2024 has been a great year for new music making gear. As it comes to a close, we’re counting down our top 10 music tech instruments of the past 12 months. You can watch them all in action in our video above, or read more about each in the count down below.
For this round-up, we’re focusing on hardware – there have been a multitude of excellent software releases in the past 12 months, from Ableton Live 12 to FabFilter’s Pro-Q 4, but we’ll save that for another time. We’re sticking to instruments too – hardware synths, samplers and drum machines. Check out our regularly updated buyer’s guides at the links below for the best interface, monitors, mics and headphones. We’re also overlooking the whole modular realm where, again, there have been lots of great releases, but ones we don’t have space to include here.
Some brands have dropped multiple impressive releases this year, including the likes of Korg, Moog and Roland, and for the most part, we’ve tried to limit ourselves to a single release from each. That means some hardware devices that we’ve really enjoyed using this year haven’t made the cut, such as Moog’s generative semi-modular Labyrinth or several of Korg’s releases.
We’ve based our rankings on a number of factors, such as innovation, value and usability. Ultimately, it’s all pretty subjective too, and we’d love to hear your thoughts on what you disagree with, what you think is missing and what you’ve been using most in 2024.
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MusicRadar’s tech hardware of the year 2024
10. Oberheim TEO-5
What is it?
The TEO-5 is essentially Oberheim’s ‘take’ on the Sequential Take 5. At its heart lies the basic elements of a classic Oberheim synth, but these are housed in a compact and modernised instrument.
Created with help from Sequential – and as a result, Sequential’s new owner Focusrite – the TEO-5 offers a more affordable and convenient way for musicians to get hold of that classic Oberheim analogue sound.
What do we like about it?
TEO-5 is a very clever performance and sound design synth created for a small footprint and decent price. Despite it having some obvious points of comparison, there is enough personality here to set TEO-5 apart from all the synths we’d naturally try to align it with. Its easy modulation and SEM filter variations will have you creating new sounds with reckless abandon with it in no time.
Any downsides?
Five voices, for well over £1k isn't a massive amount. Some will feel limited by the polyphony and there are many other great synth options out there for similar money or even less.
READ MORE: Full Oberheim TEO-5 review
9. Elektron Digitakt 2
What is it?
Originally released in 2017, Elektron’s sampling drum machine Digitakt is one of the most popular and influential hardware instruments of recent years. This sequel doubles down on the capabilities of the original, doubling the audio track count from 8 to 16, as well as making each capable of stereo sampling. There are also significant updates to the instrument’s filters, LFOs and sequencing capabilities.
What do we like about it?
The enhanced audio capabilities instantly make Digitakt II feel capable of more complex and expansive projects. The easy, flexible modulation tools have long been one of our favourite features of Elektron gear, so an additional LFO per track is a great upgrade. The new Euclidean sequencer mode – also added to some other Elektron devices – is a great fit with the overall workflow.
Any downsides?
Despite being an all-round improvement to the format of the original – and one which justifies the bump up in price – there’s nothing here that reinvents the wheel. For anyone that wasn’t convinced by the original, either due to its limitations as a sampler or its complex workflow, there’s nothing here that’s likely to change your mind.
READ MORE: Full Elektron Digitakt II review
8. PWM Mantis
What is it?
Mantis is the second instrument from British brand PWM, which debuted in 2012 with the analogue semi-modular synth Malevolent. Mantis was created in collaboration with the late Chris Huggett, known for his work on classic synths like the Wasp and OSCar, as well as a multitude of Novation instruments. It’s a hybrid paraphonic synth that very much channels the sound of those classic instruments, albeit in a modernised format.
What do we like about it?
Mantis is a fantastic-sounding and characterful synth that lives up to its promise of capturing the essence of synths like the Wasp and OSCar in a modern format. Its multidue of filter modes, versatile digital oscillators and abundance of hands-on control offer plenty to get lost in, and exploration often rewards rich and fascinating sounds.
Any downsides?
Mantis’ price point is fairly steep for a paraphonic synth, and in terms of sheer bang-for-your-buck, you can certainly get more for your money elsewhere. While the synth’s interface is generally well laid out, the fact that all controls are similar in style and look can make navigation a bit confusing.
7. Ableton Move
What is it?
Although it kind of looks a little like Push mini, Move is actually more like a hardware version of Ableton’s iOS app, Note. Although it’s capable of being both a standalone instrument and a Live controller, Move’s primary purpose is as a sketchpad for Live. In standalone mode, it can sequence beats using Drum Racks, as well as playing sampled instruments and synths based on some of Live’s stock devices. There’s simple onboard sampling and basic effects too.
What do we like about it?
What Move does, it does really well. It’s designed for ease of use and the process of generating basic ideas and capturing samples is fluid and intuitive. The integration with Live is excellent too, making it really easy to take ideas started on Move into the full version of the DAW for further development. Aside from its standalone capabilities, Move is a convenient basic Live controller too – great for those that want simple interaction with the DAW without needing to lug Push around on the road.
Any downsides?
Move is very much a sketchpad, and it's inherently limited by design. Because of this, it won’t suit everyone – effects processing and audio sequencing is very minimal, for example. You really need to embrace its limitations to get the most out of it.
READ MORE: Full Ableton Move review
6. Korg Multi/Poly
What is it?
The latest in Korg’s line of 37-key digital polysynths – joining the likes of the Modwave, Opsix and Wavestate – is inspired by the classic analogue Mono/Poly. Korg pitch Multi/Poly as an analogue modelling synth, but we still think that description undersells it somewhat; although it does a good line in virtual analogue, it’s also equipped with powerful wavetable and wavefolding capabilities, along with deep modulation and sequencing tools that go well beyond what an analogue synth would be capable of.
What do we like about it?
As with other recent digital synths in Korg’s line-up, the Multi/Poly has a ton of depth and flexibility for its price. It can do a decent line in analogue style sounds, but with four timbral layers and a mass of digital and VA sound generation, it’s capable of much more than mere analogue emulation. Its layer rotate function – inspired by the original Mono/Poly’s round robin capabilities – is the most distinctive and fun feature here.
Any downsides?
The Mono/Poly-inspired branding is a slight red herring here, and although it leans into a few vintage-inspired ideas, those hoping for an authentic Mono/Poly experience might be disappointed.
READ MORE: Full Korg Multi/Poly review
5. Moog Muse
What is it?
Following the discontinuation of the mammoth Moog One, Muse is the synth brand’s latest flagship eight-voice poly. It’s considerably cheaper and more accessible than the One, but maintains much of what the Moog One had to offer, including eight analogue voices, a multi-timbral design – reduced from three to two timbral layers – and a similarly flexible approach to modulation.
What do we like about it?
This might be the purest form of what one hopes to hear when imagining a ‘Moog poly’; rich, characterful and full of life. Unlike the all-guns-blazing One, Muse nails the balance between modern depth and approachable, hands-on design.
Any downsides?
With its price point just shy of £3k, Muse invites inevitable comparison with a number of other polys. Within a few hundred pounds either way, you have Arturia’s PolyBrute 12, UDO’s Super Gemini, Novation’s Summit, and Sequential’s Prophet-5 and 6, among others. Muse isn’t the outright biggest-sounding nor the most versatile of the bunch. Several of the synths named above outstrip Muse in terms of voice count, and we’d argue that those that embrace more of a hybrid analogue-digital design offer a wider spectrum of potential sounds.
READ MORE: Full Moog Muse review
4. Roland P-6
What is it?
The latest addition to Roland’s Aira compact range, the P-6 is a compact and very affordable sampler, with six tracks of stereo sampling, a granular engine and some neat global effects. It’s battery powered, with a built-in mic and a good array of ins and outs, making it great fun for sampling on-the-go.
What do we like about it?
The P-6 is the cheapest product in our GOTY round-up, and for its size and price there’s a lot of creative power on offer here. The granular engine is a great addition, as are the effects, which are great for lo-fi crunch and grit. What’s more, unlike many of Roland’s Aira instruments, the P-6 doesn’t feel beholden to retreading past glories.
Any downsides?
As with other Aira compact machines, the small size can make for a somewhat fiddly user experience and there can be a fair amount of shift-pressing and menu-diving. Ideally, we’d like a few more options for sample editing and effect routing too, but given the price point these are understandable omissions.
3. Polyend Synth
What is it?
Synth is, shockingly enough, a synthesizer. More specifically, it’s an 8-voice digital synthesizer that lets users layer and perform with three independent synth engines. Each of these layers can be loaded with one of eight different engine types, each of which is designed to have its own unique palette of sounds.
What do we like about it?
The multiple digital synth engines here are excellent and incredibly versatile. Synth’s strongest assets, however, are in its hardware design. The poly-aftertouch pads are a joy to use and equipped with some clever features that make it easy to play up-to three sounds from a single interface. The layout of each synth engine and use of macro controls makes hands-on editing wonderfully simple.
Any downsides?
Eight voices isn’t a lot from a digital synth in this day and age, and you can certainly get more polyphony for your money elsewhere. It can be a little too easy to overload Synth’s onboard CPU too, leading to unwanted glitches when using the more demanding synth engines.
READ MORE: Full Polyend Synth review
2. Arturia PolyBrute 12
What is it?
A 12 voice update to Arturia’s flagship PolyBrute synth, which doubles down on the expressive nature of the original with innovative aftertouch features as well as doubling the voice count.
What do we like about it?
The original PolyBrute was already a hugely expressive multitimbral synth, but particularly when layering patches, it was easy to butt up against the six voice limit. The extra polyphony pays real dividends here. What’s more, the improved keybed adds even more to the expressivity – already emphasised by the morphing capabilities, ribbon controller and Morphee expression controller.
Any downsides?
Aside from the imposing price point, it’s hard to find anything negative to say about the PolyBrute 12. This is an all-round winning upgrade to an excellent poly, and those that can afford the outlay will find a synth with enough depth to warrant its top-end price.
READ MORE: Full Arturia PolyBrute 12 review
1. Elektron Digitone II
What is it?
A sequel to Elektron’s multi-timbral FM synth. Like the Digitakt II – above – the updated Digitone massively expands the audio and sequencing capabilities of the original. Here upping the polyphony to 16-voices, which can now be sequenced across 16 individual audio tracks. A new system of ‘machines’ adds extra synthesis engines and filter types into the mix.
What do we like about it?
Whereas Digitakt II felt like an upgrade to, rather than a reinvention of the original instrument, the improvements to Digitone are more fundamental. The new synth machines add virtual analogue and percussive synthesis capabilities alongside the original FM engine, which remains onboard too. Because of this, and the ability to program up-to 16 audio channels, Digitone II has changed from being simply a multi-timbral synth to a full multi-channel groovebox with almost DAW-in-a-box capabilities.
As a result, it vastly expands what Digitone can do without losing much of what we loved about the original. The typically powerful Elektron sequencer has been expanded and upgraded too, with double the step count, a new Euclidean sequencer mode, and more.
The original Digitone was one of our favourite and most-used synthesizers of the past decade, and Digitone II looks set to claim pride of place on our studio desktop.
Any downsides?
Ultimately, Digitone is still an Elektron groovebox for better and worse. While that means powerful sequencing and lots of under-the-hood features, it also comes with a steep learning curve. Set aside time to read the manual front to back, twice, in order to get the most out of it.
