"Get everything you need to take your music from first idea to finished master, including instruments, effects, and sounds trusted by the pros. Komplete 26 gives you synths, sampled instruments, drums, sound design tools, and studio effects – all in one complete music production bundle.
Whether you're composing, producing, or designing sound, Komplete gives you the tools to follow your ideas wherever they lead."
Press release follows:
Berlin, May 05, 2026 – Native Instruments today released Komplete 26 — everything a music producer needs to take a first idea to a finished, release-ready track. With over 190 premium instruments, professional mixing tools from iZotope and Brainworx, and more than 180,000 sounds, it's the most definitive music production collection NI has ever made.
Trusted by the producers behind the records you know
Komplete is used by millions of producers, composers, and musicians every month — from bedroom studios to Grammy-winning sessions. It's the instrument collection behind some of the most iconic tracks you know, and the ones you're about to make.
"I use Komplete in every single session. It lets me stay focused on the music instead of the tools, and whether I'm writing or tweaking, it's a fast way for me to transform my idea to something that feels finished." — Butch Vig (Nirvana, Smashing Pumpkins, Sonic Youth)
“Komplete has been part of my production journey since day one. I know I can open it and get exactly what I need, every time.” — Nick Hook (Run The Jewels, Hudson Mohawke)
"Komplete is a must-have for me in my studio. As someone who is always blending genres and pushing the edges of sound design, the versatility of Komplete allows me to have an entire sonic world at my fingertips at all times." — Malibu Babie (Megan Thee Stallion, Shania Twain, Sia)
New additions: sounds for every style and stage
Newly added is the legendary semi-modular synth, Absynth 6, known for its evolving, otherworldly tones. Also included are Noire and Claire – sampled from rare grand pianos – and the ethereal vocal soundscapes of Moments: Vocal Clouds.
PolyFreq pitches availability of Phonon plug-in debut as precision granular laboratory for sonic alchemy
BRISTOL, UK: boutique musical tools-maker PolyFreq is proud to announce availability of Phonon as its debut plug-in — pitched as a precision laboratory for sonic alchemy, built around a high-quality sample granulation engine with root note detection, four keyboard follow modes, and legato giving it real versatility as a playable instrument — as of May 5…
Acting as a musical synthesiser first and foremost, Phonon is designed for very intentional, controllable reconstruction of one source, leaning into synchronous granular or ‘graintable’ synthesis. Sub-sample grain scheduling and separate grain rate and density controls open new vistas of repeatable, controllable timbre and tempo across macro and micro parameter ranges. Reality dictates that where other granular synths default to randomisation or multiple sources, Phonon provides users with complete control over every grain — from classic textural clouds to malleable ‘grainwave’ synthesis. Indeed, it is equal parts laboratory and playground.
“Phonon’s development was inspired by the great creativity of early granular work from composers such as Wishart and Roads, and the deep listening of Oliveros, with a desire to make this wild, creative territory more accessible to electronic music production and sound design, without stripping away what makes it strange and inspirational.” So says PolyFreq founder Nick Mariette by way of an illuminating introduction. It aims for ease of use, with a simple drag-and-drop workflow for modulation, and most features are immediately visible, with minimal menus or hidden options. And a flexible array of audio-rate modulation sources provide huge scope for patches that respond and evolve, including LFOs (Low Frequency Oscillators), envelopes, sample metadata, sequencers, MIDI (Musical Instrument Digital Interface) control data, and various noise flavours.
Features additionally worthy of the edited highlights treatment here include Phonon’s granular engine — eight voices of polyphony with up to 256 grains per voice and sub-sample precision that bridges the gap between classic textures and sharp ‘graintable’ synthesis; effects — shape sounds with a character-driven signal chain, from saturating drive to resonant filtering, as well as a utility reverb for glue or depth; presets — easily capture, export, evolve, and share sonic creations with sample embedding and eight-way snapshots; and drag-and-drop workflow in a resizeable interface for easy enjoyment as a standalone instrument or for plug-in-based DAW (Digital Audio Workstation) production.
Phonon’s uses are almost endless — think time stretching; pitch shifting; sample mangling; sound design; classic textural, granular clouds; synchronous, tuned granular tone creation; creating a synth from any sample; rhythmic grain generation, synced to host; beat retiming and timbre distortion; and more besides. Back to Nick Mariette: “Phonon is intended for reshaping beats and designing synth leads as much as for losing time in ethereal granular atmospheres; I hope it will connect people to listening differently, discovering the sounds within sounds.”
Anyone attending SUPERBOOTH26, May 7-9, FEZ-Berlin, Germany is hereby encouraged to swing by Booth H116 there, where PolyFreq will be showcasing Phonon to the musical masses assembled and Nick Mariette himself will be on hand to personally provide a warm welcome with an open invitation to discover those sounds within sounds. Spanning chaotic clouds to precise synthesis, controllable sonic alchemy is there for the taking so why not take this hands-on opportunity to discover and delight in vibrating matter differently with Phonon!
Phonon is available to buy as a standalone or VST3 plug-in for macOS (10.13 or later) and Windows (10 or later) at a 33% launch discount — duly rising thereafter to its full price of $89.00 USD (excluding tax)/€76.00 EUR (including tax)/£68.00 GBP (including tax) — directly from PolyFreq here: https://www.polyfreq.com/products
For more in-depth information, please visit the PolyFreq products webpage here: https://www.polyfreq.com/products
"Announcing the Leveling EQ Amplifier: stereo widening, Neve 1073 style EQ, and LA-2A style optical compression in 14hp. $345 available June 30th from your favorite synth retailer."
The Leveling EQ Amplifier is an end-of-chain audio processor designed to polish individual elements of a patch, stereo bus, or full master bus.
Inspired by the simple interfaces and pleasing sounds of two cornerstones of mixing, the LA-2A optical compressor and the 1073 EQ, the LEQA combines a compressor, an equalizer, and a modern Stereo Width Processor in one 14HP package.
Rather than being fully parametric, pre-defined curves and frequency selections make the art of mixing intuitive. Very little effort is needed for great sounding mixes.
The compressor mimics optical compression, which is a beautifully simple concept that yields incredibly musical results.
The EQ section is built to help accentuate and excite your mix, clear up muddled sounds, and increase the overall headroom.
The Stereo Width Processor adjusts the stereo image, letting you dial back a wide image into a cohesive sound, or push a normal stereo signal into "super stereo" territory. When used with mono sources, it can widen mono sources into stereo using a combination of psychoacoustic techniques.
The Leveling EQ Amplifier excels in live performances, studio work, subtle utility tasks, extreme sonic sculpting, audio "glue" to hold a patch together, and as an effect in its own right.
"And finally it arrived!
A masterpiece of a special poly synth (dual module) :-)
I seriously cannot stop play the UDO synths they are just so fun and special.
These sounds are custom made and no external FX being used, not even compression just to give you a more honest point of view of this machine.
Since this is a crazy machine when it comes to signal path flexibility then patches will jump in volume from patch to patch :-)
This synth will easily push out some of my other synths with all it's right of being an engineering-art literally.
Thank you UDO team for making ground breaking machines and above all keeping your production in UK and the outstanding high quality!"
"Here's how KATLA was made - recorded at the Synth & Pedal Expo London (plus sounds at the end!). Katla is a unique synth - inspired by a titanic volcano in Iceland, with a huge gritty vibey sound. It literally has volcano in it(!) And after this interview, I thought about it a lot. Because behind the scenes, I've been working on a product and so much of what Óli said here resonated with my own experiences. I was really struck by how open, candid and frank Óli was, and I think there's huge value in learning from their journey. Hope you find this interesting!
Note that there was the Hackney half marathon happening in the background with people shouting and whooping constantly throughout the chat - but Izotope RX to the rescue!"
CHAPTERS 0:00 A Volcano In A Synthesizer? 01:03 Depression, Iceland & A Big Idea 02:11 Nobody Knew What They Were Building 04:31 Fake Deadlines & Soccer Moms 06:09 The Godfather Of The Project 08:00 How Do You Sound Like A Volcano? 09:32 Spending Big & Hoping It Works 11:20 Linux, ARM Chips & Why Digital? 12:45 Who Actually Has Final Say? 15:50 4:30am Hack Sessions In Iceland 18:16 Trusting Creatives When Life Hits 21:28 We Were Beginners. We Didn't Know. 23:48 The Secret Ingredient: Grease 26:16 Where Does The Lava Come From? 29:23 Why Does This Cost £5,000? 34:11 Two Years, 100 Units, A Baby 36:50 Mylar Playing Katla Afterwards
"Hi everybody this time we bring you the Audio.Computer Interview at the London Synth and Pedal Expo 2026 talking about the beat friend drum machine
Beat Friend is the first offering from audio.computer, a UK-based duo making ‘benevolent, semi-autonomous music machines’. Beat Friend is an analogue drum machine, using circuits based on the ‘twin-t’s from the legendary Roland CR-78. Each drum has a slider that changes the drum’s complexity within one of the 30+ preset patterns, which already allows hundreds of variations on any given beat.
But wait! There’s more! Turning the Enthusiasm knob allows Beat Friend to add or subtract notes from the pattern as it sees fit, either keeping the pulse of the pattern or going completely off piste. It's like having an enthusiastic robot Labrador playing a 70's electronic drum kit just for you.
All the sounds are routed through a Triforce of digital and analogue effects, which...well, you just have to turn knobs to find out what they do. If you’ve ever wanted to base a track on a 7/8 samba through a bit-and sample crusher, then this is the unit for you.
And, sure, if you’re a control freak who absolutely must design every bar, you can control the drums individually via MIDI. It even includes a letterpress-printed manual, numbered to match your unit.
Beat Friend plays in glorious mono and is powered by a universal 12V power supply (included in the box)."
"1987 Kawai K5, tested in great working condition. Includes AC power cable.
61-key, 16-voice polyphonic, 15-part multitimbral digital synthesizer that uses additive synthesis, rather than the more common subtractive synthesis. It is known for complex, unique sounds, particularly pads and digital textures, achieved by manipulating 63 harmonics for each of its two sound sources."
"I've spent months building a full 128-patch sound bank for the *Sequential FOURM*, and this is your chance to hear it in action.
The bank includes 50 bass tones (covering everything from deep analogue subs to punchy, cutting leads), classic Prophet-5 patches, and a wide range of sounds designed to be genuinely usable in a mix straight out of the box.
The FOURM isn't trying to be a Prophet-5 or a Pro-One — and that's the point. It can go places those synths simply can't.
All patches are demonstrated dry and some with a simple reverb or chorus to demonstrate what it would sound like in a mix. So what you hear is the real character of the synth.
Download the pack and add your own reverb, delay, or chorus and they open up even further.
✅ Mix-ready sounds designed for real music production
✅ 50 bass tones + leads, pads, keys & classic analogue voices
✅ Prophet-5 inspired patches reimagined for the FOURM
✅ In sysex and SoundTower formats
✅ Full 128-patch bank — one complete sound library"
"The Novation Ultranova is one underrated synth. On one hand, they're kind of "old news," but they are cheap, and full of great sounds. The overall sound of the Ultranova reminds me of something like the Korg Radias, but these fetch much lower prices than the Radias does. Editing sounds is fairly intuitive despite the interface. Definitely worth checking out if you come across one. I use one in my live rig, since it's something easy to replace if needed, it weighs nothing, and there are plenty of them out there."
"Our good friend The Unperson returns to the Signal Sounds channel to put the Sequential Fourm through its paces.
Fourm offers the classic sound and quality of Sequential at an unprecedented price point. Drawing on some of the best synths of all time, this compact analogue powerhouse boasts some fantastic features like poly aftertouch and a flexible arpeggiator/sequencer.
Click CC for subtitles at the bottom of the player once the video starts.
Video descpription in Googlish:
Instead of a traditional review of the Sequential Fourm, we decided to take a different approach: putting it to work on a specific track. And not just any track: "Fade to Grey" by Visage—an absolute classic of 1980s British synth-pop. Every melodic and accompanying track you’re about to hear was created exclusively using the Fourm, starting from factory sounds (drawn from the approximately 300 initial presets) with only minimal tweaks. The only element not provided by the synth is the drums: an AI-generated Roland CR-78-style pattern, occasionally reinforced with a kick and snare from Logic’s sound library.
Along the way, Pablo demonstrates how to truly harness the power of a modern polyphonic analog synthesizer: polyphonic aftertouch (key for the lead vocal line, where some notes come alive while others fade out completely), intense mixer feedback (ranging from subtle thickening to nonlinear behavior with "ghost" harmonics), audio-rate filter modulation from Oscillator 2 (adding anything from brightness and vocal-like character to total sonic breakdown, depending on the intensity), glide for creating transition sweeps, and the LFO in random mode feeding the filter to ensure every note sounds unique.
We also cover specific recording techniques: layering basslines via MIDI using two different sounds and panning them; doubling hand-played pads so that the two takes aren't identical; and recording a MIDI pattern to free up both hands, allowing you to perform real-time timbral tweaks—adjusting the filter, resonance, and modulation intensity—during the actual audio recording.
📝 A quick refresher on the Fourm: a compact 4-voice analog synthesizer featuring two VCOs per voice, a 4-pole low-pass filter derived from the Prophet-5, one global LFO, two ADSR envelopes, a mixer with feedback capabilities, no internal effects, a mono output, a 37-key "slim" Tactive keyboard with polyphonic aftertouch, and a modulation matrix—inherited from the Pro-1—that is directly accessible right on the front panel. 00:00 Original vs. Fourm Version 00:24 Intro 01:35 Fourm Features 03:34 Polyphonic Aftertouch 04:57 "Fade to Grey" Intro 07:07 Bass 08:34 Chords 10:17 Sweep 12:32 Melody 18:50 "Clavi" Sound 19:34 Drums 20:39 Full "Fade to Grey" Version
NINA Macro Oscillator Mode - BRAIDS Update! Demo and deep dive with THE UNPERSON video upload by Melbourne Instruments
"The powerful new Macro Oscillator Mode firmware update for Melbourne Instruments' motorised polysynth, NINA, has arrived. This new update adds 45 synthesis waveform models using open-source code from Émilie Gillet’s Mutable Instruments Braids, one of the most celebrated Eurorack synth modules.
This new mode massively expands Nina's sonic capabilities, unlocking a new world of synthesis, from classic analog textures to cutting-edge digital experimentation. Powered by Nina’s innovative architecture, the new Macro Oscillator Mode delivers an incredibly versatile hands-on sound design experience unlike any other.
In this video Melbourne Instruments collaborator THE UNPERSON takes a deep dive into Macro Mode, exploring some of the Macro Oscillator models, and demonstrates just some of the 60 new presets created for this update, exploring the sonic possibilities of the new Macro Oscillator.
To support this update there is a new bank of 60 Macro Presets, designed by Protovolt, Tom Hall and James Terris. Available to download now: https://www.melbourneinstruments.com/..."
2nd video followed by the press release:
NINA Macro Oscillator Mode — 12 polyphonic voices of BRAIDS! Macro Presets audio demo with PROTOVOLT
"In this video, Sound Designer PROTOVOLT demonstrates a selection of the 20 new presets he created for this update, exploring the sonic possibilities of the new Macro Oscillator.
0:00:20 Xenomorph
0:01:02 String Theory
0:01:40 Zero Space
0:02:28 Harpsichon
0:02:58 Dark Matter
0:03:41 Supernova
0:03:58 Nucleus
0:04:38 Flux
0:05:09 Datablade
0:05:38 Retsu
0:06:04 Event Horizon
To support this update there is a new bank of 60 Macro Presets, designed by Protovolt, Tom Hall and James Terris. Available to download now: https://www.melbourneinstruments.com/..."
Press release follows:
Melbourne Instruments brings Braids engine to desktop NINA analogue polysynth
“NINA has always been an absolute powerhouse of a synth, but this update is insane; OSC 3 gives you 45 Braids macros across 12 voices, plus its massive mod matrix — the range of sounds and textures you can create now knows no bounds.”
- Musician/sound designer PROTOVOLT, 2026
MELBOURNE, VIC, AUSTRALIA: Melbourne Instruments is proud to bring Mutable Instruments’ Braids engine — Emilie Gillet’s celebrated open-source macro oscillator — to its desktop NINA analogue polysynth, as of April 30…
Available as a free firmware update, all 45 Braids synthesis models run across NINA’s 12 true polyphonic voices, each shaped by a dedicated overdrive-able analogue filter. Ultimately, users can now layer Braids and analogue VCOs (Voltage Controlled Oscillators) across four multitimbral parts, morph between presets, and sequence everything.
Duly described by Mutable Instruments as a macro oscillator, Braids was a mono Eurorack module: one voice, no internal filter, and no modulation routing. It is now something else entirely on NINA, itself described as the world’s first motorised polysynth. Put it this way: when switching layers, the motorised knobs snap to new positions; morph between patches and they sweep in real time. Meanwhile, modulation routings are all visible on the panel from the moment they are selected. Surely Braids has never been this hands-on.
Digging deeper, each waveform model is shaped by two expressive parameters — Timbre and Color — adapted from the original Braids module. More meaningfully, these controls affect multiple tonal dimensions simultaneously, producing complex, evolving, and musically responsive sounds. Spanning analogue VCO emulation, vowel and formant synthesis, 2-operator FM, physical modelling of strings and wind instruments, wavetable synthesis with smooth interpolation, granular synthesis, and electronic drum simulation, the 45 models evidently elevate NINA to a new level, further cementing itself as a premium analogue polysynth powerhouse for experimental, generative, analogue, and digital synthesis.
Says musician/sound designer James Terris, ending on a high note: “I’ve always described NINA as a beautiful beast — analogue oscillators paired with its super-fat and driven analogue filter make it beastly! But while the existing wavetable oscillator adds a crystal sheen that provides a beauty, the new macro oscillator models expand this tremendously. Indeed, it can go from delicate FM, Karplus-Strong, and even vocal formant textures straight into swarming, stacked super-waves. With this update, it feels like an instant NINA ‘MK-2’!”
Excluding taxes applicable to the territory concerned, NINA is presently priced at $3,299.00 USD in North America; €3,165.00 EUR in the EU; £2,835.00 GBP in the UK; and $3,499.00 USD in Japan, while it is presently priced in Australia at $4,995.00 AU, including GST (Goods and Services Tax) — all via Melbourne Instruments’ growing global network of dealers.
Coinciding with the new NINA MACRO OSC UPDATE firmware release, owners of the world’s first motorised polysynth can also download 60 new presets for free from here: https://www.melbourneinstruments.com/presets#nina
"ALL-NEW FOR BEHRINGER UB-1 MICRO: 100 ULTIMATE PATCHES, PLUS FREE PATCH PACK
Ultimate Patches created all of the premium-quality factory presets that ship in the UB-1. Now, Ultimate Patches releases the next-level UB-1 Ultimate Patches (Volumes 1-3): 100 all-new patches for the UB-1 Micro, with classic sounds from the past, present and future: Soaring leads, thumping basses, paraphonic polys, strings, brass, percussion and fx as well as classic non-synth instruments including electric guitar & basses, acoustic pianos, wurlitzer electric piano, classic 60s/80s organs, voices, world / orchestral and more!
The three-volume set spans genres of 70s, 80s & 90s synth classics as well as cinematic, orchestral, hiphop, pop, vaporwave, retrocade, latin, R&B, reggae, jazz, chiptune, reggaeton, dubstep, tech/deep/retro house, trance, modular, experimental, synthwave, retropop and others.
Pricing & Availability:
Available now as an instant digital download at ultimatepatches.com starting at $9.99 per volume or just $19.99 for all 100 sounds.
"Drifted Elements is a bank of 50 atmospheric presets for Synapse Audio Dune 3, focused on abstract textures, evolving layers and spatial sound design. The bank is built around movement and depth, with sounds that slowly change over time. 🌊 The soundset includes: 12 Pads, 13 Strings, 13 Textures, and 12 Drones.
🫧 The patches range from soft and airy tones to darker and more textured sounds. You’ll find drifting pads, distant strings, layered textures, and deep drones—all designed to add space, atmosphere, and subtle motion without taking over the track.
🎛 ModWheel controls brightness, opening the sound and adding harmonic content, while velocity (key pressure) affects volume, making the presets more expressive and responsive to playing.
💎 The soundset is suitable for ambient, cinematic, experimental electronic, IDM, as well as film, game, and visual sound design where atmosphere and space are important.
💡 Ensure that you are using the latest software version. To add presets to the collection, open the plugin Browser, click Menu in the upper left corner, then select Import Folder, and specify the folder on your computer."
"Horror inspired soundscape generator from ResonanceCircuits.
Available at:
www.resonancecircuits.com"
"The Entropy Generator: An instrument of psychological dread..
Each of the 8 selectable soundscapes serve as a gateway to a different pocket of the abyss, ominous sub-harmonics, skin crawling malevolence, aetheric whispers and rhythmic metallic shrieks curdle together into beautifully sinister atmospherics.
8 selectable soundscapes
Sounds can be momentary triggered by touching the contact plates with the crocodile clip, loop sounds by connecting to the contact plate.
CONTROLS: On/off power switch Indicator led - illuminates when a sound is triggered Reflection - echo rate control Regeneration - feedback depth control body contact - use in conjunction with the feedback control to inject varying amounts of feedback into the mix quickly. Intensity - input mix control - varies the amount of signal sent from the sound generator section into the delay circuit. Magnitude - output level control 1/4" jack output
Requires a 9v DC input (negative centre polarity) power supply, 500-800mA. Not supplied.
Oak stained and waxed wood plinth base with a black and gold control panel.
Ambient Engine loads samples of ice sounds and human voices and plays them while randomly changing the playback position. The MicroLoop effect is also applied.
On the Prophet-10, synth pads are performed with reverb through the Strymon blueSky.
On the @buchlausa Music Easel, the bass is played using a modulated sound processed with reverb and filtering through the @strymon NIGHTSKY."
Let's welcome True Trance Sounds V4 for Arturia JUP-8000 V by NatLife.
Version 4 is an absolute True Trance blockbuster of sounds for Arturia JUP-8000 V. An exceptional set of diverse sounds was created for this installment, which perfectly complement each other. Every sound is steeped in the atmosphere of 90s Trance, the era when it was born and sounded incredibly inspiring.
The soundbank contains 70 Trance presets & patches for JUP-8000 V, which are:
4 Special voice-type AAH sounds 2 new ARP's 17 Punchy Basslines, which include special Uplifting Trance Basses and the deepest Basses 3 Unusual FX's for your transition 13 absolutely incredible Leads, in which you will find everything from new Supersaw's to Vintage-inspired, poignant Lead sections 14 super deep Pads that will take you from Classic Trance pads to the most unusual and deep atmospheres 12 of the Most Beautiful Plucks Ever Created 3 Sequences packed and ready to go 2 Synth sounds
All of this was created with absolute love for the true and divine Trance music that we all fell in love with in the 90s, and so that you could enjoy these beautiful sounds that take us back to that golden era.
Timeline: 00:00 - NatLife - Fly To The Sky 00:56 - Armin - Communication (NatLife rework) 02:20 - NatLife - Back to Borki (in 90s chilhood) 03:16 - Plastic Boy - Sylver Bath (NatLife 2026 rework) 04:13 - Ian Van Dahl - Castles In The Sky (NatLife rework) 05:09 - Chakra - Love Shines Through (NatLife 2026 rework) 06:07 - Rank 1 - Airwave (NatLife 2026 rework)"
"We return to Terminal Island to explore its freeways anew after several major construction projects, starting with California highways 103 and 47, which form the Terminal Island Freeway. The island and its surroundings are at the southern end of Los Angeles, and host the massive ports of Los Angeles and Long Beach. This gives the drive an industrial, surreal, and delightfully dystopian vibe. The music, which combines metallic sounds with a sense of solitude, reflects the experience.
The Terminal Island Freeway begins at an intersection near the southern terminus of Interstate 710 and heads north, crossing the Commodore Schuyler F. Heim Bridge onto the mainland, where 47 and 103 split. We stick with CA 103 and the freeway, passing by some large industrial facilities and CA 1, and ending at modest intersection with Willow Street in Long Beach.
Synthesizers used:
Arturia Augmented Persia and CMI V
Yamaha RX5 vintage drum machine
Anukari 3D physics modeling synth
Cherry Audio DS-2, Spirit, and Filtomika
AudioThing Wires
EastWest Fab Four, Stormdrum 3, and Orchestral Percussion"
0:00 Introduction
0:11 Starting out on Terminal Island
0:29 The start of the Terminal Island Freeway (CA 47 and CA 103)
0:54 CA 47 leaves the freeway, which continues with CA 103
1:42 Crossing CA 1 and entering Long Beach
2:22 The freeway and CA 103 end at Willow Street in Long Beach
"In this clip, Enrica from Making Sound Machines improvises on the Plinky 12 Chords play surface.
The internal sequencer advances through a progression of harmonies, playing and arpeggiating a new chord each bar. With her fingertips, Enrica improvises an expressive melody on the play surface.
The notes in this view are a stack of the chord notes for each of the harmonies from the rainbow chord palette at the bottom of the instrument. This allows Enrica to freely arpeggiate and transition from harmony to harmony, sometimes leading, sometimes trailing behind the chords launched from the sequence.
The polyphonic play surface reads both play position and pressure of the touch, allowing for an intuitive and nuanced play style. All sounds are produced with Plinky 12's internal synth engine."
