As part of our expanded coverage of the analog synth market (see May's "Inside the Analog Synth Resurgence"), we present a series of full interviews with key players in the synth market. James Sajeva is a product manager for Korg.
What do you think characterizes the current market, and how is it different from the first wave analog synths?
There is a definite analog resurgence occurring. The major difference is that these days, there are so many product choices on the market; far more than there were compared to when synthesizers first came to pass. Today, you have products that offer digital/waveform-based synthesis, analog modeling, software formats, etc. True-analog, even compared to the wide range of technologies available today, still offers unique sonic characteristics that give musicians new tools and perhaps fresh musical perspectives, while acknowledging the heritage of vintage synthesizers.
What market signs was Korg looking for to really dive into this trend by way of the MS-20 models and the upcoming ARP rerelease?
The used synth market was a good data point; with sought-after vintage synths retaining and certainly surpassing their original value. Another is the rising popularity of various forms of electronic and independent music and beyond, which end up looking to the kinds of sounds that analog products helped popularize in the first place. Korg felt the market was ready for modern-day recreations of synthesizers that were more affordable and compact, yet distinctly true to form when compared to their predecessors. The original MS-20 and ARP Odyssey are examples of two such classic, sought-after synths known for unique sonic characteristics.
The community of music makers is obviously more receptive to this type of instrument than ever, but why?
The new form factors, and Korg’s ability to offer analog products at much more accessible price points, means that analog is now within reach of a much larger audience. Products such as our Volca series of portable true-analog synths would have probably been several times the size – and certainly the cost – back in the day. This factors strongly into these products’ compatibility with home studios and live rigs. Not to mention the simple fact that vintage products of all types – whether it be clothes, electronics, etc. – have a certain appeal stemming either out of nostalgia for some, or for others, the desire to simply own something that has a heritage.
How do you compare the quality of build and the technology involved in today's analog synths with that of more vintage machines?
It really depends on the product. In the first wave of analog synths, there were models with inexpensive construction, and models that were built like tanks. Just as with today, there’s always variance between manufacturers and designs. In the case of the Korg MS-20 mini, the build quality is very similar to the original MS-20’s reliable proven design, but with newer, updated components.
Have you altered the way you approach retailers as the market grows for this type of product? Have they traditionally been tough sells outside of specialty dealers?
Having a new category of instrument always allows us to reach new markets, which naturally requires tweaks to our approach. It’s a different dialogue, especially when approaching boutique retailers who may only know of our brand from other product categories they don’t sell. Once we started creating low-priced, analog synthesizers such as the monotron, though, we saw plenty of adoption by both specialty and large-scale dealers. This universal acceptance was a great way to re-establish the perception of Korg as an analog synth maker.
As larger suppliers like Korg move into this segment, which appears to have been ignited by smaller boutique makers and the world of vintage dealers, how do you see things changing for customers?
With more and more options available, the customer will have a much larger playing field, and that provides manufacturers with more opportunity to create brand loyalty. The analog synth customer is often a collector, or at least someone who owns an additional instrument. When it comes to analog synths, you can’t have just one. When they’re priced to sell, they can become gateways to other instruments or even categories. For example, it’s not unusual for someone who buys a self-contained analog synth to start lusting after a modular system.
Does this trend come at the expense of soft-synths and digital hardware, or do you see the two thriving together?
We see the worlds of software synths and analog synths both surviving in the same ecosystem. There is customer overlap, and all these types of products might be used in the same recording or performing environment, but they are mission-specific; each with their own attributes and workflow. In general, a software synth has a very different value proposition than that of a hardware analog synth, which instantly offers more tangibility. And certainly, the customer is not always exclusive to either digital or analog products. The short answer is, the trend is growing the market as a whole.
