Studio Equipment charts

Notes: Part of Teenage Engineering's high-end Field series, the OP-XY is best seen as a pro groovebox, combining polyphonic synthesis, sampling and sequencing. More music-focussed than its OP-Z predecessor, the OP-XY represents a new flagship for TE.

Supplier's Notes:
No-compromise, dual-CPU boosted and fully rebuilt sequencer, sampler, and performance instrument, based on the much-loved workflow of the OP-Z. Now including built-in cv, effect sends, and a best-in-class DAC. with 8 individual instrument tracks and 8 auxiliary tracks for controlling any external synthesizer, modular or otherwise, and adding effects. It's probably the most complete, portable sequencer ever built. It's here. It's real. it's black.

And it's got so much more than you've wished for.

The exterior is all black, and matches the exact dimensions of OP-1 field. A distinct grayscale gradient is at its centre, making it clear that OP-XY is all about serious sequencing. Hands-on graphics on the high-resolution display are all grayscale, with a bright red to indicate recording and parameter locks. all vital keys have LEDs to stay in full control.

Experience the ultra fast sequencing workflow. Punch-in FX lets you add quick, rapid-firing, unique, live variations and adding individual step components creates an extra dimension and deep rhythmic patterns. randomize note timing, velocity and pitch, or use live automation to alter filters. Use brain to create chord progressions, generating tracks that reinvent themselves. Literally.

Run every track, independently, at different speeds and lengths to form powerful polyrhythms. create new sequences every time with step components, variations that can be added to any step on the sequencer, controlling everything from altering pitch to bending, skipping or even multiplying steps.

Main audio-out

Multi-out, featuring:
MIDI
CV/gate
Sync
Aux audio
MIDI IN
AUDIO IN
USB-C

The 2 Vrms main output drives any sound system, real loud. Keep everything locked in sync and sequenced with the multi-out and take control with MID IN. process and sample external audio with the audio-in. control, record and charge with the audio/midi host over USB-C, plus a complete wireless experience with midi over Bluetooth LE -keine bedingungen [no strings attached].

Compose your album, head off to the gig, plug and play immediately, then keep everything locked-in with all the I/O you could ask for. 16-hour, battery-powered freedom lets you perform for hours on-end. create, produce and perform anywhere. Mit allen bedingungen [all strings attached]

The bottom left side features a pressure sensitive pitchbend

Instrument tracks:

8 individually sequenceable instrument tracks
8 unique synth engines
3 samplers
independent send levels per track

Step components
14 unique step components for advanced step sequencing
Apply up to all 14 to every step screen
480 x 222px IPS TFT display

Patterns
9 patterns per track
up to 64 bars per pattern
spread across 4 pages
presets per pattern

Effects: reverb, delay, chorus, distortion, lo-fi, phaser

Hardware
Dual blackfin processing cores
Dual DDR memory
Triple-core dsp co-processor
2x controller MCU's for wireless & low power IO domain

Sensors: 6-axis IMU accelerometer

Microphone: immediate, high quality sampling with the built-in microphone.

Connectors: 3.5 mm stereo line-out with headset mic support
3.5 mm multi-out
3.5 mm midi in
3.5 mm stereo line-in

Tactile input
2 octave musical keyboard
68 ultra low profile mechanical buttons
Pressure sensitive pitch bend
4 x multi purpose grayscale encoders

USB
USB type C connector
USB MIDI host & device
USB audio host & device

Notes: No oscillators, 8 voice polyphony.

The Steampipe is a true physical modelling synthesizer developed in close collaboration with Dutch company 112.dB.

The Steampipe has no conventional oscillators. Instead, it mimics the way sound is created in wind instruments and it is fine-tuned to create a wide range of sounds - everything from wind instruments to strings, pipe organs, crazy effects and beyond. The Steampipe has three major sections - STEAM, PIPE and REVERBERATOR.

The STEAM section can be compared to the lungs and mouth of a musician. The generator creates the flow of air or "steam", the envelope in this section determines the force with which it is blown out. DC/noise is the noise you get when blowing out. DC/Noise on the Steampipe can also be replaced with an external audio source.

The PIPE section can be compared to a flute. In the pipe, the tune is formed. Push (in feedback) bounces the steam like it does in a flute and generates the tone. The delay box subsection changes the flute's tuning and shape.

The REVERBERATOR adds space and ambience to the sound.

The Steampipe is optimized for performance with wind MIDI controllers and it works great with any MIDI keyboard. The overtones the Steampipe produces are very organic and rich and it comes with great-sounding presets. The Steampipe is rather versatile and allows for nuanced sonic exploration, conjuring sonic imagery ranging from from wisps of cloud to fairground band organs, then to industrial horns of the railroad and finally, to massive, otherworldly ambiences.

Notes: A true MIDI powerhouse, based around a 128-pad matrix and 16-track MIDI sequencer with slick programming workflow and Ableton-style pattern mode for live performance.

*** Firmware update- February 2025 ***

HapaxOS2.10

Squarp are very pleased with this version, which is both creative and packed with new features, as well as numerous bug fixes that make HAPAX more stable than ever.

Up to 16 pattern per tracks
Arranger fonction
Mix / mute performance mode
Pattern follow actions
Midi import / export
Multi track recording
Track latency compensation
STEP-INPUT REC mode (SH101 style)

Supplier's Notes:
Professional standalone sequencer

Genuine centerpiece of a setup, it offers every tool needed to compose songs in the studio and perform them on stage. From vintage to modern synths, from modular systems to your favourite DAW, Hapax can sequence and synchronize all your gear, while bringing you carefully crafted tools, designed for maximizing creativity.

The midi powerhouse.

Up to a million notes and events

16 tracks per project, 8 patterns per track.

Thanks to its dual-processor architecture, Hapax can record and transform tremendous amounts of data in no time, without a hitch.

Express yourself.

MPE compatibility

Hapax is the first hardware sequencer that fully supports MIDI Polyphonic Expression. Record the finest gestures, slides and articulations of your playing, without compromising quality.

Around the clock performance.
Dual-project architecture



Hapax can handle two separate and independent projects, that can be played simultaneously. This lets you compose or load an entire project while the first one is already playing, enabling endless sets and seamless transitions.

Dawless is more.

Hapax offers broad connectivity options for perfect integration in any setup.

Adaptive workflow.
Several ways to write music
Writing a melody: use a polyphonic or MPE track and take advantage of the advanced step sequencer to quickly lay down notes or edit your live recording.

Composing a beat: control up to 8 different instruments with a single track. The drum sequencer is tailored for very easy rhythm writing and jamming.

Real-time midi effects.

Bring your synths to life

Hapax embeds multiple real-time, polyphonic, non-destructive midi effects, as well as project-wide assignable LFOs. Each parameter of these effects can be automated in the dedicated mode, and processed in the mod matrix, which provides even more ways of routing and modulating.

Powerful composition tools.

Algorithms

Powerful tools for offline note transformation and generation, right at your fingertips. Harmonically invert your motive, generate a controlled-random counter-melody, slowly ramp up the velocities, emphasize every fifth 8th note...

Hi-res recording

Hit the red button, and record from the encoders and 128 pads of Hapax, external midi instruments (included MPE controllers) or any incoming analogue signal, at a high resolution of 192 ppqn. Looper style recording, count-down and metronome options, punch-in mode, you'll certainly find the options that best suit your workflow.

Time elasticity

Each track has an elasticity value which changes its playback speed, expressed in percentage of BPM. Quickly double or halve the speed of a track, or create slightly shifted tracks that will slowly drift out of phase with each other.

Fluid editing

Using hardware should never get in the way of creative flow. The undo/redo button lets you go back in time as needed, thanks to its extensive history. Additionally, the snapshot function enables you to save the state of a pattern and recall it with a single press. Together with dedicated copy, paste and delete buttons, Hapax offers a complete toolbox for the prompt editing of your tracks.

Harmony, simplified

For fast and intuitive chord building, the chord live mode brings harmonic capabilities to anyone, with or without deep theoretical knowledge. With its colourful interface, the chord mode displays a synesthetic melding of hearing, vision and touch.

Simple by design.

Trimmed to perfection

Squarp designed Hapax from the ground up, deconstructing everything you thought you knew about sequencing- aiming for a high-end product, with dual arm processors for computation power and a rugged yet minimalist housing.

As music-making should remain an enjoyable process, dedicated buttons were over key combinations and imagined a clear-cut interface as well as a simple architecture. Squarp have striven to minimize the importance of screens for live performing, but the dual grayscale display helps keeping track of things in a studio context.

Hapaxos
Evolving firmware.
The Hapax Operating System has been written with extra care, prioritizing stable and fast operations. New features and parameters will be added regularly.

Specifications
Model name: Hapax
Hardware: 128 RGB MATRIX pads
52 clic pads
9 sturdy clickable encoders
2 OLED greyscale displays
SD card for saving projects
CPU: dual ARM design
RAM: 32MiB
Housing: machined aluminium 2mm
Housing (back): unibody ABS

Sequencer
Dual Sequencer (2 Projects)
16 tracks per project
8 patterns per track

Input
2× midi in (DIN + TRS)
2× CV in [-5V to +5V] (16bit)
Stereo pedal (footswitch)

Output
4× midi out (3× DIN + TRS)
4× CV out [-5V to +5V] (16bit)
4× GATE out [+5V]

Bidirectional I/O
USB Host (link a controller)
USB Device (link a computer)
Power supply: 15V, 1.2A, 18W (included)
Dimensions: 358 × 206 × 48 mm
Weight: 1.855 kg

Notes: Erica's superb Perkons returns with a stealthy new black paint job. Four hybrid voices each with a range of different sound engine modes, paired with analogue filters, overdrive and a superb sequencer.

Supplier's Notes:
PERKONS HD-01 is a unique live performance and sound design instrument that tears down the borders between drum machine, synthesizer, and drone instrument.

PERKONS features four sonically versatile hybrid voices (digital sound engine + analogue multimode filter with overdrive) and a sequencer with simultaneous control over all four percussion tracks.

Each voice has 3 sound engine modes, an HP/BP/LP filter and 8 controls for nuanced sound design, including an internal BBD FX send. All voice parameter settings can be saved as KITS. To add dynamics to the performance, parameter automation is implemented and a modulation LFO can be assigned to all parameters.

For a real thunderstorm, integration with external gear is considered - each voice has a dedicated trigger input, individual output, and FX send and return with 6.3mm jack sockets, along with extensive MIDI implementation. All voices are summed and run through a built-in compressor.

Time to ride the skies!

Erica Synths are pleased to see the enjoyment the PERKONS has brought to users worldwide over the past two years! To celebrate its success, they have decided to transform the beast by giving it a new demeanour - a timelessly black finish to match Erica Synths' other instruments and to visually complement the dark aesthetic that has become synonymous with Erica Synths modules and desktop instruments all over the world.

Notes: *** Osmose 2.0 Firmware Update- August 2024 ***

What's New in Osmose 2.0?

Here's a quick overview of the new features:

Press Glide in External MIDI Mode
MPE Arpeggiator in External MIDI Mode
Preset Favourites & Playlists
2048 Preset Slots
Preset & Playlist Changes via Program Changes
New Soundbank Management System
and more!


Next-gen standalone expressive synthesizer. Add emotion & movement to your music with a simple touch.

Osmose is the new standard for musical expressivity. Use intuitive gestures to control this standalone synthesizer and upgrade your playing & production skills. Press, bend, shake, strum & more to interact with keyboards & electronic sounds in a new organic way. Whether you're a veteran keyboardist, a workflow-oriented producer, a daring sound designer, or anything in between, Osmose will take your musical journey to uncharted places.

Explore new ways to play

Behind the expressivity of Osmose lies a few natural gestures you already know well. Discover how they interact with Osmose and enhance your musicianship from the very first touch.

Design & build quality

Designed in France to stand the test of time and touring with style, Osmose is made of quality components and boasts a high repairability index.

A sound engine by Haken Audio

Made for expressivity by Haken Audio, the EaganMatrix sound engine is at home with FM, virtual analogue, and physical modeling synthesis, as well as everything in-between.

Fun to play

Easy-to-tweak presets, a playful interface, and an innovative keybed make for a fun & refreshing playing experience, for players of all levels.

Osmose's browser has been tailored to make it a hassle-free experience. It offers various filters and sub-filters based on both sound types and colours so you can find the sounds in your head quickly.

Main features:

49 Key MPE keyboard with polyphonic aftertouch
Full-size keys with 3-dimension MPE control
EaganMatrix sound engine by Haken Audio: a digital modular sandbox allowing subtractive, FM and different physical modeling synthesis
24 voices of polyphony
Assignable mod and pitch sliders
500 factory presets
128 user presets
Configuration modes: standalone synthesizer, MPE MIDI Controller, and classic MIDI Controller
Filters and sub-filters for browsing
Customisable sensitivity and velocity curves
Multi-mode MPE arpeggiator and innovative pressure glide feature
Digital stereo effects: select between reverb , mod delay, swept echo,analog echo or LPF and HPF delay
Large colour display
9 push encoders
2 Line outputs: Two 14" TS pseudo balanced line outputs
MIDI input, output, and MIDI-thru
USB MIDI
Separated 1/4" TRS headphone output on the front panel (with its dedicated volume knob)
2 continuous pedal inputs assignable to macro or sustain: 6.35 mm Jack
Power: External PSU with lockable connector, 12V, 1.5A, center positive
Dimensions (W x H x D): 894 x 316 x 87.5 mm / 35.2" x 12.4" x 3.4"
Weight: 8.3 kg / 18.4 lbs
Includes a software updater for new firmware and library versions
Includes a Mac/PC editor to create and edit sound

Notes: White fog version of Intellijel's brilliant Cascadia, one of our favourite synths of recent years. A huge range of semi-modular circuits combine to create a hands-on instrument with its own distinctive character.

Supplier's Notes:
A massive semi-modular system in a small case with the footprint of a laptop. Cascadia has MIDI in/out/thru/USB, Eurorack compatible signal levels and pro-level audio I/O to interface with the rest of your studio or get your studio started.

Modern Analogue Architecture

Cascadia is packed with a mix of classic East and West Coast synthesizer blocks. Normalized connections let you get straight to the sounds inside. Or, let your imagination run wild and patch any of the modules together however you choose. Make small tweaks to the architecture, or re-route the entire synth to your liking- the choice is yours!

Two Precision Analogue VCOs
VCO A is Thru-zero FM-ready with a dedicated Index VCA, Sub Oscillator, PWM and Soft/hard sync.
VCO B is a combo VCO/LFO with 4 simultaneous outputs
Six Channel Waveform Mixer
Two patchable (normalled) inputs
Noise generator with multiple algorithms.
Optional asymmetric soft clipping on the mix output.
Liquid-Sounding, Cascaded 4-Pole Multimode Filter
Eight Modes: LP1, LP2, LP4, BP2, BP4, HP4, NT2, Phazor.
Additional dedicated outputs for LP4 and HP4.
Input Level Knob for fine control of filter input and resonance balance and added drive.
Multiple FM inputs and a QM input, all with attenuators.

Wavefolder Circuit

West Coast-style parallel wavefolder.

Normalled into the auxiliary input on the VCA in parallel with the filter.

Dual Digital Envelopes

ENV A is a versatile east coast style ADSR / AHDSR envelope generator with a hold function and dynamic level/time control. Normalled to the VCA to instantly shape your sound.

ENV B is a complex, multimode function generator with a West Coast style AR/ASR/Cycling AR, a beat syncable LFO, Burst generator modes, and the Entropic Sequence Generator (added in 1.3). Normalled to the filter for instant FM without patching.

VCA A and Output Path

VCA A is a linear VCA with auxiliary input.
Global Output Mixer with overdrive circuit and bypassable asymmetric soft clipping.

Expansive Utilities Sections
Cascadia also features a whole host of utilities for getting the most out of your patches.

The Utility Row
Sample and hold circuit with white noise normalled to the input.

Slew/Envelope follower.
Attenuverter/Mixer with multiple outputs.

Triple triangle LFO with rate control, rate input and divided outputs.
Triple buffered multiple.

Precision adder.

Signal inverter.

Bi-polar > Unity level shifter.
Expression level control for modulation the TRS expression input on an FX pedal.

Ring Modulator.
VCA B / LPF (LPG) - Auxiliary VCA and 4-Pole Diode Ladder VCF combination for additional dynamics.

The Top Row
Easy to access Pitch, Gate, and Velocity CV inputs.
Pedal Send and Return FX loop with Wet/Dry control, phase inverter and Line/Pedal level switches.

Output Mixer with Overdrive.
Eurorack Level Main output with level control for interfacing with other modular gear.

The Outside world i MIDI, Pedal and Audio I/O
Cascadia is equipped with a ton of I/O to get it connected to the rest of your gear.

Rear Panel

1/4" Stereo Headphone jack.
1/4" Balanced Output Jack.
1/4" Balanced Input routed to a slider and output on the main panel for patching anywhere into Cascadia.
1/4" TS Pedal FX Send Return and 14" TRS Expression Out.
MIDI DIN In/Out/Thru and USB-MIDI all routed to the MIDI > CV Interface on the top panel.
MIDI > CV Interface
Deeper MIDI configuration is available with the Intelljel Config App. MPE Support has been added in v1.4 and supports the Ableton Live 12 Tuning systems. Dual Mono mode (added in 1.3) allows an additional channel to send it's own Pitch/Gate signal on the CC/MOD outputs. All modes support MIDI Portamento.

MIDI Pitch / Velocity Outputs and Learn Button
MIDI Gate / Trig Outputs
MIDI CC / Mod - Learnable and assignable to any CC or Channel Pressure
MIDI LFO - Multimode LFO synced with MIDI or Tap Clock
MIDI CLK - Dividable MIDI clock with alternate Tap Clock functionality.
Cascadia comes ready to play.
The normalization behind the panel allows for a ton of exploration without ever adding a patch cable; there is years of material to explore in Cascadia and years more when you start patching. Everything you need to get started is included: 14 assorted patch cables, USB-A to USB-C cable, and an international power supply.

Expand and Customize
In addition to additional patch cables, there are great additional options for swapping the wooden cheeks for metal side cheeks or a rackmount kit with a storage tray- great for an effects pedal or patch cables.

Specs

In the Box: Cascadia Semi-modular Synthesizer
14 Patch cables - 4×10cm, 4×15cm, 4×30cm, 2×45cm
USB-C to A cable
Intellijel cable tie
15V/1.2A AC Adaptor (Euro/American prongs included)

Height: 66mm (from rubber foot to top of knobs)
Width: 348mm (including wood end cheeks)
Depth: 246mm (front to rear jacks).
Power: 15V DC/1.0 A (minimum), centre-pin-positive.

Notes: Arturia's flagship audio interface is designed for maximum versatility as well as top quality sound. With 16 analogue inputs, 12 analogue outputs and an array of digital I/O including ADAT, MIDI and clock, your creative process won't be interrupted by reconfiguring your hardware.

Supplier's Notes:
AudioFuse 16Rig

Studio mastermind interface

AudioFuse 16Rig is a high-density audio interface that combines an unmatched array of connections with a creativity-first workflow, built to handle a hardware-focused setup and keep your devices always in sync, always sounding pristine, and always ready to go.

Make your sound count

Introducing an interface that lets you leave everything connected, route anything to anything, and be more creative with your projects.

A workhorse hub of connections and smart features designed to get the job done, no matter the complexity. A powerful, reliable production tool that can be moulded to suit your audio setup, your workflow, and your sound.

A standalone mixer

For DAWless recording, live mixing, and outside-the-box audio configuration, AudioFuse 16Rig just works. Fire up its two low-latency internal mixers for sessions away from the studio, process audio & MIDI without a computer connection, and save your configurations for instant recall and quick setup switching.

Intricate audio routing

Get hands-on with an interface that lets you configure its connections to suit any need, including multiple sends/returns for effects, quick A/B speaker monitoring, and more. The included AudioFuse Control Center even features a matrix for quick 'connect anything and everything' configuration.

Quantity, meet quality

Give every recording the shine, clarity, and projection it deserves with two high-quality digitally-controlled preamps and 24-bit AD/DA converters from ESS and Cirrus Logic. Whether it's red-hot synths, dynamic guitars, delicate vocals, or any combination of inputs, expect top-notch sound across the board.

Choose your workflow

Your interface should adjust to suit your setup, not the other way around. Control AudioFuse 16Rig's settings via the display or the included software, configure it for desktop or 1U rackmount operation, use the DC-coupled outputs to send signals to synth modules, and connect your high-impedance headphones.

It's time your music had an upgrade

x16 ADAT I/O
x8 Analog Line DC coupled Outputs
x16 Analog Line Inputs
x1 MIDI In & 2x MIDI Out/Thru
Wordclock I/O
24-bit AD/DA 192kHz
Creative FX Bundle Included

Smart design

Sometimes it's the little things that matter most. You need your gear to complement and enhance the way you work, and that's the driving force behind AudioFuse 16Rig.

See how every piece of the AudioFuse 16Rig puzzle fits together to deliver a dream interface for audio & music hardware lovers.

Premium FX included

Every AudioFuse interface comes with an ever-evolving suite of creative plugins curated from Arturia's award-winning FX Collection. Refine any incoming audio with vintage studio tools, get experimental with contemporary effects, and embark on a journey through classic & modern sounds with Analog Lab.

AudioFuse Range

The new studio reference

The AudioFuse interface range connects your computer to the world of music. Record with the highest quality, monitor with absolute precision, and bring all of your gear together to create the music you always wanted to.

Analogue signal path

The highest quality components are used in the input and output signal paths of the AudioFuse series, giving you an audiophile-quality experience with no compromise.

Powerful monitoring

Multiple outputs, integrated A/B switching, monitor mix options, and even headphone outputs with both 3.5mm and 6.35mm connectors. The AudioFuse makes monitoring a joy.

Huge versatility

Each AudioFuse interface has its own unique set of features designed to make recording as fun and easy as possible.

Main Features

16 x TRS analogue inputs
Includes 2 x high-quality digitally-controlled preamps
Inputs 3 & 4 also available as 3.5mm stereo input

12 x analogue outputs
Includes 8 x DC-coupled TRS line outputs
Stereo monitor outputs
6.35mm front-panel outputs for reamping, dual-headphones

2 x ADAT in, 2 x ADAT out

Up to 16 channels of I/O at 48kHz, 8 channels at 88.2/96kHz

Wordclock in & out

1 x MIDI in, 2 x MIDI out/thru
5-pin DIN connectors
Route MIDI standalone

Low-latency USB-C connection

Class-compliant MIDI
3 x USB hub connections

Two internal standalone mixers

No computer connection needed
Cue mixer for sub-mixing and added flexibility
Main mixer controllable by MIDI

Color display with rotary control & menu buttons
Desktop or 1U rackmount configuration
Includes AudioFuse Control Center
Includes AudioFuse Creative Suite

Analog Lab Intro
Comp DIODE-609* NEW
Pre 1973
Pre V76
Pre TridA
Filter MINI
Chorus JUN-6
Comp FET-76
Delay TAPE-201
Rev PLATE-140
Phaser BI-TRON

What's in the box

Box content
AudioFuse 16Rig unit
Power supply
2x USB cable

Instrument dimensions
size : 17.3 x 11.6 x 1.7 inches (493 x 294 x 43mm)

Platform requirements

Windows
Win 10+ PC: 4 GB RAM; Intel i5 CPU or faster
1GB free hard disk space
OpenGL 2.0 compatible GPU

Apple
10.13+: 4 GB RAM; Intel i5 CPU or Apple Silicon CPU
1GB free hard disk space
OpenGL 2.0 compatible GPU

Notes: One of the best synths money can buy. Hugely expressive PolyBrute engine expands to 12 voices with the same beguiling combination of FullTouch keyboard, Morphee control and ribbon strip. Immense

Supplier's Notes:
Unleashing the full power of PolyBrute

Continuing the legacy of its predecessor as one of the most powerful and expressive analogue synths ever made, PolyBrute 12 goes a step further.

A multi-faceted tool for musical expression, PolyBrute 12 lets you seamlessly evolve and control any parameters while playing. The input-perfect sensitivity of the keyboard, the bi-timbral morphing presets, the multi-axis Morphee controller, the Ribbon controller - all work in perfect harmony so you can breathe vitality and intricate dynamics into your sound.

PolyBrute's in-the-moment sonic display would not be possible without the raw energy of its Brute oscillators and dual enhanced classic filters. This, combined with its intuitive interface, elegant modulation Matrix and advanced software companion make PolyBrute 12 a synth for the ages - a matrimony of Brute force and human touch.

Full touch, full control

Discover a next-generation keybed and new aftertouch modes that bring you into a direct and tactile connection with your sound.

PolyBrute's patented FullTouch keyboard provides the exact position of every key across the entire range of movement. This not only allows for precise and dynamic aftertouch expression but it also puts versatility at PolyBrute's core - allowing you to go from regular playing modes to exceptional aftertouch and envelope control at the touch of a button.

You can also use PolyBrute 12 to control any MPE-compatible VST. If you don't have a MPE compatible DAW, you can still record expressively using MIDI 1.0, although at a lower resolution.

Mono Aftertouch

In this mode, the note is triggered by regular keyboard velocity and the classic aftertouch area corresponds to an assignable aftertouch signal, where all the voices receive the same level and amount of expression. Great for applying a unified modulation effect to a chord or phrase.

Morph between sonic worlds

Seamlessly blend from one patch to another and find that perfect middle ground

Each preset is made up of two sonic states, A & B. A dedicated Morph knob lets you seamlessly explore a continuum of sound between them. This, combined with the Morphee controller and PolyBrute's keyboard, paves the way for endless patch evolution and expressivity.

Analogue heart, seismic sound

PolyBrute's sound begins with two analogue VCOs sharing much of the same sonic architecture that has made the Brute family renowned.

Each oscillator generates sawtooth, triangle and square waves simultaneously, and you can mix between them to shape just the right signal source and timbre.

Dial in VCO 1's Metalizer wavefolding to escalate from pure to punchy. Bring in VCO 2's sub-oscillator to add an extra lower octave and some added rumble.

Dial in edgy FM effects by modulating VCO 1's frequency with VCO 2, or subtly alter a continuous range of harmonics with soft or hard sync.

1 VCF 1 Steiner

A 2-pole 12db/octave Steiner filter design with continuous sweepable slope types, as seen across the Brute range. The addition of the proprietary Brute Factor feedback control lets you add anything from subtle warmth to a electrified growl.

2 VCF 1 Ladder

Inspired by Dr. Bob Moog's legendary 4-pole 24db/octave ladder design. A low-pass classic, with added gain compensation and asymmetrical distortion to add upfront grit to your polyphonic patches.

Modern modulation sources

Modulation has always been essential in animating synth sounds.

PolyBrute weaves a web of envelopes and LFOs that's intricate and unpredictable in equal measure - a dynamic display of sonic motion.

Three Envelope Generators

PolyBrute's VCF and VCA have velocity-sensitive ADSR envelopes hardwired outside the Matrix for instant gratification. The third Envelope Generator features a delay stage (DADSR) and can be assigned to sculpt any Matrix modulation targets. Use the various repeat and loop modes to add complex movement to your patches.

Three Envelope Generators

PolyBrute's VCF and VCA have velocity-sensitive ADSR envelopes hardwired outside the Matrix for instant gratification. The third Envelope Generator features a delay stage (DADSR) and can be assigned to sculpt any Matrix modulation targets. Use the various repeat and loop modes to add complex movement to your patches.

Three LFOs

PolyBrute's three syncable LFOs span an extremely wide range - facilitating anything from beautiful evolving soundscapes to clangorous audio-range modulation. Options for waveshaping, polarity and retriggering let you take your sound way outside the box. Experiment with Matrix routing and tempo/MIDI sync for hyper-rhythmic effects.

Enter the matrix

The flexibility of modular patching combined with digital precision and analogue richness makes for a transcendent polysynth experience.

32 target parameters, 64 connections in total. Rearrange PolyBrute's signal chain with the touch of a single button. Dial in positive or negative amounts, intuitively assign one or more destinations via any relevant controls, instantly route PolyBrute's array of performance controllers and advanced modulation sources to influence just about anything in the instrument's chain - all without a convoluted array of wires.

But the Matrix doesn't just take care of PolyBrute's all-encompassing modulation routing - it's the centrepiece of every aspect of its architecture. In Presets mode, use the Matrix to select any of the 768 patch memory locations. Morph mode accesses advanced morph state editing. Sequencer mode transforms the Matrix into an intuitive visual pattern editor.

Main Features

61-keys with FullTouchr MPE Technology keyboard
Pitch Bend, Mod Wheel, Ribbon controllers
Morphee touch and pressure sensitive 3D controller
Osc and Noise Mixer with Filter routing
12dB/Oct Steiner Parker Filter

Continuous LP>Notch>HP>BP morphing
Cutoff, Resonance, Brute Factor

24dB/Oct Ladder Filter with Distortion
Three Envelopes
Looping capability
Two ADSR
One DADSR
Three stereo digital effects
Modulation FX : Chorus, Phaser, Flanger, Ring Modulation
Delay : 9 algorithms including BBD, Digital delay
Reverb : 9 algorithms including Hall, Plate, Spring, Shimmer
Distortions : Subtle Tape, Classic Distortion, Soft Clip, Worn Out Tape, Germanium, BitCrusher, DownSampler
Arpeggiator, Matrix Arpeggiator, Sequencer
Stereo audio output
2 expression and 1 sustain pedal inputs
Two Analogue VCO's
Saw
Triangle + Metalizer
Square + Pulse Width
Sub
Linear FM
Hard Sync
Noise Generator
Continuous tone from rumble noise to white noise
Three LFOs
LFO1 and LFO2 with waveform selection
LFO3 with waveform shaping using Shape and Symmetry
Rate control & Tempo Sync
Various retrig options
480 presets and 768 preset slots
12x32 Modulation Matrix
Notes, Accent, Slide per step
3 tracks of automation
MIDI and USB I/O + analogue clock I/O

Platform specifications

Windows
Win 10+ (64bit)
4 GB RAM
4 cores CPU, 3.4 GHz (4.0 GHz Turbo-boost)
3GB free hard disk space
OpenGL 2.0 compatible GPU
ARM processors not supported on Windows

Apple
Mac OS 11+
4 GB RAM
4 cores CPU, 3.4 GHz (4.0 GHz Turbo-boost) or M1 CPU
3GB free hard disk space
OpenGL 2.0 compatible GPU

Required configuration
Works in Standalone, VST, AAX, Audio Unit.

Work with ASC
An elegant and simple solution to help you install, activate, and update your Arturia software instruments.

What's in the box

Box content

PolyBrute 12 Unit
Power Cord
User Manual
Registration Card

Instrument dimensions
Size : 38.3 x 17.1 x 6.1 inches (972 x 435 x 156mm)
Weight : 50.7lbs (23kg)

Notes: *** Complimentary warranty on this product for 5 years if purchased from Juno- UK warranty only***

The Fireface UCX II is a highly integrated pro audio solution in an ultra-compact format. Designed for use in studio and live recording, the UCX II continues RME's tradition of producing powerful and flexible interfaces for the professional audio market, packing the kind of connectivity and features into a half-rack size unit that is often spread over two - or even three - 19 inch panels.

With up to 20 channels recording and 20 channels playback; RME's stellar SteadyClock FS digital clocking technology; high performance microphone inputs; TotalMix FX mixing and routing software (complete with Parametric EQ and Dynamics processing on every channel, plus Echo and Reverb sends); stand-alone hard disk recording to external USB hard drives or pen drives via 'DURec' (Direct USB Recording); MIDI I/O; a powerful headphone output; and full stand-alone operation, the Fireface UCX II excels with the highest feature to space ratio ever from an RME device.

Developed in time to celebrate the company's 25th anniversary, the RME Fireface UCX II represents the culmination and refinement of 25 years of digital audio innovation.

Throughout its 25 year history, RME has been fully committed to a principle of flexibility - the more flexible a product, the more easily it can be adapted to new requirements. For company founder Matthias Carstens, this lies at the heart of RME's success: "The Fireface UCX II makes us proud and enthusiastic as it represents a natural evolution of our product range."

"Boasting up to 20 recording and 20 playback channels, SteadyClock FS, high-performance microphone inputs, built-in parametric EQ, USB direct recording plus full stand-alone functionality, the brand-new Fireface UCX II truly represents the essence of freedom, flexibility, and passion. At present, no existing audio interface offers more connectivity and functionality in a half-rack package."

The Fireface UCX II houses two mic/line preamps in XLR combo configuration on the front panel, along with two digitally controlled line/instrument inputs, followed by a headphone jack, various control buttons, a display, and the main volume knob. At the rear is a set of ten analogue balanced line inputs and outputs, MIDI I/O, ADAT I/O, AES/EBU and SPDIF I/O, USB 2.0 as well as a switchable word clock I/O.

The RME Fireface UCX II is the first half-rack interface from RME to feature RME's Direct USB Recording (DURec) functionality. Previously only found on RME's Fireface UFX, UFX II and UFX+, any of the Fireface UCX II's input or output channels can be recorded directly to a USB storage device - in any combination, up to and including all 40 channels simultaneously - via the dedicated USB port found on the back panel of the device.

Powered by the integrated DSP, DURec also enables the Fireface UCX II to be used for standalone recording and playback (i.e. without the need for a computer). Suggested applications include creating instantaneous backups of studio, live and rehearsal recording - acting as a fail-safe against a computer hardware failure - as well as for strand-alone field recording, or for use in virtual soundchecks (using DURec for playback of a previous night's live show recording).

The Fireface UCX II also features a Class Compliant / Plug 'n' Play mode, enabling the interface to be used for high-quality, mulit-track recording with an Apple iPad, and providing iPad users with a full set of professional analogue I/O connections.

Additionally, the optional TotalMix FX for iPad app adds full control over the TotalMix hardware mixer, giving users the ability to create, store and load complete mixes directly from the iPad.

Most audio interfaces are traditionally designed with what is called 'AC-coupled outputs', where capacitors are used to filter out any extreme low frequencies.

Whilst these frequencies are generally considered undesirable for audio - eating into headroom and potentially causing damage to other equipment - one instance where DC-coupling remains desirable is the world of modular synthesizers, where static or slow-moving signals are used for control over various parameters such as pitch note values or LFOs.

All of the Fireface UCX II's line-level outputs are fully DC-coupled, allowing for the sending of control voltages (CV) or Gate information to modular synthesizers (such as the popular Eurorack and Moog/MOTM/Synthesizers.com formats) and other studio hardware.

General Specifications:

Power supply: external power supply
Typical power consumption: 13 Watts
Current at 12 Volt operating voltage: 910 mA (11 Watts)
Dimensions incl. rack ears, full depth (WxHxD): 265 x 44 x 155 mm (10.5" x 1.73" x 6.1")
Dimensions without rack ears, body depth (WxHxD): 215 x 44 x 130 mm (8.5" x 1.73" x 5.1")
Weight: 910 g ( 2.0 lbs)
Temperature range: +5- up to +50- Celsius (41- F up to 122-F)
Relative humidity: < 75%, non condensing

Notes: A massive semi-modular system in a small case with the footprint of a laptop. Cascadia has MIDI in/out/thru/USB, Eurorack compatible signal levels and pro-level audio I/O to interface with the rest of your studio or get your studio started.

Modern Analogue Architecture

Cascadia is packed with a mix of classic East and West Coast synthesizer blocks. Normalized connections let you get straight to the sounds inside. Or, let your imagination run wild and patch any of the modules together however you choose. Make small tweaks to the architecture, or re-route the entire synth to your liking- the choice is yours!

Summary:
Cascadia semi-modular synthesizer.
101 patch points, 34 sliders, 16 knobs, 28 switches, 5 push buttons, and 36 leds.
14 Patch cables - 4×10cm, 4×15cm, 4×30cm, 2×45cm.
USB-C to A cable.
International AC Adaptor.
Intellijel cable tie.

Two Precision Analogue VCOs
VCO A is Thru-zero FM-ready with a dedicated Index VCA, Sub Oscillator, PWM and Soft/hard sync.
VCO B is a combo VCO/LFO with 4 simultaneous outputs
Six Channel Waveform Mixer
Two patchable (normalled) inputs
Noise generator with multiple algorithms.
Optional asymmetric soft clipping on the mix output.
Liquid-Sounding, Cascaded 4-Pole Multimode Filter
Eight Modes: LP1, LP2, LP4, BP2, BP4, HP4, NT2, Phazor.
Additional dedicated outputs for LP4 and HP4.
Input Level Knob for fine control of filter input and resonance balance and added drive.
Multiple FM inputs and a QM input, all with attenuators.
Wavefolder Circuit
West Coast-style parallel wavefolder.
Normalled into the auxiliary input on the VCA in parallel with the filter.
Dual Digital Envelopes
ENV A is a versatile east coast style ADSR / AHDSR envelope generator with a hold function and dynamic level/time control. Normalled to the VCA to instantly shape your sound.
ENV B is a complex, multimode function generator with a West Coast style AR/ASR/Cycling AR, a beat syncable LFO, Burst generator modes, and the Entropic Sequence Generator (added in 1.3). Normalled to the filter for instant FM without patching.
VCA A and Output Path
VCA A is a linear VCA with auxiliary input.
Global Output Mixer with overdrive circuit and bypassable asymmetric soft clipping.

Expansive Utilities Sections
Cascadia also features a whole host of utilities for getting the most out of your patches.

The Utility Row
Sample and hold circuit with white noise normalled to the input.
Slew/Envelope follower.
Attenuverter/Mixer with multiple outputs.
Triple triangle LFO with rate control, rate input and divided outputs.
Triple buffered multiple.
Precision adder.
Signal inverter.
Bi-polar > Unity level shifter.
Expression level control for modulation the TRS expression input on an FX pedal.
Ring Modulator.
VCA B / LPF (LPG) - Auxiliary VCA and 4-Pole Diode Ladder VCF combination for additional dynamics.
The Top Row
Easy to access Pitch, Gate, and Velocity CV inputs.
Pedal Send and Return FX loop with Wet/Dry control, phase inverter and Line/Pedal level switches.
Output Mixer with Overdrive.
Eurorack Level Main output with level control for interfacing with other modular gear.

The Outside world - MIDI, Pedal and Audio I/O
Cascadia is equipped with a ton of I/O to get it connected to the rest of your gear.

Rear Panel

1/4" Stereo Headphone jack.
1/4" Balanced Output Jack.
1/4" Balanced Input routed to a slider and output on the main panel for patching anywhere into Cascadia.
1/4" TS Pedal FX Send Return and 14" TRS Expression Out.
MIDI DIN In/Out/Thru and USB-MIDI all routed to the MIDI > CV Interface on the top panel.
MIDI > CV Interface
Deeper MIDI configuration is available with the Intelljel Config App (link below). MPE Support has been added in v1.4 and supports the Ableton Live 12 Tuning systems. Dual Mono mode (added in 1.3) allows an additional channel to send its own Pitch/Gate signal on the CC/MOD outputs. All modes support MIDI Portamento.

MIDI Pitch / Velocity Outputs and Learn Button
MIDI Gate / Trig Outputs
MIDI CC / Mod - Learnable and assignable to any CC or Channel Pressure
MIDI LFO - Multimode LFO synced with MIDI or Tap Clock
MIDI CLK - Dividable MIDI clock with alternate Tap Clock functionality.
Cascadia comes ready to play.

The normalization behind the panel allows for a ton of exploration without ever adding a patch cable; there is years of material to explore in Cascadia and years more when you start patching. There is everything you need to get started: 14 assorted patch cables, USB-A to USB-C cable, and an international power supply.

Expand and Customize

In addition to additional patch cables, there are additional options for swapping the wooden cheeks for metal side cheeks or a rackmount kit with a storage tray - great for an effects pedal or patch cables.

Specs

In the Box: Cascadia Semi-modular Synthesizer
14 Patch cables - 4×10cm, 4×15cm, 4×30cm, 2×45cm
USB-C to A cable
Intellijel cable tie
15V/1.2A AC Adaptor (Euro/American prongs included)

Height: 66mm (from rubber foot to top of knobs)
Width: 348mm (including wood end cheeks)
Depth: 246mm (front to rear jacks).
Power: 15V DC/1.0 A (minimum), centre-pin-positive.

Notes: 12-voice version of Waldorf's Iridium Core, a compact synth from the same range as the Quantum. Running on the Waldorf OS, the Iridium features a versatile selection of Wavetable, Multi- & Granular-Sampling, Waveform, Kernel FM and Resonator synth engines.

Supplier's Notes:
The Core

Iridium Core provides the core synthesis engine of the Quantum / Iridium platform. It is the heart of Waldorf's most advanced hardware-based synthesis. The essence of forward-looking sound. The Core.

Sonic Explorer

Iridium Core contains 5 synthesis engines: Wavetable, Multi- & Granular-Sampling, Waveform, Kernel FM and Resonator. Combined with a broad selection of digital filter and processing options Iridium Core lets you explore a huge sonic universe of electronic sound. Iridium Core's intuitive and easy graphical interface helps you to keep your flow of creativity.

Wave Traveller

The compact form factor makes Iridium Core an ideal companion to travel with you to all your sonic explorations and performances. It fits well into laptop size bags and in carry on-baggage it leaves enough space to all your other devices you need for your performances.

Driven by Inspiration

Iridium Core comes with a huge collection of more than 1700 factory presets and samples to drive your sonic Wanderlust. Get inspired what the broad and diverse array of sound designers have created to fuel your musical endeavours.

Team Player

Iridium Core integrates into various live performance and studio setups. Its connects with your modular synths, drum machines, sequencers and computers. The compact form factor fits well into your tabletop or space limited setups.

Family Member

Iridium Core shares the same software platform like Quantum, Iridium Desktop & Iridium Keyboard. All instruments are powered by the Waldorf synthesiser OS and will receive joint updates. Thus, the whole family participates from future enhancements and developments.

Specifications

Compatible with the Waldorf Quantum synth engine
Software: Waldorf Synthesis Platform OS

Oscillators
3 Oscillators each capable of 5 synthesis modes:
Wavetable
Waveform (VA)
Particle (Sampling and Granular Sampling)
Resonator
Kernels (up to 6 sub-oscillators which can be interlinked through FM, AM or Wavetable-position at audio rate)

Dual Stereo Filters per voice
True stereo path Dual Digital Filter with independent modes:
12/24dB LP/HP/BP in all combinations
Nave, Largo, PPG, Quantum and StateVariable models
Analyzer displayed in Filter view
Filter curve animation when modulated (optional)
Sophisticated filter routing options with modulatable panning and levels

Digital Former
Filter models like State Variable, Waldorf Nave, Largo and PPG in HP/LP/BP/Notch
Comb filters, Bit-Crusher, various Drives, Ring-Modulation

Modulators
6 Envelopes
6 LFO
Komplex Modulator (LFO/Envelope combination with user-definable shape and morphing)

Mod Matrix
40 slots
Fast assign mode
One additional control amount per slot
Identical Sources and Destinations can be used multiple times until the matrix is full

Effects
5 slots per layer
Various parallel and sequential routing options
Reverb, Delay, Chorus, Phaser, Flanger, Drive, EQ, Compressor, Tremolo

Performance features
Advanced Arpeggiator
Step-sequencer with up to 64 steps for notes and parameters
2x4 button pads assignable to notes or chords
4 user-assignable potentiometers
6 user-configurable macro buttons
Favourites screen for quick patch recall
XY control on touchscreen
Wheels touchscreen for MIDI controls like mod wheel, pitch bend, aftertouch and velocity
MPE capable

Screen
Industrial-grade highly responsive touch screen with Brightness control
1024x600 pixels

Voices
12 voice polyphony
Duo-timbral
Mono, Legato and Unisono modes

Patches
Over 1700 factory patches
Capacity of 7000 patch memory slots (numbers 0000-9999 can be used)
Patches from Quantum and other Iridium variants can be loaded and vice-versa
Category filter for patch list
2.6 GB sample flash memory preloaded with 2 GB factory samples

Connections
Stereo Audio Out: 2x TS jacks
Stereo Audio In: 2x TS jacks
Headphones TRS output with level control
DIN MIDI IN & Out, mini-TRS Type A (two adapters to DIN MIDI sockets included)
USB Type B (device) for MIDI connection to computer
USB Type A (host) for storage media and MIDI devices
MicroSD slot
2 high-resolution CV Inputs which can be used as modulation sources in the Mod-Matrix
Analogue clock In & Out with clock divider settings

Overall
Sturdy metal case
Dimensions: 346 mm wide by 200 mm depth by 64 mm height (including controls)
Weight: 2.2 kg
External Power Supply: Input 100-240 V / AC 50-60 Hz, Output 12 V DC / 3 A

What's In the Box?
Iridium Core Synthesizer
Two MIDI adapters: mini TRS to DIN sockets
Power Supply
Printed Quick Start Guide

Notes: PULSAR-23 is an organismic drum machine designed by Vlad Kreimer. It has a semi-modular structure and consists of 23 independent modules. PULSAR can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage and powerful analog FX processor.
The PULSAR functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination.
Additionally, PULSAR offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations. PULSAR continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

PULSAR-23 main features:

- 4 drum channels: Bass drum, Bass\Percussion, Snare drum, Cymbals\Hi-Hat
- 4 envelope generators with the unique ability to generate a sustain for the drum channels, turning them into noise\drone synthesizers. - 4 independent loop recorders with the option for individual clocking. They record triggering events, not audio.
- Clock generator with an array of dividers as a very powerful tool for rhythm synthesis.
- Wide range LFO (0.1 - 5000Hz) with variable waveform.
- Shaos - a unique pseudo-random generator based on shift registers with 4 independent outputs, sample and hold and other cool features.
- FX processor with CV control incl. CV control of the entire DSP's sample rate.
- Distortion.
- 2 CV-controlled gates.
- 2 CV-controlled VCAs.
- 2 controllable inverters.

Also, it has MIDI control and synchronization and a lot of smaller modules such as 4 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 55 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending!

It comes with 30 alligator clips cables and PSU.

The PULSAR-23 Screw has the same functionality as the PULSAR Turret, but at a much lower price, because we used screws instead of expensive custom turrets (on the first photo the black one with turrets, and the white one with the screws)

Notes: SOLAR 42F is a unique experimental electro-music instrument, an analogue microtonal ambient drone machine. It will inspire you to find a new and spontaneous approach to composing music. It gives you the ability to create a multi-layered, massive sound. The instrument is oriented for live performances, creating film soundtracks, theatre soundtracks, atmospheric sounds, microtonal and background music.

It is an improved version of the older SOLAR 50 model. The instrument was inspired by early electronic musical instruments of the 1920s and 1950s, notably Leo Theremin's "Harmonium" instrument, as well as science fiction film soundtracks.

The new version of the Solar 42F has added a LIN/EXP CV switch, sub oscillators in volt octave voices and a band pass and stereo distortion mode to the filter. Other quality of life improvements include modified graphics - inputs have been labeled in black and outputs in red for convenience - bypasses for each channel of the effector and a LED indication in the joystick unit.

Notes: Serious synth options here, with a 24-voice polyphonic, four-part multi-timbral design based on the iconic PPG wavetable approach, updated and blended with analogue filters. An absolute powerhouse of an instrument.

Supplier's Notes:
The 3rd Wave desktop module a powerhouse wavetable synth with 24-voice polyphony and 4-part multi-timbral capability that's like having four independent synthesizers at your fingerprints.

It has all of the power, all of the polyphony, all of the multipart capability, all of the I/O, and all of the awesome sound quality of the full keyboard version.

Each of its 3 oscillators per voice can be any of these 3 choices:
A classic PPG 8-bit wavetable with all the original processing
A high-resolution anti-aliased 96KHz wavetable
Analogue modelled waveforms with spline interpolation

Create up to 64 custom wavetables of your own using the built-in Wavemaker. With the sample-to-wavetable capability, you can connect an audio source to the audio input and generate a wavetable at the touch of a button.

Classic legacy, modern sound

While the 3rd Wave has roots in the classic digital wavetable synths of the past, it takes that concept into the 21st century with a lush, expansive sound that's a product of its expanded wavetables and warm, organic-sounding analogue filters, 4 independent parts, and 24 voices.

It boasts not only a punchy, Dave Rossum-designed 2140 analogue low-pass filter with variable saturation, but a second, SEM-style state-variable filter (low-pass, high-pass, notch, and band-pass) for additional tone-sculpting. Run both filters in series for harmonically complex textures.

4-part multi-timbral

With 24-voices, the 3rd Wave has enough power for the most note-intensive performances.

And that polyphony really comes into play with its ability to layer up to 4 independent parts or split zones -- each with a completely different sound, sequence, and dual effects.

Each part has independent panning, volume, and a dedicated stereo physical output. Use the multiple outputs and part placement to create spatial audio mixes.

Modulation matrix

The secret weapon of any synth is its mod matrix, and the 3rd Wave doesn't disappoint.

With 16 assignable slots, 12 additional fixed-source slots, 27 sources, and 114 destinations, it has the flexibility of a modular.

And all of this power is per multipart. That means up to 4 independent layers of sound, each with its own mod matrix.

Sequence notes, songs and parameters

The 3rd Wave's sequencer is an inspiring tool for both composers and sound designers because it is pattern-based and can sequence notes, songs, and parameter changes.

For composing and performing, enter notes and chords in real time with or without quantization for maximum groove and arrange up to 24 patterns of up to 32 measures in length into songs just as easily.

Sound engine

3 High-resolution Digital Oscillators Per Voice

64 total user wavetable positions with 48 wavetables that contain 64 waveforms per table (32 legacy PPG waves with room for another 16 of this type)
32 original 8-bit wavetables from the PPG 2 series instruments with room for 16 more user created 8 bit wavetables
7 high-resolution modelled analogue waveforms (sine, saw, triangle, supersaw, pulse, white noise, pink noise)
VCO sync
Free-running oscillators
Linear FM
6-stage wave envelope per oscillator with variable time and position that can be looped
Optional wave flow section that allows for no wavetable as well as no waveform interpolation
Upper wavetable mode as with the original PPG 2 series
Unison, poly unison, and chord unison mode with variable voice count

Analog Low-pass Filter (per voice)

Dave Rossum designed, classic, 2140 low-pass resonant filter
24 dB per octave slope
variable saturation amount
optional resonance compensation

State-Variable Filter (per voice)
12 dB per octave slope
Continuously variable between low-pass, notch, and high-pass, operation with optional band-pass mode

4 ADSR+ Delay Envelopes
Filter, Amplifier, plus 2 additional envelopes switchable between exponential and vintage PPG-style response
Freely assignable to multiple modulation destinations

4 Low-Frequency Oscillators
Triangle, sawtooth, reverse sawtooth, square, pulse 1, pulse 2, pulse 3, and random (S&H)
Variable delay
Note reset
Syncable to master clock BPM

2 Digital Effects
BBD, stereo delay, tape delay, chorus, phaser, flanger, distortion pedal, rotating speaker, ring mod, room reverb, hall reverb, super plate reverb - most modelled on famous hardware devices
Syncable to master clock BPM
Parameters modulatable via mod matrix

Wave maker tool

Built-In Custom Wavetable Maker

"Sample-to-wave" functionality. Connect an audio source to the 3rd Wave's Audio In port, press "Make Waves" and the synth samples the audio to create a custom wavetable
Samples to convert can also be brought in as a 96 kHz wav file through USB
Store up to 32 custom wavetables
64 waveforms per wavetable
Accepts pitched or un-pitched material as input
96 kHz sampling rate
16-bit resolution
1024 cycles per waveform, converted automatically to cover entire keyboard range
Flexible wave-sampling length

Sequencer

Performs both Note and Parameter Sequencing
1 song per multi-part
24 sequences per song
32 measures per sequence
Variable quantization resolution per sequence (32nd, 16th, 8th, quarter, half, whole note, or quantization off)
Swing

Arepggiator

1 Arp per Multi-part
Up, down, up/down, and assign modes
Variable range (1, 2, or 3 octaves)

Mod matrix

16-slot Modulation Matrix Per Multi-Part

16 slot modulation matrix with 27 mod sources and 114 mod destinations
12 additional fixed-source mod paths
Modulation assignment buttons enable quick and easy modulation routing
Mod Matrix runs at audio rates
Sequencer can record and play mod parameter changes in real time

Controls

77 knobs and 39 buttons enable deep, comprehensive editing with minimal menu diving
Pitch and Mod Wheels
Full-sized, five-octave, semi-weighted, premium Fatar keyboard with velocity and aftertouch

Programs

500 factory programs. User rewritable

In/out

4 Stereo outputs (2x 1/4" phone jack per part)
Headphone out (stereo 1/4" phone jack)
MIDI In, MIDI Out, and MIDI Thru
USB port for bidirectional MIDI communication
Audio Input for creating user wavetables from external audio source (1/4" phone jack)
Sustain/footswitch input
Volume pedal input
Expression pedal input

Power

1 universal IEC AC power inlet for internal power supply

Notes: Buchla's touch-sensitive keyboard updated for the 21st century. Third-generation version offers expressive control for Buchla, MIDI and Eurorack. Iconic.

Supplier's Notes:
Though our lives are dominated by touchscreens, when it comes to music, there's still a lot of magic in capacitive touch control. Don Buchla was one of the first to apply this technology to electronic music in the Buchla 112 module. The non-traditional sounds were controlled with a futuristic interface. This fantastic idea met many iterations in Buchla history: the Music Easel, 400, 700, Thunder, and 223 all employed touch technology.

Buchla USA is proud to present the third iteration of one of the most used touch interfaces, the 218, as the LEM218v3: The 218e version3 Lunar Excursion Module. The first design appeared in the 1973 release of the Buchla Music Easel and named for the spacecraft that delivered astronauts to the moon. Providing the familiar piano key layout for this early mobile music machine, the additional controls and capabilities were an interface for exploring uncharted musical territory. With the new version 3, it's been updated with a new foundation of stable, modern electronics and plenty of inputs and outputs to integrate with your Buchla, MIDI, and Eurorack gear.

Capacitive Magic

The incredible sensitivity and accuracy of the redesigned touch bed means the lightest touch will produce triggers and control voltage for your setup. The adjustable sensor has the dynamic range and durability to handle your playing. The new texture not only improves the sensing, but provides a satisfying tactile experience.

As always, pressure is an expressive output, adding an extra dimension to the control. MIDI outputs velocity and polyphony, as well as channel pressure, making the LEM218 a uniquely expressive controller for all your synthesizers. The configurable touchstrip adds a fantastic addition for pitch bend or as an additional modulator to patch into your system.

MIDI Polyphony, Velocity & More!

More than just MIDI compatible, the LEM 218 v3 gives you a unique interface to playing your existing MIDI gear and soft synths. Each touch outputs note name, channel pressure, and velocity for every note, along with sustain controls from a pedal. Polyphonic MIDI mode lets you play chords. The touchstrip can act as a pitch bend control, or as a mod wheel for additional expressive control. Easily configured using the front panel controls, you can send notes and controls on any MIDI channel. Send the LEM some MIDI, and it gets converted to voltages and gates for eurorack and Buchla control.

Get More For Your Euro

Even if you don't have any Buchla products, the LEM 218 v3 is designed to work with your Eurorack-compatible gear. Four 3.5mm jacks output 1v/octave pitch, 0-8 volts pressure, touchstrip voltage, and gate outputs for use with Eurorack equipment. Or, combine your Euro with your Buchla instruments. If NATO can do it, so can you. The sound design possibilities will blow your mind.

Arpeggiate

A pulse input allows the arpeggiator to be driven by external inputs and are allowed to interact with the automated notes to make the pattern more complex. Additional controls allow you to blend different patterns and randomness to easily change from the expected to the surprising.

Control

The classic preset voltage knobs offer several possible ways to shift your sounds into new territory. Not only can the knobs be used for quick access to voltages for your patch, they can control arpeggiation modes and octave shifting. Pads output pulses for additional control

Set It Up Your Way

Such a unique device will spark many ideas. With easy front panel configuration, you can quickly customize the velocity and pressure sensitivity, MIDI channel, knob behavior, and more. No cumbersome software setups, just simple settings with the keys and knobs, and you're ready to play.

Notes: Originally released in 1970, Minimoog Model D was the world's first portable synthesizer and served as the archetype for all electronic keyboards that followed. The all-analog instrument gained acclaim for combining the colossal sound of the 1960s Moog modular synthesizers with the accessibility of pre-wired modulesimeaning that it could be played instantly and intuitively with no patch cables required. It was quickly embraced by a diverse roster of performers, with artists like Herbie Hancock, Kraftwerk, Rick Wakeman, Sun Ra, Piero Umiliani, Giorgio Moroder, Bernie Worrell, and Gary Numan all shaping unique sounds and forging new musical genres using the instrument.

More than a half-century since its invention, Minimoog Model D is back in production at the Moog factory in Asheville, North Carolina. An exceptional sonic tool and one of the most beloved and iconic synthesizers ever designed, it returns to the hands of synthesists of all kinds and serves as inspiration for the next generation of electronic musicians.

The three-oscillator, monophonic, analog synthesizer is securely housed in a locally sourced Appalachian cherry cabinet and hand-finished aluminum chassis. Sounding as vibrant and deep as ever, its legendary low-pass ladder filter, powerful oscillators, and rich saturating mixer retain the exact component placement and through-hole design of a 1970s-era Minimoog Model D.

While no changes have been made to the original sound engine or audio signal path, the 2022 Minimoog Model D includes a series of popular functional modifications that expand this legendary instrument's sonic capabilities. These modifications include a dedicated analog LFO with triangle and square waveshapes, a premium Fatar keybed with velocity and after pressure available via top panel CV jacks with onboard trimpots, MIDI integration, and a mixer feedback modification which allows the Minimoog Model D to overdrive and scream with the turn of a knob. And, for the first time in its history, the Minimoog Model D now features a spring-loaded pitch wheel with center deadband, allowing for improved playability and wild performance flourishes. This newest edition also includes updates to the MIDI functionality, allowing for improved modern studio integration.

SPECS
NUMBER OF KEYS
44
KEYBOARD RANGE
F0 to C4
KEYBOARD ACTION
Synthesizer (Spring)
NOTE PRIORITY
(Low, High, Last): User Selectable
SOUND SOURCES
3x Oscillators, Noise Generator and External Audio Input
OSCILLATOR FREQUENCY RANGE
0.1 to 20 kHz (In Six Overlapping Ranges)
OSCILLATOR STABILITY
(short term) > 0.25 %
OSCILLATOR WAVEFORMS
Triangle, Triangle-Sawtooth (Oscillator-1, Oscillator-2), Reverse Sawtooth (Oscillator-3), Sawtooth, Rectangle, Wide Pulse and Narrow Pulse.

Notes: This is a special one. Seven-voice, four-part multitimbral analogue goodness from this boutique Argentinian brand. Stunning sound and depth, combining vintage fatness with contemporary precision.

Supplier's Notes:
The GS e7 is a subtractive synthesis polyphonic analogue synthesizer. The sound generation is carried out in a total analogue way. Each voice has two voltage controlled oscillators (VCO), a noise source, a mixer, a voltage controlled filter (VCF) and a voltage controlled amplifier (VCA). The control signals are digitally generated by a microcontroller, which is capable of processing three low frequency oscillators (LFO) and two envelopes (EG) of the ADSR type. In addition, it incorporates an effects processor with chorus and delay.

The GS e7 interface was designed to be simple and intuitive.

It also has MIDI connections, USB, balanced stereo audio outputs, headphone output and CV inputs.

*** Please note: This synthesiser comes with a US type A mains lead with UK plug adapter. ***

Signal path

The signal path is completely analog, featuring two VCO per voice, a white noise source, a mixer, a 4-pole low pass VCF and a VCA. The control voltages are digitally generated, including 3 LFO, 2 ADSR-type envelope generators. Finally, it has a stereo digital effects processor with Delay and Chorus. LFO 1, LFO2 and the delay can be synced with the MIDI clock using a user selectable subdivision.

Oscillators

It features two VCO plus sub oscillator per voice. Each oscillator has 3 different waveforms: triangle, sawtooth and saw-tri (triangle+sawtooth). There is a fine-tuning adjustment and a transpose option, allowing tune adjustment up to +/- 2 octaves. Tuning can also be modulated with any of the three LFOs and EG1

Furthermore, each oscillator has a pulse wave that can be turned on or off, which is mixed with the other waveforms. Its pulse width can be modulated with LFO1 and/or EG1.

Oscillators can be hard synced, with oscillator 1 being the master and oscillator 2 the slave.

The autotuning algorithm takes about 2 seconds to complete. All the voices are tuned in parallel, making a lot faster than usual.

Mixer

The mixer can control the levels and mix the two oscillators, the suboscillators and the white noise or the external input (when the external input is connected, the white noise is disabled).

Filter

The filter is a 4-pole ladder-type low-pass filter with resonance control. It can be modulated with EG1, this modulation an also be affected by velocity. It can also be modulated with any of the 3 LFOs. On the other hand, it features keyboard tracking and it can be controlled by the modulation wheel or aftertouch.

Chorus

There are two types of chorus available: basic and ensemble. The Basic algorithm is subtle and allows you to add some spatiality tothe resulting sound, while the Ensemble algorithm adds a different dimension to the sound, simulating a string or vocal ensemble. The Basic algorithm uses two delay lines, while the Ensemble uses 4 delay lines. Each delay line has its own internal LFO. There are controls for rate, depth and mix.

Delay

The delay can be a stereo delay or a ping pong delay, with its maximum delay time being as long as 1.35s. It is possible to sync the delay to the MIDI clock too. If the delay is synced, the delay time knob controls the time division instead of the delay time. There are controls for the feedback and mix too.

LFOs

There are three LFOs available. LFO 1 and 2 have 5 waveshapes: triangle, ramp up, ramp down, square and random with sample and hold. LFO 3 has the first 4 waveforms and is activated with the modulation wheel and/or aftertouch.
LFO frequencies go from 0.1Hz to 100Hz. Additionally, LFO 1 and 2 have different modes:

Monophonic: The LFO is in phase for all of the voices.

Polyphonic: The LFO is generated to a slightly different frequency for all of the keys pressed. This allows an interaction of the phases, generating more complex modulations.

Keyboard Tracking (KB Tracking): The LFO frequency varies according to the note played following the chromatic scale.

Keyboard Sync (KB Sync): The LFO is restarted when a key is pressed. Each voice has its independent LFO.

Clock Sync: The frequency of the LFO is synced to the MIDI clock signal. The e7 automatically detects the BPM of the clock signal. It can be configured to generate different rhythmic figures.

Keyboard + Clock Sync: The LFO frequency will be a sub-division of the MIDI clock signal. Also, the LFO will be restarted each time a key is pressed.

Envelope generators

There are two ADSR-type envelope generators. There are controls for attack, decay, sustain and release. Attack and release can be modified by velocity and the envelope times have keyboard tracking.

Stereo

By default, the voices have a stereo panning from left to right. By adjusting the stereo spread, it is possible to set all voices to the center or set them from right to left. There is also a stereo motion option that allows this stereo spread to be adjusted by an LFO.

Presets

The synth can store up to 640 presets, 128 of them being multitimbral presets.

Multitimbral

The synth can have up to 4 multitimbral parts. Each part has its complete sound configuration, assignable MIDI channel, keyboard zone, velocity zone, transpose setting and MIDI filter. Additionally, each part can have different voice assignments and/or share some voices.
MIDI Polyphonic expression

MIDI Polyphonic expression is supported by the GS-e7. It was tested using GeoShred, allowing independent pitch control and cutoff for each voice.


Specs

Polyphony: 7
Multitimbral: 4 parts
Oscillators: 2 voltage controlled analog oscillators (VCO) with sub-oscillators. Hard sync.
Oscillator Waveforms: Triangular, Saw-Tri, Sawtooth, Pulse with PWM. It is possible to mix the pulse with the other waveforms.
Filter (VCF): 24dB / Oct low pass filter (4 poles) with resonance control.
Envelopes: 2 (Attack, Decay, Sustain, Release), Velocity to Attack
LFO: 3
LFO waveforms: Triangular, Ascending ramp, Descending ramp, Square, Sample and Hold
Effects: Chorus, Delay
Presets: 512 programmes, 128 multi
Conennections: MIDI IN, MIDI OUT, MIDI Thru, USB, Pitch CV, Cutoff CV, Gain CV, Ext input, Audio Out (L/Mono, R, 1/4" TRS balanced), Headphones
Power supply: DC 12V 3A
Dimensions: 520mm x 190mm x 108mm
Dimensions (with packaging): 620mm x 290mm x 230mm
Weight: 4.6 kg (estimated)

Notes: Typically creative stuff from Pittsburgh Modular, the updated Voltage Lab is the pinnacle of the brand's synth output. Dual oscillator design with a 16-note touch controller, built-in sequencer and MIDI control.

Supplier's Notes:
The Pittsburgh Modular Voltage Lab 2 is a cutting edge synthesis laboratory that offers a new palette of analogue textures and waveforms to sonic researchers. Newly developed wave shaping capabilities paired with powerful synthesis tools, and a deep, performance oriented controller join together to create a complete sound design laboratory. This instrument has a very physical sound. The tones it creates feel natural and alive, with traditional waveforms becoming the seeds of unique new shapes and sounds that shift between analogue physical modeling and more unfamiliar, abstract timbres.

Laboratory Oscillator 1

Voltage Lab 2 includes a pair of Laboratory Oscillators. Each with a unique set of newly invented waveshaping tools designed to expand the sonic potential of analogue synthesis. Laboratory Oscillator 1 introduces Center Clipping to analogue synthesis. Center clipping unlocks independent control over the top and bottom of the waveform, allowing for detailed manipulation of harmonics and timbre without affecting pitch. It does this by processing waveforms from the center out as opposed to traditional methods which work from the peaks inwards.

Laboratory Oscillator 2

Laboratory Oscillator 2 introduces a host of new sonic possibilities with two new waveshapers. Pulse Symmetry and Reflection. Pulse Symmetry creates a new species of pulse wave that adds a step between the top and bottom of the waveform. The resulting wave looks like a set of stairs where the depth of the center step can be adjusted in addition to the pulse width. Wave Reflection takes the bottom half of the waveform and reflects it onto the top half. Each waveshape responds to this differently. For example, a saw wave morphs into a triangle while triangle and sine waves lose their fundamental harmonic and jump up an octave.

Pittsburgh Dynamics Controllers

The new Dynamics technology imparts Voltage Lab 2 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 voices of the Voltage Lab 2.

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 Voltage Lab 2 sounds more natural or complex compared to other instruments.

Touch Controller 2

The Touch Controller 2 enables artists to blend traditional pitched performances with the freedom to openly experiment, creating a flexible playground for music creation. Two independent channels offer a combination of real time, expressive playing and in-depth sequencing. Assignable scales, step conditions, jumps, chance effects, generative sequencing, and a host of other tools, come together allowing musicians to both create and interact with complex systems.

A Florist and Echos

The Voltage Lab 2 includes a set of analogue time based effects, Florist and Echos. The Florist is a flanger/chorus hybrid that focuses on brighter, short time shifts with highly controlled feedback allowing for maximum ringing before self oscillation. Echos is a more traditional, darker analogue BBD delay that also utilizes highly controlled feedback to provide a larger number of repeats before falling into self oscillation. Both effects are perfect for traditional workflows and unconventional experimentation.

Complete Set of Modular Tools

The Voltage Lab 2 includes a host of fully modular, analogue and digital synthesis tools to support and enhance it's core functionality. Analog tools include flexible mixers, a pair of complex function generators, noise, sample and hold, and an LFO. Digital tools cover external MIDI, arpeggiator, and a robust chance sequencer. The Voltage Lab 2 toolset is deep enough for all types of sonic experiments.

Notes: Make Noise's 208hp 7U 4 Zone CV Bus Case arrives ready to use. Just add modules, patch cables and inspiration. The powder coated metal construction offers excellent mechanical durability. The lid is removable and can be closed with the system fully patched. The sleek matte black finish was selected to match Make Noise's line of Black & Gold modules, and it looks great with just about any module installed. This finish will show the story of your modular synth's travels over the years.

The Make Noise 4 Zone Power Bus Board is a new approach to accommodating the ever-growing universe of Eurorack modules. The multi-zone solution is like having 4 independent bus boards in a convenient single bus board package. Each Zone features isolated +12 VDC and -12VDC supplies and a dedicated ground return path. The +5VDC supply is shared amongst all 4 zones.

The multiple section of the CV Bus was originally designed in 2013 for Alessandro Cortini's personal Make Noise system. It provides visual indication of level, rate and polarity for up to 4 control signals that will be shared throughout a patch. These 4 control signals are colour coded and distributed across the centre of the system allowing for quick, clean and intuitive patching. The distribution method is unlike the typical multiple since the control signals will appear beneath their possible destinations allowing for the use of shorter patch cables. The colour coding and visual indication makes navigating complex patches easier and more intuitive. Typically, the CV Bus would be used to share the most important control signals in a patch such as your Master Clock.

This new version of the CV Bus also includes useful modular utilities:

The Voltage Math is found at the left end of the CV Bus. Like the similar circuit on the 0-Coast, it is a small collection of universally useful modular utilities. The two inputs are summed at the output, one at unity and one adjusted by the input attenuverter. The attenuverted input is also normalled to a DC offset, for purposes of level shifting, voltage mirroring etc. The output strength and polarity is indicated by the Green and Red output LEDs.

A high quality Stereo Line Driver converts powerful modular synthesizer signal levels to the commonly used Line Level. There are mini-jack inputs for Left or Mono, and Right for Stereo sound, a single master volume control, as well as a stereo line output pair, and finally a TRS line/headphone out on a single jack. This output is capable of driving a long cable out to a PA System or a set of Headphones. It is AC coupled with a built-in limiting circuit (with visual indication) that prevents damage to ears and PA system when the patching gets experimental.

Includes

Two 104 hp 3U rows for Eurorack modules, One 104hp 1U row fitted w/ CV Bus
Hybrid switched/linear power solution for low noise and excellent load regulation
Multi-Zone, allowing isolation of noise-prone modules from noise-sensitive ones
Black powder coated metal w/ embossed logo on lid
Sealed to keep dust out during travel or storage
Lid offers space to close w/ your system patched
Recessed side mounted on/off switch and power inlet for safe travel
Locking power connector helps prevent on-stage power loss accidents
Solid carrying handle and rubber feet so the case travels w/ ease
Meets carry-on luggage size requirements for most airlines
Universal AC power adapter works world wide (Need IEC Cable for non-US outlets)
Blued Steel Stand sold separately

Specifications

Size: 7U
Total HP: 208 @ 3U, 104 @ 1U
Outer Dimensions:
22.25" x 14" x 7.25" w/ lid
Max Module Depth: 2.5"
Weight: 12.75 lbs. (w/ powered bus board, CV Bus installed)
Power: +12VDC @ 4A, -12VDC @ 2.4A and +5VDC @ 1A
Connectors: 32
Includes: CV Bus, Powered Bus Board, 120 Sliding M2.5 nuts w/ Black screws, AC Adapter

Notes: Moog enter a fresh chapter with a huge new synth. Full-on eight-voice bi-timbral analogue goodness, featuring selected highlights of Moog's iconic synth circuits from over the decades. Classic Moog sound, updated and bigger than ever.

Supplier's Notes:
Meet Muse, an eight-voice analogue bi-timbral polyphonic synthesiser - the culmination of over 5 years of dreams, design, and passion. Muse is an intuitive and powerful instrument built on the rich history of Moog that simultaneously gazes boldly into the future. This studio or performance centrepiece is driven by eight analogue voices, each with two VCOs, modulation VCO, dual VCFs, and a stereo VCA - all with that recognizable, kinetic analogue quality.

Muse represents a melting pot of classic Moog designs paired with forward-thinking controls in one complete instrument. Moog have selected the very best of vintage Moog circuits to create Muse - inspired by Moog Voyager oscillators, MF-102 Ring Modulator, CP3 Mixer, 902 VCA module, and a 904a Filter.

With 16 banks of 16 patches, you'll encounter beautiful pads, organic FM plucks, attention-grabbing leads, subterranean basses, stage-oriented key splits, as well as 2 banks reserved for your own sonic discoveries. Explore and express yourself endlessly with cutting-edge digital controls for powerful modulation capabilities, dedicated macro control, customizable envelopes, and multiple flexible LFOs. Shaping sound with Muse is a pleasure - the synthesizer and synthesist grow as one as the adventure continues for years to come.

Muse was created for, and by, modern musicians, producers, and sound designers who appreciate performance-oriented controls, intuitive knob per function layout, and "More" menus for every module. Built for stage and studio with a 61-key Fatar keyboard with velocity and channel aftertouch, a left-hand controller with pitch and mod wheels, and a programmable Macro knob makes the experience of interacting with Muse inspiring, intriguing, and innately playable.

A hypnotic stereo Diffusion Delay processor was inspired by golden era vintage digital rack delays with a unique and powerful set of diffusion, multi-tap, and filter behaviours. Craft complex echoes and diffused tonal smears that add dimension and depth to any patch.

In addition to Muse's creative immediacy, the powerful arpeggiator invites you to generate melodic ideas with compelling patterns and rhythms. With Muse's deep sequencer, you'll unravel unique patterns and gestures - further develop these discoveries with parameter recording, generative/probabilistic functions, and detailed editing of every note in the sequence - Moog Muse is a limitless canvas of musical exploration.

Moog Muse Specs:
Synthesiser type - Polyphonic, Bi-timbral Analog Synthesizer
Sound engine - Analogue
Polyphony - 8 Voices
Keybed - 61 full-size semi-weighted Fatar keybed with Velocity and channel Aftertouch
Controllers - Pitch Wheel, Modulation Wheel, Macro Knob, Keyboard Octave switch, Hold switch, Sustain Pedal input, Expression Pedal input - all pedal functions are assignable
Panel controls - 44 knobs, 16 sliders, 129 buttons - OLED screen
Analogue voltage-controlled oscillators - (x2) Selectable Triangle/Sawtooth mix, variable width Pulse wave, Octave (16', 8', 4', 2'), Frequency (+/- 7 Semitones), Wave Mix (blends Triangle/Sawtooth with variable Pulse wave), FM routing and amount, Hard sync
Analogue ring modulator - Ring modulation between Oscillators 1 and 2
Analogue voltage-controlled modulation oscillator - Selectable waveform (Sine, Sawtooth, Reverse Sawtooth, Square, Noise), Audio range toggle switch, Keyboard tracking, Keyboard reset, Unipolar switch, Pitch Modulation routing and amount, Filter Modulation routing and amount, Pulse Width Modulation routing and amount, VCA Modulation amount, Panning switch
Analogue noise generator - White noise
Analogue voltage-controlled mixer - Independent level control for OSC 1, OSC 2, RING, MOD OSC, and NOISE. Overall OVERLOAD control
Analogue voltage-controlled filters - (x2) Moog transistor ladder filters (1 with highpass/lowpass modes), Cutoff Frequency, Resonance, KB Tracking Amount, Envelope Amount, Linked Operation, Routing (Series, Parallel, Stereo)
Envelopes - (x2) Attack, Decay, Sustain, Release, variable curves per stage, Multi-trig, Loop, Velocity
Analogue voltage-controlled amplifier - Volume per Timbre, Pan position per Timbre, Pan Spread per timbre
Diffusion Delay™ - Configurable stereo signal processor, Delay Time Left, Delay Time Right, Feedback, Character, Mix, analogue bypass switches (to maintain 100% analogue signal path)
Output section - Master Volume, Headphones Volume, Low Cut EQ
LFO - (x2) Rate, Amplitude, Waveform selection (Triangle, Sawtooth, Square, Sample-and-Hold, User customizable), Keyboard Reset
Pitch LFO - Rate, Ramp Down through Triangle to Ramp Up Shape control, One-Shot Envelope toggle, Keyboard Reset, Pitch Modulation routing and amount
Glide - Selectable glide type (LCR, LCT, EXP), Glide amount
Clock - Clock rate, Tap Tempo
Arpeggiator - Per-timbre with Clock Division, Octave range, Pattern, Direction, Gate time, Rhythmic programming, etc.
Sequencer - 64-step sequencer with Clock Division, Transport controls, Sequence chaining, Step editing, Modulation capabilities, and memory capacity of 16 banks of 16 sequences
Programmer - Browser via OLED screen with 16 banks of 16 patches, Mod Map, Arpeggiator settings, Sequencer with per-step settings, Global settings, etc.
Voice control - Mono or poly voice count per timbre, Unison/Mono, Detune, Timbre editing, Voice stealing configuration
Chord memory - Chord memory with per-key functionality
MOD MAP - 16 modulation slots per timbre per patch with controllers and mathematical transform functions

Rear panel

Audio outputs - Main Left, Main Right (14" TRS)
Headphones - Stereo 1/4" (located on the front edge of the Left Hand Controller)
Pedal inputs - Sustain, Expression (1/4" TRS; Configurable through Mod Map or for use as 1/4" TS CV inputs)
Control voltage inputs - CV IN 1, CV IN 2 (1/8" TS)
Control voltage outputs - CV OUT 1, CV OUT 2 (1/8" TS)
Analogue clock input - CLOCK IN (1/8" TS)
Analogue clock output - CLOCK OUT (1/8" TS)
MIDI - 5 Pin DIN MIDI IN, OUT, THRU; MIDI over USB
USB B - USB-B connector for interfacing with a computer or other host MIDI device
USB A (HOST) - USB-A connector for connecting to other instruments with Muse as the MIDI host

Power
Style IEC Cable
Input: 100 - 240VAC; 50 Hz - 60 Hz

In the box

Moog Muse 8-Voice Polyphonic Analog Synthesizer
IEC Cable
Quick Start Guide
Registration Card
Safety & Warranty Manual

Weights & dimensions

Product Only
Weight: 14.55 (kg), 32 (lbs)
Dimensions (W x D x H): 99 x 42 x 11 (cm), 39 x 17 x 4.5 (inches)
Product In Box
Weight 18.92 (kg), 43.92 (lbs)
Dimensions (W x D x H): 116.7 x 55.2 x 24.7 (cm), 45.96 x 21.72 x 9.72 (inches)

Notes: Building on Supercritical's back catalogue, the Redshift provides a range of characters, based around the Demon Core Oscillator and Neutron Flux Filter. Six-voice analogue design with multitimbral options, MPE control and DSP effects.

Supplier's 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: 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: One of the most trustworthy brands in the industry delivers another winner. Proper high-end business, with 12 analogue inputs and 12 outputs, plus an extensive array of digital connections. Great value at this price point.

Supplier's Notes:
Next-gen 28 x 32 USB3 audio interface - Builds on 22 years of proven success as an industry-leading audio interface brand.

New 3.9-inch TFT display - The bright, 24-bit RGB LCD provides 480 x 128 pixel high-resolution metering for all analogue and digital I/O, plus detailed status info and access to hardware settings from a simple and convenient menu.

Superb analogue audio quality and high-end converters - Renowned ESS Sabre32 DAC technology delivers 125 dB dynamic range. Support for all standard sample rates up to 192 kHz.

Ultra-low latency and proven, high-performance MOTU drivers - Round-trip latency (RTL) performance as low as 2 ms at 96kHz with high-performance DAW hosts.

Universal connectivity - Connects to your computer with 5 Gbps USB3 (compatible with USB2) for up to 60 audio channels. Class-compliant firmware and industry standard drivers work with any audio apps. Connects to an iPad™ with USB-C or a Lightning adapter kit (sold separately).

60 simultaneous audio channels - 28 inputs and 32 outputs, including two combo XLR/TRS mic/line/hi-Z guitar inputs with send/return inserts, 8 TRS analogue (line-level) in/out, separate main outs on XLR jacks, two banks of 8-channel optical I/O, stereo RCA S/PDIF digital I/O, and two front-panel headphone outputs.

Advanced mic channels - Cutting-edge components deliver ultra-transparent sound with -114 dB THD+N, 118 dB dynamic range and -129 dBu EIN. Each mic channel provides individual controls for +74 dB of preamp gain, -20 dB pad, 48V phantom power, and phase invert. All settings can be controlled remotely from a computer or iOS device. Each mic channel includes a dedicated send/return insert for outboard gear processing.

Flexible insert returns - When nothing is connected to the front-panel mic inputs, the two rear-panel returns function as additional line inputs with identical signal path characteristics as the other eight line inputs.

DSP mixing and effects processing - Flexible 24-input digital mixer with 8 stereo busses and DSP effects, including reverb, 4-band EQ, gate and compression.

Wi-Fi control - If the 828 is connected to a computer on your Wi-Fi network, you can control everything wirelessly from the CueMix 5 app running on mobile devices or other computers on the same network - even multiple devices at the same time. Manage access to the 828 with network discovery and password protection.

Precision boost/trim for analogue I/O - Calibrate analogue input and output signals in precise 1 dB increments. Apply phase invert individually to analogue inputs.

Control room features - Control your sessions with front-panel "talk" button and "A/B" speaker select buttons to quickly compare your mixes on two sets of studio monitors.

Two flexible headphone outputs - With independent volume control, each headphone output can mirror each other, the Main Outs, any other analogue output pair, any CueMix bus, or any USB output channels. Or you can create a completely customized mix for each headphone that includes live 828 inputs and built-in reverb.

Two banks of optical I/O - Connect outboard digital processors, digital mixers or other gear with 16 channels of ADAT at 44.1/48 kHz or 8 channels of SMUX at 88.2/96 kHz. Bank A can optionally provide stereo TOSLink (optical S/PDIF) I/O up to 96 kHz.

Foot switch input - Connect a standard foot pedal switch (sold separately) for hands-free punch-in and punch-out while recording. Or map the pedal to any keystroke function in your host software.

MIDI in/out/thru - connect MIDI gear without the need for a separate MIDI interface.

Word clock in/out/thru - Supports all sample rates up to 192 kHz.

DC-coupled TRS outputs - Use the 828 to manipulate and sequence voltage-controlled modular synthesizers from a host DAW.

Loopback for live streaming and podcasting - Easily route computer output back to the computer, where you can mix it with live mics and/or guitar inputs from the 828 in your host software for live streaming or podcasting.

Guitar re-amping - Connect your guitar to the front-panel input, use CueMix's near-zero latency to loop to any output (with a re-amp adapter, if needed), and record both the dry signal and your mic'd up amp simultaneously. Then re-amp the dry signal later with different amps and cabs - or amp modelling plug-ins - to experiment with different tones.

CueMix 5 app - Control mixing and settings from your Mac, PC or iOS device.

Performer Lite - Workstation software with over 100 included instruments, dozens of effects and 6 GB of included loops to make music right away. Also includes Ableton Live Lite.

Next-gen 28 x 32 USB3 audio interface with DSP, mixing and effects
New 3.9-inch 24-bit RGB LCD with precision metering for all I/O
Superb analogue audio performance driven by ESS Sabre32 Ultra™ DAC Technology
Ultra-low latency and proven, high-performance MOTU drivers (~2 ms RTL with a 32 sample buffer @ 96 kHz)
Universal connectivity with 5 Gbps USB

Technical Specifications
Sample rates: 44.1, 48, 88.2, 96, 176.4, 192 kHz

Mic/line/instr inputs
2 x XLR/TRS "combo" jacks
Individual -20 dB pad and 48V phantom power
Preamp gain: +74 dB in 1 dB increments
1 MO impedance on the line/instr inputs
Independent balanced send/return inserts

Analogue inputs
8 x 1/4-inch TRS line in (balanced/unbalanced)
2 x 1/4-inch insert returns function as balanced TRS line inputs (with no mic inputs connected)
Max level: +21 dBu
+20 dB digital gain on each input

Analogue outputs
8 x 1/4-inch TRS line out (balanced, DC coupled)
2 x male XLR out
Max level: +21 dBu
2 x 1/4-inch TRS stereo headphone
2 x 1/4-inch TRS sends (balanced, pre-converter)

Digital I/O
2 banks (16 ch) of ADAT optical I/O at 1x sample rates
2 banks (8 ch) of S/MUX optical I/O at 2x sample rates
Bank A switchable to stereo TOSLink I/O (optical S/PDIF)
1 x stereo S/PDIF I/O on RCA (up to 96 kHz)

Computer I/O
1 x USB-C 3.2 Gen 1 (5 Gbps) Type C - USB2 compatible USB audio class compliant (no driver needed)
1 x IF-certified USB 3.2 Gen 1 Type C-to-C cable included
Compatible with USB Type A (with a C-to-A cable, sold separately)
Total USB audio channels: see "Total Audio I/O" below
Round Trip Latency (RTL): ~2 ms (32 sample buffer at 96K)

Total audio I/O
28 in / 32 out (60 total channels) at 1x sample rates
20 in / 24 out (44 total channels) at 2x sample rates
10 in / 14 out (24 total channels) at 4x sample rates

MIDI I/O
1 x MIDI In
1 x MIDI Out/Thru
16 MIDI channels to/from computer host

Headphone
2 x 1/4-inch TRS stereo headphones
Output impedance: <1O
Max output: 14.4 dBu

Phantom power: 2 x individual +48V

Foot Switch
1 x 1/4-inch foot switch input
Mapping: pedal up/down to any host keystrokes

Sync I/O
1 x BNC Word Clock In
1 x BNC Word Clock Out/Thru
Sample rates: all (from 44.1 to 192 kHz)

Front panel
2 x XLR/TRS combo inputs
2 x 1/4" TRS headphone outputs
2 x potentiometer - headphone volume
2 x potentiometer - mic/instr input gain
1 x potentiometer - menu navigation
1 x large potentiometer - main volume
12 x switches - (2) 48V, (2) pad, (6) control room, (2) nav
1 x 3.9-inch 480 x 128 pixel 24-bit RGB TFT display
1 x latching power button

Power
Internal 100-240V autoswitching supply
50-60 Hz - 0.5A max

Dimensions and weight
(width x depth x height, enclosure only)
19 x 12.25 x 1.75 inches / 48.26 x 31.1 x 4.44 cm
11 lbs / 5 kgs

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: GS Music's fully analogue six-voice synth module. Huge sonic power from the classic single-oscillator design, brought up to date with modern touches like balanced stereo outputs and USB control. Also available in blue.

Supplier's Notes:
The JHS Pedals 3 SerieThe Bree6 is a polyphonic analog synthesizer that features a fully analog sound generation. It offers six voices of polyphony, each equipped with a single voltage controlled oscillator (VCO), and a sub oscillator. The signal path includes a mixer, a 4-pole low-pass voltage-controlled ladder filter (VCF), and a voltage-controlled amplifier (VCA). The control signals are digitally generated, incorporating one low-frequency oscillator (LFO) and two ADSR-type envelope generators. Additionally, the Bree6 integrates an effects processor with chorus and delay.

The Bree6 interface is engineered for straightforward and intuitive use, featuring one knob per function and ensuring ease of access to its robust features, including MIDI connections, USB, balanced stereo audio outputs, headphone output, and CV inputs.

The signal path in the Bree6 is entirely analog, including a single VCO per voice, a sub oscillator, a mixer, a 4-pole low-pass ladder VCF, and a VCA. The control voltages are digitally generated, comprising one LFO and two ADSR-type envelope generators. It also features a stereo digital effects processor with Delay and Chorus.

The Bree6 features a single VCO plus a sub oscillator per voice. The oscillator includes sawtooth and pulse waveforms, with pulse width modulation control that can be modulated by the LFO. The oscillator tuning can be adjusted, and modulation can be applied from the LFO. The sub oscillator generates a square wave one octave below the main oscillator.

The Bree6's filter is a 4-pole ladder-type low-pass filter with resonance control. It can be modulated by EG1, with velocity affecting the modulation depth, and can also be modulated by the LFO. It can also be controlled by the modulation wheel and aftertouch.

The synthesizer offers a stereo ensemble type chorus effect. It simulates a string or vocal ensemble using multiple delay lines modulated by their dedicated LFOs. The stereo delay can reach a maximum delay time of up to 1 second.

The Bree6 contains one LFO with selectable waveforms (triangle, ramp up, ramp down, square, and random with sample and hold). The LFO's frequency can be set from 0.1Hz to 100Hz, and modulation can be applied to the VCO, VCF, and VCA.

There are two ADSR-type envelope generators in the Bree6, designed for precise control over the dynamics of both the filter and the amplifier.

The synthesizer supports MIDI Polyphonic Expression (MPE), facilitating detailed performance dynamics when used with compatible MPE controllers. The Bree6 has been carefully tested with Osmose, Linnstrument and Geoshred.

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: Powerful step sequencer built around four well-equipped full-featured 16-step sequencers communicating via both MIDI and CV/Gate. There are no screens or submenus.

All features have their own dedicated controls and have their own dedicated in- and outputs on the large 87-point patch bay. Every aspect of this sequencer is CV-able. Lastly a seven bank CV Recorder is on board and can output up to 5 banks at once!

The Komplex Sequencer opens up a whole new world of creative possibilities and starts where other sequencers have stopped!

Our step sequencer lets you construct complex musical patterns, via both MIDI and CV/Gate. Built around four full-featured 16-step sequencers in a compact and light enclosure, the Komplex Sequencer is a powerful tool both live and in the studio. All features have their own dedicated controls; no screens or submenus, and all features have their own dedicated in- and outputs on the large 87-point patch bay. By patching both internal and external CV sources through the patch bay of the Komplex, you can control any parameter of the sequencer immediately and "sequence the sequence." Controls include Speed, Sequence Length, Gate Length, Play Mode, Glide, Division, Transpose, Repeat, Sequence Start Point and Skip. Additionally, the sequencer can vary output range and also has a quantizer on board operable in different scales.

And not only is the sequencer compatible with almost any synthesizer with CV/Gate, MIDI note, velocity and CC information can also transmitted by any of the four sequencers. Lastly a seven bank CV Recorder is on board and can output up to 5 banks at once! The Komplex Sequencer opens up a whole new world of creative possibilities and starts where other sequencers have stopped.

CV Inputs
Clock, Rec Clock, Transpose, Start, Stop, Skip Step, Sequence Start Point, Repeats, Seq Length, Gate Length, Play Mode, Glide, Division, CV Recorder (CV In, Clock, Start, Bank Up/Down)

CV Outputs
CV Out, Gate Out, Start Of Sequence, End Of Sequence, Clock, CV Recorder CV Out (A, B, C, D and CV)

Sequencer Controls
64 Sliders and Step Select Buttons, Speed, Sequence Length, Gate Length, Play Mode, Glide, Division, Quantizer and Scale, Output Range, One-Shot Mode, Play/Pause and Stop, Global Play/Pause and Global Stop

Section Controls
Repeat Set, Mode Menu, Skip Step, Glide, Sequence Start Point, Gate

MIDI
MIDI In, MIDI Out, MIDI Clock Out (1 trigger per quarter note)

CV Recorder
Banks A, B, C and D available at corresponding sequencer patch bay outputs. All 7 banks selectable at CV Recorder CV Out by the Select control or Bank Up/Down inputs. CV is recorded and clocked through the CV Recorder CV and Clock inputs or Sequencer Rec Clock inputs.

Extra Features
Mode Menu (Skip Step Mode, Repeat Mode, Unipolar/Bipolar CV Output, MIDI Message, MIDI Channel, MIDI CC) and Firmware Updates

Casing:
Powder coated aluminum casing, silk screened printing and wooden side panels.

Dimensions
46.2 cm x 29 cm x 4 cm (L x W x H)
18.2" x 11.4" x 1.6" (L x W x H)

Net Weight
3.2 kg / 8.8 lb

Shipping Weight:
4.5 kg. / 9.9 lbs including power adapter and instruction manual.

Power Requirements:
9VDC power adapter. Only use the KOMA adapter shipped with the unit.

Accessories
Included: dust cover, manual and power supply unit.
Rackmount kit available separately

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: An excellent combination of West Coast and East Coast synth philosophies, the Implexus features a complex wave generator and wave folder, analogue low-pass filter and sinkable LFOs and stereo delay.

Supplier's Notes:
The IMPLEXUS is a hardware desktop synthesizer combining west - and east-coast synthesis techniques into a single formfactor. The IMPLEXUS uses analogue waveshaping, folding and audio rate modulation to create a immense range of sounds and textures!

The IMPLEXUS is a performance-oriented musical instrument which will inspire you to compose music and explore its unique soundscape. The IMPLEXUS has a carefully designed analogue signal path with many unique ways to create intriguing sounds. The many sound shaping methods and modulation possibilities help you to create west-coast style harmonically rich sounds as well as thick east-coast analogue sounds.

The IMPLEXUS has a powerful "one-knob-per-function" interface with graphical feedback, utilizing LED rings to indicate modulators. The drone mode, tap tempo and looping envelopes let you explore the IMPLEXUS as a standalone sound generator. The MIDI and Eurorack compatibility and clock synchronisation options make sure it can be played in every setting. The IMPLEXUS is built to last. It has metal shaft potentiometers, an aluminium casing with scratch and solvent resistant graphics and an internal power supply (no adapter!). The IMPLEXUS is a characteristic, unique and complete musical instrument.

"West-Coast"

The characteristic sound of the IMPLEXUS comes from shaping and folding a sinewave, resulting in a complex waveform. The shaping and folding can be modulated at audio-rate in a single knob turn utilizing the second generator. Instead of subtracting you will be adding harmonics. After tweaking for a while you will be surprised to find out you didn't touch the filter... yet.

Unique filter design

The IMPLEXUS offers a 12dB/oct VCF with a unique analogue topology. This filter offers a lowpass and highpass mode. For cutoff modulation there is an envelope amount control with polarizer and a CV input on the back of the IMPLEXUS. There is an input mixer that has amplitude control over three inputs: complex generator, basic generator and the sub-oscillator.

Syncable delay

The IMPLEXUS has a stereo digital delay with dry/wet, delay-time and feedback control. There is a subtle modulation difference between the left and right channels to create a wide stereo image.
The delay can be synchronized to MIDI and external (modular) clock sources. Also the delay can be synchronized to Tap Tempo. For clock synchronization there are five divisions: 1/1 3/4 1/2 1/3 1/4.

Global pitch controls

The IMPLEXUS has a global pitch control section offering control over glide rate and pitch envelope amount. There is a dedicated vibrato LFO with manual control over amount and frequency.

Syncable LFO's

The IMPLEXUS has two LFO's with a variety of waveforms and multiple modulation destinations. The LFO's offer a wide range of 0.01 - 100Hz and can be BPM synced to MIDI and external clock. The LFO's can also be synchronized to Tap Tempo and can even be set in five different divisions.

Connections

The IMPLEXUS offers a 1/4" stereo balanced output. In addition to that there is a stereo headphone output with dedicated volume control.
There is standard MIDI input and thru over DIN and USB. Also there is a eurorack compatible patchbay on the back. This extends the sound and modulation possibilities of the IMPLEXUS even more!

Built in VCO tuner

There is a strobe tuner with 3 LED's on board, which lets you tune both the Complex and the Basic generator to a perfect "A" within just a couple of seconds.

A unique project by a small company

Majella Audio is a small company, and because of that, Majella Audio do most of the design and development themselves. The amount of hard work and effort that went into this project is what makes the IMPLEXUS a unique piece of gear with outstanding build quality. Majella Audio have created a few "How its made" videos to give you an insight into the design and development of the IMPLEXUS, which are viewable on their web page.

Features/specifications

Generators
Analog Complex Generator consisting of a waveshaper cascaded by a wavefolder to create Complex Waveforms
Analog Basic Generator
Sub-Ocscillator one octave below Complex Generator
Dedicated octave switches with 6 octave settings
Pitch modulation sources: Envelope, Vibrato, Glide, Pitchbend, External 1V/oct (CV)
Cross modulation: Linear FM, Folding, Folder DC Bias

Filter:
Analog VCF
12dB/oct Slope
Switchable Low-pass/High-pass
Mod Envelope to Cutoff with attenuverter
External CV for Cutoff
3x audio input from the Generators

2x LFO section:
Accurate digital waveform generation
5 waveform shapes: Random, Square, Sine, Ramp, Saw
Syncable from all clocking sources or "Free" running
Frequency range: 0.01 Hz-100 Hz
Clock divider options: 1/4 | 3/16 | 1/8 | 1/3 | 1/16
Destinations options LFO 1: Bias, Folder, Harmonics,
Destinations options LFO 2: Bias, Folder

2x Analog Envelope Generators:
1x Modulation EG and 1x Amplitude EG
Attack, Decay, Sustain, Release controls
Velocity amount per Envelope
MOD EG is Loopable as AD-LFO triggered by gate
MOD EG Destinations: Filter Cutoff, Harmonics, Folding, Global pitch
AMP EG has 'DRONE" mode for instant sound generation

Delay FX:
Digital Audio Delay with Analog Dry/Wet mixing
Maximum delay time: 1 second
Syncable delay time from all clocking sources
Clock divider options: 1/4 | 3/16 | 1/8 | 1/3 | 1/16

Performance Features:
"One Knob Per Function" philosophy
LED ring indicators for visual feedback and easy understanding of CV signal routing
Guitar Style Tuner for Basic and Complex Generator making it easy to tune the IMPLEXUS
Drone mode for instant sound without any external gear necessary

Physical:
2mm thick solid aluminium casing
Graphics are underneath the anodisation layer and thus scratch and solvent resistant
Handcrafted wooden side panels made from regional oak
All metal shaft potentiometers
High quality switches and connectors (Neutrik)
Internal power supply (AC Input 100-240 VAC)
No adapters needed
Dimensions: W 345 mm x D 206 mm x H 75 mm
Weight: ca. 3kg
Serial number plate

Connectivity:
External CV inputs: Pitch (1V/oct), Gate, Velocity, Folding, Harmonics, Bias, VCF cutoff
External CV outputs: Complex generator, Basic Generator, Clock output
MIDI IN over USB
MIDI IN over DIN
MIDI thru over DIN
1/4" TRS Balanced line outputs
1/4" Dedicated stereo heaphone amp

Clocking options:
External Modular/Eurorack Clock (automatic detection)
MIDI clock via DIN or USB (automatic detection)
Tap Tempo

Global Controls:
Master Volume
Headphone Volume
MIDI Channel selection

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: Celebrating the 50th anniversary of this truly iconic synth, the 'modern' take on the classic Buchla Music Easel doesn't mess with a winning formula, paring the 208C sound source with 218e touch-sensitive keyboard.

Supplier's Notes:
The Buchla Music Easel was one of the first truly portable electronic music instruments. Fifty years ago, in 1973, only a few dozen were made. Unlike many iconic technologies, the influence was not grown through force of scale, but rather the force of the ideas. The Music Easel made available virtually every musical dimension: timbre, melody, rhythm, and time; how these dimensions intersected was no longer the court of acoustics and material, but signals and voltage. The 208 Stored Program Sound Source engendered "a new functional organization [with a] particularly rapid system of patching and program storage via plug-in cards."

Taking cues from the then-recent discipline of cybernetics, the 218 touch plate was for "real-time communication" to help realize the "potential vocabulary" of the Easel, rather than exploiting existing modes of musical virtuosity. The Stored Program Cards ensured rapid repeatability and repertoire on its own terms. The battery terminals made sure the music was as portable as any acoustic instrument. And the name let you know it was designed for art rather than science.

Buchla is ecstatic to revive the Music Easel for its third run in 50 years. Buchla first released the updated 208 Stored Program Sound Source, dubbed the Easel Command, with expanded MIDI and USB capability. Next came the update of the Easel Program Manager - a complete kit for storing and recalling sounds sources, even more rapidly than imagined in 1973. The new 218 Touch Activated Voltage Source provides the optimal input facility, as originally envisioned. It is now all together in a rugged case and the advanced EMBIO module that unifies all the audio and control inputs and outputs for integration with the rest of your musical world.

More than a retro novelty, the Music Easel still speaks to a future we strive for. A technology that invites conversation, not chats, and controls that engage expression, not work. There are many new worlds to explore in this instrument created at the crossroads of the jazz and computer ages. Designed as "an integrated assemblage of functions", rather than a collection of modules, the Music Easel's colour coding, comfortable access to controls, and solid patch connections allow for satisfying sessions of sonic discovery.

The Music Easel is available for pre-order starting June 16 at Buchla.com and your favourite Buchla Dealer. Delivery of the Music Easel (modern) is expected fall 2023.

Stored Program Sound Source Model 208C

The sound source of the Music Easel is the 208C, which includes a complex oscillator and a modulation oscillator (which can also serve as another voice), each with independent switchable waveforms, as well as a noise generator, allowing for rich and intricate sound design. The 208C also features a five-stage sequencer, envelope generator, pulser and modulation source - with switchable triggers - allowing for complex patterns and evolving textures. The dual low pass gate provides dynamic control over the tone and amplitude of the sound, as well as natural-sounding decay and sustain. The 208C has a number of modulation sources, including a random voltage generator, the envelope generator, modulation oscillator, and an envelope detector. These sources can be used to modulate various parameters via the extensive patchfield - creating movement, texture, and complexity. The 208C also includes a mixer section with spring reverb.

Touch Activated Voltage Source Model 218e (v3)

The first design appeared in the 1973 release of the Buchla Music Easel and named for the spacecraft that delivered astronauts to the moon. Providing the familiar piano key layout for this early mobile music machine, the additional controls and capabilities were an interface for exploring uncharted musical territory. With the new version 3, it's been elevated with a new foundation of stable, modern electronics with incredible sensitivity and accuracy - the lightest touch will produce triggers and control voltages. The adjustable sensor has the dynamic range and durability to handle your playing. The new texture not only improves the sensing, but provides a satisfying tactile experience. As always, pressure is an expressive output, adding an extra dimension to the control. MIDI outputs velocity and polyphony, as well as channel pressure, making the 218e a uniquely expressive controller. The 218e includes portamento and an arpeggiator, which can be driven by external inputs and are allowed to interact with the automated notes to make patterns more complex. Additional controls allow you to blend different patterns and randomness to easily change from the expected to the surprising. The classic preset voltage knobs offer several possible ways to shift your sounds into new territory. Not only can the knobs be used for quick access to voltages for your patch, they can control arpeggiation modes and octave shifting. Pads output pulses for additional control. The 218e also gives you a unique interface to playing your existing MIDI gear and soft synths. Each touch outputs note name, channel pressure, and velocity for every note, along with sustain controls from a pedal. Polyphonic MIDI mode lets you play chords. The touchstrip can act as a pitch bend control, or as a mod wheel for additional expressive control. Easily configured using the front panel controls, you can send notes and controls on any MIDI channel.

Electric Music Box Input/Output (EMBIO)

Maintaining the spirit, sound, and process from the original, the new Music Easel adds a variety of new features. Buchla's latest renditions of the Stored Program Sound Source and Touch Activated Voltage Source are tied together with the Electric Music Box Input/Output (EMBIO) module. This of course provides MIDI out (mini jack and USB) and CV out from the 218, MIDI in to the 208, and the audio out from the 208C. Additional creative control comes from the Audio Mixer, for integration with other Buchla modules and systems, and the CV conditioners and controls. The slew control can turn your sequencer into a wavy modulator, or soften up a square LFO. The attenuator and crossfader gives you the opportunity to find new levels and combinations of voltages from existing ones. The pulse converter offers new rhythms to trigger. And a simple LFO provides another valuable modulator when you just can't quite let yourself flip that Mod Osc switch from "high" to "low."

Notes: Process up to four channels of audio with a range of hands-on EQ, compression, saturation, filters and multiple independent delays. A creative approach to real-time effects.

Supplier's Notes:
Creative multi-channel audio processor

The GodFather is the first creative multichannel audio processor designed to inspire.

Its secret is a unique combination of manipulation parameters that will make you definitively abandon the conventional mixing concepts and immediately improve your creative skills.

Unlock limitless possibilities in sound design and music creation with this unique device.

Equipped with advanced features and expertly crafted for musicians and producers, this revolutionary product sets a new standard in audio processing and creativity.

This is a product that:

Processes 4 separate audio channels, allowing you to mix, equalize, compress, saturate, filter, and add emphasizing effects.

Stimulates your creativity both in the studio and on stage with multiple independent delays for each channel, capable of generating captivating grooves, surprising rhythmic junctions, and complex polyrhythms. Enhance your music production experience, offering unique sound manipulation possibilities.

Creates additional sound layers by adding filtered repeats within the main repeats for each of the 4 channels.

Offers an immersive experience by adjusting the offset between left and right channels, creating engaging bounces.

Features a large OLED display and numerous LEDs that provide instant, precise, and effective feedback on various functions, allowing you to focus on the creative aspect even in the most challenging lighting situations?


Here's what else this product can do:

Expands sound design possibilities almost infinitely with dedicated buttons to add, replace, and delete sounds within the repetitions for each channel.

Controls all parameters through 2 internal LFOs and 4 multi-assignable external CV inputs.

Correlates the dynamics of individual channels through a side-chain compressor, giving the right space and presence to the sounds of different channels.

Adds atmosphere, depth, and three-dimensionality to your mix with a large stereophonic reverb equipped with dedicated hi-pass filters.

Syncs with the rest of your setup via MIDI or CV Clock, receives external signals, or controls other devices.

Integrates into a 60Hp semi-modular rack, offering total manipulation of audio, MIDI, and CV.

Is crafted with the attention to detail typical of a Made in Italy product, using high-quality potentiometers, aluminium knobs, durable finishes, and precious wooden side panels.

After two years of hard work, design, emotions, technical challenges, and crucial choices, are excited to present this revolutionary device.

The Challenge

Featurings and Power all in small-scale spaces

The Electronic, Mechanical and Graphic Designs have been synergically worked out to be able to insert all the controls, the LEDs, the buttons necessary to create a device that would allow a naturalness in the use without compromises.

Tailor made knobs

For a performer, staying focused on the creative phase requires that the right number of controls are available, and that they are positioned in such a way as to allow natural use. This naturalness comes from a meticulous study and from dozens of configurations tested before reaching the perfect solution! To achieve the high level of usability prefixed, 36 knobs and 11 buttons needed, accurately positioned in the right places. To be able to get the right size, finish, feel, design and hide the potentiometer nuts, Enjoy have designed and made aluminium knobs manufactured exclusively for this product!

High quality potentiometers, aluminium knobs, durable finishes, involve high costs, but are essential to create a high-end device that will last over time.

LEDs

On the panel there are 154 LEDs to drive!

Thanks to the meticulous positioning, the instant feedback they offer is essential for those who must focus on the creative aspect and have everything under control at a simple glance. It wasn't easy at all! But, for us, it was essential to have them, and to have them like this! Enjoy had to design and test different solutions and prototypes before finding the ideal configuration, which would satisfy targets such as position, luminous homogeneity, no-light interference between neighbouring LEDs. Attention to detail remains the guideline.

Case: design, shape and compatibility

The unique shape of the case is produced in a single piece of aluminium thanks to the extrusion technique.

To get it, Enjoy worked closely with aluminium extrusion experts to create a matrix that granted us very tight tolerances, despite the multitude of curves, corners and grooves.

Aluminium and wood case

This strong shell is powder-coated in black, offering the highest resistance against scratches, dents and absolutely no chance for paint flaking. To make it, Enjoy are committed to ordering a huge volume of parts and investing significantly in advance.

Performance Oriented

Months were spent to carefully consider all the function and parameters. After that Enjoy invested a lot of time in designing the "one-knob-per-function" interface with a studio and stage performance perspective. All the visual indication that "The Godfather" provides are extremely useful and intuitive. Despite the great complexity behind The Godfather, it is surprisingly simple to use. You will see and feel the effort when playing with the GodFather.

60HP Semi-Modular footprint

Despite the unique design, The Godfather has the same footprint as a Mother32, DFAM, SubHarminicon, allowing it to perfectly fit into Tier Rack stands (4,3,2 sizes)

All functions

Complex mixing functions:

4 CHANNEL AUDIO IN
4 CHANNEL AUDIO OUT
COMPRESSOR
SIDE CHAIN
SHAPE EQ
PAN
STEREO WIDTH
GAIN STAGING
4 independent DELAY
4 INFINITE LOOPER FEEDBACK
4 STEREO OFFSET
4 Double Pulse Delay
13 HP/LP FILTERS
4 SATURATORS
CUSTOMIZABLE STEREO REVERB engine with DEDICATED HP FILTER
2 MULTI ASSIGNABLE LFO?s
4 independent TRIGGER BUTTONS
3 independent TRIGGERING MODES for creative routing possibilities

Connectivity:

4 AUDIO MONO IN
4 AUDIO MONO OUT (2 stereo pairs)
4 CVs input from -8V to 8V
2 CVs outputs from 0 to 5V
2 Gate input / Clock input 5V
1 Gate / Clock output 5V
MIDI IN/OUT (TRS and CLOCK to DIN adaptors included)

Design:

60hp EURORACK
LED INDICATOR on each channel
OLED DISPLAY
ALUMINIUM CASE
ITALIAN WOOD PANELS
BACKLIT SIDE PANELS

Technical Specifications

Power Supply: 100 to 240 VAC; 50/60 Hz, +12 VDC 1200 mA (included)
Dimensions: 319 x 107 x 133 mm
Patchbay: 19 x 1/8" / 3.5 mm jacks

Notes: PULSAR-23 is an organismic drum machine designed by Vlad Kreimer. It has a semi-modular structure and consists of 23 independent modules. PULSAR can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage and powerful analog FX processor.
The PULSAR functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination.
Additionally, PULSAR offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations. PULSAR continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

PULSAR-23 main features:

- 4 drum channels: Bass drum, Bass\Percussion, Snare drum, Cymbals\Hi-Hat
- 4 envelope generators with the unique ability to generate a sustain for the drum channels, turning them into noise\drone synthesizers. - 4 independent loop recorders with the option for individual clocking. They record triggering events, not audio.
- Clock generator with an array of dividers as a very powerful tool for rhythm synthesis.
- Wide range LFO (0.1 - 5000Hz) with variable waveform.
- Shaos - a unique pseudo-random generator based on shift registers with 4 independent outputs, sample and hold and other cool features.
- FX processor with CV control incl. CV control of the entire DSP's sample rate.
- Distortion.
- 2 CV-controlled gates.
- 2 CV-controlled VCAs.
- 2 controllable inverters.

Also, it has MIDI control and synchronization and a lot of smaller modules such as 4 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 55 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending!

It comes with 30 alligator clips cables and PSU.

The PULSAR-23 Screw has the same functionality as the PULSAR Turret, but at a much lower price, because we used screws instead of expensive custom turrets (on the first photo the black one with turrets, and the white one with the screws)

Notes: Updated version of Erica's superb EMS-inspired synth, featuring a powerful dual oscillator synth architecture, piano roll sequencer, modulation matrix and recordable joystick.

Supplier's Notes:
Based on lessons learned from the SYNTRX, Erica Synths decided to create an instrument that would integrate even deeper into contemporary electronic and experimental music setups and cover sonic territory from daunting drones to powerful basslines and glitched noisescapes - the SYNTRX II is a new dark horse for experimental sonic rides.

The SYNTRX II is the culmination of Erica Synths' analogue sound design circuits - two perfectly stable main oscillators with waveshapers, a modulation oscillator with 1V/oct tracking, a versatile multimode filter, supercharged external instrument inputs with an envelope follower, a unique, great-sounding ring modulator, a recordable joystick, built-in piano roll sequencer and stepped modulation sources, all arranged around Erica Synths' signature matrix mixer and topped off with powerful FX on their new DSP platform.

"The SYNTRX 2 is awesome, a very different instrument from V1. My first synths were the VCS3 and the AKS and are still among my favorites today. The Syntrx 2 is pushing the boundaries of possibilities & experimentations much beyond the original analogue version. The Syntrx 2 is an instant classic". - Jean Michel Jarre

Features

Two perfectly stable main oscillators with CV-controlled waveforms
Modulation oscillator with variable waveforms
Highpass and Lowpass filters in series
Free running or gate synced sample and hold circuit
Multi-colour noise generator
DC coupled instrument inputs with signal inversion and envelope follower
Ring modulator of unique design
Looping trapezoid envelope generator and VCA
Two output VCAs
Signal meter with a dedicated audio/CV output
FX section with great sounding Delay and Reverb developed in collaboration with 112db.com
Recordable Joystick
Analogue patch matrix with 3 attenuation levels in each patch point
254 patch memory
Piano roll sequencer and two stepper modulation sources
DIN5 MIDI Input and MIDI Thru
Two assignable outputs
Headphone output
Dimensions: 309mm x 457mm x 115mm (with the joystick in centre position)
Weight: 3.9 kg

Notes: Arturia's 25 years of experience shine through in this beautifully crafted studio and stage instrument, packing 10 of the brand's famously precise sound engines into a user-friendly, ultra-playable package.

Supplier's Notes:
AstroLab is the culmination of 25 years of passion, innovation, and commitment to the pursuit of unhindered musical exploration. From must-have performance instruments that respond to every keystroke just like the originals do, to iconic keyboards and futuristic synth textures - instantly find that perfect sound, stay in the zone and set your creative flow on a flight path beyond space and time.

For many musicians and producers who utilize a plethora of tools, instruments and custom sounds in their home or studio setup, recreating this for a live performance is not always straightforward. This is where AstroLab comes in, offering both a robust, minimalist design and workflow-focused technology that lets you integrate all your sounds effortlessly.

A universe of iconic sounds?

AstroLab comes with over 1300 onboard presets brought to life with 10 in-built sound engines, from Virtual Analog to Wavetable and Granular. Instantly access an unparalleled library of sounds as well as the ability to integrate your own - expandable through the Sound Store and companion software.

A performance keyboard you can trust

AstroLab lets you travel from the stage, to the studio, and back, without ever needing to compromise on sound quality and playability. Every aspect of AstroLab has been designed with the live musician in mind.

Produce, rehearse, perform

Focus on performance with AstroLab's simple yet powerful controls. Featuring quick sound selection, 4 multi-purpose macros, customisable FX knobs and innovative play modes to help you stay in key and inspire new ideas.

On-the-go control

Customize and organize sounds on-the-go via AstroLab's mobile app which brings the convenience of mobile technology to your performance workflow. Edit your playlists and explore new sounds with the sound store, all completely independent from your DAW or computer.

Professional software included

Fine-tune, record and curate custom sounds for AstroLab using its counterpart software, Analog Lab Pro, extending the sonic range and power of AstroLab to suit your every need.

Features

61-note semi-weighted keyboard
10 sound engines
Virtual Analog
Samples
Wavetable
FM
Granular
Physical modelling
Vector Synthesis
Harmonic
Phase distortion
Vocoder
Piano-size keys
Over 1300 in-built sounds from Arturia instruments
Up to 10.000 sounds via Arturia software
Navigation wheel & screen for easy browsing
10 Preset Buttons for quick sound access
4 macro controls for quick editing
17 insert FX & dedicated Delay/Reverb
4 dedicated knobs to control FX
Multis/Keyboard Split
MIDI i/o, audio input, and control pedal I/o
USB-C connection and USB-A host
Bluetooth audio and WiFi for wireless control
Arpeggiator, Looper, Chord & Scale modes

I/O on offer:

Stereo Audio input
Four control inputs
Stereo audio outputs
Dedicated headphone out
USB MIDI Host
USB C Connection to host computer
Locking DC power input

Included software

Make use of AstroLab's software ecosystem which enhances ease-of-use when on the road and offers greater control, customisation and an even greater range sounds:

AstroLab Connect (iOS + Android)
Analog Lab Pro
Compatible with V Collection and Pigments (not included)

Box Content

Quickstart
Registration card
USB Cable (C/A)
User Manual
Power Supply

Notes: This is a special one. Seven-voice, four-part multitimbral analogue goodness from this boutique Argentinian brand. Stunning sound and depth, combining vintage fatness with contemporary precision.

Supplier's Notes:
The GS e7 is a subtractive synthesis polyphonic analogue synthesizer. The sound generation is carried out in a total analogue way. Each voice has two voltage controlled oscillators (VCO), a noise source, a mixer, a voltage controlled filter (VCF) and a voltage controlled amplifier (VCA). The control signals are digitally generated by a microcontroller, which is capable of processing three low frequency oscillators (LFO) and two envelopes (EG) of the ADSR type. In addition, it incorporates an effects processor with chorus and delay.

The GS e7 interface was designed to be simple and intuitive.

It also has MIDI connections, USB, balanced stereo audio outputs, headphone output and CV inputs.

*** Please note: This synthesiser comes with a US type A mains lead with UK plug adapter. ***

Specs

Polyphony: 7
Multitimbral: 4 parts
Oscillators: 2 voltage controlled analog oscillators (VCO) with sub-oscillators. Hard sync.
Oscillator Waveforms: Triangular, Saw-Tri, Sawtooth, Pulse with PWM. It is possible to mix the pulse with the other waveforms.
Filter (VCF): 24dB / Oct low pass filter (4 poles) with resonance control.
Envelopes: 2 (Attack, Decay, Sustain, Release), Velocity to Attack
LFO: 3
LFO waveforms: Triangular, Ascending ramp, Descending ramp, Square, Sample and Hold
Effects: Chorus, Delay
Presets: 512 programmes, 128 multi
Conennections: MIDI IN, MIDI OUT, MIDI Thru, USB, Pitch CV, Cutoff CV, Gain CV, Ext input, Audio Out (L/Mono, R, 1/4" TRS balanced), Headphones
Power supply: DC 12V 3A
Dimensions: 520mm x 190mm x 108mm
Dimensions (with packaging): 620mm x 290mm x 230mm
Weight: 4.6 kg (estimated)

Notes: Serious mastering-grade kit. Stereo interface with high-end converters and headphone amp circuit for pristine sound quality. Proper clarity for critical listening.

*** Complimentary warranty on this product for 5 years if purchased from Juno- UK warranty only***

Supplier's notes:
The RME ADI-2 Pro FS is a two channel 24-bit / 768kHz AD/DA converter and USB 2 Digital Audio Converter, audio interface and high-end headphone amp with new jitter rejection SteadyClock FS technology.

The RME ADI-2 Pro FS is the most flexible converter available with balanced and unbalanced I/O, two headphone outputs, DSP-based signal processing and RME's latest Steady Clock FS jitter rejection technology. It offers Class Compliant USB compatibility, sample rates up to 768kHz as well as DSD record and Direct DSD playback.

It boasts a raft of analogue and digital I/O, including two servo-balanced analogue XLR/TRS Jack inputs, two separate balanced and unbalanced outputs on XLR and TS as well as two headphone outputs. Digital I/O include optical ADAT, Optical and coaxial SPDIF and AES accessible via a breakout cable.

Furthermore, its Class Compliant UAC 2 USB 2.0 port offers iOS compatibility and is necessary for firmware updates. It can also work as a 6-in / 8-out audio on Mac OSX and Windows via WDM and ASIO.

Using the latest in A-to-D technology the ADI-2 Pro FS offers best possible sound with highest signal-to-noise ratio, super low THD and noise. It supports sample rates up to 786kHz PCM and DSD recording in dual mono design, with 3dB improved signal to noise ratio. Two digital-to-analogue converters are used for the separate stereo outputs. The latest Integrated Sample Rate converter takes care of clocking issues between S/PDIF and AES thanks to RME's latest SteadyClock FS technology.

A high-resolution display shows controls for the ADI-2 Pro FS unique features including DSP effects like 5-band parametric EQ, binaural crossfeed, adjustable loudness filter, selectable AD/DA filters and four analogue reference levels. Furthermore, M/S processing is provided with stereo width control as well as phase loop. The display also shows RME's famous Spectral Analyser and 30-band bi-quad filtered analysis tool.

Notes: Updated version of WMD's exceptional performance mixer. Full stereo design with improved sound quality, revised layout and increased expandability. An even better version of what was already one of the best mixing solutions in Eurorack.

Supplier's Notes:
Enter the WMD Performance Mixer MKII - Eight years after the MKI was released, the MKII builds on all the valuable feedback received. This is a serious upgrade, with feature enhancements and engineering improvements affecting every bit of the design.

Decisions, decisions, decisions!

If you recall, WMD showed a previous version of the PM MKII a year ago. That version was very similar to the original, with a few enhancements. Primarily focused on manufacturability and overall noise floor with some great recording features. WMD moved to an 8-layer board, replaceable channel strips, developed the MIDI and bootloader, pre/post fader headers, and made it work on both AUXs simultaneously.

Noise Performance - The MKI was alright with noise, there was a little bleed too. Going to 8-layer boards meant I could put ground planes between trace layers, and spread the traces out triple the spacing of what they were on the MKI, this reduces bleed/crosstalk by a factor of about six.

Noise Performance 2 - On the Original, the Level VCA was before the Panning VCAs, which saved on parts/power, but it meant that the Panning VCAs were always connected to the mix bus, adding noise floor that couldn't be attenuated. Making all the channels stereo and putting the Pan circuit first eliminated this problem, now the noise add is controlled by the fader. This did force WMD to make every channel stereo, so the design got simpler through figuring this out.

Panning / Crossfader - The above panning/level improvement made it possible to convert the Pan control into a crossfader, buy simply routing the post pan signals through a switch to the opposing channel, summed at the Level control. This huge improvement allowed the A/&/B input switching scheme to still work on the PM MKII, a bit differently, but it's there in spirit.

Modular Design - The channel strips are all now stereo, and identical, which makes assembly much easier, and lowers the cost. It also makes replacing them easier should a mechanical part fail or get spilled into. Further, the Patchbay, Power board, and Master section are all separate parts, so if there's a failure, they can be quickly swapped without having to RMA the whole unit.

Patchbay - The MKI and rev E MKII still had jacks misaligned with channels. This was a source of frustration for d many users of the PM MKI. And I decided to just be done with it. It didn't make sense to try to put jacks over the channel, it wasted too much space on the panel... So all the jacks go left, keeping the mixer clear of cables, this let me space the knobs out a bit to take up all 3U. It's cleaner, simpler to make, and intuitive to use.

Expandability - It's super modular now, the DB25 can connect to any two headers that spits out audio, they're all the same format across PM MKII and Channels MKII. Pre, post, mixes, connect it however you want. And the connectors can't be hooked to power, meaning no more blown opamps and RMAs to the factory. They're all shrouded too so they won't get bent in shipping!

Features Overview:

Everything is stereo. Inputs, Busses, Auxes, and Cue Mix.
INPUTS: IN LEFT is normalled to IN RIGHT.
GAIN: Each channel has a Gain trim range of -12dB to +20dB, this will let you use line level devices easily.
GAIN CLIP LED: lights red 1dB before clipping the input stage.
LVL FADER: smooth intuitive curve for easily adjusting the mix level on the fly. A yellow indicator shows the level.
MUTE: Press the channel button and the channel will soft mute with a red LED indicator.

Notes: Co-developed by the late Chris Huggett, the Mantis is PWM's flagship synth, a duophonic hybrid design with high-performance digital oscillators and state-variable analogue filters. A fitting tribute to a legendary synth designer.

Supplier's 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

Specifications

200 Patches
All patches in RAM so can be overwritten
Bank A: 100 Factory presets
Bank B: 100 User presets (all set to initial patch)
Compare function
Initialise patch function

Duophonic with 2 analogue signal paths
Mathematically generated oscillators designed by Chris Huggett
Analogue signal path designed by Chris Huggett

2 Oscillators plus sub-oscillator per voice
Sine / Triangle / Saw / Pulse plus additional wave types
Shape control and shape modulation input
Will create pulse width modulation on the pulse waveform with perfect square at the centre
Pitch modulation control
Octave selects per oscillator
OSC 1 SUB follows oscillator 1 parameters

Oscillator Drift
Creates random pitch variations between oscillators

Multi-mode state variable VCA filters with overdrive
2 Analogue filters - 1 per signal path
Low Pass / Band Pass / High Pass in 12dB and 24dB configurations
Additional WBAND (series) and WSTOP (parallel) types
Filter Cutoff
Filter Cutoff Modulation
Filter Resonance
Filter Width
Filter Width Modulation
Filter Keytrack

LFO (Low Frequency Oscillator)
2 LFOs
4 waveshapes per oscillator
Fade In / Fade Out parameter
SYNCable
Rate control

Envelopes
2 Independent envelopes
ENV 1 normalised to amplitude
ADSR
+ Sustain Fall parameter for shaping during key-down
+ Repeat which can be used to create looping envelopes
Velocity positive and negative control

Ring modulation

Mixer
First mix: OSC1 and OSC2
Second mix: OSCillators and noise
Third mix: OSCillators + noise and Ring modulator

VCA (Voltage Controlled Amplifier)
All amplification is done in the analogue domain in multi-stage VCAs

Modulation Routes
Control - 6 choices of modulation parameters
Source - 6 choices of effectors from envelopes and LFOs
Scale - choices of controls used to scale the effect of the modulation

Glide
Glide amount
Auto-glide mode

Indicator LEDs
Two LEDs for Voice
LED for Keyboard activity

Master tune

Master volume

Triggering
ENV 1 Legato
ENV 2 Legato
LFO Keytrig
LFO Keytrig

Connections
Master power switch
DC 9V input
USBC
MIDI IN / OUT / THRU
Sustain pedal input (switch)
Pedal input (continuous)
Stereo 1/4" line Outs: L/Mono and R
Stereo 1/4" headphone out

Multi-function Joystick control
Left / right for pitch bend
Performable vibrato
Latching hold mode

Arpeggiator
6 arpeggiator types
- Up, Down, Up/Down 1, Up/Down 2, Played & Random
Sync rates control from 2nds to 32nds
Tap tempo button
Swing including positive and negative swing
Auto clock sync
- Detects MIDI or USB-MIDI clock and synchronises the arpeggiator automatically
Latch via joystick HOLD
6 Octave range

Dedicated tempo control

Duophonic mode control
Duo mode
Duo mode with simple filter
Pan control for duophonic voicing

Digital Effects
Reverb time
Reverb level
Reverb High Pass Filter
Reverb Low Pass Filter
Chorus level
Chorus type

Keyboard Control
37 Full-size semi-weighted velocity-sensitive keys
Channel aftertouch
Octave shift

Weights and Dimensions (product unboxed)
620 x 320 x 110 mm
5.3 kg

Includes:
Power Supply (9V 600mA)
USB C lead
Getting Started Guide

Notes: PlayAUDIO1U allows every working musician access to an easy, seamless, simple & straightforward failover solution.

PlayAUDIO1U fuses iConnectivity's vast engineering knowledge of the live arena, passion for performance, and decades of experience into one product. PlayAUDIO1U ensures working musicians never suffer the embarrassment of a silent show, ever again.

PlayAUDIO1U's secret in part is integrating two computers connected directly to the interface, forming an incredible redundancy / failover protection system. Should your main computer fail, PlayAUDIO1U switches to the backup computer in a heartbeat; so fast that you and your audience won't even notice. Backing tracks keep playing in time and your MIDI gear stays connected. It does this all in a package that is completely designed from the ground up made-to-tour.

PlayAUDIO1U also ships with iConnectivity's new and improved Auracle 2.0. Auracle 2.0 is fast, flexible and intelligent, allowing performers to create a sophisticated live integration of all audio and MIDI connections, inputs and outputs; Auracle lets you do it in minutes, not hours.
"PlayAUDIO1U builds on everything we learned in creating and then supporting users of our PlayAUDIO12, an interface that quickly became the industry standard," says Al Joelson, VP of Sales and Marketing. "This interface is designed to be an even more ready-to-gig, comprehensive solution. It's a crazy powerhouse of audio and MIDI capability for live performance. "

Notes: Reboot of the classic Megacity sequencer, the AS500 follows the same unique approach with up to 64 steps presented in two banks, each split into groups of eight cascading steps.

Supplier's Notes:
New Analogue Sequencer!

Almost identical re-boot of Analogue Solutions' legendary Megacity sequencer.

Smaller form factor

Desktop design

Some general over enhancements, internal improvements.

Note: This version is pure analogue and does not feature a quantizer or MIDI.

Standalone 64 step analogue step sequencer with a host of unique features that sets it apart from others

What's so special about this sequencer?

AS500 is formatted differently and operates differently than other step sequencer.

Traditionally step sequencers run horizontally from left to right then loop back to step one. You can make the pattern shorter, but generally that's it.

AS500 patterns run vertically downwards in columns. As the end of each column is played, the next to the right is played.

AS500 has a unique Jump system. When a Jump switch is on, the rest of the column's steps are bypassed and the sequencer jumps straight to the start of the next column

These two features in particular as familiar enough ways of working to be intuitive, but different enough to force you to work and think in a slightly different way. The end result is you will get sequences and patterns that you might not have created otherwise.

More Variation

Many step sequencers can start to sound repetitive since it's usually the same single pattern looping endlessly.

AS500 allows you to split the sequencer in half and use the right half as a Fill-In pattern to add variation, much like vintage drum machines.

These Fills are activated via a Push Button, or via a trigger pulse from an external modular.

AS500's format and Jump switches, combined with excellent features like Fill-In, Split sequencers and other features makes AS500 a great sequencer package.

Use

If you are familiar with analogue sequencers in general, then most features of AS500 should be fairly self-explanatory, but it would still be worth having a read through the manual.

The sequencer is laid out in vertical columns, eight in total.

The sequencer runs from top to bottom, and left to right.

The Difference Between Reset and Jump

If a Reset is initiated the sequencer returns to step one, the first step of the sequencer.

Use Reset to shorten the sequence.

If a Jump is initiated the sequencer will advance (jump) to step one of the next column to the right.

Notes: One of the most trusted names in audio, MOTU deliver as always with the 16A, offering a whopping 32-in/34-out configuration over Thunderbolt or USB, all with pristine audio quality.

Supplier's Notes:
The 16A Thunderbolt audio interface provides industry-leading dynamic range and large console style mixing. With 64 channels of audio I/O (32 ins and 32 outs), the 16A also supports USB 2.0 audio class compliant connectivity that is USB 3.0 compatible.

As an interface, standalone mixer or patchbay, the 16A provides 32 separate inputs and 32 separate outputs, including sixteen balanced TRS analog inputs, sixteen balanced TRS analog outputs, and two 8-channel banks of ADAT optical digital I/O. Powerful DSP delivers large console style mixing with 48 channels, 12 stereo busses, and 32-bit floating point effects processing, including modeled analog EQ, vintage compression and classic reverb. The unit's extensive routing grid patches ins to outs, or splits inputs to multiple destinations.

Use the 16A as a stand-alone mixer and control everything from the 16A's innovative web app running on your iPad, iPhone, tablet, smart phone, and laptop. Connect a second MOTU AVB interface (1248, 8M or 16A) with a simple Ethernet cable. Add more I/O with the MOTU AVB Switch (sold separately). Build an AVB audio network with multiple switches and sub-millisecond latency, even over long cable runs. Stream hundreds of channels among devices and computers on the network. From initial tracking to final mastering, the 16A delivers superb sound quality, state-of-the-art operation, and reliable performance.

This box contains everything you need to turn your computer into a powerful 24-bit/192 kHz digital audio workstation. As a "hybrid" audio interface, the 16A offers flexible connectivity to your computer via ultra-fast Thunderbolt technology or class compliant, hi-speed USB 2.0, with 32 channels of pristine analog I/O, combined with 32 channels of digital I/O, for a total of 64 simultaneous audio channels.

Connect all of your studio gear, including synths, keyboards, drum machines and even effects processors. Record, monitor, route and process all of these live inputs using the professional on-board digital mixer - with no latency and no processor strain on your computer. Apply hardware DSP-driven effects processing to inputs, outputs, and busses independent of your host computer. Add Classic Reverb with lengths up to 60 seconds. Further sculpt your sound with gating, 4-band parametric EQ, and vintage compression modeled after the legendary LA-2A leveling amplifier.

Add more MOTU interfaces as your needs grow, connected to a state-of-the-art audio network using standard AVB Ethernet switches and CAT-5e cabling, with near-zero network latency, even over long cable runs (several hundred meters). Record and monitor up to 128 audio channels in and out, simultaneously, to a host computer through Thunderbolt. Route hundreds of audio channels among multiple devices and computers on the network.

Control all DSP-based mixing and effects, device settings, and network audio routing using your favorite web browser running on your laptop, tablet or smart phone connected wirelessly or locally to the 16A audio network.

From initial tracking to final mastering, the 16A delivers superb sound quality, state-of-the-art operation, and reliable performance.

Notes: Blue version of the Bree6, GS Music's fully analogue six-voice synth module. Huge sonic power from the classic single-oscillator design, brought up to date with modern touches like balanced stereo outputs and USB control.

Supplier's Notes:
The Bree6 is a polyphonic analog synthesizer that features a fully analog sound generation. It offers six voices of polyphony, each equipped with a single voltagecontrolled oscillator (VCO), and a sub oscillator. The signal path includes a mixer, a 4-pole low-pass voltage-controlled ladder filter (VCF), and a voltage-controlled amplifier (VCA). The control signals are digitally generated, incorporating one low-frequency oscillator (LFO) and two ADSR-type envelope generators. Additionally, the Bree6 integrates an effects processor with chorus and delay.


The Bree6 interface is engineered for straightforward and intuitive use, featuring one knob per function and ensuring ease of access to its robust features, including MIDI connections, USB, balanced stereo audio outputs, headphone output, and CV inputs.

The signal path in the Bree6 is entirely analog, including a single VCO per voice, a sub oscillator, a mixer, a 4-pole low-pass ladder VCF, and a VCA. The control voltages are digitally generated, comprising one LFO and two ADSR-type envelope generators. It also features a stereo digital effects processor with Delay and Chorus.

The Bree6 features a single VCO plus a sub oscillator per voice. The oscillator includes sawtooth and pulse waveforms, with pulse width modulation control that can be modulated by the LFO. The oscillator tuning can be adjusted, and modulation can be applied from the LFO. The sub oscillator generates a square wave one octave below the main oscillator.

The Bree6's filter is a 4-pole ladder-type low-pass filter with resonance control. It can be modulated by EG1, with velocity affecting the modulation depth, and can also be modulated by the LFO. It can also be controlled by the modulation wheel and aftertouch.

The synthesizer offers a stereo ensemble type chorus effect. It simulates a string or vocal ensemble using multiple delay lines modulated by their dedicated LFOs. The stereo delay can reach a maximum delay time of up to 1 second.

The Bree6 contains one LFO with selectable waveforms (triangle, ramp up, ramp down, square, and random with sample and hold). The LFO's frequency can be set from 0.1Hz to 100Hz, and modulation can be applied to the VCO, VCF, and VCA.

There are two ADSR-type envelope generators in the Bree6, designed for precise control over the dynamics of both the filter and the amplifier.

The synthesizer supports MIDI Polyphonic Expression (MPE), facilitating detailed performance dynamics when used with compatible MPE controllers. The Bree6 has been carefully tested with Osmose, Linnstrument and Geoshred.

Notes: A serious mixer from a legendary name. Tascam's 2400 combines analogue mixing with a 24-track recorder, built-in USB interface and DAW integration. Exceptional versatility in a convenient package.

Supplier's Notes:
Streamline Your Mix Process with Advanced Onboard Processing

The Model 2400's versatility doesn't compromise its mixing capabilities one bit. With per-channel compression, multiple sub groups, and master stereo bus processing including compression and EQ, you'll have the pro-level mix control you need in any scenario. Taking your project from tracking to a final master on the Model 2400 couldn't be simpler.

22 Channels and 24 Tracks, One Solution

With comprehensive 22-channel mixing capabilities, the Model 2400 is an ideal studio and live mixer for everything from larger combos and jazz ensembles to orchestra and choir ensembles. And when it comes to recording, no additional interface or computer are required.

Insert Professional Processors and Effects

Insert points on channels 1-12 allow you to easily integrate a studio rack full of processors and effects units. And, in addition to the onboard Master Bus processing, a send/return loop on the Main output allows you to connect external mastering gear such as compressors, EQs, stereo imagers and sonic exciters.

Ample Aux and Sub Outputs

With 5 Aux sends and 4 stereo sub groups, Model 2400 handles advanced mixing duties with ease. Create more monitor mixes without sacrificing an aux for effects. Connect multiple pairs of studio monitors for checking your mixes. In your studio or on stage, Model 2400 delivers the comprehensive connectivity and routing you need.

Professional Recording Capabilities

Model 2400 seamlessly integrates multitrack recording with studio and live mixing. With the ability to record 24 channels (22 inputs plus the stereo master) of high-quality audio direct to SD card media, Model 2400 is a powerful recording solution even if you're a DAW-less producer.

Sound with Excitement

TASCAM Ultra HDDA (High-Definition Discrete Architecture) mic preamps give Model 2400 the vibrant analogue sound that makes harmonics come alive.

With Ultra HDDA, any sound source will be represented with the utmost clarity and richness, and with an ultra-low noise floor.

Monitor Your Signal Virtually

With the Model Mixer Settings Panel app, users can take advantage of a digital meter bridge across by connecting the Model 2400 via USB to a PC or Mac. Set peak hold times, monitor the input, MTR or USB signal all while being able scale the GUI from a small window to full screen. Take it a step further by porting the app from your computer to a dedicated monitor of your choosing.

Ready to Be Your Studio Centrepiece

Model 2400 delivers the classic analogue console experience in the studio, with an onboard 24x22 audio interface that's ready to meld with modern production workflows. Insert points on channels 1-12 allow you to integrate studio processors and effects. And with the ability to return 22 DAW tracks through Model 2400's mix path and processing, it's also the most versatile analogue summing mixer you'll find.

MIDI Interface

Model 2400's comprehensive MIDI functionality allows full integration with MIDI-based production setups. From controlling drum machines and synthesizers from your DAW software, to synchronizing external effects processors to the tempo of your music and creating click tracks, Model 2400 offers the MIDI functionality you need to make it happen.

Specifications
Recorder
Recording media: SD (Class 10 or higher), SDHC (Class 10 or higher), SDXC (up to 512 GBytes, Class 10 or higher)
File system: SD: FAT16, SDHC: FAT32, SDXC: exFAT
Recording file formats: WAV (BWF), 44.1/48 kHz, 16/24 bit (maximum file size: 2 GBytes)
Playback file formats: WAV, BWF (44.1/48 kHz, 16/24 bit)
Recordable tracks: 24 (22 tracks + stereo mix)

Audio inputs and outputs

Microphone inputs (MIC, 1-12, 13,15,17,19): XLR-3-31 (combo jack), balanced (1: GND, 2: HOT, 3: COLD)
Maximum input level: +10 dBu
Nominal input level: -8 dBu
Minimum input level: -58 dBu
Gain adjustable range: 0-50 dB
Input impedance: 1.9 kO (1-12), 2.4 kO (13, 15, 17, 19)
Line/Instrument inputs (LINE/INST, 1-2): 6.3-mm TRS phone jack, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum input level: LINE: +22 dBu, INST: 19.8 dBV
Nominal input level: LINE: +4 dBu, INST: 1.8 dBV
Gain adjustment range: -10 dB to +40 dB
Input impedance: LINE: 22 kO, INST: 1 MO
Line inputs (LINE, 3-12): 6.3-mm TRS phone jack, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum input level: +22 dBu
Nominal input level: +4 dBu
Gain adjustable range: -10 dB to +40 dB
Input impedance: =22 kO
Stereo line inputs (LINE L/MONO, R, 13/14 to 21/22): 6.3-mm TRS phone jack, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum input level: +22 dBu
Nominal input level: +4 dBu
Gain adjustment range: -20 dB to +30 dB
Input impedance: =11 kO (mono), =22 kO (stereo)
Inserts (1-12): 6.3-mm TRS phone jack, (Tip: Send, Ring: Return, Sleeve: GND)
Maximum input level: +18 dBu
Nominal input level: 0 dBu
Input impedance: 15 kO
Maximum output level: +18 dBu
Nominal output level: 0 dBu
Output impedance: 100 O
Talkback input: XLR-3-31, balanced (1: GND, 2: HOT, 3: COLD)
Maximum input level: -22 dBu
Minimum input level: -65 dBu
Gain adjustable range: 52 dB
Input impedance= 2.6 kO
Main output (MAIN OUTPUT L/R): XLR-3-32, balanced (1: GND, 2: HOT, 3:COLD)
Maximum output level: +22 dBu
Nominal output level: +4 dBu
Output impedance: 200 O
Main inserts (MAIN SEND/RETURN L/R): 6.3-mm TRS phone jack (Tip: Send, Ring: Return, Sleeve: GND)
Maximum input level: +18 dBu
Nominal input level: 0 dBu
Input impedance= 9 kO
Maximum output level: +18 dBu
Nominal output level: 0 dBu
Output impedance: 100 O
Control Room outputs (CONTROL ROOM L/R): 6.3-mm TRS, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum output level: +16 dBu
Nominal output level: -2 dBu
Output impedance: 200 O
Aux outputs (AUX OUTPUT 1-5): 6.3-mm TRS, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum output level: +16 dBu
Nominal output level: -2 dBu
Output impedance: 200 O
Sub group outputs (SUB OUTPUT 1-2, 3-4, 5-6, 7-8): 6.3-mm TRS, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum output level: +16 dBu
Nominal output level: -2 dBu
Output impedance: 200 O
Phones output 1/2: 2 × 6.3-mm stereo phone jack
Maximum output power: 45 mW + 45 mW (at 32 O)

Control inputs/outputs

USB port: USB Type-B
Protocol: USB 2.0 High Speed (480 Mbit/s)
Click output
6.3-mm standard TS jack: (Tip: HOT, Sleeve: GND)
Footswitch connector: 6.3-mm TRS phone jack (Tip: FOOTSW1, Ring: FOOTSW2, Sleeve: GND, unlatching switches required)
MIDI input and output: 5-pin DIN connector
Format: Standard MIDI

USB audio

Sampling rate: 44.1 kHz, 48 kHz
Bit depth: 16 bit, 24 bit
Maximum number of audio channels: 24 inputs, 22 outputs

Bluetooth
Version: 5.1
Output class: 2 (approximate transmission distance: 10 m)
Supported profile: A2DP
Supported A2DP codecs: SBC, AAC
A2DP content protection: SCMS-T

Audio performance
S/N ratio: (22 kHz LPF, A-weighted), Main mix off: -100 dB, Main mix 0 dB: -80 dB
Equivalent input noise (EIN): -128 dBu (Rs=15 O, MIC IN to INSERT SEND, GAIN knobs at max., A-weighted)
Total harmonic distortion (THD+N): (GAIN knobs at min., 1 kHz), 0,01 % (mic input to main output), 0.004 % (mic input to main output, +2 dBu, BYPASS switches on)
Frequency response: (all gain knobs at min., 1 kHz) 20 Hz to 30 kHz, +0.5/-1 dB (analogue), 20 Hz to 20 kHz, +0.5/-1 dB (digital)
Crosstalk: (PAN knobs fully left or right, 1 kHz), Between channels: -80 dB, Between input and output: -80 dB
Maximum gain: (all GAIN knobs at max., PAN knobs fully left or right, BYPASS on, MASTER BUS IN off), 74 dB (MIC to MAIN OUT), 54 dB (MIC to INSERT OUT), 74 dB (MIC to SUB OUT), 75 dB (MIC to AUX OUT), 24 dB (USB/SD to MAIN OUT)

Computer system requirements

Windows: Windows 11, Windows 10 (64-bit)
Compatible computers: Windows-compatible computer with a USB 2.0 (or higher) port, using Tascam driver, operation not guaranteed with ARM64 CPUs
Display requirements (settings panel software): 1280 × 720 or higher, True colour recommended
Mac: macOS Sonoma (14), macOS Ventura (13)
Compatible computers: Apple Mac computer with a USB 2.0 (or higher) port
Display requirements (settings panel software): 1280 × 720 or higher, True colour recommended
iOS/iPadOS devices: iOS 17/iPadOS 17, iOS 16/iPadOS 16

Power supply and other specifications

Power: AC 100-240 V, 50/60 Hz
Power consumption: 65 W
Dimensions (W × D × H): 681 mm × 568 mm × 133 mm (overall), 639 mm × 568 mm × 133 mm (without side panels)
Weight: 14 kg
Guaranteed operating temperature range: 0-40 -C
Guaranteed operating humidity range: 5-85 % (without condensation)
Included items: AC power cord, Startup Guide, Registration Guide

Notes: Black version of arguably the best experimental drum synth in the world. Unique semi-modular, 'organismic' design with over 100 patch points and extensive controls for the four drum channels.

Supplier's Notes:
PULSAR-23 is an organismic drum machine designed by Vlad Kreimer. It has a semi-modular structure and consists of 23 independent modules. PULSAR can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage and powerful analog FX processor.
The PULSAR functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination.
Additionally, PULSAR offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations. PULSAR continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

PULSAR-23 main features:

- 4 drum channels: Bass drum, Bass\Percussion, Snare drum, Cymbals\Hi-Hat
- 4 envelope generators with the unique ability to generate a sustain for the drum channels, turning them into noise\drone synthesizers. - 4 independent loop recorders with the option for individual clocking. They record triggering events, not audio.
- Clock generator with an array of dividers as a very powerful tool for rhythm synthesis.
- Wide range LFO (0.1 - 5000Hz) with variable waveform.
- Shaos - a unique pseudo-random generator based on shift registers with 4 independent outputs, sample and hold and other cool features.
- FX processor with CV control incl. CV control of the entire DSP's sample rate.
- Distortion.
- 2 CV-controlled gates.
- 2 CV-controlled VCAs.
- 2 controllable inverters.

Also, it has MIDI control and synchronization and a lot of smaller modules such as 4 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 55 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending!

It comes with 30 alligator clips cables and PSU.

The PULSAR-23 Screw has the same functionality as the PULSAR Turret, but at a much lower price, because we used screws instead of expensive custom turrets (on the first photo the black one with turrets, and the white one with the screws)

Notes: PULSAR-23 is an organismic drum machine designed by Vlad Kreimer. It has a semi-modular structure and consists of 23 independent modules. PULSAR can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage and powerful analog FX processor.
The PULSAR functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination.
Additionally, PULSAR offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations. PULSAR continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

PULSAR-23 main features:

- 4 drum channels: Bass drum, Bass\Percussion, Snare drum, Cymbals\Hi-Hat
- 4 envelope generators with the unique ability to generate a sustain for the drum channels, turning them into noise\drone synthesizers. 4 independent loop recorders with the option for individual clocking. They record triggering events, not audio.
- Clock generator with an array of dividers as a very powerful tool for rhythm synthesis.
- Wide range LFO (0.1 - 5000Hz) with variable waveform.
- Shaos - a unique pseudo-random generator based on shift registers with 4 independent outputs, sample and hold and other cool features.
- FX processor with CV control incl. CV control of the entire DSP's sample rate.
- Distortion.
- 2 CV-controlled gates.
- 2 CV-controlled VCAs.
- 2 controllable inverters.

Also, it has MIDI control and synchronization and a lot of smaller modules such as 4 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 55 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending!

It comes with 30 alligator clips cables and PSU.

The PULSAR-23 Screw has the same functionality as the PULSAR Turret, but at a much lower price, because we used screws instead of expensive custom turrets (on the first photo the black one with turrets, and the white one with the screws)

Notes: A unique approach to FM synthesis in this updated version of Kodamo's ludicrously powerful EssenceFM. Up to 300 voice polyphony, hugely powerful touchscreen editing and stereo effects.

Supplier notes:
The EssenceFM is a powerful and easy to use FM synthesiser, allowing you to explore the endless soundscapes offered by FM synthesis. With a super-responsive touchscreen, assignable knobs and workflow optimized for sound design, creating rich and unique sounds is easier than on any other FM synthesiser.

The EssenceFM engine allows to create ridiculously powerful sounds made of more than 6 operators. That's why it's been given 300 voices of polyphony, you get the easy-to-program 6 op FM synthesis and the ability to layer many voices to create huge, rich-souding instruments.

There are 1800 operators and 4200 envelopes running at the same time, more than you will ever need.

This synth is the result of Kodamo's efforts to create the best user interface to interact with FM synthesis. No endless menus, no weird key combinations, no complex structure to remember. Everything is displayed on screen, every element is editable by pressing on it.It requires some trial and error to find the perfect sound, and that exploration process is fun only when the interface doesn't work against you. The EssenceFM is full of small details that makes workflow better: 1024 undo/redo steps while editing, copy/paste on every element, clear navigation using 4 modes and a breadcrumb, real-time envelope level display on the operators and much more. All that makes for a powerful and enjoyable synthesiser.

What you can do with it:
Create your own FM algorithms by drag and dropping operators on the touch screen. An almost infinite number of configurations is possible
Layer up to 128 voices per patch, each consisting of 6 operators, for incredibly rich sounds
Draw your custom waveforms on the touch screen to use them as oscillators or LFOs
Thicken the sound with the built-in effects
Take advantage of its 16 part/300 voice multi-timbrality to create full songs with it
Use it to make analog-like sounds with the built-in resonant filter
Connect it to your audio recording gear and effect modules in many different ways with the four balanced stereo outputs
Explore FM synthesis in the most convenient way possible with the Undo-Redo buttons, allowing for any action to be undone
Try microtunings, layer splits, round robin, MPE, and many other advanced features.

Package Contents:

EssenceFM synthesizer (MKII version)
Printed user manual
2x 3U 19" rack mount brackets
4x screws
Universal (100-240V) AC adapter
IEC power cable
2x rubber strip

Notes: The top dog of the Hydrasynth range, featuring a dual synth engine offering 16 voices (double the standard model) and a larger six-octave keyboard. Serious synth power with great wavetable sound.

*** New 2.0 Firmware update for all Hydrasynth models - March 2023 ***

This is a free of charge update for all current and new users of Hydrasynth. The biggest news in this update includes:
Expanded memory to 8 banks (Keyboard, Desktop, and Explorer only)
NEW modulation source: VOICE MODULATOR
OSC Bit reducer
LFO quantizer
ENV quantizer
LFO Step Advance
Global FX bypass
Increased Vibrato resolution
New Sustain pedal options including Sostenuto
More LED options
Glissando in glide options
Arp Range goes to 6 octaves
Arp Step Offset parameter
More Rand/Init shortcuts (all STEP LFO steps, Wavescan waves, Voice mod offsets)
Local On/Off saved
......And more!
This is the first major update to the Hydrasynth family in a little, which adds a tonne of new features.


Supplier's Notes:
The ASM Hydrasynth Deluxe is the new flagship Hydrasynth. Offering a dual-engine setup with a total of 16 voices plus an all new 73-note keybed featuring ASM's much sought after PolyTouchr polyphonic aftertouch functionality, clearly in a class of its own. With essentially two Hydrasynths in one instrument, KeySplit and Dual voice mode patches with 8 independent voices each are possible. You also have separate balanced stereo audio outputs for each of the two parts. The easily accessible 4 octave ribbon controller adds for truly expressive playing. The Hydrasynth Deluxe of course offers CV/GATE I/O for interfacing to modular and other voltage controlled synths. There's a ton of potential for sound creation, using ASM's WaveScan oscillators together with the Mutator waveshaping section and user configurable filters. A plethora of LFO's and Envelope's plus Insert and Master Effects makes this a dream sound creation tool and quite possibly the ultimate synthesizer and controller combo for your rig.

Tech Specs

Type: Polyphonic Wave Morphing Synthesizer
Sound Engine Type(s): Wavescan
Analog/Digital: Digital
Number of Keys: 73
Type of Keys: ASM POLYTOUCH Polyphonic Aftertouch Keyboard, On/Off Velocity-sensitive
Other Controllers: Ribbon Controller, Pitch Bend, Mod Wheel
Polyphony: 16 voices (Full/Layer/Split)
Number of Presets: 1024 Single Programs, 1280 Programs in Multi (Upper/Lower)
Number of Multis: 640 Programs
Oscillators: 3 x Wavescan oscillators (219 Waveforms), 4 x Mutator wave shapers (8 Types), Noise (7 Types)
Mutators: 8 Types (FM-Lin, WaveStack, PW-Orig, PW-Squeeze, PW-ASM, Harmonic Sweep, Hard Sync, PhazDiff)
Noise: 7 Types (White, Pink, Brown, Red, Blue, Violet, Grey)
LFO: 5 per Voice (Sine, Triangle, Saw Up, Saw Down, Square, Pulse27%, Pulse13%, S&H, Noise, Random, Step), Tempo syncable, Semitone Lock
Envelopes: 5 per voice, Tempo syncable, Variable trigger sources
Filter Types: 1 Multimode Filter (16 types) and 1 Variable LP-BP/Notch-HP filter, series or parallel routing
Filters: Filter 1 (LP Ldr12, LP Ldr24, LP Fat12, LP Fat24, LP Gate, LP MS20, HP MS20, LP 3-Ler, BP 3-Ler, HP 3-Ler, LP Stn12, BP Stn12, HP Stn12, LP 1 Pole, LP 8 Pole, Vowel), Filter 2 (LP-BP-HP, LP-Notch-HP)
Effects: 9 Insert Effects, 5 Delays, 4 Reverbs
Effects Types: Chorus, Flanger, Rotary, Phaser, Lo-Fi, Tremolo, EQ, Compressor, Distortion, Delay, Reverb
Arpeggiator: 8 types (Up, Down, Up&Down, Up/Down, Order, Random, Chord, Phrase)
Other: Mod Matrix (32 slots), Macro Controllers (8), Favorites (32), Randomizer (Patch and Module), MPE Compatibility, Warm Mode, Microtuning
Audio Outputs: 4 x 1/4" Balanced (L/Mono Upper, R Upper, L Lower, R Lower)
Headphones: 1 x 1/4", 1 x 1/8", Separate volume control
USB: 1 x Type B
MIDI I/O: In/Out/Thru
Pedal Inputs: 2 x 1/4" (expression, sustain)
Other I/O: 2 x 1/8" Inputs (Mod 1, Mod2), 5 x 1/8" Outputs (CV, Gate, Mod1, Mod2, Clock)
Power Supply: 12V DC switchable power supply
Additional: Utility shelf
Height: 3.62" / 9.2cm
Width: 44.45" / 112.9cm
Depth: 13.62" / 34.6cm
Weight: 29.33lbs / 13.3kg
MPN: HSLX

Notes: A true powerhouse of a synth, packaging the Quantum synth engine into a more manageable four-octave design. Five synthesis modes, powerful stereo filters, performance features and outstanding playability.

Supplier's Notes:
Waldorf Iridium has made the impossible possible. The mighty synth engine from Quantum is now available in a compact form. 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.

Specifications
16-voice polyphony, duo-timbral
Compatible with the Waldorf Quantum synth engine

3 Oscillators
Oscillator Modes:
Wavetable
Waveform (VA)
Particle (Sampling and Granular Sampling)
Resonator
Kernels (up to 6 sub-oscillators which can be interlinked through FM at audio rate)

3 Stereo Filters per voice
True stereo path
Dual Digital Filter:
Two filters with independable modes
12/24dB LP/HP/BP in all combinations
Nave, Largo, PPG, Quantum and StateVariable models
Digital Former:
Filter models from Waldorf Nave, Largo and PPG in HP/LP/BP/Notch
Comb filter
Bitcrusher
Drive
RingMod
StateVariable mode
Analyzer displayed in Filter view
Filter curve moves when modulated (optional)
Sophisticated filter routing options with modulatable panning and levels

Modulators:
6 Envelopes
6 LFOs
Komplex Modulator (LFO/Envelope combination with user-definable shape)

Mod Matrix:
40 slots
Fast assign mode
One additional control amount per slot
Identical Sources and Destinations can be used multiple times until the matrix is full

Pads:
4x4 silicon pad matrix with RGB backlights
Pads can play notes, chords, arpeggios and sequences
Latch mode

Performance features:
Arpeggiator
Step sequencer with up to 32 steps for notes and parameters
Favourites screen for quick patch recall
Onscreen Mod Wheel, Pitch Bend and Aftertouch

Screen:
Industrial-grade highly responsive touch screen

Patches:
Over 1000 factory sounds
Capacity of 7000 patch memory slots (numbers 0000-9999 can be used)
Patches from Quantum can be loaded and vice-versa
Category filter for patch list
2GB user sample flash memory

Connections:
2x TS output
2x TS input
Headphones output with Gain control
DIN MIDI In/Out/Thru
USB MIDI
USB host for storage and MIDI devices
MicroSD slot
Kensingtonr lock

CV connections:
4 CV inputs plus Gate In, Trigger In, Clock In, Clock Out
Inputs can be used as modulation sources in the Mod Matrix

Overall:
Sturdy metal case with aluminium knobs

Dimensions: 440mm wide by 305mm depth by 85mm height (including controls)
Weight: 5.4kg
19" rack assembly parts available