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

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

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

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

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

Specs

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

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


Premium version of the excellent Opsix, Korg's contemporary take on FM synthesis. Full 61-note natural-touch keybed with aftertouch, 80-voice stereo polyphony and full metal construction.

Supplier's Notes:
The Ultimate Union of Power and Performance

opsix SE is a digital synth like no other. With a premium all-metal design, 61-keys, and aftertouch, it unlocks a new world of sonic capabilities. Building on the expansive sound engine in the original opsix, opsix SE enhances it with increased polyphony and voicing, resulting in a synthesizer created for superior performance and precise control.

The opsix Operator Mixer simplified FM synthesis for the first time, making it not just comprehensible but also controllable. With the addition of extra synthesis capabilities and programming, it offered a more efficient workflow and an even richer sound.

The opsix SE takes this even further. It is equipped with Korg's premium 61-key natural-touch keyboard, complete with aftertouch, delivering the exceptional tactile experience expected from Korg's flagship workstations. With a sleek, robust metal body, it's built for both the intensity of live gigs and the precision of studio sessions. The metallic knobs are optimally weighted for effortless adjustments. Underneath its exterior, the opsix SE boasts an incredible capacity of 80 stereo voices of polyphony.

The opsix SE arrives preloaded with hundreds of sounds enhanced for aftertouch control. Moreover, it is fully compatible with the sounds and samples from both the original opsix and the opsix Native software, including numerous high-quality libraries.

Build to play

opsix SE was born out of the desire to play this incredible synth with both hands. Equipped with KORG's premium 61-note natural-touch keyboard, the opsix SE offers the same outstanding tactile response as KORG's top-tier workstations. Aftertouch puts unparalleled control of all the exceptional opsix sounds at your fingertips. Of course, we've modernized the factory Performances for aftertouch and introduced some fresh ones to the mix as well. In fact, most of the opsix SE programs have been revised to make full use of aftertouch, extended keyboard, and polyphony.

Premium metal design

The opsix SE showcases a notable upgrade in aesthetics. A slim body, specifically designed for this instrument, features a striking brown painted aluminium control panel, paying homage to vintage machines. Together with the vivid, illuminating LEDs, it brings a vibrant energy to any stage performance. The side panels, painted in a sleek black metal, amplify the overall aesthetics for a luxurious finish.

Exclusive hard case included

The opsix SE ships in a dedicated hard case, including space for cables and a sustain pedal. Your instrument can travel protected, whether you're carrying it to a rehearsal downtown or packing it up for a tour.

Get Illuminated with the Operator Mixer

At the heart of every sound is opsix SE's Operator Mixer - a simple set of six faders and knobs that invite exploration. Each part lights up red to indicate carriers or blue for modulators. Manipulating them opens up new sound-shaping possibilities to breathe fresh life into your musical ideas. This straightforward, hands-on workflow is part of what makes opsix SE so unique, just like the sounds it offers.

Direct Hands-On Control

Whether you're tweaking a preset or building a patch from the ground up, the six data entry knobs on the right give you quick access to the parameters you need and seamlessly sync with the large OLED display, giving you a clear, focused direction to your workflow. Coupled with the mixer, it makes creating fresh sounds super easy and, most importantly, fun!

Select from a full range of analogue-style filters, from the radical Korg MS-20 low-pass/high-pass filter to the powerful yet smooth KORG Polysix low-pass filter that gives your sound a vintage feel. There are also two or four-pole low-pass, high-pass, band-pass, and band-reject filters with resonance.

There's even a built-in spectrum analyser and oscilloscope that gives you visual feedback via the screen on the music you're making.

Six in One Synthesis

The core of opsix is nothing short of exponential. Since waveforms can be arranged and modulated in nearly infinite ways, opsix can easily do the sonic work that is similar to numerous types of synthesis:

Subtractive

Removing parts of the sound to get the sound you want; the most widely-used synthesis. opsix uses up to six envelopes and multi-modeled filters to achieve many cutting-edge and classical analog synthesis tones.


Semi-Modular
Rerouting signal paths to change the sound. A spin through the Alogorithm section will dramatically reshape the sound by changing how the signal routing between the operators work together, and no patch cables are needed.


Analog (Modelling)
Analog-style controls and plenty of stackable waveforms take you from digital to analogue-sounding in no time. Enjoy deep basses, crisp leads, thick pad sounds, fuzzy brass tones, and so much more.


Waveshaping

Adding intentional distortion to the waveforms to achieve aggressive overtones that are either harmonic or inharmonic. This will help you achieve gritty, bitey tones dripping with character.


Additive

Stacking waveforms and blending their harmonics is key to an expansive range of harmonious, dissonant, and tension-driven sounds. With six operators available, the complete FM experience is possible, including the ability to go back in time for classic sounds you have heard throughout recording history.


Classic FM

Last but certainly not least, opsix's highly flexible and powerful architecture starts with true six-Operator FM. As a result, it easily delivers signature sounds you have surely heard on thousands of hits from the '80s on through today, and with far more polyphony than other standalone FM synths available today.

With all of these ways to realize and explore sounds, opsix SE is uniquely suited as a "future-modern-classic" synth!

Altered Reality

opsix SE is FM-based, but the similarities to the classic synthesis end there. The Altered FM architecture delivers sounds across a vast spectrum, far wider than any single synthesis has been able to cover before, thanks to new sound components; new waveforms, filters, shaping, effects, LFOs, envelopes, modulations, and more, all translating to its broad assortment of sounds.

Powerful Effects Processing

opsix SE provides three blocks of 30 types of high-definition effects that you can use together to enhance your sounds even further. There's everything from a great mix of usable standard effects like chorus, phaser, delay, and compressor to some world-class shimmering reverbs that will elevate your sound to the next level.

Automatable 16-step sequencer

opsix SE features an incredible step sequencer that rivals groove boxes for flexibility and power. Press the PLAY button on any sound and experience the complexity of the sequences! Every Program has its unique sequence stored with it, or create your very own.

You can record up to six notes per step and edit each note's velocity, gate time, and playback timing. Create long phrases or make subtle shifts in timing to emulate strums or drum rolls, something that's not possible on a typical 16-step sequencer. The motion sequencer of the opsix SE also lets you record changes of up to six parameters, creating smooth motion changes in sound within a phrase or building rhythms that change dramatically with each step.

Notes: ***B-STOCK: Product with some signs of usage but in perfect working order***


The electribe has been reborn including KORG's latest technology distilled from popular products such as the KingKORG, kaossilator, kaoss pad, and taktile. The 200 preset patterns cover House and Techno as well as cutting-edge dance music genres such as Trap and EDM. Another major evolution of the new electribe is support for polyphonic playback, which is indispensable for musical styles that involve complex chord progressions such as House music.

Using the 16 pads placed on the front of the unit, you can create patterns intuitively while actually hearing and seeing the sounds. You can use the pads as a keyboard to realtime-record phrases, and also perform step recording by entering the pitch and rhythmic value one note at a time. The patterns you create can be used in alternate forms as you perform by taking advantage of the "step jump" feature inherited from the volca series, or by changing the "last step" to vary the length of each part.

There's also a "motion sequence" function that lets you record knob and button operations and use them in the pattern that you create. Either drums or synths can now be assigned to each of the 16 parts (i.e., the 16 pads). For example you could create complex rhythms by assigning drums to all of the 16 parts.

Familiar from the kaossilator is the "touch scale" function that lets anyone perform without wrong notes, just by moving a finger across the touch pad. The trigger pads that were popular on the taktile are also provided, making it easy for anyone to create phrases intuitively. The trigger pads can also be used for drum input. Settings allow you to switch velocity on/off.

For the electribe, KORG designed a synth engine that gives you the maximum sound-creating freedom and the fastest sound production. The 409 oscillator waveforms include analog modeling and PCM. The analog modeling synth engine provides a broad variety ranging from simple basic waveforms to complex combinations such as dual, unison, sync, ring modulation, and cross modulation. The PCM sound engine provides mainly rhythm sounds, but also covers multisamples for keyboard. (collaborations with Sample Magic, Loopmasters, Prime Loops are included)

The filters at the heart of the sound-shaping capabilities are inherited directly from the KingKORG, and they use filter algorithms that simulate standard synthesizers so that you can get "the sound" which was used in famous songs, just by selecting the appropriate filter type.

You can also apply filters to drums to create rhythm tracks that are rich in tonal variation. Modulation can make sound-creation more complicated, but we've made it easy by condensing it down to three parameters: simply select a template that specifies an effect and its target, and then adjust the speed and depth of the effect to suit your taste.

The new electribe provides effects such as compression and overdrive for each part, giving you uncompromising control over the nuances of individual sounds that differ subtly between genres. The groove function can be specified for each part, letting you apply a groove to your phrase simply by selecting a template.

The master effects can be controlled from the touch pad just like on the kaoss pad, and they include not only spatial-type effects that shape the overall acoustics but they also include effects that apply aggressively musical transformations such as the "Vinyl Break" effect inherited from the Kaoss pad series, and the newly developed "Seq Reverse" and "Odd Stepper" that change the playback order of the sequencer. These are also extremely effective for live performance. Insert effects can be assigned for individual parts, opening up even more complex sound-design possibilities. There's also a "pattern set" function which lets you switch patterns by pressing trigger pads, and an "event recording" function that records that performance. In addition to MIDI IN/OUT, "Sync IN/OUT" is also provided, allowing synchronized performances with the volca series, monotribe, or MS-20 mini. The unit can run on six AA batteries, so you can easily take it along with you and perform anywhere, providing on-the-go inspiration your musical ideas.

Notes: A mini-modular synthesizer for real-time composing, sound processing, and having fun.

Pluto is compact and portable, with abilities that belie its small size. Five channels of modulation (named for the five moons of Pluto), two voices, two sequencers, a mini-keyboard, and onboard delay make Pluto its own complete sound environment, but it can happily play with all your other gear.

The design of Pluto draws from a legacy of portable electronic instruments, from the Buchla Music Easel to 80's Casio synthesizers. With a focused, approachable interface, Pluto invites exploration.

Features

Portable 2-voice, 2-sequencer patchable synthesizer
Easily create complex, randomized sequences
Low-aliasing digital oscillators, wavetable oscillators
Rechargeable battery
Built-in delay and reverb effects
Mini touch keyboard
Audio input for audio processing
Audio output (stereo headphone, line)
Quantize to preset scales, MIDI, or even audio input
Eurorack-compatible patch signals (5v)
Sync In & Out
MIDI In & Out (TRS, USB)
2 channels CV Out (0-5v, 1v/oct)
USB-C cable included

Notes: Second-generation version of Korg's superb ModWave synth, building on the legacy of the iconic Wavestation with 60-voice polyphony, Kaoss Physics and Motion Sequencing 2.0.

Supplier's Notes:
Modwave is a synthesis powerhouse with distinctive wavetable timbres, Kaoss Physics, and Motion Sequencing 2.0. The new Modwave mkII provides an astonishing 60 voices of polyphony almost double that of the original Modwave. All LFOs have been updated with options for free running, delayed start, and retriggering, and a pre/post switch for reverb sends has been added, alongside new modulation sources, and more.

Modern monster synth

In 1985, Korg introduced the DW-8000 - a synth which combined digital wavetables with rich analogue filters to give users sounds which were impossible to create with analogue oscillators.

Modwave builds on the DW legacy, transforming it into a modern monster synth, featuring incredibly deep wavetable oscillators, gorgeous filters, wildly flexible modulation, unmatched polyphony, comprehensive pattern sequencing, and immediately satisfying hands-on control to deliver unique, powerful, and easily customizable sounds and phrases.

Over 200 factory wavetables each contain up to 64 waveforms. 30+ Modifiers can be used to change their basic character, and 13 Morph Types to process them in real-time. Using the unique, realtime A/B Blend, it's possible to create new hybrids from any two wavetables.

Expanded possibilities

Modwave can be expanded by importing new wavetables using the free Editor/Librarian software. There are many free and commercial wavetable libraries in the standard Serum format, or you can create your own using the free, cross-platform WaveEdit software (available in a custom version for the Modwave). Wavetables can be layered with samples from the built-in, multi-gigabyte PCM library, or import your own 4 GB of samples using the Sample Builder software.

Each Program has two full-featured wavetable oscillators, plus a sub oscillator/noise generator and any of a dozen stereo filter types, including the aggressive MS-20, sweet Polysix, and the newly enhanced Multi Filter. Animate almost any parameter using the massively flexible modulation system, with four triggerable envelopes, five LFOs, dual mod processors and two key-track generators-plus multi-lane Motion Sequencing and Kaoss Physics.

Even with all that synthesis power, playing up to four simultaneous wavetables per voice in a single Program, the Modwave mkII achieves 60-voice polyphony, incredible for a wavetable synth. Layer two Programs together for double the possibilities.

KAOSS in motion

Modwave introduced two unique new tools for creating dynamic motion: Kaoss Physics and Motion Sequencing 2.0. KaossPhysics combines an x/y Kaoss pad with modulatable game physics to create a responsive, interactive controller that is extraordinarily powerful.

Motion Sequencing 2.0 brings the organic, continuously evolving patterns of the Wavestate Wave Sequencing 2.0 into the world of motion sequencing, including multiple lanes and real-time recording to help you create complex and evolving phrases that other step sequencers cannot.

Modwave's evolved wavetable synthesis delivers its own brand of completely unique sounds and a knob-per-function layout that makes customizing those sounds fast and easy. There are hundreds of preset sounds empowered by this new architecture, organised by front-panel category buttons, and all instantly customizable via the four Mod Knobs. Modwave'sdistinctive wavetable timbres start with aggressive basses & leads, and lush ambient pads which will add a new dimension to your tracks. But that is just the beginning.

Those who want to dig deeper will find an endless source of discovery; with the Modwave's unique synth architecture, you'll be finding new things for a long, long time. Save as many of your sounds as you like; there's room for thousands more. You can also load your own samples, import wavetables in standard formats, and create your own wavetables using the free WaveEditsoftware.

KAOSS Physics

Kaoss Physics models a ball rolling on a surface and bouncing off walls. The surface can tilt in any direction, and a bump with variable height/depth and location attracts or repels the ball. Adjustable friction slows the ball's travel, and adjustable time controls the speed of the entire model. All of these characteristics are modulatable, so you can change them in real-time!

Start the ball by flicking a finger on the x/y pad, or launch the ball automatically using another modulation source. You can even directly control the ball by holding your finger on the pad. The position of the ball produces eight modulation signals, which can be used to control any modulation destination: the X and Y locations, the distance from the centre, the angle relative to the X axis, and separate signals for +/- X and +/- Y.

Walls can slow down the ball, as if they were padded, or accelerate the ball, like bumpers in a pinball machine. The walls can also be removed entirely, so that the surface wraps around to the opposite edges like a vintage arcade game.
The modelled environment can create specific modulation effects. For instance, use a centered bump with negative height so that the modulation values always eventually return to 0. Or, position a bump with positive height on a side or a corner, to push modulation values away from that zone.

The result is an interactive controller that amplifies your physical gestures, transforming them into complex musical results.

Motion Sequencing 2.0

Motion Sequencing 2.0 is evolved from the Wavestate's Wave Sequencing 2.0. Timing, Pitch, Shape, and four sets of Step Sequence values are separated into "Lanes," each with their own loop start and loop end, adding a deeper, more customizable level of phrase and modulation recording.

Every time the sequence moves forward, the individual Lanes are combined to create the output. For instance, a step sequence value may be matched with a different duration, pitch, and shape every time that it plays. You can modulate each Lane's loop points separately for every note, using velocity, LFOs, envelopes, Mod Knobs, or other controllers. Each note in a chord can be playing something different!

Lanes can also randomize the step order every time they play. Finally, individual steps can be randomly skipped, with a modulatable probability from 0 to 100%. The result is organic, ever-changing sounds that respond to your control. The dual onboard arpeggiators can interact with Motion Sequences for even more possibilities.

Wavetables

Wavetables are sets of single-cycle digital waveforms, arranged in a specific order. The wavetable's "position" determines which waveform is played. Moving the position with an envelope, LFO, or other modulation source creates subtle or dramatic changes in timbre. Some wavetable systems switch abruptly from one waveform to another; others crossfade smoothly between them. Modwave can do either one.

Modifers

Use over 30 Modifiers to alter the character of any wavetable at load time. For instance, isolate the odd or even harmonics, add weight through anti-aliased quantization or saturation, or revisit the gritty character of old-school wavetable synths with the Vintage 8 & 12 options.

Morph

The 13 Morph Types let you stretch, squeeze, reflect, and otherwise alter the wavetables in real-time, changing their timbre andiwhen modulatedicreating additional motion in the sound. Sync creates classic swept-sync timbres, using only a single oscillator. Three special Morph TypesiFM, AM, and Ring Modimodulate Osc 2 with Osc 1, and the last two even apply to samples.

A/B Blend

Using the unique A/B mode, oscillators can blend any two wavetables with phase-synchronous precisionidifferent from simply layering voicesiopening up a dimension of intermediate waveforms. Add body to otherwise "thin" waveforms, for instance, or a touch of sizzle to a mellow timbre. Even fade between two different "modifier" versions of the same wavetable. A/B Blend can be modulated in real-time, of course.

Or, step outside the box with Korg's unique Multi Filter, which creates modulatable blends of multiple modes simultaneously - now with presets on a front panel knob, for easier exploration of its many possibilities.

An arsenal of effects

Modwave's superb effects deliver production-ready sounds. Each Layer has three dedicated effects, plus a send to the Performance's master reverb, followed by a master parametric EQ. Along with standards such as compressors, EQs, choruses, flangers, phasers, and stereo delays, you'll find distinctive processors such as the Wave Shaper, Talking Modulator, Reverse Delay, Multiband Mod Delay, and Overb (from the OASYS and Kronos), plus modeled effects including VOX guitar amps, VOX wah, multi-head tape echo, and a collection of classic guitar pedals.

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


Unassuming looks conceal the excellent EaganMatrix sound engine, offering USB-powered synth creativity perfectly matched to Haken's own Warbl Wind Controller but also compatible with MIDI and MPE.

Supplier's Notes:
EaganMatrix Micro

The power of EaganMatrix Sound Technology in Haken's smallest product ever! The EaganMatrix Micro is a full-featured EaganMatrix sound engine in a small self-contained form factor, and is powered and controlled via USB.

The EaganMatrix Micro provides a truly versatile framework for both studio and live performance, with a robust implementation of MPE and MPE+ Midi.

The EaganMatrix Micro is a perfect companion to the amazing Warbl Wind Controller.

The fingering holes on the Warbl are not just switches. You can hear that the pitch starts off a bit as the finger gets close to the hole (like it would on an acoustic wind instrument) and hits the final pitch once the hole is covered. It's a subtle effect but important. The following video shows 15 Presets from the Micro's demo assortment that Edmund Eagan skillfully customized to take advantage of the Warbl's specific sensing technology. In the future there may be demo assortments customized for the sensing technologies of other devices.

Hundreds of System Presets are included with the EaganMatrix Micro. An external cross-platform (Mac and PC) Haken Editor may be connected to modify and customize the supplied EaganMatrix System Presets, or create completely new presets from scratch.

The EaganMatrix Sound Technology, originally created for the highly sensitive Continuum, is now available to you in this compact form factor.

EaganMatrix Micro Connections
1. USB Power and Midi (shown connected).
2. Foot Pedal or Haken Audio CVC communication.
3. Stereo Audio Out.

Haken Audio's EaganMatrix Micro offers:
Polyphony: Nominal 1-3, Maximum 8
Stereo Audio Output: 3.5 mm TRS
EXT Connection: 3.5 mm TRS

Can be used as a pedal input (Yamaha FC3A with HOSA MHE-100.5 is recommended),
or it can be configured for a Control Voltage Converter.

Seven Segment Display: Preset navigation and settings
USB Power: 500 mA (190 mA average actual usage), via Mini USB connector
USB Midi: via Mini USB connector (USB-A to Mini USB cable included with purchase)
Allows bidirectional MPE and MPE+ connection to other devices; allows connection to the Haken Editor for editing and archiving EaganMatrix presets
Dimensions: 11.3 x 5.8 x 1.9 cm (4.4 x 2.3 x 0.75 inches)
Weight: 0.075 kg (2.6 oz)

Notes: It starts with a dream

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

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

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

The dream came true, and even more!

A modern synth played like a guitar or a bass

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

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

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

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

A powerful and unique composition tool

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

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

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

A sound engine is made for this instrument by Kodamo.

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

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

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

Electronics and wood

Elyra is made of electronics and wood.

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

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

Elyra is built to last.

Raised touch buttons

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

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

There are 5 distinct areas on the main panel:

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

Guitar/bass mode

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

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

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

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

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

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

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

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

Specifications

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

Size and Weight

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

Notes: A hardware take on the bytebeat genre, in which simple computer code generates music. Hands-on touchpads allow you to modulate the code behind the sound, creating constantly evolving tones.

Supplier's Notes:
Honey is a palm-sized, touch-based noise instrument based on the bytebeat principle. It runs on a single AAA battery and emits sound through a speaker. It doesn't have an audio jack. It creates dynamic sounds by manipulating variables and mathematical operations through touch.

The internal dynamic equations consist of five variables and four operations, with six possible operators for each operation. They are constantly changing and forming new equations, creating chaotic randomness.

If the unit does not respond correctly, the battery needs to be replaced.

Powered by one AAA battery

Notes: Reissued version of one of Dreadbox's back catalogue synths, the Erebus is a paraphonic design with two VCOs, a characterful low-pass filter, built-in delay and updated snappy envelopes.

Supplier's Notes:
Dreadbox's most unique sounding analogue synthesizer is finally back, warmer and snappier than ever!

All you synth lovers, the time has come to dive into the Erebus...

All Analogue Paraphonic Synthesizer
Faithful Reproduction of the Erebus V1
2 Oscillators with 2 Waveforms each
Separate Glide controls and Hard Sync function
2-pole Low Pass pre-fed Filter
1 ADSR envelope and a AR Amp Envelope
Snappier than the V1

OTA VCA
Lo-Fi Delay effect
Wide Range LFO
15 patch points for an astonishing and spectacular modular experience
Compact, USB powered, Eurorack Format (42HP)

Ethereal & Dreamy

Warm sounding Oscillators
Classic Dreadbox Filter
Snappy Envelope Generators
Lo-Fi Delay effect to expand your sound
CV outputs: Envelope, LFO, Mod Wheel, Gate, CV1, CV2
CV inputs: Osc1, Osc2, Echo, Cutoff, CV, Gate, LFO Rate, PW, VCA

Specifications & Connections

USB powered (1.5 Watts)
50 Playing hours with 20,000mA portable power bank
MIDI IN via DIN5
14 MONO TS Jack Out

Dimensions: 21.5 x 13 x 6.5 cm
Weight: 1 kg

Requirements:

USB-A Adapter (5v) with 1000mA or more
MIDI device or keyboard that is equipped with DIN5 midi output
Monitor, Amp or Headphones

Included in the box:

Erebus Eurorack module
42 HP case
1x DIN5 to 3.5mm adapter
1x Ribbon cable

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: Typhon has been developed with ultimate care and love, so as to be a great-sounding, portable and affordable synthesizer. It has a complex modulation routing, 256 preset memory, a 32 note sequencer, and powerful stereo effects developed by Sinevibes.

Since it is packed in a compact USB powered box, it can be carried everywhere you go!

Specifications & Connections:

USB powered (at least 500mA)
60 Playing hours with 20,000mA portable power bank
MIDI Din IN and OUT
1/4 in Stereo Out
1/8 in Headphone Out
1/8 in Mono Audio In (for routing via Typhon FX)

Dimensions: 23 x 13 x 6 cm
Weight: 1kg

Notes: From basslines and rave sounds to massive drones and drums - the Erica Synths Bassline DB-01 synthesizer lets you explore new territories of sound and performance techniques and go from a melody to noise and back in no time. The DB-01 packs an analogue Erica Synths signature sound engine with an advanced sequencer on top of it.

Features:
All analogue sound engine
Aggresive acidbox filter design
One knob overdrive for even more destructive sound
Transistor based sub-oscillator
Independent amplitude, filter cutoff and pitch envelopes
BBD based detune for massive swarm sound
Syncable LFO with multiple waveforms for FM and VCF modulation
Noise source
Intuitive, easy to use sequencer for up to 64 step patterns
Sequence transposing
Pattern randomization
Arpeggiator
Modulation track with VCF cutoff automation
Built in and user defined scales with micro tonal possibilities
Analogue clock in and out
CV/Gate output/input
MIDI IN and THRU - play it with a keyboard!
8 banks of 16 pattern memory
Compact, durable aluminium enclosure

Notes: The legendary MicroKorg gets a major overhaul, bringing this iconic instrument right up to date. Eight voices of powerful, punchy and inspiring virtual analogue sound. A superb all-rounder, suitable for all styles of music.

Supplier's Notes:
A legendary past, a powerful future.

microKORG is one of the world's most successful synths, having helped to shape music production for more than twenty years. Merging the essence of what made the original a global success with an array of powerful new features, the microKORG 2 once again redefines the landscape of music creation. It maintains the essence that has made its predecessor a mainstay in studios and on stages while introducing innovative, contemporary elements that resonate with today's musicians. The microKORG 2 is not just a new instrument; it's a new chapter in synth history.

Seamlessly sculpt your sound with refined controls

Dive into the microKORG 2 and discover how easy and intuitive creating the perfect sound can be. Korg have equipped it with five dynamic knobs, each one a gateway to fine-tuning your sound across any musical genre with speed and precision. Whether you're crafting lush pads or searing leads, the expanded bank selection puts every era of music right at your fingertips.

The centrepiece of the microKORG 2 is its stunning 2.8-inch colour display. It's not just about looks; this display makes tweaking your sound a visually immersive experience. Watch parameters come to life with animated effects, giving you instant visual feedback as you shape your sound. And for those who love to see music as well as hear it, a quick tap switches you to an oscilloscope view, literally showing you how your soundwaves evolve and change.

Korg have packed the microKORG 2 with the latest tech, but don't worry, it's all about enhancing your experience, not complicating it. Whether you're a synth veteran or just starting, you'll find its interface welcoming, straightforward, and comprehensive, letting you dive deep into sound creation without getting lost in the technicalities. It's all about keeping the joy in music making - and the microKORG 2 does just that.

Crafting vocal perfection: the new vocal processor

The original microKORG is renowned for making complex vocal synthesis accessible and fun. Known as the synthesiser with its own mic, it has been the choice for producing unique robotic voices for over two decades - a feat typically reserved for specialized equipment. The true magic of the microKORG has always been in its ability to simplify complex sound engineering. Taking a leap forward, Korg have outfitted the microKORG 2 with a new vocal processor that goes well beyond the beloved classic vocoder effects. Korg are introducing advanced vocal processing technology at your fingertips, including hard-tune pitch correction for creating smooth and polished vocal tracks. Additionally, the new harmonizer feature allows you to layer and pitch-shift your vocals, enriching your music with depth and complexity.
As for effects, the microKORG 2 offers a rich array of options. Layer your vocals with immersive reverb, crisp delay, and a diverse range of sonic textures to fully realise your creative vision. The iconic gooseneck mic, now featuring a stylish metallic neck, is the perfect complement to this powerful vocal processor. Whether you're aiming for rich harmonies or contemporary auto-tuned effects, the microKORG 2's vocal processor is a versatile tool for unleashing your vocal creativity.

Master live performances with loop recording and arpeggiator

Discover a new level of musical creativity with microKORG 2's loop recorder. This feature brings a familiar yet powerful tool for modern musicians into the microKORG world. Ideal for crafting layered backing tracks, the loop recorder allows you to loop segments of music and overlay your own performance, enhancing your creative expression in real-time. While loop recorders are well-known in the music world, their integration into the microKORG 2 opens up new avenues for experimentation and performance, perfectly complementing the synthesiser's robust capabilities.

The loop recorder is designed for simplicity and ease of use, featuring three simple buttons: record, play/stop, and undo/redo. The user interface is streamlined for immediate understanding and use- long-pressing the buttons reveals recording and playback settings, ensuring you're always in control and can focus on your performance.

The microKORG 2 also includes an arpeggiator, perfect for adding rhythmic complexity to your compositions. Activate it with a simple press of one of the eight program number buttons, and watch as it infuses your music with intricate patterns and textures. The combination of the loop recorder and arpeggiator opens up a world of possibilities, allowing you to craft a performance that is truly and uniquely yours.

Explore sounds across the ages

Discover microKORG 2's rich tapestry of sounds, where you get to play with a whole new range of tones. It's all about choice here - the new program selector is your gateway to genres far and wide. Fancy a bit of retro?

Specifications

Keyboard: 37 keys (velocity sensitive mini keys)

Synthesiser
Sound Engine: Analogue modelling synthesis system
Number of Timbers: Max. 2 (when Dual)
Maximum number of voices: Single 8 voices, Dual 4 voices

Vocal Processor
Maximum Polyphony: Vocoder 8 voices, Hard Tune 4 voices, Harmonizer 4 voices, Hard Tune & Harmonizer 2 voices

Effect types: Modulation, Delay, Reverb, Equalizer
Arpeggiator: 10 types, step arpeggiator function
Programs 256 programs (4 Banks x 8 Categories x 8 Programs)
Display: 2.8-inch IPS LCD display
Inputs/Outputs: OUTPUT - L/MONO, R terminals: 6.3mm TS phone jack, unbalanced
HEADPHONES jack: 6.3mm stereo phone jack, unbalanced
MIC IN - CONDENSER: +5V 3.5mm TRS mini phone jack, unbalanced
MIC IN - DYNAMIC: 6.3mm TS phone jack, unbalanced
AUX IN: 3.5mm mini stereo phone jack, unbalanced
DAMPER/SWITCH: 6.3 mm phone jack
MIDI IN,OUT
USB Type C

Power supply: 9V DC (AC adapter), six AA batteries (alkaline or NiMH)
Battery life: Approximately. 4 hours or more (when using alkaline batteries)
Dimensions (W x D x H) 542 x 238 x 65 mm
Weight: 2.1 kg (without batteries and microphone)
Included items Condenser microphone, AC adapter (DC 9V)

Notes: Amazing value from this little Eurorack-compatible analogue synth. Loosely Moog-inspired semi-modular East Coast subtractive design with MIDI control and great sound.

Supplier's Notes:
East Beast

Fully analogue East Coast style semi-modular synthesizer

What's the first thing you think of when you hear the word "synthesiser"? Close your eyes and think about.

Anyway, for a lot of people, the word synthesiser invokes visions of big filter cutoff knobs, envelope generators, and importantly, big fat-sounding voltage-controlled oscillators. These are the hallmarks of East Coast-style synthesis.

East Beast is a fresh take on these old-school concepts with a few beastly twists thrown in here and there.

Furthermore, you can pop East Beast out of its included enclosure and it transforms right into a 40HP eurorack module
East Beast's oscillator, designed in partnership with Pittsburgh Modular Synthesizers, is a part of their 5th generation of analogue oscillators stemming from a super-serious 10 years of continued research into analogue oscillator development.

Its circuitry is not a clone or based on any outside designs. It is made with 100% modern components. This keeps it very stable, and giving it a super rich, and unique sound.

Most of the filters you are used to hearing are transistor ladder filters or copies of transistor ladder filters. East Beast's filter is not one of those. Pittsburgh's whole goal of making this filter for East Beast was to create a filter that's creamy smooth with no dead spots, a very common phenomenon in all filters, but check it out. This one's got no dead spots. From nasally to biting and elsewhere, it's all one large sweet spot.

East Beast's filter is a multi-mode filter, meaning it can be used as a low pass filter, high pass filter, bandpass filter, or a combination of the three for an even wider sonic palate.
Shape the beast in your own image
To further sculpt the sounds Cre8audio has included an envelope generator & LFO. The custom envelope circuit creates a snappy, percussive attack for expressive performance. The dual range LFO opens up a wide range of LFO and audio rate modulation possibilities.

Get patched.
Semi-modular means that the East Beast will work without any patch cables or anything. But what fun is that? Who doesn't want to have their own personal spaghetti mess of cables sticking out of their synthesizer to get wacky with?
East Beast has basically 9 different patchable modules (Oscillator, filter, envelope, VCA, LFO, multi-mod tool, sequencer, MIDI to CV converter, and button keyboard) with a whopping 18 Eurorack compatible patch points to plug into itself and your other gear. All for your patching pleasure.

As well as this, East Beast has MIDI in and a fancy MIDI thru so you can chain multiple MIDI monstrosities together- you can plug in a MIDI controller into East Beast and do as you wish.

But wait, there's more! East Beast includes quite a few additional performance features. You can dive in and dive in with its built-in tap tempo clock, arpeggiator, and sequencer. There's a lot of opportunities to inject in some randomness too.

Specifications for when used as a eurorack module

Width when used as a module = 40hp
Depth when used as a module = 25mm
213mA power draw when running +12V rail
151mA power draw when running -12V

Input voltage range of oscillator = 0-10V

Included in the box - 1x East Beast, 1x East Beast wall-wart power supply, 5x Amazing Nazca Noodles Patch Cables, 1x 3.5mm to 5 pin MIDI Din pigtail, and love (love's presence likely, but not guaranteed)

Notes: The Korg Monotron Duo is capable of creating even stranger, extreme and diverse sounds. The combination of 2 oscillators in unison provide thick, rich analogue tones, while tuning them to different intervals can create classic solo synth sounds and powerful effects. Korg have utilized their X-Mod (cross modulation taken from their classic Mono/Poly synths) circuitry in the Monontron Duo, enabling you to generate the mildest of sounds, to vibrant vibrato, to sharp, fm style abrasive synth sounds.

The Monotron Duo features Korg's fantastic enhanced ribbon controller keyboard and now features the same scale function as used on the Kaossilator, chromatic, major, minor or off scales are available, allowing your music juices to flow freely over any music. The distinctive tone of an analog filter (VCF) can dramatically alter and enrich the sound. The Monotron Duo uses the same highly acclaimed VCF circuit as Korg's classic MS-10 and MS-20 semi modular synthesizers. Originally released over 30 years ago, these instruments are still coveted today for their aggressive, dynamic filters. The VCF Cutoff knob sets the frequency or tone of the filter; the VCF Peak knob adds emphasis. A powerful filter is an essential aspect of any analog synthesizer, applying dramatic tonal changes to the sound, and projecting an intense personality that will stand out in any live performance.

The input jack (AUX input) built into the Monotron Duo's compact body allow you to place any audio source into the Monotron Duo's signal path, directly before the analog filter. This provides a great way to connect a Kaossilator, a guitar, or a digital audio player to the Monotron and enjoy tone-bending filter effects.

A miniature speaker is built into the Monotron Duo. Along with the battery operation and compact size, this feature allows you to enjoy the share the Monotron Duo's analog synthesis sound with your friends, anywhere, at any time. There's also a headphone output that you can use when practicing in private, creating sounds at home, recording, or for connecting to an amplifier or PA system.

http://www.youtube.com/watch?v=wWLOxRSll5Q

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

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

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

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

LYRA-8 also has the next blocks:

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

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

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

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

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

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

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

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

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

LYRA-8 also has the next blocks:

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

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

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

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

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


Hands-on hardware synth goodness in a boutique desktop format, feauting an eight-voice digital supersaw engine and four-pole filter. Built-in delay, reverb, chorus and freeze effects can be used to process external signals.

Supplier's Notes:
Design philosophy

Knob-For-Knob Functionality:

Artium Instruments are committed to knob-for-knob functionality. Every feature of The Swarm is directly mapped to a knob, button, switch, or jack, ensuring effortless control. There's no need for menu-diving or complicated sequences of button presses to access features; everything is conveniently accessible at your fingertips.

Curated, Onboard Effects:

With over a decade of experience in the effects industry, Artium have carefully curated a selection of effects that seamlessly complement the synth core. Unique to The Swarm is its capability to use the onboard effects with other equipment, allowing you to route external audio through the inputs on the back.

Plug and Play Functionality:

The Swarm utilizes a USB-C MIDI host for simplicity and ease of use. Most modern class-compliant MIDI controllers with USB functionality should plug in and work immediately with zero setup. Additionally, The Swarm provides power to your controller, streamlining your setup process. For older controllers that only have DIN connections, a USB to DIN converter can be used to ensure compatibility. (These converters typically cost $10-20)

Quality Craftsmanship, Intentional Design:

Artium have invested considerable thought into crafting the overall feel of the instrument. From the layout of the knobs to the choice of colours, artwork, and the weight of the enclosure, every detail has been considered. These details matter because the connection a user forms with a piece of gear is almost as crucial in the creative process as the sounds it produces. A lot of love and passion has been poured into every aspect of The Swarm, from its sonic capabilities to its design aesthetics.

Open Source Platform:

Artium desktop synths use an open source platform known as Axoloti or Ksoloti for development and implementation of its products.

Synth core

Oscillator:

The Swarm features a SuperSaw oscillator with 8-note polyphony. This oscillator is composed of seven individual saw waves stacked on top of each other. The magic unfolds when you detune the waveforms by applying a frequency offset, resulting in one of the most massive synth sounds available.

Control Modes:

The Swarm employs this massive sound through two distinct control modes: Polyphonic Mode and Arpeggiator Mode. In Polyphonic Mode, you can play up to eight notes simultaneously, exploring the full range of polyphony. Arpeggiator Mode offers a comprehensive monophonic arpeggiator, automatically sequencing held notes in a variety of patterns, enhancing your creative possibilities.

More Features & Controls:

To shape the sound further The Swarm has a 4 Pole Low Pass Filter with a subtle resonance as well as a simple attack and release envelope.

Onboard effects

All onboard effects can be used with other music equipment. Simply plug an external audio source into the rear input jacks, and The Swarm will seamlessly mix the external audio with its synth core, allowing for simultaneous processing of both signals.

Freeze:

By pressing the touchpad on the right, The Swarm records a 1000ms sample of the current audio. It then layers, and smears the sample, creating an infinite drone frozen in time-a perfect foundation for layering additional notes. The freeze effect facilitates overdubbing, and pressing the touchpad with the freeze knob at its minimum setting erases the memory, allowing the device to capture a fresh sample.

Delay:

The Swarm's delay is a digital delay with a subtle touch of warmth. The delay length synchronizes with the arpeggiator clock, which can be adjusted manually using the clock knob or via the tap tempo touchpad on the left. Additionally, the delay features a multiplier knob, offering a range of unique subdivisions that complement the synced arpeggiator, including quarter notes, dotted eighths, eighths, and triplets.

Reverb:

The reverb effect in The Swarm strives to enhance the natural body and ambience of the synth core without overshadowing it. Its stereo reverb algorithm is controlled by a single knob, which adjusts both the mix and decay simultaneously. This versatile control allows you to seamlessly transition from realistic room or hall effects to expansive cathedral-like soundscapes, offering a wide range of atmospheric possibilities.

Chorus:

The SuperSaw oscillator practically demands to be paired with a chorus effect. The Swarm employs a stereo 4-voice chorus effect alongside a gradually shifting LFO, aiming to craft dimensionality without becoming nauseating.

Controls

Synth core:

Detune - Detunes SuperSaw oscillator
Filter - Cutoff frequency of the filter
Attack - Rising edge of envelope
Release - Falling edge of envelope

Arpeggiator:

"ARP" Toggle - Activates Arpeggiator Mode
"HOLD" Toggle - Stores all notes played in memory
Direction - Selects the direction of arpeggiator (UP, DOWN, SEESAW, RANDOM, ORDER PLAYED)
Octaves - Selects the number of octaves played by the arpeggiator
Clock - Speed of the arpeggiator and delay clock
Clock Toggle - Switches between manual clock knob and tap tempo.
Tap Tempo (Yellow Pad) - Tap tempo for arpeggiator and delay clock

Effects:

Freeze (Yellow Pad) - Press to record. Pressing with Freeze Knob at minimum will erase sample
Freeze (Knob) - Sets the level of the frozen, infinite drone
D.Level - Delay signal level
D.Feedback - Number of delay repeats
D.Multiplier - Sets delay multiplier (quarter note, dotted eighth, eighth, triplets)
Reverb - Mix and Decay of reverb increase simultaneously
Chorus - Sets chorus level

Rear panel

Out(L) - Left Output (stereo headphone jack/TRS when Out(R) is unconnected)
Out(R) - Right Output
In(L) - Audio input to send external audio through onboard effects (If source is Mono, use In(L))
In(R) - Audio input to send external audio through onboard
Oct+: Shifts the entire synth up one octave for every press
Oct-: Shifts the entire synth down one octave for every press
MIDI HOST INPUT - Provides power and communication with your USB Midi Controller
USB POWER SUPPLY - USB-C plug to power synth

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: 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: *** As of November 2024, Firmware 1.1 has been installed, including effects such as 4-Pole Filter, Trim Filter, Ambient Hall, Ambient Infinity and Ambient Room ***

17 Distinctive Synth Engines-Unlike Anything You've Ever Heard
The ELZ_1 play's synth engines are built from scratch using 32-bit floating point math. From hard low-bit textures to organic FM tones to granular synthesis, the ELZ_1 play offers unique synth engines unlike any other synthesizer.

LOW-BIT OSC: 2 ~ 8 bit variable low-bit oscillator. Sine, square, triangle and sawtooth waves.
STANDARD OSC: 32-bit floating-point processing high resolution oscillator. Sine, square, triangle and sawtooth waves.
CUSTOM OSC: Choose 2 waveforms / period of cycles.
DNA EXPLORER: Extract and generate waveform DNA from audio.
SiGRINDER: Granular synthesizer engine.
MASKED NOISE: Noise oscillator.
SAND FLUTE: Extract and generate tone from noise.
8BIT WAVE MEMORY: Editing your own waveform.
8BIT WAV MEM (MORPH): Morphing 3 waveforms.
8BIT WAV MEM (FM MODE): 2 operators, 8bit FM mode.
8BIT WAV MEM (WARP): Generates an intermediate waveform by crossfading two waveforms.
8BIT WAV MEM (ADSAR): Waveforms change according to envelope.
8BIT WAV MEM (TIME): 3 waveforms change in the orders.
FM SYNTH: 4 operators with 31 algorithms, 32-bit floating point processing.
ZTRINGS: Physical Modelling Strings engine.
SUPER OSC: Super synth engine with 5 detunable sub-oscillators.
STK DRUMMER: Drum machine engine equipped with 5 types of drum kits. (SmplTrek .stk file compatible)

28 Effects to Elevate Your Sound-From Soothing to Striking
Unlock a world of sound by combining 3 insert effects from 18 types and 1 master effect from 10 types, including Shimmer Reverb.
Insert effects: overdrive, distortion, fuzz, crusher, chorus, stereo chorus, flanger, phaser, tremolo, vibrato, ring modulator, auto wah, delay, reverse delay, ping pong delay, auto pan, tape echo & reverb, 4 pole filter, trim filter.

Master effects: hall, room, plate, arena, tunnel, infinity, custom reverb, crusher, ambient room, ambient hall, ambient inf, vinyl simulator & cassette tape simulator.

Flexible 4-Track Looper-Layer, Loop, and Remix with Ease
The newly developed 4-track looper allows easy recording, playback, and overdubbing by simply pressing the track buttons. You can record not only ELZ_1 play performances, but also LINE input and USB audio input.

Instrument Redefined - Velocity-enabled keyboard, Built-in Stereo Speakers and More:
To make it a musical instrument that is pleasant and expressive to play, the keyboard has been improved to support velocity on all keys, and high-quality loud stereo speakers are built into the side panels. It is also equipped with an SD card slot, USB-C, and DIN-MIDI jacks for flexible handling of audio and MIDI.

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

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

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

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

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

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

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

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

Rear panel

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

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

In the box

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

Weights & dimensions

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

Notes: Limited-edition orange version of the superb Hydrasynth Explorer. A smaller, more affordable version of the Hydrasynth Keyboard. Advanced wavetable synthesis with 8-voice polyphony, hands-on control and an excellent keybed with polyphonic aftertouch.

Supplier's Notes:
The HYDRASYNTH EXPLORER is the ultimate in power and portability, combining the powerful Hydrasynth sound engine with battery-powered operation and the new, mid-sized Polytouch polyphonic aftertouch keybed. The user interface is designed with the utmost attention to detail, making sound creation a breeze. This is the ultimate, portable companion for any setup, and anywhere else a smaller footprint is needed.

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

As for the performance capabilities, the Hydrasynth Explorer has the proprietary 37-note mid-sized Polytouch keybed with polyphonic aftertouch. This provides a level of expressive, per-note control found only in certain vintage synths.

Polytouch Keybed

The perennial pursuit of musical instrument manufacturers is to find better ways for musicians to express themselves. Options have been limited for keyboard players; ASM had to settle for a velocity-only approach to emphasize one note over another. Pressure-sensitive keyboards could only change all of the notes at the same time. Not anymore!

Enter ASM, with patented Polytouch technology. The semi-weighted keybed on the Hydrasynth Explorer provides fully polyphonic aftertouch, as well as Note On / Note Off velocity sensitivity and the monophonic aftertouch found on other keybeds. Finally, variations in key pressure can affect notes individually. It feels great, too: the 37-note Polytouch keybed on the Explorer features high quality, mid-sized keys, and you will feel right at home, right away. The revolutionary Hydrasynth Explorer Polytouch keyboard helps you be more in touch with the music you are making. Now every note you play can ebb and flow like the tide.

Battery-powered operation

The Hydrasynth Explorer is highly portable! In addition to its compact size, it can be powered by 8 AA batteries for hours of music-making anywhere you want to go.

Oscillators
The tone generation capability is the heart of any synthesizer, and the 3 Hydrasynth oscillators are alive with potential. Each of the oscillators lets you choose from a selection of 219 single-cycle waveforms. And on top of that, two of the oscillators have powerful wavemorphing capabilities. Wavemorphing is a feature usually found on synths with preset wavetables. But creating user wavetables on those products is arduous or downright impossible. Unlike most wavetable synths, the oscillators 1 & 2 have an easy-to-use WAVELIST mode. This mode lets you select any 8 waves from the diverse collection of 219 waves, arrange them in the order you want, and then morph from one wave to another. This can be done automatically with any modulation source, such as an LFO or an envelope, or manually with a physical control such as polyphonic aftertouch or a Macro. And now in version 2.0 you can choose the bit depth of each oscillator, which puts those sought-after vintage or grungy sounds at your fingertips.

Mutants
Oscillators 1 & 2 are routed into ASM's MUTANTS. The Mutants allow you to modulate, bend and sculpt the sound in new (and old) ways.

Each Mutant lets you choose from the following processes:
FM-Linear: This is for making classic FM sounds. Choose multiple FM sources, including external inputs.
WavStack™: Creates 5 copies of the input source and allows you to set a detune amount.
Osc Sync: This gives you those classic hard sync sounds. Try hard-syncing a morphing wavetable for some fun.
Pulse Width Modulation (PW-Orig): Performs the classic pulse width modulation on any waveform.
PW-Squeeze: Compresses the centre section of the waveform, for a unique type of PWM.
PW-ASM: Divides the incoming wave into 8 slices and lets you set the amount of FM that is applied to each segment. This is FM unleashed.
Harmonic Sweep: This will sweep the harmonics of the input source.
PhazDiff: Generates the difference of the incoming wave and a version that is inverted and phase-shifted.

The Mutants can also generate their own waveforms in both FM and Sync modes, so you don't have use another oscillator. Of course, the routing is flexible so you can choose the other oscillators as mod sources if you like.

Mixer / Filter Routing
The 3 Oscillators are fed into a mixer along with the Noise generator and Ring Modulator. The mixer gives you independent control over the levels and stereo positions of those 5 sources. After this you are able to choose how much signal from each source is routed to filters 1 and 2. The filters can be routed in parallel or series for ultimate flexibility. Who knew that a simple mixer could be so powerful?

Filters
If oscillators and tone generators are the heart of a synthesizer, the filters are the soul. The soul of a Hydrasynth is a complex thing; it can claw or caress, scream or soothe, mangle or melt. It has been known to speak. The multi-faceted Hydrasynth filters are right in the thick of it. Filter 1 has 16 different models ranging from 1 to 8 poles, many with high-, band-, and low pass options. There is also a flexible vocal filter with formant control. Even if Filter 1 were the only filter the Hydrasynth had, it would take a lifetime to exhaust the possibilities. But it is not alone. Filter 2 is a 12dB per octave state-variable filter, which means it can sweep continuously from either low pass > bandpass > high pass or low pass > notch > high pass. It is similar to the classic SEM filter in many ways.
These two formidable filters can be configured in series or parallel. This means the one can feed and be sculpted by the other (series), or they can complement one another (parallel). With careful use of source panning in the Mixer module, the left and right outputs can be completely different or rich in unified complexity.

LFO's
5 Low-Frequency Oscillators
Much like ASM's sound engine, the LFOs are not ordinary by any means.
The Hydrasynth LFOs feature a STEP mode that lets you create patterns with up to 64 steps. Having 5 mini step sequencers gives you an amazing number of possibilities for further shaping your sound.
Of course, there are also 10 standard waveforms available, including Sample and Hold, Noise, and Random.
Each LFO has delay, fade in, 3 triggering modes, smoothing, start phase, BPM sync, and a One-Shot mode so that they can act as envelopes.
The version 2.0 LFOs have some exciting new features, including a Step option for the One-Shot mode that allows the Step wave to advance by one step per trigger.
And LFOs now can be quantized to create stepped values. It's like bit reduction for your LFOs.
Wait...LFOs can be envelopes?! Can envelopes be LFOs? Glad you asked...

Envelopes
5 DAHDSR Envelopes
An advanced sound engine needs plenty of modulation sources. The 6-stage envelopes feature Delay, Attack, Hold, Decay, Sustain, and Release stages.
The durations of the ADR stages can be set to seconds or subdivisions of the tempo, giving you envelopes that play in sync to your song.
In fact, you can also loop the envelopes, which turns them into LFOs that can be shaped by any source in the modulation matrix.
Each envelope can be triggered by up to four different sources, and there's a Tap Trigger option too.
And now the envelopes can be quantized to different step levels as of version 2.0. Bit reduction strikes again!

Modulation Matrix
The modulation capabilities on the Hydrasynth are endless. With 32 user-definable Modulation matrix slots, there are plenty of ways to use the 35 modulation sources and 191 modulation destinations. Almost everything in the synth engine can be a modulation destination, including the effects and arpeggiator. The modulation routes themselves can also become modulation destinations, and can be targeted by the Macros too. Modulation sources & destinations include the CV Mod Out jacks as well as all 128 MIDI CCs. There are some hard-wired modulation routes located in other modules too. This means you don't have to burn up one of the 32 mod routes in the Modulation matrix to do certain basic functions.

Arpeggiator
The arpeggiator has all the standard arpeggio directions plus a few twists (up, down, and/or sideways, sort of). There's also a built-in phrase mode, and version 2.0 adds new features like Step Offset and increases the range to 6 octaves. Parameters like RATCHET and CHANCE will generate other semi-random rhythmic patterns to add life and spontaneity to your performance.
You can also modulate most of the parameters in the arpeggiator. Imagine using LFOs, Envelopes, Polyphonic Aftertouch or the Ribbon controller to modify your arpeggios in real time! It boggles the mind.

Notes: A collaborative effort between the techno icon and one of the best synth brands around, the Bullfrog is designed to encourage newcomers to analogue synths while secretly packing killer sound and some innovative features.

Supplier's Notes:
Introducing Erica Synths X Richie Hawtin Bullfrog

Learn. Produce. Perform

Created by Erica Synths & Richie Hawtin, Bullfrog is an educational electronic music instrument designed to captivate and inspire both youth and professionals alike. Bullfrog invites you to unlock musicality while combining the thrill of electronic music production with a comprehensive learning experience.
Bullfrog is a classical subtractive synthesiser - it consists of several "modules" for sound generation - VCO, NOISE GENERATOR - and treatment - VCF, VCA/DELAY, as well as "modules" that generate control and modulation signals to control them - ENVELOPE GENERATORS and SAMPLE & HOLD. The Bullfrog will not make the sound on its own unless it is patched - using eurorack patch cables to interconnect the "modules" or by inserting voice cards that create internal connections between the "modules" in a specific way and add extra functionality, like sampler/looper, sequencer, groovebox, etc. This approach better helps to understand functionality of a subtractive synthesizer and the principles of sound design with instruments like these.

In order to provide a well rounded understanding of the functionality of this synthesizer and sound synthesis in general, a comprehensive user manual is created to accompany the learning process.

Electronic music with its rich traditions and innate sense of exploration at core is ever popular, with artists and fans stretching around the globe. For me, one of the most exciting parts of creating electronic music is the playful exploration that leads one deep into their own imagination. Whether the intention to create completely imagined or real-life inspired sounds, the route one takes to create is always personal and often surprising. It is within these experiments where the beauty of synthesis really comes alive and which often unlocks a new sense of creativity and purpose.

Whether someone's experience with Bullfrog points them down a career in electronic music or not, the goal is to both nurture the love for electronically produced sounds and promote the accessibility of learning and understanding the basics of sound synthesis.

Erica Synths believe that the hands-on approach and problem solving that is innate to synthesis on a semi-modular synth like the Bullfrog, contains life lessons that go beyond what we can hear.

Bullfrog encapsulates the foundations of synthesis and is built with an immediate, intuitive design and a unique expandable architecture that grows and expands together with the user's imagination. This instrument feels at home anywhere - as an educational tool in music and physics classes, as an addition to your basement studio or even as a tool for performance on a stage.

What's included:

BULLFROG synthesizer
Universal 12VDC wall wart adapter
User manual
10 patch notes stencils
10 patch cables
3 pre-patched voice cards
3 DIY voice cards with adjustable offset
Delay effect with adjustable delay time and feedback amount
Two looping attack-sustain-release envelope generators (EG)
Sample & Hold circuit with an individual clock
Manual gate button
Voicecard slot
Built in speaker
DIN5 MIDI input
USB connector

What's included

BULLFROG synthesizer
Universal 12VDC wall wart adapter
User manual
10 patch notes stencils
10 patch cables
3 pre-patched voice cards
3 DIY voice cards

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: 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: A complete system which really showcases Make Nose's experimental approach, the Resynthesizer features Make Noise classics like the Spectraphon and Morphagene and hands-on control via the PrssPnt, alll housed in a 4 Zone CV Bus Case.

Supplier's Notes:
The ReSynthesizer can trace its origins to Spring 2023, with Walker and Rodent putting together a collection of modules to announce and demonstrate the Soundhack Spectraphon at Superbooth '23. These modules would need to complement Spectraphon in a way that would show its true capabilities. As such, this specialized layout comprised a single-system overview of the last 8 years of Make Noise module designs.

After Superbooth, Walker and Peter continued to use a similar system configuration in videos for Make Noise's Youtube and Instagram Channels, prompting some folks to speculate if it was to be Make Noise's new 7U system. At that time there were no plans for a new system; in fact, this layout had been intended as temporary all along, but it was made a useful layout in almost all cases. (The layout even gained the popular unofficial moniker "System X" thanks to the speculative work of Cinematic Laboratory and others.) Choices like the unusual placement of the Morphagene, adjacent to Spectraphon, which was initially assumed would be mainly for a very specific use-case, quickly became second nature to patch. The Spectraphon and Morphagene work together to ReSynthesize raw materials into lush soundscapes, microsound manipulations, or wherever the path leads.

In early 2024, Make Noise announced DXG for the easy mixdown of mono or stereo signals, and PrssPnt to add physical touch interaction. With these pieces in place, the ReSynthesizer is born. Pairing the Spectraphon with the Morphagene and the core Make Noise CV generation suite, and housed in the powerful and portable 4 Zone CV Bus Case, the ReSynthesizer is an open design blackboard ready for experimentation and discovery.

Make Noise put this collection through its paces and have found it to hold up to any test thrown at it!

Specifications

Size: 7U
Total HP: 208 @ 3U, 104 @ 1U
Dimensions: 22.25" x 14" x 7.25" w/ lid

Notes: Future Retro's unique modern take on vector synthesis takes full advantage of an impressive hybrid synth engine. Digital oscillators, ring modulation and complex envelopes meet a multi-mode analogue filter with paraphonic capabilities. Quirky and flexible.

Supplier's Notes:
The Vectra is a unique hybrid synthesizer with a flexible architecture that allows many different forms of synthesis to be realized. It's the best of both worlds... The Vectra utilizes digital oscillators, ring modulators, noise sources, vector mixer, LFO's, complex envelopes, and modulation routings providing many capabilities that would be very difficult to produce with analogue circuitry alone. This allows for accurate tuning, repeatability of complex patches, and patch storage. The Vectra also provides a multi-mode analogue filter, VCA, and final output, as these provide the best sonic qualities.

The Vectra includes a powerful and fun sequencer and arpeggiator, with many new capabilities. Although the Vectra is a self contained instrument, MIDI can be used to interface with other devices.

The Vectra provides four oscillators, white and pink noise sources, four ring modulators, a four-channel mixer, five LFO's, six morphing envelopes, six primary multimode analogue filter types, a main analogue VCA, and numerous internal modulation routings and VCA's controlling modulation amounts.

It really is like having a powerful self-contained semi-modular synthesizer with approximately 500 internal signal routings, and around 256 storable sound parameters.

The synthesizer architecture is designed to allow the greatest flexibility in recreating multiple synthesis techniques of the past while introducing several new innovations. The sound section has been inspired by features of the greatest synthesizers ever made, while not focusing specifically on recreating any instrument in particular. The Vectra is in fact it's own unique self-contained instrument.

The oscillators are digital as this provides the highest degree of tuning stability, while allowing both virtual analogue and digital waveform generations. With features like oscillator Sync, PWM, the new waveform Phase Slice, and Fade features, independent glide times per oscillator, constant beat detuning, and paraphonic voice modes, not to mention FM, AM, ring-modulation, and dedicated LFO's, envelopes, and VCA's per oscillator really make these oscillators a power house.

The four-channel mixer is unique in that it provides an even balance when mixing multiple sources, either manually with the joystick, or applying automated vector mixing, or mixer modulation.


OSCILLATORS (1-4)
Frequency Range: <0.01 Hz to 20.00 kHz
Analogue Modelled Waveforms: Sine, Triangle, Sawtooth, Square, Pulse Width Modulated
Pulse Width Range: 1% to 99%
Pulse Width Modulation Sources: Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y,
LFO, Envelope
Digital Waveforms: 500
Number of Digital Waveforms per Oscillator: 2
Waveform Modulation Types: PWM, Slice, Fade
Waveform Start: 0 to 255 samples
Waveform Modulation Sources: Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y,
LFO, Envelope
Waveform Modulation Amount: 0 to 100
Octave Range: -7 to +5
Pitch Tuning: Semitones
Fine Tuning: 128 steps per semitone
Constant Beat Detuning: -/+5.00Hz
Paraphonic Modes: 8 total
Sync: Off/On, 0-360 degrees
Glide Time per Oscillator: 0ms to 14.7 seconds
Key Tracking: On/Off

OSCILLATOR FREQUENCY MODULATION (1-4)
Modulation 1 Source: LFO
Modulation 1 Control: Off, Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO,
Envelope
Modulation 2 Source: Envelope
Modulation 2 Control: Off, Randon1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO,
Envelope

Modulation 3: Randon1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, Filter LFO, Filter Envelope, Amplifier Envelope

Total Modulation Range: 0.5 to 10 octaves
Individual Modulation Amounts: -99 to 100

LFO (1-4, Filter)
Analog Modelled Waveforms: Sine, Triangle, Ramp, Sawtooth, Square, Random
Digital Waveforms: 500
Waveform Start: 0 to 255 samples
Initial Frequency Range: 0.001 to 1001Hz (greater with key tracking and modulations)
Fine Tuning: 128 steps per semitone
Key Tracking: On/Off
Sync: Off/On, 0-360 degrees
Frequency Modulation Sources: Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y,
LFO, Envelope, Filter LFO
Total Modulation Range: 1 to 10 octaves
Modulation Amount: -99 to 100

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ENVELOPES (1-4, Filter, Amplifier)
Initial Envelope Stages: Delay, Attack, Hold, Decay, Sustain, Release, Repeat/Loop
Modulated Envelope Stages: Delay, Attack, Hold, Decay, Sustain, Release, Repeat/Loop
Normal Envelope Contours: 5
One-Shot Envelope Contours: 4
Looping: On/Off with repeat time
Envelope Times per Stage: 0ms to 14.7 seconds
Sustain Level: 0 to 100%
Key Sync: on/off (retriggering)
Attack Reset: Off/On
Time Modulation Sources: Off, Random1, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y

MIXER
Channels: 4
Audio Sources:
Oscillator (1-4)
Oscillator (1-4) controlled by Envelope (1-4)
Oscillator (1-4) controlled by LFO (1-4)
Ring-Modulation of Osc 1&2, Osc 2&3, Osc 3&4, Osc 4&1
White-Noise
White-Noise controlled by Envelope (1-4)
Pink-Noise
Pink-Noise controlled by Envelope (1-4)
Mixer Types: Manual, Envelope, One-Shot, Key-Synced, Free-Running, Modulated
Automix X:Y Location Stages: 4
Automix Stage Times: 0ms to 14.7 seconds
Mod Mix X:Y Location Stages: 2
Mod Mix Control Sources: Off, Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y,
LFO, Envelope
Mod Mix Sources: Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO, Envelope,
Filter Envelope
Mod Mix Amount: 0 to 100
Output Gain: 1.00x to 5.00x

ANALOG FILTER
Primary Filter Types: 4p low-pass, 2p low-pass, 1p low-pass, 2p band-pass, 2p high-pass, 2p notch
Filter Frequency Range: approximately 20 Hz to 20 kHz
Resonance: 0 to 100
Key Tracking: Off/On
Modulation 1 Source: LFO
Modulation 1 Control: Off, Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO-4,
Filter Envelope
Modulation 2 Source: Envelope
Modulation 2 Control: Off, Randon1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO-4,
Envelope-4
Modulation 3: Randon1/2, Key1, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, DC+, Mix-1, Mix-2,
Mix-3, Mix-4, LFO-1, Env-1, Amplifier Envelope
Individual Modulation Amounts: -99 to 100
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ANALOGUE AMPLIFIER (see also Envelope parameters)
Additional Envelope Type: Drone

Envelope Amplitude Modulation Control: Off, Random1/2, Key1/2, Velocity, Aftertouch, Mod-
Wheel, Stick X/Y, LFO-4, Envelope-4

KEYBOARD / SEQUENCER
Keys: 29
Scales: 29
Linear Transpose: -12 to +16
Scale Transpose: -12 to +16 notes
Octave Reiterations: -3 to +3
Tempo: 10 to 250 BPM
Swing: 50% to 75%
Sequencer Modes: Play, Arpeggiate, Fill, Edit, Real-time, Auto
Max Steps per Sequence: 16
Sequencer Parts: Pitch, Velocity, Rhythm (Note-On/Off, Glide, Sustain)
Time Signatures: 1-4, 2-4, 3-4, 4-4, 6-4, 8-4
Directions: Down, Up/Down, Up, Random, (plus 25 complex directions)
Loop Point: 1 to 16 steps

MEMORY
Max Number of Sounds and Sequences: 999
Global Parameters Saved: Output level, MIDI Channel, Fine Tuning, Screen Saver Time, Last File

MIDI
Channels: 1-16
MIDI Messages Supported: Note-Pitch, Note-On/Off, Velocity, Aftertouch, Pitch-Bend, Mod-Wheel,
MIDI Sync: Clock, Start, Stop

OTHER
Input/output: 15V DC input, MIDI (IN/THRU/OUT), 1/4" unbalanced Audio Out
Unit Dimensions: (width) 18.25" x (depth) 11.0" x (height) 3.5"
Unit Weight: 5.0 lbs
Power: 15V DC (centre-pin positive) rated at 1 Amp current.

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.