Note there are two versions, a synth version and accordian: http://juzisound.com. The original was in a rectangular box format as seen in previous posts here. Spotted this newer model via the listing below.
Next generation of sampler device, again specialized for playing ethno music. If you play that kind of music, this device is really the right one for you!
Model 3 is successor of Sampler 2, but the technology is much more advanced. Sampler 3 have 8 independent Uppers (synth version), read samples from Micro SD card with maximum possible speed, have SD card auto refresh function, and have best in the world 32 bit DAC for perfect audio quality. The same hardware is used with 2 independent software versions: One for use with any Synth, and second for use with MIDI accordions.
For more information, see specification and comparison table between all samplers.
Playlist: [Use the player controls to skip around.]
1. Cherry Audio | SH-MAX Synthesizer - NEW!
2. Cherry Audio | Preset Walkthrough with Andrew Longhurst
3. Cherry Audio | MAXIMUM OVERDRIVE Preset Pack for SH-MAX Synthesizer by James Dyson
4. NEW! Cherry Audio LIVE PREMIERE Tuesday, February 10 at 10 AM PST
5. Cherry Audio SH-MAX - Roland's SH series reimagined! (Demo / Tutorial) - CatSynth TV
Press release follows:
Cherry Audio has announced SH-MAX, an innovative software synthesizer that integrates three legendary SH-series synths from the '70s: the SH-5, SH-7, and SH-3A.
Cherry Audio has announced the launch of SH-MAX, an innovative software synthesizer that integrates three legendary SH-series synthesizers from the 1970s: the SH-5, SH-7, and SH-3A. SH-MAX captures the bold sound of the SH-5 while incorporating features and aesthetics from the other models, enhancing the original designs with greater power, versatility, and essential tools for modern music production. Musicians and vintage synth enthusiasts can start using SH-MAX today for the incredibly low price of just $59, available at cherryaudio.com and authorized resellers worldwide.
SH-MAX faithfully recreates the vibrant tones and workflow of the original SH hardware. It features powerful dual oscillators, two LFOs and ADSR envelopes, the dual-parallel multimode and bandpass filter sections, and the five-channel mixer of the SH-5 (1976), plus a ring modulator and sample/hold capability. Also included are autobend, duophony, filter FM, and the syncable VCOs with additional waveforms found in the SH-7 (1978). The extra additive-style oscillator from the SH-3A (1975) further enhances sound design flexibility. Moreover, SH-MAX incorporates and expands upon the expressive touch performance of the SH-2000 (1973) and features an onboard sequencer inspired by the Model 104 of the legendary System 100 semi-modular synthesizer from 1975.
SH-MAX honors its lineage while taking full advantage of modern software capabilities, supporting mono, duophonic, and 16-voice polyphonic operation for rich chords as well as earthshaking unison timbres. It features three unique retro interface themes that pay homage to the aesthetic of the SH-3A, SH-5, and SH-7, providing a visually immersive experience for true vintage synth enthusiasts. Additionally, optional drift and slop controls for the oscillators, filters, amp, and dual envelope generators introduce authentic analog character and warmth to every sound patch.
The highly flexible SH-style stereo mixer and its varied workflow options allow for modular-style signal routing. Each sound source -- VCO-1, VCO-2A, VCO-2B, the ring modulator, and noise -- can be independently routed to the VCF, BPF, or VCA, with each path enhanced with its own chain of studio-quality effects. With 20 effects available to arrange and reuse within its four chains, SH-MAX provides an exceptionally wide sonic palette. Additional features include a four-channel step sequencer capable of parallel playback or extended chaining, along with a touch effects panel that supports channel and polyphonic aftertouch with compatible MIDI controllers.
SH-MAX's legacy traces back to over five decades of synthesizer and electronic music innovation. The SH-series synthesizers have been used by a diverse range of artists, including Kraftwerk, Tangerine Dream, Jean-Michel Jarre, Brian Eno, Gary Numan, Throbbing Gristle, Skinny Puppy, Aphex Twin, Orbital, Mathew Jonson, Pink Floyd, Nine Inch Nails, Kitaro, MGMT, Vangelis, The Human League, Blondie, Yello, and more.
With SH-MAX, users can create everything from massive leads and thick basses to lush pads and exceptional sound effects, making it a true synthesis powerhouse at their fingertips. To inspire musicians right out of the box, SH-MAX includes over 300 expertly crafted presets that showcase its broad capabilities. For those wanting even more, the Maximum Overdrive Preset Pack by sound designer James Dyson is available from Cherry Audio for $9.99, offering 100 additional presets that highlight SH-MAX's raw analog tone, advanced modulation, four-channel step sequencer, and abundant effects.
Furthermore, until February 22nd, customers can take advantage of Cherry Audio's "Build Your Own Bundle" promotion at cherryaudio.com. Choose the Pick 3 bundle for $99 (regularly $129) or the Pick 6 bundle for $149 (regularly $169) to mix and match any of Cherry Audio's award-winning instruments for as low as $25 per plugin.
Cherry Audio's SH-MAX synthesizer is now available for $59 at cherryaudio.com and authorized resellers worldwide. SH-MAX is a virtual instrument for macOS (10.13 and later) and Windows (7 and later), provided as AU, VST, VST3, and AAX plugins, as well as a standalone application. A free 30-day demo is available. For in-depth product details, an introductory video, extensive demos, and system requirements, visit cherryaudio.com.
"In this video we discover what the reinvented MESSOR pedal by Cosmotronic can do to a variety of sound sources. We also have a look at all the controls.
0:00 intro
2:30 features explanation
17:07 drums and loops
34:47 sidechain example
41:53 full mix and stems
55:23 closing thoughts
57:09 thank you for watching!
57:22 outro"
A COMPACT ANALOG COMPRESSOR
Messor is a fully analog stereo feed-forward VCA compressor designed for studio, modular, and live systems. The architecture is derived from the original Cosmotronic eurorack module, with extended headroom, improved channel matching, and a revised sidechain topology optimized for wide dynamic ranges.
HIGH HEADROOM
The internal ±12 V regulated power rail provides substantial headroom and consistent operating conditions for both line-level and modular-level sources. It reliably handles high-transient material from synthesizers, drum machines, and percussion-heavy sources without premature clipping. High-impedance inputs and balanced outputs simplify interfacing with modular systems, samplers, and balanced studio equipment.
Signal flow begins with a low-noise stereo preamplifier offering up to 18 dB of gain, followed by a pair of matched VCA control blocks. The feed-forward topology provides predictable transient behavior, accurate envelope shaping, and stable stereo imaging. A post-VCA conditioning stage adds tube-like saturation, introducing controlled harmonic content when driven into overload.
"As the second synth in the 'Super' series, the Gemini represents a quantum leap in UDO's technology – building on the acclaimed rich sound pioneered by George Hearn and the Super 6. Adopting a true-stereo Binaural signal path with dual FPGAs and twin effects processors, Gemini will take you on an adventure of spectral dynamics, of glittering frequency and shattering subharmonics, of comfort and discord, expectations and surprises."
"Coming in hot after Hieroglyphic's first release 'Plume' here we have OPALINA which is a stereo spectral playground. It's billed as a filter network, with triple band pass resonator modes and an isolator multi mode network. It has multi band outputs for creative modular processing, with the including expander it also has specific (and stereo) low mid and high band inputs. Loads to go at, but distilled down into exploring 3 patches here for our 3 PATCHES series of videos."
*TIMING INDEX // CHAPTERS*
The broader, patch by patch sections are in ALL CAPS and sub sections that might be useful to skip to are all lower case.
INTRO 00:00 Hello & previews 00:57 What is Opalina & what are we doing? 01:33 Feature run down 04:00 PATCH 1 // RAW SOUNDS & OSCILLATOR SHAPING 04.22 The raw sound of the resonator & isolator modes 05.49 Building a VCO shaping patch 07.24 Patching FX sends from specific frequency bands 08.25 Series channel patching for steeper filter slopes & more resonance 09.41 v/oct tracking
BONUS HYPNOPTIC MULTIBAND FILTER PINGS 11:40 / divkid for the full patch run down
PATCH 2 // SPECTRAL MIXING 12:45 Creative spectral mixing for multiple FX modules 15.15 Creating a multi band spectral mix 16.24 Modulating a spectral mix 17.32 Audio rate modulation 18:51 Spectral drum FX 20:43 Spectral Rings FX 22:51 PATCH 3 // MULTIBAND MODULAR PROCESSING
Stereo state-variable filter networks configurable in two modes. RESONATOR is a triple bandpass alignment, emphasizing resonant peaks and formants. ISOLATOR is a cascaded state-variable topology with variable mid-bandwidth for use as resonant crossover.
· RESONATOR: triple bandpass filters with vc peak span and resonance. 12db/oct filter slopes.
· ISOLATOR: cascaded state-variable filters with vc bandwidth and resonance. 24db/oct filter slopes.
Check with dealers on the right for price and availability.
"Magnolia is an eight-voice analog through-zero linear FM synthesizer. Besides the classic analog polysynth sounds, its design allows programming some less conventional timbres closer to the world of modular synthesizers, and especially of the so-called “complex oscillators.”
Magnolia allows to bring modular synthesis techniques in the world of analog polysynths, with all the known advantages of the latter: polyphony, immediacy of use, powerful sound, and those little unpredictable details generally known as “analog warmth.”
Magnolia is a highly playable instrument thanks to its expressive Fatar keyboard with polyphonic aftertouch and encourages sound exploration through its large and relaxing front panel.
After sculpting sound in space with The 3B, The 3FX explores the creation of sound spaces capable of transcending all your instruments.
ARCHITECTURE
The heart of The 3FX is built around three fully independent effect voices, each based on a coherent 8-module architecture:
Two delays per voice, usable in series or in parallel An advanced, progressive feedback path up to controlled self-oscillation An analog 12 dB/octave multimode VCF (BP, LP, HP) to optionally process the audio spectrum, both on the delay lines and on the dry signal Independent levels for the dry signal and each delay line A panorama control to position the voice within the stereo field. The stereo input signal is distributed across the three voices: left / left + right / right. A mono signal is distributed across all three voices. Each voice can be used alone, stacked or combined with the others to create textures impossible to achieve with a conventional delay.
"The Sequential Fourm looked limited on paper, but after a month in the studio, my perspective has completely shifted. In this Fourm review & demo, I’m moving past the specs to focus on 4 performance demo songs that showcase the unique tactile experience of this 4-voice analog synthesizer.
The combination of a 100% analog signal path and Polyphonic Aftertouch makes this one of the most expressive instruments Sequential has released in years. Whether you are scoring for film or sound designing from scratch, the Fourm demands a different approach to synthesis.
-Stereophonic analog bucket brigade delay with
-precision analog clock generators,
-variable frequency anti-alias and reconstruction filters for wide frequency response and -advanced companders and careful clock signal handling for high signal-to-noise ratio
-Superb-sounding tube distortion stage for the delay path with four NOS SQ pentode tubes
-Six 4096-step BBD ICs for 20ms-600ms (1200ms in mono) delay time
-Seven different operational modes, including X-fed feedback signals
-Versatile LFO
-Tempo divisions
-Tap tempo and external sync
-Beautiful, solid walnut housing and engraved and color-filled panels
Overview
Knif BBD is a stereophonic analog bucket brigade device (BBD) delay. It is a no-compromise device rich in features. What sets it far apart from any other device in the market are the unique self-adapting anti-aliasing and reconstruction filters which provide the widest possible frequency response for any given delay time setting without any aliasing.
The unit features in total six 4096-step BBD ICs which results in maximum delay time of 600 ms for a stereo signal and 1200 ms for a mono source. The device has got seven operational modes for different effects and comes with a wide range of control signal inputs and internal control possibilities. The unit features a microcontroller for relay switching and timing tasks such as tap tempo and time division. However the signal chain and clock generation are fully analog and built using state-of-the-art components.
The other very unique feature to the device is a vacuum tube distortion stage located before BBD circuits. It consists of four NOS Special quality pentodes in total. The amount of distortion is continuously adjustable without affecting the overall signal level. In addition to this, the spectrum of the distortion can be selected.
In this video, we share the first real world tests of Concrete, without aiming for a polished or final demonstration.
We explore how the device works as the final stage in the signal chain, as a master effect, and within a mix on an individual instrument. Throughout the video, moments where bypass is engaged are clearly marked, so it’s easy to hear exactly when Concrete is affecting the signal.
Special attention is given to saturation. We’re exploring how different drive modes interact with dynamics, not as an obvious effect, but as an integral part of the signal path.
We also demonstrate sync mode and stereo operation. The filter reveals a particularly interesting character in stereo, where the interaction between channels adds depth, movement, and a sense of space that is difficult to achieve in mono.
Preorders for Concrete are now open on our website at a reduced price for the first drop. The price will increase for future batches.
"Concrete is a next generation compact effects processor that combines digital sound engines with a true analog filter.
Each channel features its own analog high pass and low pass filters, designed for precise and musical sound shaping.
Several drive types come preloaded, while additional engines can be downloaded from our website and loaded into free slots, allowing users to build a truly personal sound.
Channels can be used independently or linked together for cohesive stereo processing.
Concrete supports full MIDI control and naturally pairs with Monolit as part of a unified studio and performance ecosystem.
During the preorder phase, Concrete is available at a reduced price for those who want to support the project from the start.
The price will increase at release.
The first Concrete drop is planned for the first half of 2026."
"Here is four plus minutes of live-acid tweaking with Redshift 6 over a drum track, and experimenting with using LFOs to replace manual tweaking.
Part 1: 101-style Bass line
Part 2: Acid Lead
Part 3: Backing Acid Sequence
Part 4: Strings
The Redshift 6’s FX engines deliver production-level, 24-bit stereo effects. Its parallel signal path allows analog audio to be blended with DSP effects, combining the warmth and character of the analog signal path with the precision and flexibility of modern digital processing."
"Efsanevi Prophet geleneğini modern mühendislikle buluşturan Fourm, tamamen analog ses yoluna sahip 4 sesli bir polifonik synthesizerdır.👾
Vintage Sequential’ın karakteristik sıcaklığı, modern ve sert bir ses karakteriyle birleşiyor. Ortaya çıkan sonuç ise zamansız, sıcak ve organik seslere sahip; güçlü ve ilham verici bir synth!🔥"
Googlish:
"Combining the legendary Prophet tradition with modern engineering, the Fourm is a 4-voice polyphonic synthesizer with a completely analog signal path.👾
The characteristic warmth of vintage Sequential is combined with a modern and powerful sound character. The result is a powerful and inspiring synth with timeless, warm, and organic sounds!🔥"
"An 11-minute improvised modular performance using a full Tiptop Audio Buchla system.
This session explores evolving textures, modulation paths, and dynamic interactions across the entire system.
The patch is built for flow and transformation rather than fixed structure, allowing the sound to develop organically over time.
🎛️ System used
• Tiptop Audio Buchla modular system (full setup)
• Oscillators, envelopes, LPGs, random & sequencing modules
🎧 What’s inside
• Long-form modular improvisation
• Organic modulation and evolving textures
• Dynamic use of the Buchla signal path
• Recorded live in one take"
"@vikingsade Djupviks Gats is a grainy reverb feeding into a wasp-style bandpass filter, with sample-and-hold modulation built into the signal path. By default, it samples your incoming audio to modulate the filter cutoff - creating stepped, glitchy textures that respond to your playing dynamics. The offset control lets you shape that response from aggressive ducking through to keeping the filter permanently cracked open.
In this video I walk through the module and show a couple of patches demonstrating what it can do.
Features:
Grainy reverb into wasp-style bandpass filter
Internal sample-and-hold with adjustable clock
S&H can sample audio or external sources
Bipolar offset control for shaping filter response
Pre/post feedback switch
External clock sync"
Sound recorded directly from the back of the synth (No added effects / eq / reverb etc).
CHROMAGENE is an all analog, stereo polyphonic synthesizer with two halves. One half is an 8 voice 2 VCO polysynth where every oscillator can be tuned independently or transposed together, the other half is a polysynth that uses the Ring Modulated output of each pair of oscillators as its signal source.
This wide range of sound sources along with two analog filters and an on-board sequencer give Chromagene a wide palette of tones and textures.
Inspired by the earliest polysynths of the 1970s, it is fully polyphonic (all 16 notes can be played at the same time), can be tuned to any scale or tuning, is multi-timbral and touch sensitive.
The instruments key contacts are Immersion Gold plated and non-corrosive.
At the top, there are 16 tuning controls for the 8 pairs of oscillators. Each tuning control has a momentary pitch bend touch sensor below, so you can articulate each note individually. The top row of tuning controls (VCO-1) also shifts the oscillator below it, but the second row of tuning controls are independent. This allows you to preserve the tonal relationship by using the top tuning controls, or change it by detuning VCO-2.
These tuning controls allow you to tune the 8 pairs of oscillators to any scale, from a standard equal tuning to any microtonal, non-western or even unison tuning.
VCO-1 has a Pulse Width Modulation control and each set of oscillators has a master tuning control and an individual LFO control.
The 8 analog ring modulators take the VCO signals and multiply their output. VCO-2 is converted to a triangle pre-ring-modulator so that the ring modulated signal is fully continuous and not binary like pseudo-ring-modulators in some synths. This means you can create virtually any waveform by carefully tuning the input VCOs, and an endless variety of tones can be generated for each note individually.
The two filters, which can be panned from mono to full stereo using the panning control, are all-analog all-transistor low-pass VCFs, with individual cutoff, resonance and envelope-mod controls. The envelope amount controls go from negative (inverted) to positive. VCF-1 has mixer controls for VCO-1 and 2, and VCF-2, which is for the Ring modulated notes, has LFO cutoff modulation and Panning.
The 16 independent envelope generators have Attack, Decay, Sustain and Release controls. The sequencer can be internally or externally clocked. Custom sequencer configurations can be set up, get in touch.
The synthesizer is built into a hand-made wood case.
Specifications
16 note polyphonic, multi-timbral 16 voltage controlled oscillators, tuneable to any scale 8 ring modulators (true ring mod, not xor) All analog. Class A audio path 2x transistor filters with cutoff, resonance, attack (env mod +/-), lfo/panning controls 16 VC Envelope Generators (Attack, Decay, Sustain, Release) 24 VC Amplifiers (1 per oscillator + 1 per ring modulator) Oscillator LFO modulation Pulse Width modulation Touch-sensitive pitch bends 16-note gold plated touch sensitive keyboard In built sequencer, internally or externally clocked 2.1mm 9v centre negative power input Can run on an external standard type 9v battery (please ask for a special adaptor cable if required) 2x 6.35mm (1/4 inch) audio output 6.35mm (1/4 inch) external clock input 27 x 22 x 5 cm
£1,055 special introductory price.
NOTE This is a pre-order. Delivery will be approximately one month after you pre-order (date will be confirmed via email).
Synth uses a standard guitar pedal type power supply (9v tip negative), I no longer include the power supply as I receive orders from lots of different countries, but I am happy to advise on power supply models."
"Hear the new Redshift 6 FX engines – no talking, just pure playing.
We have just released a new firmware update for the Redshift 6, now available on our website.
Firmware Update 1.5 introduces a new FX section featuring four high-quality effect engines: Stage Reverb, X-Delay, Vintage Chorus, and Chorus+, along with a new VCF engine called Mirror Twins.
The Redshift 6’s FX engines deliver production-level, 24-bit stereo effects. Its parallel signal path allows analog audio to be blended with DSP effects, combining the warmth and character of the analog signal path with the precision and flexibility of modern digital processing.
"This month I undertook quite possibly the rarest restoration I may be able to do, doing a full redo of the first electric piano. Come with me as we discover how important this specific model actually is in relation to it's creator...
SAMPLE PACK:
Below is the download link to the two sample packs, please download the whole folder for the program to work. Once downloaded, click the second link to download the sample pack player--there you can open it in your DAW as a plugin and select either pack options. NOTE: Files have been updated using a better Clavier--these are not from this video's Clavier, but a newer restoration of another.
Instruction manuals for 100 Grit & BrainSeed pictured below.
"The 100 grit is a distortion, VCA, and low pass filter module with 8 brass touchpoints.
Features:
8 brass touchpoints 2 inputs to transistor core low pass filter Voltage control over frequency, resonance, and gain OTA VCA with soft saturation characteristics Distortion circuit based around a vintage headphone amplifier driven into instability Three position x100 gain switch with off, on, and momentary on settings Each input and cv input is normalled to a different feedback path (6 total) Seperate outputs for the VCA and distortion Can operate as a vintage voiced VCA and LPF or a screaming distortion and noise effect All analog design"
For a long time now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?"
But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic. Oddment has evolved too. Starting from one quirky product idea, in 3 years we have grown and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many.
So with much consternation, we have decided to drop the name groc. When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1.
This is the first in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off half of the encoders that control the granular synthesis engine - the PLAYHEADS function. Here you can control the level, starting point, tuning (aka pitch adjustment) and playback speed for up to 4 different granular playheads. The auxiliary functions available on the touch screen introduce random variability in different ways.
2. ODD-1 Overview: Grains
This is the second in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the second half of encoders that control the granular synthesis engine - the GRAINS function. Here you can control the size, spacing, left-right placement, and grain window shape. Each control also has a related function, introducing grain size variability, spacing jitter, binaural scatter, and a front-back bias for the window shape. The auxiliary functions available on the touch screen control a bandpass filter that can be randomized per grain and adjust whether grain size is regulated in the source sample or in the output signal, which can have a big impact on sound characteristics.
3. ODD-1 Overview: 03 Envelopes & Time Path
This is the third in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the ENVELOPES function. Here you can control the note amplitude envelope and timing, access 3 envelopes that can be used as modulation sources, and use our unique TIME PATH feature to dynamically adapt the playback speed.
4. ODD-1 Overview 04: Sample
This is the fourth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the SAMPLE function. Here you can choose a sample from the factory library or user-uploaded samples, control the playback mode and the section available for granulation, play and hold notes, set loop points and interact with pitch, tempo and channel information of the sample. We also show the auto pitch and tempo alignment features.
5. ODD-1 Overview 05: LFOs, Macros, Patching
This is the fifth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the LFOs, Macros and how to create modulation connections. There are 4 LFOs, 3 Envelopes, 4 Macros (assignable knobs), 4 Control inputs and MIDI information that can all act as modulation sources. Any parameter on the device is a parameter destination. Unlimited connections are made by holding down a destination parameter and then pressing or twisting a modulation source.
6. ODD-1 Overview 06: Filters, Saturation, Echoes
This is the sixth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the Filters, Saturation and Echoes modules. Two filters and two saturation modules per voice, both with multiple types of processing and modulatable parameters, allow for transformation beyond the granular engine. Two echoes sections with filtering and distortion in the feedback loop and fully modulatable parameters make ODD1 worthwhile just as a modular effects rack!
7. ODD-1 Overview: 07 Layers
This is the seventh in a series of videos to show all of the ODD-1's functions in more detail. In this one we show the dual Layer functionality. Essentially the entire system is duplicated so the ODD-1 is like having a dual modular systems, each with a polyphonic granular engine feeding two filters and two non-linear processors per voice, with 3 envelopes, 1 time path, 4 LFOs, 4 Macros and a independent modulation matrix per layer. In these examples we also remind that granular can easily do subtractive-style synthesis when using a basic waveform as the source sample.
8. ODD-1 Overview 08: Reverb & System
The final video in our eight-part series on the ODD-1's functions focuses on the upper-left row where we have global volume, system-level reverb and can work with banks of patches.
The reverb is a classic matrix-style parametric reverb. Think of it like a whole set of interacting delay units with slowly modulating delay times. Ok now that you have that in mind, that's it, that's what it is. It sounds sweet.
If two layers of modulating, granular goodness with a fantastic reverb on top wasn't enough, how do banks of patches to store every twist and connection sound?
And from their newsletter:
What’s in a name?
For a while now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?"
But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic.
Oddment has evolved too. Starting from one quirky product idea, we have grown in three years and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many. And with much consternation, we have decided to drop the name groc.
When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1.
And we plan to keep that off-beat attitude. We hope that brightly-colored friends, ODD-2 and ODD-3, will be along to join ODD-1 after not too long.
Build Updates
We have a lot of exciting progress to report since the last time I wrote. Hop over to our YouTube channel to check out a build update video and some in-depth functionality demos.
We debugged and fixed several problems with the circuit board including the power-up, line input and output, and noise on the control signal inputs.
We got several bids from contract manufacturers in the U.S. and around the world and selected Soldered, based in the E.U. They came highly recommended, and we think their experience will be a huge asset as we go into production.
We worked with Martyna Alexander to tweak the graphic design of the front and back panel. We are thrilled with the updates, including our new company and product logos.
We have first iterations of our custom firmware, enabling full functionality of the device and full USB connectivity to a host computer.
We have completed first versions of the software that include all audio, MIDI and system functionality we intend to support for the release. After many months of playing and testing we re-organized a few functions to expand both the number of concurrent grain “playheads”, and to support banks of patches intended for convenient switching and management in live performance.
A warm and bubbly 12 dB/oct analog Eurorack filter with dual voltage control of frequency. Low-pass, band-pass, and high-pass outputs in one compact 8 hp module.
With external signals, the filter stays soft, clean, and precise. Adding resonance gives a liquid acid tone (like a good filter coffee). When driven into self-oscillation, it produces sine waves perfect for deep bass, kicks, and percussive sounds.
An integrated VCA placed after the filter lets you shape both tone and dynamics in a single path – precise when clean, saturated and raw when pushed.
Raise the offset to move seamlessly from rhythmic sequences to heavy drones.
Background: We wanted to build a versatile Eurorack VCF/VCA with a balanced function-to-HP ratio. For us, ergonomics are as important as function – it should feel intuitive and spacious around the core controls.
And since we’re from Sweden, we couldn’t resist adding a little warmth.
