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Notes: Sound:
Vintage Keyboard Sound Engine with six incredibly detailed vintage keyboard types.

Each keyboard type matches a carefully chosen Drive and Tremolo setting to provide an incredibly musical pairing.

The six keyboard types are:

- RdI, early '70s tine electric piano

- RdII, late '70s tine electric piano

- Wr, late '60s reed electric piano

- Clv, 70s struck string Clavinet

- Toy, toy piano

- CP, Yamaha CP80 electric grand piano

128-note polyphony ensures dropout-free performance.

Five stomp box-style effects with direct control@
The effect types are:

- Drive (adds harmonics and distortion)

- Tremolo (Auto-Pan for Rd) or VCM Wah with adjustable depth and rate

- Chorus with adjustable depth and speed

- VCM Phaser with adjustable depth and speed

- Digital or Analog-Type Delay with adjustable time and depth

- Reverb with adjustable depth

Control:
- Based on the FS action found on the flagship Motif XF, HQ (High Quality) Mini Keys provide premium feel and response for fast, accurate and natural playing

- Sustain pedal input allows the sustain function for all electric piano sounds

Mobility & Connectivity:
- Speakers

2W 3cm stereo speaker system lets you play any place, any time.

Specially designed bass reflex port technology enhances bass response for full, rich sound.

- USB

USB "TO HOST" allows MIDI connectivity to your USB-equipped computer or iOS device.

- Audio output

Dual 1/4"unbalanced line outputs provide connection to mixers, audio interfaces, DI boxes and more.

- Audio input

A 3.5mm aux line input lets you connect and hear mobile devices, tablets and more through the instrument.

Battery Operation:
- Battery powered - uses six "AA" batteries with five hours of life

Create your Soundmondo. Inspire and be inspired:
Soundmondo is a free sound sharing community that lets you discover, create and share reface Voices and Set Lists using Google Chrome any place, any time you're online.

Powered by Web MIDI, Soundmondo is simple to use - just connect reface to Chrome and you're ready to create or start browsing.

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

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

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

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

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

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

Notes: Streichfett combines the best of the now extinct species of String Synthesizers of the 70s and early 80s. Its dual sound engine features a fully polyphonic strings section and a monophonic solo section, which is essential for recreating how adult movies sounded thirty years ago. The Ensemble Effect handles lubrication of the String Section, while the Effects section adds adjustable Phaser or Reverb. Alternatively, the Effect section can be used to animate the strings registration, allowing spectacular sound morphs.

The Solo Section offset presets named Bass, E-Piano or Clavi, and just like in your typical string machine, the sound has little to do with that name. Instead, these are shimmering and slightly percussive sounds that blend well with the string section.

Although the User Interface is simple and easy to comprehend, it controls a rather complex sound engine which is capable to delivers rich and creamy pads unlike any other instrument.

Twelve patches can be stored and selected in the Memory section, USB and MIDI are of course on board.

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: 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: 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: Beautiful chiptune synth inspired by the RP2A07 sound chip found in the NES games console. Four-voice polysynth with plenty of sound sculpting options.

Supplier's Notes:
hapiNES is a multitrack chiptune synthesizer inspired by the RP2A07 sound chip found in the NES games console.

The 4 voices allow you to create authentic sounding tunes in real time!

The L(arge) version offers the same features as its slimsynth counterpart, with the addition of hardware MIDI (MIDI Type A) and analog sync in and out connectivity and packed in a rugged metal case.

FREQUENTLY ASKED QUESTIONS:

Q:How do I copy/paste a pattern?

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

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

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

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

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

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

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

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

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

FREQUENTLY ASKED QUESTIONS:

Q:How do I copy/paste a pattern?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

Notes: Live synthesizer and sequencer, with parameter locks, glide control and punch-in effects.

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

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

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

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

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

Notes: Bass line synthesizer and sequencer with parameter locks, punch-in effects and play styles.

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

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

Notes: The Teenage Engineering PO-35 Speak is a mini vocal synthesizer, sampler and sequencer, ideal for all types of voice mangling and sampling on the go. Use the built in microphone to instantly record your own voice, and completely change its character. play with it, sequence it and add effects and drums on top.

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

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

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

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

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

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

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

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


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

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

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

Added the Sound Locking features

A sequence can be duplicated to double the length

Looping of chain playback is now possible

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

And several bug fixes and improvements

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

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

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

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

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

Weight : 1.74lb., 790g

Accessories: Warranty

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

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

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

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

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

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

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

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

Two approaches to FM sound design

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

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

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

Logical and Deep

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

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

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

4-Track Step Sequencer

Perfect for song production and live performance

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

Sequence up to 64 steps per pattern.

Save up to 128 patterns.

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

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

Sequence longer notes across several steps, AKA Tied Notes.

Specifications:

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

Weight:
790g/1.74lb.

Keyboard:
27 keys (with a hold function)

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

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

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

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

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

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

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

Sweep:
Sweep with adjustable speed, range, and curve

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

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

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

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

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

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

Accessories:
FM sound editing overlay
Warranty

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

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

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

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

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

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

Granular synthesizer with granular effects processor mode

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

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

Shimmer reverb for fantastical and majestic sounding spaces

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

128-step sequencer with parameter locking

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

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

Specifications

[Granular processor]

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

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


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


- Attack
- Release


- Low Pass
- High Pass
- Band Pass

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


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

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

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

[Unit]

27 keys (with a hold function)


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

Notes: ***B-STOCK: Slight surface marks ***


Part of Sonicware's brilliant Liven series of affordable, creative groove boxes, the Ambient O packs in layers of drone, textures and noise sources to create engrossing soundscapes. Creative, experimental fun.

*** Firmware version 1.5 update- March 2025 ***

Temperament Settings for Each Track

In addition to the standard 12-tone equal temperament, you can now set 7 different temperaments per pattern, including Pure intonation, Pythagorean tuning, and Solfeggio frequencies.

64 Sound Pattern Palettes

Featuring 32 newly added sounds & patterns, along with 16 Sound Healing Vibes sounds.

Relaxation Playback Mode

Arrange your favourite patterns, set repeats and fade-outs, then let it gently fill your space with ambient sound. (Seamless pattern changes improved: if sound settings remain the same, transitions will now be smooth without audio interruptions.)

Master Tune Now Adjustable in Hz?Master tuning, previously adjustable in cents, can now also be set in Hz increments (410 - 470 Hz).

Line In Selectable on NOISE Layer

The NOISE layer can now be selected to Line In, allowing the application of Filter, LFOs, and other track-level controls to the input signal.

New LFO Waveforms & Assignment

Added three slow LFO waveforms (L.SIN, L.TRI, L.S.RN). Additionally, oscillator level can now be assigned as an LFO destination.

Pitch Bend Range Setting

You can now configure the pitch bend range in the system settings.

Changes in Oscillator Usage

Due to specification changes, the NOISE layer now consumes only one oscillator, while the ATMO 2 structure now consumes three oscillators.

Bug Fixes & Improvements

Fixed MIDI CC issues and addressed other minor bugs.


Supplier's Notes:
Your Personal Soundscape:

Conversations between Oscillating Tones and Your Mind

Immersive Ambient Generator

4 layers of tone and texture-Drone, Pad, Atmos, and Noise-merge to generate deep resonance and continuous transformation.

Ambient O (zero) is incredibly easy to use. Start by playing a tone from one layer using the note hold function. While listening closely, simply tweak the knobs to modify the tone and add other layers to shape a pleasing sound.

Blendwave Modulation Synthesis

Sonicware conducted extensive research into creating undulating and fluctuating tones for Ambient O, resulting in the development of a new wavetable-based synthesis.

Blendwave Modulation Synthesis combines 6 unique structures with 32 WAVEs featuring complex harmonic transitions, making it easy to create powerful low drones, lush pads, and transparent pizzicatos, perfect for Ambient Music.

4 knobs/8 parameters offer a wide range of tone creation.

A WAVE contains 128 harmonic tables, allowing for diverse tonal changes such as moving from basic waveforms to complex harmonics. The WAVE is represented by a yin-yang icon, with the yin representing moves in the reverse direction through the tables during modulation.

6 Structures - Each structure has a different number of oscillators and modulation circuits. ATMOS 1 applies ring modulation, while ATMOS 2 applies FM modulation.

Noise and Space

The Noise layer includes 8 specially selected nature sounds, offering noise blending, pitch adjustment and modulation to infuse unique spatial characteristics.

Additionally, it allows for up to 8 seconds of stereo sampling from the line input, letting you create personalized textures.

Extensive Effects Section

Ambient O is equipped with 9 types of lush reverb, each offering unique spatial dimensions and brightness settings. You can individually adjust the reverb send and shimmer send (for layering octaves) for each layer.

In addition to the reverb, the Ambient O offers an effect unit with Tape Delay, Reverse Delay, and 4 master effects; Overdrive, Bit/Rate Crush, Tilt EQ, and Stereo Chorus.

Sequence up to 64 steps per pattern.
Random playback of sequence phrases.
Probability of notes sounding can be set from 25 - 100%.
Program notes step by step or record them in real time. Additionally, you can also input notes to specific steps while the sequencer is playing to add variation.
Overwrite notes in real-time with one touch while playing back sequence phrases.
The Parameter Lock function allows you to record knob changes into your patterns. This can be recorded live, or programmed in step by step.

Specifications

[Synthesiser]

- Note Hold function
- 128 Sound Pattern Palettes (incl. 16 types of preset palettes)
- Mixing including level/pan for each layer
- Layer (Sound) copy and paste function
- Tune All function changes the pitch of all layers (i1 octave in 20-cent steps, adjustable in 1-cent step)
- Standard polyphony: 10 voices (depending the structure's oscillators x simultaneous voices)

4 Layer Construction
Drone, Pad, Atmos Layers
- New Blendwave Modulation Synthesis for creating undulating and fluctuating tones
- 6 Structures, 32 Waves
Drone 1: 2 oscillators, modulates Detune
Drone 2: 2 oscillators, modulates Harmonics
Pad 1: 3 oscillators, modulates Harmonics
Pad 2: 3 oscillators, modulates Harmonics
Atmos 1: 1 oscillator, ring modulation on output
Atmos 2: 2 oscillators (frequency modulation), modulates Pitch

- Polyphonic mode
- Mono mode (adjustable glide time)
- Legato mode (adjustable glide time)
- Unison mode (adjustable detune)
- Arpeggiator modes (Up, Down, UpDown, DownUp, Up&Down, Down&Up, Up+1, Up+2, Down-1, Down-2, Random, Play Order)

Noise Layer
- 1 Structure, 8 Waves
Noise: 1 oscillator, modulates Pitch
- Loop or One-shot playback, White noise mixing
- 16bit - 32kHz Linear PCM sampling (stereo)
- Up to 8 seconds of sampling per sample (crossfade settings from 1 to 4 seconds)
- Auto start sampling function with the input level (input level can be set)
- Import and export of a slot of samples (via MIDI)
*Import of audio files from PC/Mac is not supported.

- Polyphonic mode
- Mono mode (adjustable glide time)
- Legato mode (adjustable glide time)
- Arpeggiator modes (Up, Down, UpDown, DownUp, Up&Down, Down&Up, Up+1, Up+2, Down-1, Down-2, Random, Play Order)
Each layer has its own envelope, filter and 2LFOs.

- Attack
- Release

- Low Pass Filter
- High Pass Filter
- Band Pass Filter

- 2 LFOs assignable to various parameters (individually adjustable)
- Adjustable LFO Shapes and trigger count

[Effects]
9 types of high-quality reverb (Send amount to reverb and shimmer adjustable per layer)
- Small.L
- Small.M
- Small.H
- Large.L
- Large.M
- Large.H
- Infinity.L
- Infinity.M
- Infinity.H
6 types of diverse master effects
- Tape Delay
- Reverse Delay
- Overdrive
- Bit/Rate Crush
- Tilt EQ
- Stereo Chorus
The above reverb and master effects can also be applied to external sources from the LINE IN.

[Sequencer]
- 4 tracks (1 track on each layer)
- Up to 64 steps per pattern
- Step length can be set from 1/1 to 1/32 or 2/1(Breve) to 8/1(Maxima)
- Real-time recording
- Overwrite REC function for real-time sequence replacement
- Directly enter notes for each step when playback is on or off
- Enter longer notes (Tied notes)
- Metronome and pre-count function
- Step copy and paste function
- Track copy and paste function
- Duplicate to extend a sequence
- Transpose function
- Pattern BPM / Global BPM can be set
- Pattern chain function (Loop playback possible)
- Track level and pan can be set independently
- Parameter Lock function to record parameter settings for each step
- Sound Lock function to record sound settings for each step
- Note playback probability can be set from 25 to 100% for each step
- RANDOM function to play back steps in random order

[MIDI]
- Notes, control changes, clock input/output
- Import and export user data
- Firmware update via Sysex

[Unit]

27 keys (with a hold function)


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

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


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

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

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

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

LYRA-8 also has the next blocks:

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

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

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

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

Specifications:

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

Notes: Introducing the revived version of LYRA-4 organismic synthesiser, the younger sister of the famous LYRA-8. "Organismic" means that LYRA uses some principles that lie in the base of living organisms. The way how LYRA's modules interacting between each other and the behaviour of the instrument resembles a live conversation. It's smaller and weighs less but is equally rugged in design, and still packs a lot of punch. This makes it easy to fit in a backpack and perfect for taking the LYRA sound on the road. And playing two LYRA-4s can actually sound very different than just one LYRA-8.

LYRA-4 is based on four generators, which will be referred to as voices. Their design is not like a traditional subtractive synthesis VCO. Instead of having a linear or logarithmic dependency on control voltage, they resemble the tone generators in old electric organs. Hence the use of the term "voices" instead of "VCOs". Lyra uses non-linearity a lot, and the voices are constructed in such a way that allows for non-linearity to express itself.

The voices are divided into two pairs (12, 34), creating tree-like structure.

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

LYRA-4 also has the next blocks:

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

The MOD DELAY consists of delay with feedback. The delay has a unique possibility of self-modulation where the output signal modulates the delay sample rate, creating cool effects.

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

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

Specifications

Max output voltage: 2 v 0-to-peak
Output connector: mono 6.3 mm TS jack
Output resistance: 10 KOhm
CV DELAY: unipolar, range of 0 to +5 volt
CV DELAY: 6.3 mm TS jack
CV VOICES: unipolar, range of 0 to +5 volt
CV VOICES connector: 6.3 mm TS jack
Power supply: stabilised, +12 V, 0.2 A, centre positive
Power Consumption: 1.2 watt
Headphones resistance: 6-64 Ohm
Power supply: stabilised, +12 V, 0.2 A, centre positive
Dimensions: 241 x 203 x 62 mm
Weight (without power supply and packaging): 1.2 kg

What's included:

LYRA-4 - 1 pc
Power supply - 1 pc

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

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

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

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

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

LYRA-8 also has the next blocks:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LYRA-8 also has the next blocks:

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

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

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

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

Specifications:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What's included:

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

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

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

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

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

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

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

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

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

Specifications:

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

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

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

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

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

ENNER consists of:

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

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

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

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

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

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

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

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

Specs

Array of filters

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

Pink noise generator

NOISE - noise output

Delay

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

Piezo

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

The five-voice synth

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

Rhythm\Bass synth

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

External

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

Power

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

Grounding

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

What's in the kit:

ENNER
12V center plus PSU
Several rubber bands

Notes: TERRA is a new SOMA Labs synth.

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

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

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

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

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

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

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

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

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

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

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

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

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

What's included:

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

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

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

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

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

LYRA-8 also has the next blocks:

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

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

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

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

Notes: Pink version of Soma's excellent Lyra-8. Brilliantly unusual synth based on eight analogue tone generators, functioning more like an electric organ or FM synth than a conventional subtractive architecture. Unique sound.

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

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

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

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

LYRA-8 also has the next blocks:

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

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

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

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

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

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

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

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

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

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

Modular Pure Analogue Synthesiser

Pure Analogue signal path designed by Future Sound Systems
Pure VCOs

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


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


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

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


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


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


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


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


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


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


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


Includes:
5 Patch cables

Power Supply (9V 600mA)
USB C lead

Getting Started Guide


Weights and Dimensions:

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

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

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

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

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

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

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

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

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

Specifications

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

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

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

Oscillator Drift
Creates random pitch variations between oscillators

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

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

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

Ring modulation

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

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

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

Glide
Glide amount
Auto-glide mode

Indicator LEDs
Two LEDs for Voice
LED for Keyboard activity

Master tune

Master volume

Triggering
ENV 1 Legato
ENV 2 Legato
LFO Keytrig
LFO Keytrig

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

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

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

Dedicated tempo control

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

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

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

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

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

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


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

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

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

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

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

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

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

Specifications

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

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

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

Oscillator Drift
Creates random pitch variations between oscillators

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

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

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

Ring modulation

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

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

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

Glide
Glide amount
Auto-glide mode

Indicator LEDs
Two LEDs for Voice
LED for Keyboard activity

Master tune

Master volume

Triggering
ENV 1 Legato
ENV 2 Legato
LFO Keytrig
LFO Keytrig

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

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

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

Dedicated tempo control

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

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

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

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

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

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


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

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

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

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

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

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

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

Specifications

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

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

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

Oscillator Drift
Creates random pitch variations between oscillators

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

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

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

Ring modulation

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

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

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

Glide
Glide amount
Auto-glide mode

Indicator LEDs
Two LEDs for Voice
LED for Keyboard activity

Master tune

Master volume

Triggering
ENV 1 Legato
ENV 2 Legato
LFO Keytrig
LFO Keytrig

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

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

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

Dedicated tempo control

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

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

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

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

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

Notes: Another innovative groovebox from Polyend, the Synth allows you to sequence and perform up to three synths from eight different synth engines. Unique Smart Grid feature allows single-button chords and note followers.

Supplier's Notes:
Compact Design. Massive Sound. Unmatched Innovation.

Easily Play 3 Synths at Once

The power of three synth engines is at your fingertips, all running together seamlessly. Whether you're in the studio or performing live, you can juggle between different engines, adjust parameters on the fly, and layer effects with ease. The built-in sequencers, arpeggiators, and all new smart grid system keep everything flowing smoothly, letting you focus on creativity without interruption. With instantly recallable scenes, you can save and recall every detail of your setup.

Eight Synth Engines to Explore

Dive into a world of sound with eight distinct synth engines, each offering its own unique character. Whether you're drawn to the classic analogue warmth of FAT or the evolving textures of GRAIN, you'll find the sound to shape your creations exactly the way you want:

PHZ: A modern take on phase distortion synthesis with options for both retro and cutting-edge tones.
PMD: Physical modelling technology that simulates realistic instruments or creates entirely new sonic expressions.
GRAIN: A granular engine with two modes, burst and cloud, ideal for rhythmic textures or sweeping ambient layers.
WAVS: Morph between wavetables with intricate control over scanning and phase shifting to create evolving textures.
VAP: A dual-oscillator polysynth that draws inspiration from the classics, offering rich, lush pads and detailed soundscapes.
FAT: Massive sound with three oscillators and vintage ladder filters for deep basses and expressive leads.
ACD: The ultimate recreation of iconic vintage monophonic synths, but with increased customization.
WTFM: A unique FM synthesis engine that uses wavetable-based oscillators for complex sounds without the usual FM complications.

Three Customizable Effects

Take your sound to the next level with three onboard effects, each fully customizable to suit your style:

MOD: This versatile modulation engine can take you from subtle choruses to wild, feedback-heavy flanging.
DEL: Dual delay lines with five unique models, giving you the flexibility to sync with your track or create complex delay effects.
REV: Three reverb modes - Natural, Plate, and Warp - let you add anything from subtle space to massive, otherworldly reverbs.

Reimagined Rhythms

Unlock your full creative potential with three independent sequencers and arpeggiators. Control every aspect of your rhythm, from swing to groove, transposition, and more. Whether you're building tight, rhythmic patterns or sweeping melodies, this system adapts seamlessly to your music.

For Performers, Sound Designers, and Innovators Alike

Always Musical Smart Grid for Live Play

Stay in control even during the most chaotic performances. The customizable Smart Grid ensures every note and chord stays in the desired scale, while making live performances smoother and more intuitive.

Scenes on Demand

Imagine having every setting - from synth engines to sequences - saved in one easy-to-recall Scene file. Build entire live sets and instantly access them with a touch. Plus, share your unique setups with the community

Combo Knobs for Quick Tweaks

Create dramatic builds or subtle shifts with customizable combo knobs. Whether controlling one or all three synths at once, adding movement and dynamics to your sound has never been easier.

Polyphonic Aftertouch

Express every nuance of your performance with polyphonic aftertouch. Adjust multiple parameters with just the pressure of your fingers, allowing for truly expressive, dynamic control over your sounds.

A Dream for Sound Designers

Intuitive 3x3 Knob Matrix

Designed for hands-on control, the 3x3 knob matrix lets you quickly access and tweak key parameters. No need to dive into endless menus - everything you need is right in front of you, ready for real-time adjustments.

Real-Time Visual Feedback

Every adjustment you make is instantly reflected in the visual interface, giving you clear, real-time feedback on how your sound is evolving. Whether you're tweaking filters, modulating oscillators, or adjusting LFOs, you'll see the changes happen as you hear them.

Endless Customization

Expand your creative palette with SD and USB storage. Easily load new wavetables, presets, and entire setups, or share your creations with others. With endless possibilities, this synth is designed to grow with you

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

Supplier's Notes:
Taiga Paraphonic Modular Synthesizer

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

Taiga oscillators

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

The Pittsburgh Filter

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

Pittsburgh Dynamics Controller

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

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

Analogue Echoes

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

Open Architecture

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

Complete Set of Modular Tools

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

Taiga features and other info:

Paraphonic synthesizer with unique additive elements

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

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

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

Laboratory Oscillator 1

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

Laboratory Oscillator 2

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

Pittsburgh Dynamics Controllers

The new Dynamics technology imparts Voltage Lab 2 with a uniquely organic depth and presence. By simultaneously managing both amplitude and harmonic content, the Pittsburgh Dynamics Controller expands beyond the one dimensional VCA found in other synthesizers. It does this by utilizing new advancements from traditional low pass gates to add additional definition and dimension to the voices of the Voltage Lab 2.

When used in low pass gate mode, sounds shed harmonic content and become warmer as they decrease in volume. This mimics how sound waves react to their environment. Because of this connection, the Voltage Lab 2 sounds more natural or complex compared to other instruments.

Touch Controller 2

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

A Florist and Echos

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

Complete Set of Modular Tools

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

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

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

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

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

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

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

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

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

Analogue Modelling engine

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

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

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

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

Notes: The Nord Wave 2 is a powerful 4-part performance synthesiser combining Virtual Analogue synthesis, Samples, FM and Wavetable with an intuitive layer-focused interface. With 48 voice polyphony, innovative performance features and hands-on controls, the Nord Wave 2 offers outstanding sonic possibilities with advanced layering and tweaking on the fly.

With 4 independent synthesisers in one the Nord Wave 2 offers exceptional possibilities for layering both classic waveforms and samples. Dedicated OLED displays for Program and Oscillator sections provide an excellent overview when shaping your sounds. The wide range of performance features and instantly tweakable hands-on effects makes the Wave 2 Nord's most versatile performance synthesiser ever. The new Monitor mode displays your settings for Amp Envelope and Filters in the Program display for better overview and control.

The Wave 2 features a Program Layer section with faders for easily controlling the volume or pan for all 4 layer parts at once. The Layer section also provides handy features for quick layer focus, pan control, solo and multi-editing. The Split mode offers three split points providing up to 4 zones with optional crossfades. The flexible Hold functionality lets you latch and hold slots independently in the background while playing something else on top. The new Group feature allows you to group 2, 3 or 4 layers and lets them share the same Filter, Envelope, Arpeggiator, LFO and Effect-settings - perfect when creating complex multi-layered sounds that can be edited as one coherent sound.

The Oscillator section for each of the 4 layers offers 4 modes: Analog, Wavetable, FM and Samples and is easily browsed with our new direct category mode. The Oscillator Control features additional control over shape, sync or detune. The Wave 2 features a powerful multi-oscillator Unison effect with true Superwaves simultaneously generating hundreds of waveforms for extremely thick and fat sounds.

The Sample section has 1 GB of memory and comes loaded with a wide selection of quality samples including Strings, Brass, Guitars, Choirs, Chromatic Percussion as well as the exclusively licensed sounds of the legendary Mellotron and Chamberlin. All sounds are easily replaceable using the Nord Sound Manager. Adding your own custom sample instruments has never been easier thanks to the new streamlined Nord Sample Editor 3 for Mac and Windows that lets you map, loop and transfer samples to your Nord Wave 2 in a breeze.

The Filter section has 6 Filter types featuring classic 12 and 24 dB Low Pass, a High Pass, High Pass/Low Pass and a Band Pass filter, together with a stunning emulation of the transistor ladder filter from the legendary Mini. The unique modeling of these filters captures the true character and response of the classic analog instruments, allowing for flexible and precise sound design. The Filter section is equippied with full ADSR envelope.

The Wave 2 features a dedicated LFO for each layer with a choice of waveforms plus AD/AR Modulation Envelope with dedicated velocity setting and Invert mode. The LFO has several morphable parameters and the rate can be synchronized to the Master Clock.

The Amp Section is equipped with a full ADSR envelope featuring a powerful new Transient Attack mode for adding more punch to your sounds.

The Wave 2 features an extensive range of morphable parameters that can be controlled from four different sources: Velocity, Aftertouch, Wheel and Control Pedal. All morph sources can be quickly assigned to control multiple parameters simultaneously and the powerful Impulse Morph feature lets you instantly change any parameter of your sound. Instantly assign LFO, Oscillator Control or Filter to the Modulation Wheel.

The Nord Wave 2 is truly a rhythmical powerhouse with both a classic arpeggiator and a polyphonic mode with directly editable patterns. The Poly mode is a polyphonic Arpeggiator that will retrig all held keys either straight or patterned featuring different inversions for exciting harmonic variations. The brand new Gate mode chops your sound up in a rhythmic pattern with adjustable depth. The Pattern mode contains a wide selection of Rhythmic Patterns allows easy editing for creating your own custom patterns.

The Master Clock of the Wave 2 allows the LFO, Arpeggiator and various effects to be synchronized, either internally or by an external MIDI clock. With Master Clock synchronization you can synchronize 4 layers with individual patterns, all perfectly in sync with Delays and LFO's. A Tap Tempo allows you to easily tap to the tempo of a drummer or to playback tracks.

A separate Effect section for each layer featuring a great selection of instantly tweakable high quality stereo effects modelled after classic stomp boxes. Tremolo, Pan, Ring Modulator, Chorus, Ensemble and Vibe effects with Rate and Amount control. All effects are controllable via Control Pedal (or other Morph sources) and can also be synchronized to the Master Clock for rhythmic effects. EQ with Bass and Treble control - or 1 Band Sweepable EQ. A sparkling Tube Drive emulation is also available. Advanced stereo Delay effect with Ping Pong mode, Analog Mode and Tap Tempo. New features include creative new Feedback options for adding Ensemble, Chorus, Vibe as well as HP/LP and BP filter in the Feedback loop. The Reverb section has five different Reverb sizes (Booth, Room, Stage, Hall and new Cathedral) for adding some ambience to your sounds, and the amount is now morphable. New features include Bright and Dark modes for either extended or reduced treble. The new Chorale effect adds a lush modulation effect.

Features

Performance

Advanced Arpeggiator with Polyphonic Trig mode
Gate feature for rhythmic effects
Advanced Morph features with Impulse Morph
Master Clock control of Arpeggiator, LFO and Effects
Vibrato with 3 Delay modes and Wheel/Aftertouch assign

Oscillators
Analog: Basic, Shape, Multi, Sync and Noise with up to 16 oscillators
Samples
Wavetable
Advanced FM with harmonic and inharmonic algorithms
True Unison mode

Modulation
LFO with five waveforms
Flexible syncing and routing options
AD/AR envelope

Amp
ADSR Amp envelope
Transient Attack Mode

Filter
12/24 dB lowpass, lowpass M, band pass, high pass, and LP+HP
Filter Drive
ADSR envelope

Effects
FX section with Tremolo, Pan, Ring Modulation, Chorus, Ensemble and Vibe.
EQ section with Drive
Advanced Delay section
Reverb section with five sizes + Dark, Bright and Chorale modes

Notes: The Nord Lead A1 is a 4-part multitimbral synth with a classic layout, extensive filter options and effects. With its powerful panel interface and pre-programmed modulation matrix, creating unique and exciting sounds is very inspirational and quick.

At the heart of the Lead A1 is our new analog modeling engine. Taking our virtual analog synthesis to the next level, this modeling recreates a total analog signal path with uncanny realism, and is capable of immense sonic variety. With 26-voice polyphony and four simultaneous synthesizer parts, the Lead A1 is a true synthesizer powerhouse that goes far beyond the current trend for limited capability analog reissues.

Fundamental to the design of the Lead A1 is a brand new simple yet sophisticated front panel interface. The design is in fact the result of requests from professional players - even the most experienced programmers - who need to create the perfect sound as quickly as possible for today's live or studio time demands. The Lead A1 allows easy patch creation and experimentation thanks to a new and unique oscillator section, pre-programmed modulation matrix, and simplified ADR envelopes. Dive in and create incredible patches far quicker than would normally be possible with a synthesizer of such power.

The Lead A1's new Oscillator section generates 47 different waveforms from classic analog to digital harmonic and inharmonic waves, whilst unique Oscillator Configuration Shortcuts make programming more immediate than ever. Start with a single Oscillator waveform select an Oscillator Configuration Shortcut - Pitch, Detune, Shape, Sync, Sub Mix, FM, AM or Noise - and use the Adjust knob to adjust the settings of the configuration. The end result is high speed programming without the need for the usual complexity of routing and patching, and with the opportunity for ready experimentation. A fast track to stunning sound design for both advanced and less experienced programmers.

The Lead A1's filter section features classic 12 and 24 dB Low Pass, a High Pass and a Band Pass filter, together with stunning emulations of the diode and ladder filters from the legendary Mini and the TB-303 synthesizers as used in the Lead 4. The Lead A1's modeling of these filters capture the true character and response of the originals, allowing supremely flexible and precise sound design. The filters are super-smooth with a warm analog character.

The Lead A1's effects section features two stunning brand new analog models of an Ensemble and Chorus, modeled on specific vintage synths and adding classic warmth and analog feel. Alongside these, choose from great-sounding Ring Modulation, Phaser, Flanger, or Drive per slot, and in addition a separate Delay and Reverb for each slot.

A classic Nord feature, the Morph function via Mod Wheel, Velocity or pedal, allows you to control multiple parameters of the Lead A1 simultaneously. Morph is exceptionally easy to set-up and use - just hold the Morph button and adjust any desired knob.

The Lead A1 features four separate Arpeggiators with Up/Down and Random modes and a 4-octave range. Any or all can be sync'd to the Lead A1's master clock.

The Master Clock function of the Lead A1 allows the LFO, Arpeggiator and Delay to be synchronized, either internally or slaved to external MIDI clock. A Tap Tempo button allows you to easily tap to the tempo of a drummer or to playback tracks.

Having four identical, equally powerful synthesizers at once opens breathtaking layering possibilities. The Split-mode gives you two 2 slots on each side of the split. A flexible Hold functionality lets you latch and hold slots independently in the background while playing something else on top.

New in the Lead A1 is the Multi-Focus Mode that allows editing and control of all four slots simultaneously. Save this mode as part of a Performance and you have live realtime control over all four slots of the Lead A1.

The Lead A1 features four independent audio outputs with the ability to route each slot to a different output. Plus control of Pan via the front panel knob is a welcome new addition in the Lead A1.

Unique to the Nord Lead A1 is the new 'Like' function, a simple and brilliant practical feature to use during patch creation. When programming a patch it's often not clear if it's yet perfect. Now with the Lead A1 you can simply 'Like' what you've done into a temporary location and continue editing. You can Like up to 50 variations, with the ability to scroll between them to compare your favourites or go back to a specific Liked version to edit in a different way. When you're ready, save your favourite patch or patches to the Lead A1's memory.

A popular feature of the Lead 4, the Mutator function allows variations of a patch to be created by adjusting one, some, or all elements of a patch by set percentages. There's also a wild Randomize mode to create an entirely new patch with all parameters randomized.

A newly designed "Fat-As-Fat-Can-Be" Unison Mode let's the Lead A1 challenge any vintage analog instrument.

Notes: A nice middle ground between old-school analogue and modern convenience here. The Motas-6 features a fully analogue six-voice paraphonic signal path, all controlled by digital elements for preset storage, modulation and sequencing.

Supplier's Notes:
Motas-6 is a very powerful and flexible analogue paraphonic synth with digital control. It has three voltage-controlled oscillators (VCOs) including hard-sync options, analogue phase-modulation and a sub-oscillator. Each VCO has several waveforms that can be freely mixed and modulated and each VCO can be assigned to track notes in various ways for paraphonic playing. The mixer takes the signals from the 3 oscillators, noise source and external input and outputs to the filters. The mixer output will distort (intentionally) with the highest input levels and there is a boost mode for even greater distortion. An analogue noise source with selectable white/pink response has its own control for input level into the mixer.

Motas-6 has a unique 'vector morphing' feature allowing you to morph between 4 patches of your choice in real-time using external MIDI controllers or CV inputs. There are 5 instant-access patches available at any time (in RAM memory). In vector morphing mode dual external controllers allow the active patch to morph in 2-dimensions between the first 4 presets. On exit from this mode the resulting patch settings are stored to the 5th preset automatically.

There are has masses of modulation options. Each and every rotary knob parameter has independent modulation settings from key, velocity, 4 modulation sources (from MIDI and CV/gate inputs) as well as from its own EG (Envelope Generator) and LFO (Low Frequency Oscillator) - a total of 33 independent EGs and LFOs! There are also 4 global EGs and 4 global LFOs with individual amount settings for each parameter.

Motas-6 has very powerful filtering capabilities. There is a 6-pole voltage-controlled low-pass filter (VCF) with adjustable resonance to self-oscillation (with selectable 1, 2, 3, 4, 5 and 6-pole outputs), a 2-pole high-pass voltage-controlled filter and a second 4-pole resonant low-pass VCF (similar in design to that of a certain silver box from the '80s). The inputs and outputs of the filters can be connected together in various ways to give a huge range of filtering possibilities.

It has a built-in pattern sequencer. 1-bar patterns of notes and parameter change data can be stored and chained to together into a 2 track sequence. In the sequence each pattern can be transposed, repeated and delayed. 15 patterns are active at any one time (56 patterns can be saved to non-volatile memory arranged in 7 banks of 8 patterns). 16 sequences can be saved (2 banks of 8 sequences). Not only does the saved sequence contain all 15 RAM patterns, also the 5 complete RAM patches are also saved ensuring that every detail of the sequence is captured. It also has a built-in arpeggiator that can be synced to internal or external clock (MIDI or CV/gate). Options including hold-modes, direction, note-range, swing, pattern, note-length and delay. The settings are stored with the patch.

The output voltage-controlled amplifier (VCA) stage has a choice of analogue clipping/distortion options: dry, soft clip, hard clip, soft clip + hard clip, dry + soft clip + hard clip. External audio can be routed into the mixer with its own level control. However, when nothing is plugged into the external audio input socket an audio feedback loop from after the final VCA is fed into the mixer instead. Audio monitoring options include real-time oscilloscope, spectrum analyser, volume level and MIDI input monitor displayed on the fast and bright OLED display.

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

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

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

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

Specs

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

Notes: The Subsequent 37 is a (2-note) paraphonic analogue synthesizer that builds upon the award-winning design of the ultra-powerful Sub 37 Tribute Edition. Its control panel is home to 40 knobs and 74 switches, placing a vast array of analogue sound-design tools and onboard sequencing options immediately at your command. The Subsequent 37 improves upon its source through the implementation of a number of user-requested sonic and functional enhancements. Each enhancement maintains the magic and character of its predecessor while also providing access to new dimensions of sound and improved playability.

The SUBSEQUENT 37 mixer section has double the headroom of that in the Sub 37 Tribute Edition. This provides access to a new range of classic clean tones in both mono and duo performance modes. Leveraging the mixer's newfound flexibility, gain-staging in the Ladder filter has been reshaped to boost harmonic saturation and analogue compression, resulting in an overall richer low end. Completing the sonic evolution of the SUBSEQUENT 37 is a re-tuned Multidrive circuit that extends well beyond the grit and growl of the original Sub 37.

"We are really excited to incorporate community feedback into the evolution of an instrument. Adding CV interconnectivity was the starting point, but we have also increased the headroom in the mixer and significantly extended the range of Multidrive, giving the Subsequent 37 CV expanded sonic capability and modular control." - Cyril Lance, Moog Chief Engineer

In addition to the sound engine augmentation, each SUBSEQUENT 37 comes with an upgraded keybed for improved playability, a high-powered headphone amplifier strong enough to drive the most demanding headphones, and a software plugin/editor for both Windows and Mac platforms.

Specifications

Sound engine: Analogue
Polyphony: Selectable monophonic or paraphonic (can be poly-chained)
Keybed: 37 note semi-weighted with after pressure
LCD: 128 x 64 pixel LCD with white backlight
Controllers: Pitch bend, mod wheel, after pressure, velocity
Sound sources: 2 variable waveshape oscillators, 1 square wave sub oscillator, 1 analogue noise generator, 1 external input/filter feedback
Oscillator calibration range: 22hz-6.8khz. Note range at 8' = 18 - 116
Glide module: Assign to osc1/osc2/both. Type - LCR, LCT, EXP, gated, legato

Notes: Subharmonicon is a semi-modular polyrhythmic analogue 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's characteristic sound starts with two analogue VCOs and four Subharmonic Oscillators for a total of six powerful sound sources. Each subharmonic tone is mathematically derived from one of the two main VCOs, giving the resulting chord shapes a beautifully coherent quality. Onboard quantization lets you dial in perfect intervals every time with selections for multiple tuning systems. Choose from contemporary Equal Temperament settings, the heavenly intervals of Just Intonation, or the unlimited freedom of no quantization at all.

Animating Subharmonicon's distinctive chord shapes is done through a polyrhythmic pair of 4-Step Sequencers. Each sequencer is clocked by any or all of four Rhythm Generators that output mathematical divisions of the master tempo. Layer multiple Rhythm Generators on top of each other to create complex polyrhythms and discover inspiring new patterns and styles. Delve into Subharmonicon's dual Envelope Generators, Moog Ladder Filter, and analogue VCA to call up dynamic articulations ranging from lush pads and blurred edges to percussive plosives and ritualistic rhythms.

Although no patching is required to start creating, exploring Subharmonicon's modular patchbay unlocks worlds of possibilities as you make novel connections and plug into new ideas. The 32-point 3.5mm patchbay can be patched into itself, expanding Subharmonicon's onboard capabilities, or interfaced with Mother-32, DFAM, and other external Eurorack-compatible gear (MIDI Type A adapter included for DIN to 3.5mm MIDI input). Use as a standalone synth with included +12V DC power supply or simply remove the front panel to install into any Eurorack system.

The Moog Subharmonicon is a versatile analogue labyrinth of subharmonically derived synthesis and polyrhythmic sound, equally suited for losing oneself and simultaneously finding oneself.

Subharmonicon is inspired by Joseph Schillinger's mathematical system for musical composition and is influenced by two analogue innovations from the 1930s and 1940s: the Mixtur-Trautonium, which employed a series of subharmonic oscillators to generate electronic undertones, and the Rhythmicon (developed by Leon Theremin!), an instrument capable of sounding multiple harmonically related polyrhythm generators simultaneously.

The Mixtur-Trautonium created subharmonics by dividing the frequency of its primary oscillator, while the Rhythmicon created polyrhythms that were multiplications of its primary tempo. These concepts of subharmonics and polyrhythms form the historic roots of the Moog Subharmonicon.

The undertone series, or subharmonic series, results from the division of an initial fundamental frequency (f) by successive integer values (unlike the overtone series, which results from integer multiples of the fundamental frequency). Where overtones are found to occur naturally in acoustic sounds, undertones must be produced through more extreme or novel methods, such as electronic circuitry.

Polyrhythms employ multiple rhythms playing at once to create complex, interweaving phrases. In the same way that a subharmonic oscillator divides the fundamental frequency (f) to create a musically related subharmonic, each rhythm generator in Subharmonicon uses an integer value to divide the current tempo value (t) to create a new rhythm.

Specifications
Sound Engine: Analogue
Sources: VCO 1, SUB 1, SUB 2 / VCO 2, SUB 1, SUB 2
Filter: Self-Oscillating Ladder Filter, Low-Pass, 4-Pole (-24 dB/Octave)
Envelopes: VCA EG (Attack, Decay); VCF EG (Attack, Decay)
Sequencers: Analogue (x2)
Steps: 4 Steps per Sequencer, selectable Quantization
Clock: Driven by any and all of the Rhythm Generators

Notes: As a stand-alone instrument, Mavis is a straightforward analogue synthesizer with patchable modular utilities and the unmistakable Moog sound and quality. Easily remove Mavis from its case and it becomes a 24-point CV controllable module (44hp) ready to be installed into your Eurorack system or alongside Moog's other semi-modular instruments.

Mixing the familiar with the exotic, Mavis features Moog's legendary oscillator and filter circuits alongside a diode wavefolder - the first analogue wavefolder to appear on a Moog instrument. Combining traditional subtractive synthesis with additive wavefolding and oozing with personality, Mavis' clever presentation of synthesis modules and utilities ensure deep creative synergy and musical connection.

Mavis is a powerful, fun, and low-cost Moog that makes learning synthesis or expanding an already-advanced studio setup approachable for anyone looking to explore classic analogue sound in a new way.

Get closer to the circuits at the heart of Mavis and come away with a Moog analogue synthesizer that is uniquely "yours". No soldering is required and can be completed by any skill level in an afternoon.

A powerhouse on its own, Mavis was also designed to enhance any interconnected Moog semi-modular setup or Eurorack system. In 44HP, the synthesizer offers incredible value with two oscillators, full ADSR, ladder filter, sample and hold, wavefolding, attenuators, mixer, mults, and much more for more complex musical arrangements.

Mavis is eager to play along with other voltage-controlled devices (especially with Moog's other semi-modular instruments), and its useful collection of utilities and flexible control voltage routing allows for intricate dialogue between them.

Built-in keyboard with Glide and KB scaling

As a standalone instrument or as a 44HP Eurorack module, Mavis adds an expressive 1 v/o controller to any setup with the flexibility to dial in experimental new pitch relationships via the KB scale knob and explore musical intervals that go beyond the established standards.

Full Range Analog Oscillator

A Voltage Controllable Oscillator with PWM (Pulse Width Modulation), Waveform mixing, and Mod Source mixing, delivers rich harmonic character and motion.

Voltage Controlled Filter

Sculpt your sound with the -24-dB Moog Low Pass Ladder Filter, delivering the sonic power behind the distinct sounds of Moog basslines and leads.

Audio Rate LFO and 4-Stage Envelope Generator

Mavis uses crossfaders in its modulation routing instead of switches, allowing you to blend between a variable shape LFO and four stage envelope generators for interesting and unusual modulation contours.

Wavefolding and Modular Utilities

Mavis features Moog's first-ever wavefolding circuit, allowing for additive synthesis to sit alongside traditional subtractive synthesis, unlocking sounds not heard from a Moog before. Mavis also features a broad modular utility section complete with attenuators, offsets, mults, and a flexible DC-coupled mixer providing the tools needed for creative patching and sound design.

Patchable Sample and Hold (S+H) circuit:

Generates a random CV pattern that can be patched to modulate other parameters, including setting Mavis into a "random sequencing" mode of performance.

24-Point Patch Bay

Mavis is eager to play along with other voltage-controlled devices (especially with Moog's other semi-modular instruments), and its useful collection of utilities and flexible control voltage routing allow for intricate dialogue between them.

Protective Cover

Mavis includes a fitted protective cover for use during studio downtime or taking your instrument on the go.

Specs

Type: Semi Modular Analog Synthesizer - Operate standalone or as 44hp Eurorack module
Polyphony: Monophonic
Keypad: 1 Octave Keypad w/ Glide and Scaling
Sound sources: Analogue Voltage Controlled Oscillator (Mixable Saw/Square)
Filter: Analogue -24dB Moog Low Pass Ladder Filter
Envelope: 4-stage Analog EG (Envelope Generator)
Wavefolder: Diode Wavefolder
LFO: Analogue LFO (Mixable Triangle / Square)
Modular utilities: Sample and Hold, Attenuators, Offsets, Mults, and a flexible DC-Coupled Mixer
Patch bay: 24-Point Patch Bay (3.5 mm)
Accessories: Protective Cover, Patch Cables, Calibration Tool, and Nut Driver Included

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: The next generation of Moog analogue synths, the Messenger draws on iconic designs of the past and introduces modern features which bring it right up to date. Affordable, top quality stuff from a legendary brand.

Supplier's notes:
A new method of sonic experimentation, communication, and connection has arrived. Say hello to Messenger, a next-generation analog synthesizer that celebrates classic Moog circuitry and introduces modern features to shape the future of sound design.

Messenger is a new Moog monophonic analog keyboard synthesiser designed for the electronic musicians, producers, sound designers, sonic tinkerers, and analog dreamers of today and tomorrow. Engineered to open new portals of art and expression through sound, the instrument is ready to be a trusted creative companion for any musical genre or style at any point in your synthesis journey.

If you're new to synthesis, welcome. You're exactly where you need to be. Messenger's intuitive layout with clearly labeled controls invites immediate hands-on exploration and encourages a deeper understanding of how to shape and sculpt sound. For experienced synthesists and sound designers, Messenger is packed full of innovative twists on beloved analog circuitry, blending the iconic, raw Moog sound with flexible, modern features designed for use on stage or in the studio. This synthesiser has two oscillators with wavefolding functionality, a sub-oscillator with continuously variable waveshapes, dual looping ADSR envelopes, 32 semi-weighted full-size keys with velocity and aftertouch, and the legendary Moog ladder filter augmented with resonance bass compensation, multiple filter slopes, and true multimode functionality. Messenger's 256 on-board presets allow for immediate saving and recall of your favorite sounds. An intuitive arpeggiator and expression/sustain pedal inputs make this an indispensable live tool, while its unique sequencer with probabilistic controls and modular connectivity set Messenger up to be at the core of your studio or home setup.

Craft soaring leads and deep, rumbling basses. Create delicately textured pads and flowing arpeggios. Build beats with custom kicks, snares, and toms. Explore dense drones and inharmonic metallics. Pay attention to how these sounds impact the way you hear the world around you.

Timeless and Intuitive: Messenger builds on the DNA of Moog's most iconic and prolific monosynths - Minimoog Model D, Voyager, Grandmother, Subsequent 37 - and puts a new spin on a familiar format with innovative circuits and timeless analog sound.

A Legend Reborn: The legendary Moog transistor ladder filter gets some new tricks up its sleeve. A unique pole-mixing design allows the ladder filter to preserve bass frequencies as resonance is increased via the RES BASS switch while keeping its sonic legacy intact. Low-pass mode adds a 2-pole filter slope in addition to the classic Moog 4-pole low-pass filter slope.

Inspiration at Your Fingertips: 32 full-size semi-weighted keys with velocity and aftertouch, a robust metal panel, 256 presets, and knob-per-function controls mean Messenger is endlessly playable and ready to bring to your next gig.

Compositional Powerhouse: Effortlessly record sequences of up to 64 steps, integrate chance operations, and introduce random fluctuations and parameter recording. Experiment with a plethora of arpeggiator patterns and cascade notes into infinity.

Sound Design and Modulation Playground: Two loopable ADSR envelopes, two LFOs, and expanded frequency and audio rate modulation options via Oscillator 2 provide a wealth of modulation options and deeper assignable possibilities.

Comprehensive Connectivity: Messenger integrates seamlessly into any studio or live setup with six analog control voltage (CV) patch points, an external audio input to the filter, expression and sustain pedal inputs, and 5-pin DIN MIDI in/out as well as MIDI over USB-C.

Notes: The Meng Qi Wingie Mk2 is a handheld stereo resonator with built-in microphones and stereo line iput.

Version 2 now also offers MIDI input (via 3,5mm TRS jack), an aluminium case, and a better user interface including 3 switches, 26 buttons, 3 sliders and 2 RGB LEDs that indicates the current mode.

There is a USB-Type C jack for power and convenient data transfer. Wingie can also run on a power bank.

To make sure you always have the most up-to-date capabilities, the USB serial chip can be updated easily.

Power supply via USB (Type C)

Dimensions: 116 x 100 x 33mm including switches