It’s a special edition green Hydrasynth. 
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Demogorgon ?
If that’s the case, it raises the possibility that ASM might reveal something exciting at NAMM.
Let’s dive into some theories!
With the Hydrasynth, they’ve already ventured into digital, virtual analog, FM, and wavetable synthesis. The name ‘Hydra’ evokes the image of the multi-headed serpent from Greek mythology.
Could ‘Levia’ draw inspiration from the Leviathan, the mythical sea creature associated with chaos and untamed power?
If so, perhaps ASM is working on an analog synthesizer with bold acid tones and heavy distortion capabilities. Or maybe they’re crafting a physical modeling synth designed to mimic searing guitar sounds. Another possibility could be a sampler with versatile resolution options and creative tools for bit crushing.
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Well whatever the next product from ASM ends up being its probably time something new got released. Hydrasynth is a pretty amazing thing but if I might be so bold as to offer a round up of the criticisms of it they amount to: Amazing concept, brilliantly executed but lacks elegance in some areas. I personally am waiting with a keen eye for the next one.
Also: Still no Hydrasequencer???
Is “Digital is the New Analog” a tag-line for ASM or just the Hydrasynth ? I had thought it was for ASM, but maybe not.
PWM has the strategy of having one of each – Malevolent - Analog, Mantis - Hybrid, and new product in development purely digital.
But my impression is that ASM is primarily focused on digital technology, with virtual analog parts too. They have capitalized early on using Medeli’s custom digital electronic design capabilities. I’ve imagined that part of why it is taking so much time getting to a new product, is that ASM and Medeli together have been working on some new core custom digital technologies to take both of their designs to new levels.
I’ve thought for instance of a technology that works internally primarily in the frequency domain ( as opposed to a time domain ) where all digital samples are stored and processed from their equivalent frequency domain data. This would include real time analog audio to frequency domain converters for audio input. If done well audio stored in the frequency domain could be recreated into the original audio with little to no loss in sound quality.
Working primarily in the frequency domain is the core technology that allows granular synthesis to work. But it could go well beyond that, into new physical modeling approaches, dramatic morphing of analog, hyper real sound modeling and multi-source morphing, and AI sound generation techniques. There have been companies that have been working on parts of this, but bringing this all together in a single place has yet to occur.
Imagine what the Mutants could be then.
Another power of such technology is that if it is done well, and is economical, it could also be applied to many different sorts of more regular kinds of audio synthesis systems. This would mean that it could be used by Medeli improving their performance arranger products for instance. This is likely important to monetize the development cost.
But this is all my imagining.
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“Leviathan” has “very powerful bringer of chaos” at its root, but then also “controller of chaos” too, so maybe “Leviasynth” means bringer and controller of chaos. In some ways, all synthesis engines do this, but I’ve always been struck by the visuals of how granular synthesis is especially suited for this. The videos of the GR-1 with all their “beads” (or whatever they call them) are exactly this. I’ve considered picking up a GR-1 in part because I really like the visuals. I am a sucker for good visual feedback on a synth, including the oscilloscopes on the HS, the Cobalt 8M and the frequency and filter analyzer combo on the Iridium–same thing with VSTs that show you automated position movement in a wavetable synth…
Whatever ASM does here, if anything, I hope they will let us “see” some kind of variable and detailed visual representation of what kind of synthesis is going on under the hood.
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Playing around with my HS.
It occurs to me that just moving some of the patch level settings to individual voices, and putting a control system over top of that, would be a good arrangement.
The sound capability of the Hydrasynth is really wide, but control isn’t as orthogonal as it could be. The Deluxe is bi-timbral, and the regular HS is semi-timbral. But if control is pulled closer to the surface ( on any synth ) the whole concept of timbrality disappears.
Semi-timbral?
Seems like ASM is waiting for Elektron to release Tonverk, and vice-versa. 
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It’s the same product, with two different brand and product labels stuck on the outside.
This all has been set up by double agent DT.
Image posted by reeloy.
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the kraken himself.
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Ah reminds me the Tempest (Dave Smith / Roger Linn).
The leviasynth/tonverk conspiracy goes waaaaay deeper than even I had suspected and I am here for it
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I like that term. Like “Almost Timbrel” I think I’ll trademark AlTi and make something that doesn’t quite make sounds. 
Something so close to making cool timbres that it makes one sick.
Hehehehe
Or virtual timbre. Something that generates a timbrel concept, but not the actual sound. It can create the full set of sonic parameters, but then not output them. 
Everything but the DAC, transistor, or op amp at the end of the chain.
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You heard it here first !
From the Diosynth User Manual page 8, Sound Browsing Notes :
… and our 8-oscillator algorithmic synthesizer, the beastly Leviasynth.
So i take it from “beastly” the surmise on Leviathan may well be right.
Is this leak intentional, or accidental ?
I say intentional !
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When we did the Fairlight v software at Arturia I referenced Synthesizer Patel as an artist. A few people got the joke.
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Now I’m hyped!
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Called it! 
Said the wind synth wouldn’t come out alone. Can’t wait to see what magic is coming next.
Sounds like FM, can it displace my DN2?? 
Only if it has the same 16 voices of multitimbrutality and a step sequencer that matches elektrons