Synthesisers

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

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

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

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

ENNER consists of:

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

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

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

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

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

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

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

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

Specs

Array of filters

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

Pink noise generator

NOISE - noise output

Delay

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

Piezo

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

The five-voice synth

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

Rhythm\Bass synth

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

External

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

Power

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

Grounding

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

What's in the kit:

ENNER
12V center plus PSU
Several rubber bands

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

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

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

ENNER consists of:

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

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

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

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

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

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

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

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

Specs

Array of filters

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

Pink noise generator

NOISE - noise output

Delay

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

Piezo

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

The five-voice synth

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

Rhythm\Bass synth

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

External

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

Power

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

Grounding

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

What's in the kit:

ENNER
12V center plus PSU
Several rubber bands

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

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

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

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

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

LYRA-8 also has the next blocks:

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

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

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

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

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

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

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

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

LYRA-8 also has the next blocks:

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

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

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

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

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

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

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

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

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

LYRA-8 also has the next blocks:

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

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

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

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

Specifications:

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

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

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

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

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

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

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

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

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

Specifications:

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

Notes: TERRA is a new SOMA Labs synth.

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

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

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

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

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

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

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

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

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

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

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

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

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

What's included:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What's included:

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

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

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

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

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

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

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