The Queen’s Court is Coming to SUPERBOOTH

via Shakmat:

"Superbooth is around the corner and I’m happy to finally unveil the prototype we’re going to show this year.

The Queen’s Court is a new kind of stereo matrix mixer, combining a fully analog signal path with deep digital control — and removing the need for external modulation. Designed for performance as much as for studio work, it brings hands-on control, internal modulation, and preset morphing into a single, cohesive instrument.

At its core, The Queen’s Court offers 4 stereo inputs (configurable as stereo or dual mono), 3 auxiliary stereo inputs, and 4 stereo outputs — all freely routable within a flexible matrix and it embeds modulation directly into the routing structure.

The Queen’s Court integrates 36 internal modulators directly into the matrix.

Per-input panning with LFO-based autopanning
Per-routing-point bipolar envelopes, triggerable via CV or extracted from audio signals
Integrated LFOs on each routing point, with sine and random waveforms, clock-syncable
This enables advanced behaviors such as internal sidechaining, dynamic routing, and animated spatial movement — without relying on external modules.

Designed with an open-ended philosophy, The Queen’s Court can function as:

a self-contained matrix mixer
a performance mixer
a feedback processor
a routing hub for audio and CV
Oh and the system can also be expanded with up to two expanders, increasing the total to:
8 stereo inputs
5 auxiliary stereo inputs
4 outputs
8 CV inputs"

Additional details:

"The Queen’s Court is a stereo matrix mixer built around a hybrid design that combines a fully analog signal path with advanced digital control. It offers 4 stereo outputs, 4 stereo inputs configurable as stereo or dual mono, and 3 stereo auxiliary inputs that can be freely assigned to any output.

Hands-on control is at the heart of the instrument, with three main performance modes:

Mute, Level and Preset.

In Mute mode, the large button grid gives immediate access to every routing point, letting you mute or unmute connections on the fly. Buttons can operate in either momentary or latch mode, and all mutes are clickless. Adjustable fade-in and fade-out times turn each routing point into a manually playable attack-sustain-release envelope.

In Level mode, any routing point — or any group of routing points — can be grabbed and adjusted directly. When working with groups, relative level balances are preserved, making complex mix moves intuitive and musical.

In Preset mode, the button grid and fader can be used to recall 16 presets manually. Presets can also be selected via the Select Bus, sequenced by trigger, or addressed by CV. A dedicated Morph mode enables smooth transitions between presets by interpolating all parameters in real time.

The Queen’s Court goes far beyond static routing with 36 internal modulators. Every input includes a panning control that can be animated by internal LFOs for autopanning effects.

Each routing point also features a bipolar envelope, triggerable from the assignable CV inputs or by extracting triggers directly from any input. This makes it possible, for example, to derive ducking or sidechain-style envelope behavior from one signal and apply it anywhere else in the matrix.

Because matrix mixers are powerful but often modulation-hungry, an LFO is also available on every routing point. These LFOs offer sine and random waveforms and can be clock-synced for rhythmic modulation.

The module is also highly configurable. Each routing point can be set to latch or momentary operation, each input can be defined as stereo or dual mono, and various dependency and exclusivity modes open the door to more advanced routing interactions.

One of the assignable CV inputs can also function as a MIDI input, allowing direct control from a DAW or external controller. MIDI mapping profiles can be loaded via SD card for flexible integration into larger setups.

For storage, The Queen’s Court includes non-volatile memory with 16 banks of 16 presets, offering extensive recall for performance and studio use alike.

The system can be expanded with up to two expanders, each adding two more stereo inputs, one auxiliary stereo input, and additional CV inputs. Fully expanded, the setup provides a total of 8 stereo inputs, 5 auxiliary stereo inputs, 4 outputs, and 8 assignable CV inputs.

Designed with an open-ended philosophy, The Queen’s Court can serve many roles: a matrix mixer that does not rely on a separate modulation ecosystem, a hands-on feedback processor, a performance-oriented stereo mixer, or a dynamic routing hub for CV and gate signals."