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

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

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

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

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

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

Notes: 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: The new basic system 3 from Doepfer is a return to Dieter Doepfer's original vision of analogue modular synthesis. Modules can be connected via front panel audio and CV connectors and used in infinite combinations. The Basic System 3 is an easily accessible and well-structured system that can be used by enthusiasts and beginners alike. It can be used as a base for exploring sound synthesis and electronic sounds, or as a supplement to delve deeper into different types of synthesis. For example, it is possible to create 4-part paraphonic patches or create complex sounds using the ring modulator. Percussion and drum sounds can also be created in a variety of ways alongside the classic synth sounds. The system's two filters can also be set to self-resonance to provide additional sound sources. The Waveshaper can be used to modify simple sounds and change their overall timbre. As each user's personal requirements are different, blank panels are installed that can be replaced with modules. This means there is no need to buy a new cabinet.

The following modules are included in the basic system 3:

1x A-108 6/12/24/48dB Low Pass Filter
2x A-110-1 Standard VCO
1x A-118 Noise / Random
1x A-121-2 Multimode Filter
1x A-131 VCA exponential
1x A-132-3 Dual linear/exponential VCA
1x A-137-1 Wave Multiplier I
1x A-138j Inverting/Interrupting Mixer (Janus Mixer)
1x A-138b Mixer logarithm.
1x A-138s Mini Stereo Mixer
1x A-140 ADSR Envelope Generator
1x A-140-2 Dual Mini-ADSR
1x A-147-4 Dual VCLFO
1x A-151 Quad Sequential Switch
1x A-160-2 Clock Divider II
1x A-171-2 VC Slew Processor / Generator
2x A-180-2 Multiples 1
1x A-184-1 Ring Modulator/S+H/T+H/Slew Limiter
5x Blind Panel 4HP

The following Patch cables are included:

5x A-100C15 Cable 15cm yellow
10x A-100C30 Cable 30cm black
15x A-100C50 Cable 50cm grey
5x A-100C80 Cable 80cm red

Notes: The Resonant Garden is an electronic-acoustic hybrid instrument designed to create anything from beats and oddities to dense soundscapes.

The garden utilizes three Alter circuits each equipped with a mic pre-amp, and 4 sprout (stringed) panels for generating acoustics. By plucking, rubbing, tapping or even bowing, those micro-acoustic sounds become amplified and affected by the Alter in any number of ways. In essence, the garden is a large microphone designed to pick up vibrations.

Monolithic vs Discrete

A Monolithic version of the Resonant garden consists of a single faceplate for the entire instrument.

A Discrete version of the Resonant garden consists of 7 faceplates, three for each Alter module and four for the sprouts. The discrete version allows for individual sprout and Alter modules to be moved around or substituted with other modules. Keep in mind the power and audio distribution system is designed for the configuration shown here, but can easily be hand wired with standard cables (sold separately). The maximum depth for modules in the garden box is 33mm.

Effects

There are two Alter 1 units and one Alter 2 unit. Each Alter 1 has seven DSP effects which are selected by touching the copper hexagon:

1 - long delay (capable of near infinite feedback looping)
2 - notated granular delay
3 - plate reverb
4 - shimmering reverb
5 - distortion and multi-filter
6 - pitch delay
7 - stutter glitch

Alter 2 has the following effects:

1 - analogue delay
2 - reverb with infinite capture and lp + hp filters
3 - choral reverb
4 - palindrome reverse delay - backward/forward repeat
5 - time stretch
6 - pitch shift (notated semi-tones
7 - time stretch glitch

Control

On each of the Alter sections, the following is present:
- Control for the gain of the mic pre-amp or any incoming audio.
- Controls for Mix, X, Y and Sift as well as clock.
- All effects have a variation of a filter which may change effect to effect.
- X and Y control various rates.
- Clock control adjusts the rate which controls the DSP which can drastically change the effect. In doing so it does slightly lower the quality of the output signal but the results are fantastic. This clock is not for synchronization.
- Mix, X, Y and Sift all have CV control inputs.
- Each control level or CV input is visualized on the control panel.

Acoustics

Each garden panel is equipped with a contact mic. A contact mic is designed to pick up vibration. The mic pre-amp is specifically designed to deal with the frequencies of the contact mic by boosting certain frequencies and dulling others in order to optimize the sound quality. The mic pre-amp has a gain control so the level can be adjusted according to how you intend to play.

Routing

1/8" stereo inputs with separate level/gain control for right and left channels. These level controls can also act as mute as they can take the signal to 0. They can also add gain to a quiet signal.
In its natural state, each Alter utilizes the garden panel acoustics and each Alter outputs its own signal. By plugging in to the left input of any Alter, the mic amp is bypassed. This means that the signal can be chained from one alter to another, utilizing the single final output. This chain of effects can result in an incredibly broad range of sound.
- use all effects in parallel (3 sets of stereo output)
- use two in series and one in parallel (2 sets of stereo output)
- use all in series (single stereo output)
- peak level indicator for clipping levels at the input

Design

The box is constructed with Sapele African hardwood and a white birch bottom panel. It features anodized black aluminium rails for mounting the faceplates. Each sprout of strings is bolted in from the back and held in place with a backing panel under the main board.
Each box has unique wood grain patterns. The wood grain shown in the images will appear different for each instrument we ship.

Included
- Power Supply: 12v positive tip AC Adapter (included) - US - 100-240V ~ 50/60Hz 0.6A
- Printed manual
- Four (4) black 6" (15cm) 3.5mm TS mono patch cables
- Four (4) black 24" (60cm) 3.5mm TS mono patch cables

Dimensions
- 76 HP Total Width, Sprouts: 7 HP, Alters: 16HP
- Mounting Rails are 406.16mm long

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: It starts with a dream

We are all fans of synthesizers, their vintage sound, classic and modern at the same time, their ability to mix several timbres. We love the musical journey that transports us while listening to each new presets.

We also like guitar and bass. Standing or sitting, in your studio or on stage, playing on guitar or bass is this tremendous energy, this way in which the intensity of the playing is in total connection with the music you want to create. A sweet ballad, a melodious arpeggio, a hell of a bass line, a stratospheric lead, an awesome riff.

What if we could express all that but with a great synth sound?

The dream came true, and even more!

A modern synth played like a guitar or a bass

Elyra is played with the typical gestures of playing guitar and bass and all the energy that comes from it. You play with your whole body.

There are two strumming aera for strings, one dedicated to back and forth and another dedicated to bass and arpeggios.

Elyra is designed to be played by both right-handed and left-handed people.

You can also play it placed on a table or on your knees like a groove box.

A powerful and unique composition tool

With up to 16 voices polyphony, spread across 16 instruments/layers and with is powerful sequencer, Elyra is more than a groovebox, it is a composition tool.
You can have one instrument with 16 voices or 16 instruments with one voice and everything in between.

Because Elyra is battery powered, you can carry it anywhere with you and play for several hours.

You can play and sequence all your other instruments via MIDI port.

A sound engine is made for this instrument by Kodamo.

At the core of Elyra there is a powerful and beautiful sound engine created for by Kodamo.

It is a virtual analogue engine based on subtractive synthesis with just enough FM synthesis to offer a vast sound territory.

It has many parameters to sculpt and create a unique sound.

Electronics and wood

Elyra is made of electronics and wood.

The electronic parts are designed in France and comply with environmental standards and in particular RoHS.

The body of the instrument is made of wood. It is cut and assembled in France. The wood is only chosen from sustainable or recycled sources.

Elyra is built to last.

Raised touch buttons

All Elyra buttons are touch sensitive pads made up of a slightly raised area allowing the user to feel physical feedback.

This is capacitive sensor technology which offers an extremely fast response time of 2 ms.

There are 5 distinct areas on the main panel:

the fretboard composed of 4 * 12 pads
the strumming area separated into two types, A and B
two assignable sliders
an OLED screen with its wheel and its 8 contextual buttons

Guitar/bass mode

At first you need a double trig to play a note in Guitar or Bass mode: the hand on the fretboard selects the note to be played, and the other hand uses one of the two strumming areas.

Each one of the four strings has its own two strumming areas.

The strumming area A, is made of a long and very thin relief pad. It is ideal for playing back and forth on one or more strings.

The strumming area B, is a double pad surrounded by holes in the main layer, it allows both bass type playing and is ideal for playing arpeggios.

Elyra retains the essential subtleties of guitar playing, when a note has just been played you can also, like in guitar, slide to another note, or do a Pull-off or a Hammer-on without using the strumming area again.

You can use the slider with your thumb to bend the notes.

Elyra can be tuned according to your needs. there are basic tunings, like the first 4 strings of a guitar E, A, D, G, or any open tuning, or like a Ukulele.

You choose the root notes of each string, and the choice is specific to each track in one project.

Specifications

Fretboard: 12*4 capacitive pads (2ms latency)
Sound Engine: Virtual analogue + FM
Polyphony: 16 voices shared by all tracks
Multitimbrality: up to 16 instruments/layers
Presets: 256 factory presets
1024 user presets
16 presets per project
Oscillators: 15 waveforms including sine, triangle, saw, pulse and noise
Pitch envelope
Amp envelope ADSR + delay
FM: envelope modulator (osc 2) + feedback level
Filter: filter type : HPF, LPF
Filter slope: 2 poles -12dB/oct, 4 poles -24d B/Oct
Envelope ADSR
LFO: 2 LFOs, 5 waveform, speed depth, delay, retrig position, sync to BPM
Effects: 3 master effects with individual send by tracks
Effect 1: distortion/overdrive
Effect 2: bitcruch or chorus
Effect 3: stereo delay or reverb
Sequencer: a pattern = up to 256 steps per track, 128 patterns per project
max 999 project by SD card
Power Supply: 5v USB bus power supply
Memory: SD card

Size and Weight

Width: 435 mm - 17 - 1/8 inches
Depth: 170 mm - 6 - 11/16 inches
Height: 40 mm - 1 - 37/64 inches
Weight: 1.2 kg / 2 lbs 12,3 oz

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


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: ***B-STOCK: Dent on the side, product in perfect working order***


Like a greatest hits of recent Analogue Solutions synths, the Ample combines sound elements from the Fusebox with jack patch points, a patch pin matrix, plus sequencer and CV touch pads from the Generator, creating something new and unique.

Supplier's Notes:
Ample combines the best elements of several of Analogue Solutions' recent products.

The sound elements of Fusebox
Jack patch points of Concussor Eurorack
Patch pin matrix of Vostok
Echo from Dr Strangelove
Sequencer and CV touch pads of Generator

It shares all this yet still has its own sound!

Ample can be as complex or as simple as you want it to be

This synth has been given a large and diverse number of controls, that along side the patch sockets, will give even the best and experienced synthesist endless possibilities.

This synth presents the controls in a user friendly and familiar synth layout that, together with this manual and other resources, enable even the new guy to get great sounds.

Synth - Percussion - Audio Processor

Ample is a compact analogue synthesizer. Analogue - as in really analogue. Aside from the MIDI chip (which has to be digital), everything else is totally analogue using real transistors and op-amps. There are no CPU stabilised and quantised circuits, no DCOs, no digital LFOs and no digital EGs, as found on other so called analogue synths. The circuitry is based on designs dating back to the mid-1970s. So Ample has a genuine old sound.

Circuits included

3x Analogue Oscillators

There are three analogue VCOs - each providing a wealth of features and modulation choices. VCO3 can easily be utilised as a LFO.

2x Analogue Low Frequency Oscillator

LFO2(/Sync) has a triangle wave output. VCO3 can be used as an LFO and has Saw, Triangle and Square wave modulation signals.

Analogue Filter

Ample uses a four pole 24bB per octave low pass filter.

Analogue Amplifier

The VCA can be set to THRU so it is always 'open'. This allows Ample to be used as an effects processor.

2x Analogue Envelopes

There are two EGs - each having full control over ATTACK, DECAY, SUSTAIN, and RELEASE.

Modulation

Great thought has been placed into modulation route choices, allowing a wide range of sounds to be produced, including percussion and 'modular' sounds further extended by patching with the jack sockets and pin matrix.

MIDI

MIDI is intentionally kept simple - so you can concentrate on making new sounds and making music - not getting tied up with SYSEX programming.

You get the all important control over filter cut-off using MIDI Velocity.

Patchable External CV Control Sockets

Ample has many input and output audio and CV sockets - to allow the synth to be effectively re-wired to make new sounds.

The sockets also enable it to be easily used with Eurorack and other modular systems. They can be patched together.

Sequencer

Ample has a vintage style 16 step sequencer.

Touch Keys

There are 6 touch keys that each output a set voltage. Use this to play the pitch or as modulation signals. A great tool for inspiration!

Pin Matrix

A neat way to patch the synth.

Echo

Nice lo-fi echo / delay.

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

Supplier's Notes:
The beauty of evolution.

Louder, thinner and 100 times better.

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

Reworked, refined, reborn.

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

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

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

If it feels thinner, it is.

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

The back is warm, velcro and bass.

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

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

Dimensions: 28.8 cm x 10.2 cm x 2.9 cm

Notes: 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 14" 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: 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: 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: 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: One of the most exciting new synths of 2020. Extremely high-quality wavetable synth engine with great expressive features like a CS80-style ribbon controller and polyphonic aftertouch. Powerful.

*** 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 notes:
The HYDRASYNTH keyboard is both a sound designers dream synth as well as a performing musicians ideal. The sound engine is designed for maximum flexibility. At the same time, we designed the user interface in a way to allow you to edit the patch quickly with a minimal amount of paging and many workflow shortcuts.

Utilizing an advanced wavetable synthesis engine, 3 Oscillators, dual Wave Mutators and 2 filters that can be configured in series or parallel, the tone generating capabilities are unmatched.

As for the performance capabilities, The HYDRASYNTH keyboard has our proprietary Polytouch keybed that offers polyphonic aftertouch over each note, giving you the type of expressive control found only in certain vintage synths.

Add to this a 4 octave ribbon controller and ergonomically designed pitch and mod wheels and you have expression and control that is not equaled in any other hardware synthesizer on the market.

The new ASM Polytouchr keybed allows not only the standard velocity and aftertouch found on other keybeds but it also supports fully polyphonic aftertouch.

In recent years companies have been trying to find ways to give the keyboard musician more ways to better express themselves. The problem is that their solution is almost never a keyboard, so you have to learn a new technique to play them.

The Polytouch keybed features a high quality, standard sized keys, so you can start playing it instantly.

The tone generation capability is the heart of any synthesizer.

The 3 oscillators allow you to choose from a selection of 219 single cycle waveforms.

Wavemorphing is a feature usually found on synths with preset wave tables. Creating user wavetables is arduous or downright impossible. Unlike most wavetable synths, the oscillators 1 & 2 have our WAVELIST mode.

This mode allows you to pick and choose 8 waves, from the bank of 219, arrange them in the order you want, and then morph from one to another.

Oscillators 1 & 2 are routed into our MUTATORS. The Mutators allow you to modulate, bend and sculpt the sound in new (and old) ways.

Each MUTANT allows you to choose from the following processes:

FM-Linear - for making classic FM sounds. Choose multiple FM sources, including external inputs.

Wavestack- creates 5 copies of the incoming sound and allows you to set a detune amount.

Hard Sync - This gives you those classic hard sync sounds. Try hard syncing a morphing wavetable for some fun.

Pulse Width - This will pulse width modulate ANY input sound.

PW - Squeeze - This is a different form of pulse width mod that creates a smoother sound.

PW-ASM - this mode divides the incoming wave into 8 slices and allows you to set how much pulse width mod will happen in each section.

Harmonic Sweep - this will sweep the harmonics of the incoming sound.

The Mutant's can also generate its own waveforms in both FM and Sync modes so that you do not have use another oscillator....Of course the routing is flexible so you can choose the other oscillators as mod sources if you like.

The 3 Oscillators are fed into a mixer along with the Noise generator and Ring Modulator.

The Mixer allows you to mix levels as well as pan the input source.

There is a balance control that allows you to choose how much signal of each source is routed to filters 1 and 2.

The filters can be set to be parallel or series for ultimate flexibility.

If oscillators and tone generators are the heart of a synthesizer, the filters are the soul.

The Hydrasynth has two filters that can be configured in series or parallel.

The first filter has 11 different filter models, giving you multiple options for tailoring your sound.

The second filter is a 12db per octave has a continuous sweep from Low pass to bandpass to high pass, similar to the way the classic SEM filter worked.

5 DAHDSR Envelopes.

An advanced sound engine needs plenty of modulation sources. Our 6 stage envelopes feature Delay, Attack, Hold, Decay, Sustain and Release stages.

The time settings for the stage can be set in seconds or in time divisions, giving you envelopes that play in
sync to your song.

You can also loop the envelopes to create LFO's whose shape can be voltage controlled in the modulation matrix.

The modulation capabilities on the Hydrasynth are endless.

With 32 user definable modulation routings, you will have plenty of ways to use the 29 modulation sources and 155 modulation destinations.

Almost everything in the synth engine can be a modulation destination including the effects and arpeggiator.

The Modulation matrix points themselves can also become modulation destinations.

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: 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: 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

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: A serious, serious synth. PPG-esque wavetable synthesis with huge 24-voice polyphony, dual analogue filters and four-part multitimbrality. Incredible sound, incredible versatility.

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

Each of its 3 oscillators per voice can be:

A classic PPG-era wavetable
A high-resolution complex wavetable
An analogue-modelled waveform
Create up to 64 custom wavetables of your own using the built-in Wavemaker. With 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

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 effect.

Each stereo part has independent panning, volume, and a dedicated stereo physical output.

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 & params

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.

Specs

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

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 mode and chord mode with variable voice count

1 Analogue Low-pass Filter

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

1 State-Variable Filter

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

Wavemaker 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
Imports Serum wavetables

Sequencer: Performs both Note and Parameter Sequencing

4 parts per sequence
24 sequences per preset
Up to 32 measures per sequence
Variable quantization resolution per sequence (32nd, 16th, 8th, quarter, half, whole note, or quantization off), that is settable in real time
Variable swing

Arpeggiator: 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)
Audio Input can also route audio through the filters, output chain, and effects
Sustain/footswitch input
Volume pedal input
Expression pedal input

Power

1 universal IEC AC power inlet for internal power supply
Operates worldwide on voltages between 100-240v, 50-60 Hz, 65 watts maximum power consumption

Dimensions

Shipping Box Dimensions: 44 x 20 x 13 inches, 35 lbs
Synth Dimensions: 38.5 x 14.25 x 5 inches, 27 lbs

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 Analog 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 likingithe choice is yours!

Two Precision Analog 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) i 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
14" Stereo Headphone jack.
14" Balanced Output Jack.
14" Balanced Input routed to a slider and output on the main panel for patching anywhere into Cascadia.
14" 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 our 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 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 i Learnable and assignable to any CC or Channel Pressure
MIDI LFO i Multimode LFO synced with MIDI or Tap Clock
MIDI CLK i 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. We've included 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, we have additional options for swapping the wooden cheeks for metal side cheeks or a rackmount kit with a storage trayigreat for an effects pedal or patch cables.

Specs
In the Box Cascadia Semi-modular Synthesizer
14 Patch cables i 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), center-pin-positive.

Notes: Like a greatest hits of recent Analogue Solutions synths, the Ample combines sound elements from the Fusebox with jack patch points, a patch pin matrix, plus sequencer and CV touch pads from the Generator, creating something new and unique.

Supplier's Notes:
Ample combines the best elements of several of Analogue Solutions' recent products.

The sound elements of Fusebox
Jack patch points of Concussor Eurorack
Patch pin matrix of Vostok
Echo from Dr Strangelove
Sequencer and CV touch pads of Generator

It shares all this yet still has its own sound!

Ample can be as complex or as simple as you want it to be

This synth has been given a large and diverse number of controls, that along side the patch sockets, will give even the best and experienced synthesist endless possibilities.

This synth presents the controls in a user friendly and familiar synth layout that, together with this manual and other resources, enable even the new guy to get great sounds.

Synth - Percussion - Audio Processor

Ample is a compact analogue synthesizer. Analogue - as in really analogue. Aside from the MIDI chip (which has to be digital), everything else is totally analogue using real transistors and op-amps. There are no CPU stabilised and quantised circuits, no DCOs, no digital LFOs and no digital EGs, as found on other so called analogue synths. The circuitry is based on designs dating back to the mid-1970s. So Ample has a genuine old sound.

Circuits included

3x Analogue Oscillators

There are three analogue VCOs - each providing a wealth of features and modulation choices. VCO3 can easily be utilised as a LFO.

2x Analogue Low Frequency Oscillator

LFO2(/Sync) has a triangle wave output. VCO3 can be used as an LFO and has Saw, Triangle and Square wave modulation signals.

Analogue Filter

Ample uses a four pole 24bB per octave low pass filter.

Analogue Amplifier

The VCA can be set to THRU so it is always 'open'. This allows Ample to be used as an effects processor.

2x Analogue Envelopes

There are two EGs - each having full control over ATTACK, DECAY, SUSTAIN, and RELEASE.

Modulation

Great thought has been placed into modulation route choices, allowing a wide range of sounds to be produced, including percussion and 'modular' sounds further extended by patching with the jack sockets and pin matrix.

MIDI

MIDI is intentionally kept simple - so you can concentrate on making new sounds and making music - not getting tied up with SYSEX programming.

You get the all important control over filter cut-off using MIDI Velocity.

Patchable External CV Control Sockets

Ample has many input and output audio and CV sockets - to allow the synth to be effectively re-wired to make new sounds.

The sockets also enable it to be easily used with Eurorack and other modular systems. They can be patched together.

Sequencer

Ample has a vintage style 16 step sequencer.

Touch Keys

There are 6 touch keys that each output a set voltage. Use this to play the pitch or as modulation signals. A great tool for inspiration!

Pin Matrix

A neat way to patch the synth.

Echo

Nice lo-fi echo / delay.

Notes: Melbourne's hybrid synth combines analogue circuits with wavetable options, all controlled by motorised knobs. A beautiful flagship instrument with lush sound and features to back up its unique interface.

Supplier's Notes:
NINA combines the tactile and sonic qualities of classic analogue synths with modern functionality, patch recall and automation.

NINA: 12 Voice Analog Polysynth
4 part Multi-timbral
Motorized, recallable, automatable, assignable, and robust high resolution control panel
Unlimited & quick to edit Modulation Matrix
3 Oscillators per voice. 2 Analog VCOs, 1 Digital Wavetable.
Patch morphing
Onboard effects

NINA Specifications

Oscillators

3 Oscillators per voice. 2 Analog VCOs, 1 Digital Wavetable.
Oscillator 1 & 2 with waveforms morphable between triangle to sawtooth and PWM square-wave.
Sub octave mode for VCO 1 square wave.
Hard Sync Oscillator 2 from VCO 1.
Fine & Course tune control with up to 8 octave range.
96kHz 24bit Wavetable Oscillator Resolution.
User loadable Wavetables.
Selectable Fuzz & Noise sources - Pink, White, Oscillator 1 & 2 XOR (Fuzz).
LFO with selectable shapes, through-zero modulatable rate & level controls.

VCF
Classic 4 pole transistor ladder VCF
Modulatable resonance, available as a matrix destination.
Extremely over-drivable, or perfectly smooth low noise modes.
Dedicated control for Envelope to Cutoff modulation amount.

VCA
Traditional ADSR envelope with ultra-fast slopes possible.
Melbourne Instruments designed four-quadrant (through zero) VCA.
Stereo: 2 VCAs per voice.
Infinite panning.

Unison polyphony
Play up to 12 voices in unison or polyphonically.
Mono Triggered and Legato modes.
Selectable polyphonic panning schemes

Modulation
Extensive modulation matrix. 16 sources to 27 destinations. No bus count limitation.
Morphable modulation settings.
Quick to edit MOD mode. Select a source and dial in amounts instantly on control panel.
All MOD amounts are through zero (bipolar)

Patch morphing

Morph between patches to create new timbres.
Morph entire patch including Modulation Matrix.

ADSR envelope generators

2 x ADSR envelopes available as mod sources
Modulate Attack, Decay, Sustain, Release, and Level using velocity or any other mod source

Multi-timbral layers

Up to 4 layers for 4 Timbres controllable via MIDI channel and note ranges
User selectable number of assigned voices per layer
Optional linked note ranges across layers for quick keyboard splits & layering

Effects

Upgradable VST3 effects algorithms built on an Open Source architecture.
96kHz 24bit resolution
Parallel or Series mix modes. Parallel mode retains analogue sound.

Sequencer

Up to 16 Step Polyphonic
Adjustable note value
Hold mode
Send Sequencer to Arpeggiator
Tempo sync from external source

Computer

Hackable Open Source software built on a powerful Raspberry Pi 4 running Elk Audio OS.

Connectivity

Audio Out
4 assignable line level outputs.
Stereo main outputs with effects.
Aux outputs (3 & 4).
Headphone output.

Audio In
3 TRS Balanced Line or CV Inputs.
1 TRS/XLR Combo. Mic for line/CV input.
CV +/-10V max. Analog gain and offset trim.

Physical

Weight: 5.5kg (12.1lb)
Dimensions (length x width x depth): 446mm x 230mm x 71mm.
Solid metal construction.
19" rack mount ears available.

Notes: The most accessible route into Moog's semi-modular synths. Subharmonicon polyrythmic synth and DFAM percussion synth, plus accessories, mixer, cables and everything else you need to get started.

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

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

Moog's Subharmonicon and DFAM synthesizers are a magical combination. Subharmonicon is a rich sonic kaleidoscope of 6-tone subharmonic chord shapes and polyrhythmic sequences, while DFAM presents an inspiring new approach to drum synthesis and rhythmic pattern creation. While each instrument is uniquely powerful alone, pairing the two together creates an experience that is greater than the sum of its parts. Patch them together to create new sounds, unlock novel behaviors, synchronize patterns, and explore endless sonic possibilities.

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

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

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

WHAT'S IN THE BOX?

Subharmonicon
Subharmonicon is a semi-modular polyrhythmic analog synthesizer that employs a 6-tone sound engine and multi-layered clock generator to explore the world of subharmonics, polyrhythms, and the unique relationships they create. Subharmonicon Excels at: Unique subharmonic chord shapes and intricate polyrhythmic sequencing.

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

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

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

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

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

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

Notes: The Synthrotek Bi-Translator is a new mini 44HP synthesizer system available as a completely built and calibrated system or as a do-it-yourself-kit. This versatile a system lets your translate your artistic voice bi-coastally and really anywhere in between.

The Translator’s powerful multi-waveform sound generation starts with the two fully analog VCO modules. Paired with the two channels of the Low Pass Gate Module, the VCOs can operate as two independent voices or can be used together for deep complex modulation.

ADSR envelope generation is produced by the aptly named ADSR module which is a powerful-for-its-size 4HP module that produces the heartbeat functions and LFOs.
The RND module is compact power station of variable random voltages, setting time signatures and esoteric timing anomalies.

The Sequence 8 is provides simple to complex sequencing when combined with the RND and other control voltage producing variables.
The Bi-Translator System 44 takes on the best features of West Coast synthesis with its insistence on organic percussion. This takes shape in the advent of the precisely crafted Synthrotek Dual Low Pass Gate Module, the LPG. Ear and hand selected vactrols provide organic earth-toned sonic variations from paleo hand drums to skin stringed instruments and beyond to cathedral bells.

Expansive and unique signal processing is provided by the DLY delay module. The DLY, like its predecessor the ECHO, takes full potential of its digital and analog topography by pushing the edges of what delay can do. The DLY performs 50s-era slap back, traditional repeats and even caustic post-industrial clock degeneration.

The 1U Stereo Output Mixer allows for internal signal mixing but also doubles as a performance mixer that allows you to incorporate other electronic music gear into your set.

Modules:
ADSR
DLY: Delay Module
LPG: Low Pass Gate
RND: Random Module
Sequenece 8
VCO (x 2)
1U UniBuffer
1U Stereo Output Mixer

Notes: Housed in Synthrotek's Power Lunch, the MST Mono Voice System is a powerful analog monophonic FULLY modular synthesizer.

Includes a power brick.

The MST Mono Voice is powered by Synthrotek's Case Power Mini Yellow, which has the following amperage specs: +12v @1A; -12v @ 0.5A; +5v @ 1.5A

Modules:
MST MIDI to CV Converter
MST VC LFO
MST VCO
MST Dual Envelope
MST Low Pass Filter
MST Dual VCA
1U UniBuffer
1U Stereo Output Mixer

Notes: The world's smallest modular synth. Serious options in a compact setup via a carefully chosen selection of Erica's tiny Pico modules: sequencing, synths, drums, effects and more.

Supplier's Notes:
Erica Synths Pico System II is the world's smallest modular synthesizer.

In its functionality this system is as good as the Pico System I, however, as there have been several additions to the Pico Series, for example, the significant Pico Voice, we decided to upgrade the Pico System to make it even more multifarious. There are two new modules in the system: the Pico Voice - a sound source, which gives quite a big timbral diversity, and the Pico Modulator, which replaces the Pico EG and the Pico VCA. That gives us a 3HP free space which we have filled with one more Pico A MIX for more handy control of the sound sources in live performances. Pico System II comes with external PSU, Pico Drum Programmer, wrench key and 20 patch cables.

Pico modules included in the system are:

SEQ - powerful 16 step sequencer with 16 pattern memory

VCO - 32 custom waves in 2 banks, great 1V/oct tracking and LFO mode

VOICE - sound source with 8 sound generation algorithms

VCF1 - Polivoks-inspired LP/BP VCF, ideal for acid-like basslines

TRIGG - 4 trigger pattern generator that also serves as a master clock for the system. Web-based pattern designer app allows user to upload own patterns

2xDRUMS - 64 sample player with 3 adjustable parameters and CV control over them. Web-based app and Pico Programmer (included) allows the user to upload their own sound samples

MULTI - buffered audio/CV/clock signal splitter

RND - sine/pulse LFO and random events (random trigger, S&H and noise) generator

MOD - lin/log ASR envelope generator and linear VCA

2xA MIX - 3 input audio mixer

DSP - stereo effects processor with 8 great sounding custom effects

OUTPUT - stereo output module with headphone amplifier


Technical specifications:
Dimensions (WxDxH): 240mmx140mmx80mm
Power supply: universal 110-240VAC - 12VDC adapter
Power consumption 500mA
Mass : 1,35 kg excluding PSU,
1,85 kg with PSU and patch cables

Notes: Erica's brilliant valve-based Fusion modules bundled together into a complete system. Unique sound and features. Includes skiff case, patch cables and everything you need to get started.

Supplier's Notes:
Vacuum tube based eurorack modular synthesizer for sounds of unprecedented pressure.

Erica Synths is one of the few manufacturers that use vacuum tubes in eurorack modules, and those, who are familiar with tube-based modules, know that tubes can push the sound to extremes or turn it deep, saturated and complete.

Erica Synths have come up with three new Fusion series modules - Fusion VCF3, Fusion Modulator (already available) and Fusion VCA/Waveshaper/Ringmodulator - to create the Erica Synths Fusion System II - a modular synthesiser for sounds of unprecedented pressure, unconventional modulations and creativity-inspiring patching. A 104HP system has 63 patchpoints for extensive experiments in sound design, all analogue signal and CV path; it's a system for those, who take sound design seriously.

Fusion System II includes:

Two Fusion VCO2s - fully analogue sound source with three simultaneously available waveforms, transistor-based suboscillator and detune function - two BBD delay lines that make frequency shifter that is mixed back to the principal oscillator in order to emulate two detuned VCOs. Tube crunch - distinct tube overdrive - is added on the top of the mix.

Fusion VCF3 - resonant 24dB/oct lowpass filter of unique design that combines vacuum tubes and vactrols, providing distinct, soft filtering. For more versatility a CV recorder, that records motion of the potentiometer, is incorporated in the module, so you can design advanced modulation patterns.

Fusion Modulator - complex, all analogue CV source that consists of several blocks - two EMS Synthi functionality inspired looping envelope generators with simultaneous unipolar (0V-10V) and bipolar (-5V-+5V), VCA, Noise generator and Sample&Hold.

Fusion VCA/Waveshaper/Ringmodulator - a modulation source based on two miniature pentodes that operates as VCA, waveshaper and ringmodulator. With two CVs applied simultaneously to different stages of the VCA, audio rate modulations, using ringmodulator as a waveshaper it becomes surprisingly versatile sound shaping module.

Fusion Delay/Flanger/Vintage Ensemble - a distinct multifunctional analogue effects module that combines BBD chip based effects with an adjustable tube overdrive in the delay output and a feedback path for extra thickness of the sound.

104HP One Row Skiff case (with or without a lid)

20 patch cables

Notes: The Next Evolution of the Prophet:
The Prophet X is a potent fusion of samples-plus-synthesis and is Sequential's most ground-breaking evolution of the Prophet yet. At its heart, it's a bi-timbral, 8-voice-stereo (16-voice mono) synth with a newly developed sound engine that powers two simultaneous 16-bit, 48kHz sample-based instruments plus two high-resolution digital oscillators - all processed through analogue filters. With 150 GB of internal samples from acclaimed sound developers 8Dio, and all of the powerful synthesis tools you've come to expect from Sequential, the Prophet X has a musical voice uniquely its own.

Sample Engine:
On the sample side of things, the Prophet X provides two independent, stereo, digitally sampled instruments per voice (4 in Stack or Split mode). The 150 GB of internal sample content was created by 8Dio, known for pioneering "deep sampling." You'll find a diverse collection of acoustic and electronic instruments as well as plenty of edgy ambient and cinematic effects. You can shape the samples through loop manipulation, sample stretching, and the Prophet X's sound-sculpting modulation functions. Each sample instrument has its own Tone control for high-pass or low-pass filtering. Fifty gigabytes of additional internal storage is dedicated to importing external sample libraries. Support for user-created samples is planned for December 2018. Add-on sample packs are available from 8Dio on product release.

Synth Engine:
On the synth side, the Prophet X gives you the power of a classic Prophet, with two high-resolution digital oscillators that feature both classic waveshapes and a supersaw for more timbral possibilities. Using the Shape Mod control, you can manually dial in a desired waveshape width for any of the classic sine, sawtooth, or pulse waves, or use an LFO or other mod source for continuously shifting timbre. You can shape the raw sounds with all of the classic synthesis functions you'd expect, including 4 syncable LFOs with slew and phase offset, 4 loopable five-stage envelope generators, and a 16-slot mod matrix with dozens of modulation sources and destinations.

Stereo Filters for Depth and Impact:
At the heart of the Prophet X's powerful sound are its new, 24 dB-per-octave resonant low-pass filters, which are based on a vintage design. There are separate filters in the left and right channels for a true stereo signal path. These add exceptional presence and fullness to both the samples and the oscillators. For additional polyphony, you can switch the Prophet X from 8-voice stereo mode to 16-voice mono mode, which is useful for stacks and splits.

Poly Step Sequencing:
The polyphonic step sequencer provides up to 64 steps and up to 6 notes per step. You can create a different sequence for each layer if working in stacked or split voice mode, making it a powerful tool for composition or performance. Sequences can have ties and rests, and can sync to an external MIDI clock. The arpeggiator features note repeats, re-latching, and can be synced to external MIDI clock, as well.

Two Effects per Layer:
A dual effects engine provides multiple reverbs, 2 delays (standard and BBD), chorus, phase shifter, flanger, vintage rotating speaker, high-pass filter, and distortion. In stacked or split voice mode, you can apply two different effects to each layer. Effects parameters can be modulated through the mod matrix.

Road-worthy and Studio-ready:
With loads of sonic firepower and personality, a five-octave, premium-quality, semi-weighted keyboard with velocity and channel aftertouch, an integrated power supply, MIDI USB support, and three crisp OLED displays, the Prophet X fits into any music rig or gig - in the studio or on the road.

Notes: Amazing flagship synth from the legendary Waldorf. Seriously powerful multitimbral virtual analogue monster. The designers reckon it's one of the most powerful synths ever built. We're not going to argue.

Supplier's notes:
Kyra is a powerful, hardware virtual analogue synthesizer capable of creating a wide range of contemporary sounds for live and studio musicians.

From first glance it is patently obvious that Kyra is a beautifully-designed desktop VA Synthesizer - as the wording elegantly emblazoned on its eye-catching front fascia subtly states. As a truly multitimbral instrument it features eight independent 'parts' with up to 32 notes per PART, each effectively being a complete synthesizer with sound sources (OSC GROUP 1, OSC GROUP 2, SUB 1, and SUB 2); FILTERS; modulators (EGs, LFOs, and MOD MATRIX); multi-effects unit (EFFECTS); and a USB 2.0 connection - can exchange MIDI (Musical Instrument Digital Interface) information, as well as send the audio from each stereo PART to a computer as eight stereo 24-bit streams at 96kHz (with 48kHz downsample mode available) and one stereo audio return from the computer supporting a single 24-bit stereo audio stream from the host DAW (Digital Audio Workstation). With that being said, the only other resource they share are the four balanced, stereo output pairs - OUT A (Right and Left), OUT B (Right and Left), OUT C (Right and Left), and OUT B (Right and Left) - using 32-bit DAC (Digital-to-Analogue Conversion) running at 96kHz sampling rate connected to four internal stereo busses and that powerful pool of 128 hardware voices.

Patches:
Better still, each PART hosts a Patch from the pool available to the system. Speaking of which, Kyra has a generous Patch storage capacity of 26 banks - A through to Z, each containing 128 patches. That's a total of 3,328! The first seven banks are 'user' patches stored in RAM (Random Access Memory), meaning users can change them quickly and individually using the Store sequence. The remaining 19 banks are ROM (Read-Only Memory) patches that users can recall and use just like RAM patches but cannot be replaced using the Store sequence. It is, however, perfectly possible to freely copy whole banks between RAM and ROM, so all are user- programmable. And any Patch can be recalled via MIDI program changes and Bank select commands.

Oscillators:
As a sensational synthesizer with a spectacular specification, Kyra has two primary virtual alias-free oscillator groups (OSC GROUP 1 and OSC GROUP 2) per voice, each with Saw (sawtooth); Wave (waveform) - with no fewer than 4,096 18-bit linear PCM (Pulse Code Modulation) 32x oversampled waveforms covering a huge range of synthetic and emulated sound sources with two wave sources per voice; Pulse; and noise simultaneously available. Also OSC GROUP 1 and OSC GROUP 2 each has an independent detune-able oscillator - SUB 1 and SUB 2 - with four selectable shapes and two selectable (Octave) pitches. Real Hard Sync, ring modulation, and FM (Frequency Modulation) are available between those oscillator groups.

Filter:
Successfully synthesizing sound is inextricably linked with flexible filtering. Fortunately for discerning users, Kyra's FILTERS front panel perfectly positions powerful control, creatively implementing accurate emulations of classic analogue ladder filters with 2-pole (12dB/octave) low pass (12dB LP), band pass (12dB BP), and high pass (12dB HP), plus 4-pole (24dB/octave) low pass (24dB LP), band pass (24dB BP), and high pass (24dB HP) configurations. Creatively, 128 filters are configurable for single or dual parallel (Dual Filter) true stereo operation.

Envelope and LFOs:
Onwards and upwards, three fast-response ADSR (Attack, Decay, Sustain, Release) envelope generators with EG Slope setting are also at hand. Helpfully, one is assigned to the VCA (Voltage Controlled Amplifier), another to the filter, while the third can be freely assigned. All are available in the MOD MATRIX (modulation matrix), itself being a six-channel affair with up to three destinations per channel giving a maximum of 18 routings. It is also worth noting that the three LFOs (Low Frequency Oscillators) - with 128 waveforms, monophonic, polyphonic, random, anti-phase, and quadrature stereo phase settings - are also available in the MOD MATRIX and additionally as a MIDI clock sync source.

Arpeggiator:
Creativity continues courtesy of an arpeggiator (ARP) on each PART with 128 preset patterns; Up, Down, Random, and Chords modes; and an ability to synchronise to MIDI clock. Arpeggiators are aimed at live performance, primarily, but can clearly complement composition. Kyra's ARP is an integral part of a Patch, so settings are always stored.

Notes: Subsequent 25 is a 2-note paraphonic analog synthesizer that melds the hands-on analog soul of classic Moog instruments with the convenience and workflow of a modern sound-design machine. Moog's most compact keyboard synthesizer, the Subsequent 25 delivers all of the rich sonic density that Moog synthesizers are known for.

Attain instant gratification with immediate access to expertly programmed preset patches that will have you creating right away, then explore the knob-per-function front panel to create something completely unique. Set yourself apart by designing your own library of signature analog sounds then save and recall an infinite number of patches with the free Subsequent 25 Editor/Librarian Software.

Dial-up ground-shaking analog bass by stacking all 3 Oscillators in Unison Mode, or engage the new Duo Mode to split Oscillators 1 & 2, opening new doors of musicality by playing 2 different notes at once. Trigger the Subsequent 25's analog sound engine any way you like - by integrating with other voltage controlled analog gear via 4 onboard CV inputs, by interfacing with your favorite DAW using DIN & USB MIDI, or go fully manual with the ultra playable fast-action keybed.

Subsequent 25's analog filter section contains the transformative Multidrive circuit, a unique combination of OTA distortion and FET drive - a key sparkplug for the compact synthesizer's powerful sound. Through the creative use of the Mixer Section (with expanded headroom), Ladder Filter, and Multidrive circuit, a wide range of classic analog colors and aggressive modern tones can be achieved.

Designed for portability, Subsequent 25 is the most agile full-size Moog synthesizer, equally reliable moving from stage to studio and every stop in between. Subsequent 25's compact footprint fits into any situation and won't overtake your studio desk - yet still fills any room with powerful synth bass, dynamic analog percussion, and harmonic-rich leads.

Balancing classic analog sound design with seamless integration into modern digital workflows and DAW environments, the Subsequent 25 features a full MIDI implementation, allowing MIDI automation and recall of all front panel and under-the-hood synthesis parameters.

Subsequent 25 is a versatile new instrument for unique sonic expression and realizing artistic vision. With its streamlined interface and dynamic sound design flexibility, this dynamic synthesizer fuses a revolutionary connection between human and machine, opening portals to new musical experiences.

SPECIFICATIONS
SOUND ENGINE TYPE
Analog (2 x Oscillators, 1 x Sub Oscillator, 1 x Noise Generator)
NUMBER OF KEYS
25
TYPE OF KEYS
Semi-weighted, Velocity-sensitive
OTHER CONTROLLERS
Pitchbend, Mod Wheel
POLYPHONY
Monophonic, 2-Note Paraphonic

Notes: Beautiful complete modular system from Berlin-based Audiophile Circuits League. Based around two contrasting VCOs and a ladder filter, but with massive depth beyond the basics.

Supplier notes:
With System II Audiophile Circuits League presents a powerful modular Synthesizer with two full-featured Oscillators and an extremely musical Lowpass filter. Based on the Multifunction Discrete VCO and the Variable Sync VCO, System II serves with an unbelievably vast sound spectrum, from thick basses to aggressive Leads. The new VC Dual Amp provides a crystal clear sound, which can be perfectly integrated in the studio thanks to the high quality Audio Interface.

System II is a beautiful compact system, suitable for all situations.

System 2 is a modular instrument built entirely from ACL components. The search for a microcomputer in this system would be in vain because all modules are analog and for the most part discrete.

The whole thing comes in a metal case with oak side panels. A KAZU power supply is also included. - However, not as a module, but discreetly installed inside. This leaves four partial units for personal additions. The KAZU power supply is characterized by minimal interference and voltage peaks. The same applies to the built-in EVE 1 bus board. The result: extremely clear high-end sound.

Included modules:
Multifunction Discrete VCO
2 x Oktave
Variable Sync VCO
Discrete Core Ladder VCF
Gate Mix
2 x Multi II
Envelope X3
2 x QLFO
2 x VC Dual Amp
Audio Interface
EVZ1-Gehause 6U 84TE (incl. Kazu PSU, EVE1 Busboard, AC Adapter 15V - 3.34 A)

Notes: Latest incarnation of Buchla's legendary modular synth. Massively creative with incredible sound and history stretching all the way back to the 1960s.

Supplier notes:
The evolution of the legendary modular analog synthesizer by Don Buchla. The Buchla Easel Command is the newly updated 208C in a standalone desktop form with MIDI and CV control.

Buchla's own Joel Davel led the charge to create a new version of the legendary Music Easel instrument with more modular flexibility and independence, while also providing the means to easily interface with more devices, such as the various DAWs like Ableton and MIDI controllers, including the very expressive Sensel Morph. It's still fully analog in its default configuration and provides the unique and exquisite Buchla experience with greater functionality at a lower cost.

Notes: Wow! Stunning analogue polysynth inspired by the classic early 80s Elka Synthex, renowned for amazing strings and pads. Painstakingly developed by the company behind the Deckard's Dream. Beautiful.

Supplier's notes:
Xerxes is an eight-voice polyphonic analog Synthesizer that features two discrete logic DCO's per voice. Each DCO section offers four waveforms (triangle, saw, square, pulse), octave switch, transpose, oscillator PWM, PAM, ring mod, pulse width, and a volume knob. It offers an analog multimode filter (HP/BP/LP) as well as two LFO's and 2 ADSR envelopes. Furthermore there is an analog BBD stereo chorus.

The synth is heavily inspired by the well-known Elka Synthex Synthesizer from the past but it is not a replica. It's a completely new development that has many modern and clever new features. The interface was not taken from the vintage Synthex but is also heavily inspired without cloning it.

Notes: Updated and improved version of one of the best synths on the market. Incredible eight-voice analogue powerhouse based on the legendary Yamaha CS-80. "All those moments will be lost in time..."

Supplier's Notes:
Deckard's Dream, or DDRM, features eight voices, each with two identical layered parts consisting of a 100% analog voltage controlled oscillator made with discrete waveshapers, analog lowpass and highpass filter (each with their own cutoff and resonance settings,) noise generator, unique multi-segment filter envelope, and VCA + ADSR envelope. Each layer also features its own independent programming section for MPE-based velocity and polyphonic aftertouch control of its filter cutoff and amplifier settings.

DDRM's performance section features global pitch control with coarse & fine-tuning sliders, layer 2 detune slider, independent keyboard range control for each layer, mix balancing between layer 1 and layer 2, global filter cutoff and resonance offsets, and a global LFO to control both layers' filter/pitch/amplifiers simultaneously.

DDRM was created with full expressive performance control in mind, and boasts programming sections for global MPE-based control over LFO parameters + pitch bend, as well as global key tracking control over the filter and amplifier settings of both layers. Finally, there is a global portamento/glissando slider affecting both layers simultaneously. The level of expressive control these parameters give over a performance is something found in very few synthesizers, and the result are stunning!

DDRM features full MIDI control and the ability to store 128 presets per bank across 10 banks, integrating this classic synth concept seamlessly into the future of your modern studio needs.

Deckard's Dream MK2 delivers everything the previous versions of DDRM in a new thin and light tabletop format with wood sides or rack-ears (both included). It also brings additional controls over Sustain modes and time.

Notes: Long-awaited analogue monster from Japan's Black Corporation, inspired by the rare RSF Polykobol II keyboard. Raw synth power with eight-voice analogue-based architecture. Stunning.

Supplier notes:
The unique architecture of KIJIMI features smoothly variable waveforms on each fully analog oscillator, a rich SSI2144 lowpass filter, and a wealth of deeply programmable modulators, making it one of the most powerful polyphonic analog synthesizers ever made.

KIJIMI features eight voices, each with two oscillators + one suboscillator, a lowpass filter, VCA, 6 envelopes, and 16 LFOs. A deeply programmable modulation matrix along with velocity and polyphonic aftertouch route these modulators into a variety of destinations to create anything from subtle movements in bass lines to complex, organically evolving soundscapes. Polyphonic aftertouch introduces another level of touch- controlled modulation independent to each voice, making KIJIMI a truly powerful performance tool.

Variable wave shaping of its analog oscillators is a feature unique to KIJIMI's synthesizer design. Rather than selecting a single waveform KIJIMI offers a range of waveforms from Triangle through Saw to Pulse waves, passing smoothly through every shape in between. Using modulation sources to control the oscillator waveform brings a new dimension to the sound sculpting process. Each oscillator can be modulated independently, detuned in semitone intervals and synced to each other, VCO2 can even be used to FM VCO and filter, bringing rich harmonic content to the initial tone.

KIJIMI's SSI2144-based lowpass filter is an updated version of a legendary design found in some of the most powerful analog synthesizers throughout history. Apart from being a gorgeous, rich lowpass filter for typical duties, a powerful feature found in the KIJIMI is the ability to FM the filter via VCO2, resulting in sounds ranging from atonal clangorous FX to aggressive vocal-sounding formants. The filter cutoff and resonance can be independently modulated, providing a filter section, which is far more complex than most analogue polyphonic synthesizers.

KIJIMI's two envelopes are set up in typical ADSR mode by default, but a CYCLE button can be switched on to enter a cycling trapezoidal mode reminiscent of the function generator found in the EMS Synthi. In this mode, the 4 parameters are instead used to control Rise, Time On, Fall, and Time Off, resulting in a uniquely controllable cyclic function. Each envelope also features 3 switchable speed modes ranging from fast, medium, or slow.

By default, KIJIMI features two powerful LFOs - Each with many selectable waveforms, rate, and a dedicated A/D envelope for modulating its rate on each new trigger. This means that each LFO can have its speed modulated on each new note independently of any other modulators across the synthesizer.

The modulation matrix in KIJIMI is what makes this instrument truly special: 8 destinations for each LFO, and 4 destinations for ADSR2, each with its own button to switch between Unipolar (+/-) or Bipolar modulation. Furthermore, the new firmware introduces the ability to assign different LFO settings (rate, waveform, EG and depth) to EACH individual destination. Below the Modulation Matrix are the performance modulators: Velocity and MPE- based polyphonic aftertouch which can be routed to 6 simultaneous destinations, each with its own bipolar level setting. With the ability to control filter, VCA, pitchbend, sub oscillator level, and 2 LFOs each modulating up to 8 destinations independently on each voice through your aftertouch performance, the expressive possibilities are truly limitless.

KIJIMI features full MIDI control and 10 preset banks with 128 slots including a Factory Bank and 9 user banks for storing and recalling settings.

Notes: The Shuttle System is a versatile modular setup, capable of generating classical as well as experimental sounds. It comes with a cover and adhesive strip for protecting the system from dust and to carry it around.

The synthesiser is composed of two Buchla style oscillators plus Waveshaper, two function generators, which can be used as envelopes, LFOs or additional VCOs, two filters respectively low pass gates with eight modes of operation and an effects processor.

Furthermore, a mono/stereo mixer with inserts and ducking compressor, utility circuits and a tune section are included. To control all those components, the instrument features an extensively equipped MIDI CV interface. Consequently, the Shuttle System is able to create an extremely wide range of high quality sounds.

The following modules are included in the Shuttle System:

Endorphin.es Cockpit:
The Cockpit is a performance mixer with 4 stereo channels, two channels of send and return to use iOS devices for signal processing (via a 4-pin TRRS cable) and also comes with an integrated compressor with sidechain input.

Endorphin.es Furthrrrr Generator:
The Furthrrrr Generator is a complex, completely analog oscillator inspired by the Buchla 259.

Endorphin.es Gateway:
Gateway is an expander for Endorhin.es Terminal which expands the envelope possibilities, with an integrated autotune-function for VCOs.

Endorphin.es Grand Terminal:
The Grand Terminal is a digital multipurpose module. Its two function generators can be used as envelopes, LFOs or VCOs. The 2 filter channels individually offer 8 modes of operation, and combined with its mixing and routing capabilities and a multi effects unit, it is not only a complete back end of a synth voice, but can also be used as a synthesiser voice, stereo filter bank or general purpose sound effects processor.

Endorphin.es Shuttle Control:
Shuttle Control is a freely configurable converter from USB-MIDI to CV/gate/clock with16 outputs. Use the USB sockets to connect a USB keyboard and the "to device" micro USB connector to hook up a tablet or PC/Mac with controller software which doesn't have to be capable of MIDI. Furthermore it can be used as power supply and distribution and internal MIDI/CV-bus for a small modular system.

Decksaver for Shuttle System:
- Closes patched
- Fits any screws
- Fits any Frap Tools 2x Plus (84 hp) cases with customs Shuttle sides (available as a kit as well)
- Secured with adhesive strip

Notes: One of our favourite instruments: hugely creative digital synth, sequencer, sampler, multi-track recorder and effects unit. Inspiration in a box. A true modern classic. Check out our full review.

Supplier's notes:
The OP-1 from Teenage Engineering is a high-end portable synthesiser, with the power and functions of a professional studio. The OP-1 also acts as a sampler and controller, with a fast, simple interface. Whether you're in a home, project or professional studio, the OP-1 delivers power and performance every time.

The OP1 from Teenage Engineering grabs your attention, with its simplistic layout and colour coded interface. The OP1 is also a portable, compact, hand-held synthesiser. The power of the OP-1 lies in the features; 8 built-in synthesiser engines, multiple effects, LFO's and unique sequencers all inside the OP-1. The OP1 has a built-in 4-track recorder and lets you match the track speed to the sequencer clock. Change the speed while recording and you can even record backwards. Mix your track using the using the 4-channel mixer and add some texture with the built in EQ and Drive.

The OP-1 is easy to connect to your computer via USB, just plug and play. No additional software or drivers required. The OP-1 shows up as a mass storage device. Ready for you to drag and drop audio files between your computer and the OP-1. Additional features include G-Force sensor for motion-controlled effects and FM Radio.

Do not worry about mains power, the OP-1 has a 16-hour battery life for long journeys and studio sessions. The colour coded interface and graphics make the functions easy to identify, while the sharp, easy to ready OLED display is directly related to the four colour rotary encoders and the legend on the keyboard.

To continue Teenage Engineering's ten year celebration of the OP-1, here is another free update (July 2021):

OP-1 is now capable of streaming audio over USB. In effect, this means that every OP-1 owner just got a new portable USB sound card. enjoy!

Streaming USB Audio

With update #243, every OP-1 is now capable of streaming stereo audio over USB. This means that you can now sample and record to OP-1 directly from any USB audio host, as well as get OP-1 audio straight into your favourite DAW, in effect replacing the need for an external sound card. It works with both PC and Mac, as well as with iOS and Android, and has been made possible by adapting and using the knowledge from OP-Z. the update also includes a range of bug fixes and stability improvements.

Here's some of the update highlights:

Added USB audio device in & out
External tempo sync stability improved
When tape is armed and OP-1 receives a play command, recording now starts

How to update: visit https://teenage.engineering/downloads/op-1 and follow the steps to update your OP-1.

Notes: Moog Matriarch is a patchable 4-note paraphonic analog synthesizer with a built-in Sequencer, Arpeggiator, stereo Ladder Filters, and stereo Analog Delay. Create rich evolving chord patterns immediately with "no patching required", then tap into an abundance of inspiring textures, new sounds, and an endless supply of happy accidents through Matriarch's 90 modular patch points. Based on the vintage circuitry of classic Moog synthesizer modules, Matriarch is a catalyst for creative ideas and a medium for multidimensional expression.

Matriarch is an analog synthesizer with an emphasis on imagination. The pinnacle of Moog's semi-modular family of synthesizers, Matriarch's patchable architecture and vintage Moog circuits reward open exploration with endless sonic possibilities and unparalleled analog sound.

Easily create rich harmonic shapes with up to 4 notes of paraphony that can be sequenced, saved, and shifted with Matriarch's intuitive 256 step sequencer, or stack the analog VCOs to play on a massive 4 oscillator mono synth.

With a deep assortment of synthesis modules based on Bob Moog's original circuit designs, Matriarch's 100% analog signal path spans a dynamic sonic vocabulary - from overdriven monophonic bass to gently evolving paraphonic plucks that cycle through waveshapes into a wash of infinite delay trails. Coupling the power of vintage stereo ladder filters, dual Envelope Generators, stereo Analog Delays, and stereo VCAs, Matriarch delivers a multidimensional sound that empowers the sonic exploration of space and time.

Though Matriarch's semi-modular design requires absolutely no patching, 90 modular patch points are easily accessible throughout the panel via the included 3.5mm patch cables. This powerful electronic instrument is a highly-versatile addition to any stage or studio that can effortlessly transform from a performance keyboard to a fully modular analog synthesizer at a moment's notice.

In addition to its standalone function, Matriarch is also an ideal processor of external sound sources and a powerful keyboard front-end for expanding a DFAM, Mother-32, Grandmother, or Eurorack modular system.

FEATURES
VOICE MODE
Mono, duo, and 4-note paraphonic playability
ANALOG DELAY
Stereo analog delay w/ up to 700ms of MIDI sync-able stereo or ping/pong style repeats
SEQUENCER
256 step sequencer w/ up to 4 notes per step and 12 stored patterns. Can be decoupled from Matriarch to independently sequence external gear.
ARPEGGIATOR
Arpeggiator with selectable modes (Order, Forward/Backward, Random).
SEMI-MODULAR DESIGN
Semi-modular analog synthesizer - no patching required.
FULL LIST
SPECIFICATIONS
TYPE
Semi-Modular Analog Synthesizer
SOUND ENGINE
100% Analog
NUMBER OF KEYS
49 Full-Size Keys
TYPE OF KEYS
Velocity-sensing with Aftertouch (Velocity and Aftertouch are not hard-wired - available via MIDI, KBD VEL OUT and KB AT OUT jacks)
OTHER CONTROLLERS
Pitch Bend, Mod Wheel, Variable Glide, Expression pedal in to CV out, and Sustain Pedal in
POLYPHONY
Monophonic, 2-Note Paraphonic, and 4-Note Paraphonic

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

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

Notes: Don't let its small size fool you. The Prophet 12 Module boasts the same power and sound as the Prophet 12 Keyboard. Each of the Prophet's twelve voices is composed of a brand new hybrid digital/analog architecture that sounds different than any other DSI line of synths, yet retains the true Prophet vibe. With a humongous twelve voice polyphony, sophisticated architecture, and sleek design, the Prophet 12 is ready to handle any sound in any setting.

The Prophet 12's brand new hybrid voice has a digital front end followed by an all analog signal path output. Each voice has five high resolution digital oscillators, a digital character effects section, a resonant Curtis low-pass filter, a high-pass filter, a tune-able feedback circuit, a four-tap delay line with feedback per line, four loopable five-stage envelope generators, four syncable LFOs with slew and phase offset, a sophisticated arpeggiator, and a sixteen slot modulation matrix with 26 mod sources and 97 modulation destinations. The Prophet 12 Module is packed with a plethora of sonic potential and power!

Frequency and amplitude modulate the oscillators with incredible accuracy. Freely assign oscillators in whatever operator and modulator configurations you choose. You can even assign each of the oscillators to modulate LFOs, envelopes, and filters.

The Prophet 12 Module's streamlined interface invites quick and easy control of every parameter on the synth. Each synth section can be selected at the press of a button with every parameter editable from the crisp OLED display. Easily create modulation assignments using the Assign Mod buttons. Dedicated Low and High Pass Filter potentiometers provide quick and smooth control of the filters.

The Prophet 12 Module has a rugged steel enclosure and is equally at home on your desk, in your rack, or on stage! An extensive MIDI implementation covers every available parameter on the synth and you can easily pair it with your favorite MIDI controller or DAW.

The Prophet 12 is the most cutting edge hybrid synthesizer on the market and defines what a modern polyphonic synthesizer is. Designed and manufactured in San Francisco, the Prophet 12 Module has a glorious combination of form and function in a sturdy, portable and elegant build.

Dave has been a pioneer in the field for 35 years. After creating such greats as the Prophet-5, '08, and VS, this is his favorite Prophet yet!

Notes: This synthesizer will make any desktop proud! The TI Desktop features an all-metal enclosure with a wooden strip on the front. Loads of knobs and buttons give direct access to the most important sound shaping parameters.

This range of instant access hands-on control will delight those who don't like menu diving. Like all other Virus TI synthesizers, a stereo analogue input offers the power to process external signals through the Virus' sound engine.

An optional 19" rack mounting kit is available for purchase.

There are not many modern synthesizers which can claim to have shaped the sound of music -- from electronica to soundtrack -- as much as the Virus line of synthesizers has. The Virus is known as much for its flexibility and powerful sound as for Total Integration, our award winning way to interconnect a hardware synthesizer with your DAW.

The first Virus was released in 1997 and each new iteration has added more features more powerful hardware, and greater musical potential. That evolution explains why the Virus TI series is so sought after and why it receives such praise from owners, press, and fans all over the world.

Artists including Depeche Mode, Madonna, Linkin Park and The Prodigy tour with a Virus-based setup. Producers such as Sasha, Pete Tong, Roger Sanchez and Dr. Dre consider the Virus a core part of their studios. Composers such as Hans Zimmer, James Newton Howard, John Powell and Mark Isham are enthusiastic Virus users, utilising its signature sound for their Hollywood blockbuster soundtracks.

Notes: The Access Virus TI2 Keyboard Synthesizer uses innovative technology to greatly expand the VIRUS Synthesizer, resulting in an advanced stage/standalone instrument, while simultaneously extending the product capabilities with a suite of compelling studio integration features.

The Access Virus TI2 Keyboard include greatly increased polyphony, 2 new oscillator types, a per-patch programmable arpeggiator, 16×2 delay/reverb fx, embedded singles in multi mode and much more.

The Access Virus TI2 Keyboard can link to your computer with "VIRUSControl". A companion software program which ports the hardware synth into a host sequencer, to use as a sample-accurate VST/AU instrument. Simultaneously offering 2-way audio and MIDI connectivity, control surface functionality, editor and librarian functions and more.

Notes: There are not many modern synthesizers which can claim to have shaped the sound of music -- from electronica to soundtrack -- as much as the Virus line of synthesizers has. The Virus is known as much for its flexibility and powerful sound as for Total Integration, our award winning way to interconnect a hardware synthesizer with your DAW.

The first Virus was released in 1997 and each new iteration has added more features more powerful hardware, and greater musical potential. That evolution explains why the Virus TI series is so sought after and why it receives such praise from owners, press, and fans all over the world.

Artists including Depeche Mode, Madonna, Linkin Park and The Prodigy tour with a Virus-based setup. Producers such as Sasha, Pete Tong, Roger Sanchez and Dr. Dre consider the Virus a core part of their studios. Composers such as Hans Zimmer, James Newton Howard, John Powell and Mark Isham are enthusiastic Virus users, utilising its signature sound for their Hollywood blockbuster soundtracks.

The Virus TI line of synthesizers includes 4 different variations: two keyboard models and two desktop versions. The great news is that all of these instruments produce the same award-winning sound. In this way, Access offer you a choice of formats without compromising the most important aspect of any instrument: how well it performs musically.

Designed as the ideal companion to any DJ or project studio, this 37-key model is not only compact but also stunningly beautiful. The side panels are a mix of wood and pure aluminium, while the white LEDs add class and style. The sound engine is exactly that used in the powerful and versatile TI Desktop and Keyboard models.

Even though the Virus is truly multi-talented instrument with great range, you still instantly know it when you hear a it in a production. That's because Access really "get" synthesizer basics: outstanding oscillators, amazing filters and breathtaking effects.

Every part, even in multi-mode, comes with its own chain of independent effects (including reverb and delay). The massive voice count makes it possible to stack even complex sounds for the first time without breaking a sweat.

Notes: There are not many modern synthesizers which can claim to have shaped the sound of music -- from electronica to soundtrack -- as much as the Virus line of synthesizers has. The Virus is known as much for its flexibility and powerful sound as for Total Integration, our award winning way to interconnect a hardware synthesizer with your DAW.

The first Virus was released in 1997 and each new iteration has added more features more powerful hardware, and greater musical potential. That evolution explains why the Virus TI series is so sought after and why it receives such praise from owners, press, and fans all over the world.

Artists including Depeche Mode, Madonna, Linkin Park and The Prodigy tour with a Virus-based setup. Producers such as Sasha, Pete Tong, Roger Sanchez and Dr. Dre consider the Virus a core part of their studios. Composers such as Hans Zimmer, James Newton Howard, John Powell and Mark Isham are enthusiastic Virus users, utilising its signature sound for their Hollywood blockbuster soundtracks.

The Virus TI line of synthesizers includes 4 different variations: two keyboard models and two desktop versions. The great news is that all of these instruments produce the same award-winning sound. In this way, Access offer you a choice of formats without compromising the most important aspect of any instrument: how well it performs musically.

Designed as the ideal companion to any DJ or project studio, this 37-key model is not only compact but also stunningly beautiful. The side panels are a mix of wood and pure aluminium, while the white LEDs add class and style. The sound engine is exactly that used in the powerful and versatile TI Desktop and Keyboard models.

Even though the Virus is truly multi-talented instrument with great range, you still instantly know it when you hear a it in a production. That's because Access really "get" synthesizer basics: outstanding oscillators, amazing filters and breathtaking effects.

Every part, even in multi-mode, comes with its own chain of independent effects (including reverb and delay). The massive voice count makes it possible to stack even complex sounds for the first time without breaking a sweat.

Notes: Eowave's new analogue duophonic ribbon synthesizer.

Eowave are rethinking instruments from the past with smart sensor technology. The result is a new innovative instrument with real analogue oscillators, a duophonic ribbon, 100% compatible with the computer environment with a USB I/O, MIDI I/O and 4 CV out.

Sensor technology now enables to recreate controls like ribbons with a new accuracy and a new duophonic process. The ribbon enables to play glissando like on a Theremin, les Ondes Martenots or a Trautonium. The addition of 1 x oscillator takes all its dimension with the new duophonic ribbon which extends the instrument sonorities spectral to play simple chords, but also enables numberless modulations, e.g. FM of one oscillator on the second one.

The Persephone markII has 2 x analogue oscillators with a waveform from triangle to saw, going from 1Hz to more than 20000Hz. An analogue resonant 12dB low-pass filter inspired from the filters from the 70s-80s enables to shape the sound. With its entire analogue audio signal path, the Persephone markII can generate notes with a continuous variable range up to 10 x octaves to create deep and resonant cello tones on the lowest notes to ultrasonic frequencies on the highest pitches. An optical modulation key will transmit the slightest vibration for expressive modulations.

16 x routing presets enable to select different routing architectures between the sound parameters and the 7 controls available (ribbon pressure, ribbon position1 & 2, key, pedals 1 & 2, LFO) for 8 destinations (lo pitch, hi pitch, filter, VCA lo, VCA hi, filter mod1, filter mod2 and VCA). 8 x presets are fixed and 8 are editable users presets configurable thru a free software. Users routing presets will be stored in the Persephone2 internal memory. This new section significantly increases the instrument control and modulation possibilities.

The A/D conversion is made with Eowave ESS DSP. This process assures a 12 bits resolution (4096 values) conversion for an accurate musical gesture. It's 100% MIDI compatible and uses USB full speed 12 MB/s. This makes the Persephone2 compatible with all MIDI compatible softwares whilst the latency is reduced at less than 1.5ms.

With a complete I/O section featuring 4 x CV outputs, 2 x pedals inputs, MIDI in & out, audio out, USB (MIDI), the Persephone markII can be turned into a powerful and unique controller to control most of your analogue or digital synths.

http://www.youtube.com/watch?feature=player_embedded&v=ROdMInjMtm0
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