ASM Leviasynth: Scott’s Synth Stuff Unleashes a Hybrid Monster

Scott’s Synth Stuff finally spills the beans on the ASM Leviasynth after two years of enforced silence. This isn’t just another plastic box with blinking lights – it’s a hybrid digital/analog monster that Scott calls the most extraordinary synth he’s touched in four decades. The Leviasynth doesn’t just blend digital and analog, it smashes them together, giving you a signal path that can go from squeaky-clean digital to filthy analog saturation and back again.

The engine is all-digital at its core, but with a multimode digital filter and a real analog filter tacked on for that unmistakable warmth and drive. You want classic analog? It’ll do it. You want digital weirdness? Sorted. Or just mash them up and make something that sounds like a toaster-fight in a rave bunker. This is the kind of gear that makes you rethink what a synth should be.

Let’s talk numbers: Leviasynth gives you eight oscillators per voice. Not three, not four – eight. Scott’s quick to point out that even heavyweights like the Summit or Hydrasynth can’t touch that. This means you’re stacking, detuning, and mangling waveforms in ways that would make most synths curl up and cry.

With 16 voices of polyphony and two-part multitimbrality, you’re looking at a potential 128 oscillators firing at once. That’s not just overkill – it’s a full-on sonic riot. If you want lush, evolving pads or brutal, layered basses, this thing’s got you covered. The complexity here isn’t just for show; it’s the backbone of Leviasynth’s sound design power.

Leviasynth’s modulation matrix is a sound designer’s fever dream – 32 slots, assign-anything-to-anything, and a user interface that finally doesn’t make you want to throw the synth out the window. Scott highlights how the improved UI makes deep routing and macro assignments actually fun, not a menu-diving nightmare.

There’s a big, colourful touchscreen oscilloscope at the end of the chain, touch-sensitive knobs that jump you straight to parameters, and eight assignable macros per patch. You can even name your macros, so you don’t forget which knob launches the sonic apocalypse. It’s clear ASM listened to years of HydraSynth feedback and built something that’s both deep and fast – a rare combo in synth land.

Remember when stereo meant slapping a chorus on the output? Leviasynth laughs at that. Scott shows off the true binaural stereo path, letting you pan individual voices and create wild spatial effects right from the oscillator stage. This isn’t just a gimmick – it’s a full stereo signal path from start to finish, with binaural mode halving your polyphony but doubling the head-trip. If you want synth sounds that swirl around your skull, this is the street weapon you need.