Synthesisers

Notes: Gorgeous experimental system based around Make Noise's brilliant Maths, Morphagene, QPAS and Mimeophon modules. Capture and process sounds in stereo and warp them into new dimensions.

Supplier's Notes:
The Tape & Microsound Music Machine music synthesizer is a small stereo system devoted to capturing external sounds and sculpting them into new ones. The Morphagene operates as a recorder that also allows the artist to mulch, layer and rearrange the sound and manipulate the speed and direction of playback. The Mimeophon repeats sounds and subjects them to further manipulation, and when combined with the Quad Peak Animation System (QPAS), incredible stereo sculpting of the spectrum. The Wogglebug and MATHS work to animate these effects, and the XOH provides a final stereo mix and line level or headphone outputs for monitoring and/or performance.

Notes: An absolute powerhouse of a synth with 16-voice polyphony, stereo architecture and a four-part multitimbral digital sound engine. Built-in sequencers, sample playback and effects make it a true all-rounder.

Supplier's Notes:
MD900 is a polyphonic desktop synthesizer, multitimbral with 4 parts. A polyphony of up to 16 voices are shared by the 4 multi-timbral parts. All of these 4 parts have their own effect stack [Mod-Delay (flanger, chorus, vibrato), Reverb, Tube-AMP, EQ, LP-Filter, DYNAMIC (Limiter) , Stereo Delay ...].

The overall audio path is stereo. Rationally, the oscillator, mixer filter, amps and effects are all in stereo.

Four independent arpeggiator und step sequenzer assigned to each of the four synth parts. The trigger sequencer may trigger the built in transient sample player (Drum Kit .wav) or send triggers to MIDI-Out (USB-DIN or USB-MIDI)

The housing is made of aluminum with real walnut wood on the front and back.

All components are industrial grade. On the operator panel we use precision potentiometer with aluminum covered knobs.

For some parameter entries we use endless encoder without rest.

This kind of encoders feels like a potentiometer.

All of this feels very valuable and it feels great to work with.

The MD900 XVA engine is patch compatible with the M800-R2 synthesizer.

Overview Firmware OS:

The XVA-Sound Engine of the MD900 runs on top of a Linux OS with real time extensions. The overall boot time is < 30 sec.

All contents like Wavetable-, Sample-files, preset and sub-preset files are stored on the internal filesystem.

The filesystem is accessible over ethernet (USB-Lan Adapter).

Managing presets, samples, wavetables configurations & updates are possible and easy to handle.

Operation Panel:

The operation panel gives you real time control to the major voice parameters with a dedicated knob. All parameters are accessible via touch-display and the endless rotary encoders. The part (timbre) has to be selected to alter the parameter on the dependent timbre.

The module specific info display gives the necessary detailed feedback on the parameter changes.

Specifications

Dimensions: 460mm x 295mm x 65mm
Power: External 15V DC power brick 50W
Audio In : 6.3mm stereo jack
Audio Out: Left 6.3mm mono jack, right/left 6.3mm stereo jack
Headphone: 6.3mm stereo jack
MIDI DIN: 1x Midi Input, 1x Midi Output, 1x Midi through
USB 2.0: 2x Hot connect for USB/Ethernet, USB-Midi Host
Pedal SW: 1x Pedal switch input 6.3mm jack
Volume pedal: 1x Standard expression pedal
TFT Display: 5" 800x 480 Colour (24bit) capacitive touch display.
Frontpanel: 37x Potentiometer, 12x linear slider, 12x endless encoder, 30x switches, 42x Leds

Notes: Honey is a palm-sized, touch-based noise instrument based on the bytebeat principle. It runs on a single AAA battery and emits sound through a speaker. It doesn't have an audio jack. It creates dynamic sounds by manipulating variables and mathematical operations through touch.

The internal dynamic equations consist of five variables and four operations, with six possible operators for each operation. They are constantly changing and forming new equations, creating chaotic randomness.

If the unit does not respond correctly, the battery needs to be replaced.

Powered by one AAA battery

Notes: The Analogue-only variant can ONLY be used via CV/Gate like the original CMU-810. MIDI is NOT available on this device.

Fully assembled and Calibrated.

The MSW-810 is a faithful recreation of the CMU-810 Monosynth which was designed as a synth expander for the 1983 CMU-800 computer music production system. At its core however, is the tone generator of the MC-202.

Specifications:

VCO

AS3340 Based
Range: 16'/8'/4'/2'
Pulse Width Modulation: 50% to Min
PWM Mode: ENV/Manual/LFO
Modulation Depth
Tune

Sound Mixer

Level Control Sliders: Square, Saw, Sub-OSC, Noise
Sub-OSC Waveforms: 1 oct down, 2 oct down, 2 oct down PWM

VCF

AS3109 Based
Cutoff Frequency: 10Hz to 20kHz
Resonance: 0- Self Oscillation
ENV Depth
Modulation Depth
CV Follow: 0-100%

VCA

Gate or Envelope

Envelope

Attack time: 1.5 ms to 2 s
Decay time: 2 ms to 10 s
Sustain Level: 0-100%
Release Time: 2 ms to 10 s

LFO

Rate: 0.1Hz to 20 kHz
Delay Time: 20 ms to 0.7s
Rate Indicator

VCA + Mixer

Level Control Sliders: Synthesizer, Input 1, Input 2, Output
VCA Bypass Switch
VCA Response: Lin/Exp

Jacks
Synth CV in: 1V/Oct, 0-7V, 3.5mm TS
Synth Gate in: 0-12V, On>2.5V, 3.5mm TS
VCA CV In: Lin 0.83 to 5V, Exp 0.83-4.58V, 3.5mm TS
Input 1: Unbalanced 1/4" TS
Input 2: Unbalanced 1/4" TS
Synth Out: Max -6 dBm, Unbalanced 1/4" TS
Mix Out: Max -10 dBm, Unbalanced 1/4" TS
Headphone Out: Stereo, 9-150 ohm, 3.5mm TRS
Accent In: 0-5V, 3.5mm TS

Power
9V DC, 500 mA, Tip positive. 120-240V Included

Dimensions
13"x2.5"x8"

Includes: Universal power supply, MSW-810 Synthesizer

Notes: The MSW-810 is a faithful recreation of the CMU-810 Monosynth which was designed as a synth expander for the 1983 CMU-800 computer music production system. At its core however, is the tone generator of the MC-202.

Specifications:

VCO
AS3340 Based
Range: 16'/8'/4'/2'
Pulse Width Modulation: 50% to Min
PWM Mode: ENV/Manual/LFO
Modulation Depth
Tune

Sound Mixer
Level Control Sliders: Square, Saw, Sub-OSC, Noise
Sub-OSC Waveforms: 1 oct down, 2 oct down, 2 oct down PWM

VCF
AS3109 Based
Cutoff Frequency: 10Hz to 20kHz
Resonance: 0- Self Oscillation
ENV Depth
Modulation Depth
CV Follow: 0-100%

VCA
Gate or Envelope

Envelope
Attack time: 1.5 ms to 2 s
Decay time: 2 ms to 10 s
Sustain Level: 0-100%
Release Time: 2 ms to 10 s

LFO
Rate: 0.1Hz to 20 kHz
Delay Time: 20 ms to 0.7s
Rate Indicator

VCA + Mixer
Level Control Sliders: Synthesizer, Input 1, Input 2, Output
VCA Bypass Switch
VCA Response: Lin/Exp

Jacks
Synth CV in: 1V/Oct, 0-7V, 3.5mm TS
Synth Gate in: 0-12V, On>2.5V, 3.5mm TS
VCA CV In: Lin 0.83 to 5V, Exp 0.83-4.58V, 3.5mm TS
Input 1: Unbalanced 1/4" TS
Input 2: Unbalanced 1/4" TS
Synth Out: Max -6 dBm, Unbalanced 1/4" TS
Mix Out: Max -10 dBm, Unbalanced 1/4" TS
Headphone Out: Stereo, 9-150 ohm, 3.5mm TRS
Accent In: 0-5V, 3.5mm TS

MIDI

USB C
TRS MIDI Universal

Power
9V DC, 500 mA, Tip positive. 120-240V Included

Dimensions
13"x2.5"x8"

Includes: Universal power supply, MSW-810 Synthesizer

Notes: A mini-modular synthesizer for real-time composing, sound processing, and having fun.

Pluto is compact and portable, with abilities that belie its small size. Five channels of modulation (named for the five moons of Pluto), two voices, two sequencers, a mini-keyboard, and onboard delay make Pluto its own complete sound environment, but it can happily play with all your other gear.

The design of Pluto draws from a legacy of portable electronic instruments, from the Buchla Music Easel to 80's Casio synthesizers. With a focused, approachable interface, Pluto invites exploration.

Features

Portable 2-voice, 2-sequencer patchable synthesizer
Easily create complex, randomized sequences
Low-aliasing digital oscillators, wavetable oscillators
Rechargeable battery
Built-in delay and reverb effects
Mini touch keyboard
Audio input for audio processing
Audio output (stereo headphone, line)
Quantize to preset scales, MIDI, or even audio input
Eurorack-compatible patch signals (5v)
Sync In & Out
MIDI In & Out (TRS, USB)
2 channels CV Out (0-5v, 1v/oct)
USB-C cable included

Notes: The Mother-32 is a distinctive analog instrument that brings raw sound, step-sequencing and extensive interconnectivity to any electronic or modular ecosystem. This expansive live performance and production synthesizer is designed to provide experimental musicians and synthesists with a diverse array of creative tools to inspire new ideas, unique sound and endless sonic exploration.

Drive synchronized sound with Mother 32's powerful step sequencer while utilizing its modular patchbay and assignable output to spawn a living, breathing organism with dynamic and modifiable sound processing. Patch multiple control and sound sources into Mother-32's voltage controlled mixers and truly unlock the vast potential of this powerful instrument, or pull all of the patch cables, plug in a MIDI cable and simply drive your Mother-32 from any MIDI-equipped device.

The Mother-32 is secured in an extruded aluminum enclosure with wood sides, but can also easily be relocated to almost any Eurorack enclosure.

During the prototype phase, Moog worked with 3 unique synthesists: Erika (Interdimensional Transmissions), Max Ravitz (Ghostly International), and Bana Haffar to produce a video that explores Mother-32's vast capabilities. Through performance and sound design, each artist displays the extensive vocabulary found within Mother-32. All patches were performed live, with no overdubs.

Specs

Sound Engine: Analogue
Polyphony: Monophonic
Keypad: 13 Note
Step sequencer: 32-Step with 64 Sequence Locations, Keyboard and Step Edit Modes
Sequencer panel controls: Tempo, Swing, Run/Stop, Hold, and Reset
Sound sources: 1 Oscillator With Pulse and Saw Waveforms, 1 White Noise Generator, 1 External Audio Input
Oscillator range: 8Hz-8KHz (16KHz max with LFO/CV)

Notes: Cost-effective all-in-one bundle from Moog: two semi-modular instruments, mixer, cables, accessories and educational materials. Just add speakers or headphones and you're all set.

Supplier notes:
Moog Sound Studio: A complete analog synthesis studio in a box. Everything necessary to start patching today. All you need is a pair of headphones!

Ready to take the next step in your analog synthesis journey? The Moog Sound Studio has you covered. Moog Sound Studio is an all-inclusive bundle of semi-modular synthesizers and accessories created to provide users with all of the equipment, cables, accessories, and educational tools needed to enter the world of analog synthesis for the first time or to continue to explore sound in an immersive new way. All you need is your own headphones or personal speaker and you're ready to get started!

Moog's Mother-32 and DFAM synthesizers are a perfect pairing to anchor any electronic studio. Mother-32 is a versatile performance and production synthesizer with a powerful step sequencer and 64 slots of sequence memory. Its classic Moog synth voice delivers raw analog sound, deep Moog bass, and soaring synth leads, forming an excellent compliment to DFAM's rich analog rhythms and percussive patterns. Equally impressive on their own, these synths become truly magical when combined into a single system. By patching Mother-32 and DFAM together, a symbiotic sonic relationship is formed that unlocks new capabilities and empowers new ideas.

Along with a duo of semi-modular analog synthesizers, each Moog Sound Studio includes a personal stereo summing mixer with 3-way power distribution to provide flexible signal routing and power your entire system conveniently from a single power supply. Also included are a series of guided exercises, exploration games, experimental patch sheets, imaginative studio art, and more to outfit your studio and take your synthesis skills to the next level. And of course, all of the cables and accessories needed to connect everything are included as well!

Moog Sound Studio takes the magical environment and hands-on learning experience of Moog installations found at events around the world and presents them in a way that empowers you to explore synthesis with joy and confidence from the comfort of your own home or studio.

This is an exciting time to be a part of the growing synth community. The Moog Sound Studio is here to provide a meaningful electronic experience that informs, inspires, and nurtures synthesists at any point in the creative journey.

Mother-32
Mother-32 is an intuitive and expandable semi-modular synthesizer that adds raw analog sound, powerful sequencing, and extensive interconnectivity to any creative, electronic, or modular ecosystem. Mother-32 Excels at: Classic analog bass & leads and powerful step-sequencing with pattern memory.


DFAM
DFAM (Drummer From Another Mother) is a semi-modular analog percussion synthesizer that empowers an expressive hands-on approach to percussive pattern creation. DFAM Excels at: Rich electronic drum patches and organic analog sequencing that breathes.

Personal Stereo Summing Mixer and Instrument Cables
This 4-input analog summing mixer (1/4" IN, 1/8" stereo OUT) features selectable mono or stereo configurations for versatile routing options, and the built-in 3-way power distribution hub supplies power throughout your Moog Sound Studio conveniently from a single power supply. The included instrument cables come in lengths and colors to compliment the system and reduce clutter.

2-Tier Rack Kit
Conveniently stack both synthesizers and the summing mixer together as one connected system to maximize studio space and orient instruments vertically for optimal interconnectivity.

Cable Organizer and Custom Patch Cable Set
The included patch cable organizer connects to the two-tier rack or mounts directly to any wall, keeping patch cables neat and orderly for a hassle-free workflow. A custom set of patch cables has been selected in lengths, colors, and quantities to maximize system patchability.

Guided Exercises, Exploration Games, and Experimental Patch Sheets
Learning synthesis doesn't have to be intimidating! Included games and educational materials allow the player to explore at their own pace while enjoying the journey. Developed with artists who know these instruments best, these detailed and fun exercises are designed to accelerate your synthesis experience by exploring new skills to support your ongoing synthesis practice - A perfect jumping-off-point for beginners or source of inspiration for the seasoned pro.

Studio Art
All original artwork, created by Jim Stoten (M32/DFAM) and Philip Lindeman (SUBH/DFAM), has been thoughtfully designed to aid users in the exploration of new imaginative worlds. The characters, poster, and objects that accompany each Moog Sound Studio come together to transform any space into an immersive creative environment.

Notes: Updated take on Nomono's mini synth. Virtual analogue and granular synthesis with effects, sequencer, looping and performance functions. An affordable but flexible instrument.

Supplier's Notes:
The Qun mk2 is a powerful and unique pocket synthesizer with sequencer and looper.

Normally, cheap synthesizers don't have full flexibility because of hardware limitations.

Nunomo had in mind a small synth that has full flexibility of the real synth with an affordable price tag- and Qun mk1 was the synth.

The Mk2 receives a big improvement from the mk1 by adding LED buttons and external processor for UI processing- SD card support is added.

Once you get used to it, it will be so powerful and it will provide tons of flexibility. It is a real synth, not a preset machine.

If you are looking for a pocket music sketch tool, this is it.

Connectivity: Standard MIDI (TRS Type A, comes with the synth), UART MIDI(Supports MAC OS X and Windows through the Nunomo SerialMIDI https://github.com/raspy135/serialmidi .

Analogue Modelling engine

The analogue modelling engine is made from scratch.
All analogue modelling engine parameters can be configured through MIDI.
2 Oscillators, 2 voices. It can be used as Quad tone (4 voices) or Dual Mono.
Flexible MOD (CV) routing. The signal routing is very flexible, close to modular synthesizer experience. You can route signals as normal, or totally radical.
AUX input can be used for external audio signal, or for modulation.
4 Envelope Generators
FM (4 Operators x 2)
1 LFO, rate can be controlled by MIDI notes
1 Organic sounding VCF
2/4 Poles, Low-pass, Band-pass, High-pass, Notch)
Keysync
1 Effect (Delay, Chorus, Flanger)
MIDI clock sync and beat clock sync
Wavefolding.
Granular synthesis
Oscillators can be used as a granular synthesis engine.
Player / Sequencer

Player (Piano mode)
Mind inspiring 64 step sequencer will generate beats for you
Note On/Off/Double/Triple
Transpose / Note width(Length)
Randomness control
Pattern shuffler
Scale quantize
Arpeggiate steps
Looper
Looper can record the sound up to 24 sec per recording, synchronized with the sequencer.

3 tracks
5 Scenes (3x5 = 15 recordings per session)
Play / Rec / Overdub

Preset bucket
Preset bucket is made for quick preset recall
It has 8 bucket per session, each bucket has 8 presets and 64 sequencer pattern
Mixer
3 tracks, stereo panning
Mute buttons
Extra processing mode allows to use the sound engine as a stereo effector.
Integrated compressor
SD card
Saving recording sessions
Saving preset data with sequencer patterns
All recorded data is saved to SD card, you can import the data to your DAW
You can import WAV files to Looper granular
Firmware update via SD card
For the completed manual and other resources, please visit https://github.com/raspy135/Qun-mk2 .

Notes: A beautifully realised instrument drawing on West coast and East coast synthesis concepts to create something new and beguiling. Three oscillators, smooth filter and Buchla-style dynamics controller.

Supplier's Notes:
Taiga Paraphonic Modular Synthesizer

Taiga is a complete, modern, modular instrument that allows us to explore beyond the boundaries of a traditional analog synthesizer. The sound of Taiga can be attributed to three uniquely Pittsburgh innovations. A trio of huge analog oscillators, the unmistakably smooth sound of the Pittsburgh Filter, and the warmth of the unique Dynamics Controller. These enable you to not only create sounds that would be traditionally expected from an analog synthesizer, but also to explore new sonic textures and performance possibilities.

Taiga oscillators

Waveforms generated by the three Taiga oscillators stretch beyond the basic geometric shapes and sounds associated with analog synthesis. Taiga waveforms pass through up to three proprietary, cascading waveshapers designed to precisely manipulate their symmetry and harmonic content. In addition, each oscillator includes a robust six-stage wave folder to add even more complexity and depth to the diverse sonic palate of Taiga.

The Pittsburgh Filter

The Pittsburgh filter has defined the sound of Pittsburgh Modular from the moment it was introduced. A signature gummy and relaxed sound with no dead spots that has been tweaked to perfection. It offers a warm, smooth sweep through the full frequency range and a sweet resonance that does not roll off the low end. This generation of the Pittsburgh filter is specifically designed to ensure a remarkable interplay with Taiga's oscillators.

Pittsburgh Dynamics Controller

Pittsburgh's new Dynamics technology imparts Taiga with a uniquely organic depth and presence. By simultaneously managing both amplitude and harmonic content, the Pittsburgh Dynamics Controller expands beyond the one-dimensional VCA found in other synthesizers. It does this by utilizing new advancements from traditional low pass gates to add additional definition and dimension to the voice of Taiga.

When used in low pass gate mode, sounds shed harmonic content and become warmer as they decrease in volume. This mimics how sound waves react to their environment. Because of this connection, the Taiga sounds more natural or complex compared to other instruments.

Analogue Echoes

Echos is a beautifully dark analog delay tuned to enhance the source material by repeating it over and over. Echos utilize a pair of bucket brigade delay chips to produce a classic voltage-controllable analog delay effect that helps to place the sounds of Taiga in a simulated environment.

Open Architecture

Taiga has an internally defined signal path. Patch cables are not necessary to begin exploring. Attach a midi keyboard and plug the output into a speaker or DAW and Taiga is ready to go with a robust but familiar workflow. When your ideas grow beyond the pre-defined signal path, a 60 point patch bay opens up a fully modular instrument with access to an even deeper set of features and tools.

Complete Set of Modular Tools

Taiga includes a host of fully modular, analog, and digital synthesis tools to support and enhance its core functionality. Analog tools include a flexible dual mixer, a pair of plucky four-stage envelope generators, noise, and sample and hold. Digital tools cover external MIDI, arpeggiator, clock sync'd modulation tools, and a robust collection of random generators. The Taiga toolset is deep enough for any type of sonic exploration.

Taiga features and other info:

Paraphonic synthesizer with unique additive elements

Fully patchable - use Taiga's components as separate modules with external devices or reroute its internal patching.
Controllable via MIDI, CV, and integrated pseudo random sequencing mode
Clock-synced arpeggiator
3x Pittsburgh Modular Synthesizer developed 100% analog oscillators
Oscillator waveforms - sine, triangle, and saw - Waveforms can be combined
3x Pittsburgh Modular Synthesizer 6 stage wave folder/shaper circuit - folds inputted waves back onto themselves to increase harmonic content
Oscillators include frequency modulation (FM)
Noise generator - pitched somewhere between pure white and pink noise. Perfect for percussion or adding a bit of edge to a sound.
Variable state, multi-mode "Pittsburgh No-Dead-Spots" filter (lowpass, bandpass, highpass, modes can be combined)
Sample & Hold circuit
2x Analog ADSR / envelope generators
Pittsburgh dynamics section - an alternative to an envelope generator and a VCA, the dynamics controller is a Pittsburgh Modular invention that adds a dimension of control over a vactrol-less lowpass gate circuit, adding release time. (read more on this in the user guide)
Dual range analog LFO with square and triangle wave outputs.
LFO Range High: 2 Hz to 500 Hz Low: 41 seconds to 5 Hz
Dual Channel Mixer - 2 channel mixer and a 3 channel mixer joined together, capable of mixing both audio or control voltages.

Notes: Keyboard version of Pittsburgh's superb Taiga synth, combining Moog-style East Coast elements with Buchla-inspired West Coast synthesis. Premium 37-key model with velocity, aftertouch and 24 HP expansion bay.

Supplier's Notes:
Modern Analogue Keyboard with Expansion Bay

Taiga Keyboard is an evolution of the award-winning Taiga synthesizer. Taiga gave users a boundary-smashing suite of unique modern Pittsburgh Modular analogue synthesizer innovations. Now in Taiga Keyboard, that same powerful suite of tools acts as a foundation in this expressive keyboard instrument.

Exploring the larger keyboard format, spreading controls out, and adding larger knobs makes sound sculpting while performing easier than ever. We've also added additional modulation sources, additional controls, a full-size 37 key premium aftertouch-enabled keybed, and a first-of-its-kind, modular expansion bay.

Taiga Keyboard oscillators

Waveforms generated by the three Taiga Keyboard oscillators stretch beyond the basic geometric shapes and sounds associated with analogue synthesis. Taiga Keyboard waveforms pass through up to three proprietary, cascading waveshapers designed to precisely manipulate their symmetry and harmonic content. In addition, each oscillator includes a robust six-stage wave folder to add even more complexity and depth to the diverse sonic palate of Taiga Keyboard. Dedicated coarse and fine controls deliver maximum flexibility & control over the full range of each oscillator.

The "Pittsburgh Filter"

The Pittsburgh filter has defined the sound of Pittsburgh Modular from the moment it was introduced. A signature gummy and relaxed sound with no dead spots that has been tweaked to perfection. It offers a warm, smooth sweep through the full frequency range and a sweet resonance that does not roll off the low end. This generation of the Pittsburgh filter is specifically designed to ensure a remarkable interplay with Taiga Keyboard's oscillators.

Pittsburgh Dynamics Controller

Pittsburgh's new Dynamics technology imparts Taiga Keyboard with a uniquely organic depth and presence. By simultaneously managing both amplitude and harmonic content, the Pittsburgh Dynamics Controller expands beyond the one-dimensional VCA found in other synthesizers. It does this by utilizing new advancements from traditional low pass gates to add additional definition and dimension to the voice of Taiga Keyboard.

When used in low pass gate mode, sounds shed harmonic content and become warmer as they decrease in volume. This mimics how sound waves react to their environment. Because of this connection, the Taiga Keyboard sounds more natural or complex compared to other instruments.

Analogue Echoes

Echos is a beautifully dark analogue delay tuned to enhance the source material by repeating it over and over. Echos utilizes a pair of bucket brigade delay chips to produce a classic voltage-controllable analogue delay effect that helps to place the sounds of Taiga Keyboard in a simulated environment.

Open Architecture

Taiga Keyboard has an internally defined signal path. Patch cables are not necessary to begin exploring. Attach a midi keyboard and plug the output into a speaker or DAW and Taiga Keyboard is ready to go with a robust but familiar workflow. When your ideas grow beyond the pre-defined signal path, a 64 point patch bay opens up a fully modular instrument with access to an even deeper set of features and tools.

Modular Expansion Bay

Staying true to our modular roots, we've added a 24hp powered eurorack Modular Expansion Bay that lets you personalize your Taiga Keyboard to your sound and performance needs. Simply remove the metal plate that covers the bay and add eurorack compatible modules. The modular bay helps you make Taiga Keyboard's sound completely your own.

Complete Set of Modular Tools

Taiga Keyboard includes a host of fully modular, analogue, and digital synthesis tools to support and enhance its core functionality. Analog tools include a flexible dual mixer, a pair of plucky four-stage envelope generators, noise, and sample and hold. Digital tools cover external MIDI, arpeggiator, clock sync'd modulation tools, and a robust collection of random generators. The Taiga Keyboard toolset is deep enough for any type of sonic exploration.

Keybed and additional MIDI control

Taiga Keyboard as its name would suggest, has an integrated 37 key keyboard with aftertouch, as well as pitch bend and modwheel. The keyboard can be used as a separate USB / Din MIDI controller using the Local On/Off modes.


Taiga Keyboard's key range can be easily changed using the dedicated octave up and down buttons that are located adjacent to the pitch bend and modwheel.

Taiga Keyboard features and other info:

Paraphonic synthesizer with unique additive elements
37 note aftertouch equipped keybed with full-sized keys
Fully patchable - use Taiga Keyboard's components as separate modules with external devices or reroute its internal patching.
24hp powered Eurorack Modular Expansion Bay
64 point patch bay for rerouting internal signal flow and integrating external sound and modulation sources
Controllable via MIDI, CV, and integrated pseudo random sequencing mode

Notes: Cracking value in this brutalist beauty manufactured by Bristol's Future Sound Systems. Interesting features like wave-shaping VCOs and Sallen-Key filter make it the ideal starting point for a bigger modular setup.

Supplier's Notes:
Malevolent has been designed by Paul Whittington in collaboration with Bristol based synth manufacturer Future Sound Systems who have provided the analogue circuitry, and Ben Supper who developed the control interface:

Paul has a had a long career in developing products for some of the biggest names in the industry and is now using his expertise to build instruments, bringing in talents from friends he's made during his tenure in development.

Future Sound Systems are a renowned Bristol based synthesizer manufacturer, who are responsible for some of most forward-thinking designs on the market, they specialize in modular and semi-modular synthesizers & their design prowess is very apparent in Malevolent.

Despite its diminutive size, Malevolent sounds big, aggressive and is capable of everything from soaring leads, huge bass sounds, percussive phrases, weird sound FX and more.

It's form factor, user interface and price point make it a great option for those taking their first step in the modular domain, but it's unique sound, extensive modulation capabilities and the options for integrating seamlessly with other synthesizers, makes it a great option for experienced user who's looking for something a little different.

Modular Pure Analogue Synthesiser

Pure Analogue signal path designed by Future Sound Systems
Pure VCOs

19 Outputs and 19 Inputs for 3.5mm mono jack cable patching
Normalised signal path for immediate sound Malevolence
Additional rear panel line out
Additional headphone out


2 Voltage Controlled Oscillators
Saw / Triangle / Pulse outputs plus Mix for each oscillator
1V/Oct pitch control input
Shape control / pulse width modulation input
2x Frequency Modulation inputs
Coarse / Fine tune control
Shape mod amount control
FM1 and 2 mod amount controls
Shape control
Selectable waveforms for the mix output
Individual osc level control


LFO (Low Frequency Oscillator)
Triangle / Square wave outputs
Rate control

2x Envelopes
Individual ADSR controls for each envelope
Individual gate inputs
Individual envelope outputs


Multi-mode 2 pole VCF (Voltage Controlled Filter)
Low pass / Band pass / High Pass individual inputs
2x Frequency Modulation inputs with amount controls
Filter cutoff
Filter resonance


Mixer
Noise w/level control
Aux input w/level control


VCA (Voltage Controlled Amplifier) with overdrive control
Compatible with Eurorack standard 1V/Oct gear
Monophonic and patchable allowing individual pitch control of each VCO and gate control of each envelope
USB bus-powered
MIDI In / Out
Headphone out
Line out
Analogue clock in & out


USB-MIDI to 1V/Oct CV & gate conversion
All pitch and gate control is fully analogue
Analogue clock In / Out


Multi-function Joystick control
Left / right for pitch bend
Performable portamento
Performable vibrato
This is in addition to the analogue LFO
Latching hold mode


Arpeggiator
6 arpeggiator types
Up, Down, Up/Down 1, Up/Down 2, Played & Random
Auto clock sync
Detects analogue / MIDI or USB-MIDI clock and synchronises the arpeggiator automatically
Selectable sync rates when clock detected
Rate / sync control
Latch
6 Octave range
Analogue / MIDI / USB-MIDI Clock output when arpeggiator is running


Keyboard Control
32 Velocity-sensitive mini-keys
Octave shift +/- 4 octaves
Pitch output
Velocity output
Gate output
Local Off mode for DAW use


Includes:
5 Patch cables

Power Supply (9V 600mA)
USB C lead

Getting Started Guide


Weights and Dimensions:

Product (unboxed):
490 x 250 x 80 mm
2.61 kg

Product (boxed with contents):
690 x 320 x 160 mm
3.70 kg

Notes: Mantis is a unique, duophonic hybrid synthesizer that was co-developed by the late Chris Huggett (of EDP Wasp, OScar & more fame) and is dubbed as a spiritual successor to the OSCar, sporting precision digital oscillators, dual state variable filters and more.

Mantis is a premium synthesizer, sporting a high quality 37-note velocity and pressure sensitive keybed, SSI2164 IC's for the VCF's and VCA's, custom high performance processors for the oscillators coupled with a pristine analogue signal path, which features a twice amplified gain structure for maximum clipping capabilities plus lush stereo digital FX.

The modulation capabilities are vast with:
Two unique ADSR's that feature "sustain fall" that allows you to create a drop before release...even while a key is held for greater sound design possibilities. The envelopes can also be set to cycle.
Two tempo-syncable LFO's with four waves, fade in and fade out parameters and a seriously wide operating range.
Ring modulation available at the mixer
And a unique modulation routing controller with 6 choices of modulation parameters, 6 choices of modulation sources and scale control, which used to scale the effect of the modulation.

In development over the last period of his life Chris threw everything into Mantis. Although incomplete when he sadly passed away in 2020, he handed the project over to Paul of PWM to carry on and continue the project.

PWM, with the support of Chris' estate, think this synthesiser deserves to be born into the world for everyone to enjoy!

PWM MANTIS Key Features:
Hybrid-Analogue Synthesiser, powerful digital oscillators with dual analogue filters
With Mathematically Generated Oscillators with a Pure Analogue Signal Path
A Modernised Design Architecture based on the WASP with an OSCar style filter designed by the late, great Chris Huggett
Duophonic - Two Fully Independent Voices each with 2 Oscillators plus Sub-Oscillator per voice
Dual Filters - Multi-Mode State Variable VCF's with Overdrive per voice that can be combined in Series or Parallel with Width Control
Keyboard - 37-Note Full-Size Semi-Weighted Keybed with Aftertouch plus Joystick
Fully featured Keyboard, Joystick and USB-MIDI Control for Easy Integration with any Studio or Live Environment

Notes: Great value from this curious little semi-modular FM synth. Two carriers, two modulators and virtual analogue delay give you plenty of creative power. Ideal for drones, weirdo synth parts and special FX.

Supplier's Notes:
The Mystic is an experimental FM synth with 2 carrier frequencies, 2 modulators, and an analogue-style delay. All of the synth parameters are controllable via cv as well as time control in the delay section.

The Mystic generates colossal waves that swirl, echo, ascend, and plunge into an ever-changing, sonic playground. Transcend reality and let the mystic guide the way!

Powering Tip

The Mystic uses a 9VDC, negative-tip, 200ma power supply. It is a standard Boss-style power supply used for most effects pedals. The power supply is sold separately.

Once plugged in, the Mystic is powered up and ready to go. Simply unplug it from the wall when not in use.

Output: line level

A note about the output level

The Mystic runs at line level, to be used with pedals and other devices that also run at line level. If using with Eurorack, the output level needs to be converted, just as you would with any guitar pedal.

There are several Eurorack modules that do this, but the one Recovery use and recommend is the Strymon AA.1.

Output jack

The Mystic requires a 3.5mm cable to connect the audio output to other devices.

Latching switch

Use this to latch the sound on and off. Up is on, and down is off.

Controls

Carrier frequency controls

Each carrier works together to build a waveform. Usually it's CF2 that responds to pitch tracking, but that can vary depending on the setting. Think of CF1 and CF2 as 2 sign waves being folded in various ways. Sending independent CV into each one will not get traditional 1 v/oct pitch results, but a combination of pitch, texture and tone.

Modulator controls

These are used to shape the tone and texture of the folded waveform you've created with CF1 and CF2. Modulation rate will control the speed of the modulation texture.


Momentary button

Use this to momentarily turn sound on and off. The momentary Button only functions when the Latching Switch is in the off (down) position.

Latching switch

Use this to latch the sound on and off. Up is on, and down is off.

Delay time controls

Controls the delay / echo time.

Delay feedback

Controls the number of delay / echo repeats.

Delay mix

Controls the volume of the delay / echo signal.

Volume

Controls the overall output volume of the Mystic.

CV controls

These will accept CV voltage of up to +5 volts. The parameter you are controlling should be at 12 0'clock to get the most effect from the voltage input.

Notes: Typically experimental stuff from Soma, the Enner is a five-voice synth with an array of filters, electro-acoustic noise options, analogue effects and huge creative potential.

Supplier's Notes:
ENNER is a very expressive sound tool that can generate bits, pads, FX, noises, clicks, glitches, but also function as a cool vocal mic with built-in analogue FX and much more! A musician with a rich imagination and who's experienced in playing ENNER can perform an entire exciting gig using just this synth.

As an instrument, ENNER is a unique analogue synthesizer with the key principle being that all signals that make sound pass through and are managed by your body. Your hands become the central part of the circuitry. Touching different contact pads with different parts of your fingers and palms with different amounts of pressure, letting signals pass through your body defines the mixing, volume, timbre, feedback and other parameters of synthesis. Human skin has much more complex electric properties than we think. The skin provides not just resistance but also some capacitive properties and even nonlinear dependence of conductivity from current, its direction and time during which the current was applied. All of this affects the sound, making you the key part of the synthesis process.

All pots of ENNER are metallic and also function as inputs or outputs. Touching a pot can change not only the parameters but also patch the audio signals.

ENNER consists of:

The array of filters with fixed frequency properties (the triangle in the centre): the stereo high pass filter (HPF), the stereo bandpass filter (high mid - BPFH), the stereo bandpass filter (low mid - BPFL), the stereo lowpass filter (LPF). Stereo means that the filters have separate inputs for left and right channels as well as separate outputs. Sliding on the filters' pads with your fingers you can create a rich stereo image where each channel may have not only individual volume properties but also timbral ones. The outputs of the filters are mixed together and connected to the main output. Also in the triangle, you have a stereo direct input (DIR) that lets you bypass the filters.

The modulated stereo delay. The input of the delay is the two pads on the top of the triangle (DLY blue). The output of the delay is mixed with filter output and connected to the main output. Also, you have delay output connected to the pads placed on the left and right sides from the top of the triangle (DLY orange) that lets you create feedback and other interesting effects. The delay has two separate lines (left and right) with individual TIME controls (BPEMR pots), common FEEDBACK and the common pot that defines the amount of self-modulation (BIZZARE). The BPEMR pots are also touch inputs for delay time modulation.

On the right side of ENNER, there is a five-voice synthesizer with individual adjustment of frequency for each voice (TUNE knobs) with the possibility to change the pitch of all voices simultaneously (PITCH knob). TUNE knobs are also the outputs of the voices, so by touching them you can patch the voices to the filter's inputs. The synthesizer has separate output pads for each voice (pads OUT 1-5), individual modulation inputs (MOD 1-5) and ring modulation outputs (the RING 12, 23, 34 numbers indicate which voices are sources for the ring modulation). Connecting MOD and OUT pads of one voice with your fingers will pitch it up. The fifth voice has an additional modulation pad MOD 5- which can shift the pitch of the fifth voice down (connect it to +12 pad or any pad that has some positive signal including the output of the fifth voice).

On the left side of ENNER, there is the second synth that has one master generator, the output of which is divided six times by two with individual outputs for each stage of division (PULSE 1-6). This synth is aimed at creating rhythmical clicks, basses and octave tones. The frequency of the master generator is defined by the TEMPO knob. The output pads &1,2,3 are logical multiplications of different PULSE outputs giving additional and more complex rhythm combinations.

ENNER is also an electro-acoustic noise instrument. It has a piezo pickup attached to the front panel that captures sound from the casing itself. There is metallic spring and you can attach rubber bands to the panel to create various acoustic sounds. The piezo mic can capture clicks and scratches you make with your fingers, and it also allows you to create filtered feedback. Not only that, it can even capture your voice singing over the panel! To get sound from the piezo you have to connect the PIEZO OUT pad with some filters or delay inputs. Applying filters and delay on the piezo out while the panel works as a mic, catching the audio signal from the speakers connected to the ENNER output lets you create very cool acoustic feedback-based effects. PIEZO GAIN adjusts the piezo sensitivity.

The bottom of the triangle (NOISE pad) is the output of static pink noise.

External in (EXT socket and EXT pad) lets you send an external audio signal to ENNER and process it through the array of filters, delay and other ENNER stuff.

All of these features make ENNER a simple yet powerful kit of sound sources and FX that give you a rich and diverse sound palette with many possible playing techniques that you can change very fast as there is no other control over the sound other than your touches.

Specs

Array of filters

Pads DIR - direct input (no filters)
Pads HPF - highpass filter in
Pads BPFH - bandpass filter high mid in
Pads BPFL - bandpass filter low mid in
Pads LPF - lowpass filter in
(L - left channel, R - right channel)

Pink noise generator

NOISE - noise output

Delay

Pads DLY(blue) - delay in
Pads DLY(orange) - delay out
(L - left channel, R - right channel)
Pots BPEMR - delay time (L and R) also time modulation inputs
The UROBOROS pot - feedback (both channels)
Pot BIZZARE - delay self-modulation

Piezo

Pad PIEZO OUT - the output
Pot PIEZO GAIN - piezo amplification (also piezo output)

The five-voice synth

Pads OUT 1-5 - outputs of the voices
Pads MOD 1-5 - modulation inputs of the voices (try to connect them with OUT)
Pads RING 12, 23, 34 - outputs of ring modulators that multiply outputs of different voices
Pad MOD 5- - an additional modulation input for the fifth voice (try to connect it with +12)
Pots TUNE 1-5 - frequency of the voices (also voices outputs)
Pot PITCH - transposing all voices at once.

Rhythm\Bass synth

Pads PULSE 1-6 - output of binary dividers
Pads &1, 2, 3 - additional outputs that are logical AND of different PULSE outputs.
Pot TEMPO - the frequency of the source generator

External

Socket EXT - external in
Pad EXT - connected to EXT socket tip

Power

+12V center + 0.2A. ENNER requires a good stabilized and filtered PSU. We recommend contemporary switching mode PSUs with a wide input range. The PSU is included.

Grounding

In order that when playing on ENNER there would be no hum from the electricity grid interferences, the device must be properly grounded! A normal grounding connection at the electric socket, which is carried through the power cord to your audio equipment to which the ENNER is connected, is sufficient.

What's in the kit:

ENNER
12V center plus PSU
Several rubber bands

Notes: ENNER is a very expressive sound tool that can generate bits, pads, FX, noises, clicks, glitches, but also function as a cool vocal mic with built-in analogue FX and much more! A musician with a rich imagination and who's experienced in playing ENNER can perform an entire exciting gig using just this synth.

As an instrument, ENNER is a unique analogue synthesizer with the key principle being that all signals that make sound pass through and are managed by your body. Your hands become the central part of the circuitry. Touching different contact pads with different parts of your fingers and palms with different amounts of pressure, letting signals pass through your body defines the mixing, volume, timbre, feedback and other parameters of synthesis. Human skin has much more complex electric properties than we think. The skin provides not just resistance but also some capacitive properties and even nonlinear dependence of conductivity from current, its direction and time during which the current was applied. All of this affects the sound, making you the key part of the synthesis process.

All pots of ENNER are metallic and also function as inputs or outputs. Touching a pot can change not only the parameters but also patch the audio signals.

ENNER consists of:

The array of filters with fixed frequency properties (the triangle in the centre): the stereo high pass filter (HPF), the stereo bandpass filter (high mid - BPFH), the stereo bandpass filter (low mid - BPFL), the stereo lowpass filter (LPF). Stereo means that the filters have separate inputs for left and right channels as well as separate outputs. Sliding on the filters' pads with your fingers you can create a rich stereo image where each channel may have not only individual volume properties but also timbral ones. The outputs of the filters are mixed together and connected to the main output. Also in the triangle, you have a stereo direct input (DIR) that lets you bypass the filters.

The modulated stereo delay. The input of the delay is the two pads on the top of the triangle (DLY blue). The output of the delay is mixed with filter output and connected to the main output. Also, you have delay output connected to the pads placed on the left and right sides from the top of the triangle (DLY orange) that lets you create feedback and other interesting effects. The delay has two separate lines (left and right) with individual TIME controls (BPEMR pots), common FEEDBACK and the common pot that defines the amount of self-modulation (BIZZARE). The BPEMR pots are also touch inputs for delay time modulation.

On the right side of ENNER, there is a five-voice synthesizer with individual adjustment of frequency for each voice (TUNE knobs) with the possibility to change the pitch of all voices simultaneously (PITCH knob). TUNE knobs are also the outputs of the voices, so by touching them you can patch the voices to the filter's inputs. The synthesizer has separate output pads for each voice (pads OUT 1-5), individual modulation inputs (MOD 1-5) and ring modulation outputs (the RING 12, 23, 34 numbers indicate which voices are sources for the ring modulation). Connecting MOD and OUT pads of one voice with your fingers will pitch it up. The fifth voice has an additional modulation pad MOD 5- which can shift the pitch of the fifth voice down (connect it to +12 pad or any pad that has some positive signal including the output of the fifth voice).

On the left side of ENNER, there is the second synth that has one master generator, the output of which is divided six times by two with individual outputs for each stage of division (PULSE 1-6). This synth is aimed at creating rhythmical clicks, basses and octave tones. The frequency of the master generator is defined by the TEMPO knob. The output pads &1,2,3 are logical multiplications of different PULSE outputs giving additional and more complex rhythm combinations.

ENNER is also an electro-acoustic noise instrument. It has a piezo pickup attached to the front panel that captures sound from the casing itself. There is metallic spring and you can attach rubber bands to the panel to create various acoustic sounds. The piezo mic can capture clicks and scratches you make with your fingers, and it also allows you to create filtered feedback. Not only that, it can even capture your voice singing over the panel! To get sound from the piezo you have to connect the PIEZO OUT pad with some filters or delay inputs. Applying filters and delay on the piezo out while the panel works as a mic, catching the audio signal from the speakers connected to the ENNER output lets you create very cool acoustic feedback-based effects. PIEZO GAIN adjusts the piezo sensitivity.

The bottom of the triangle (NOISE pad) is the output of static pink noise.

External in (EXT socket and EXT pad) lets you send an external audio signal to ENNER and process it through the array of filters, delay and other ENNER stuff.

All of these features make ENNER a simple yet powerful kit of sound sources and FX that give you a rich and diverse sound palette with many possible playing techniques that you can change very fast as there is no other control over the sound other than your touches.

Specs

Array of filters

Pads DIR - direct input (no filters)
Pads HPF - highpass filter in
Pads BPFH - bandpass filter high mid in
Pads BPFL - bandpass filter low mid in
Pads LPF - lowpass filter in
(L - left channel, R - right channel)

Pink noise generator

NOISE - noise output

Delay

Pads DLY(blue) - delay in
Pads DLY(orange) - delay out
(L - left channel, R - right channel)
Pots BPEMR - delay time (L and R) also time modulation inputs
The UROBOROS pot - feedback (both channels)
Pot BIZZARE - delay self-modulation

Piezo

Pad PIEZO OUT - the output
Pot PIEZO GAIN - piezo amplification (also piezo output)

The five-voice synth

Pads OUT 1-5 - outputs of the voices
Pads MOD 1-5 - modulation inputs of the voices (try to connect them with OUT)
Pads RING 12, 23, 34 - outputs of ring modulators that multiply outputs of different voices
Pad MOD 5- - an additional modulation input for the fifth voice (try to connect it with +12)
Pots TUNE 1-5 - frequency of the voices (also voices outputs)
Pot PITCH - transposing all voices at once.

Rhythm\Bass synth

Pads PULSE 1-6 - output of binary dividers
Pads &1, 2, 3 - additional outputs that are logical AND of different PULSE outputs.
Pot TEMPO - the frequency of the source generator

External

Socket EXT - external in
Pad EXT - connected to EXT socket tip

Power

+12V center + 0.2A. ENNER requires a good stabilized and filtered PSU. We recommend contemporary switching mode PSUs with a wide input range. The PSU is included.

Grounding

In order that when playing on ENNER there would be no hum from the electricity grid interferences, the device must be properly grounded! A normal grounding connection at the electric socket, which is carried through the power cord to your audio equipment to which the ENNER is connected, is sufficient.

What's in the kit:

ENNER
12V center plus PSU
Several rubber bands

Notes: ETHER is a wide-band receiver that makes it possible to perceive the electromagnetic landscape around you.

ETHER is a kind of anti-radio. Instead of being tuned to a specific radio station, it receives all the interference and radiation that a traditional radio tries to eliminate in order to create a clean signal. It captures the radio waves as is from hertz to gigahertz because it doesn't contain the tuned input circuit that filters out all frequencies except the narrow band of a specific station. This allows ETHER to perceive the invisible electromagnetic landscape that humans created unintentionally, making possible live electromagnetic field listening and recording.

The design was inspired by the design for the very first radios (early 1900s) that had no tuning wheel. At this time there weren't many radio stations, and all of them used Morse code. It was possible to distinguish each transmitter by ear, as each one had its own specific timbre or voice.

ETHER is pocket-sized (103x58x17mm) and light-weight (73g with batteries). It consumes very little power and runs on two AAA batteries. How long it can run on two batteries is unclear,- but the battery life is more than 300 hours if you using alkaline or lithium batteries.

ETHER was intended to be a unique accessory for the conscious modern human. Special designed enclosures made in Europe were used, as well as high-quality PCB and furniture providing long life and high reliability. So with ETHER, you get both a unique sound experience and a cool-looking high-quality gizmo.

ETHER has both magnetic and electric components for sensing radiation. For the magnetic component, it has a built-in magnetic antenna, like the ones used in old long-wave radios. The antenna has maximum sensitivity on ETHER's axis. By changing the orientation, angle and position of ETHER, you will change the sound. For the electric component, it has antennas printed on the PCB and the special input pins placed on the anterior surface.

ETHER V2 has two external antenna pins. You can touch any conductive material or surface (including your body) with the pins and use objects or yourself as a big external antenna! Two pins are connected to different points of the circuit and interact differently with electromagnetic waves. Switching from one to another or using them both, you can change the sound. Far away from a city, we recommend trying to use a piece of wire 1-4 meters long connected to one of the pins for getting some interesting sound.

ETHER V2 has two wheels for sound control and the power switch. The upper wheel adjusts the amount of high-frequency amplification and regeneration. The lower wheel is the volume. By adjusting high-frequency gain you can focus ETHER on different dynamical levels of surround interferences getting the richest and interesting sound.

ETHER is not just an inductive sniffer like some projects you can easily find online. A simple low-frequency inductive sniffer will be silent in most places that are full of sounds in the video. Such devices need to be placed close to an emitting source and will not work on a street. All they contain is a coil and a low-frequency amplifier. In comparison, ETHER has a regenerative circuit and a demodulator, making it an actual radio wave receiver, not just an amplifier of low-frequency magnetic fields. However, ETHER can perceive the low-frequency magnetic fields as well. But, honestly, if your goal is to scan objects in close proximity (0-20 centimeters), a simple inductive sniffer will work cleaner and more focused due to its narrow band and lower sensitivity. ETHER was designed to be a part of your walks in the city and may even pick up sounds in a forest or at the seashore. Also, ETHER can perceive the electric component of the radiation as well, capturing radiation that is far above the audio range and is much more sensitive. Therefore, it has a significantly different design, functions and implementation than a simple inductive sniffer even if in some cases their functions can overlap.

ETHER is very sensitive to any kind of digital circuitry that's in close proximity, hence the lack of an SD-card recorder or something like that inside. You also have to make sure to keep other electronic devices that you carry (phone, laptop, recorder) at least 30cm/1ft away to avoid interference, but ETHER definitely works well when you walk around with a smartphone and laptop.

Notes: Welcome to the world of sound of LYRA-8, the unique organismic analogue synthesizer designed by Vlad Kreimer. "Organismic" means that LYRA uses some principles that lie in the base of living organisms. The way how LYRA's modules interacting between each other and the behaviour of the instrument resembles a live conversation.

LYRA-8 is based on eight generators, which will be referred to as voices. Their design is not like a traditional subtractive synthesis VCO. Instead of having a linear or logarithmic dependency on control voltage, they resemble the tone generators in old electric organs. Hence the use of the term "voices" instead of "VCOs". Lyra uses non-linearity a lot, and the voices are constructed in such a way that allows for non-linearity to express itself.

The voices are divided into four pairs (12, 34, 56, 78). All the pairs are divided in two groups, with two pairs in each (1234, 5678), creating tree-like structure.

The voices can function either in an electric organ mode or in an FM synthesis mode with each of the voices and its envelope acting as a separate FM operator. The voice's impact on FM synthesis will decrease along with the decay of its envelope.

LYRA-8 also has the next blocks:

The HYPER LFO is a complex low-frequency generator, whose waveform is synthesized from two simple LFOs by summation or multiplication of their frequencies. It also has a sync mode. The LFO can modulate the selected pairs of voices and the MOD DELAY.

The MOD DELAY consists of two lines of delay with cross-feedback and a special architecture that enables resonance between the two lines. Each line's delay time can be individually modulated from various sources, including external ones. The delay has a unique possibility of self-modulation where the output signal modulates the delay sample rate, creating cool effects.

The DISTORTION is last in the chain, after the delay. It enables the delay to also influence the distortion.

For all its experimental character, LYRA is a professional instrument. Its output dynamics and frequency response are balanced and ready for a live performance or studio recording without any additional processing.

Notes: Brilliantly unusual synth based on eight analogue tone generators, functioning more like an electric organ or FM synth than a conventional subtractive architecture. Unique sound.

Supplier notes:
Welcome to the world of sound of LYRA-8, the unique organismic analogue synthesizer designed by Vlad Kreimer. "Organismic" means that LYRA uses some principles that lie in the base of living organisms. The way how LYRA's modules interacting between each other and the behaviour of the instrument resembles a live conversation.

LYRA-8 is based on eight generators, which will be referred to as voices. Their design is not like a traditional subtractive synthesis VCO. Instead of having a linear or logarithmic dependency on control voltage, they resemble the tone generators in old electric organs. Hence the use of the term "voices" instead of VCOs. Lyra uses non-linearity a lot, and the voices are constructed in such a way that allows for non-linearity to express itself.

The voices are divided into four pairs (12, 34, 56, 78). All the pairs are divided in two groups, with two pairs in each (1234, 5678), creating tree-like structure.

The voices can function either in an electric organ mode or in an FM synthesis mode with each of the voices and its envelope acting as a separate FM operator. The voice's impact on FM synthesis will decrease along with the decay of its envelope.

LYRA-8 also has the next blocks:

The HYPER LFO is a complex low-frequency generator, whose waveform is synthesized from two simple LFOs by summation or multiplication of their frequencies. It also has a sync mode. The LFO can modulate the selected pairs of voices and the MOD DELAY.

The MOD DELAY consists of two lines of delay with cross-feedback and a special architecture that enables resonance between the two lines. Each line's delay time can be individually modulated from various sources, including external ones. The delay has a unique possibility of self-modulation where the output signal modulates the delay sample rate, creating cool effects.

The DISTORTION is last in the chain, after the delay. It enables the delay to also influence the distortion.

For all its experimental character, LYRA is a professional instrument. Its output dynamics and frequency response are balanced and ready for a live performance or studio recording without any additional processing.

Specifications:

Max output voltage: 2 v 0-to-peak
Output connector: mono 6.3 mm TS or TRS (balanced) jack
Output resistance: 100 Ohm
EXT IN: 1 v 0-to-peak
EXT IN connector: 6.3 mm TS jack
HOLD GATE: full HOLD volume +5 V
HOLD GATE connector: 6.3 mm TS jack
CV DELAY : unipolar, range of 0 to +5 volt
CV DELAY connector: 6.3 mm TS jack
CV VOICES: unipolar, range of 0 to +5 volt
CV VOICES connector: 6.3 mm TS jack
Power supply: stabilised, +12 V, 0.2 A, centre positive
Power Consumption: 2 watt
Dimensions: 266 x 266 x 62 mm
Weight (without power supply and packaging): 2.5 kg

Notes: Another intriguing experimental offering from Soma Labs. ROaT is a digital synth inspired by 80s video games. Four oscillators combine with a sequencer to create drones, soundscapes and glitchy loops.

Supplier's Notes:
Rumble of Ancient Times (RoAT) is an 8-bit noise synthesizer and sequencer inspired by the clever programming of the early PC era when an entire video game would fit on a floppy disk. RoAT is capable of a wide variety of sounds ranging from dense noise scapes to diverse glitching rhythmic patterns. The compact and portable instrument contains many elements that can be combined into surprising musical results.

The "heart" of the synthesizer contains 4 sound oscillators, each with a tunable waveform and an individual LFO, which can modulate the tone or volume of the oscillator. The modulated signal of each oscillator is mixed with other signals using 1,536 variations of complex summing algorithms that contain FM, ring modulation, bitwise logical operations and more.

The synth contains an 8-bit resonant lowpass filter with a distinct Lo-Fi character.
The built-in sequencer can be synced to an external device and also send clock out.
RoAT is battery powered and can work up to 130 hours on one set of AAA batteries.

Rumble of Ancient Times is built on a very simple 8-bit microcontroller similar to the ones used in the "brains" of old refrigerators and other simple electronic devices. Thanks to some very clever programming, it's also able to drive a very capable synth with many features!

In stark contrast to modern consumer electronics, this synth celebrates and emphasizes what can be achieved with efficiency of code and using chips considered obsolete by industry leaders. We live in an age where text editors can be 1GB or more and simple things like checking email require the latest OS and powerful processing, despite the core tasks being no different than 15 years ago with a fraction of the computational power.

So RoAT proposes a new kind of ecological thinking with the innovative use of chips that were developed and produced decades ago, instead of turning them into millions of tons of trash. We can still use technology that the industry forced us to consider obsolete, with the added benefit here of extremely low power consumption. It's an environmentally friendlier approach than galloping in the rush of planned obsolescence that damages our planet and wastes precious resources.

Rumble of Ancient Times was designed and programmed by Kakos Nonos, a new creative mind who joined the SOMA development team. His very unique style of building electronic musical instruments combines quality craftsmanship, advanced programming and a love for medieval acoustic instruments such as gusli, wheeled lyre and bagpipes.

Specifications:

Sync out voltage: 5 V
Minimum syn in voltage: 0.2 V
Current input: 20 mA
Maximum output voltage: 5 V
Audio output:3.5 mm jack
Sync out: 3.5 mm jack
Power Supply: 4*AAA battaries
Size: 122 x 136 x 40 mm
Weight (without batteries): 145 g

Notes: TERRA is a new SOMA Labs synth.

TERRA is a highly conceptual device. The core idea is unity of nature and technology, and a perfect balance between simplicity and versatility. Behind the extremely simple interface hides a complex polyphonic, microtonal synthesizer with a broad and flexible sound palette that ranges from classical beautiful tones to complex atonal noise, and offers smooth and fast transitions between these extremes.

The innovative keyboard design invites new playing techniques and covers the full range of a grand piano with the possibility to tune each note with an accuracy of 125 steps per semitone. To achieve this range with such a simple keyboard we designed a unique system of pitch shifting using four additional sensors. Pressing different combinations of them will result in 16 variations of keyboard transposing, including up to 3 octaves up and down, fifth, fourth, third, tone etc.

Not only do you get the full range of a grand piano in a very compact design, TERRA also offers an entirely new and different approach to playing melodies and chords.

The keyboard consists of 12-note sensors with velocity and pressure sensitivity allowing for the manual creation of slow attack and vibrato, 4 dynamic sensors for timbre modification and control, 4 pitch-shifting sensors and 2 hold sensors for holding the state of the timbre and note sensors.

Inside TERRA there is a three-axis motion sensor for creating a variety of different modulations by simple intuitive movements of your hands and body.

TERRA is digital and contains 32 complex synthesis algorithms. Each algorithm has been carefully designed to be a complete and flexible musical instrument on its own, ready for learning and playing in its own unique way. The goal is to free the musician from long exhausting programming, setting hundreds of parameters for creating one timbre, and instead putting the focus directly on music and performance and following your imagination and inspiration.

TERRA offers the best of both worlds: the direct intuitive tactile connection from acoustic instruments and the flexibility and versatility of synthesizers. TERRA inherits design principles from LYRA-8 and also contains application of the new principles that were announced for ReFLEX, exploring the future of synthesis.

TERRA has an extremely simple interface that gives you instant access to all its functions in several touches, including saving and loading the 96 presets that are stored directly on the playing sensors. TERRA has no display. Instead it shows and lets you dial all necessary data on the 6 LED-sensor triangle in the centre.

TERRA has a built-in FX processor so the stereo output is ready to use, making it a perfect stand-alone performance instrument. While the sound generation is digital, TERRA has a unique custom-built and top quality analogue part that makes it sound rich, natural, clear and powerful at the same time.

The housing of TERRA comes from a solid piece of wood, making each instrument unique and slightly different. In the photo above and in the announcement demo video you can see the prototype of the synth. The final design is in development and we intend to make several different versions.

TERRA is a sanctuary for a natural soul right in the middle of the rumbling plastic world, a ground where you can breathe in and out slowly, and hold on to your roots.

TERRA is our dream about a bright future where we will be both technologically advanced and more connected to nature, where machines and technology are not a prison for our feelings and spirit but their extension.

Synthesis algorithms: 32
Polyphony: 1-12 voices (depending on the algorithm)
Presets: 96
Pitch Shifter presets: 24
Line out: L, R TS/TRS 1/4-inch jacks / 6.35 mm jacks
Maximum line output signal: 13 V peak-to-peak
Nominal line output signal: ~1.5 V (volume 100%)
Headphone output: TRS 1/4 inch jack / 6.35 mm jacks
Headphones impedance: 6-64 ohm
CV-clock input voltage: 3-15 V
Power supply voltage: DC 12 V *
Consumption current: 0.2 A
DC jack: 5.5 x 2.1 mm, "+" in center
Dimensions: 405 x 365 x 57 mm
Weight: 2.2 kg
* TERRA comes with a high quality power supply . If it gets lost, use a high-quality modern switched-mode power supply with 12 V output voltage, at least 0.4 A maximum current, 5.5 x 2.1 mm DC jack, center "+".

What's included:

TERRA - 1 pc.
Power supply - 1 pc.
CV clock adapter (DIN5 - 3.5 mm mini-jack) - 1pc.
Short interface reference manual - 1 pc.
On-table mounting pads - 4 pcs.

Notes: The kind of instrument Soma Labs do so well: weird but wonderful. Based around 32 complex digital synth algorithms and 12 note velocity- and pressure-sensitive sensors, transposition techniques allow you to play the full range of a grand piano.

Supplier's Notes:
TERRA is a new SOMA Labs synth.

TERRA is a highly conceptual device. The core idea is unity of nature and technology, and a perfect balance between simplicity and versatility. Behind the extremely simple interface hides a complex polyphonic, microtonal synthesizer with a broad and flexible sound palette that ranges from classical beautiful tones to complex atonal noise, and offers smooth and fast transitions between these extremes.

The innovative keyboard design invites new playing techniques and covers the full range of a grand piano with the possibility to tune each note with an accuracy of 125 steps per semitone. To achieve this range with such a simple keyboard we designed a unique system of pitch shifting using four additional sensors. Pressing different combinations of them will result in 16 variations of keyboard transposing, including up to 3 octaves up and down, fifth, fourth, third, tone etc.

Not only do you get the full range of a grand piano in a very compact design, TERRA also offers an entirely new and different approach to playing melodies and chords.

The keyboard consists of 12-note sensors with velocity and pressure sensitivity allowing for the manual creation of slow attack and vibrato, 4 dynamic sensors for timbre modification and control, 4 pitch-shifting sensors and 2 hold sensors for holding the state of the timbre and note sensors.

Inside TERRA there is a three-axis motion sensor for creating a variety of different modulations by simple intuitive movements of your hands and body.

TERRA is digital and contains 32 complex synthesis algorithms. Each algorithm has been carefully designed to be a complete and flexible musical instrument on its own, ready for learning and playing in its own unique way. The goal is to free the musician from long exhausting programming, setting hundreds of parameters for creating one timbre, and instead putting the focus directly on music and performance and following your imagination and inspiration.

TERRA offers the best of both worlds: the direct intuitive tactile connection from acoustic instruments and the flexibility and versatility of synthesizers. TERRA inherits design principles from LYRA-8 and also contains application of the new principles that were announced for ReFLEX, exploring the future of synthesis.

TERRA has an extremely simple interface that gives you instant access to all its functions in several touches, including saving and loading the 96 presets that are stored directly on the playing sensors. TERRA has no display. Instead it shows and lets you dial all necessary data on the 6 LED-sensor triangle in the centre.

TERRA has a built-in FX processor so the stereo output is ready to use, making it a perfect stand-alone performance instrument. While the sound generation is digital, TERRA has a unique custom-built and top quality analogue part that makes it sound rich, natural, clear and powerful at the same time.

The housing of TERRA comes from a solid piece of wood, making each instrument unique and slightly different. In the photo above and in the announcement demo video you can see the prototype of the synth. The final design is in development and we intend to make several different versions.

TERRA is a sanctuary for a natural soul right in the middle of the rumbling plastic world, a ground where you can breathe in and out slowly, and hold on to your roots.

TERRA is our dream about a bright future where we will be both technologically advanced and more connected to nature, where machines and technology are not a prison for our feelings and spirit but their extension.

Synthesis algorithms: 32
Polyphony: 1-12 voices (depending on the algorithm)
Presets: 96
Pitch Shifter presets: 24
Line out: L, R TS/TRS 1/4-inch jacks / 6.35 mm jacks
Maximum line output signal: 13 V peak-to-peak
Nominal line output signal: ~1.5 V (volume 100%)
Headphone output: TRS 1/4 inch jack / 6.35 mm jacks
Headphones impedance: 6-64 ohm
CV-clock input voltage: 3-15 V
Power supply voltage: DC 12 V *
Consumption current: 0.2 A
DC jack: 5.5 x 2.1 mm, "+" in center
Dimensions: 405 x 365 x 57 mm
Weight: 2.2 kg
* TERRA comes with a high quality power supply . If it gets lost, use a high-quality modern switched-mode power supply with 12 V output voltage, at least 0.4 A maximum current, 5.5 x 2.1 mm DC jack, center "+".

What's included:

TERRA - 1 pc.
Power supply - 1 pc.
CV clock adapter (DIN5 - 3.5 mm mini-jack) - 1pc.
Short interface reference manual - 1 pc.
On-table mounting pads - 4 pcs.

Notes: THE PIPE is a voice / breath / mouth-controlled dynamic FX processor and synthesiser.

It turns your voice into a powerful FX / beat / lead / soundscape synthesizer and it offers unprecedented levels of vocal processing, truly expanding the traditional boundaries of singing. Conventional singing with lyrics is also possible, and you can use the FX to add live modulations to your vocal performance.

Also, you can use the PIPE as a powerful FX processor for an external signal as a synth, drum machine etc.

THE PIPE has 12 different algorithms: ORPHEUS, FILTERRA, SYNTH, REVERB, MADELAY, PULSE, BASSDRUM (three versions), OCTAVA, GENERATOR, HARCHO!

The PIPE consists of the handheld part and a small break-out box with L R output jacks (1/4-inch) and DC IN for power. The handheld part and break-out box are connected by a single cable that contains both output channels and DC power.

The handheld part consists of the contact vocal mic (connected by a standard 1/4-inch jack), electronic components and the controls. You can easily attach a cable extension to the mic which opens up many more options. Attach it to a stand, or put it inside of or on the surface of acoustic instruments such as drums, guitars, trumpets etc. Also, you can use the mic in jack as external in and use the PIPE to process any signals you want.

Notes: Part of Sonicware's Liven groovebox series, the 8bit Warps draws on retro 80s chiptune vibes to create a mini instrument with huge character and surprising range.

*** Update: New features of the version 3.0 firmware September 2023 ***

Added 6 effect types:
- Distortion
- Phaser
- Tremolo
- Ring Modulator
- Auto Wah
- Reverse Delay

Added the Sound Locking features

A sequence can be duplicated to double the length

Looping of chain playback is now possible

New preset 29 drum sounds that can be easily made drum patterns with the sound locking feature

And several bug fixes and improvements

Supplier's Notes:
The LIVEN 8bit warps combines an 8-bit waveform memory synthesizer with a step sequencer.

Carefully selected preset waveforms and editable user waveforms along with high-quality filters and effects can be used freely to create a wide spectrum of sounds. The LIVEN 8bit warps can generate classic retro game sounds of course, but its unique 8-bit sound can also be used in a range of music genres, including EDM, hip-hop, techno and rock.

Powerful functions for live electronic music performance include 16 physical control knobs, parameter locking for each sequencer step, a looper, and SYNC IN/OUT and MIDI IN/OUT connectors to make synchronized performance with other equipment easy.

All these powerful functions are in a device that weighs only 790 g. Play it anywhere at any time.

Size : 11.7 inch (W) x 6.92 inch (D) x 1.89 inch (H), 297mm (W) x 176mm (D) x 48mm (H)

Weight : 1.74lb., 790g

Accessories: Warranty

Power supply: AA batteries x 6, or 9V DC output AC adapter (1A or higher, EIAJ3 standard inner diameter 1.7mm outer diameter 4.75mm, center +)

Notes: Part of Sonicware's Liven groovebox series, this time focussing on granular synthesis and effects processing. 128-step sequencer and shimmer reverb allow you to create grooves.

Supplier's Notes:
Sample, slice, transform and reconstruct audio to synthesize completely new sounds

The LIVEN Texture Lab offers a wide variety of sound textures ranging from beautifully lush ambient pads to chaotically aggressive experimental noise that will take you to new sonic frontiers.

The Texture Lab uses a granular processor that slices sounds into grains ranging from 2 ms to 1 second in length, then transforms and reconstructs them in a variety of ways, including manipulating grain shape, density, time warp, spatial position, and playback method to create entirely new sounds.

Granular synthesis parameters are easily accessed from 10 knobs and are designed for intuitive control

Granular synthesizer with granular effects processor mode

The LIVEN Texture Lab is a 4-voice polyphonic synthesizer that can record 32 samples of up to 6 seconds, generate grains from any part of a sample, and synthesize them using two modulations sources, an envelope generator, and process the sound through different filter types.

The Texture Lab can also be used as an effects processor for real-time granular processing of stereo signals from the line input. It is also possible to freeze the flowing sounds for 6 seconds to add granulated sound effects.

Shimmer reverb for fantastical and majestic sounding spaces

The LIVEN Texture Lab features six high-quality stereo reverb types. All reverb types have a shimmer parameter that allows you to layer reverb on top of reverb in octaves to create fantastical and majestic sounding spaces.

128-step sequencer with parameter locking

The LIVEN Texture Lab is equipped with a high-performance 128-step sequencer that has earned the LIVEN series a solid reputation. In addition to recording notes, it can also record changes in granular processing parameters over time.

You can record knob operations in real time or directly record parameters to specific steps allowing for more complex sound textures.

Specifications

[Granular processor]

Synthesizer mode
- Sampling up to 6 seconds per sample (16bit - 32kHz mono, Start/end point adjustment)
- Auto start sampling function with the input level (input level can be set)
- Internal resampling function
- 32 sample memory slots

Effects processor mode
- Real-time processing of stereo signals from the line inputs
- Freeze function


- Pitch: Pitch of the sample (i2 octaves)
- Position, Length/FB: The sample range for generating grains (with random position function)
- Speed, Direction: Playback speed, scan direction, and playback direction of the grains.
- Size, Shape: Size and shape of the grains (with random function)
- Timing, Jitter: Interval of generating grains (with our original LUSH setting)
- Density: Number of the grains (up to 64 grains in legato mode)
- Diffusion: Diffusion width of the grains
- Blend: Balance between the sample and the granular sound mix
- Modulation 1: LFO assignable to various parameters (with wave shape selection, start fade-in time, retrigger, and tempo sync)
- Modulation 2: LFO assignable to various parameters (with wave shape selection, retrigger, and tempo sync)


- Attack
- Release


- Low Pass
- High Pass
- Band Pass

Reverb effects
6 high-quality reverbs with Shimmer reverb parameters
- Hall
- Room
- Arena
- Plate
- Tunnel
- Infinity


- 4-note polyphonic mode (Up to 16 grains per voice, internal sequencer records up to 3 voices of polyphony)
- Mono mode (Up to 32 grains, adjustable glide time)
- Legato mode (Up to 64 grains, adjustable glide time)
- Arpeggiator modes (Up, Down, UpDown, DownUp, Up&Down, Down&Up, Up+1, Up+2, Down-1, Down-2, Random, Play Order)

[Sequencer]
- 1 track
- Up to 128 steps per pattern
- 128 patterns
- Step length can be set from 1/1 to 1/32
- Real-time recording
- Directly enter notes for each step when sequencer is on or off
- Enter longer notes (Tied notes)
- Metronome and pre-count function
- Undo/Redo function
- Transpose function
- Swing function
- Pattern BPM / Global BPM can be set
- Pattern chain function
- Parameter Lock function to record parameter settings for each step
- RANDOM function to play back steps in random order
- STUTTER function to play back only the step being pressed

[MIDI]
- Notes, control changes, clock input/output
- IMPORT/EXPORT of user data (Including samples) via Sysex
- Firmware update via Sysex

[Unit]

27 keys (with a hold function)


- 15 physical control knobs
- Optional LATCH function prevents jumps in value when knob position and parameter values do not match.
- One physical encoder for fine adjustments.
- LCD dot indicates when a parameter value matches the saved value, or when the value has been changed.

Notes: Part of Sonicware's excellent Liven groovebox series, the XFM is a modern take on classic digital FM sounds, offering a choice of intuitive and quick sounds or logical and deep programming.

Supplier's Notes:
Classic FM sounds, effortlessly merged with FM FUSION.

Using the 4-track sequencer and presets, you can construct an entire song.

Three Fusion FM Engines X-LAB Engine
Merge two FM sounds with a single knob to create a completely new sound.

XFORM Engine
Transform one FM sound into another over a specific period of time.

X-LFO Engine
Continuously transform between two FM sounds using an LFO.

Over 300 Inspiring Preset Sounds
Ready-to-use presets including, leads, keyboards, strings, winds, basses, pads, chords, drums, and sound effects.

Two approaches to FM sound design

Intuitive and Quick
Merge and sculpt FM sounds with a single, intuitive, knob turn.

The X-Lab engine merges two FM sounds by smoothly blending their envelopes, modulation routing, and feedback. The X-Lab algorithm can merge sounds with radically different FM structures and overtones, all without losing the fundamental tuning of the sound. Pitch locking can also be turned off to create brilliant atonal transitions between FM sounds.

Merged sound can then be saved, recalled, and merged with additional FM sounds. This is called merging process FUSION FM.

Logical and Deep

For those who want to dive into the FM Engine, the EDIT mode and included overlay provide full access to the innovative 4-OP XFM engine.

15 knobs and 30 buttons provide quick and intuitive access to all FM parameters.

Explore FM synthesis without the conventional menu diving and head scratching.

4-Track Step Sequencer

Perfect for song production and live performance

Manage lead, bass, rhythm, and more, each on separate tracks.

Sequence up to 64 steps per pattern.

Save up to 128 patterns.

The parameter locking function allows you to record knob changes into your patterns. This automation function can be recorded live, or programmed in step by step.

Sub-divide the tempo down to 32nd notes for higher resolution sequencing.

Sequence longer notes across several steps, AKA Tied Notes.

Specifications:

Size
297mm (W) x 176mm (D) x 48mm (H)
11.7 in (W) x 6.92 in (D) x 1.89 in (H)

Weight:
790g/1.74lb.

Keyboard:
27 keys (with a hold function)

Knob:
15 physical control knobs
Optional LATCH function prevents jumps in value when knob position and parameter values do not match. LCD dot indicates when a parameter value matches the saved value, or when the value has been changed.
One physical encoder

Audio output:
Stereo line out (stereo 3.5mm mini jack)
Headphone out (stereo 3.5mm mini jack)
Compatible with Teenage Engineering Pocket Operator2 Series SYNC OUT
Speaker

Audio in:
LINE IN (stereo 3.5mm mini-jack)
Compatible with Teenage Engineering Pocket Operator 2 Series SYNC IN

Interfaces:
MIDI IN connector (5-Pin DIN type)
MIDI OUT connector (5-Pin DIN type)
SYNC IN jack (monaural 3.5mm mini jack)
SYNC OUT jack (monaural 3.5mm mini jack)

Power supply:
9V DC output AC adapter
Current: 1A or greater
Plug Type: EIAJ3 Standard
Inner Diameter: 1.7mm
Outer Diameter: 4.75mm,
Polarity: Center +
Compatible with power supplies designed for the Korg Volca 1 .
6 AA batteries

Synth Engine:
Four FM synth engines, X-LAB, XFORM, X-LFO, and LIBRARY

Voice mode:
6-note polyphonic mode
Mono mode
Legato mode with adjustable glide time
Arpeggiator modes (Up, Down, UpDown, DownUp, Up&Down, Down&Up, Up+1, Up+2, Down-1, Down-
2, Random, Play Order)

Sweep:
Sweep with adjustable speed, range, and curve

Filter
Low Pass
High Pass
Band Pass
Each track has its own filter envelope.

Effects:
Chorus
Flanger
Send Delay
Insert Delay
Bit Crusher
Reverb
Distortion
Low Pass
High Pass
Isolator

LFO:
Each track has one LFO which can affect both pitch and filter cutoff.
Adjustable LFO Shapes.
Adjustable start time delay for each LFO.

Sound memory:
512 FM sound memory slots (16 x 32 banks)

Sequencer:
4 tracks
Up to 64 steps per pattern
128 patterns
Step length can be set from 1/1 to 1/32
Enter longer notes (Tie)
Track level and pan can be set independently
FX send amount can be set independently for each track
Pattern BPM / Global BPM can be set
Step copy and paste function
Track copy and paste function
Transpose function
Real-time recording
Directly enter notes for each step when sequencer is on or off
Parameter lock function
Random playback function (Playback step size can be set)
Stutter function
Note Trigger probability can be set between 25% and 100%
Pattern chain function
Metronome and pre-count function
Swing function

MIDI:
Notes, control changes, clock input/output
IMPORT/EXPORT of user data
Firmware update via Sysex

Accessories:
FM sound editing overlay
Warranty

The AC adapter is not included.
Please use 9V DC output AC adapter (1A or higher, EIAJ3 standard inner diameter 1.7mm outer diameter 4.75mm, center +).
Compatible with power supplies designed for the Korg Volca 1.

Notes: Supercritical Synthesizers introduces their first desktop instrument, Redshift 6 - six voice analogue Variable Character Synthesizer

Supermassively dense analogue oscillator combined with a chameleon analogue filter with versatile gain staging. Now sixfold.

Redshift 6 combines technology from the company's previous products, the Demon Core Oscillator and the Neutron Flux Filter. Each of the six voices features a DCO with analogue waveforms generated under digital control. The filter core is an analogue 4-pole state variable filter also digitally controlled to act like almost any classic vintage synthesizer filter and more. In addition to the oscillators and filters, Redshift 6 has all the features expected of a modern synth - plenty of modulators, flexible voice routing, multitimbrality, MPE, and DSP effects.

Redshift 6's idea is something that is wrapped in the moniker "Variable Character Synthesizer". Each voice's analogue path regarding tuning, gain staging, filter, and more is under strict digital control. Redshift 6 has as lush and warm sweet spot inspired by the analogue polysynth tradition, but it can also cover the full range from almost digitally sterile and clean to distorted misbehaviour and beyond. No modelling here - it's all analogue until the bypassable stereo DSP effects processor.

The oscillator, already road-tested in the Demon Core Oscillator eurorack module, is featured in each of the six voices. The oscillator has multiple tricks up its sleeve, each one wrapped as an Engine for the user to choose between. Traditional twin oscillator engines, supersaw engines, flanging phase sync engines, and transistor organ engines are all powerful modes in user-friendly ways that are easily controllable and modulatable.

Redshift 6's six voices can be configured in plenty of ways. Choose between true six-voice polyphony, classic vintage poly dual layer mode with 3+3 voices, six individual voices each with their own patch and physical output, or any combination of the above. Each of the six voices can also operate as a paraphonic voice with up to 16 note paraphony. Additionally, multiple filters can be chained by routing audio from one voice to another.

The form factor of Redshift 6 is a modern, compact desktop device with a 2.7-inch colour screen. Menu diving is reduced to a minimum, with quick navigation via the shortcut button grid. A selection of familiar synth controls are featured on the front panel. A macro mode is included with six user-assignable controls. The back panel features main audio outputs with a DSP effects processor and four auxiliary voice outputs.

One of the major design principles of Redshift 6 is to have a versatile and capable analogue platform and a flexible UI for new Engines, easily updateable via software updates.

Supercritical Redshift 6 Desktop synthesizer module

Technical specifications

Six voices each featuring:
Full analogue signal chain
Digitally controlled analogue Supercritical Demon Core Oscillator
Analog four pole Variable Character Filter
Flexible gain staging with an analogue boost circuit
Physical audio output per voice (2 main outputs and 4 aux outputs)
Optional voice chaining
Bypassable digital effects in main outputs 1-2
2.7" TFT IPS colour screen with a bank of 8 endless clickable potentiometers and quick navigation via button grid
Quick powerful controls for oscillators and filters.
Six user-assignable macro controls
Six parts multitimbral
Modern MIDI implementation with USB-B connection and DIN IN/OUT
MPE
12V power supply
Physical dimensions: 378 mm x 254 mm x 63 mm

Notes: Astrogorus is an standalone compact synthesizer focused to harsh noise and drones. Huge sound with infinte possibilities. Easy to operate and built into alluminium case.

Compact synthesizer ideal for harsh noise and drones, three independent oscillators with rate control -a fourth oscillator is the sum of the three previous ones plus noise mixer of the four oscillators + noise

Six controls to select the type of noise on the fourth oscillator

Harmonics

Six band filter/eq
Feedback and level control

Distortion

Distortion level
Feedback
Two band tone control

Power supply

Transformer 24 v positive to the center (included with the device)
1/4" mono jack output

Notes: Creative little desktop noise synth based on some unique ideas. Generate tones with conventional oscillator, noise source and oscillating delay feedback, then mix it all through a final delay.

Supplier's Notes:
Synamodecs Levitate is a desktop synthesizer that is made for noise and experimental music making.

It's divided into three blocks Legus, Neura and Nxpctd. Legus consists of two delays in series. Those delays offer time, level, feedback and dry/wet parameters. Due to it's layout it is capable of generating sounds without any input signals. The ouput of the first delay can modulate the delay time of both or just the other one. The Neura section is a sound and noise generator with frequency, texture and waveform controls and outputs on two different independent outputs. Last but not least the NXPCTD block is a third delay through which the Legus ad Neura pass through. It gives control over dry/wet, time and feedback control.

Additionally the Levitate offers an external audio input for extra fun.

All in all a fun little box for weird and crazy sound exploration. Dc power adapter included.

Dimensions: 20 × 30 × 10 cm

Notes: The Synadrone consists in four combined oscillators that create powerful and organic sounds.

The mix of the four oscillators as well as their arrangement can be varied by acting on the switches. Oscillators modulate each other in a complex way, but you can control the results of this modulation manually with the pots.

The oscillation section includes after the oscillation section a low pass filter with cutoff and resonance controls.

Cutoff and resonance allow to change from very powerful and "full" bass sounds to delicate and very refined highs.

It has the option to send the filter output signal to a delay, with repeat and level controls.

The Synadrone also incorporates a built-in LFO with rate and level controls to modulate the delay time.

Specifications:
Power supply +9v (center Positive)
4 oscimodulations
Filter - cutoff - resonance
LFO
Analogue delay

Notes: The iconic Synclavier brand returns with this digital powerhouse, based around FM synthesis but also offering additive and subtractive methods. Super versatile, with up to 98-voice polyphony and MPE support.

Supplier's Notes:
The new buck in the Synclavier stable

Synclavier Regen is the newest in an auspicious line of Digital FM synthesizers. Designed for desktop use, it contains the power of the Synclavier II DSP engine, enhanced and optimised. Full colour screen, liquid-like touch controls, high fidelity audio output coupled with a sound design powerhouse makes this the synth you always dreamed of.

Regen supports additive synthesis for full control of 24 harmonics. Synclavier have now added subtractive synthesis to the Synclavier synthesis engine, especially for Regen, allowing creation of super saws, PCM square waves, and noise generation. Or you can use samples for your carrier waveform.

And these different waveform generators can be mixed. You have up to 12 partials to use in your sound design creation with crossfades assignable to inputs such as velocity, pressure, mod wheel, and of course, keyboard.

Regen is loaded with content to get you inspired fast. There are over 550 timbre presets across 10 newly commissioned timbre libraries. On top of that, there are over 2000 royalty-free samples built-in, including over 350 selected original samples from the NED era and 2 exclusive artist sample libraries.

When you're done exploring the factory content, you'll have fun with the sound design possibilities. You can layer up to 12 partials with different sound generators (additive, subtractive, samples) then apply dynamic effects per partial. It's truly an expressive instrument, both to program and to play. Polyphonic aftertouch and MPE is fully supported and there's a sophisticated modulators section where you can apply responsive curves to properties driven by pressure, velocity, mod wheel position, and so on.

Synclavier Regen is a desktop unit measuring 310mm wide by 260mm tall and 42mm deep.

Housed in aluminium, finished with a sand-textured black and Synclavier red surround. It has rubberized plinths.

User interface consists of many silicone buttons with multi-colour backlighting, a virtual knob capacitive-touch slider with epoxy-coating. A VK display is included as well as a main modal display that shows current parameters, user settings, timbre library, etc.

Over 40 years of synth design has led to this product. It's a sound-designer's dream in a timeless desktop package.

Sound-design Capabilities

Advanced DSP synth engine, as used on Synclavier II, has been extended for Regen.
12 separate tracks of multi-timbrality, assignable to MIDI tracks and keyboard ranges.
Up to 98 simultaneous voices. Voice count is dependent on system load and is likely to be much higher in typical scenarios.
12 partials per timbre. Each partial can be 1 of 3 oscillator synth modes: additive, subtractive, or samples.
Additive mode supports coefficient and phase control of 24 harmonics.
In samples mode, up to 128 samples can be placed on the partial's patchlist.
Subtractive can have a noise generator or up to 9 de-tunable continuous sawtooth waveforms.
Hybrid (resynthesized samples)
Timbre-level effects, including:
Stereo reverb algorithm with pre-delay and library of presets.
Highly-optimised multi-mode filter with sophisticated filter envelope.
Bit-crusher (for use with additive, sample, and hybrid modes).
Frequency modulation (FM) controllable per partial (all modes) with envelope.
Sophisticated modulation system that allows many Regen parameters to be controlled via MIDI, LFOs (24 per timbre), or driven by envelopes (24 per timbre).
Approx 300MB of sample space in memory = 100 mins @ 48Khz 24-bit mono shared across all active tracks and partials.

Hardware

Balanced stereo output through XLR connections at pro-level 4dBu. Designed for studio and home use. These are DC-coupled for maximum bass impact.
Single-ended TS stereo outputs, also DC-coupled.
Convenient headphones TRS jack for monitoring master audio with independent volume
control. For headphones in range 32O - 300O.
DAC circuit is designed for ultra-low noise floor. 11dB of headroom over nominal level. A
measured 130dB of dynamic range. 24-bit, 50kHz sample rate, as per Synclavier II.
Hybrid sound design engine: original Synlcavier II hardware is modelled in software.
High quality audio components throughout, including a precision temperature compensated crystal oscillator for jitter-free digital audio.
Two glorious full-colour sunken displays.
Responsive silicon back-lit parameter buttons.
The vertical value swiper is touch accurate to 128 levels of resolution for precise control
of every parameter.
12 selector buttons are touch-sensitive and can handle gestures to quickly select
multiple partials or tracks.
SD Card reader for unlimited user timbre and sample libraries.
4 USB accessory ports for MIDI keyboards, sequencers, and audio interfaces. Plus 1 USB Host port for connecting to a computer for MIDI input from a DAW.
Take it on the road. Rugged, full metal enclosure.

Notes: Inspired by the early vintage string synths of the '70s such as the Elka Rhapsody and ARP Solina, the Soleil POD is a tiny low-cost Lo-Fi MIDI String Synth table-top box.

Capable of playing 4 paraphonic notes with 2 oscillator ranks per note. Waveforms are continuously variable from thick sawtooth thru variable pulse widths for more reedy sounds. The second rank is detunable for lush pads and honky-tonk riffs.

The Soleil contains built-in modulation / vibrato LFO, the depth of which can be controlled by MIDI. Attack and release envelope times are individually adjustable and share a single VCA making this a "paraphonic" instrument. A gate output jack allows convenient triggering of external effects and synth equipment, and its state is displayed by an LED.

MIDI is input via a 3.5mm TRS Type "A" jack, and responds to keyboard running status as well as pitch bend and modulation. An LED MIDI displays MIDI activity.

MIDI channel defaults to channel 1 but can be easily reset to other channels using a unique sequence from your controller keyboard at power-up, which is retained in non-volatile memory.

A fine tune control allows accurate tuning to other instruments, and an output volume control is provided. MIDI, Gate Out and Audio Out are standard 3.5mm (1/8") jacks.

Specifications:

Controls

Fine Tune - (Approx. +/- 1 semitone)
Detune - (Approx. +1 semitone)
Wave - (Sawtooth thru variable Pulse Width)
Modulation Rate
Attack Rate
Decay Rate
Volume

Inputs
3.5mm MIDI TRS Type "A" Standard wiring
2.1mm Co-axial 2.1mm Power - Center Positive - NOT included

Outputs
Audio Out - ~2V peak-to-peak
Gate Out - 0 to +5V

Indicator LEDs
MIDI Activity (Orange)
Gate Active (Orange)

MIDI Implementation
Note On, Note Off, Running Status
Mod Wheel: 176 (B0 hex)
Pitch Bend: 224 (E0 hex)

Power
2.1mm Coaxial, +8 to +18V DC Center positive, reverse polarity protected
(User supplied adapter)

Size
4.5" W x 2.4" H x 1.25" D (not including pot shafts)

Notes: Complete system built on Tangible Waves's AE modular format. Includes analogue sound sources, drum sampling, sequencing and everything needed to make music in a single unit.

Supplier's Notes:
The Synth Explorer "Ultimate" is a fully featured modular synthesizer which has been designed primarily for educational purposes. It offers a lot of synthesis features in a very small and portable package and includes the modules that invite for DIY modification and experimentation with code and circuits.

This system includes the following modules:

MASTER I/O (power, MIDI, CV/Gate, Audio in/out)
2OSC/d (two oscillators with sawtooth and square waveforms)
DRUMKIT 010 (lofi drum samples)
2LFO (two low frequency oscillators with various waveforms)
2ENV (two attack/decay envelopes with looping function)
WASPFILTER (an iconic filter with a lot of character)
SVFILTER (a state variable filter which can go into self oscillation)
2VCA (two voltage controlled amplifiers)
BRAEDBOARD (a blank canvas for circuit experiments)
2S&H (dual sample and hold)
2ATT/CV (dual attenuator and CV generator)
MM-DIV (multi mode clock divider)
SEQ8 (8 step CV and Gate sequencer with different run modes)
QUANTIZER (4 channel CV quantizer with many different scale modes)
METER (oscilloscope, frequency spectrum, tuner, voltmeter)
GRAINS (fully programmable module based on the Arduino)
MIXER 4-4 (two 4 channel mixers)
DELAY (analogue delay)
HPAMP (headphone amplifier with dual outputs and volume control)

Notes: Updated version of the ground-breaking synth, sampler and sequencer. Better than ever, with legendary sound quality and portability.

Supplier's Notes:
The beauty of evolution.

Louder, thinner and 100 times better.

Introducing the all new OP-1 field. Injected with more than a decade of ideas, refinements and improvements. Just to mention a few: stereo throughout the whole signal chain, Bluetooth MIDI, USB type-C, a new speaker system with a passive driver for detailed, fat and loud sound, a massive 24 hour battery life, multiple tapes and recording formats, new great sounding reverb and the 'dimension' synth engine, an all glass, flush, high resolution display. The graphics have also been meticulously reworked, screen by screen.

Reworked, refined, reborn.

Think of OP-1 field as the natural continuation of its predecessor. Updated with the latest technology, improved design and finely tuned with professional musicians, recording artists and sound designers in mind. Higher quality in all aspects, from its circuitry to connectivity and flexibility, it's tailor made for professionals in the field.

The new stereo sample engine is just one of the features that takes the OP-1 field to a higher level. With increased sampling time up to 20 seconds and dual layer mode for instant mixing of the a and b channels or via an assigned LFO.

Four new recording formats: Studio 4-track, vintage 4-track, porta and disc mini.
All with their own unique characteristics and graphics. Now with multiple tapes or discs, up to 8 in total.

If it feels thinner, it is.

By lowering the aluminium body around the keyboard, the new OP-1 field feels lighter, thinner and more precise. with 2k moulding Teenage Engineering have also managed to fit a dual 2.4 GHz antenna system inside the aluminium body.

The back is warm, velcro and bass.

Two soft velcro rings have been added on the back for fastening covers and accessories. Perhaps you want to stick your op-1 field on top of your full size keyboard, or slap it on a guitar? Use the included adhesive looped back and start experimenting. On the right you'll find an additional passive loudspeaker for hugely improved bass. And for a 'no-more-cold-metal-on-your-lap' experience, the aluminium body has been folded in a warm, soft touch, hard cover.

The first accessory out using the velcro rings is the Bill Amberg leather wrap that attaches to the back and wraps around the op-1 field and locks around the encoders.

Dimensions: 28.8 cm x 10.2 cm x 2.9 cm

Notes: Centred around an advanced 16-track sequencer where all tracks run independently, OP-Z makes individual track speed and track length possible. In addition to this, it's possible to add unique step behaviours to every one of the 16 steps: a feature we call step components. Think of this as dual layer sequencing where the first layer is a traditional 16 step sequencer, while the second layer adds variation per cycle, note variation, micro sequencing, direction, parameter changes, re-trig's and much more, all on just one single step. In theory, it's possible to create a complete song by programming only the 1st step of the 16, using multiple step components to create endless variations, a technique recommended for experts and engineers only. Seriously, in some situations it's actually almost impossible to predict the complete length of a sequence. So, we created a special component for those situations named 'catch up', that forces a track to exit at a certain step to stay in sync. In total, there are 14 components sorted into 3 groups: triggers, note variations and specials.

All 14 components have 10 values and behaviour programs. The product of all this is that you have 140 ways to alter just one single step. Probably more than most people can handle. And to make step composing really intuitive and super-fast, all keys are backlit with multi-colour LED's with instant machine feedback, a must-have for poorly lit club gigs and late-night-in-bed composing. Actually, the print on the unit itself is made with a special glow-in-the dark-paint. A pretty cool 'world's first' for synthesizers.

Bring your own screen:

OP-Z is a completely stand-alone synthesizer and composer, ready to be used at anytime and anywhere, but for those of you who need that extra injection of vibrant graphics, interactive user interface and awesome synced animations to feel inspired, we introduce the concept of BYOS - bring your own screen. You already have the phone with that gorgeous retina display in your pocket, right? Just download the OP-Z app, pair the two devices and you are all set. Add cellular connectivity, WiFi and powerful graphics processing to that, and the concept certainly makes sense. All this tech when connected to the OP-Z adds several unique features - like using the phone's camera, snapping a series of photos and arranging them to a beat, creating a synchronised music video 'a-la-minute'.

We support Dropbox on IOS as well, so transfer of your custom artwork on to your IOS device will be instant and without cables. To eliminate any latency between image and sound, we ported the OP-Z sound engine to run simultaneously on your IOS device. Something we call 'dual domain synthesis'.

Photomatic:

Snap a series of photos and sequence them to a beat. Compose a song and create a completely synchronised music video 'a-la-minute'. The included photomatic feature is just pure instant fun.

Custom graphics:

By adding any artwork or a photo to your IOS device camera roll or to a Dropbox folder, you can create high quality custom graphics, patterns, colour palettes or stop motion videos. Anything can be animated in pace with your music.

Create your own world:

OP-Z is tailor made for unity 3D, the world's most popular multi-platform game engine. Chosen because of its intuitive workflow and excellent VR support. A dedicated OP-Z toolkit for unity will be available at launch that opens up the entire machine.

Full unity 3D integration:

Teenage engineering have worked closely with Keijiro Takahashi and the unity Tokyo studio to fully integrate OP-Z with the unity game engine. As Keijiro-san is both a full time software evangelist at unity and a renowned VJ at night, we have had access to a selection of Keijiro-san's personally developed tools and shaders which deliver stunning 3D graphics that run at full speed on iPhone or iPad. Keijiro-san's tool-set and real life experience in performances with motion graphics have been invaluable in making OP-Zan inspiring live tool for moving images in sync with music. The weakest point of VJ-ing has always been the creation of content. By exposing the inner control data of the OP-Z and linking it to unity, users can create anything within unity, build the project and just drop the build to a Dropbox folder. Customizing every single polygon in a performance.

If it don't have tape, it's not OP:

The new tape feature is probably one of the coolest sonic features of the OP-Z. Imagine a short snippet of tape secretly recording everything that is programmed in the sequencer - all in real-time. And with its own dedicated track it's possible to sequence the tape, trig the in-point, length and speed. OP-Z will come with a range of tape reels with unique character and functions. Scrub, scratch, wind-up and mess-up!

Notes: Melody synthesizer and sequencer with parameter locks, punch-in effects, arpeggio and chord play styles.

Pocket operators are cleverly designed on a single circuit board. By placing all vital and sensitive components under the LCD display there's no need for an outer case. By saving this cost, high quality components could be used to guarantee the best possible sound and very low power consumption. The space under the display also doubles as a speaker box.

Experience a fresh new way to create music using your thumbs. With its pocket size, its animated graphics, real synthesizer engines, sync, punch-in effects, built-in speaker, alarm clock and impossibly low price, making electronic music has never been this much fun!

Notes: Arcade-themed synth from Teenage Engineering's amazing Pocket Operator range. Tiny portable synth with quirky chiptune-style sounds, built-in sequencer effects. Super fun.

Supplier's notes:
Arcade synthesizer and sequencer, with parameter locks, chord control and punch-in effects.

All pocket operator models perfectly complement each other. From drum machine, bass and lead synthesisers to noise percussion, the six unique units allow you to start a pocket band. Use them separately or connect them together, the choice is yours.

Use the built-in speaker for instant sound, connect a pair of headphones for detailed personal listening, or hook up a speaker system and the club will go boom!

Pocket operators are designed on a single multiple-layer circuit board using high quality components. They all share a compact and durable form factor.

By placing all vital and sensitive components under the LCD display there's no need for an outer case. By saving this cost, high quality components could be used to guarantee the best possible sound and very low power consumption. The space under the display also doubles as a speaker box.

Optional extras:
Add the silicone pro case to protect your pocket operator and get anti-slip feet, neck strap, battery protection and pro feel buttons. Use the SP-10 display protection to protect the LCD screen, and start a jam sync session with your friends using the MC-3 mini cables.

Notes: The Skorn da Bask table top module is the same module as the eurorack version but in a hammond 1590BB enclosure and aluminium panel, it can be powered thru a 2,1mm negative pin power jack, compatible with Boss and Ibanez standard power supplies.

Thanks to their routing options, the VCOs can not only be used to generate audio signals, but for modulating the VCF's cutoff frequency as well. Besides processing internally produced saw tooth waves, the filter is also usable for editing sound coming from other modules. Typical Touell Skouarn, the Skorn da Bask distorts like hell. Primary application: The creation of dirty, experimental sound structures and abstract rhythms.

The front panel of Skorn da Bask shows three areas highlighted in red. These zones contain the connectors and control elements for the oscillators. Each VCO comes equipped with a pitch CV input, a tune potentiometer and two switches for defining the routing as well as the frequency range used. In detail, the oscillators can be connected to the audio or CV input of the filter. Thanks to their range switches, each VCO is able to work with audio or low frequency rates. The pitch input does not follow the standard 1v per octave.

After all, Skorn da Bask is not an ordinary oscillator module, but an experimental sound generator.

The low pass filter features a slope of 24 dB per octave. A potentiometer named FreqaNs regulates the circuit's cutoff parameter, Dasson sets the resonance. For processing external signals, there is an audio input. As long as a cable is plugged into this socket, the VCOs are disconnected from the filter's audio path. Third-company modules, like an envelope or LFO, can influence the VCF's frequency via a CV input. For damping modulation signals coming from the oscillators, there is an attenuator knob. The audio output is equipped with a level potentiometer. High settings lead to juicy overdrive effects.

Notes: Heavily redesigned for version three, Twisted Electrons offer up a new take on their compact acid synth: dual oscillators, new digital filter, real-time effects and more. Great value.

Supplier's Notes:
acid8 is an 8Bit bass-line synthesizer with a revisited sound and interface.

MKIII has been rethought from the ground up. The filter has been replaced with an new all digital one, the handling has been redesigned for more immediate handling and many other real time features have been added including transposition automation, filter wobbler, stutter and vinyl spin-down effects.

The synth engine now has dual oscillators allowing fat and harmonized sounds.

acid8 MKIII offers the same features as its slimsynth uAcid8 counterpart, but with the addition of hardware MIDI and analog sync in and out connectivity and packed in a rugged metal case.

A vst plugin is available to easily take control of the synth's parameters.

FREQUENTLY ASKED QUESTIONS:

Q:How do I copy/paste a pattern?

A:Hold SLIDE and press OCT- to copy and OCT+ to paste

Q:The briefly LEDS go out when I stop the sequencer - is something wrong?

A:This is normal and occurs when the memory is updated (a few seconds after the sequencer is stopped when a change has been made).

Notes: The Super 6 is a 12-voice polyphonic, binaural analog-hybrid synthesizer. A harmonious marriage of state of the art FPGA digital hardware oscillators and voltage controlled analog tech. It is flexible, powerful and refined with a gorgeous analog tone. Rich and evolving textures are easily teased from the unique super-wavetable core and can be shaped and manipulated with the binaural analog signal path and flexible modulation.

Although UDO's first production synthesizer, the Super 6 is a result of many years of hard work and numerous iterations of development. Our mission with the Super 6 has been to harmonise what we love about archetypal electronic instrument design with modern, novel synthesis technologies that excel at generating spatially dynamic results.

In Binaural mode, the Super 6 features a true stereo signal path in which the instrument's twelve voices are twinned to form six stereo 'super' voices. Consequently, the left and right channels i and each of the player's ears i are assigned their own complete synthesizer voice. Parameters for both channels of each super voice may be independently controlled, facilitating the player to create rich and unique stereo images.

The Super 6 is a love-letter to the classic analogue synthesizer, brought firmly into the present with cutting-edge technology under the hood and a no-compromise approach to sound character, build quality and interface design. The rich sound that UDO has been championed for, paired with a robust, compact and inviting form factor with smooth, solid and responsive controls throughout, it cries out to be played.

BINAURAL ANALOG
SIGNAL PATH
In Binaural mode, the Super 6 features a true stereo signal path in which the instrument's twelve voices are twinned to form six stereo 'super' voices. Consequently, the left and right channels i and each of the player's ears i are assigned their own complete synthesizer voice. Parameters for both channels of each super voice may be independently controlled, facilitating the player to create rich and unique stereo images. The effect ranges from subtle to extreme stereo movement, creating an enhanced sense of spatial positioning relative to "conventional" monaural signal-chains panned at their output.

MASSIVE MODULATION WITHOUT MENUS
Enormous flexibility at the player's fingertips through simple controls and a carefully designed front-panel. Going deeper, there is an intuitive and immediate modulation system based around the performance area switches. For those who want to go further, every panel control can be targeted for modulation, all simultaneously and all with unique amounts.

INSPIRED BY THE CLASSICS,
BUILT FOR TODAY
The Super 6 is an instrument that is borne of a long-held passion for synthesizers. In designing the Super 6 we wanted to create an instrument that feels familiar at first glance, but offers new and inspiring opportunities when delving deeper. The layout and aesthetic is an homage to some of the classic synthesizers that have inspired us for many years i the instrument's features and capabilities bring these ideas firmly into the 21st century.

ANALOG VOICE ARCHITECTURE
Alongside an analog amplifier section, the Super 6's main filter is an analog 4-pole, 24 dB per octave, resonant low-pass filter. It is preceded by a voltage controlled high-pass filter that can either be off, fixed, or can also track the low-pass filter cutoff for band-pass operation.

TRUE NO-COMPROMISE BUILD QUALITY
An instrument is cherished not just for the way it sounds but for the way it feels to play. We have worked tirelessly on the physical design to foster an immediate connection with the player. There has also been no expense spared on the build quality, with a rugged metal housing and solid control elements throughout.

Notes: ***B-STOCK: Box opened, product in perfect working order***


The Super 6 is a 12-voice polyphonic, binaural analog-hybrid synthesizer. A harmonious marriage of state of the art FPGA digital hardware oscillators and voltage controlled analog tech. It is flexible, powerful and refined with a gorgeous analog tone. Rich and evolving textures are easily teased from the unique super-wavetable core and can be shaped and manipulated with the binaural analog signal path and flexible modulation.

Although UDO's first production synthesizer, the Super 6 is a result of many years of hard work and numerous iterations of development. Our mission with the Super 6 has been to harmonise what we love about archetypal electronic instrument design with modern, novel synthesis technologies that excel at generating spatially dynamic results.

In Binaural mode, the Super 6 features a true stereo signal path in which the instrument's twelve voices are twinned to form six stereo 'super' voices. Consequently, the left and right channels i and each of the player's ears i are assigned their own complete synthesizer voice. Parameters for both channels of each super voice may be independently controlled, facilitating the player to create rich and unique stereo images.

The Super 6 is a love-letter to the classic analogue synthesizer, brought firmly into the present with cutting-edge technology under the hood and a no-compromise approach to sound character, build quality and interface design. The rich sound that UDO has been championed for, paired with a robust, compact and inviting form factor with smooth, solid and responsive controls throughout, it cries out to be played.

BINAURAL ANALOG
SIGNAL PATH
In Binaural mode, the Super 6 features a true stereo signal path in which the instrument's twelve voices are twinned to form six stereo 'super' voices. Consequently, the left and right channels i and each of the player's ears i are assigned their own complete synthesizer voice. Parameters for both channels of each super voice may be independently controlled, facilitating the player to create rich and unique stereo images. The effect ranges from subtle to extreme stereo movement, creating an enhanced sense of spatial positioning relative to "conventional" monaural signal-chains panned at their output.

MASSIVE MODULATION WITHOUT MENUS
Enormous flexibility at the player's fingertips through simple controls and a carefully designed front-panel. Going deeper, there is an intuitive and immediate modulation system based around the performance area switches. For those who want to go further, every panel control can be targeted for modulation, all simultaneously and all with unique amounts.

INSPIRED BY THE CLASSICS,
BUILT FOR TODAY
The Super 6 is an instrument that is borne of a long-held passion for synthesizers. In designing the Super 6 we wanted to create an instrument that feels familiar at first glance, but offers new and inspiring opportunities when delving deeper. The layout and aesthetic is an homage to some of the classic synthesizers that have inspired us for many years i the instrument's features and capabilities bring these ideas firmly into the 21st century.

ANALOG VOICE ARCHITECTURE
Alongside an analog amplifier section, the Super 6's main filter is an analog 4-pole, 24 dB per octave, resonant low-pass filter. It is preceded by a voltage controlled high-pass filter that can either be off, fixed, or can also track the low-pass filter cutoff for band-pass operation.

TRUE NO-COMPROMISE BUILD QUALITY
An instrument is cherished not just for the way it sounds but for the way it feels to play. We have worked tirelessly on the physical design to foster an immediate connection with the player. There has also been no expense spared on the build quality, with a rugged metal housing and solid control elements throughout.

Notes: The Super 6 Desktop is UDO's fully featured 12-voice polyphonic, binaural analogue-hybrid synthesizer reimagined in a compact and super-flexible package. A harmonious marriage of state-of-the-art FPGA digital hardware oscillators and voltage controlled analogue tech. It is flexible, powerful and refined with a gorgeous analogue tone. Rich and evolving textures are easily teased from the unique super-wavetable core and can be shaped and manipulated with the binaural analogue signal path and flexible modulation.

The desktop Super 6 takes everything the Super 6 is famous for and reimagines it in a more compact and super-flexible package. It is VESA compatible for use with widely-available monitor arms/mounts, rack mountable with a 7U footprint, and comes complete with robust retractable feet for a more ergonomic experience in desktop use settings.

In Binaural mode, the Super 6 features a true stereo signal path in which the instrument's twelve voices are twinned to form six stereo 'super' voices. Consequently, the left and right channels - and each of the player's ears - are assigned their own complete synthesizer voice. Parameters for both channels of each super voice may be independently controlled, facilitating the player to create rich and unique stereo images.

The Super 6 is a love-letter to the classic analogue synthesizer, brought firmly into the present with cutting-edge technology under the hood and a no-compromise approach to sound character, build quality and interface design. The rich sound that UDO has been championed for, paired with a robust, compact and inviting form factor with smooth, solid and responsive controls throughout, it cries out to be played.

Compact, flexible and ergonomic

Offering the flexible and immediate control, gorgeous analogue sound and unrivalled build quality of the Super 6, but in a more compact package. The Super 6 Desktop is a fully-featured Super 6 analogue-hybrid 12 voice synthesizer, housed in a newly designed all-metal chassis. The Super 6 Desktop also includes ergonomic features such as VESA mount compliance, optional rack ears (7U) and robust flip up feet, as well as a huge 24-voice Super 6 polychain option.

Binaural analogue signal path

In Binaural mode, the Super 6 features a true stereo signal path in which the instrument's twelve voices are twinned to form six stereo 'super' voices. Consequently, the left and right channels - and each of the player's ears - are assigned their own complete synthesizer voice. Parameters for both channels of each super voice may be independently controlled, facilitating the player to create rich and unique stereo images. The effect ranges from subtle to extreme stereo movement, creating an enhanced sense of spatial positioning relative to "conventional" monaural signal-chains panned at their output.

Massive modulation without menus

Enormous flexibility at the player's fingertips through simple controls and a carefully designed front-panel. Going deeper, there is an intuitive and immediate modulation system based around the performance area switches. For those who want to go further, every panel control can be targeted for modulation, all simultaneously and all with unique amounts.

Analogue voice architecture

Alongside an analogue amplifier section, the Super 6's main filter is an analogue 4-pole, 24 dB per octave, resonant low-pass filter. It is preceded by a voltage controlled high-pass filter that can either be off, fixed, or can also track the low-pass filter cutoff for band-pass operation.

The no-compromise build quality

An instrument is cherished not just for the way it sounds but for the way it feels to play. UDO have worked tirelessly on the physical design to foster an immediate connection with the player. There has also been no expense spared on the build quality, with a rugged metal housing and solid control elements throughout.

Unit Size:(L x W x H) 45 cm x 29 cm x 10cm (w. collapsed back feet).
Net weight 6.2kg
Packaged Dimensions:(L x W x H) 59cm x 48cm x 20cm.
Gross weight: 8.4kg

Notes: The Super 6 Desktop is our fully-featured 12-voice polyphonic, binaural analogue-hybrid synthesizer reimagined in a compact and super-flexible package. A harmonious marriage of state of the art FPGA digital hardware oscillators and voltage controlled analogue tech. It is flexible, powerful and refined with a gorgeous analogue tone. Rich and evolving textures are easily teased from the unique super-wavetable core and can be shaped and manipulated with the binaural analogue signal path and flexible modulation.

The desktop Super 6 takes everything the Super 6 is famous for and reimagines it in a more compact and super-flexible package. It is VESA compatible for use with widely-available monitor arms/mounts, rack mountable with a 7U footprint, and comes complete with robust retractable feet for a more ergonomic experience in desktop use settings.

In Binaural mode, the Super 6 features a true stereo signal path in which the instrument's twelve voices are twinned to form six stereo 'super' voices. Consequently, the left and right channels i and each of the player's ears i are assigned their own complete synthesizer voice. Parameters for both channels of each super voice may be independently controlled, facilitating the player to create rich and unique stereo images.

The Super 6 is a love-letter to the classic analogue synthesizer, brought firmly into the present with cutting-edge technology under the hood and a no-compromise approach to sound character, build quality and interface design. The rich sound that UDO has been championed for, paired with a robust, compact and inviting form factor with smooth, solid and responsive controls throughout, it cries out to be played.

Compact, flexible and ergonomic

Offering the flexible and immediate control, gorgeous analogue sound and unrivalled build quality of the Super 6, but in a more compact package. The Super 6 Desktop is a fully-featured Super 6 analogue-hybrid 12 voice synthesizer, housed in a newly designed all-metal chassis. The Super 6 Desktop also includes ergonomic features such as VESA mount compliance, optional rack ears (7U) and robust flip up feet, as well as a huge 24-voice Super 6 polychain option.

Binaural analogue, signal path

In Binaural mode, the Super 6 features a true stereo signal path in which the instrument's twelve voices are twinned to form six stereo 'super' voices. Consequently, the left and right channels i and each of the player's ears i are assigned their own complete synthesizer voice. Parameters for both channels of each super voice may be independently controlled, facilitating the player to create rich and unique stereo images. The effect ranges from subtle to extreme stereo movement, creating an enhanced sense of spatial positioning relative to "conventional" monaural signal-chains panned at their output.

Massive modulation without menus

Enormous flexibility at the player's fingertips through simple controls and a carefully designed front-panel. Going deeper, there is an intuitive and immediate modulation system based around the performance area switches. For those who want to go further, every panel control can be targeted for modulation, all simultaneously and all with unique amounts.

Analogue voice architecture

Alongside an analogue amplifier section, the Super 6's main filter is an analogue 4-pole, 24 dB per octave, resonant low-pass filter. It is preceded by a voltage controlled high-pass filter that can either be off, fixed, or can also track the low-pass filter cutoff for band-pass operation.

True no-compromise build quality

An instrument is cherished not just for the way it sounds but for the way it feels to play. We have worked tirelessly on the physical design to foster an immediate connection with the player. There has also been no expense spared on the build quality, with a rugged metal housing and solid control elements throughout.

Notes: Mono Lancet '15 might be small-sized device, despite it is a bona fide analogue synthesizer.

Two oscillators and a noise generator are the foundation for its sound. Together with the musical lowpass filter and VCA it's capable of producing warm and precious sounds full of character.

Beside its audio qualities Mono Lancet '15 has a dead simple and intuitive user interface. Each parameter has its own control. We are absolutely convinced that you will quickly learn how to realize your sounds with Mono Lancet '15 without thinking about what you do.

Expandable with Modular Dock:
Mono Lancet '15's functionality can even be enhanced using the optional Modular Dock eurorack module. It offers various in- and out-connections to the individual sections of the synthesizer. With just a few additional modules you can multiply the strong sound base of Mono Lancet '15.

Mono Lancet '15 is manufactured in our Elektroakustischen Manufaktur in historical Vogtland. For us it is not only a piece of high-quality analogue technology but rather a musical instrument, handmade with love and passion.

Ships with UK 3-pin power supply.

For audio demos, please visit - http://www.vermona.com/en/products/synthesizer/product/mono-lancet-15/

Notes: The new PerFourMer is a real analog synthesizer, through its simple control surface and very flexible sound production it is able to offer a near inexhaustible variety of bass, lead, pad and effect sounds. Additionally, with its total of 6 filter inputs, the PerFourMer is also perfectly suited as a complex filter-bank. Even though the PerFourMer is not considered a modular system, it can still be described as a modular or at the very least a semi-modular. The basic concept is reminiscent of classics such as the Oberheim 4 Voice or the Korg Monopoly.

The PerFourMer is a 4 voice synthesizer, consisting of completely independent synthesizers, which can be adjusted and played independently from each other. These 4 synthesizer channels can be linked with each other and be played in 3 different operating modes.

Next to the already mentioned filter inputs, each channel has a single output, which can also be used as an insert for external effect devices, and make it possible to easily integrate the PerFourMer with already established equipment. It is also possible to transmit the unedited VCO signal. Additionally the opportunities of the PerFourMer can be expanded through internal patching between the channels, for example; you can route a VCO through multiple filters and VCAs, or use 2 channels to create 1 voice with 2 ADSR envelopes (1 for VCA and 1 for VCF). Use the PerFourMer as a filter-bank and the slope envelope can be doubled by interconnecting the filter in series. The PerFourMer is controlled via MIDI.

www.youtube.com/watch?v=UWFsfUa9pUk

Notes: The new PerFourMer is a real analog synthesizer, through its simple control surface and very flexible sound production it is able to offer a near inexhaustible variety of Bass, Lead, Pad and Effect sounds. Additionally, with its total of six filter inputs, the PerFourMer is also perfectly suited as a complex filter-bank. Even though the PerFourMer is not considered a modular system, it can still be described as a modular or at the very least a semi-modular. The basic concept is reminiscent of classics such as the Oberheim 4 Voice or the Korg Monopoly.

The PerFourMer is a 4 voice synthesizer, consisting of completely independent synthesizers, which can be adjusted and played independently from each other. These four synthesizer channels can be linked with each other and be played in 3 different operating modes.

Next to the already mentioned filter inputs, each channel has a single output, which can also be used as an insert for external effect devices, and make it possible to easily integrate the PerFourMer with already established equipment. It is also possible to transmit the unedited VCO signal. Additionally the opportunities of the PerFourMer can be expanded through internal patching between the channels, for example; you can route a VCO through multiple filters and VCAs, or use 2 channels to create 1 voice with 2 ADSR envelopes (1 for VCA and 1 for VCF). Use the PerFourMer as a filter-bank and the slope envelope can be doubled by interconnecting the filter in series. The PerFourMer is controlled via MIDI and additionally via CV/gate (1V/octave) inputs for every synthesizer channel.

Notes: *** Synthesizer comes with a free copy of The Waldorf Edition software, including D Pole Filter Module, PPG Wave 2.V & Attack ***

Waldorf are back in the game. With the Blofeld. this synthesizer offers all the unique qualities that made Waldorf a truly legendary brand.

The engine inside the heavy duty, full metal chassis of the Blofeld delivers the same fat and rich sound that so many Waldorf users worldwide love when they play their Pulse, Q, Q+, Micro Q, Microwave, Microwave II/XT, or even the flagship Wave.

Yes, you've heard it right. The Blofeld is not only capable of producing these warm, organic analog sounds known from the Q synthesizer line, it also sports a wavetable engine like its predecessors with Wave in their names.

This unique synthesis system is based upon the revolutionary PPG Wave synthesizers of the early 80s. So when you listen to the Blofeld for the first time, you will instantly recognize those edgy, hard-hitting and bell-like timbres that have been an integral part of so many world hits from the PPG era on, and become increasingly popular once more.

In fact it is amazing to realize that nowadays this complex technology fits into such a slim and elegant device. And for a price no-one would have imagined a couple of years ago.

Notes: Offspring from a noble house, the little synthesizer machine with the big and evil sound.

Waldorf is back in the game. With the Blofeld.

This synthesizer offers all the unique qualities that made Waldorf a truly legendary brand.

The engine inside the heavy duty, full metal chassis of the Blofeld delivers the same fat and rich sound that so many Waldorf users worldwide love when they play their pulse, Q, Q+, micro Q, microwave, microwave II/XT, or even the flagship wave.

Notes: Tracing the footsteps of its bigger brother, Iridium features all the synthesis elements of Quantum as well in a rack-compatible format. The combination of the powerful engine, incredible flexibility and detailed sound shaping facilities creates sheer endless possibilities of sound. Yet, the comprehensive layout and easy-to-understand structure lets you design your own sounds in no time. Sporting a solid metal casing and the same high level of craftsmanship like Quantum, Iridium is now ready to take over studios and stages throughout the world.

Contributing another entry in Waldorf's rich history, Iridium joins the family as a direct descendant of the PPG Wave. Though, Iridium offers much more than its ancestor. Five different synthesis models are provided by Iridium for each of the three oscillators:

Wavetable
Waveform (Virtual Analog)
Particle (Sampling and Granular Sampling)
Resonator
Kernels

Kernel mode has been introduced with the OS 2.0 of Quantum. This huge upgrade allows one oscillator to be turned into up to six sub oscillators. These can be interlinked through FM at audio rate and arranged in user-definable constellations. Just this upgrade alone would have provided enough additional features to create a synthesizer on its own. Now, all those functions have been integrated into Iridium as well.

Up to 7000 patches can be saved in Iridium. Patches from Quantum can be loaded in Iridium and vice-versa.

Iridium features three digital filters per voice. Two in the Dual Filter section and another one in the Digital Former. Several types are available to choose from:

12 or 24dB and Lowpass/Highpass/Bandpass with optional saturation or dirtiness.
Various filter models are available including those from Waldorf Nave, Largo and PPG 3V.
The Dual Filter section can be controlled independently or together in several different link modes.
The Digital Former offers all the filter types and models from the Dual Filter plus unusual models like Comb, Drive, Bitcrusher and more in addition.

All filters retain a true stereo signal throughout the entire structure of the instrument.

Up and down, back and forth
6 Envelopes, 6 LFOs and many more are just waiting for being used as sources in the 40 slots of the Modulation Matrix. Each slot has one additional control amount. Modulations can be directed to almost every numerical value in Iridium. All sources and destinations can be used as many times as desired until the Modulation Matrix is full. If you ever happen to run out of LFOs or Envelopes, you can use the Komplex Modulator for generating a custom shape LFO or Envelope.

Even though Iridium features a staggering amount of parameters to control, everything is organized in a logic structure which is easy to master. The major controls have their own dedicated knob, while the rest is accessible through the touch screen and the encoders around. There are no long menus keeping you from doing what you had planned. Instead, you will find a workflow which you will soon miss on other synthesizers.

Embedded in the front panel, a 4x4 silicon pad matrix invites you to launch notes, chords, arpeggios and sequences with up to 32 steps for notes and multiple parameter lines. Direct access to the parameters is granted by the seven encoders to the left and the right hand side of the touch screen.

Iridium's large color touch screen keeps you informed at all times. Upon moving a knob, Iridium gives you an optical feedback of your changes in real-time. Filter curves move, Particle grain sizes change, Envelopes warp and much more:

Komplex Modulator curves can be drawn with your finger
Envelopes show at which point the voices currently are
Wavetables are displayed in comprehensive view modes
VU meters show which voices are used and the individual voice levels
Different Analyzers show the audio signal at different points

Two Audio Outputs allow you to listen to Iridium, while two Inputs allow Iridium to process external signals. 4 CV inputs plus Gate In and Trigger In are ready to forward external signals to the Mod Matrix. Furthermore, Clock In and Clock Out will get your gear in sync. MIDI connections can be made through USB and DIN MIDI. Iridium is also equipped with a USB Host port for MIDI devices. This port also handles data exchange, in addition to the MicroSD card slot.

Once again, Waldorf have underlined their status with a new and exciting synthesizer.

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Tracing the footsteps of its bigger brother, Iridium features all the synthesis elements of Quantum as well in a rack-compatible format. The combination of the powerful engine, incredible flexibility and detailed sound shaping facilities creates sheer endless possibilities of sound. Yet, the comprehensive layout and easy-to-understand structure lets you design your own sounds in no time. Sporting a solid metal casing and the same high level of craftsmanship like Quantum, Iridium is now ready to take over studios and stages throughout the world.

Contributing another entry in Waldorf's rich history, Iridium joins the family as a direct descendant of the PPG Wave. Though, Iridium offers much more than its ancestor. Five different synthesis models are provided by Iridium for each of the three oscillators:

Wavetable
Waveform (Virtual Analog)
Particle (Sampling and Granular Sampling)
Resonator
Kernels

Kernel mode has been introduced with the OS 2.0 of Quantum. This huge upgrade allows one oscillator to be turned into up to six sub oscillators. These can be interlinked through FM at audio rate and arranged in user-definable constellations. Just this upgrade alone would have provided enough additional features to create a synthesizer on its own. Now, all those functions have been integrated into Iridium as well.

Up to 7000 patches can be saved in Iridium. Patches from Quantum can be loaded in Iridium and vice-versa.

Iridium features three digital filters per voice. Two in the Dual Filter section and another one in the Digital Former. Several types are available to choose from:

12 or 24dB and Lowpass/Highpass/Bandpass with optional saturation or dirtiness.
Various filter models are available including those from Waldorf Nave, Largo and PPG 3V.
The Dual Filter section can be controlled independently or together in several different link modes.
The Digital Former offers all the filter types and models from the Dual Filter plus unusual models like Comb, Drive, Bitcrusher and more in addition.

All filters retain a true stereo signal throughout the entire structure of the instrument.

Up and down, back and forth
6 Envelopes, 6 LFOs and many more are just waiting for being used as sources in the 40 slots of the Modulation Matrix. Each slot has one additional control amount. Modulations can be directed to almost every numerical value in Iridium. All sources and destinations can be used as many times as desired until the Modulation Matrix is full. If you ever happen to run out of LFOs or Envelopes, you can use the Komplex Modulator for generating a custom shape LFO or Envelope.

Even though Iridium features a staggering amount of parameters to control, everything is organized in a logic structure which is easy to master. The major controls have their own dedicated knob, while the rest is accessible through the touch screen and the encoders around. There are no long menus keeping you from doing what you had planned. Instead, you will find a workflow which you will soon miss on other synthesizers.

Embedded in the front panel, a 4x4 silicon pad matrix invites you to launch notes, chords, arpeggios and sequences with up to 32 steps for notes and multiple parameter lines. Direct access to the parameters is granted by the seven encoders to the left and the right hand side of the touch screen.

Iridium's large color touch screen keeps you informed at all times. Upon moving a knob, Iridium gives you an optical feedback of your changes in real-time. Filter curves move, Particle grain sizes change, Envelopes warp and much more:

Komplex Modulator curves can be drawn with your finger
Envelopes show at which point the voices currently are
Wavetables are displayed in comprehensive view modes
VU meters show which voices are used and the individual voice levels
Different Analyzers show the audio signal at different points

Two Audio Outputs allow you to listen to Iridium, while two Inputs allow Iridium to process external signals. 4 CV inputs plus Gate In and Trigger In are ready to forward external signals to the Mod Matrix. Furthermore, Clock In and Clock Out will get your gear in sync. MIDI connections can be made through USB and DIN MIDI. Iridium is also equipped with a USB Host port for MIDI devices. This port also handles data exchange, in addition to the MicroSD card slot.

Once again, Waldorf have underlined their status with a new and exciting synthesizer.