Modular

Pittsburgh mit neuem speziellen VCO-Konzept: Primary Oscillator

pittsburgh-modular-primary-oscillator

Pittsburgh kündigt sehr rechtzeitig vor der Superbooth noch einen Oszillator an, der eine spezielle Oberfläche hat …

Immer wieder versucht man eine andere Idee zu haben, wie die Grundwellen bereit gestellt werden und wie vielleicht darüber hinaus auch mehr möglich ist, ohne dass man mehr wirkliche Bedienelemente benötigt. Genau das ist hier auch der Ansatz beim Pittsburgh Primary Oscillator.

Pittsburgh Primary Oscillator

Es hat insgesamt 3 Fader und seine Tuning-Möglichkeit begrenzt sich nicht auf das simple Stimmen per Grob- und Feinstimmung. Es gibt auch einen Harmonie-Sine -Taster, der andeutet, dass man hier auch nach der harmonischen Obertonreihe stimmen kann. Das ist für FM hochinteressant, da die Stimmung auch bei FM-Synthesizern nach der dieser natürlichen Obertonreihe erfolgt.

Bei den drei Fadern findet man die Bezeichnungen Blade, Fragments und Timbre. Darunter jeweils analog Shape/PW, Density und Depth. Damit gibt es offenbar schon einmal Pulsbreitenmodulation und anhand der Wellenaufdrucke lässt sich ablesen, welche Funktion die Fader haben. Hier gibt es offensichtlich Shaping und Timbre deutet auf eine Buchla-esque Filter-ähnliche Wirkung hin, die offenbar mehr Obertöne erzeugen kann, was an den nun doppelt aufgedruckten Wellen abzulesen ist.

Das ist zumindest was man vermuten müsste. Eine Beschreibung kommt nämlich nicht nicht mit bei dem Instagram-Posting von Pittsburgh. Die Fragments-Abteilung ist mehr auf Veränderung der Welle aus und erzeugt ebenfalls Obertöne. Die Zusätze mit Blade on, Sin on/off sind vermutlich die beeinflussenden Shaping-Waves die das Material entsprechend verbiegen anhand der Stellung mehr oder weniger.

Das klingt recht vielversprechend und auch irgendwie neuartig. Alle Elemente lassen sich per Steuerspannung modulieren und es gibt für Sinus und Sägezahn einen eigenen Ausgang, genau wie für die Pulsbreitenmodulation und Fragments und Timbre.

Das Shape da nicht vorkommt, ist wohl begründet durch den Pulse-Ausgang. Ein Sync-Eingang ist auch vorhanden und ein FM/CV-Eingang neben dem Pitch-Eingang deutet lineare FM an. Wie der VCO seine Wellen erzeugt ist noch nicht bekannt, aber das werden wir in Berlin dann herausfinden …

Infos

Superbooth: MIDI-Controller selbst zusammenstellen mit Intech Grid

intech grid controller

Modularer Controller nennt sich das System. Es geht darum sich einen MIDI-Controller frei zusammenbauen zu können, dafür gibt es verschiedene quadratische „Module“ …

Nicht Eurorack, sondern einfach nur miteinander direkt und beliebig zusammen steckbar sind die einzelnen Teile von Intech Grid. Man kann so viele, wie man braucht, an den Seiten andocken und damit ein beliebig großes Steuerfeld bauen.

Intech Grid – Modularer Controller

Dabei befinden sich verschiedene Arten von Knöpfen, Tastern oder Fadern auf einem solchen quadratischen Steuerelement, was man nur einfach seitlich miteinander verbindet. Dafür hat jeder Block zwei spezielle Anschlüsse, an jeder Seite, man muss sie also nur zusammenschieben. Der Hauptanschluss ist offenbar ein USB-Kabel, über das offenbar auch die Stromversorgung stattfindet.

Mit Sicherheit wird es dafür eine Art Editor geben, um die Knöpfe zuweisen zu können. Ob sie SysEx sprechen können, ist noch nicht bekannt. Denn dann würden sie sich auch als Hardware-Programmer-Ersatz eigenen.

intech grid pcb

Intech Studio – Grid Prototypen mit Fadern

Aktuell gibt es jeweils eine Taster-Matrix von 4×4 Tastern mit LED und dasselbe noch einmal mit Potis und LEDs. Es gibt auch ein Entwickler-Bild mit 4 Fadern und 4 Potis, z.B. für ADSR-Hüllkurven.

Die ersten Geräte stellt Intech Studio bei der Superbooth aus, kann die Leute und Controller dort kennenlernen und ausprobieren.  Preise und Verfügbarkeit sind noch nicht bekannt.

Infos

  • Intech Studio heißt so, weil deren Top-Level-Domain „studio“ ist: Die Produktwebsite ist daher etwas ungewohnt intech.studio

Video

This hidden gem adds a sub bass to anything, because you want that

Serendipitous collaboration can be magical. Combine an eccentric high-tech guitar company from Switzerland with some high-powered nerds from the USA, and you get some spectacular ways of adding sub octaves and picking apart and modulating sounds.

From Memphis to Messe: on a hot tip from one of the engineers, I found myself roaming Hall 8.0 at Musikmesse in Frankfurt Friday. Just this one hall is already cavernous; I passed a portrait of Hillary Hahn in a violin booth, stumbled across two nice women giving away CDs of unsigned Estonian concert music, and strolled past the signature-blue of the G. Henle Urtext (which my piano teacher called the “Voice of God edition.”).

But this is how music instrument design should work. It should be collaborative; it should have unexpected combinations of new and old. I love Berlin’s SuperBooth, but by no means would I ever imagine modular synths to exist at the center of the music world.

And so I found myself in the narrow booth of Paradis Products. They’re a legendary, boutique guitar maker out of a Swiss small town, producing exotic creations that look like what you’d splurge on if you’d just won a Eurovision contest. But they know their stuff, from electrical engineering to woodworking.

The woodworking side of the equation is who I got on Friday afternoon, so apologies to Heinz for I think terrorizing him. (I kept repeating the word “Eurorack” to his utter befuddlement. I unfortunately have less to say about mechanical engineering and wood. Matthias Grob is the engineer who’s more to the electrical side. )

Paradis make wonderful guitars, but they also make leading guitar technology. The Polybass is an instrument that seems enchanted – as bass notes follow every articulation. It’s analog technology which means there’s nothing stopping it from appearing outside guitars.

Side by side comparisons of the original and the new Polybass board – the latter coming soon to a Eurorack near you.

So here’s the plan: take the Polybass, and make, hopefully, a Eurorack modular by the end of the year. That’s where America’s Delta Sound Labs comes in. They explain to CDM: “Polybass by Paradis is a radical rework of the legendary Polysubbass that provides an audibly clear, sub-octave effect below performed notes.”

On the guitar, I could already hear how it sounds – that is to say, incredible. I can’t wait to hear this applied to other things.

And there’s more. The CHOPhilter is a classic attack detection and modulation VST. It’s got a UI that’s ugly as sin, but Paradis, Mathons, and Delta Sound Labs will work together to port it to 64-bit (done) and add a more aesthetically pleasing Delta skin (coming soon).

This is also a very Good Thing: apply amplitude modulation on note attacks, with amplitude and filter modulation effects and envelope controls. It also responds to MIDI input for more live performance options. (A quick play-around revealed some crazy possibilities – look past the UI at those parameters for a sense of what this can do.)

Memphis-based Delta Sound Labs, for their part, have done sound research and technology from gaming to film to music industries. And they do modules. And they’re musicians. Here’s Ricky playing around with their other project – a pitch follower that interfaces both with Ableton Live and via control voltage with other gear:

CTRL Module + Helmholtz Pitch Follower – Initial Tests

Stay tuned. We’ll be watching for these finished products.

http://www.paradis-guitars.com/

https://www.deltasoundlabs.com/

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Behringer promises $49-99 Eurorack, but gets its ideas from Roland and forums

Uli Behringer is apparently just getting started trolling the industry, promising US$49-99 Eurorack. But so far, that announcement involves renderings of Roland gear and a plea for user forums to tell them what to do.

That’s right: even as people are buzzing about Behringer, all we’ve got are some shady renders, and a forum post. The designs are straight from decades-old Roland gear. There’s not even the work to engineer them. And the rest is talk.

Heck, I could do this. CDM is proud to bring you $19 Eurorack modules. Of what? Don’t know. You tell us. When? Someday. How will they work? Oh, they might use an old design. Or you might design them. Don’t know – again, that’s up to you!

Let’s be clear: promising Eurorack modules for under a hundred bucks ought to be a popular idea. But then it’s easy to promise something. And it’s perhaps worth pointing out, if you don’t mind doing some soldering yourself – or even prefer that – you can assemble a budget modular system. Or, heck, you can run VCV Rack and even buy some top-quality modules for it for $100, all in. But that’s unlikely to stop random people on forums and news comments, who will embrace the idea that Behringer alone could do modular on a budget.

Nor are these new designs. Behringer describes them as related to the “legacy 100m” modules. Uh… that “legacy” would be Roland’s. And as with other Behringer forum posts targeting Roland, there seems to be no original idea other than copying what Roland has done. The timing is suspicious, as well. Uli took to the forums Saturday. CDM readers will know that we shared the news (along with some German press also in attendance) that Roland was reviving its 100M line with new SYSTEM-500 modules, showing them here in Berlin on Thursday. And of course, that’s an extension of a line that already existed.

New Roland SYSTEM-500 analog Eurorack modules spotted in the wild

Clones seem to be the order of the day, as Behringer promises to “bring back” more “legacy” hardware. In fact, Behringer are so hard up for ideas of what to actually do, they’re going beyond just posting quick what-if renders of Roland modules, or continuing this trend of posting teasers as a series of questions. (“What do you want to see? What should we charge? What color should this be? What do you want for lunch?”) Behringer are now posting to message forums asking for people to submit ideas:

You present is with your design (you need to have at least a working prototype) and perhaps show us a video etc. so we can understand your concept.

Provided you are OK with it, we could then post the video here and if there is enough interest, we would consider manufacturing and distributing the product for you. In return we would allow you to get a percentage of the revenue.

At the same time we would be featuring you and your designs so you get the well deserved exposure.

Here’s the thing: there’s already a community of engineers making hardware. Roland are certainly not above criticism, but to the credit of the Japanese giant, when they entered the market they partnered directly with an existing vendor. (On the modular side, they worked with Malekko Heavy Industry. The Roland Boutique Series SE-02 was made with Studio Electronics.) Buchla are working with original engineers, and many of the Buchla-inspired designs are made by people with years of experience doing Buchla repair. Moog are returning not just to original designs but original parts. I could go on …

And that’s to say nothing of vendors from MakeNoise to Mutable Instruments doing original designs. That originality translates into sound.

Behringer’s trolling is way ahead of their actual products. The Minimoog clone Behringer-D is accurate – and accurately reproduces the tuning instability of the original’s analog oscillators. The Behringer DeepMind is actually a pretty decent synth, but it’s also got competition in the same price range – some of it with fresher ideas – and Behringer’s endless forum posts about speculative products and clones ironically distract from the accomplishments on their one genuinely original synth.

I think the Eurorack manufacturing community is headed into some tougher times, especially as a glut of used products catches up faster than the market can grow. And price pressure will surely become a reality.

But what’s most stunning of all is that Behringer is disrupting the industry and attracting attention without actually making anything. This may give them additional attention, but somebody ought to same something.

Behringer Eurorack Modular [GearSlutz]

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Aemit – Ein besonderes Modular-System Post-Buchla

Aemit Modular System

Guy Drieghe ist ein kreativer Geist, der schon so etwas wie ein Urgestein der Synthesizer-Szene ist. Immer wieder gibt es interessante Hardware. Nun auch auch komplettes Modulsystem namens Aemit. Den Anfang machen ein EVC Filter, der wie ein Oberheim SEM auf Steroiden daher kommt und ein Variphase, ein Super-VCO/LFO.

Guy Drieghe?

Bekannt wurde er durch eine Art Zusatzkarte für Buchla. Aber schauen wir mal genauer bei Aemit. Es gibt inzwischen schon eine Reihe von Modulen und ein Gesamtkonzept für ein vollständiges System. Wie immer geht es hier um Details, sinnvolle und akkurate Steuerung und natürlich auch den Klang selbst.

Den Namen Guy Drieghe habe ich zum ersten Mal auf einem Cover von The Klinik gelesen, wer viel über die Belgische Elektro-Szene wissen will, sollte und kann ihn befragen.

Aemit Module

Aemit Module

Schaut man sich die Module an, findet man aufgeräumte und gut beschriftetes Design. Das EVC Filter ist von 6 bis 24 dB / Oktave fließend einstellbar und bringt Tief-, Hoch- und Bandpass getrennt regelbar sowie steuerbare Resonanz mit. Die Schaltung ist ein bisschen wie die des Oberheim SEM, jedoch massiv erweitert, weshalb sie auch bis 24 und nicht nur bis 12 dB / Oktave reicht. Die Steuerung kann auch oktavrein sein, deshalb findet man auch einen V/Oct-Eingang neben den beiden FM-Eingängen.

Ein anderes interessantes Modul ist Variphase, eine Art Super-VCO/LFO mit sehr genau einstellbarer Phasenlage, Modulation und Wahl von 7 Schwingungsformen. Deren Steuerung enthält AM, PM, lineare FM und natürlich V/Okt, damit ist das Modul absolut FM-tauglich und noch mehr PM-tauglich denn die Phasenlage ist komplett und genau steuerbar und hat mehrere Ausgänge für verschiedene Phasenlagen.

Wer gern sehr weit denkt und über das was analoge Synthesizer so können hinaus gehen möchte, wird mit dem Aemit sicher einen guten Weg an der Westküste finden. Post-Buchla!

Mehr Infos

Der Serge unter-$500-Modular-Synthesizer – FaithState

Peley Kane FaithState Modular

Peley Krane? Nie gehört, oder? Aber von ihm es gibt einen kompletten modularen Synthesizer für unter $500 und der ist dann offenbar noch von Serge inspiriert.

Buchsen und Knöpfe gibt es reichlich, dennoch ist es komplett digital aufgebaut. Das machen viele Eurorack-Module der Westküste auch so. Nicht normal ist defintiv der Preis des FaithState: Mit 25 Kabeln kostet er nur 445 USD, plus Porto und Zoll. Das sind zwar nochmal gut 21 % in Deutschland oben drauf, aber es bleibt immer noch günstig.

Über 500 Wellenformen bekommt man geliefert – die Oszillatoren erlauben digitale Schwingungsformen. Neun Module enthalten den klassischen Signalweg. Die Wellenformen sind in eine Art von Wavetable-Set verpackt, jeweils sechs Stück – ineinander überblendbar. Man könnte das als eine Art Spar-Wavetable-System bezeichnen. Die einzelnen Wellen können, anders als bei Wavetables, auch gegeneinander verstimmt werden.

Wie üblich in der Ecke der Westküsten-Idee sind die Modulationsmöglichkeiten eine Art von Kombination aus Hüllkurven und LFOs, die man entweder als geloopte Hüllkurven oder als LFO verwenden kann und die Wellenform indirekt über die Attack/Decay-Zeiten einstellt. Es gibt auch eine Art von Minisequencer-Festwertspeicher, der im Video auch kurz vorgestellt wird.

Die FaithStates werden handgebaut und brauchen etwa 2-3 Wochen für die Fertigung.

Mehr Infos

Video

New Roland SYSTEM-500 analog Eurorack modules spotted in the wild

Roland hasn’t made any announcement about new modular – but it seems a handful of SYSTEM-500 analog modules have just made an appearance in the wild, rounding out an existing range. We’ve got some “spy” shots.

Yes, it seems unannounced Eurorack products from the Japanese maker found their way into a shoe event. These modules will extend Roland’s existing range of SYSTEM-500 modules, made in collaboration with boutique Eurorack manufacturer Malekko Heavy Industry Corporation. Like the other AIRA offerings, Roland is looking to their own past: the SYSTEM-500 line is inspired by the SYSTEM-100M made in the early 80s.

But what’s significant about the SYSTEM-500 is that Roland are working with a smaller maker. And lest you confuse these with the 303, 808, 909 remakes and the like, these are analog, as was the original source material.

All of that’s interesting, even in the crowded Eurorack landscape, because it isn’t just following the mold of the Moog or Buchla modulars. So you might add SYSTEM-500 to your rack to get a distinctive Roland modular sound.

Okay, so how do we know these are new? Well, first, here’s the range of Roland SYSTEM-500 that was available previously:

512 Dual VCO
521 Dual VCF
540 Dual Envelope Generator and LFO
530 Dual VCA
572 Phase Shifter, Delay and LFO

Malekko actually have the best overview:
https://malekkoheavyindustry.com/system-500/

Now, here’s what was spotted in Berlin:

505 Dual VCF
555 LAG / S&H
531 Mix
510 Synth

That mixer looks really useful, alone – mute switches, actual faders, actual panning. Not everything there can be CV-automated, but to me that misses the point: it’s useful to have hands-on mixing when you’re playing.

And then the LAG/S&H gives you a whole bunch in one module – and the Synth looks like it could be a starting point for an entry-level modular rig.

A quick play says these can sound really nice. I expect we’ll know more at Superbooth in Berlin next month. (Roland aren’t showing this at Musikmesse.)

Some poor pictures from me to give you a taste – let us know questions and I suspect we can get answers when these launch:

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Balalaikas to synths, the Russians at Musikmesse cover the gamut

Some of it, you’d expect: accordions, balalaikas. Some of it, you’d crave: post-Soviet electronic sounds. And some of it would surprise you: ready to play some pineapples? Meet the Russian makers at Musikmesse.

There’s now growing bi-directional interest and involvement between Europe and the Russian Federation. For all that may be happening elsewhere in trade, geopolitics, and social media, when it comes to musicians, inventors, and makers, now feels like a renaissance in exchanges between Russia and Europe.

At least in music, the thing is, there are a range of instruments, traditional and electronic, that no one else makes quite like this – partly because of the history of the country and how that’s extending to new instrumental creations.

Superbooth in Berlin is becoming the go-to European show for synths and electronic music, but Musikmesse in Frankfurt, like NAMM in the USA, focuses across new music technology and traditional instruments. And those traditional instruments remain big business. What’s interesting looking at the Russian selections is how you get a range of instrumental possibilities.

Hosted by the Russian government’s Ministry of Industry and Trade of Russia, some eight different manufacturers will show their wares. Yes, I think we’re probably not wrong when we assume these folks deal more with heavy industry and energy than they do, uh, weird stompboxes. But for once, we get the full mix. Have a look:

For accordion lovers, there’s Tula Harmonica and Voronezh musical instrument factory AKKO:
http://www.harmonica-tula.ru/
http://www.bayanakko.ru/

(Anyone who’s ever been to Musikmesse understands that, at this show, accordions are a big deal.)

Balalaikas may be the stereotyped image people imagine when thinking of Russia, but – you’re not wrong. And some of the new instruments are simply beautiful to look at, in new designs that nonetheless withstand the demands of traditional music. Balalaiker is making both balalaika and other folks instruments. They even come in black, in case you want to work these into your techno rig.

http://www.balalaiker.ru/

In percussion, there’s both a Moscow drum shop (Tsimbals), plus a Russian xylophone and bell maker (Forte).

https://musimport.ru/
http://www.forteltd.ru/

Lutner SPb exemplifies the kinds of businesses that cropped up in the 90s, post-USSR – a business founded in 1998 in St. Petersburg that has grown to regional and then national business in selling instruments. But they’re not just importing known brands from Europe, Asia, and elsewhere – they’ve also got some local brands to show, including vargans and plucked stringed instruments.

Of course, apart from folk music, Russia has long been known as a classical powerhouse. So serving those musicians (with the likes of Valentine Uryupin, Igor Butman, and others), you get wind instrument maker Atelier Goncharov.

But let’s get to electronics, before you think this CDM became Create Russian Folk Music.

In tech, the appeal of Russia is clear: it offers the rest of us the often peculiar noises of Soviet-era electronics with new innovations and engineering.

Oktava, founded in Tula in 1927 (that’s an industrial center south of Moscow), is hoping to find a wider audience for mics and headphones. You can read about some of their history, but – imagine a Russian answer to names like AKG or Neumann. Oktava’s studio mics are legendary. (I haven’t gotten to use any; I’m rather curious.)

I … think some CDM reader should pitch them on fixing their ancient Website, but you can take my word for it that they make respected professional headphones and microphones, along with a lot of other audio products that are less related (telephony, other audio products, hearing aids).

But you do get a chance to try headphones from people with a history outfitting the Russian (and Soviet) military:

Plus vintage mics like this:

Just now, they’re making some beautiful tube, condenser, and dynamic mics for studio applications building on that history – with more modern production techniques. Good luck with their Website, but I do hear good things about the products:

http://www.oktavatula.ru/

Modular maker SSSR Labs was the darling audience choice winner of Synthposium last year, and they’ve got a range of affordable, compelling Eurorack modules and module kits.

In addition to their own creations, SSSR serve as a clearinghouse for other unique modules and kits made in Russia.

And they’ve got an interesting deal if you already own one of their modules: “If you already own Kotelnikov or Matrixarchate eurorack modules, take them with you to get a FREE upgrade to the latest firmware version with audio bootloader! Valid for all units: retail and DIY builds.” (No new modules at Musikmesse, but that firmware – and 50% Russian production – is new.)

https://www.sssrlabs.com/

Our friends from Playtronica are also in town. In addition to unique performances and installations, they’ve been hard at work developing kits that will open up these same techniques to others – think Makey Makey for music. So their inventions Playtron and Touch Me use capacitance to turn anything – any object, any human touch – into musical interface. Other sensors cover physical interactions and motion.

Sasha Pas from the group sends CDM a spy shot, and it looks like they’re … busy with pineapples.

You can also catch the wonderful Jekka live tomorrow.

http://playtronica.com/toolkit/

Yerasov is making a whole bunch of stuff, including amps and combos and tube heads and accessories. But what may most interest readers of CDM is their growing range of compact, interconnecting audio gear.

There’s some really unique stuff, like a parametric EQ for bass, an impulse response-based cabinet simulator, and this tap delay, plus a whole mess of effects. Color me interested.

You’ll find loads of goodies on their site (also in English):

http://yerasov.com/

Also in the group: cable and connector maker Shnoor (look out, Hosa and Neutrik?).

Plus there’s a company called AMT, which is also doing loads of digital-based effects and amp simulations. (At last year’s Messe, I noticed loads of this stuff — as ARM chips proliferate in mobile devices, phones, and tablets, it seems digital chips are also powering lots of cheap new guitar effects.)

AMT comes from Siberia, it seems (with the “Siberian Guitar Gear / Built to Last” presumably making us imagine sturdy-looking people in layers of fur surviving harsh winters). And they’ve got some interesting ideas, like a 4-channel WAV player for backing tracks you can control via MIDI or footswitch, called (hilariously) the EgoGig:

http://amtelectronics.com/new/amt-egogig-eg-4/

They’ve also got some useful-looking DI boxes and load boxes and re-amp stuff:

https://www.myshnoor.com/

There you go – eight Russian makers you may or may not have heard of.

I’ll be partnering again this year with Synthposium in Moscow to bring you more.

If you’re at Musikmesse, you can visit the Russian exposition at hall 8 booth F66 (acoustic instruments) and in hall 4.1 booth E61 (for the electricity-powered stuff).

And I’m certainly interested in other countries’ wares, as our world of music technology becomes ever more decentralized and international. (What I will say about Russia: I notice that a lot of conversations around me even in Berlin slip to Russian as lingua franca, even without exclusively Russian people around. There’s a renaissance of invention all over what had been the former Soviet sphere, and its history, in music and culture, spans back far earlier than the 20th century.)

Now I wish I hadn’t made this so long, so someone could translate it into Russian. Oops.

Oh yeah, and you might want to free up September to come to Moscow. If you’re a nerd. And if you’ve made it this far in the article – actually, you definitely are, and you definitely should.

http://synthposium.ru/

See you in Moscow and Berlin.

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Arturia announces worldwide availability of MiniBrute 2, MiniBrute 2S & RackBrute

Arturia MiniBrute 2 ecosystemArturia has announced that its MiniBrute 2 ecosystem is now available. The exciting new range of hybrid analog modular synthesizers feature hugely powerful synth capabilities, addictive interfaces, performance controls, Eurorack compatibility, and allow users to create an immersive, creative ecosystem that’s entirely unique to them. Retailers and distributors around the world are now receiving the […]

Urs goes Eurorack: Plug-in maker U-HE is readying hardware modular

Following entries from Eventide to Soundhack, plug-in maker U-HE seems to be next to be bitten by the modular bug. A teaser image reveals new gear is coming at Berlin’s Superbooth.

No clue what it is, other than… it’ll have jacks. But U-HE (the shop run by lead developer Urs Heckmann) is known for lush, feature-laden synths, melding vintage soul with lots of new bells and whistles and modern functionality. They’re also not known for being terribly merciful to older CPUs (though newer machines should be fine) – but that means dedicated hardware has some appeal.

And of course we’re going full circle. Software emulates analog hardware, then software maker starts making new hardware, and even analog hardware. (See also: Arturia, for one.)

We’ll be sure to catch up with Urs and team at Superbooth.

https://www.u-he.com/

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