of expensive reverb processing. Split mode enabled different sounds on either side of a user-definable split point, with independent performance controls for each section.

The unique joystick controller, while initially unconventional, provided exceptional real-time expression possibilities, especially in split mode. Unlike traditional pitch and mod wheels, the joystick could control different parameters for upper and lower keyboard sections simultaneously, creating performance possibilities that were simply impossible with conventional controllers.

The Revolutionary Sequencer

The Synthex featured a groundbreaking 4-track sequencer that was far ahead of its time. Supporting both real-time and step-time programming, the sequencer allowed for incredibly sophisticated pattern creation. Users could program sequences of different lengths on each track, creating constantly evolving patterns that wouldn't repeat for hundreds of steps. Most remarkably, tracks could be assigned to either the upper or lower synth sounds, essentially making the Synthex one of the first multitimbral sequencers available.

Historical Impact and Notable Users

Despite its technical superiority, the Synthex suffered from market prejudices against the Elka brand name. However, it found favor among discerning musicians who recognized its exceptional qualities. Jean-Michel Jarre featured it prominently on his landmark "Rendez-Vous" album, particularly on the famous laser harp sections. Geoff Downes of Asia, Stevie Wonder, Keith Emerson, and numerous other notable artists incorporated the Synthex into their music, often preferring it over more expensive and well-known alternatives.

The instrument's reputation has only grown since its discontinuation, with units now commanding prices far exceeding their original retail cost. This posthumous recognition serves as testament to the Synthex's exceptional design and enduring musical value.

Legacy

The Elka Synthex represents a perfect storm of innovation, combining stable digital oscillator technology with flexible analog processing, comprehensive performance features, and visionary design. It stands as proof that great synthesizers can emerge from unexpected sources and that technical innovation, when coupled with musical insight, can create instruments that transcend their era. Today, the Synthex is recognized as one of the finest polyphonic synthesizers ever created - a reputation that continues to grow with each passing year.

Technical Specifications

Production data

• Production Period: 1981-1985
• Total Units Produced: 1,850

Sound Generation

• Polyphony: 8 voices
• Oscillators: 2 DCOs (Digitally Controlled Oscillators) per voice
• Oscillator Type: Digital oscillators with TTL circuitry implementation
• Waveforms: Standard analog waveforms (sawtooth, square, pulse, etc.)
• Pulse Width Modulation: Independent PWM for both oscillators
• Oscillator Sync: Each oscillator can sync to the other (simultaneously if desired)
• Ring Modulation: Onboard digital ring modulator
• Cross Modulation: Available between oscillators

Filter Section

• Filter Type: 4-pole analog multimode filter
• Filter Modes:
  • Low-pass
  • High-pass
  • Band-pass (2 different widths)
• Filter Characteristics: Resonant sweeps, solid bottom end

Envelope Generators

• Configuration: Separate envelope generators per voice
• Type: ADSR (Attack, Decay, Sustain, Release)

Modulation

• LFOs: 2 LFOs per voice
• LFO Destinations: Pitch, filter, amplitude, pulse width
• Performance Controller: Joystick (replaces traditional pitch/mod wheels)
• Joystick Assignments: 6 sliders control LFO, oscillator, and filter routing to joystick

Effects

• Chorus: Built-in digital chorus with 3 fixed presets
  • Preset 1: Subtle ambience
  • Preset 2: Moderate thickening
  • Preset 3: Full-on rich chorus
• Ring modulation

Playing Modes

• Single Mode: 8-voice polyphony with single sound
• Layer/Double Mode: 4-voice polyphony with two sounds layered
• Split Mode: 4 voices per section with user-definable split point
• Split Point: User-programmable keyboard split location

Sequencer

• Tracks: 4 monophonic tracks
• Recording Modes: Real-time and step-time programming
• Track Length: Variable length per track (creates evolving patterns)
• Sound Assignment: Tracks assignable to Upper/Lower synth sounds
• Note Features: Variable note lengths, rest insertion capability
• Transposition: Real-time transposition available

Memory and Storage

• Program Memory: 100 programs (factory and user)
• Storage Method: Analog cassette tape via audio interface
• Data Types: Sequences and patches saveable to tape

Connectivity

• MIDI: Basic MIDI implementation (retrofit, later versions)
• MIDI Features: Note on/off, limited channel selection
• MIDI Limitations: No Program Change or SysEx support
• Computer Interface: D-connector (software never developed)
• Cassette Interface: Analog audio interface for data storage
• Audio Outputs: Standard audio outputs

Controls

• 30 knobs
• 6 sliders (joystick assignment)
• 80 switches
• 1 joystick controller

Price

• Original Retail Price: Over £3,000 (early 1980s)
• Final Clearance Price: £500 (when discontinued)
• Current price (year 2025): USD7000-USD14000

Notable Technical Features

• Tuning Stability: Perfect tuning from power-on, never drifts
• Temperature Stability: Unaffected by temperature changes
• Oscillator Accuracy: Digital precision with analog character
• Filter Resonance: Capable of self-oscillation and dramatic sweeps
• Voice Allocation: Sophisticated voice management system
• CPU: Rockwell 6502P

Successor Models

• Elka EK-22: Based on CEM3396 chip (similar to Oberheim Matrix series)
• Elka EK-44: Featured Elka's own FM synthesis implementation