AnalogFX Larynx: Syrinx-Inspired Formant Synth with Keyboard

TL;DR: AnalogFX has announced the Larynx, a keyboard version of its SER-2020 semi-modular analog synth inspired by the rare 1983 Synton Syrinx. Limited to 50 units, it adds a stereo delay, arpeggiator, sequencer, and 37-key keybed with aftertouch, available for pre-order at €929 with a 10% introductory discount.

• Dual CEM3340 VCOs with PWM, sync, sub-oscillator, ring modulator, and noise.
• Triple CEM3350 filter setup (two bandpass, one lowpass) with four routings and formant mode with 16 voice presets.
• New features: stereo delay with LFO/CV modulation, arpeggiator, and sequencer (details pending).
• 37-key keybed with aftertouch and pressure-sensitive “Touch’n’Bend” controller.
• Limited to 50 units worldwide; pre-order at €929 (10% off) with shipping in September 2026.

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Syrinx Reborn: From Desktop to Keyboard

We at Noxal have a soft spot for synths that resurrect the obscure. The Synton Syrinx from 1983 is a ghost of analog history — fewer than 200 units ever made, and those that remain fetch prices that would make your wallet weep. When AnalogFX released the SER-2020 a few years ago, we raised an eyebrow and a coffee cup in salute. Now, on the eve of Superbooth 26, they’ve unveiled the Larynx: a keyboard version that takes the Syrinx-inspired architecture and stuffs it into a playable, stage-ready package.

The Larynx isn’t just a rehash. It’s a thoughtful evolution. Where the SER-2020 sat on your desk like a patient lab instrument, the Larynx stands upright with a 37-key keybed, ready to be poked, prodded, and performed upon. For those of us who crave the formant-filter magic of the Syrinx but don’t have a spare mortgage to drop on a vintage unit, this is the next best thing — and arguably better in some ways.

The Filter That Speaks: Formant Mode and Triple Filter Architecture

Let’s talk about the heart of the Larynx: the filter section. The Syrinx’s claim to fame was its triple-filter setup — two independent bandpass filters and one lowpass filter — that could produce vowel-like formant sounds when routed cleverly. AnalogFX has replicated this with CEM3350 chips (the filter cousin of the CEM3340 VCOs) and added a selector switch for four different routings. This isn’t just a gimmick; it’s a playground for timbral exploration.

But here’s where the Larynx one-ups its inspiration: a formant mode with 16 pre-programmed filter settings modeled after the human voice. Think speech synthesis, robotic whispers, and those eerie “aa-ee-ii-oo-uu” sweeps that make you sound like you’re communicating with alien lifeforms. We at Noxal spent an afternoon with the SER-2020’s formant mode, and it’s dangerously addictive. The Larynx inherits this, and with the added keyboard control, you can actually play melodies through these vocal filters — something the desktop version only hinted at.

Extra Gear for the Stage: Delay, Arp, and Sequencer

The Larynx brings two new toys that the SER-2020 lacks: a stereo delay and an arpeggiator/sequencer section. The delay is LFO-modulable and CV-controllable, which means you can sync it to your modular rig or let it drift into chaotic, self-oscillating territories. We’ve seen too many boutique synths skimp on effects, assuming you’ll patch in external gear. AnalogFX gets it — sometimes you just want to press a key and hear a wash of modulated delay without re-patching half your studio.

As for the arpeggiator and sequencer, details are sparse. AnalogFX has been cagey, saying only that it’s “a new section” with unspecified features. We’re hoping for something beyond the standard up/down/random patterns — perhaps a step-sequencer with per-step filter or CV control. Until we get hands-on, we’ll reserve judgment, but the mere inclusion suggests AnalogFX is aiming at live performers who want to build patterns on the fly.

Expressiveness and Patching: Aftertouch, Touch’n’Bend, and Modular Integration

The 37-key keybed with aftertouch is a welcome addition, but the real star is the “Touch’n’Bend” pressure controller, lifted directly from the Syrinx. It’s a touch-sensitive strip that lets you bend pitch, modulate filter cutoff, or control any assignable parameter with finger pressure. It’s not polyphonic aftertouch — it’s a single global controller — but it adds a tactile, human element to performances that traditional pitch and modulation wheels can’t match.

For modular enthusiasts, the Larynx offers a generous patch bay. You’ve got CV inputs for pitch, filter cutoff, and modulation, plus gate outputs for triggering external gear. The semi-modular design means you can use it standalone or integrate it into a larger Eurorack setup. We at Noxal appreciate a synth that doesn’t lock you into a closed ecosystem — the Larynx invites you to break the walls down and get messy.

Market Context and Availability: Limited to 50, But Surprisingly Affordable

Now for the part that makes us twitchy: AnalogFX is producing only 50 units of the Larynx. Limited runs are a double-edged sword — they create hype, but they also mean you’d better act fast or resign yourself to watching Reverb listings for the next decade. The pre-order price of €929 (with a 10% introductory discount) is shockingly reasonable for a boutique synth with this level of analog circuitry. Compare that to original Syrinx units that sell for €4,000-€6,000, and the Larynx starts to look like a steal.

Shipping begins in September 2026, which gives you time to save your pennies and clear a spot on your desk. Who is this for? The Larynx is for the collector who wants a piece of synth history without the vintage tax, the sound designer who craves vocal textures, and the live performer who wants an expressive, hands-on instrument. It’s not for everyone — if you’re happy with a Minilogue, move along — but for those who hear the call of the Syrinx, the Larynx is a siren song worth following.

I’ll be honest: I’ve already emailed AnalogFX to reserve one, and I’m now staring at my coffee mug wondering if I can sell it to fund the deposit. Priorities, people.