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SYNTH WEEK 2026: Vintage synths cost a fortune, you know that, we know that, everyone knows that. So why on earth would you consider owning one in the 2020s, especially with so many top quality new hardware synth releases, and so many software versions which, in many cases, replicate everything that the dusty old hardware does, right down to its resistors and capacitors?
Well, owning an original classic synth could be an investment (usual terms apply, investments can increase or decrease in value, please speak to a qualified financial advisor… which we clearly aren’t). It could be that only a real, classic synth will give you that real, classic sound, it could be a prestige purchase.
Yes, you might want to show off, or it could be that you’ve found a bargain. And that’s where this feature – perfectly timed for Synth Week 2026 – fits in!
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Believe it or not, there are vintage synth bargains to be had because the second-hand synth market can be, shall we say, quite liquid in its reliability.
So where some Rolands and Moogs were skyrocketing in price, some of those five-figure asking prices are now starting to look, at the very least, a bit cheeky, and at the very most, daylight robbery.
Today’s synth market can be a minefield, then, where you think that a classic 1970s modular or early 80s Jupiter will only increase in value, when the opposite can also be true.
And remember that those ridiculous asking prices are what people are asking, not what they are selling for (which is usually substantially less).
That’s not to say there aren’t some crazy prices out there, especially if the synth has some history. Witness the five figures paid for some synths and vocoders in the Florian Schneider/Kraftwerk auction last November that we, ahem, might have partook in…
And if you really do want a Yamaha CS-80 and have the funds and the muscles, you will still have to pay between $20k and $60k (plus a good wedge for the postage) for the undoubted pleasure of owning one of the best synths ever made.
But not all vintage synths are expensive, and not all are prone to these kinds of price fluctuations; in fact many synths from the 1980s have stayed relatively cheap.
There are bargains to be had, so let’s try and track some down.
1. Casio CZ-1
Average cost £/$€250 to £/$€600
A recent Reverb.com listing
The CZ-1 gets into this list mostly because it uses the somewhat different ‘phase distortion’ synthesis (unlike every other synth here) and because it was produced by a company pretty new to pro keyboards when it was introduced in 1984.
Yes, Casio was more at home with digital watches and auto-accompaniment keyboards at the time, but threw its electronic expertise at the burgeoning synth-pop market of the mid-80s to come up with synths that still start those Reddit ‘best synth I ever used’ threads today.
The CZ range is famous for gnarly digital sounds, those with a more aggressive edge, especially when compared to the more polite (but admittedly more popular) Yamaha DX7 of the time.
Of the many models in the range, some are just slight variations with speakers, but the ones worth checking out are the 1000 and 3000, although the CZ-1 is the champ of the lot and actually often sells for less than some of the less powerful models (from around $£500).
If you want an even cheaper Casio, the company’s VL-1 (or VL-Tone) has ‘classic’ status written all over it because it was famously used in a novelty hit called Da Da Da by the, er, trio called Trio.
You can pick this beauty up for at little as $/£30 and while it might not match any CZ in sonic range, you do get the beats from this hit record thrown in. You pays your money…
2. Korg Poly-800
Average cost $/£300 to $/£650
A recent Reverb.com listing
Incredibly, here is an analogue poly synth from the ‘80s that you can pick up for low three figures in whatever currency you choose.
That’s the price of a weekend away in Magaluf, all drinks and breakfasts included, all for a polyphonic vintage Korg synth! Look, we don’t make the rules.
You can get eight voices out of a Poly-800 if you push it, and while the voices might be a little arcade-y on occasion (which is both a plus and a minus, depending on your taste) there’s enough beneath the surface to twist and tweak them into some very nice textures… if you can be bothered to lift the lid and look.
That’s because the ’surface’ leans towards being button-based and not as intuitive as a standard ‘knobs and sliders’ analogue synth.
This means that if you want to actually synthesise, you’ll find yourself on more of a deeper dive, but it’s the lack of traditional controls that keeps this and other synths like it (the fellow Korg Poly-61 from 1982 is another prime example), at an affordable price point.
Should you get the shovel out, though, you can expect to wrestle classic Korg sounds that even rival those on the company’s ‘proper’ vintage models. Think Mono/Poly and MS-20 (yes, really).
Happy leads, decent pads, nice sawtooths and organs, and a very good filter, albeit one that is shared in a paraphonic way.
Grab one while you can because these prices can only really go one way.
3. Roland JX Range
Average cost $/£500 to $/£1,000
A recent Reverb.com listing
Continuing the ‘lack of hands-on controls equals a lower asking price’ theme we have just introduced with the Korg Poly-800, now we have a range of keyboards from Roland that most definitely sound incredible, but are also affordable simply because changing their sounds is a bit of a faff.
The JX range was introduced at a time when Roland had hit synths on its hands in the form of the Juno and Jupiter but was also trying to fathom how best to deploy the all-new digital technology that was about to take over the synth world.
The company’s quandary was simple: how to keep the lush analogue sounds that everyone loves, but enjoy this all-new digital tech at the same time.
You can almost see the arguments for both sides in the JX designs: ‘We’ll keep the analogue sound but make it more affordable with less controls’. A winner all around, right? But, and almost admitting defeat straight away, Roland then offered optional programmers, in the form of the PG-200 and 800. to give you back the knobs and sliders it took away. If you can, then, try and pick up one of these synths with an original programmer – you’ll thank us later. Here’s a Reverb.com listing for the PG-800.
The 3p is a 6-voice mono-timbral synth; the 8P has a similar spec but more tweaks and a brighter sound; while the 10 ups the polyphony to 12 notes and is the most expensive second-hand option, but still a great buy for what was at the time Roland’s last analogue synth.
Expect to pay between $/£500 and $/£800 for the 3p and 8p, and you might want to stick with these as the JX-10 is often stupidly expensive at over $/£2000. Add the controllers for between $/£200 and $/£600.
4. Yamaha DX Range
Average cost $/£150 to $/£900
A recent Reverb.com listing
The Yamaha DX7 is undoubtedly one of the most important synthesiser releases ever, simply because so many were made. Some have put the number of DX7s loose in the wild these days at around 200,000. We’ve previously gone into great depth as to why in an extensive feature here.
The synth brought an entirely new palette of sounds to the masses thanks to its FM synthesis, which is especially adept at re-creating bells, whistles and electric pianos, while also being very capable of creating lush pads and atmospheres if you have the programming chops.
Chops you will need though, as the DX7 was and is notoriously difficult to program.
It is also very, very available, hence the low price, solely because so many were produced, so while we’ve tricked you into thinking you need one, we’re now going to turn tail and point you in the direction of some other Yamahas that will deliver the same sounds, but are easier to use and cost even less cash.
Yes, go for a DX7 if you want ‘the classic’ FM synth (and expect to pay between $/£400 and $/£700 for the privilege) but if you want the sounds, the cheapest option is to look at some of the many and varied rack options or just go for the DX11.
This is a multitimbral version of the DX7, meaning that it is effectively eight of them piled one atop of the other (metaphorically, not actually – that would be very impractical), but does limit the number of notes you can play in total to just eight. So perhaps think of it as eight mono FM synths?
Yes, that will do.
While the DX11 sells for between £250 and £400, other variations of it (the TX81z rack and bi-timbral DX21 being the most notable) sell for even less, starting at just £150 for the module.
Of course there are many other ways to get DX sounds, software, and newer FM hardware synths, but just to muddy your FM water some more, we’ll throw in another set of synth bargains in the form of the Yamaha SY range. These more advanced FM synths (they literally used ‘Advanced FM’ synthesis) began life in 1989, spawned four models of increasing polyphony (the 22, 77, 85 and 99).
This multitimbrality, cost an arm and a leg when they came out, but for some reason now sell for almost throwaway cash; as low as $/£150. In short you won’t find more FM for less cash anywhere else.
5. The Roland 800s (JD-800 and JP-8000)
A recent Reverb.com listing
Honestly, we haven’t tried to include loads of synths with ‘800’ in their names on purpose; it’s just some kind of weird second-hand coincidence. And these two Rolands have a couple of other things in common, on top of that number being in both names.
The most obvious is that the JD-800 and JP-8000 have controls. Lots of them.
Both were Roland’s attempts to bring such controls back to synthesizers after a very dark period in history when all knobs, sliders and dials were removed from all synths in ‘the name of progress’.
Thankfully, VA synths packed with controls brought them back in vogue and Roland responded not so much by bringing back the analogue synths with controls that everyone wanted, but by adding controls to existing tech, or bringing out their own VA, hence the inclusion of both of these synth beasts.
And they really are beasts. The JD is effectively all of Roland’s LA synthesis (made famous in the D-50) under control in one massive ‘board, while the JP invented trance music with its lively and enjoyable take on dance music in the 1990s.
Price-wise, both of these soared in value but have considerably fallen back in price for a couple of reasons: the JD is notorious for ‘red glue’ issues that need to be sorted before you part with any cash, while the JP can have audio out issues (and other 30-year-old capacitor problems).
However if you can find either the JP or JD in good condition for $/£500 or $/£1500 respectively you could bag a future classic.
Good luck with finding some synth bargains out there. There are still many to be had, but do bear in mind that the synth business can be a tricky one to invest in and those prices can go down as well as up.
Let us know of any synth bargains you’ve picked up in the comments below.
