Tag Archives: musical instrument

Madkids Empire Is Turning Intimidating Synth Gear Into Pure Play

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Most musical instruments communicate one thing very clearly before you even touch them: you have to earn this. The arrangement of knobs, the wall of technical labeling, the thick manual sitting smugly beside the unit. It is an initiation ritual disguised as product design, and for most people, it works exactly as intended. They back away.

Madkids Empire, a studio founded by a designer named Xam, has built something that works in the opposite direction. Their collection of analog synthesizers is covered in illustrated surfaces, organic silhouettes, and, deliberately, Chinese annotations that describe functions through metaphor rather than engineering terminology. Instead of telling you what a knob controls, the labeling hints at what it feels like. It is the difference between reading a recipe and being handed a fork.

Designer: Madkids Empire

The visual language alone is worth paying attention to. Each instrument looks less like a piece of audio equipment and more like an illustrated landscape you could reach into. Wooden frames and brass details soften what would otherwise read as industrial objects. The shapes curve and flow in ways that suggest something natural rather than manufactured, which is intentional. Xam builds the design around the circuit itself, starting with the technical structure of the sound and then finding a natural concept that mirrors it. A lake. A mountain. A tree. The interaction you have with the synth is meant to feel connected to that concept, so patching a cable or turning a dial carries a kind of environmental logic, even if you could not explain exactly why.

The result is an instrument that looks like you are supposed to explore it, and the collection does not disappoint on that expectation. The flowing silhouettes and playful interfaces do not just look inviting; they function that way too. Xam has said that what they want users to understand is that musical knowledge is not the entry point. Curiosity is. When someone hears a sound they like during experimentation, they have made something entirely their own, something they arrived at through play rather than study. That reframing matters more than it might initially seem.

Most design conversations around synthesizers orbit gear obsession and technical hierarchy. How many oscillators, what filter topology, which vintage unit did it draw from. Madkids Empire does not seem particularly interested in that conversation. The chaos baked into these instruments, and yes, chaos is a deliberate design choice here, provides feedback that evolves with what you are doing. Unlike randomness, which offers no relationship between action and outcome, the unpredictability here responds to you. You become part of the system. It is closer to improvising in a new environment than operating a machine.

That philosophy has a real audience right now. The broader design and tech world has spent years talking about removing barriers and making things accessible, but the actual execution is usually just simpler interfaces with less functionality. Madkids Empire took a different approach: keep the depth, remove the intimidation, and replace the instruction manual with the experience of discovery itself. The instruments are not dumbed down. They are just designed with a different entry point in mind.

The aesthetic choices also position these synths somewhere unusual on the cultural map. They are not vintage recreations chasing the warmth of a classic unit, and they are not sleek minimalist tech objects trying to disappear into a desk setup. They are objects you would notice on a shelf. Objects that invite a question. That sense of presence, the feeling that a thing has a personality before you interact with it, is genuinely rare in hardware design.

Xam has built something that sits at the crossroads of instrument, sculpture, and game. The synthesizer as landscape. The knob as terrain. Whether or not you ever make music with one, the thinking behind Madkids Empire’s work is the kind that deserves to travel beyond the synthesizer community and into a wider conversation about what it means to design something people actually want to touch.

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Enya Just Made a Guitar Anyone Can Play for $199

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Most of us have a complicated relationship with music-making. We admire people who can pick up an instrument and just… play. We’ve maybe even tried it ourselves, signed up for guitar lessons that lasted exactly three weeks, or downloaded an app that promised to teach us a song a day. And then we moved on. Enya Music is betting that the gap between “I wish I could play something” and “I’m actually playing something” isn’t about talent. It’s about friction.

The Cyber-G Pocket is their latest argument for that theory. Folded up, it looks like a chunky, pill-shaped Bluetooth speaker, the kind you’d toss in a bag without thinking about it. Open it out, and it unfolds into a compact, geometric guitar silhouette with 14 chord pads along the neck and a silicone strumming surface where the strings would be. No traditional strings, no frets to press down, no painful fingertip calluses during the learning curve. Just tap a pad, flick across the surface, and the Cyber-G Pocket fills in the rest.

Designer: Enya Music

To be clear, this is not a guitar. It’s not trying to be. Enya pitches it as a smart music gadget for casual gatherings, campfires, and spontaneous sing-alongs, and that framing matters. If you go in expecting to learn actual guitar technique, you’ll be disappointed. If you go in expecting to have a genuinely good time making music with friends who have no idea what a G chord is, you’ll probably love it.

The hardware is more considered than it looks. Inside are dual 10-watt full-range drivers covering a frequency range from 40Hz to 20kHz, which is a real, capable speaker for a device this size. The 3,250 mAh battery gives you around eight hours of play, and it fully charges in two hours via USB-C. That same port doubles as a digital audio transfer connection if you want to record directly to your phone or computer. There’s also a 3.5mm jack for routing into an amp or headphones. It folds down to 231 x 73 x 95mm, which is, to be fair, not exactly pocket-sized despite the name, but it’s genuinely compact enough to justify the travel pitch.

The Enya Music app is where the real depth lives. From there, you can access sheet music, adjust chord assignments, choose from over 15 tones ranging from acoustic warmth to synth textures, and switch between Sing & Play mode or Solo mode. The built-in drum and bass function means you can hit the Cyber-G logo button and instantly have a backing rhythm synced to your chord playing. For a room full of people who want to feel like a band for twenty minutes, that’s actually a pretty delightful trick.

Enya isn’t new to this space. They’ve been building accessible smart guitars since 2022 with products like the Nexg, and the Cyber-G line has grown into a whole ecosystem with multiple form factors. The Pocket feels like the most socially oriented version yet, designed less for solo practice and more for pulling people together who would otherwise just scroll their phones.

Starting at $199, it sits in that pricing zone where it’s more than an impulse buy but not so far out of reach that it feels precious. You’d use it, you’d leave it on the coffee table, you’d pull it out when friends came over. That’s kind of the point.

Whether or not it qualifies as a “real” instrument is a question worth skipping entirely. Not everything has to earn its place through traditional definitions. The Cyber-G Pocket is genuinely thoughtful design applied to a very human desire: to make something that sounds like music without needing years of practice to get there. That’s not a consolation prize. For most people, that’s exactly what they actually wanted.

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BREMEN Turns a Broom Into a Guitar and a Desk Into a Piano

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Learning to play a musical instrument is one of the most commonly abandoned pursuits in modern life. The gap between wanting to play and being able to usually involves years of lessons, expensive gear, and a dedicated practice space. That’s a lot of friction for something that’s supposed to be joyful, and it keeps most people as spectators for their entire lives.

The designers at YUPD started from a different observation. Most people are already making music, just not in any formal sense. Tapping out a beat on a desk, drumming with pens, humming a melody while doing chores, these are all musical impulses that rarely have anywhere to land. BREMEN is a modular performance system designed to change that by letting everyday objects become actual instruments.

Designers: Yejun Jo, Minsu Kang, Gayeon Kim, Yumin Seo

Two of BREMEN’s four modules handle the percussive and string side of things. The Guitar Module and Drum Module are compact cylinders that slide over any stick-shaped object, whether that’s a pen, a ruler, or an actual broom handle. Once attached, they translate the way you swing or strike into guitar or drum sounds, sent wirelessly to the system’s central speaker.

The Piano Module takes a different approach. Two slim, bar-shaped units placed at opposite ends of a desk detect the distance between them and create an invisible keyboard in the space between. The sensors track finger movement above the surface and trigger the matching notes, so you’re essentially playing piano in thin air. No keys, no bench, no sheet music required.

All three modules feed into BREMEN_HEN, the system’s speaker. It receives the separate performances from the guitar, drum, and piano modules and blends them into a single ensemble output. The speaker itself has a distinctive triangular cross-section with a fabric mesh face, making it compact enough to carry by hand and functional enough to fill a room with actual band-level sound.

That last part matters. The whole point of BREMEN is that the stage can be wherever you happen to be, a classroom, a courtyard, a park. Three people with sticks and a pair of piano bars are suddenly a band. Nobody had to haul gear across town or book a rehearsal room. It’s the kind of spontaneity that music rarely allows for anymore.

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YUPD’s concept goes beyond accessibility, though that’s clearly central to it. More fundamentally, it’s a rethinking of what counts as a musical instrument, one that argues the answer could be almost anything. A broom becomes a guitar, a desk becomes a piano, and a group of people with no formal training becomes something resembling a band. That’s a surprisingly generous idea for something that fits in a backpack.

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These 5 AI Modules Listen When You Hum, Tap, or Strum, Not Type

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AI music tools usually start on a laptop where you type a prompt and wait for a track. That workflow feels distant from how bands write songs, trading groove and chemistry for text boxes and genre presets. MUSE asks what AI music looks like if it starts from playing instead of typing, treating the machine as a bandmate that listens and responds rather than a generator you feed instructions.

MUSE is a next-generation AI music module system designed for band musicians. It is not one box but a family of modules, vocal, drum, bass, synthesizer, and electric guitar, each tuned to a specific role. You feed each one ideas the way you would feed a bandmate, and the AI responds in real time, filling out parts and suggesting directions that match what you just played.

Designers: Hyeyoung Shin, Dayoung Chang

A band rehearsal where each member has their own module means the drummer taps patterns into the drum unit, the bassist works with the bass module to explore grooves, and the singer hums into the vocal module to spin melodies out of half-formed ideas. Instead of staring at a screen, everyone is still moving and reacting, but there is an extra layer of AI quietly proposing fills, variations, and harmonies.

MUSE is built around the idea that timing, touch, and phrasing carry information that text prompts miss. Tapping rhythms, humming lines, or strumming chords lets the system pick up on groove and style, not just genre labels. Those nuances feed the AI’s creative process, so what comes back feels more like an extension of your playing than a generic backing track cobbled together from preset patterns.

The modules can be scattered around a home rather than living in a studio. One unit near the bed for late-night vocal ideas, another by the desk for quick guitar riffs between emails, a drum module on the coffee table for couch jams. Because they look like small colorful objects rather than studio gear, they can stay out, ready to catch ideas without turning the house into a control room.

Each module’s color and texture match its role: a plush vocal unit, punchy drum block, bright synth puck, making them easy to grab and easy to live with. They read more like playful home objects than intimidating equipment, which lowers the barrier to experimenting. Picking one up becomes a small ritual, a way to nudge yourself into making sound instead of scrolling or staring at blank sessions.

MUSE began with the question of how creators can embrace AI without losing their identity. The answer it proposes is to keep the musician’s body and timing at the center, letting AI listen and respond rather than dictate. It treats AI as a bandmate that learns your groove over time, not a replacement, and that shift might be what keeps humans in the loop as the tools get smarter.

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Yale Engineers Created a 3D-Printed Carbon-Fiber Cello That That Never Cracks or Warps

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Traditional wooden cellos and violins are exquisite but fragile. They crack in dry weather, warp in humidity, and require constant environmental monitoring. A professional instrument can cost tens of thousands of dollars, yet one bad flight or unexpected temperature change can cause irreversible damage. This vulnerability has long kept quality instruments out of reach for traveling musicians, students in varied climates, and performers who need reliability above all else.

Forte3D’s answer combines 3D printing technology with carbon fiber construction. The team, led by Yale student Elijah Lee and co-founder Alfred Goodrich, created instruments with flat carbon fiber panels and 3D printed polymer components that maintain their shape regardless of environmental conditions. The sound quality matches traditional instruments because the team used computer-aided design to control every structural element and dial in the acoustics precisely. These instruments also include adjustable string heights and smooth tuning mechanisms, making them accessible for players at different skill levels.

Designer: Forte3D

The project originated from a practical challenge. Lee’s orchestra director asked if he could use his early 3D printing skills to design a cello that was strong, low cost, and easy for more people to use. Rather than simply replicating traditional designs in new materials, Lee and Goodrich rethought the entire structure. They tested different thicknesses and configurations using computer-aided design tools, discovering they could shape the sound in more controlled ways than traditional luthiers. This digital precision allowed them to dial in the acoustics by controlling every part of the structure.

The final design breaks from tradition in significant ways. The top and back panels are made from carbon fiber and shaped as flat and concave surfaces rather than carved forms. The ribs and neck come from 3D printed polymer material. However, certain classical elements remain unchanged because they work perfectly as they are. The sound post, fingerboard, and bridge are still made using traditional methods and materials, creating a hybrid that respects acoustic principles while embracing modern durability.

Carbon fiber’s core advantage is its stability. Unlike wood, which expands and contracts with atmospheric changes, carbon fiber maintains its dimensions regardless of humidity or temperature. This means musicians can bring their instruments to outdoor performances, different climates, or even extreme environments without worrying about structural damage. The material also eliminates the need for specialized maintenance products. A simple cloth and common household cleaners are sufficient to keep these instruments in excellent condition.

Forte3D also addressed playing comfort, which directly affects technique and long-term health. When strings sit too high or too low, musicians experience hand pain and their personal technique becomes harder to execute. The team built in an adjustable string height system that lets each player move the strings up or down using a small tool that comes with the instrument. The cello also includes smoothly moving tuning pegs and tools for stopping wolf tones, which are unwanted resonances that plague certain notes on string instruments. A printed guide ensures the bridge sits in the correct position, and all these design elements work together to support both playing comfort and sound production.

The violin version carries the same philosophy. Players can adjust string height to match their needs, and the body features a hole at the back to support sound flow. Like the cello, it ships with strings and tuning pegs designed for easier tuning. Both instruments handle weather changes and physical bumps that would damage wooden counterparts. For the Forte3D team, these instruments are not about making a style statement. They focus on what musicians actually need, which means less worry about damage, easier carrying, simpler care, and lower cost. The result is an instrument that honors centuries of acoustic development while finally freeing musicians from the constraints that wood has always imposed.

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Roland’s V-Drums Quiet Design keeps minimal noise for people living with the drummer

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For parents, probably the last instrument that they would want their kids to take up are the drums since they know they’ll be in for months or even years of ear-splitting noise. But over the years and with the advent of electric drums, there have been quieter options for people who want to practice their craft and not disturb the people they live with.

Designer: Roland

The V-Drums Quiet Design from Roland claims it is “the lowest playing noise in the history of electronic drum kits.” Of course it is not completely silent but it is able to reduce the playing noise levels by 75% compared to their previous V-Drums. Users have the option to play the set with the existing TD-07 control module or to choose another V-Drums module. There are several features that makes this electronic drums kit less noisy.

For one, the system snare and tom pads have a honeycomb rubber insert that is noise-absorbing and on top of it, there is a mesh head and strategically placed vents under the playing surface. The rim of the snare is actually triggered independently from the head and has soft rubber so your rim shots are not jarring for the people around you or near you. The set also has three cymbal pads that have the same materials mentioned above, with the crash and ride ones having independent bow and edge triggering while the hi-hat has a foot pedal to give it ultra-quiet operation. The kick drum has a triple-later cushion with a double-ply mesh in a floating frame set so the vibration and noise transfer is less.

All the features basically confines the sound to the headphones that you’ll wear while playing. The entire kit even has a noise-dampening stand with isolating rubber feet which keeps the sound levels “similar to an average conversation”. This is a gift for both the drummer and the people living with them.

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Key-bowed hybrid violin and keyboard synthesizer produces pure musical joy

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Of the many creative endeavors, music is probably one of the hardest to learn and practice. And of the well-known musical instruments, the violin is one of the hardest to play. But what if you can play the violin or some semblance of the instrument as easily as you could press down keys on a piano? And what if that produced the unique tonal quality of a violin while still hitting all the right notes perfectly? That’s the kind of musical experience that this DIY synthesizer offers, combining two classical instruments in a single form that might leave you confused with one hand playing the keyboard and the other playing the violin.

Designer: Washiyama Giken

Electronic keyboards can try to mimic the sounds of different musical instruments, but they don’t always work. They can’t, for example, reproduce the unique vibrating quality of the violin family, which at the very least would require some physical medium to produce that kind of sound. Conversely, violins are hard to master because you need to also move the bow at a very precise location to hit the right pitch, and that location isn’t marked like on a guitar.

Key-bowed, which is a very creative name, tries to combine the strengths of both the keyboard and the violin with very few of the flaws. It’s actually an idea decades in the making, but it’s finally possible to pull it off thanks to modern technologies and hardware. The synthesizer combines a Roland K-25m keyboard, an Arduino Uno R4 minima controller, and a self-made bowing sensor with a vertical acrylic plate. Of course, the assembly also requires some programming know-how, especially when dealing with sound waves.

Despite the complexity of the build, using the Key-bowed looks pretty simple, at least for the musically inclined. You simply hit the keys with one hand to produce music like on a regular keyboard or piano, and then you use the other hand to move the bow across the acrylic plate as you would with a violin. The vibrations on the plate are detected by the sensor and then transformed into waves that modify the note that’s produced, resulting in a very realistic recreation of a violin sound, with perfect pitch, and without the screeches. You can even pluck the plate and make it sound like you’re really plucking a string.

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Key-bowed is definitely a work of genius that makes playing music both fun and enchanting. It still requires you to have some basic music knowledge, of course, but it makes the execution less daunting, especially if you’ve always dreamed of playing the violin. Of course, there are limits to the music you can play, since you’re technically producing notes with only one hand, and the design is made for those who hold the violin bow with their right hand. Nonetheless, it still creates a captivating experience, and hopefully, it can become a commercial product that will let everyone enjoy that experience as well.

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This Absurdly Sculptural Piano was designed to be the Centerpiece of a Billionaire’s Living Room

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London-based design studio Based Upon is renowned for its out-of-the-box work and their latest creation is marvel on its own. Upgrading the classic piano design to a level that’s worthy of a grand art exhibition, is the Twist/D. A radical piano that breaks all norms for a creative twist.

Previously the studio has collaborated with names like Rolls-Royce and Tiffany & Co. to create collectible pieces which adorn the spaces of the rich and the famous. Building on the success of The Baby edition of five baby grands, this exclusive piece brings the grand expanse of the universe to your living room musical symphony.

Designer: Based Upon

According to Ian Abell, the essence of every piece crafted at the studio focuses on the right balance between functionality and artwork. Ian emphasis that the piano as a subject for them has “always been to create a credible piece of art while preserving the integrity of the instrument.” Twist/D tends to heighten the experience of the player as well as the listener. To everyone’s surprise, the autonomous piano is an amalgam of sculpture and technical features that delivers the touch, feel and sound of an exquisite concert grand.

The musical instrument has a spiralling shape that embodies dynamism of a dancer’s motion. The minimal silhouette of the piano is inspired by the proportions of the Golden Spiral. For the auditory brilliance, there are 12 computer modelled Steinways and Bechsteins from different eras for a vivid tonal qualities. Just like the form of this piano, the sync between strings, cabinet resonance and pedal mechanism of the symphonies is emulated perfectly for a rich sound. So has the integration of Isle of Skye site-specific audio samples that employs impulse response reverb techniques to create signatures of the island subterranean landscape.

Based Upon has managed to craft a musical instrument from advanced material and techniques to create a deep connection with the natural world. Twist/D has a lightweight frame made out of a composite material that makes possible the unconventional shape without compromising the structural integrity. Those keys are made from sustainable ebony and ivory alternatives for an environmentally friendly design. The price of $194,600 is meant to adorn the living rooms of music composers who value the good things in life.

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FlüGo Revolutionizes Flute Practice Sessions With Smart Technology And Noise Control

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Learning a musical instrument is often a demanding yet rewarding journey that requires consistent practice, dedication, and the right environment. For many musicians, especially flutists, the challenge is not just mastering the instrument but also finding a space where they can practice without disturbing those around them. Practicing inherently involves experimenting with the instrument, which can lead to playing a few bad notes—a normal part of the learning process that others may find disturbing. Addressing this issue, FlüGo emerges as a revolutionary concept in flute training, combining technology, flexibility, and respect for others into one comprehensive solution.

Designer: Junyi Chen,Huijie Qu, Jinze Li, and Jingzhe Zhang

Every musician faces the challenge of creating a nuisance at some point. Even the most proficient players may need to halt their practice sessions due to noise complaints. For flutists, this challenge is particularly enunciated due to the nature of the instrument and the lack of adequate, soundproof practice spaces. FlüGo aims to tackle this issue head-on, offering a smart training kit that allows flutists to practice wherever they are without causing disturbances. The kit includes a modular instrument, a foldable music stand, and a collapsible support. This innovative setup allows for high mobility and flexibility, making it ideal for flutists who need to practice in various environments.

At the core of FluGo is an interchangeable smart head joint that integrates advanced technology to simulate realistic flute sounds. By combining data on airflow and finger movements, it emits a lifelike sound through directional speakers, ensuring that the music is confined to the player’s area. This means that the sound only reaches where it is intended, providing privacy and minimizing disturbance to others.

FluGo is more than just a practical solution for noise control. It represents a significant step forward in making musical practice more accessible and less intrusive. In a world where learning a musical instrument can be seen as a niche or even a luxury activity, it democratizes access to musical education. It breaks down logistical barriers that have traditionally isolated musicians, particularly those who play louder instruments like drums and wind instruments.

Beyond noise control, it opens up new avenues for learning and connection. The device’s ability to record and analyze performances, access interactive educational content, and connect with other flutists transforms it into a tool for growth and cultural exchange. Musicians can share their experiences, seek advice, and draw inspiration from a global community of enthusiasts.

Moreover, FluGo features a folding smart sheet music terminal that automatically turns pages, allowing flutists to focus solely on their playing. The system also records performances and offers real-time sound simulation, making it a comprehensive tool for both practice and performance review.

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Suzuki Omnichord is back to offer a fun and interesting way to make music

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When you think of musical instruments, you will probably first think of things like pianos and guitars. Electronic musical instruments, on the other hand, conjure up images of keyboards, electric guitars, and complicated synthesizers. Suzuki’s Omnichord, on the other hand, is an odd yet curious duck that stands somewhere in between these two extremes. First launched in 1981, this electronic device empowered anyone to make music or accompany a song even without previous musical experience or even reading notes. The Omnichord’s distinctive electronic sounds and novel design made it quite a hit, but the product faded into obscurity back in 1996. To commemorate its upcoming 40th anniversary, Suzuki decided to give today’s generation a taste of that unique experience with a new model that recreates the original so faithfully down to using the same analog circuits.

Designer: Suzuki

Imagine just pressing a few buttons and sliding your finger on a flat surface and then suddenly producing wonderful music. That’s pretty much the experience that the Suzuki Omnichord offered, presenting people, whether musically trained or not, the joys of creating music with ease and freedom. There are no wrong notes, just new harmonies and beats to be discovered and incorporated into your masterpiece. It’s like an adventure for novices but also a new territory for veterans who want to add a unique flavor to their music.

The new Suzuki Omnichord OM-108 tries to bring that 80s experience to the 21st century, reproducing the tonality that characterized that period while also adding modern features that cater to today’s more demanding audience. To accurately recreate the same tones of the OM-84, perhaps the most popular Omnichord ever released, Suzuki opted to go completely old school and apply the same analog circuitry that gave the original its distinctive electronic sounds. It also has that popular harp sensor or strumplate that lets you easily slide or tap your finger to produce the “notes” that will make up your music.

The new OM-108 model boasts 108 chords, hence the name, as well as many new functions, like a switch that changes the way chords and rhythms are played. There’s also a drum pad mode that turns the chord keys as well as the sturmplate itself into beats. And like with many modern electronic musical instruments, you can connect the Omnichord to external MIDI devices to mix tones to your heart’s delight. Plus, the built-in speaker can be turned on or off when you connect an external speaker, useful when you want to monitor your own sound during a live performance.

The Suzuki Omnichord OM-108 may look like a toy, but the unique sounds it lets you produce are pure joy, at least to fans of the electronica genre. Its revival coincides with the retro craze gripping many industries and is a perfect example of a design that manages to remain relevant decades after its last appearance. That said, you’ll have to wait a bit before you can get your hands on the newest Omnichord, as sales aren’t expected to start until July, with the price and market availability still unknown.

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