Power beyond the matrix The matrix can also be used to recall your presets. So go on stage, and select any of the 256 presets instantly! No menus or awkward selection screensscreens, everything is at your fingertips. As if it was not enough, the matrix is also made to program and play sequences. This is no ordinary step-sequencer. With its ability to also be used as a modulation source, sounds evolve in melody and texture, just the way you want. Sound beyond the power Offering a audiosignal path that is is 100% analogue, MatrixBrute also features true analogue effects. The MatrixBrute gives you the sonic quality and power of a vast modular synthesizer but with the flexibility of presets along with a great arpeggiator and an advanced sequencer. MatrixBrute is a truly empowering instrument!! It offers tons of connections so you can work in any set-up. It brings a quality keybed and a solid chassis. No endless menus or screens to navigate or multi-function buttons to remember. Forget about connectivity issues. This is you in control. This is you inventing sounds. This is analog avant- garde.   Main Features Analog Matrix Synthesizer 256 Preset memory locations 2 Analog Exponential VCO’s: -Saw + UltraSaw, Square +Pulse width, Triangle + Metalizer, Sub 1 Analog Linear VCO/LFO - Saw, Square, Triangle, Sine waveforms; LFO time divisions; Key track VCO 2>1 Hard Sync Audio Mod: - VCO1>2 ; VCO1 < VCO3> VCO2 ; VCF 1 < VCO3> VCF 2 ; VCF1 < Noise> VCF2 Noise Generator: - White ; Pink ; Red ; Blue noise types 5 input Audio Mixer with Filter routing Steiner Parker filter with 12+24 db per octave modes ; Drive ; Brute factor; Low Pass, High Pass, Band Pass, Notch Ladder filter with 12+24 db per octave modes ; Drive ; Brute factor; Low Pass, High Pass, Band Pass 2 LFO’s - Sine, Tri, Square, Ramp, Saw, Random, S&H 3 Envelope Generators - 2 Attack, Decay, Sustain, Release - 1 Delay, Attack, Decay, Sustain, Release External Audio In 16x16 Matrix modulation panel 64 step sequencer - STEP enable, Slide, Accent, Modulation - Save and recall sequence patterns on the fly Analog Effects - Stereo delay, Delay, Flanger, Chorus, Analog Reverberator Arpeggiator 12 CV / Gate Inputs/Outputs Audio Input, Line or Instrument level Stereo audio output MIDI and USB I/O Pedal inputs for Expression and Sustain  

A synthesizer like no other, MicroFreak is a peculiar, exceptional instrument that rewards the curious musician. It blends wavetable and digital oscillators with analog filters. It features a unique poly-aftertouch flat keyboard. It adds controlled randomness to sequences. This isn’t a revolution, it’s a mutiny. Whether you’re looking for your first, affordable hardware synth or are collector looking for original sounds and unique interface, MicroFreak is the synth you need. This out-there little music machine features a versatile digital oscillator so you can create rare and interesting sounds with ease. Modes like Texturer, KarplusStrong, Harmonic OSC, and Superwave give adventurous musicians the chance to explore totally new, unheard possibilities. Like having dozens of synths in just one instrument, both wild-eyed newcomers and seasoned professionals will fall in love with MicroFreak’s flexible, powerful synth engine. Small but fierce MicroFreak packs so much in to such a compact instrument, you'll wonder how we did it. We'd love to say it was magic, but it was pure skill and passion. Physical modelling, wavetable synthesis, virtual analog, there is nothing as complete and exciting as the MicroFreak oscillator on the market. It's hard to believe from such a small synth, but here it is, ready for you to explore. Excite your creativity and reward your curiosity with a large, diverse sound palette. MicroFreak features 11 awesome oscillators, 4 bespoke Arturia engines, and 7 modes from our friends at Mutable Instruments. There's a little freak inside you, and this instrument will bring it out. The best of both worlds Even though MicroFreak has a digital oscillator at its heart, “opposites attract” as the saying goes. That’s why we’ve included a lush-sounding analog filter. Inspired by the trailblazing 12-dB Oberheim SEM filter, you can make MicroFreak’s filter scream or whisper to taste. The filter is state-variable, and can even auto-oscillate! You can use this is any way you like, from taking the edge of the razor-sharp wavetable sounds, or automating the cutoff by modulating it with keyboard pressure or the in-built sequencer. Wait. Did we mention that MicroFreak has a sequencer? And a mod matrix? Things are about to get seriously interesting... Taste the spice, throw the dice MicroFreak is packed with unique, exciting features that let you create music with a fresh perspective. Record up to four automations, edit notes per step or use the innovative Spice and Dice sequencer functions to find happy accidents. Add randomization to create evolving, original patterns, and virtually rewire and reconfigure its signal chain and controls with the 5x7 modulation matrix. This truly is a budget-friendly synth like no other. “That’s a funny looking keyboard” That’s right, it is. It isn’t really even a keyboard. It’s a PCB. Super-flat, with no moving parts. Will it track lightning-fast synth solos? You bet. Better than a traditional keyboard, actually. Will it let you be expressive? Of course, it’s not only pressure sensitive, but also offers poly-aftertouch. This means each key can control parameters in a different way depending on how much you touch. You can also use its USB, MIDI, and CV outputs to control instruments in your DAW and modular synths. This also means that you can also use MicroFreak as a controller to experience polyphonic aftertouch with cutting edge software instruments. for more information see product page

Mellotron Digitales Mellotron M4000DThe new digital Mellotron was very well received at NAMM 2010 and Frankfurt 2010. It and has been developed by us here at Mellotron and is solely our own product and has nothing to do with any other manufacturer. Some initial specifications:It is a 24 bit digital uncompressed audio playback unit with ca 100 Mellotron and Chamberlin sounds. Extra cartridges will be available. It has a custom built full Mellotron style wood keyboard with depth sensitivity. The front panel user inteface has 2 TFT-displays of high quality and are capable of showing pictures of the actual instruments. The dimensions of the cabinet are 34"x19.5"5.25" (86x50x13.5cm) (WxDxH). Here are some pictures of the digital Mellotron with it's user interface and a side and back view of the cabinet.We will be at Frankfurt Musikmesse 2011 in the EMC booth (Moog distributor for Germany) in hall 5.1 booth C47.

The M4000D MINI Mellotron was developed to meet the needs of keyboardists who want an even smaller and lighter Digital Mellotron. The MINI is also designed to fit perfectly on top of the regular M4000D to make a great looking dual manual Mellotron. Same features, sounds and front panel as the M4000D. Only differences compared to the M4000D: High-quality semi-weighted Fatar piano style keyboard with velocity sensitivity. No aftertouch. Lightweight sheet metal cabinet, fits perfectly on the M4000D, total weight only 21 pounds (9.5 kg). Same output signals as the M4000D, but only unbalanced 1/4" connectors. The weight is 9.5 kg instead of 17.5 kg for the regular M4000D. Dimensions: 807x329x76 mm  

Grandmother is a sonic playground that harkens back to Moog’s modular roots, where synthesis is not only about the end result, but the journey of discovery and experimentation. While capable of highly complex sounds and modulation, Grandmother's semi-modular design requires absolutely no patching, ensuring that human beings of any skill-level can easily explore and experience the joys and magic of analog synthesis. Inspired by the classic Moog modular synthesizers that came before it, Grandmother's sound engine, modulation engine and onboard spring reverb tank are completely analog, resulting in an unrestricted sonic vocabulary of immeasurable beauty and power. In addition, Grandmother also features an easy to use Arpeggiator and Sequencer for added enjoyment and programmable syncopation. Though not required, creative patching and exploration are the keys to discovering exciting new relationships between modules and to truly unlocking Grandmother’s infinite expanse of auditory inspiration. Patching can also be used to override internal connections, allowing each section to function just as an independent module would. In addition to its standalone function, Grandmother is also an ideal analog audio processor for external sound sources, and a powerful keyboard front end for expanding a Mother-32, DFAM or Eurorack modular system. Features: Hardware Spring Reverb can be used to process external sounds ¼” External audio input for guitars, drum machines, and more. Semi-modular - no patching is required Easy to use Arpeggiator and Sequencer  Store up to 3 sequences with up to 256 notes each 2 Analog Oscillators with selectable waveshape and hard sync Classic 4-Pole 10Hz-20kHz Ladder filter  Patchable 1-Pole High Pass filter Analog ADSR Envelope Generator Analog LFO with audio-rate capabilities 32-note Fatar keyboard with velocity  All normalized connections can be interrupted for full modularity DIN MIDI In/Out/Thru and USB MIDI Patchable bipolar attenuator Works with Mother-32, DFAM, Eurorack modular systems and more 41 patch points with 21 inputs, 16 outputs and a Parallel-Wired 4-jack Mult MODULE PROVENANCE Oscillators based on Moog Minimoog  Mixer based on Moog CP3 Filter based on Moog 904 Envelope Generator Based on Moog 911 VCA Based on Moog 902 Spring Reverb based on Moog 905

Features: VOICE MODE: Mono, duo, and 4-note paraphonic playability ANALOG DELAY: Stereo analog delay w/ up to 700ms of MIDI sync-able stereo or ping/pong style repeats: SEQUENCER 256 step sequencer w/ up to 4 notes per step and 12 stored patterns. Can be decoupled from Matriarch to independently sequence external gear. ARPEGGIATOR: Arpeggiator with selectable modes (Order, Forward/Backward, Random). SEMI-MODULAR DESIGN: Semi-modular analog synthesizer - no patching required. MODULAR CAPABILITIES: 90 modular patch points for endless exploration KEYBOARD: Expressive 49-note Fatar keyboard w/ patchable velocity and aftertouch. ANALOG OSCILLATORS: 4 analog oscillators w/ selectable waveshape and hard sync per-oscillator. LFO: Full-range analog LFO with 6 selectable waveshapes. LADDER FILTERS: Dual analog filters with parallel (HP/LP), stereo (LP/LP), and series (HP/LP) modes available. ENVELOPE GENERATORS: Dual analog ADSR envelopes. VOLTAGE CONTROLLED AMPLIFIERS: Dual analog VCAs. ATTENUATORS: 3x bipolar voltage controlled attenuators with ring mod capability. MULTIPLES: 2x4 parallel wired unbuffered mults. SECOND LFO: Additional simple analog LFO useful for adding modulation to delay, filters and VCAs. EXTERNAL PROCESSING: 1/4“ external audio input for processing guitars, drum machines, and more through Matriarch’s analog circuits. OUTPUTS: Stereo ¼” and 3.5mm Eurorack level audio outputs.

Minimoog Model DBuilt to last a lifetime, each new Minimoog Model D delivers the revered quality, undefinable feel, and authentic sound of a pristine vintage Moog.Placing the utmost importance on high-quality materials, all components are carefully sourced and crafted to capture the indescribable feeling of the original Minimoog Model D.This reissue features the identical sound engine and signal path of the 1970s Model D plus a series of popular modifications.Sounding as vibrant as ever, the Model D retains the exact component placement and through-hole design of a 1970s-era Minimoog Model D.SpecificationsNumber of Keys: 44Keyboard Range: F0 to C4Keyboard Action: Synthesizer (Spring)Note Priority: (Low, High, Last): User SelectableSound Sources: 3x Oscillators, Noise Generator and External Audio InputOscillators Frequency Range: 0.1 to 20 kHz (In Six Overlapping Ranges)Oscillator Stability: (short term) > 0.25 %Oscillator Waveforms: Triangle, Triangle-Sawtooth (Oscillator-1, Oscillator-2), Reverse Sawtooth (Oscillator-3), Sawtooth, Rectangle, Wide Pulse and Narrow Pulse.Noise Generator: White and PinkLFO Rate: 0.05Hz to 200 HzLFO Waveform: Triangle (knob down); Square (knob up)External Modulation Input Range: +10 millivolts to +2 voltsExternal Modulation Input Impedance: 1MEG OhmsFilter Type: Voltage Controlled Low Pass (Ladder Filter)Filter Frequency Range: 10 Hz to 20 kHzFilter Slope: 24 dB per OctaveFilter Keyboard Tracking: ⅓, ⅔, 1:1Contour Attack Time: 1 millisecond to 10 secondsContour Decay Time: 4 milliseconds to >35 secondsContour Sustain Level: 0 to 100% of Contour peakFilter Contour Width: 0 to 4 OctavesVoltage Controlled Amplifier: Loudness Contour Dynamic Range 80 dBExternal Audio Input Voltage: +10 millivolts (min); +10 volt (max.)External Audio Input Nominal Impedance: 1000K OhmsHigh Audio Output: Typical Voltage: 0.5 volts / Maximum Voltage: 4.2 volts (peak-to-peak)High Audio Output Nominal Impedance: 3K OhmsLow Audio Output: (30 dB below High level): Typical Voltage: 15 millivoltsLow Audio Output Nominal Impedance: 1K OhmsHeadphone Output Voltage: Maximum 0.3 voltsHeadphone Output Impedance: 8 OhmsGlide Rate: 1 millisecond to 10 secondsPitch bend range: (+/-) Perfect 5thAfter PRessure CV Output (¼”TS): 0 to +5 volts with user adjustable trimpotPitch CV Output (¼”TS): -3 volts to +7 volts (C=0 volts)Gate Output (¼”TS): 0 to +5 voltsVelocity Output (¼”TS): Selectable 0 to +5 volts or 0 to +10 volts with user adjustable trimpot.Loudness Input (¼”TRS): 0 to +5 volts; +5 volts = Unity Gain (Works with Moog EP-3 Expression Pedal)Filter Cutoff Input (¼”TRS): 1 volt per octave of change (Works with Moog EP-3 Expression Pedal)Oscillator Pitch Input (¼”TRS): 1 volt per octave of change (Works with Moog EP-3 Expression Pedal)Modulation Source Input (¼”TRS): Ring=Noise Send; Tip=Modulation Receive (This jack makes a normalled connection with no cable present.)Trigger Input (¼”TS): +5 volt V-Trigger Activates both Contour GeneratorsMidi Input (5-Pin DIN): Note On, Note #, Pitch Wheel, Mod WheelMidi Output (5-Pin DIN): Note On, Note #, Pitch Wheel, Mod Wheel, Velocity, AftertouchMIDI THRU (5-pin DIN): Mirror of the MIDI In signalExternal Power Supply: Self-Switching; 100-240 volts; 50/60 Hz; <12 Watt nominal consumption. (Locking XLR-4 connector.)Dimensions: (with panel lowered): Width: 28.625" / 727 mm, Depth: 17.125" / 435 mm, Height: 5.75" / 146 mm.Net Weight: 32 lbs. / 14.5 kg.Storage Temperatur: 5F to 140F (2C to 60C)Nominal Operating Temperatur: 10 - 35 C (50 -95 F)Operating Temperatur: 10 - 50 C (50 - 122 F)Specifications Subject To Change Without Notice

TRIANGLE CORE OSCILLATORSEach Moog One voice employs three newly developed triangle core analog VCOs. The output of each oscillator is a user-defined mix of the selectable triangle / sawtooth wave, plus a variable-width pulse wave. Expanding beyond traditional oscillator designs, the rise/fall time of the triangle wave and the reset phase of the sawtooth wave can be shaped and modulated to create to a rich palette of classic analog tones. Blending the tri/saw and pulse waves together opens new dimensions of harmonic freedom, creating complex waveforms not typically found in analog synthesizers. The Moog One oscillator section is also equipped with hard sync, analog ring modulation, and FM for boundless analog sound generation. DUAL SOURCE NOISE GENERATOREach Moog One voice includes an advanced dual-source analog noise generator that allows different colors of noise to be selected and mixed, while and dynamically articulated utilizing the dedicated noise envelope generator. This unique module is a powerful tool for adding percussive attacks, breath, or full-body impact to a sound. MIXERMoog One offers a flexible analog mixer, providing volume controls and filter routing selections for each oscillator, noise generator, ring modulator, and external audio input -- sound sources can be shaped by different filters independently, or at the same time. LADDER AND STATE VARIABLE FILTERSThere are two types of analog filters in Moog One. The first is a newly-designed multimode State Variable Filter that brings razor-like precision and articulation to the instrument. The second is a classic Moog Ladder filter with selectable low pass / high pass behavior. These two filters can process sounds individually or together, in series or parallel operation, to access a vibrant spectrum of classic, obscure, and completely new filter sounds. LOW FREQUENCY OSCILLATORSCyclical motion within Moog One is generated by 4 wide-range LFOs that can be assigned to nearly any destination. Capabilities include MIDI synchronization and clock division, start delay time, number of repeats per instance, fade in and out time, and much more. ENVELOPESDynamic sound shaping within Moog One comes via its 3 assignable DAHDSR Envelopes (Delay, Attack, Hold, Decay, Sustain, Release). In addition to looping, synchronization, and time scaling capabilities, the character of each envelope can be user-sculpted through utilization of per-stage envelope curves. MODULATIONEasily create modulation assignments from any of Moog One’s 4 LFOs and 3 EGs by pressing their corresponding Destination Button -- the next knob touched sets the modulation path and amount. For more complex modulation options, Moog One also employs an internal Modulation Matrix with visual access to every possible combination of the instrument’s extensive synthesis and controller components. SYNTH EFFECTS, MASTER BUS EFFECTS, AND EVENTIDE® REVERBSMoog One features a growing library of programmable per-synth effects and master bus effects that include chorus, delay, phase, bit reduction, vocoding, and a suite of premium reverbs from Eventide® including Blackhole, Shimmer, Plate, Room, and Hall. Effects can be applied in two ways: as Synth Effects and Master Bus Effects. Synth Effects are applied to individual layers of timbrality, while Master Bus Effects can be applied via sends to all three synthesizers. Though its onboard effects are digital, Moog One retains a completely analog signal path with no in-line conversion when insert effects are off. TRI-TIMBRALITY AND UNISON MODEComprised of three independently addressable analog polysynths, the tri-timbral Moog One design allows voices to be easily assigned, split, layered, or stacked with up to 48 oscillators in Unison Mode. Additionally, each synthesizer is equipped with its own fully-featured step sequencer, arpeggiator, and effects processor. Multitimbral synthesis is simplified through the Moog One ‘Panel Focus’ module. Selecting a Synth for Panel Focus causes the Moog One front panel knobs and buttons to switch control to that layer of timbrality. Users can also select multiple layers at once for simultaneous adjustment of multiple synthesizers. KEYBOARD AND X/Y PADMoog One’s premium 61-note Fatar TP-8S keyboard with velocity and aftertouch ensures a balanced and dynamic playing experience for any user. In addition, milled aluminum pitch and mod wheels and a pressure-sensitive X/Y pad provide a fully assignable means of emotive expression and continuously variable control. MORE BUTTONNearly every module is equipped with a triangular “More” button in the upper right corner. When “More” is pressed, the Moog One LCD screen reveals additional parameters specific to that module, accessing deep-level features and advanced controls. PRESETS AND PERFORMANCE SETSA Moog One preset is a self contained creative environment, saving the parameter settings for all 3 layers of timbrality, along with all of their respective sequencer, arpeggiator, and modulation settings. Moog One has the ability to store and recall tens of thousands of presets that can easily be categorized, edited, notated, and even shared via USB drive. Up to 64 Presets can also be loaded to Moog One’s ‘Performance Set’ module, where they are instantly selectable via a front panel “Bank / Preset” button configuration—a must for live performance and sessions. USER SPACESPreserving more than just presets, the User Space saves all of the global behaviors, MIDI settings, port and pedal configurations, knob behaviors and even the LED brightness of your working environment, which is critical for studios and working musicians. Multiple User Spaces can be created, saved, and recalled – either from internal memory, or from an external USB drive, allowing you to instantly transfer your creative work spaces from one instrument to another. SNAPSHOTSWhen exploring a sound, pressing the Snapshot Button allows Moog One to easily capture and recall a time-stamped picture of a preset at its current settings, removing the need to continually save data manually while experimenting with new ideas. ANALOG AND DIGITAL CONNECTIVITYMoog One’s rear panel is populated with 2 assignable pairs of stereo audio outputs, 4 assignable inserts, and 2 external audio inputs with support for XLR and ¼” input. MIDI communication comes through 5-pin DIN and USB connection, which also offers system backup and restore via USB drive. 9 configurable CV inputs and outputs (with expression and sustain pedal inputs) are also included. CONFIGURATIONSMoog One is available in 8 or 16-voice configurations only. Upgrades from 8 to 16 voice units are not available at the present time

TRIANGLE CORE OSCILLATORSEach Moog One voice employs three newly developed triangle core analog VCOs. The output of each oscillator is a user-defined mix of the selectable triangle / sawtooth wave, plus a variable-width pulse wave. Expanding beyond traditional oscillator designs, the rise/fall time of the triangle wave and the reset phase of the sawtooth wave can be shaped and modulated to create to a rich palette of classic analog tones. Blending the tri/saw and pulse waves together opens new dimensions of harmonic freedom, creating complex waveforms not typically found in analog synthesizers. The Moog One oscillator section is also equipped with hard sync, analog ring modulation, and FM for boundless analog sound generation. DUAL SOURCE NOISE GENERATOREach Moog One voice includes an advanced dual-source analog noise generator that allows different colors of noise to be selected and mixed, while and dynamically articulated utilizing the dedicated noise envelope generator. This unique module is a powerful tool for adding percussive attacks, breath, or full-body impact to a sound. MIXERMoog One offers a flexible analog mixer, providing volume controls and filter routing selections for each oscillator, noise generator, ring modulator, and external audio input -- sound sources can be shaped by different filters independently, or at the same time. LADDER AND STATE VARIABLE FILTERSThere are two types of analog filters in Moog One. The first is a newly-designed multimode State Variable Filter that brings razor-like precision and articulation to the instrument. The second is a classic Moog Ladder filter with selectable low pass / high pass behavior. These two filters can process sounds individually or together, in series or parallel operation, to access a vibrant spectrum of classic, obscure, and completely new filter sounds. LOW FREQUENCY OSCILLATORSCyclical motion within Moog One is generated by 4 wide-range LFOs that can be assigned to nearly any destination. Capabilities include MIDI synchronization and clock division, start delay time, number of repeats per instance, fade in and out time, and much more. ENVELOPESDynamic sound shaping within Moog One comes via its 3 assignable DAHDSR Envelopes (Delay, Attack, Hold, Decay, Sustain, Release). In addition to looping, synchronization, and time scaling capabilities, the character of each envelope can be user-sculpted through utilization of per-stage envelope curves. MODULATIONEasily create modulation assignments from any of Moog One’s 4 LFOs and 3 EGs by pressing their corresponding Destination Button -- the next knob touched sets the modulation path and amount. For more complex modulation options, Moog One also employs an internal Modulation Matrix with visual access to every possible combination of the instrument’s extensive synthesis and controller components. SYNTH EFFECTS, MASTER BUS EFFECTS, AND EVENTIDE® REVERBSMoog One features a growing library of programmable per-synth effects and master bus effects that include chorus, delay, phase, bit reduction, vocoding, and a suite of premium reverbs from Eventide® including Blackhole, Shimmer, Plate, Room, and Hall. Effects can be applied in two ways: as Synth Effects and Master Bus Effects. Synth Effects are applied to individual layers of timbrality, while Master Bus Effects can be applied via sends to all three synthesizers. Though its onboard effects are digital, Moog One retains a completely analog signal path with no in-line conversion when insert effects are off. TRI-TIMBRALITY AND UNISON MODEComprised of three independently addressable analog polysynths, the tri-timbral Moog One design allows voices to be easily assigned, split, layered, or stacked with up to 48 oscillators in Unison Mode. Additionally, each synthesizer is equipped with its own fully-featured step sequencer, arpeggiator, and effects processor. Multitimbral synthesis is simplified through the Moog One ‘Panel Focus’ module. Selecting a Synth for Panel Focus causes the Moog One front panel knobs and buttons to switch control to that layer of timbrality. Users can also select multiple layers at once for simultaneous adjustment of multiple synthesizers. KEYBOARD AND X/Y PADMoog One’s premium 61-note Fatar TP-8S keyboard with velocity and aftertouch ensures a balanced and dynamic playing experience for any user. In addition, milled aluminum pitch and mod wheels and a pressure-sensitive X/Y pad provide a fully assignable means of emotive expression and continuously variable control. MORE BUTTONNearly every module is equipped with a triangular “More” button in the upper right corner. When “More” is pressed, the Moog One LCD screen reveals additional parameters specific to that module, accessing deep-level features and advanced controls. PRESETS AND PERFORMANCE SETSA Moog One preset is a self contained creative environment, saving the parameter settings for all 3 layers of timbrality, along with all of their respective sequencer, arpeggiator, and modulation settings. Moog One has the ability to store and recall tens of thousands of presets that can easily be categorized, edited, notated, and even shared via USB drive. Up to 64 Presets can also be loaded to Moog One’s ‘Performance Set’ module, where they are instantly selectable via a front panel “Bank / Preset” button configuration—a must for live performance and sessions. USER SPACESPreserving more than just presets, the User Space saves all of the global behaviors, MIDI settings, port and pedal configurations, knob behaviors and even the LED brightness of your working environment, which is critical for studios and working musicians. Multiple User Spaces can be created, saved, and recalled – either from internal memory, or from an external USB drive, allowing you to instantly transfer your creative work spaces from one instrument to another. SNAPSHOTSWhen exploring a sound, pressing the Snapshot Button allows Moog One to easily capture and recall a time-stamped picture of a preset at its current settings, removing the need to continually save data manually while experimenting with new ideas. ANALOG AND DIGITAL CONNECTIVITYMoog One’s rear panel is populated with 2 assignable pairs of stereo audio outputs, 4 assignable inserts, and 2 external audio inputs with support for XLR and ¼” input. MIDI communication comes through 5-pin DIN and USB connection, which also offers system backup and restore via USB drive. 9 configurable CV inputs and outputs (with expression and sustain pedal inputs) are also included. CONFIGURATIONSMoog One is available in 8 or 16-voice configurations only. Upgrades from 8 to 16 voice units are not available at the present time

Perform in Monophonic or Duo-Paraphonic modes 37-note velocity sensitive keyboard w/ aftertouch 2 modulation busses w/ assignable source and destinations DAHDSR (Delay, Attack, Hold, Decay, Sustain, Release) looping envelopes with sync 256 Presets -16 banks of 16 patches Standalone and DAW Plugin editor included Syncable Arpeggiator and Step Sequencer Classic Moog Ladder Filter with resonance, MultiDrive, and selectable filter slopes.   The Sub 37 Tribute's new features include Duo Mode, which allows oscillator 1 and oscillator 2 to be played independantly, programmable arpeggiator/step sequencer, two modulation busses with assignable source and destination options, access to 256 presets, and a 37-note velocity sensitive keyboard with aftertouch. A fully featured mixer section contains dedicated controls and mutes for each sound source, as well as a level control for External audio input and Feedback - which feeds the output of the filter directly back to the input of the mixer. Also included are the powerful DAHDSR envelopes from the Sub Phatty with panel control of each extended function. And, like the Sub Phatty, the Sub 37 Tribute includes a free standalone/plugin editor that is compatible with all major plugin formats - creating seamless integration between analog synth and DAW for total control, recall, and automation of every parameter * Tribute edition includes Bob Moog signature panel, Wood sides, and Aluminum extrusion ** The Sub 37 Tribute is a limited edition analog synthesizer created in honor of Moog Music founder Dr Robert Moog, his passion for education, and his love of music. For every Sub 37 Tribute sold, Moog Music will donate a portion of the proceeds to Asheville Area School Music Programs.

Features: SUB 37 DESIGN: alle Features und Bedienelemente entsprechen dem bekannten Vorgänger Sub 37SOUND ENGINE: noch mehr Low End, noch ausdrucksstärkerer SoundMULTIDRIVE: besser und dreckiger als je zuvorHEADROOM: mehr Headroom sorgt vor allem im Duo-Mode für noch mehr DampfKEYBOARD: verbessertes Ansprechverhalten, Aftertouch und leichte GewichtungHEADPHONE-OUT: mehr Pegel im Kopfhörer-OutMODULATION UND SEQUENCER: 2 zuweisbare-Mod-Busse, 2 DAHDSR Hüllkurven mit Loop-Funktion, leistungsstarker Arpeggiator/Sequencer256 PRESETS: 16 Bänke mit je 16 PresetsSOFTWARE EDITOR: kostenloser Editor als DAW-Plug-in und Standalone-App (Mac und Windows)

The analogue monosynth reborn Nothing out there sounds this warm, fat and dirty. Bass Station II is our pure analogue monosynth. We based it on our classic Bass Station, then enhanced every area to make it even bigger, angrier and more versatile. It has two tuneable oscillators, a sub-oscillator for enormous bass, plus noise and ring modulation. It also gives you two distinct analogue filter types: the classic multi-mode filter and a new acid filter, for a massive variation in sonic possibilities. Artist Soundpack We decided to put a call out to a handful of our Bass Station II artists to have them create some patches for a new soundpack. Here’s the roster of analogue noodlers who got involved: Nite Jewel, Cian from Super Furry Animals, Jeremy from Everything Everything, Jason Miles, Victor Parris Mitchell, Adam Freedland. Much More Than Bass This synth can sound as mellow or aggressive as you want. Seek out sweet spots with the filter mod to make it sing. Crank the distortion and it will growl with pent up anger. Push the resonance to self oscillation to create shrieking leads. Bass Station II can sound however you feel. Easy Controls for Complex Design We put as many controls as possible onto Bass Station II, so you can totally lose yourself in discovering and creating new sounds. Of course, we also laid out all those controls in the clearest and most useful way, to keep sound design as straightforward and fun as possible. Save and Load Patches We loaded Bass Station II with 64 diverse patches that showcase its huge sonic variation. We also left 64 slots free, so you can easily save and load your own patches on the unit, or in the free librarian software. Instant Inspiration Bass Station II's pattern-based arpeggiator and step sequencer are a fun and immediate way to find new inspiration. The sequencer lets you record your own notes, ties, rests and rhythms in real time, then store them, recall them and use them with any patch you like. Easily and automatically sync them to your music software or hardware setup, or even add swing to get your groove going. Connect to Just About Anything Bass Station II is fully class compliant, so you can plug into anything via USB and start playing. It also has MIDI I/O on 5 pin din ports, so you can connect your other MIDI gear. You can even connect an external instrument and run it through Bass Station II's analogue filter and effects.

MiniNova is a compact, super-cool studio and live synth with the same sound engine as its big brother; UltraNova. It comes with 256 incredible onboard sounds that you can tweak with five knobs, or totally warp with eight 'animate' buttons. It has up to 18 voices with as many as five synth effects on each sound. MiniNova also has an onboard VocalTune™ effect as well as a classic vocoder so you can recreate iconic vocal sounds from hip hop, urban and electronic music.Small synth, big soundsDon't let its size fool you. MiniNova is the latest in the 'nova' range of synths dating back to the legendary Supernova series. It has the same incredibly powerful sound engine and synth effects as the Novation UltraNova which means it is capable of creating dirty-fat bass synth sounds, soaring leads, lush pads and vintage synth sounds. All this in a 37 mini-key form with a USB port and MIDI i/o so you can hook it up to your laptop and control your music software or connect it to another keyboard or sound module.TutorialsMininova – Selecting Sounds:This tutorial gives you an overview of the Mininova's sounds and how to preview, edit and affect them. The Mininova arpeggiator's sequence buttons and powerful filter controls are also demonstrated.  There are a number of exiting sounds for you to play with, edit, and save - or you can simply create your own patches and store them in 128 available slots.  Mininova – Vocoder and Vocaltune: This tutorial demonstrates the on-board Vocoder, Vocaltune and effects of the Mininova.For more tutorials visit www.youtube.com/NovationTVClassic & brand-new vocal effectsMiniNova takes vocal effects one-step further. As well as a vocoder, it has VocalTune. This means you can talk into the mic and play the tune you want your voice to follow on the keyboard recreating those classic hip hop / urban vocal effects. You can also run your voice through MiniNova's effects engine, adding reverb, distortion, chorus/phase, gator compression or EQ. This doesn't need to be limited to your voice; there is an input into which you can plug a guitar or any other instrument and give it the same treatment; effects or vocoder.Choose your sound - and get more for freeMiniNova has 256 onboard sounds and space to save another 128 of your own sounds. You can quickly search for sounds by selecting the style of music you're making, or the type of sound you're after whether it's bass synth, lead - hip hop or techno. MiniNova comes with a free software Patch Librarian so you can store as many sounds as you want on your computer. If 256 is not enough, there are numerous soundpacks for MiniNova assembled by renowned artists and sound designers. These include plenty of vintage synth sounds. They can be downloaded free from: novationmusic.com/soundpacks.The 'Animate' performance modeSwitch to 'Animate' mode and press one of the 8 backlit buttons (whilst playing the keyboard) to trigger awesome performance functions Jam with the ArpeggiatorSwitch to 'Arpeggiator' mode to jam with arpeggiator rhythms in realtime.  The 8 buttons act like an arpeggiator step sequencer so you can switch steps in and out!Editing software includedEditing sounds in such a powerful synth can be overwhelming, so we've created a software application that gives you visual access to the synth engine. The MiniNova Editor works as a plug-in within your DAW or music software.  You can fully edit MiniNova using the hardware; the software just makes it easier to see what you are doing.The Synth Engine and effectsMiniNova has an enormously powerful sound engine and synth effects, unheard of in a micro synth. There are 14 conventional waveforms to choose from (square, sine, sawtooth, pulse, triangle and combinations), 36 wavetables and 20 digital waveforms. Each of the 3 oscillators (per voice) have density/detune for fattening up sounds, virtual sync and 'hardness' - which acts as an additional lowpass filter. There are 14 filter types (and you can run 2 simultaneously), 6 envelope generators, 3 LFOs and 20 modulation slots where you can link modules of the synth engine together to shape sound. MiniNova can add up to 5 effects to each sound including distortion, reverb, chorus/phase, delay, compressor, EQ and Novation's unique gator effect.Instant editing and performance controlThe 'Perform' section enables you to access the synth and effects engines by switching between 6 positions to assign 4 knobs, giving you instant access to 24 sound-bending parameters.

Aufbauend auf den innovativen Grundlagen von Novation Peak ist Summit ein 16-stimmiger Synthesizer mit drei Oszillatoren pro Stimme, der sich an Profi- und Semiprofi-Musiker richtet, die ein inspirierendes und leistungsstarkes Instrument für den Live- und Studio-Einsatz suchen. Genau genommen liefert dir Summit sogar die Power von zwei Peaks, denn du kannst zwei völlig unabhängige Patches auf die Klaviatur aufteilen oder sie in Layern anordnen, um im Handumdrehen zwischen ihnen hin und her zu schalten. Außerdem wurde das Layout vom Peak erweitert, sodass viele „versteckte“ Kontrollelemente und Funktionen direkt über die Frontblende zugänglich sind – FM-Routing, die LFOs 3 und 4, alle Arpeggiator-Parameter und vieles mehr – und natürlich die Pitch- und Mod-Räder. Summit bringt außerdem zahlreiche neue Filteroptionen und einen Audioeingang zur Verarbeitung externer Quellen mit seinen Reverb-, Chorus- und Delay-Effekten mit. Herzstück von Summit sind drei digitale New Oxford-Oszillatoren pro Stimme, die auf dem FPGA-Chip (Field Programmable Gate Array) basieren. Außerdem erzeugt der Synthesizer authentische Wellenformen im Analogstil mit unglaublich hoher Auflösung, was die FM- und Wavetable-Synthese erleichtert und reichhaltige, komplexe und hochtexturierte Rohklänge ermöglicht. Jede Stimme bespielt einen True Stereo-Signalpfad aus gedoppelten Analogfiltern, drei analogen Distortion-Stufen und analogen VCAs, während du deine Patches mit einer Vielzahl von Modulationszuweisungsoptionen und drei vielseitigen Effekten aufpolieren und zum Leben erwecken kannst. Der Peak mit Extra-Power Die gefeierte Peak-Architektur erreicht das nächste Level: Mit 16 Stimmen, erweiterten Steuerelementen an der Frontblende, neuen Filteroptionen, einem Keyboard über fünf Oktaven und mehr Zwei Klänge auf einmal Multitimbrale Engine zum Aufteilen, Stapeln und Umschalten zwischen zwei Patches gleichzeitig Digital dort, wo es zählt Digitale, auf FPGAs platzierte New Oxford-Oszillatoren für Wavetable- und FM-Synthese im Analogstil Analog dort, wo es drauf ankommt Gedoppelte Analogfilter, analoge VCAs und drei analoge Distortion-Stufen pro Stimme Effekte und Arpeggiator für jeden Bereich Verarbeite jeden Bereich oder ein externes Audiosignal mit Reverb-, Chorus- und Delay-Effekten, erzeuge Riffs und Melodieläufe mit verschiedenen Arp-Modi, einstellbarer Gate-Dauer und Preset-Patterns Multitimbraler, polyphoner Synthesizer mit 16 Stimmen auf zwei Bereichen                                  Drei NCO New Oxford-Oszillatoren pro Stimme, die subtraktive, Wavetable- oder FM-Klangerzeugung ermöglichen                                                                   Analoge Multimodus-Filter mit 12/24 dB pro Stimme mit Doppelmodus Hochwertiges, halbgewichtetes Tastenbett über fünf Oktaven mit Anschlagdynamik und Aftertouch Effekte für jeden Bereich: Distortion, Chorus, Delay und Reverb Stereo-Audio-Eingang, kann auf Onboard-Effekte und Aux-Ausgänge geroutet werden             Features: Multitimbraler, polyphoner Synthesizer mit 16 Stimmen auf zwei Bereichen                             Drei NCO New Oxford-Oszillatoren pro Stimme, die subtraktive, Wavetable- oder FM-Klangerzeugung ermöglichen                             Analoge Multimodus-Filter mit 12/24 dB pro Stimme mit Doppelmodus                             Hochwertiges, halbgewichtetes Tastenbett über fünf Oktaven mit Anschlagdynamik und Aftertouch                             Effekte für jeden Bereich: Distortion, Chorus, Delay und Reverb                             Stereo-Audio-Eingang, kann auf Onboard-Effekte und Aux-Ausgänge geroutet werden

FEATURES: 8-voice, pure-analog polyphony with sine, saw, square, triangle, and noise Two discrete SEM/OB-X-lineage VCOs per voice deliver classic punchy Oberheim tone Discrete SEM-lineage VCFs deliver authentic OB-X-style tone and presence Genuine Curtis filters add bold OB-Xa/OB-8 character Meticulously modeled envelope responses match each OB model: OB-X, OB-Xa, and OB-8 The 61-key FATAR velocity- and touch-sensitive keyboard allows unparalleled expression and responsiveness Bi-timbral capability allows two presets simultaneously for splits and doubles 400-plus factory programs, including the full set of factory sounds for the OB-X, OB-SX, OB-Xa, and OB-8 Integral, fanless, heatsink-free power supply Real walnut end cheeks High-resolution OLED display enables patch management and easy access to advanced features Classic Oberheim Pitch and Mod levers allow expressive note bending, vibrato, and access to arpeggiator functions ENHANCEMENTS: Additional SEM filter modes add high-pass, band-pass, and notch functions to the classic OB-X filter Vintage knob allows variable amounts of voice-to-voice variability to emulate the behavior of vintage instruments Velocity sensitivity adds expressiveness to volume and filter Channel Aftertouch adds real-time performance-based modulation Enhanced unison allows variable voice stacking from 1-8 voices Variable triangle wave cross-modulation Over 600 user-programmable preset locations Programmable per-voice pan allows wider stereo presence Variable oscillator and noise levels

Two Legends. One Instrument The OB-6 is a once-in-a-lifetime collaboration between the two most influential designers in poly synth history, Dave Smith and Tom Oberheim. The OB-6 takes the classic bold Tom Oberheim sound — with its true voltage-controlled oscillators, 2-pole filter, and amplifiers — and adds modern enhancements such as studio-quality effects, a polyphonic step sequencer, an arpeggiator, and more. No other modern analog poly synth can boast such a pedigree or such a massive, in-your-face sonic signature. Vintage SEM Tone The OB-6 sound engine is inspired by Tom’s original SEM, the core of his acclaimed 4-voice and 8- voice synthesizers. It features two discrete voltage-controlled oscillators (plus sub-oscillator) per voice with continuously variable waveshapes (sawtooth and variable-width pulse, plus a triangle wave on oscillator 2). The classic Oberheim-inspired 2-pole, state-variable, resonant filter provides low-pass, high-pass, band-pass, and notch functionality. Voltage-controlled amplifiers complete the all-analog signal path. Dual Effects The dual effects section provides studio-quality reverbs, delays (standard and BBD), chorus, flangers, and faithful recreations of Tom’s original phase shifter and ring modulator. While the effects themselves are digital, with 24-bit, 48 kHz resolution, a true bypass maintains a full analog signal path. X-Mod and Poly Step Sequencing Also present is X-Mod, which expands the tonal palette and makes it easy to create dramatic and unconventional sounds. Modulation sources are filter envelope and oscillator 2, both with bi-polar control. Destinations include oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse width, filter cutoff, and filter mode. The polyphonic step sequencer allows up to 64 steps and up to 6 notes per step. You can create sequences polyphonically, with rests, and sync to an external MIDI clock. The full-featured arpeggiator can be synced to external MIDI clock as well. Unison mode features configurable voice count (1-6 voices), chord memory, and key modes. Easy to Program The knob-per-function front panel puts virtually all OB-6 functions at your fingertips. Included are 500 permanent factory programs and 500 rewritable user programs. Turning on the Manual button enables live panel mode, in which the sound of the OB-6 switches to its current front panel settings. In this state, what you see is what you hear. Easy to Play This analog powerhouse is packed into a four-octave, semi-weighted keyboard with velocity and channel aftertouch, making it perfect for stage or studio.