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. Robin Kelly is Roland's U.S. director of channel management.
What do you think characterizes the current synth market for analog synths, and how is it different from the first wave analog synths? Are buyers looking for different qualities? More dependability? More user-friendly features and price points?
Analog is an interesting term. There are definitely customers in the market who want an end-to-end analog product, but we believe the majority of customers want an analog experience, especially when it comes to AIRA.
We have all been “in the box” for many years, now working with computers, software, etc. Customers want to get hands on with products and make music with a one-to-one connection to the instrument. Analog instruments do behave in ways that digital ones do not, and that is why Analog Circuit Behavior (ACB) is the core technology within the AIRA products. The experience for the musician is analog, the sound and behavior is analog, but the underlying technology is digital, which allows us to provide functionality (like Scatter) that would not exist without digital.
What signs was Roland looking for to really dive into this trend by way off the AIRA line and its direct appeals to that demand for vintage-style characteristics?
Customer demand is the number one driving force for us. We listened to our customers and what they wanted and moved forward with AIRA. Listening to customers can come in many forms including surveys, forums, customer-support questions, etc., but one of the best, if not the best, ways to listen to a customer is to sit with them in front of an instrument and get their feedback. That feedback could be, “This is great! Do more of this!” or it can also be in the form of, “I wish you did X ,or please add Y.” Honestly, the constructive feedback is very helpful to us and the Roland engineering team. The engineers themselves get on planes and travel the world to speak directly with customers and gather their feedback.
The community of music makers is obviously more receptive to this type of instrument than ever, but why? Is it the popularity of EDM style music? The increase in synths in pop/hip-hop? The shift to bedroom recording workstations and instruments that work well in those environments? I'd love to hear your perspective on any of that, and why any of those trends means a resurgence in analog synths in particular, as opposed to digital technology.
Again it comes down to listening to the customer and their needs. When DAWs and PCs came out, it was like just discovering reverb for the first time, and everyone was using them. There would be articles on the lone stand-out producer or artist that was still using analog to record. Then came soft synths, controllers, and we gravitated further into “the box.” There is a place in music production for working with these products, but they are simply a tool for the musician, and like many things in music, there is a cycle. Customers were ready to trade in the mouse and get “hands on.” There’s a generation of musicians that grew up “in the box,” and they want to break out and add more tools to their music making.
How do you compare the quality of build and the technology involved in today's analog synths with that of more vintage machines?
Just like any product category you have high quality manufacturers and lower quality, both at different price points. To make reliable, great sounding analog instruments requires quite an investment in R&D, and more importantly, in manufacturing, which translates to a price that is out of reach to most customers. The majority of affordable analog products have compromises built into them to achieve that price point, this could be build quality, reliability and/or features. Digital allows for greater functionality, better build quality, and the ability to deliver the product at a more reasonable price point.
The AIRA line leverages digital but in a new way via ACB. This allows us to provide a deeper “analogesque” experience for the musician on both a sonic and interactive level. The tops of the AIRA units are metal, the construction is solid, too, as build quality was a high priority for this range. This is one of the main advantages of our approach, high quality instruments with the sound and interactivity the musicians want at a price that does not alienate.
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?
AIRA products are carried by large national retailers, independent retailers, and specialty retailers, too. The size of the dealer and reach of their distribution was not a priority for us when it came to the strategy. The most important point for us was ensuring the musician received the best service and experience in the store. This can be online or within a physical retail location. We are constantly working with our retail partners to improve the customer experience when making a purchase and this will constantly evolve in an organic way based on customer feedback.
As larger suppliers like Roland 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?
Musicians are incredibly talented and smart consumers; if they connect with an instrument, effect, etc., they will buy it regardless of the name on the product. Manufactures focusing on this area means more competition, which means more choice and innovation in the market. The most important part of the chain is the musician, and they will decide who and what is successful.
Finally – what does this trend mean about the keyboard market in general? Does this trend come at the expense of soft-synths and digital hardware, or do you see the two thriving together?
Digital and analog will always live together and hopefully continue to challenge each other as great things emerge from that type of relationship. Musicians are not going to abandon their soft synths, DAWs, and sample libraries, and we would not want them to. We make products for musicians to make music, which is an inherently creative environment. As soon as you put up a wall or rule, musicians will tear it down, and something new will be born. That’s the wonderful part of this business and the story behind the original TR-808 and TB-303. Music making is an organic process that is always evolving, and musicians will use the tools they have to make their art regardless of how the components are put together. Technology can inspire the musician, but they will ultimately decide what is and is not the right way to use it.
