There feels a sense of “At last!” about this release for a number of reasons.

Firstly, it’s my first proper soundset release of 2026, after months of struggle with a shoulder injury. There’s a huge release of stress, emotions and all sort os other stuff in being able to release Obelisk!

And secondly, I’ve been meaning to create a soundset for Legend HZ for a while now. With the update to “HZ” status, which added things like the multi-stage envelopes and extra oscillators, to the more recent version 2 update which brought in an EQ and saturation, this synth has been crying out to me to be used and abused for some time now.

So, over the last few weeks, when my shoulder has finally been in a condition that has allowed me to get back into the studio, I felt it made to sense to get back onboard with Legend HZ.

It’s an incredible synth. Synapse Audio have been well known for sound quality for a while now but, Legend HZ has exploded with new features that make it, for me, an essential softsynth to have in your composing and music production tool kit. It takes a sound we all love, that of the Moog Minimoog‘s oscillators, filters and circuitry and absolutely blasts it into the stratosphere with modern production techniques and cutting edge sound sculpting techniques. It’s huge, it’s brilliant and I love it. A lot.

What is Obelisk? Essentially it’s a soundset carved from my initial exploratons with this synth. I made a lot of new patches with it, experimenting with its functions and features, seeing what sounds came out of it and intrigued me. Whilst Legend HZ is suitable for a variety of genres (and you can be sure I’ll be exploring them in the future), what formed as I wrked with it was a very contemporary analogue scoring vibe. Primarily, I think, for underscore but with plenty of punch and action in there as well.

Obelisk utilises Legend HZ‘s raw and powerful analogue oscillators, gritty filter and dynamic effects in tandem with its multitude of sequencing capabilities, such as its multi-function sequencer/arpeggiator, the multi-stage envelopes and modulation matrix, to create an expansive and characterful analogue tool kit. It’s punchy, expressive and atmospheric; it’s full of tight and filthy low end, driven loops and sequences, twisted textures and roaring synth sounds. Hell, there’s even a reasonably convincing felt piano n there!

I hope you love it as much as I do.

And keep an eye for some other new releases over the next couple of months, as The Unfinished New Synth Summer kicks into view!