The Softpop SPII, a collaboration between Casper Electronics and Bastl Instruments, is a portable semi-modular synthesizer that elevates its predecessor into a more refined, versatile and user-friendly instrument. For those unfamiliar with the first generation CASPERxBASTL SoftPop from 2017, this is a a complete rework. If you’re a fan of the original, there’s no reason to read this review, just go buy it.
This compact synth packs features typically reserved for larger, keyboard-based instruments into a chassis the size of a small paperback book. At its core lies a sneaky sequencer, customizable pitch quantization, and a rich modulation matrix. The portability comes from it being powered by a 5-volt USB connection, which allows it to be fueled by a typical smartphone power bank. We had five reviewers spend considerable time with the SoftPop SPII, their impressions in quotes below.
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The “Oreo cookie” enclosure, crafted from black and silver-etched PCBs is well-constructed, but slightly fragile. For example, the sliders have a slight play, but the amount of resistance feels right and stays consistent over time. The synth is compatible as a Eurorack module, but it does not mount directly into a rack. Users will need to source additional rails or convert the case to a standard +5V rail power system for full integration.
The SoftPop SPII Is Not For The Meek…
The SPII’s interface is dense and some potential users could be put off by the overwhelming amount of semimodular connections, sliders, knobs, glowing orbs and buttons crammed into its small stature. While CasperBastl did “a miraculous job” getting all this glorious action into one area, the interface does suffer. “The SoftPop would have significantly benefitted from being housed in a larger chassis, such as the Moog Subharmonicon format,” according to one reviewer. Another stated, “it’s like they plopped New York City onto a postage stamp.”
Somehow it does possess clear labeling and informative illumination to indicate rates, gates, and other parameters. CasperBastl “did channel Christopher Nolan’s movie Memento by tattooing the SPII’s instructions on the sides and rear of the case,” like the main character, Guy Piece, used skin art to deal with his anterograde amnesia. The idea was for musicians to have all the instruction they needed at their fingertips, but in practicality, “it’s a bit cumbersome to utilize.” Design-wise, it’s a fun device and gives the SPII it’s “chemistry set vibe,” but doesn’t really help alleviate the unit’s serious complexity or need to delve into the instructions.
The audio signal flow begins with a pulse oscillator, generated by an analog comparator driven by a triangle oscillator. This feeds into a state-variable filter, followed by a VCA, and ultimately, the output stage. The filter has its own personality, capable of squelching and whistling, with low-, band-, and high-pass modes, including a parallel output for the band-pass. The digital oscillator mode provides stable tuning and diverse tonal options, enhancing the synth’s versatility. The Triangle oscillator’s modes include Super Triangle, Super Saw, Fractal Triangle, Triangle to Noise and Glitch Radio.
The right side panel showcases the many combo’s you’ll need to learn to work the sequencer.
With 37 patch points, the SPII offers vast routing and modulation possibilities, making it an ideal candidate for integrating with other gear. CasperBastl knows their audience and baked several attributes into the SPII to make it “play nice – and maybe not so nice – with others.” In fact, one of our evaluators loved using the SPII as an effects processor.
Other features include the XY knob, which functions as a mixer, modulation controller, or attenuator, depending on the patch configuration. The patch bay adds further flexibility with options like Sample & Hold and PWM, as well as an accent function. MIDI implementation is “a tad befuddling,” You would hope you could simply send it MIDI note data to have it act solely as a synth in a studio setting, but that doesn’t always give you the intended results. There is no USB MIDI and Modular Clock was more accurate than MIDI clock according to a couple of our evaluators. MIDI Scale “almost made the SPII work like a generative MIDI sequencer,” allowing the notes you play on an external keyboard controller to create “some sort of arpeggiations.” There are MIDI mappings, but it takes some archeology to unearth them. For example, somehow notes over C7 trigger the sequencer performance effects mentioned above. Despite the unpredictable nature, MIDI CC could be employed for live performance with a flexible controller once you develop a comprehensive map.
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Version 2 Enhancements:
- Digital VCO
- VCO Pitch Limiter
- CV pitch tracking mode
- Fine-tune fader mode
- ENV G and SLIDE G trigger/gate modes
- Envelope gate probability
- Triggered pitch change mode
- MIDI clock detection
- FX controlled by MIDI notes
- Envelope triggered by Note On mode
- MIDI CC implementation
- MIDI transpose
- A fun Orb that may or may not be able to tell the future
Power Requirements:
- Power: 5V via Micro USB (power brick not included)
- Power consumption: <250mA
- 16-pin protected Eurorack power connector requires 5V from busboard: <250mA
CasperBastl SoftPop SPII Features:
- Semimodular synth with integrated digital control
- Patchbay with 37 Eurorack compatible patch-points
- Light orb for psychedelic inspiration
- Digital oscillator with several waveforms and waveshaping
- Automatic oscillator tuning and octave-wide fine-tune control (for analog VCO)
- Quantized V/OCT semitone transpose
- State variable resonant filter with lowpass, bandpass, and highpass modes
- POP control for unique subtle and distorted timbres
- Flexible attack-decay cycling Envelope with a ton of control inputs
- Drone or envelope mode switch for the VCA
- 8 step sequencer with pattern chaining
- Scale quantizer with 8 user-editable scales
- 8 patterns per bank, 8 banks (saved on demand)
- Envelope gates per step
- Slide option per step for that 303 warp
- Playback modes
- Temporary FX section (ratchets, arps, noise, and more)
- CV, gate, and clock outputs from the sequencer
- External input for processing audio with dynamics analyzer
- Analog sync Input
- Tempo section with divider/multiplier
- MIDI DIN input for sync and musical control*
- XY crossfader utility section and 4-way multiple for advanced patches
- Eurorack size rail adaptors available as open-source files
- Outputs are 5Vpp except for PULSE, EDGE, ENV, BP, and DYNAMICS that are 4Vpp
- Dimensions: 173mm x 112mm x 41mm
- Inputs are capable of receiving Eurorack signals
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The sound of the SoftPop SPII is hard to pinpoint with words. It can do rounded analog-like tones, but let’s be honest, that’s not why you’re going to buy it. With the SoftPop, you want “the inmates to run the asylum.” Putting aside the patchbay, it’s got so many ways to absolutely “annihilate sound,” that you’ll want to spend time more in the crunch Pixel realm, than wanting to replicate conventional synth signatures. If you’re into Acid Techno, then the new SoftPop is more than worth a look. Crazy distortion is built right into the signal path and the sequencer has such a distinctive effect on the sound (similar to the beloved Roland TB-303), that you’ll spend even more time experimenting with the Slide and Gates.
The SoftPop SPII Contains Secret Easter Eggs Galore!
Speaking of the sequencer, it’s got a lot more juice than you realize from the minuscule amount of real estate denoted for its use – which is a shame. With more area – and frankly, less button combos – it would be much easier to use and the geniuses at Bastl could have provided even more functionality. A couple of our reviewers felt that “you have to handle it like a game controller” in order to execute the button “cheats,” which may be a reason it’s so small.
In the Christopher Nolan film, Memento, a psychological thriller about a man battling with debilitating amnesia, the main character is constantly tattooing himself in order to remember important facts. We’re not sure if Bastl took inspiration from this approach, but they did decide to “tattoo” the chassis wherever possible with button combos, signal flow and other information you’d typically find in a manual.
The patchbay has an almost infinite amount of ways to route the parameters for tweaking. Bastl did an amazing job labeling everything, considering how tight the 3.5mm jacks are to each other. We have to salute them for that achievement. If you had to consult a chart or the manual every time you wanted to patch things, you’d go bonkers.
Conclusion
The Softpop SPII was somewhat polarizing among our reviewers. On one hand it’s “wonderful” – “unpredictable” – “fun” and “brilliant” — on the other it’s “mind boggling” – “confusing” – “weird” and the “sheer number of button combinations are a turnoff.” What we can tell you is that the Softpop SPII is not for the meek. It’s a sophisticated, dynamic synth with extensive patching capabilities and an innovative sequencer. Its blend of analog and digital features, coupled with its powerful performance, sweet filter and sound design options, makes it a valuable addition to any musician who’s “looking to push the envelop” and “doesn’t mind putting in the time to discover something magical.” While it requires some learning to master, the Softpop SPII definitely rewards users. For anyone into creating Acid Techno this is one of the very few synths to come out that can expand that signature sound. Recommended.
CasperBastl SoftPop SPII Rating: 86%
Cheers:
+ Innovative
+ Sequencer
+ Memento Design
+ Filter
+ Neo Acid Sounds
+ Quality Of Results (If You’re Patient)
Jeers:
– Fragile
– Complex
– Too Small For The Features
– Awkward MIDI Implementation
– Button Combos For Days
Bastl Instruments SoftPop SPII costs €507.
The Future: For the SoftPop SPIII we can primarily think of one thing — make it bigger. The micro size certainly does the functionality and user interface a huge disservice, especially the sequencer. While the name may be similar, it doesn’t need to be the size of a Poptart. Free The SoftPop!
The MIDI implementation is wonky. The SoftPop was often hit or miss on reading incoming note data. There is CC control, but more performance control would be welcomed for live performance use. Another idea would be to make the Glowing Orb actually do something to affect the sound, like the Roland D-Beam.
