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Cherry Audio Elka-X 合成器基于传奇的 Synthex,这是一种罕见的意大利模拟合成器,由 Mario Maggi 设计并由 ELKA 在八十年代初制造。 Elka-X 在不影响声音或功能的情况下复制了原始合成器的非凡特性,精心扩展了其功能集,并以任何人都能负担得起的价格提供了真正的 Synthex 体验。

“如果它是由一家更有声望的制造商制造的,并以更合理的价格发布,ELKA Synthex 可能会与 DX7 相媲美,并防止模拟被数字淹没。” – Peter Forrest (1998),模拟合成器的 A-Z,第一部分

Synthex 结合了从其他当代合成器中脱颖而出的罕见和前瞻性功能,包括高度稳定的数字控制模拟振荡器和灵活的四极多模滤波器。与大多数其他在仅低通配置中使用 CEM3320 滤波器芯片的流行合成器不同,Synthex 滤波器具有 24 dB/oct 低通模式、6 和 12 dB/oct 带通模式以及 12 dB/oct 高通模式。加上强大的板载模拟合唱效果,这给 Synthex 带来了独特而强大的音调。它是多音色的,能够同时播放两个单独的补丁,无论是拆分模式还是分层模式。它甚至包括一个具有实时录音和移调功能的创新四轨音序器。

由于ELKA的主要市场是家用管风琴,他们从未在专业合成器市场站稳脚跟。可悲的是,1983 年雅马哈 DX 数字合成器发布所产生的兴奋旋风使这款出色的乐器被搁置一边,从未取得应有的成功。

到 80 年代中期,ELKA 为 Stevie Wonder 制作了最后一个 Synthex,后者将其用于 1987 年专辑 Characters 中的单曲“Skeletons”中的独特贝司音色。 Synthex 的其他著名用户包括亚洲超级乐队的 Geoff Downes、Keith Emerson、Duran Duran 的 Nick Rhodes、BBC Radiophonic Workshop 的 Peter Howell 和 Jean-Michel Jarre,后者在 Rendezvous 和著名的“激光竖琴”中广泛使用了 Synthex “ 声音。


The Cherry Audio Elka-X synthesizer is based upon the legendary Synthex, a rare Italian analog synthesizer designed by Mario Maggi and manufactured by ELKA in the early eighties. Elka-X replicates the extraordinary character of the original synth without compromising sound or functionality, thoughtfully expanding its feature set and delivering the authentic Synthex experience at a price anyone can afford.

“If it had been built by a more prestigious manufacturer, and released at a more sensible price, the ELKA Synthex could possibly have rivaled the DX7 and kept analogue from being so swamped by digital.” – Peter Forrest (1998), The A-Z of Analogue Synthesisers, Part One

The Synthex included a combination of uncommon and forward-looking features that stood out from other contemporary synthesizers, including highly stable digitally-controlled analog oscillators and a flexible four-pole multimode filter. Unlike most other popular synths utilizing CEM3320 filter chips in a lowpass-only configuration, the Synthex filter featured a 24 dB/oct lowpass mode, 6 and 12 dB/oct bandpass modes, and a 12 dB/oct highpass mode. Along with a powerful onboard analog chorus effect, this gave the Synthex a distinct and powerful tonality. It was multitimbral, with the ability to play two separate patches simultaneously, in either split or layer mode. It even included an innovative four-track sequencer with real-time recording and transposition.

As ELKA’s primary market was home organs, they never gained a strong foothold in the professional synthesizer market. Sadly, the whirlwind of excitement generated by the 1983 release of Yamaha’s DX digital synthesizers relegated this superb instrument to the sidelines, never to achieve the success it deserved.

By the mid-80s, ELKA made the last Synthex for Stevie Wonder, who used it for the distinctive bass tone on his single “Skeletons” from the 1987 album Characters. Other notable users of the Synthex included Geoff Downes of the supergroup Asia, Keith Emerson, Nick Rhodes of Duran Duran, Peter Howell of the BBC Radiophonic Workshop, and Jean-Michel Jarre, who used it extensively on Rendezvous and for his famed “laser harp” sound.