Synthesisers

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

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

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

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

LYRA-8 also has the next blocks:

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

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

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

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

Specifications:

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

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

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

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

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

LYRA-8 also has the next blocks:

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

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

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

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

Notes: Vintage FM synthesis meets analogue character in the TWISTfm. Eight-voice polyphonic sound engine with superb versatility thanks to 15 filter modes including Heat saturation and adjustable resonance.

Supplier's Notes:
Unleash the full potential of FM synthesis with TWISTfm, a cutting-edge polyphonic synthesiser that blends vintage FM synthesis with advanced analogue filtering and modern control. Designed to offer a rich, dynamic sound palette, TWISTfm is the perfect tool for musicians and sound designers looking to push the boundaries of sonic creativity.

At the core of TWISTfm are two legendary Yamaha OPL-3 YMF262 FM chips paired with dual YAC512 stereo DACs, providing 8 discrete voices. Each voice is equipped with its own analog multimode filter for an unparalleled range of sound design possibilities.

With HEAT and Dual Resonance Modes: Featuring 8 individual analogue filters, inspired by the iconic designs of Mutable Instruments, TWISTfm gives you precise control over sound shaping with 15 filter modes, including low-pass, high-pass, band-pass, phaser, notch, and more. The HEAT parameter adds anything from warm, subtle saturation to harsh analog distortion, allowing you to push the filters to their limit. Additionally, you can switch between two resonance flavors-LIQUID, for smooth and subtle resonance, and MS20, for more aggressive, cutting tones. With digital control over resonance and cutoff, the filters offer flexible modulation and the ability to store settings with presets.

TWISTfm's MPE mode fully supports three dimensions of control-pitch (X), timbre (Y via CC74), and pressure (Z)-offering precise per-note modulation for unparalleled expressiveness and depth in your sound.

Whether you're composing in the studio or performing live, TWISTfm's robust feature set and intuitive design make it a powerful addition to any setup. Its combination of vintage FM tones and modern control capabilities offers a unique, versatile sound engine capable of producing everything from smooth ambient pads to aggressive basses and leads.

Notes: A lovely creative approach to generative synthesis. Dual voices with triangle/square wave oscillators, shift register and envelopes can be patched via banana cables to create unique grooves and drones.

Supplier's Notes:
Double Knot v3

The Double Knot v3 is a small generative synthesizer with two voices and corresponding sequencers. This instrument has a simple architecture which is capable of a wide variety of sounds, including rhythms and drum patterns or textural and grating noise sounds. The interface is made up of knobs, switches, and banana plugs for patching. The two voices of this device each consist of a triangle/square wave oscillator, a shift register sequencer, an enveloper, and a voltage controlled amplifier. A clock sets the tempo of the shift registers.

The voices of the Double Knot are pre-wired, in a linear chain of functional blocks. The patch points are available to route modulations, influencing the simple linear voices. The game of this device is to investigate the relationships between the elements of the synth using the knobs, switches and patch-points.

FAQ

How many banana cables do I need? and what length?

8 or 10 cables around 12" long is a great start.

Can I patch this with my other synth?

Only what is safe for this synth. The banana ports of this device can handle max +/- 8V at all inputs and outputs assuming at least a 1k output impedance in the other device. The response range of the voltage inputs is ~1.2v - 8V (range of a TL07x powered by 9V).

Is this synth good by itself, or does it rely on other devices to be useful?

Some good sounds can be had using this device and a handful of banana cables.

Notes: A year ago, Jomox brought out the Mod FM as a eurorack module.

Now, Jomox present almost the same synth, but as a desktop unit, with its own PSU, Midi, standard 1/4" balanced outputs and analogue volume control.

The Mod FM D has an analogue side chain stereo input that gets routed into the Mod FM D effects, and can be mixed to the synth.

The ratio of synth + input/effects can be controlled via an analogue dry/wet potentiometer.

The Mod FM D is a completely self-contained 8 voice FM synth in desktop format, which can create powerful sounds out of the box without lacking the commonly provided CV modulation possibilities.

It provides 4 Operators and 2 LFOs/VCOs per voice. Additionally, it has 2 analogue filters and analogue VCAs per voice which apply analogue warmth and depth to the Mod FM D, although the FM engine is digital of course.

Each voice has its own CV/Gate inputs and an individual output. There is a mix output which separates even and odd voices. Here you can mix internal effects like delay and reverb to the stereo output signal.

Next to the CV/Gate control, the Mod FM D has Midi in and out and a USB C connector which handles Midi too.

Even without diving too much into complicated setups you can create extremely good sounding and metallic FM sounds, snappy bases but also soft and deep sounding analogue style sounds as tons of crazy weird stuff.

Furthermore, the Mod FM D offers a variety of external cv modulations in order to modulate each operator individually or control the FM envelopes.

The Mod FM D is fully multitimbral, i.e. each voice can play an own sound in Multi Mode which gets stored as a complete multi set (not only vectorized). That is, you can copy a single sound to the desired multi, but edits made on that particular multi get stored along with the multi set.

Hence, we have the biggest advantage of the hybrid approach:

Analogue and modular is great but can be very complex, and you might be trapped in a system where you never reach again the pretty sound of the latest session. Storability certainly helps.

The different sections in more detail:

Matrix FM:

4 operators are arranged in a matrix, in which every operator (= sine oscillator) can be modulated by each one of the other three.

The 16 endless potentiometers of the matrix adjust the modulation amount (FM amt) and the base frequency of the operators.

For each operator you can change the base frequency by the diagonal knobs.

There are several overtone modes that determine if one operator is controlled by the keynote (or CV) = base operator, or if it's locked in as overtone (= overtone operator) to the assigned base operator. For the base operator, the number resembles xxx semitones added to the keynote.

For the overtone operator, the adjusted number is the xxx = Nth overtone or harmonics to the base operator frequency.

The locked overtone operator tracks the base operator and is still able to modulate and being modulated.

Each operator has an ADSR envelope. This envelope can also be used to frequency-modulate the operator.

Algorithm:

The algorithms from the known FM synthesis are actually special cases to the whole matrix.

As it gets pretty quickly uncontrollable if you turn all the knobs due to the feedback, Jomox have decided to implement the algorithms. There are 26 algorithms, that are derived from the DX9 with its 4 operators.

At this menu it's even possible to change the frequency mode of each operator to a fixed frequency that is edited in single Hz and which does not follow the keynote, but only modulation. That makes sense for e.g. percussive sounds.

LFO/VCO:

Each voice has 2 LFOs which can modulate either the frequency (FM) or the amplitude (AM) of an operator. Every LFO addresses 64 different wave forms that are displayed in the right OLED display.

There is another feature: each LFO can be switched into a VCO that covers the whole audio range. You can even mix it into the signal chain and it tracks to the keynote. The former LFO rate parameter turns into a detune parameter. That is, you can create classic sounding rectangle/sawtooth analogue basses or string pads - and much more of course.

Filter:

Each voice contains an analogue filter which is build up with the chip SSI2140 from Sound Semiconductor, which is an improved modern version of the old SSM2040, designed by Dave Rossum, and which had been used in Oberheim synths and the early SCI Prophet-5.

The filter has a classic 24dB output and a 12dB state-variable multimode-filter. The three basic characteristic outputs LP/BP/HP can be cross-faded continuously with one parameter called shape.

Both filter outputs 24dB/12dB can be mixed independently.

The ADSR for the filter is fast and cuts in very quick and directly, the resonance is well adjustable.

The filter section contains an own LFO for the cutoff which is independent from the digital sound engine and has also 64 waveforms.

The ADSR for the filter is fast and cuts in very quick and directly, the resonance is well adjustable.

The filter section contains an own LFO for the cutoff which is independent from the digital sound engine and has also 64 waveforms.

The VCA is a fast transistor-vca which is important for snappy sounds. The same transistor-vca is used in all Jomox drum products. Therefore the ModFM can be used as a rich source for technoid drums and percussions of any kind.

On the analogue voice board there is another sound source: Metal Noise. It can be mixed into the filter independently from the digital engine (= FM synth) and offers again an inexhaustible pool of weird sounds.

FX:

The Mod FM D also has an FX section added: reverb and 2x delay. These only work on the stereo mix output. The delay can be beat-synchronized via midi clock and offers a very short delay time in millisecond range. That gives you flanging and oil-can-like effects.

Specifications

8 voices fully multi timbral FM synth
4 operators per voice
Full modulation matrix / 26 algorithms
2 LFO/VCOs per voice
Balanced stereo 1/4" jack outputs
Stereo Hi-Z 1/4" jack inputs
Analog effects mix
Outputs for each voice plus mix out
CV/Gate per voice
CV modulation inputs per operator
True audio FM modulation inputs
True analogue filters per voice
24db low pass
12dB multimode LP/BP/HP cont. shape
True analogue VCAs per voice
Midi in, out
USB C device
Digital reverb, 2x stereo delay
Full storability, also CV amounts
128 presets, 118 multi sets
2x 128x64px OLED displays

Power consumption: 12V=DC 2A max.

Dimensions:

Width: 318mm
Depth: 180mm
Height front: 44mm
Height back: 72mm

Weight: 1,9kg (4.4 lbs)

Notes: Reinventing the virtual analogue synth for the 21st century, the Vibes is a digital demon. True stereo signal path, resonant oscillators, Serum-compatible wavetables and heaps of creative potential.

Supplier's Notes:
Small form, big heart

True Stereophonic Digital Synthesiser with 24 Stereo Voices

With its 24 stereo voices, powerful XVA Engine, full Audio Mixer, improved Clip Launcher, comprehensive Drum Engine and the new Resonator Oscillator, Vibes becomes a new class of synthesizer, that helps you to reach your full creative potential.

True stereo

The true stereo signal path allows for sounds, that have never been possible before.

Oscillators that resonate

The new Resonator Oscillator together with the existing Wavetable Oscillator open up a new world of sonic potential.

Sketching, writing performing

The only synthesiser you need for writing and performing your compositions.

Mix it all together!

Mix internal sounds and stereo input with the Digital Audio Mixer integrated into the Vibes!

One preset, eight different flavours

Store your ideas and recall them in an instant with Variants

Engine specs

Based on Mayer EMI's powerful XVA Audio Engine the Vibes is preset compatible with the MD900 and comes with the following feature set:

24 shared Stereo Voices
4 Synth-Parts + 14 Drum Instruments

Stereo structure per voice

2x Oscillator with 3 different models

Algorithm Oscillator

8 different Waveforms (PD_SIN, VA_SWEEP, and more)
Morphing and Modulation capabilities

Wavetable Oscillator

More than 50 preset wavetables
Wavetables consisting of up to 256 single-cycle waveforms with 2048 samples per cycle (Serum format compatible)
Spectral effects (spectral morph, harmonic shift, ... and more)
Up to 4x stereo unison

Resonator (physical modelling)

64 bands
Attack/Decay based exciter
Different Algorithms to define Band Profile

1x Sample / Noise Oscillator
Configurable loop modes and loop points
Single- or Multi-Samples

2x Stereo Multimode Filter with more than 10 different Models
4x ADSR Envelopes
3x LFOs (MIDI synchronized, standard & user defined shapes)
1x Waveform Shaper with different Algorithms
Modulation Matrix with 24 slots (25 source and 40 destination options)
Oscillator Mix and Filter Routing

ARPEGGIATOR and STEP SEQUENCER per Synth Part

Clip launcher

7 tracks (4 Synth-Parts, Drum Track, 2 Midi Tracks for external Instruments) with up to 8 clips per track
Polyphonic MIDI Sequencer with recording and quantization capabilities
Drum Pattern and Sequence Editor
Support of external Performance Controllers (e.g. Launchpad, APKmini) via USB

Synth and live effect stacks

4x Stereo Multi Effect Stack (1x for each Synth Part)
2x Stereo Live Multi Effect Stack in the Audio Mixer
Reverb, Stereo Delay (midi synchronized), Compressor, JChorus6, ... and more)

Digital audio mixer

19 Stereo Input Channels, 2 Stereo Output Channels
Bus, Headphone and Effect Send
Balance, Pan, Limiter functionality

MIDI connectivity

MIDI Control, Note On-Off, Pitchwheel, Polyphonic Aftertouch
Transport Send/Receive
Clock Send/Receive

Webinterface

Up-/ Download of user defined Presets, Performances, Wavetables, Samples, Sequences
Accessible via Wi-Fi or Ethernet

Others

14 GB internal Memory available for Presets, Wavetables, Samples, Performances and MIDI Sequences

Hardware specs

Control elements

5" Colour capacitive Touch-Screen (Resolution 800×480 pixel)
4 display related and 1 Main Encoder
20 Navigation and Menu Buttons
One Knob Section (morphing of multiple parameters together)
3 Synth-Part related Macro Encoder (Multicolour LED Rings)
3 Filter related Encoder (Multicolour LED Rings for Filter CutOff, Resonance and Amount)

Housing

Size (W x D x H): 322mm x 174mm x 76mm
Weight: 2kg
Metal Housing with walnut wood front and back
75mm x 75mm VESA Mount

Inputs/outputs

Power Switch
Power In 12VDC, 2.5A
3x USB-A Port (max. 500mA)
Ethernet (100Mbit)
Sustain Pedal-In: 6,3 mm TR Jack
Expression Pedal In: 6,3 mm TR Jack
DIN MIDI In / Through / Out
Stereo Line-In: 6,3 mm TRS Jack (24bit, 48Khz)
Stereo Line-Out: 6,3mm TRS Jack (24bit, 48Khz)
Stereo Headphone Out: 6,3 mm TRS Jack (16bit, 48Khz)
2,4/5GHz Wifi

Package contents

Vibes MD850
Power Supply 12VDC (including Plugs for EU, UK, US, AUS)
Quick Start Manual

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: 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 JMT RVO-3 is an analog noise synthesiser featuring 2 oscillators. 1 main oscillators with 1 sub oscillators paired to it. Each of the oscillators features their own frequency controls, and sync switches for each of the oscillators pairings allowing a wide range of textures. It has a main VCO with a frequency control knob and a push button allowing a short envelope to control the frequency. Additionally, controls for the waveshapes and stability of the VCO and sub frequency VCO allow for further manipulation of timbre.

Notes: Really nice boutique analogue synth from JMT, based around a main oscillator with three sub signals, a frequency-synced resonant filter, noise source and three-speed random trigger.

Supplier's Notes:
DNVO-1 is a handmade, compact analog synthesizer from JMT Synth Its primary oscillator can be synced with three sub oscillators, each with a different range, as well as a noise source and wave generator. The latter source can be manipulated with the 3-speed random trigger for effective fluctuations within a single performance. The primary VCO is routed through a self-oscillating filter, which can sync with the VCO's frequency.

Notes: Excellent polyphonic hybrid synth module from Michigan Synth Works, based on the Mutable Instruments Ambika. Six digitally generated voices are processed through a Polivoks-derived low-pass filter. Also available with Roland-style Shruthi SMR4mkII filter.

Supplier's Notes:
Xena is a rework of the legendary Mutable Instruments Ambika DIY synthesiser. Now fully machine assembled with an updated layout and an improved modern power supply. Available with all original 3 voice cards and compatible with 3rd part operating systems as well as a new AS3109 (modern reissue of the original Roland filter chip) filter

Xena Features:

6 voices with individual outputs, one Mix output (Mono)
2 digital oscillators per voice, with 36 oscillator algorithms/wavetables.
1 sub-oscillator, also configurable as a transient generator.
Pre-filter overdrive and bit-crushing effect.
Analogue 4-pole filter (or 2-pole multimode filter depending on the type of voicecard used) and VCA.
3 ADSR envelopes, 3 patch-level LFOs, 1 voice-level LFO.
Modulation matrix with 14 slots and 4 modulation modifiers.
1 arpeggiator, 1 note sequencer and 2 step sequencers per part.
Flexible mapping of the 6 voices. A single patch with 6 voice-polyphony, 6 independent mono parts, 2 layered patches with 3-voices polyphony, a 3-voice unison bass line on the lower half of the keyboard with a 3-voice unison lead on the upper half... all are possible!
MicroSD storage allows the storing of a life-long of patches, programs and multis, along with the history of editing operations for undo/redo.
Easy to change voice cards
Case size: 10.5"x6.5"x1.75"

Filter Options:

The device is available with the original 3 Mutable voice cards (more will be added later one). Mixing voice cards is possible but not recommended.

SMR Filter: This filter uses the same topology as the Shruthi SMR4mkII. It is a low pass 4 pole OTA-C filter. Its is a smooth "Roland-ish" type filter.
4P Filter: This filter uses the same core as the Shruhti 4-Pole Mission but only offers the LP4 output. The 4P filter is perhaps a a bit fuzzier than the SMR type.
SVF Filter: This filter board features a 2-pole state variable filter with low-pass, band-pass and high-pass modes. It is half of the Shruthi SVF Filter.

Includes:

Xena Desktop Synth
12V DC universal (100-240V) Power Supply
Preformatted SD card