This looks more like an amp than a mixer. The built-in rhythm machine gets the post. This would be a fun item to show off in the studio. "Check out my new amp", then flick on the rhythm section, or route a sequence running on your other gear through it with the volume down, then say "I wonder what's on the radio", mute your main mixer and switch over to the Optonica, "Oh it's me!"
"The MX-1000 is an extremely rare product, it is a mixer, an analog reverb unit & a pre-programmed rhyrhm machine.
Warm-sounding reverb, deep sinking echoes, and saturation sounds unique to analog mixers. Rhythm machine sound like Roland CR-78. You can listen to these wonderful sounds on youtube.
Features : Inputs - 2ch Microphone - Phono - Aux Reverb / Echo effects Pre-programmed rhythm machine (Waltz, Rock, Cha Cha, Latin, Ballad, Mambo, Foxtrot & Waltz Rock)"
This is the first post to feature the MX-1000. Curios what the rhythm circuits are based on.
🇬🇧 Exquis - Ableton Live 12 Suite Remote Script
video upload by Intuitive Instruments
0:00 - Intro and installation
1:13 - Note Mode
1:36 - Settings (1)
2:13 - Settings (2) and favorite presets
2:34 - Devices and Tracks
3:17 - Session Mode
5:00 - Outro
🇬🇧 Exquis - Tutorials
Press release follows:
Exquis: expressive, MPE, intuitive, affordable, now optimised for Ableton Live
[Superbooth25] Intuitive Instruments, the French company behind the award‑winning Exquis ex‑pressive MPE keyboard, unveils a triple update that turns its flagship instrument into the ultimate, lightweight and compact creative hub for Ableton Live users
Unlike pad‑centric grid controllers optimised for finger‑drumming and loop triggering, Exquis responds like a real acoustic instrument: its 61 soft silicone keys, each with independent five‑dimension MPE control, provide the nuanced touch and emotional depth needed for flowing melodies and harmonically rich chords.
Exquis Remote‑Control Script for Ableton Live
The brand‑new Python‑based Remote Script integrates Exquis seamlessly into Live’s native controller family, delivering Launchpad‑style Session control and an instrument‑grade expressive touch—courtesy of its MPE twist—that makes playing melodies and chords feel effortlessly natural:
• Session view – create, launch and delete clips or scenes without touching the mouse.
• Track mastery – arm, select, mute and solo any track, and get immediate access to volume, pan and aux sends
• Expressive performance – chords, melodies and drum racks flow through all 61 soft silicone keys with independant and polyphonic 5 dimensions controls.
• Hands‑on transport & harmony – set Live’s tempo, root note and scale directly from Exquis.
• Per‑track note layouts – recall any of the keyboard’s eight onboard layouts (or your own customs) automatically when you change tracks — instantly reconfiguring Exquis into a specific instrument for every track, be it a bass, a percussive grid, or a soaring solo lead.
• One‑touch Favourites – call up Live racks or plugin presets in a heartbeat via Exquis’ exclusive favourites system.
• Device & mix control – tweak any parameter on any device and any track with using four push encoders and ten action buttons.
The script installs like any official Ableton controller template and requires Live 12.
In keeping with Intuitive Instruments’ drive for constant refinement, firmware v2.1 delivers two headline additions:
• Poly‑Hold Sustain – let chords ring out indefinitely while the onboard arpeggiator conti‑ nues to evolve.
• Developer Mode – an open MIDI API that exposes every hardware element—keys, en‑ coders, action buttons, RGB LEDs and even onboard memory—so developers can remap behaviours, write custom DAW scripts or integrate Exquis into bespoke performance setups.
The update also packs an array of stability improvements for an even smoother playing expe‑rience.
Exquis App v2 — New factory preset list and 1 500 Curated Presets
The companion software for macOS/Windows receives new factory preset list featuring hand‑picked, layout‑optimised patches for Surge XT, Vital and Decent Samplerand a vast sound‑library expansion bringing 1 250 new sounds tuned for Surge XT, Vital, Decent Sampler, Baby Audio Atom, Beatsurfing Random, Dawesome Abyss, Zyklus, Audiomodern Soun‑ dbox and Newfangled Audio Pendulate — now 1 500 presets in total.
Superbooth 2025 and Embodme.
Intuitive Instruments will attend the Superbooth 2025: booth O134, in the mezzanine of the main hall, side to Expressivee and Embodme.
April 8, 2025 – Cre8audio, proudly introduces Assembler, a synth-focused analog audio mixer designed to deliver unmatched vintage console sound with intuitive hands-on control. Developed in collaboration with the renowned Pittsburgh Modular Synthesizers, Assembler fuses the warmth of classic analog mixers with a modern workflow tailored for contemporary electronic artists, plus a few other fantastic sound sculpting tools.
Vintage Sound, Modern Control Inspired by the iconic consoles that defined decades of music production, Assembler brings the same sought-after warmth, character, and tonal shaping to today’s producers and performers. Featuring custom-designed Pittsburgh Modular analog circuitry, the mixer utilizes signal contouring and soft compression to unify the overall mix. This process emulates the beloved sonic characteristics of vintage recordings, offering a rich and cohesive sound.
Comprehensive Mixing Power With ten audio inputs split into three distinct channel types, Assembler seamlessly integrates into any live or studio setup. Key features include:
Powerful preamps with up to 20x gain boost for line-level signals, clarity enhancement, or saturation.
Vintage tape saturation style contouring and soft compression on all channels and auxes
Three assignable aux sends for external effects and sub-mixing.
"I can’t remember the last time I used this modded Korg KR-55b, so it was high time we moved it from the pull-out rack shelf. That made room for the Simmons SDS8, which is now on that shelf, below the SDS7. We got an “as-is” SDS6 sequencer a few years ago and it has finally been repaired and on its way back, so we’re getting prepared. And now the TAMA TSQ-1000 drum sequencer is up for sale at Christopher’s Boutique 489 on Reverb. Anyways, this KR-55b was modified by SD Machines with decay and pitch controls, external 5v clock input, as well as individual audio outputs. Those six outputs are patched to the six Ace Tone VM-80 inputs, which are overloading hard. The VM-80 mono output runs to the Mackie Onyx 1640 mixer, where the Paia 6740 spring reverb is added on an aux send."
"Here we have a Ring Mod Delay patch with Atlantix, Sealegs, Ring Mod 1U and Aux Mix 1U. With this combination, the feedback from the delay evolves through the ring modulator, causing the echoes to morph with each repeat. It can produce some wild results.
Patch notes:
• Dry Signal - Atlantix Out / Aux Mix CH1 / Main Out
• Delay Signal - Aux Mix Aux Out / Ring Mod X / Sealegs Delay (100% wet mix)/ Aux Mix CH2
• Use Aux Mix CH2 Aux Out to create the feedback loop
• Atlantix VCO B Sine out from MOD Y to Ring Mod Y
• VCO B's pitch can be static, track with VCO A or modulated (for example with Sample & Hold). This will effect the way the timbre of the delay."
"Played some more with the ALA Monsoon this time - a drone from Moog Mavis is recorded into Monsoon after some wavefolding, and then put through some heavy reverb. A heavily (self-)modulated Maths is opening the VCA channel.
The melody comes from ALA Beehive into the Void algorithm from TTA Zverb, while the aux out goes through ALA Benjolin (with the filter being modulated bei Benjolin's Rungler) and into pico DSP's delay.
The v/oct from ALA Steps quantized by Shakmat Bard Quartet, with the harmonies switched by RitS QUA through Noise Engineering Vice Verga.
I used the trigger input on the Beehive for the first time, with the ochd expander providing the triggers.
Remember - music is powerful.
This music is published under a Creative Commons license. You may use samples, cover, and transform parts or the entirety of it without my explicit consent, as long as you credit me and release your work under a Creative Commons license as well. Commercial use is allowed. But don't just reupload this untransformed.
Supercritical announces availability of Redshift 6 as self-styled Variable Character Synthesizer representing its inaugural desktop instrument
TAMPERE, FINLAND: having opened eyes and ears with show-stopping showcases at SUPERBOOTH24, May 16-18, FEZ-Berlin, Germany and Machina Bristronica, October 12-13, Bristol, UK, Supercritical is proud to announce availability of its inaugural desktop instrument in Redshift 6 — self styled as a 6 voice Variable Character Synthesizer that combines technology from the budget travels in time and space-offering Finnish synthesizer manufacturer’s previous Demon Core Oscillator and Neutron Flux Filter products, each of its six voices featuring a DCO (Digitally-Controlled Oscillator) that can create up to 16 analogue oscillators per voice with analogue waveforms generated under digital control — as of December 16…
Supercritical’s self-styled 6 voice Variable Character Synthesizer wording — which is subtly featured on the front panel of the desktop instrument itself by way of optical reinforcement — effectively encapsulates the Redshift 6 concept. Consequently, the analogue path of each of its DEMON CORE OSCILLATOR-based six voices is under strict digital control in terms of tuning, gain staging, filtering, and more. Moreover, Redshift 6 has a lush- and warm-sounding sweet spot that is inspired by classic analogue polysynths, but it also runs the full gamut from almost digitally sterile and clean to distorted behaviour and beyond.
Digging deeper, the filter core is an analogue 4-pole VARIABLE CHARACTER FILTER that is also digitally controlled to act like almost any classic vintage synthesizer filter and more besides. But in addition to the oscillators and filters, Redshift 6 has all the features expected of a modern synth — think modulators aplenty, flexible voice routing, (six-part) multitimbrality, MPE (MIDI Polyphonic Expression), and (bypassable) stereo DSP (Digital Signal Processing) effects.
Elsewhere, Redshift 6’s six voices can be configured in a variety of ways — choose between true six-voice polyphony, classic vintage poly dual layer mode with 3+3 voices, six individual voices (each with their own patch and physical output), or any combination thereof. Those six voices can each also operate as a paraphonic voice with up to 16-note paraphony. And as if that is not enough to whet any serious synthesist’s appetite, multiple filters can be chained by routing audio from one voice to another.
Supercritical spent time — time that was well spent, clearly — realising Redshift 6’s physical form factor as a modern, compact — 378 mm (W) x 254 mm (D) x 63 mm (H) — desktop device with a 2.7-inch TFT (Thin Film Transistor) IPS (In-Plane Switching) colour screen surrounded by eight endless clickable potentiometers. Thanks to quick navigation via the shortcut button grid, menu diving is kept to a minimum, while a selection of familiar synth controls — DCO, VCF (Voltage-Controlled Filter), and AMP (amplifier), to name but the basics — are featured throughout the front panel. Put it this way: assigning modulations is equally easy and speedy with the modulation grid providing access to modulation source parameters, and all the assigned modulations can be edited via the MOD MATRIX. Meanwhile, a MACRO mode with six user-assignable buttons is included.
It is fair to say that Redshift 6’s slimline back panel packs in a lot of features for interacting with the outside world, including MAIN OUT (L and R) fed by the DSP effects, AUX OUT 1 (L and R), and AUX OUT 2 (L and R) — all on 6.3 mm jacks, alongside a modern MIDI (Musical Instrument Digital Interface) implementation with DIN IN/OUT and USB-B connection — not forgetting, of course, the headphone output.
One of the major design considerations of Redshift 6 is to facilitate a versatile and capable analogue platform with a flexible UI (User Interface) for accommodating new engines, easily updatable via software. Since its oscillators can currently go from traditional twin oscillator to supersaw behaviours while living in perfect harmony with the multimode filter, as well as incorporating various different character profiles — and all this in user-friendly ways that are easily controllable and modulatable, the relatively diminutive desktop Redshift 6 is already punching above its weight. Weighing in at 3.5 kg in actual fact, an exciting future surely lies ahead for Supercritical’s inaugural desktop instrument.
Priced at £1,099 GBP (including VAT)/€1,259.00 EUR (including VAT)/$1,349.00 USD, Redshift 6 is available through Supercritical’s growing global network of distributors, as listed here: https://supercriticalsynthesizers.com/where-to-buy/"
"Introducing Stereo I/O 1U & Aux Mix 1U - two new audio mixing utilities for the 1U format.
Stereo I/O is a complete audio I/O module for Eurorack Systems. It connects to the audio jacks in our Performance & Palette cases to give you external line input, line output, and headphone output with cue feed. It also connects to our Stereo Line In Jacks & Stereo Line Out Jacks modules for use third-party rack systems.
Aux Mix is a 3-channel stereo mixer with a stereo Aux Bus. Each channel has precise level control and a mute switch, summing to the Main Mix outputs. Channels 1 & 2 have a separate Aux level control with a pre/post fader switch which feeds to a separate Aux output. This mixer lets you create a stereo FX send, experiment with feedback mixing, parallel processing and more."
"Hand-Built Buchla Easel by Constantin (Portabellabz)
This setup was meticulously hand-built by Constantin at Portabellabz, with all components in perfect working order.
Price: $8,000 USD (equal to my original investment). I’m open to reasonable offers. Location: Portland, OR. Local transactions are preferred, but I’m willing to ship if necessary.
Feel free to ask any questions—I’ll do my best to provide detailed answers.
Modifications and Features
208p Module (with Blue PCBs)
Flat red LEDs Tinijax connectors 1.2V/oct input On-off-on switch for CO CV Reverb mix CV input (replacing the rightmost pressure socket with a black banana socket) Dedicated LPG outputs (replacing panel signal out tinijax sockets) Infinite sustain functionality Noise generator (similar to the 208c; accessible via LPG2 when the routing switch is in the top position and the preamp is unpatched) Enclosure Features
Portabellabz ToolBox: Includes slew limiter Roland Klinkenberg Sequencer Aux Expander: Includes Mod Expander Custom Hard Case: Custom made by Road Cases USA Rare SAmodular Keyboard and Case
The 218 keyboard and case are from SAmodular, with specific modifications by Constantin to ensure peak functionality. Note that the keyboard is no longer in production, making this setup particularly unique and valuable.
This is a beautifully customized Buchla Easel, built and modified by one of the most respected names in the field. Don't miss this opportunity to own a one-of-a-kind instrument."
"Whether you look at Befaco Bandit as a creative EQ, see multiband processing potential or as a creative mini filter bank … there’s a lot of potential for creative and unique spectral results patching with it. I’ve had loads of fun creating cohesive unique sonic spectrums blending multiple sources, novel ambient FX spaces, spectrum specific FX sends and plenty of smart routing options along the way. I think the results speak for themselves, I hope that comes across in the video."
"Anyma Phi from Aodyo Instruments is quite wonderful little monophonic physical modeling synth, that can do much more than just physical modeling. You can use 3 oscillators that you can choose from a long list, ranging from different wave forms, resonators, 2-op FM, wavetables etc.
You can use audio input as an oscillator, either external input or in-built contact microphone. So, Anyma Phi is not just a synth, but audio effect unit, too. However you use it , there are lots of configuration parameters and options.
Those 3 oscillators are routed to main and aux bus, where you can apply 5 effects, pan them in stereo field, add reverb, which is then put out as stereo audio.
Recently, Aodyo has launched as software version of Anyma Phi, called Anyma V. It is identical to hardware unit, except that Anyma V is polyphonic. Anyma V is a by-product of Aodyo's biggest development project, namely Anyma Omega, which is larger sibling of Anyma Phi. As a backer I have been eagerly waiting its launch, which may happen at end of year."
"Quick impro to demo the Sound Master Stix Programma ST-305 (!) analog drum machine syncing the Roland Jupiter 4 arpeggiator. The Echolette SE251 provides echo/reverb.
The ST-305 is an 80s programmable analog drum machine. Very basic, no sound editing but you get 7 sounds, an accent track, dedicated volume faders and outputs for every instrument.
And the icing on the cake is it can be synced to external gear and/or sync other gear, which is a nice feature (you can use it slaved to a sequencer and in the same time slaving a synth, so it acts as a 'through').
I did not know this one till recently and it was a pleasant surprise."
"This is quite a rare tape echo manufactured by Dynacord. It seems to be one of the very last tape echo introduced by the brand (with the Echolette Echo 400). It shares many parts with the Echocord line of delays like motor, pinch roller, heads, oscillator board etc But this one used op amps instead of only transistors for amp stages (the Echocord Super 76 also already used one op amp for the output stage).
The unit has 2 heads which you can mix with the dedicated pot. Otherwise classic features like input volume, tone, echo send level, echo feedback and echo level. In the back the original DIN socket enabled output and aux input. In this case you only get the wet signal out of the delay, which is nice in a studio environment.
Unit was fully serviced and modded: - all electrolityc caps were replaced (except 3 bipolar ones ) - original 4x op amps were upgraded to better one (TL081) - original DIN socket was replaced by 2 jack sockets, one for the output and one for the aux input. Also a pot was added to attenuate the level for the aux input - unit was meticulously cleaned - heads were cleaned, demagnetized and aligned - unit was calibrated - tape is new
The unit is in perfect working order and in excellent cosmetic condition."
"Here is the follow up video I promised, briefly explaining and demonstrating the 'flute' patch I discovered recently. This simple patch involves an external input / preamp module with an envelope follower, an oscillator with timbre control / wave shaping and a vca. Adding a noise source as a secondary sound, opening it with a similar envelope, can really add to the illusion that its a flute. I am taking the envelope follower from the aux in, and patching that to amplitude and timbre of the complex oscillator. There is also a pulse generated every time I blow into the mic. The pulse tells a sequencer to advance, changing the note you hear every time you blow into the mic. Thank you for checking out my video! If you are interested, you can see me make improvised music live on twitch at"
"In boca al lupo, ragazza. Ciao! A final test of the recently serviced, perfectly working, very rare, and wonderfully Italian Viscount R-64s PCM 8-bit drum machine before packing it up and sending it off to its new owner. Mix out goes mono to a Mackie submixer to the DBX 900, going through one 905/903 into the next 905/903, with an aux send from the Mackie out to the Peavey 1300 delay going to a third 905/903 set. Those two signals then go to two channels on the Mackie Onyx 1640 mixer, with Lexicon PCM 70 small room reverb on an aux."
"Please join us while we explore the infamous, but actually quite venerable Moog Memorymoog synthesizer. As is widely recognized, the Memorymoog was developed too late and was rushed to the market. By 1982/83, the era of extremely expensive flagship analog polysynths being ubiquitously adopted by professional musicians and studios was coming to an end. Synths like the Sequential Prophet 5, Oberheim OB-X/Xa, & Roland Jupiter 8 had dominated the market, but new digital technology - both in synthesis and sampling, was quickly gaining a substantial foothold in the music industry. The Memorymoog was notorious for reliability issues right out of the box while innovative instruments like the Yamaha DX7 were cheaper, much more reliable, and had a unique new sound.
In hindsight and considering the analog renaissance we've expereinced of late, one can evaluate the Memorymoog from a different and more forgiving perspective... It sounds absolutely fantastic and offeres an incredibly unique & fat tone relative to competetive products of both its era and modern times. Additionally, once a competent technician has sorted common issues with the power supply/fan, connectors, etc. the instrument can be quite reliable from a functionality and tuning standpoint.
The audio is DIRECT, with a just a touch of OTO Bam reverb added on an aux bus - You are hearing the raw audio as it comes directly from the synthesizer. There is NO EQ, Dynamics, etc. Listen on good headphones or monitors!
Thank you so much for watching! This channel is a passion project. These videos are recorded off the cuff. We are just two hobbyists who share a deep passion for synthesizers."
Note: Auction links are affiliate links for which the site may be compensated.
video upload by ohm_studi_ohm
"This is quite a rare tape echo manufactured by Dynacord. It seems to be one of the very last tape echo introduced by the brand (with the Echolette Echo 400).
It shares many parts with the Echocord line of delays like motor, pinch roller, heads, oscillator board etc
But this one useS op amps instead of only transistors for amp stages (the Echocord Super 76 also already used one op amp for the output stage).
The unit has 2 heads which you can mix with the dedicated pot. Otherwise classic features like input volume, tone, echo send level, echo feedback and echo level.
In the back the original DIN socket enabled output and aux input. In this case you only get the wet signal out of the delay, which is nice in a studio environment.
Unit was fully serviced and modded. [mods below]
I demoed it with 3 different instruments so you get a good idea of how it sounds with different sources. First is a Roland MC-202, analog mono synth, then an analog drum machine (Roland CR-78) and last an electric guitar (Squier Jagmaster, not in frame). Please note the SE-251 has no hi input impedance so I run the guitar through a DI Box first.
00:00 ROLAND MC202
03:18 ROLAND CR78
06:16 SQUIER JAGMASTER"
- all electrolityc caps were replaced (except 3 bipolar ones )
- original 4x op amps were upgraded to better one (TL081)
- original DIN socket was replaced by 2 jack sockets, one for the output and one for the aux input. Also a pot was added to attenuate the level for the aux input
S&H In 8, S&H Trig 9, and S&H Out 10 are a set of sampling and holding circuits. S&H In 8 inputs the signal that needs to be sampled,S&H Trig 9 inputs the Trig signal that samples the input of S&H In 8, and the sampling result is held until the next Trig signal triggers a new sampling, and the result is output at S&H Out 10. When S&H In 8 is not plugged in, the Trig signal of S&H Trig 9 samples the Noise Out of 2, resulting in a nearly random sampling result. The sampling-hold function can be triggered by pressing button 5 when the S&H Trig 9 has no insertion line.
Noise Trig & Noise Out
Noise Trig 1 and Noise Out 2 are part of the Noise generator, which continuously outputs a Noise without any input, which is the result of the sound amplified many times after the breakdown of the Zener tube. If a wire is inserted into the Noise Trig jack, the Zener tube will stop the breakdown state. At this time, give a signal, which can be Trig, square wave or any other signal, only if it is higher than 3.3v, it will again break through the Zener tube, constantly reciprocating, changing the output effect of the Noise Out.
Offset Out
Knob 3 changes the output voltage value of Ofset Out 4, when the button is pressed 5.Ofset Out 4 will output voltage according to the position of the knob, release the button, and the output is terminated.
Aux in & out
Aux In 6 and Aux Out 7 are a set of envelope non-tunable Vcas triggered by button 5. Aux In6 can be an audio input or other signal input, press button 5,Aux In6 input will be output from Aux Out 7 after adding an envelope control. Noise Out2's noise output is added to AuxIn 6 when AuxIn 6 is not plugged in. This means that you can directly control the noise output in Aux Out 7 by pressing button 5."
"Yeah. I made episode 03 before I was able to finish episode 02 so I decided to post them both. There's no need on this channel to manage posts to maximize views, I just want you to be able to find information when you need it and I just LOVE to make content like this. I made a lot of videos about the EV in the past and it's covered in the old Shared System tutorials (link in video). In this video, I am going to try something new.
In this episode, I'll only use Erbe-Verb and DXG in a feedback loop. So no fancy 7U case layout this time, I made this video to find out if it can still be relevant in 2024. Since I am totally biased, you'll need to decide for yourself. Honestly, if you need a regular reverb, maybe a stereo module would serve you better.
Erbe-Verb is going for a limited rerun in black and gold, so this also means it's getting old and possibly moving to retirement. Without speculating too much, it's possible that MakeNoise is working on a successor now they have this amazing new ARM DSP board. But again, I have no idea. What we DO know is, that Erbe-Verb is widely considered as one of the best reverbs in eurorack, even though it's not the best reverb as a reverb. Que?
It excels in creative use and abuse. It will never get old and whatever comes next, it will pair well with the EV (it pairs really well with a Mimeophon, StarLab, Sealegs or Desmodus Versio).
Apart from the sound design fun, Erbe-Verb plays a big role in the Shared System signature sound. While it's partly overshadowed by the more recent Mimeophon, the Mime's 'halo' only adds a little space. It's nothing compared to the 'icy sheet metal in deep space' sound from the EV, which can easily double as a classic spring- or plate reverb when 'absorb' and 'tilt' are used to tame the high end. I've never been a fan of the predelay, but it can do amazing things with modulation and gates/triggers.
The Erbe-Verb is 'mono IN' so it needs to be used as a send/return with a stereo voice like XPO or Spectraphon. Here's where a ModDemix comes in handy. You can use CH1 and CH2 to pass on your stereo mix to let's say an X-PAN, and use the Sum out to EV. Then you can patch the EV's stereo out to X-PAN's aux inputs. It's a lot of patching and modules for a verb, but it provides a lot of freedom."
"Tested in great working condition, super fun sequencer! Includes AC power supply.
Noodlebox is a four part sequencer for making electronic music. It has analog CV/Gate outputs for each part and supports MIDI.
There are independent sequencer layers, each with a CV/Gate output. Each layer runs separately to the others (although staying in sync) and has its own step count, clock division etc.
Each layer has four pages of up to 32 steps each. Pages can be used for A/B/C/D type pattern variations, for verse/chorus type song sections or chained to make a single pattern of up to 128 steps. You can cue up lists of pages for automatic cycling (up to 32 pages). Arranging pages is designed to be quick and easy to do creatively in a live setting.
This looks more like an amp than a mixer. The built-in rhythm machine gets the post. This would be a fun item to show off in the studio. "Check out my new amp", then flick on the rhythm section, or route a sequence running on your other gear through it with the volume down, then say "I wonder what's on the radio", mute your main mixer and switch over to the Optonica, "Oh it's me!"
