PLUGIN WEEK 2026: Back in the early 80s, many of the mainstream companies that had ploughed their energies into analog drum machines were starting to feel the pinch of digital technology.

As we look back on that period, we can now appreciate the charm and character of those analog beat boxes - and the fact that they just don't sound like real drums has actually become a key part of their enduring appeal.

Emulating real drums with hardware doesn't seem to matter much anymore, because we now have solutions that can present the realism of live kits via software.

But back in the 80s, technology companies were still looking for ways to try and compact real kit sounds into one affordable box. Perhaps the newfangled world of digital technology held the answer…

This wave of digital drum machines incorporated (quite lo-fi) sampled sounds, and intended to bring a new dimension of similarity with real kits. It didn’t quite work out as they planned, but it did usher in what many now regard as a golden new era of quirky and distinctive electronic drum machines.

Here's a few key examples of these digital drum machine legends, and where you can find top-tier emulations in plugin form today…

1. Linn LM-1

Roger Linn released the iconic LM-1 Drum Computer in 1980, and the resulting effect that this machine had on popular music culture was like a tsunami that swept across all forms of production.

It was the first in a line of machines that became generically known as the LinnDrum (a name that was popularised by a successive model), and caused a seismic upheaval, in both the production of music and with how drum machines themselves were used.

Based around 12 drum voices, the crunchy 8-bit samples became legendary across all genres.

The solid kick drum, the phat snare, and hi-hats and cymbals that, actually, did sort of sound like the real McCoy, made the LM-1 a sought-after bit of kit.

There were stories of artists removing analog drum sounds from their records, to be immediately replaced by these new digital sounds.

That’s what happened while The Human League were recording their breakthrough album Dare. They even secured the accolade of the first UK No.1 chart single to use a drum machine, with their hit Don't You Want Me

But the Human League weren't alone, with notable adopters spanning the likes of Gary Numan and ABC, through to Prince and Michael Jackson.

Thanks to artists like Daft Punk and The Weeknd popularising its distinctive signature across the last few decades, the 80s Linn sound is still very much in demand.

In trying to secure samples or Linn-shaped plugins, it's important to gravitate towards sounds which adopt the low sampling rate used on the original machine.

One of the longest standing options for a Linn plugin, comes from Aly James Lab. An authentically-designed recreation, VPROM is now at version 3 (€56). It also brings some very useful additions, such as the ability to compile your own sample sets.

Another option is GForce’s applauded IconDrum (£69), which offers an exceptionally authentic Linn look and feel, although it will only operate from within a DAW, as it does not employ an onboard sequencer.

What it lacks in sequential duties, it more than makes up for in sonic detail, including sounds from further Linn Drum revisions.

2. Roland TR-909 Rhythm Composer

Our next contender for the digital crown is a digital drum machine in sheep's clothing, because it's not entirely digital!

When Roland started to develop the replacement for the TR-808, the engineers realised that they needed to do something to improve the realism of many of the sounds. The answer was to digitally capture (i.e sample) the cymbal and hi-hat sounds, while keeping the rest of the drum machine in the analog domain.

The problem was, by the time it was released in 1983, the bewilderingly authentic Linn was everywhere, and the humble 909 was just not cutting the mustard for people in production circles. It was regrettably another commercial flop, heading straight to the bargain bins and secondhand ads.

Enter the jilted (house) generation, who hoovered up these second-hand units, and by the early 90s, the sound of the 909 was everywhere!

You could not move for acid house tunes that relentlessly employed the iconic hi-hat sound in the classic closed/open pattern.

Used prices for hardware 909 units have calmed these days, with the 808 occupying the priciest used-unit top-spot position.

The first and most obvious place to look for a 909 plugin is Roland. The company reproduced the 909 in hardware form, as part of its Boutique range with the software following not far behind in plugin form.

By its own admission, tinkering has been done with the original make-up of the machine to make it more usable, yet sonically as people remember.

Even so, for a mere £133 ($153), you can have modelled sounds from the originators, complete with a host of additional production elements.

You can also locate samples from many suppliers, including the ubiquitous Samples from Mars and Splice.

We've also got a few free processed samples as part of this exquisite collection we compiled not so long ago. Click the button below to find out more

3. Oberheim DMX

The extraordinary success of the Linn LM-1 set an incredible benchmark, which many other companies were keen to capitalise upon.

Where Roland shifted to sampling its cymbals, Oberheim took a similar approach to Linn, producing the DMX later in 1980, making it the second fully programmable drum machine to employ samples.

The Oberheim DMX differed in a number of ways; firstly, it featured 24 individual drum sounds which were derived from 11 different samples.

These could be deployed up to a maximum of 8-voices at one time, polyphonically speaking. It also offered tuning for each drum voice and provided humanising features such as rolls and flams, along with variation of timing, which was designed to make it sound more like a real player.

Much like the LM-1, the DMX had its fans, particularly hip hop artists such as Run DMC, but perhaps its most famous usage is represented by its soloistic placement in New Order's Blue Monday.

The thundering kick was particularly popular, so much so, the kick drum alone was used as part of the drum track for Every Breath You Take by the Police. Nothing else - just the kick!

The most notable software reproduction in our view comes from GForce Software, which has painstakingly reproduced the DMX in plugin form, with the full endorsement of Oberheim Electronics.

Not only does it include all the classic sounds, but it embraces the updated sounds, which were introduced in 1983. As the original hardware adopted a system of swappable EPROMS, for altering sound sets on the original machine, GForce has also included many of these iconic variations, such as the Sequential Drumtraks.

It's a very complete solution, but one that requires a DAW due to the lack of internal sequencer.

4. Honorary mentions

We cannot delve into the world of digital drum machines emanating from vintage culture, and not mention one of the most groundbreaking and indispensable machines from the era.

In 1988, the Akai MPC60 offered the iconic sound of 12-bit sampling for both individual drum hits and loops, making it an entirely flexible device for any user to record their own samples.

Developed in collaboration with Roger Linn, the MPC was way ahead of its time, but was embraced wholeheartedly by many producers, particularly those working in styles of music that were dependent upon breakbeats.

It set the precedent for many of the similar technologies which we take for granted today that operate in a very similar way, by controlling software on computer via hardware.

Even though the current music tech market is brimming with drum and sample software, it's extraordinary how popular these original sounds remain.

Whether it be the heavy transient clicks of the kick, or the fatness of the snare, coupled with the bright and cutting hi-hat, these retro drum sounds are firmly still in vogue and sound just as fantastic as they did 40 years ago - but with all the advantages and cost-effectiveness of software.

PLUGIN WEEK 2026: Classic drum machines, beatboxes, rhythm composers - whatever you choose to call an analogue box-o-tricks - they still make a fantastic percussive sound that continues to infiltrate many areas of contemporary production.

We are talking about drum machines that were produced in the period around the mid-70s to early 80s, with sounds that used analogue circuitry to try to bottle the feel of real drums… and therein lies their initial downfall!

Unfortunately for the analogue drum machine, most of them did not sound very much like a real drum kit - which is what most people were striving for at the time.

Roland produced the original ‘Dr Rhythm’ DR-55, under its Boss branding, specifically to try and encourage guitarists to take them down the pub on a Saturday night, rather than using a live drummer.

Great for a lone singer-songwriter - less so if you’re a Motorhead tribute act!

Just about all analogue drum machines were a commercial flop. Apart from a few select placements in notable songs, their initial history was consigned to the bargain bins in most music stores, only to be purchased at a knockdown price by the cash-strapped next generation, looking for bedroom studio-based beats.

The resulting electronic music of the late ‘80s and ‘90s saw these instruments re-appraised in this new context. Finally, they were given their due respect.

Here then, we're going to shine a light on three of the very best analogue drum machines from music history, highlighting where you've heard them before, and where to find the best examples in software.

1. Roland TR-808

We have to start our list with the daddy of all drum machines, and the mainstay of dance music. The 808.

The Roland TR-808 Rhythm Composer, to give it its full name, was first released in 1980. All analogue in design, it offered the user 16 buttons across the front, which for the most part would equate to 16th notes, making up an entire bar.

This was one of the first instances of Roland’s distinctive drum programming layout which became known as XOX-style,. The patterns could be assembled into song formation, with storage for up to 32 patterns.

With an initial price tag of £765, the 808 ceased production in 1983 - but not before a few choice placements had sealed its status for future years.

Marvin Gaye used the 808 to provide the complete drum track for Sexual Healing. In fact, recording engineer Mike Butcher cites it as the first time the 808 had been used for its own qualities; “As far as I know, he was the first person to program a TR-808 as its own instrument instead of trying to imitate a drum kit,” Butcher told Electronic Sound. “He would do things like put the side-stick on a beat, which a drummer wouldn’t do.”

Whitney Houston’s I Wanna Dance with Somebody put the iconic 808 cowbell sound firmly on the menu, thanks to its extensive use throughout the song (particularly the introduction).

However, where the 808 found its forever home was in the realms of hip-hop and R&B.

Afrika Bambaataa & the Soul Sonic Force religiously used the 808 in their early releases, this association with hip-hop became key to the 808’s longevity.

It didn't take long for other artists to realise how the sinusoidal kick-sound of the 808 could literally shake a room. Its attraction widened further, becoming a mainstay central component of techno and other electronic genres.

The price of a used hardware 808 extends to several thousands, and that's for a machine which might not have MIDI as a retrofit, so software could be a highly attractive (and far cheaper) alternative, without the hassle of vintage maintenance to boot.

Roland has rejuvenated the 808, in a plugin form, which is available for £133/$149 from Plugin Boutique, or as part of a Roland Cloud subscription.

There are also some great sampled versions of the 808 available, such as the UVI Prime8+, which operates within UVI's own Workstation plugin, for just €39.

For a more universal option, try the extensive set of processed samples from Sample from Mars, available in numerous sample and production formats.

And, because we're quite kind here at MusicRadar, we have our very own 808 and 909 samples for you to download and use for free, just click the buttons below to find out more about (and grab) each of our SampleRadar 808 packages.

2. Roland CR-78

The CR-78 sonically resides not far away from the 808, being the machine that preceded it.

It has the honour of being the first mass produced programmable drum machine, although any programming required the additional WS-1 Programmer, which was rare and expensive even from new. Consequently, most users tended to just make do with the onboard preset patterns.

Being a newfangled gadget of the times, it was notably used by a number of artists. Soft Cell used the Foxtrot pattern to provide the backing for their cover of Tainted Love, while the Disco 2 preset was used by Phil Collins on the iconic In the Air Tonight - prior to the big live kit entry of course.

The CR-78 allowed subtle variation of patterns, thanks to the ability to mute certain sounds on playback, which created a degree of flexible usability for artists.

One enormous plus point for owning a CR-78 in plugin form, is that you will likely get the best of both worlds; the original presets, and the ability to program your own rhythm tracks.

Once again Roland has produced a faithful recreation of the CR-78 in plugin form.

Cherry Audio has also produced a very accurate version of the CR-78, complete with beautiful graphics, XOX-style user pattern programming and a superb standalone application, which will run on your desktop Mac or PC, for just £39/$49.

3. Korg Rhythm KR-55

The Korg KR-55A (and its updated model - 55B), has become another much loved classic since its first release in 1979.

Regular users of this analog machine included Depeche Mode, but its most famous deployment has to be Joe Jackson’s Steppin’ Out, where the the basic, but driving, analog beats provided the backbone for the entire song, although the snare was doubled by a real snare, played by a drummer.

Even so, it was laden with plenty of preset patterns, and some really classy sounds that feel very rounded by comparison to some of its competitors.

Once again, the clever folks at Cherry Audio have undertaken the task of bringing us the very best that the KR-55 had to offer.

The KR-55C, includes production-ready content from both the 55A and B revisions, along with a heavy dose of additional control elements, and a XOX-style programmer.

You can trigger sounds from your DAW or build patterns using the standalone version, but either way, it's incredibly good, and all for just $49!

There are a handful of smaller sample producers who have captured the original KR-55, such as WaveShaper, available through Loot Audio.

4. Honorary mentions

The mid-70s to mid-80s was undoubtedly a fertile time for drum machine development, with plenty of analog models available - many of which are quite rare and unique.

There are a few that we have to give honorary mentions to for their services to electronic music and pop culture in general.

The Korg Mini-Pops series of machines were unique in sound and style, which was not lost on electronic pioneer Jean-Michel Jarre.

The Mini-Pops 7 provided the main rhythmic backbone for his first two albums Oxygene and Equinox.

The Mini-Pops 7 had a unique party trick, where you could combine and playback two rhythmic presets simultaneously. This combination of rhythms was a technique employed continually by Jarre in the making of the two albums. You can read more about Jarre's extraordinary process in this lengthy feature.

The Boss Dr Rhythm 55 (DR-55) was a very basic programmable drum machine. Running on AA batteries, it was the drum machine of choice for Depeche Mode, who effectively used the machine as their drummer for their early live gigs.

According to Vince Clarke, it was Dave Gahan’s job to pick the right preset and set the tempo, before pressing the start button. Simple times, with simple devices!

Finally, we have to mention the Roland TR-606. Another one of those machines aimed at guitarists who needed a drummer, but with the advantage that you could link it directly to a TB-303 should you also need a synthesised bass player too.

It didn't catch on, but the 606 has become known as a classic unit in its own right, despite having been unfairly labelled the poor man’s 808. It’s comparatively limited, but still sounds fantastic!

The good news is, all of these machines have been remodelled in either hardware or software, and you will find plenty of sample libraries, should you want to explore their unique pallets more fully, and what's not to enjoy about that?

The distinctive sounds of these analogue legends is today, more accessible than ever before. And really, no self-respecting producer should be without them.

Akai Professional has announced updates to its range of standalone MPCs, giving the entry-level MPC One and keyboard-equipped MPC Key 37 Gen 2 upgrades that bring them in line with the MPC XL and MPC Live III.

As with those latter models, the big news is a significant step up in processing power and storage capacity. Both new machines feature 8-core processors, which Akai claims offers four times the power of the previous generation.

Both MPCs also now pack 4GB of RAM, up from the 2GB of their predecessors, along with 64GB of storage. The previous MPC Key 37 had 32GB of storage, while the MPC One+ had just 16GB.

The improved specs mean that both models can make better use of the MPC3 OS in standalone mode, with the capacity for up-to 32 simultaneous plugin instances and 16 stereo audio tracks.

The extra power can also be put to use for pro-grade stem separation and real-time time-stretching, although access to these features requires the optional Pro Pack expansion, which also adds the Clip Matrix seen on other new MPCs.

While there are big changes under the hood, the hardware units themselves are fairly similar to their predecessors. Whereas both the MPC XL and Live III saw the introduction of new interface layouts with additional hands-on control, both the hardware UI and I/O is largely unchanged here.

The most significant addition on this front is the introduction of multi-channel audio streaming via USB-C, which lets users stream multiple tracks of audio and MIDI to/from a DAW, as well as sample directly via USB-C. This is a feature I really liked on the Live III and XL, so it’s nice to see it included here.

The most notable omission of these Gen 2 designs is the multi-expression MPCe pads found on the XL and Live III. Instead, both of these new models stick with the velocity and pressure-sensitive pad designs of their last gen predecessors.

The MPC Key also keeps the existing 37 synth-action keys with aftertouch, pitch bend and mod wheel.

This may well come as a disappointment for users of the current models who have been anticipating an upgrade, although the absence does create a slightly more logical gap in capabilities between the MPC Live III and its cheaper MPC One counterpart.

"Whether you live on the pads or write everything on keys, the MPC One G2 and MPC Key 37 G2 give producers and beat makers the most powerful standalone MPC we have ever built at these prices," said Andy Mac, Director of Artist Relations at Akai Professional.

"From bedroom beat makers to established producer communities around the world, creators now have four times the power, MPC3 OS, and a powerful collection of instruments and samples ready to get you started. This is generation 2 of MPC standalone production."

Next gen

Akai’s MPC range has had numerous ups and downs over the past four decades, from the early days of Roger Linn’s designs through the company’s initial bankruptcy, sale to InMusic and a shortlived reinvention as a range of MIDI controllers.

Recent iterations of the MPC have been some of the strongest we’ve seen in years though, hitting on a winning formula that balances the self-contained creativity of ‘90s MPCs with versatile, DAW-rivalling production capabilities.

I really liked both the MPC Live III and XL when I reviewed those machines. The increased CPU power and USB-C streaming makes them far more viable standalone production machines for those that want DAW-like tools without being bound to a laptop. Given Native Instruments’ much-discussed turbulence and scant Maschine updates, these current MPCs are unrivalled at what they do.

The MPC One G2 and MPC Key 37 G2 are out now priced at $799/£729/€849 and $999/£849/€999 respectively. Both sport new colours inspired by classic MPC designs.

Check out full specs and included plugins below, or head to the official Akai site for more info.

Key features

Shared Platform Features (Both Models)

• G2 8-core processor with 4x the processing power of the previous generation
• 4GB RAM and 64GB internal storage
• Up to 32 simultaneous plugin instances and 16 stereo audio tracks in standalone
• MPC3 OS with modern, track-based workflow and full Linear Arranger
• 7" full-colour multitouch LED display
• USB-C with 24×24 audio streaming, expanded MIDI, host and device support over a single cable
• Ableton Live Control Mode and Ableton project import/export
• Direct sampling from phones, tablets, and external devices via USB-C
• Wi-Fi (2.4 GHz / 5 GHz, 802.11ac) and Bluetooth 5
• Over 20 GB of included content; NI Analog Dreams MPC Edition free at launch
• An optional Pro Pack expands both systems with advanced production tools including professional-grade stem separation, real-time time-stretching, and Clip Matrix.

MPC One G2 – Additional Features

• 16 velocity- and pressure-sensitive RGB pads across 8 banks
• 4 touch-sensitive Q-Link knobs with 4 accessible columns
• 5-pin MIDI in/out and 4 TRS CV/Gate jacks (8 outputs total) for hardware and modular integration
• SD card slot and USB-A port for expanded storage and accessories
• 11 included plugins and 9 expansion packs

MPC Key 37 G2 – Additional Features

• 37 synth-action keys with aftertouch, pitch bend, and modulation wheel
• 16 velocity- and pressure-sensitive RGB-backlit pads with 8 accessible pad banks
• 2 × 1/4" TRS inputs and 2 × 1/4" TRS outputs (stereo)
• 8 CV/gate outputs (4 × 1/8" TRS jacks), 5-pin MIDI in/out
• 13 included plugins and 6 expansion packs

MPC One G2 – Included Plugins (11)

• NI Analog Dreams MPC Edition (free, included at launch)
• Bassline
• Electric
• Fabric Select
• Hype
• Mellotron
• Odyssey
• Organ
• Solina
• Tubesynth
• Drumsynth

MPC One G2 – Included Expansions (9)

• Acoustic Tools
• Classic Drum Machines
• Apollo Retro Kits
• Percussion Tools
• ATL Song Starters
• Marco Polo Lo-Fi Boom
• Welcome to ATL Kits
• Welcome to ATL Melodics
• Producer Essentials

MPC Key 37 G2 – Included Plugins (13)

• NI Analog Dreams MPC Edition (free, included at launch)
• Bassline
• Electric
• Fabric Select
• Hype
• Mellotron
• Odyssey
• Solina
• Tubesynth
• Drumsynth
• OPX-4
• Jura
• Sub Factory

MPC Key 37 G2 – Included Expansions (6)

• Acoustic Tools
• Classic Drum Machines
• Apollo Retro Kits
• Marco Polo Lo-Fi Boom
• Gemini Future Classic Synths
• Orion Future Classic Workstations

The drum fill in Phil Collins’ 1981 hit In The Air Tonight is deservedly iconic, but it’s not the only notable rhythmic element in the song. In fact, the beat is driven not by any live playing, but a pattern from the Roland CR-78 drum machine which plays throughout.

It’s fair to say, then, that without the CR-78, In The Air Tonight might never have existed, but in a new interview with Eddie Trunk’s Trunk Nation podcast, Collins says that, when he first brought his unit home from Japan, he thought he wouldn’t need it and so gave it away.

“We'd come back from Japan with Genesis with these drum machines, and being a drummer and thinking like a drummer I didn't think I needed a drum machine, so I gave mine to one of the road crew,” Collins confirms. He says that he realised that he’d make a mistake when he got back to his home studio and started making music on his own.

“I asked the road manager if I could get my drum machine back and he said ‘sure,’” Collins remembers. “So I got it back and I started to learn how to use it, how to program it. I mean, it was nothing like what you get today if you buy a drum machine – it was very basic. It was really a cocktail drum machine, you know, for people that play piano in bars, and I wrote this nice pattern which was kind of moody.”

Said pattern was a slowed-down, adapted version of the CR-78’s Disco 2 preset, and provided the perfect bed for Collins’ synth pad chords, which he played on a Sequential Circuits Prophet-5.

“I had a keyboard which had a couple of really nice sounds on it, and one of them was number 36, which was the In The Air sound,” says Collins. “That became the pad sound if you like, for the song. I went for some chords and the chords sounded great with the drum machine pattern. And then that was it, you know? I mean, it just went round and round.”

There was a little more to it than that, of course. The haunted vocal, for example… but even that was recorded spontaneously.

“I set up a microphone and I sang improvised lyrics,” says Collins. “That first verse is all improvised. It just came to me – I sang it and then I wrote it down. I didn't write it then sing it, you know? It was the other way round. So I felt something was going on, but I didn't really know what to do with it.”

Collins says that his attempts to get a good sound for the live drum overdubs at home were unsuccessful, so in the end, his demo multitracks were copied over to the 24-track system in the Townhouse studio in London.

It was here that Collins worked with producer Hugh Padgham to record that famous gated reverbed drum fill, but once again, this was something that just happened in the moment. “That was the fill I played on that particular take on that particular day,” Collins confirms.

In The Air Tonight may never have got to that point, though, if it hadn’t been for Collins re-acquiring and tinkering with that CR-78, a creative moment that kickstarted several others and resulted in a career-defining debut single.

“It wasn't thought out or choreographed, you know?” Collins insists. “Everything fell into place gradually, and it became the record that people think of when they think of me.”

It's now a full decade since the first dedicated Superbooth show took place in Berlin, but the origins of the event date back further than that.

Founded by the team behind Berlin instrument store SchneidersLaden, Superbooth grew out of the now-defunct Musikmesse show in Frankfurt. Since 2017, Superbooth has taken place on a regular basis in the tranquil, wooded grounds of the FEZ centre south of Berlin city centre.

Part industry trade show, part synth nerd jam session, the three day event plays host to many of the biggest brands in music technology, but also numerous smaller, newer and often innovative outfits.

More so than the NAMM Show – which takes place in California each January – Superbooth has become the de facto event for music tech brands to announce and showcase new gear.

And, it's live...

Cre8audio Programm is a CV and MIDI sequencer that blends playability and algorithmic generation

Cre8audio has unveiled Programm, a MIDI and CV sequencer designed to bridge “the gap between human performance and algorithmic generation.”

Programm has 12 sequencer tracks that can be used in a mix and match fashion across its analogue and MIDI outputs.

There are four monophonic melodic tracks, which can be used as distinct sequencers when output via MIDI, or via two sets of analogue pitch, CV and gate outputs. These are joined by eight percussive sequencer tracks, each of which has its own analogue trigger output.

Programm is designed to be used both for precise programming and for generating randomised ideas. Each step can be configured via pitch, gate length, ratcheting, CV/CC, note offset, and step condition parameters.

Each sequence can have its own individual length up-to 64 steps. The device can save 64 patterns as well 32 multi-pattern songs.

The melodic sequencer tracks can be used in four modes – mono, chord, arp, and chip, which combines the chord and arp functions. The sequencer can make use of key and scale functionality, as well as six groove modes that Cre8audio says “expand far beyond classic swing”.

Read more>>

Plinky 12 is an expressive touch synthesizer available with three swappable faceplates for “different kinds of musical thinking”

German developer Making Sound Machines has announced Plinky 12, a trio of touch-focused instruments with swappable faceplates, each of which makes use of the same core hardware design and a shared synth engine.

Plinky 12 is, essentially, a single instrument, although its interchangeable panels allow it to function in a multitude of different ways. According to its developer, this concept means that “it can become different instruments built for different kinds of musical thinking”.

Read more>>

This one-button synth could be the wildest idea to come out of Superbooth 2026

We last heard from boutique synth-makers Cyma Forma back in 2024, when the Parisian tinkerers unveiled ALT, a quirky analogue “soundscape synthesizer” with a Synthi-style pin matrix and patch-modulating light sensors.

Just in time for Superbooth, Cyma Forma has returned with its second instrument, another three-letter marvel that takes an even more innovative approach to sound design: RND (pronounced “Random”).

Undoubtedly the most minimalist synth we’ve ever come across, RND is a compact box with an interface made up of a single button. That’s it. No keys, no knobs, no faders, and no display, just one button that generates a randomized musical idea with every press.

Read more>>

Between the likes of Akai Sample, Teenage Engineering’s KO II and Casio’s forthcoming sampler, we’re living in something of a golden age of portable samplers. 1010music claims that its newly-updated Blackbox 2 sampler is "heir to its own portable sampler throne."

If that's true, it faces some Westeros-levels of rivalry. Let battle commence.

Whoever comes out on top in the Game of Thrones Affordable Samplers, 1010's latest has a lot going for it.

Like its predecessor, the Blackbox 2 is a portable, touchscreen-equipped instrument that houses a self-contained sampling workstation within a compact, rugged device. However, for version 2 1010 has significantly reworked the interface, adding a larger touchscreen and new layout that promises an improved workflow.

The central feature of this new look Blackbox is its four-inch hi-res colour touchscreen, which is used as the primary interface for sequencing and sample editing. A bank of four multi-use rotaries sit directly above the screen while a bank of transport and navigation buttons are placed below.

Blackbox 2 is a four-track workstation that can load up-to four one-shot, loop, slicer or multisample instruments, with the one-shot and loop instruments capable of supporting 16 samples per-patch. Blackbox 2 expands the song-creation features of the original, introducing new launch, scene, song, mixing and effect screens for editing various elements of the composition.

Unlike its predecessor, which required an external power source, Blackbox 2 contains its own rechargeable battery, allowing for 3hrs of fully portable use. It also adds USB-C host and device ports capable of transmitting multichannel USB audio and MIDI.

Blackbox 2 is scheduled to arrive in July, priced at $649.

Read More

Sound the synth kalimba klaxon!

After three long years of development, Bastl Instruments today launched Kalimba - a typically quirky hybrid synth/instrument that resembles – you guessed it – a kalimba, complete with playable tines.

To operate, Kalimba relies on tiny microphones, touch sensors and an accelerometer to yield all manner of expressive sounds. All of which are housed within a physical design that is inspired by the traditional kalimba, tines and all.

There seems to be a theme emerging at this year’s show, of prioritised expression and more traditional-instrument based-routes into exploring sound, and the handheld Kalimba is no exception. “Treat it like an acoustic instrument, it will answer like one” Bastl say.

Playing the tines at varying intensities excite the internal physical modelling and FM engines, thanks to the instrument’s internal microphones. The internal accelerometer acts as both an exciter for the physical modelling engine and also filters the left and right channels of the FM engine, as the device is physically rotated.

Honestly, it looks incredibly fun to us. We'll bring you a demo as soon as we can.

Read more>>

Polyend is a brand that likes to keep us guessing. Fresh off the back of unveiling its AI-assisted effect pedals at NAMM, the Polish company has now unveiled a top-end hybrid analogue-digital drum machine that looks set to rival the likes of Roland's TR-1000 and Elektron's Analog RYTM.

Housed in an aluminium body reminiscent of Polyend’s Synth or Play hardware, Drums is an eight-track drum machine that combines analogue, digital and sample-based sound generation.

Its four analogue voices are based on modern SSI chips that produce two VCOs, an additional noise source and a third digital oscillator that can be used for creating layered sounds or set up for frequency modulation. Each analogue voice also packs a multimode VCF and envelope-controlled VCA.

The remaining voices can make use of a variety of digital synthesis engines or samples. According to Polyend, options include “more than forty instruments, each with its own sub-mode mutations, giving users hundreds of sound options to choose from.” These digital tracks also have acces to eight individual LFOs to provide modulation.

For sequencing, Drums makes use of what Polyend calls its “most intuitive sequencing system so far.” This involves a combination of fills, probability, micro-timing, parameter locks, pattern chaining, generative tools and multiple track play modes. Drums can also save and recall up-to 64 patterns, 64 drum kits and 48 song arrangements.

The drum machine also has an ‘XOY’ fader, which allows users to fluidly morph between two versions of a drum kit during performances. There’s also a broad selection of effects, available as sends, inserts or part of the master chain. Effects can be sequenced per-track making, in the words of Polyend, “effects part of the rhythm rather than something added only at the end of the signal chain.”

“Drums is a return to the fundamentals that defined Polyend from the beginning,” says Polyend CEO Piotr Raczyński. “We wanted to build the drum machine we would want to use and own ourselves. Something uncompromising in sound, materials, and workflow. Like our earliest instruments, Drums is made in small batches, with close attention to every detail, and built to stay relevant for decades.”

Drums is available for reservation now via a refundable $500 deposit, with the first run of units due to ship in around three or four months. The retail price will be €/$2,699, and Polyend says there will be quantities available at launch.

Read more>>

We knew that Modal Electronics, the maker of the extraordinary Argon and Cobalt workstations, had something new for us… and today, launching simultaneously with the first day of Berlin’s Superbooth 2026 show comes the Element One, a diminutive 37-key synth designed for musicians who, in Modal’s words, ‘want to play with sound’ albeit without requiring any deep technical knowledge.

Developed in collaboration with the world-renowned Axel Hartmann Design team, the 4.5kg minimalist steel and polycarbonate-enclosed Element One’s ultra-reactive USP is spotlighted by expressive aftertouch and a versatile 4-axis joystick.

Then, there’s 17 direct-access control knobs for instantaneous sound shaping. It looks like the perfect antidote to tedious menu-scrolling…

The Element One is being posited as more of a responsive instrument, then - an instrument that attendees of this year’s Superbooth can test out with their own hands over at Modal’s booth (H101).

"Element One is for musicians and producers who want more sound and more expression without turning into full-time programmers," says the Modal team. "It doesn’t ask you to learn the rules; it dares you to play."

But that simplicity belies the fact that, under the hood, the Element One sports some impressive specs: 64 high-resolution oscillators (up to 8 per voice) can provide textured warmth right through to more modern-leaning sounds. Then there’s 30 resonant filter types including morphable and static options.

Element One is available through authorised retailers for MSRP 649 €/ or MAP $599 .

Read more >>>

The MusicRadar team has touched down on the Superbooth show floor. Stay tuned for demos and opinions as we get hands-on.

Roland's AI stompbox is coming...

Announced last year, Roland’s Project Lydia – a neural sampling stompbox that enables you to apply the tonal qualities of a trained AI model onto an incoming audio signal – has now reached the second phase of its development, bringing it closer to becoming a fully realised commercial product.

Various changes and improvements have been made since we first got wind of the device, which comes from Roland's Future Design Lab. This innovation wing of the company was founded in 2024 “to help design the future of music creation”.

What musicians want that future to look like is very much open to question so, perhaps wisely, Roland has made the changes to Lydia based on demos, industry showcases and global surveys.

The result is a refined hardware design that promises enhanced flexibility, such as easier Raspberry Pi 5 installation and standalone USB MIDI controller operation. There’s also fully integrated I/O, which does away with the need for an external USB audio interface, and an onboard LCD display for easier navigation and real-time parameter feedback.

User preset memories are now part of the package, so control settings can be stored, and MIDI connectivity has been added for deeper control, automation and integration with other studio and live gear.

We’re still a way off from Lydia being something that you can actually buy, but Roland says that the first prototype generated strong interest, which prompted it to have a good think about where to go next with it.

Read more>>

Teenage Engineering has launched a new hardware mixer to join its EP family of portable samplers.

The EP-136 KO Sidekick is a two-channel mixer with integrated audio interface, making it ideal for connecting portable gear – such as the EP samplers – to a DAW setup. The EP-136 is more than a functional utility though, boasting a variety of creative effects and performance tools more commonly seen on DJ mixers.

As Teenage Engineering says: “The plan was to build a mixer for the KO II but it became more of an effect-box with a built-in sequencer. Quite cool actually.”

Teenage Engineering’s EP range kicked off in late 2023 with the arrival of the EP-133 KO II – an evolution of the company’s tiny PO-33 K.O!, which was part of the company’s Pocket Operator range. Despite a few limitations, the EP-133 was very easy to love, thanks in part to being far more affordable than many of Teenage Engineering’s other recent releases.

The EP-133 was followed by a run of sequels that have all been more niche and eccentric, including the medieval-themed EP-1320 and reggae-orientated EP-40.

The EP-136 looks like a release with more mass market appeal than those latter entries, and thankfully lands at a temptingly-accessible price point of €/£189. (It’s worth remembering that Teenage Engineering’s last portable mixer landed at an eye-watering price of £1199.)

Read more>>

Japanese synth brand Sonicware has announced Deconstruct Minimal, a new hardware groovebox said to be “built on the rhythmic and pitch drift of legendary drum machines”.

Sonicware is perhaps best known for its Liven series, a range of compact digital synths that specialise in lo-fi sounds and ambient textures. According to the company, Minimal marks the first entry in a new range designed to sit alongside the Liven instruments.

“While the Liven series focuses on sound itself — making it easy to create music tailored to each sound engine — the deconstruct series focuses on musical structure, analyzing and reconstructing it to enable deeper musical expression.”

Described as being ‘designed to create hypnotic minimal grooves’, Deconstruct Minimal is a 10-track groovebox featuring a drum machine accompanied by a virtual analogue bass synth and sampler capabilities.

The sequencer tracks are designed for creative drum programming, equipped with per-track accents, sub-steps, randomised velocity, swing and phrase rotation. Rather than channeling the sound of vintage drum machines, Minimal instead aims to recapture the ‘groove DNA’ of classic hardware by replicating the grooves of vintage machines, along with their subtle drifts in rhythm and pitch drift.

Read more>>

Modal Electronics Element One demo

It’s been a bit of a rocky road for Bristol-based synth-makers Modal Electronics in recent years, but after making a comeback in 2024 under new ownership, the company has returned with its first new instrument under the restructured brand. A “repackaged” version of Modal’s Cobalt8, the Element One streamlines that concept to deliver a $599 virtual analogue synth aimed squarely at music-makers that value playability and ease-of-use over complex sound design.

Minus the sequencer, Element One is essentially the same synth as the Cobalt8 under the hood. Its sound engine has eight voices of polyphony, powered by 64 high-res oscillators shaped by 40 unique algorithms, and this opens up a sonic vocabulary that’s impressively broad for a VA synth: we spent a solid 20 minutes auditioning its bank of pads, getting lost in an ocean of atmospheric textures before we even had a chance to dive into the other preset categories. The 4-axis joystick remains as fun as it was on the Cobalt8, too, giving you expressive control over pitch, mod and a ton of modulation destinations – combined with the channel aftertouch there’s plenty of scope here for expressive performances that go well beyond the keyboard.

Element One’s physical design was developed in collaboration with renowned synth designer Axel Hartmann, resulting in a clean and stripped-back interface that’s noticeably more accessible than the Cobalt8. Modal tells us that Element One places “performance at the centre”, shifting the synth’s target market towards musicians and novice synthesists. The knob-twiddlers haven’t been forgotten, though, and if you’re someone that likes to get deep into sound design, you still get the same level of control as Cobalt8 – you’ll just have to dive a bit deeper in the menus or use the companion desktop app to access some of the more advanced parameters. Taking the Cobalt8’s sophisticated sound engine and placing it in a more approachable package strikes us as a smart move, and Modal tells us the Argon8 and Carbon8 could be next in line for the same treatment.

Polyend Drums sound demo

Polyend says Drums is the most ambitious project its ever worked on, a hybrid analogue/digital drum machine that’s “built without compromise”, and that’s evident from the moment you lay your hands on it – this is a premium piece of kit with a premium price tag, and at $2,699, it’ll be competing with beasts like Roland’s TR-1000 at the very top end of the market.

Though its sleek and stylish design is undeniably eye-catching, Drums’ distinctive interface has us in two minds. Dialling in patterns on its 4x16 grid of backlit pads is fast and fun, the per-track level meters are a nice touch, and we’re big fans of the instrument’s X0Y fader, which lets you trigger fills and morph between kits and patterns on-the-fly, opening up a whole host of possibilities for creative transitions. The instrument’s knob-heavy top half could take some getting used to, though, with a grand total of 96 rotaries jostling for position and key parameters spread across multiple displays that are a touch on the small side.

Workflow aside, though, Drums’ sound is impressive. Though the pre-production unit we tested didn’t yet incorporate the four dual-VCO analogue voices you’ll find in the finished product, the digital and sample-based voices still offered a diverse tonal palette, delivering everything from room-shaking kicks, biting snares and crisp hi-hats to more unconventional tones accessible via its sub-mode mutations. This is a drum machine we could get lost in for days, and we get the sense that we hardly even scratched the surface in the time that we had with it – we’ll be heading back to Polyend’s booth tomorrow to dig deeper into the sequencer, which the company tells us is the “most advanced and intuitive” it’s designed yet.

MusicRadar's Matt Mullen gets hands-on with 1010music's new Blackbox 2 sample workstation

What is Korg hiding under here?

Korg’s booth sits squarely in the middle of Superbooth’s entrance hall, a scene-stealing spot that the company has previously used to showcase big new releases. This year, however, the company has hidden away its next big new release under several sheets of plastic film, giving us a tantalising glimpse of a prototype instrument from the established Japanese brand.

What could it be? Not many details are visible underneath the covering, but it’s visibly a 61-key instrument with a healthy amount of knobs and an array of blue LEDs, some arranged above the keyboard in the style of the Logue range’s sequencer. A large screen sits towards the right-hand side, suggesting something in the workstation realm, but who knows? Many are speculating that it could be a successor to the Korg Prologue, an hybrid analogue/digital poly the company discontinued in 2022. When we know more, so will you.

Big music technology news away from the Superbooth show floor: Native Instruments has been acquired by inMusic, owner of Akai, Moog, Denon DJ and others.

It's a move that is sure to divide opinion among users, as MusicRadar's Ben Rogerson writes:

While there will inevitably be concerns that having so many big-name brands under one roof isn’t necessarily good for the industry as a whole, NI’s customers will also be relieved to learn that the products that they’ve invested in should now be supported into the future. Whether Native Instruments will ever be the innovative force it once was remains to be seen, but at least it’s still here.

Read the full story>>

Is it a filter or is it an instrument? For Erica Synths, the answer is ‘Why not both?’

Erica Synths’ big launch at this year’s Superbooth is Resonant Filterbank - an analogue/digital performance and production-friendly effects unit which sports ten bandpass filters to squeeze and maximise your input sounds, cutting and boosting specific frequencies at will.

But this sleek aluminium-housed box is more than just a simple 10-band filterbank, you can also use it as both an unconventional multimode filter or as an instrument in its own right, particularly when you play with the box's various resonance controls.

It can become a standalone instrument via configurable feedback loops. “[It can be used] even as an experimental sound generator for no-input mixer-like setups,” state Erica Synths.

You can use the Filterbank's Clocked Modulation Mode to program specific band positions in a set sequence and build oscillating stereo effects. This is done via 20 independent LFOs and envelope followers which can be assigned to any control parameter. It also features a spectral analyser and a dynamic EQ, making it a lot deeper than you might think upon initial inspection.

Read more>>

Sonicware Deconstruct Minimal sound demo

Japanese brand Sonicware has become a firm favourite among budget-conscious beatmakers in recent years thanks to its LIVEN series, an affordably priced series of grooveboxes and synths each themed on a specific concept. At Superbooth 2026, the company has introduced an entirely new range to sit alongside the LIVEN line: Deconstruct. Where LIVEN was focused on “sound itself”, Sonicware says, Deconstruct explores “musical structure, analyzing and reconstructing it to enable deeper musical expression”.

The inaugural instrument in the Deconstruct series is MINIMAL, a battery-powered budget groovebox that fuses a sampler, drum machine and bass synthesizer, built for the “hypnotic grooves” of minimal techno and minimal house. It’s inspired by vintage drum machines we all know and love, but rather than simply mimicking their sounds, Sonicware has attempted to recreate their “groove DNA”, the subtle rhythmic and pitch drift behind the distinctive character of machines like the TR-808 and TR-909.

Sounds are primarily sample-based, though you get a dedicated synth engine for kick and snare, and the drum tracks are joined by a dedicated bass synth that sounds brilliantly squelchy and acidic, and really packs a punch when you crank the drive up. The sequencer is super versatile, with parameter lock, per-track accents, sub-steps, randomised velocity, swing and phrase rotation, and though the build quality is a little flimsy, it’s hard to complain at this price point. Any qualms were immediately forgotten once we began building up some minimal grooves and tweaking the master effects and 3-band DJ-style Isolator EQ on-the-fly. Minimal had us channelling our inner Ricardo Villalobos in no time, and for only $299, this is not only an impressively flexible groovebox, it’s a whole lot of fun.

This one-button synth could be the wildest idea to come out of Superbooth 2026

Probably most minimalist synth design we've ever come across, Cyma Forma’s RND is a compact box with an interface made up of a single button. That’s it. No keys, no knobs, no faders, and no display, just one button that generates a randomised musical idea with every press. Hit the button and all of RND's parameters across every feature are assigned weighted random values. Once you’ve hit it a second time, you erase the current idea and create a new one, and those sounds are gone forever.

Based on an idea dreamed up by French producer/DJ Bambounou, RND is a digital synth equipped with eight sound engines covering nine styles of synthesis, along with five styles of filter and a reverb effect. Each randomly generated idea is made up of four instrument tracks populated with a unique patch, and each track gets its own sequence, with melodies, rhythms, tempo and scale all randomised.

It’s a concept that’s sure to divide audiences with its extreme simplicity, but after spending some time hitting RND’s big black button and speaking to its creators, we’re fully on board. The ideas we heard RND create were varied, ranging from minimal ambient soundscapes to uptempo chiptune-style bangers, and you admittedly have to cycle through a few duds – it’s an unpredictable machine, but that’s entirely the point.

Time signatures are randomised across each of its four sequences, so you can get some funky polyrhythms, and thanks to the 4-channel MIDI output over USB, it could also act as a generative sequencer for a broader set-up, if you want to explore beyond RND’s internal sound engines. This obviously won’t replace your go-to synthesizer, and it’s not intended to. Instead, it’s a fun, easy way to spark instant inspiration, an emergency button for those days in the studio when your creativity needs a jumpstart. It’s reasonably priced too, at €125.

Cyma Forma tells us that if all goes well, they’re considering applying the same one-button concept to an effects unit and a drum machine, so watch this space.

Bastl Kalimba is a pocket-sized 'acoustic' synthesizer with motion control

A hybrid of kalimba and synth, Bastl’s Kalimba brought our minds back to Korg Berlin’s Phase8 when we first spotted it – an instrument that’s fundamentally based on the same combination – but the two synths are actually very different in their design.

Kalimba’s interface is made up of playable tines that, when plucked, tapped or touched, are picked up by microphones and touch sensors. These signals act as exciters for the internal synth engines, which combine physical modelling and FM to produce a varied catalogue of sounds, ranging from the conventional to the otherworldly.

There are also touch plates on the back that can be mapped to various parameters for additional control, and an internal accelerometer that’s mapped to both synth engines, so you’re able to manipulate timbres by rotating the device. It’s a pretty wild concept, but for such an esoteric device, it’s not difficult to dive into and begin creating unexpected sounds.

We found so much to explore in such a compact instrument, cycling through the scales, latching the arpeggiator and experimenting with the bitcrusher and distortion to create fuzzy, broken textures. The kalimba is a sweet-sounding instrument, but Bastl’s Kalimba can go very far in the opposite direction, its destructive looper layering, time-stretching and reversing audio to produce unrecognizable results.

It might be inspired by the kalimba, but Bastl’s Kalimba is so much more: a radically imaginative synth that’s one of the most ambitious designs we’ve spotted at this year’s show.

UDO's DMNO is two synths in one

Ziggy is a self-contained West Coast synth for under $1k

Outbox 8 is a godsend for Elektron junkies

Chase Bliss' Big Time is a supersized echo inspired by vintage '80s delays

Plinky 12 can be (almost) anything you want it to be

Roland's Project Lydia is pushing the boundaries of AI sound design

SUPERBOOTH 2026: Polish developer Polyend clearly has a fondness for releasing simplistically-named gear. Following in the footsteps of the tracker-inspired Tracker and Synth synth comes Drums, a new hybrid drum machine said to be “built for immediacy, depth and performance.”

Housed in an aluminium body reminiscent of Polyend’s Synth or Play hardware, Drums is an eight-track drum machine that combines analogue, digital and sample-based sound generation.

Its four analogue voices are based on modern SSI chips that produce two VCOs, an additional noise source and a third digital oscillator that can be used for creating layered sounds or set up for frequency modulation. Each analogue voice also packs a multimode VCF and envelope-controlled VCA.

The remaining voices can make use of a variety of digital synthesis engines or samples. According to Polyend, options include “more than forty instruments, each with its own sub-mode mutations, giving users hundreds of sound options to choose from.” These digital tracks also have acces to eight individual LFOs to provide modulation.

For sequencing, Drums makes use of what Polyend calls its “most intuitive sequencing system so far.” This involves a combination of fills, probability, micro-timing, parameter locks, pattern chaining, generative tools and multiple track play modes. Drums can also save and recall up-to 64 patterns, 64 drum kits and 48 song arrangements.

The drum machine also has an ‘XOY’ fader, which allows users to fluidly morph between two versions of a drum kit during performances. There’s also a broad selection of effects, available as sends, inserts or part of the master chain. Effects can be sequenced per-track making, in the words of Polyend, “effects part of the rhythm rather than something added only at the end of the signal chain.”

The Drums hardware has eight individual drum outputs as well as a stereo audio input for external processing. There’s also an individual headphone output and MIDI-over-TRS ports. It is available in both black and silver designs.

Under-the-hood, Drums makes use of a dual-core main CPU with auxiliary processors handling peripherals and analogue control. Audio processing is 32-bit floating point at 96 kHz, with 24-bit/96 kHz DAC and ADC conversion for audio input and output.

“Drums is a return to the fundamentals that defined Polyend from the beginning,” says Polyend CEO Piotr Raczyński. “We wanted to build the drum machine we would want to use and own ourselves. Something uncompromising in sound, materials, and workflow. Like our earliest instruments, Drums is made in small batches, with close attention to every detail, and built to stay relevant for decades.”

Drums is available for reservation now via a refundable $500 deposit, with the first run of units due to ship in around three or four months. The retail price will be €/$2,699, and Polyend says there will be quantities available at launch.

Head to the Polyend website for more information.

SUPERBOOTH 2026: 1010music has announced a successor to its Blackbox sampler, which promises to be both more creative and more portable than the 2019 original.

Like its predecessor, the Blackbox 2 is a portable, touchscreen-equipped instrument that houses a self-contained sampling workstation within a compact, rugged device. However, for version 2 1010 has significantly reworked the interface, adding a larger touchscreen and new layout that promises an improved workflow.

According to its creators, “Blackbox 2 is heir to its own portable sampler throne with more creative features for the studio and stage. An even more elegant workflow, great sound, industry standard IO and portable size.”

The central feature of this new look Blackbox is its four-inch hi-res colour touchscreen, which is used as the primary interface for sequencing and sample editing. A bank of four multi-use rotaries sit directly above the screen while a bank of transport and navigation buttons are placed below.

Blackbox 2 is a four-track workstation that can load up-to four one-shot, loop, slicer or multisample instruments, with the one-shot and loop instruments capable of supporting 16 samples per-patch. Blackbox 2 expands the song-creation features of the original, introducing new launch, scene, song, mixing and effect screens for editing various elements of the composition.

Unlike its predecessor, which required an external power source, Blackbox 2 contains its own rechargeable battery, allowing for 3hrs of fully portable use. It also adds USB-C host and device ports capable of transmitting multichannel USB audio and MIDI.

Other elements of the Blackbox workflow are unchanged from version one. As before, the instrument has a sequencer with step, grid and piano-roll modes, which is capable of probability sequencing. There are DJ-style effects with XY pad control for filter, echo,, gating, flanger, bitcrusher and repeater effects.

Sample editing tools include multiple filters, envelopes and LFOs, distortion and a flexible mod matrix. It also features a four-band EQ with cut, shelf and parametric modes for each band.

The hardware features a stereo main audio in and three stereo outputs, plus headphones output. It’s equipped with an automatic multisampling function allowing users to easily turn external gear into sampled instruments.

Blackbox 2 also has a microSD card slot, allowing users to expand the memory for projects and samples. Longer WAVs and detailed multisampled instruments can be streamed directly from the microSD.

Between this and the likes of Akai Sample, Teenage Engineering’s KO II and Casio’s forthcoming sampler, we’re living in something of a golden age of portable samplers. If, as 1010 states, “Blackbox 2 is heir to its own portable sampler throne”, then it’s suddenly facing Westeros-levels of rivalry.

Blackbox 2 is scheduled to arrive in July, priced at $649. Head to the 1010music site for more information.

SUPERBOOTH 2026: It is now a full decade since the first dedicated Superbooth show took place in Berlin, but the origins of the event date back further than that.

Founded by the team behind Berlin instrument store SchneidersLaden, Superbooth grew out of the now-defunct Musikmesse show in Frankfurt. Since 2017, Superbooth has taken place on a regular basis in the tranquil, wooded grounds of the FEZ centre south of Berlin city centre.

Part industry trade show, part synth nerd jam session, the three day event plays host to many of the biggest brands in music technology, but also numerous smaller, newer and often innovative outfits.

More so than the NAMM Show – which takes place in California each January – Superbooth has become the de facto event for music tech brands to announce and showcase new gear.

This year's show is happening between 7-9 May. We'll be on the ground to bring you all the most exciting news.

What to expect?

Superbooth is always packed with new music tech announcements, including synths, drum machines, controllers, software and a whole load of weird and wonderful innovations.

Although there are often a handful of reveals from the 'big name' brands – the likes of Moog, Korg and Novation have used Superbooth to launch new gear in the past – much of Superbooth's most exciting action often comes from smaller, independent developers and new technology brands.

Modular and Eurorack gear is a big deal at Superbooth too. It’s safe to say that you can expect a lot of new module announcements over the course of the next week.

In previous years, Superbooth has been where we’ve got our first look at interesting new products or technological ideas from brand-new startups and fledgling developers – often long before they're ready to hit the market.

Who'll be there?

The full list of exhibitors can be found at the main Superbooth site, which includes hundreds of brands.

Notable names at this year's show include Elektron, Arturia, Teenage Engineering, Korg (and Korg Berlin), Polyend, Novation, Sequential and Roland. Berlin is a major hub for music tech brands and local outfits such as Bitwig, U-He and Native Instruments will be at the show too.

On the modular front, notable names such as Make Noise, Buchla, Tiptop Audio, Intellijel and countless others will have their latest releases on display.

Unlike other 'trade shows', Superbooth also pulls in an interesting lineup of live performances scheduled across its stages.

Highlights this year include Monolake (aka Ableton co-creator Robert Henke), multifaceted DJ/producer Polygonia and techno figureheads Lady Starlight and Rødhåd performing together as part of the latter's WSNWG project.

There's also a solid line-up of workshops and talks. Find the full listings on the Superbooth site.

Can I get a Superbooth ticket?

Yes! Unlike some more industry-focused events Superbooth is open to the public, and there’s a lot to appeal to both pro and amateur musicians.

Naturally, the event is a great place to get hands on with new gear, but also offers the opportunity to speak directly to designers, developers and experts who can offer advice and answer questions.

Head to the Superbooth site to buy tickets, which start at €41 for individual days. 3-day tickets are also available, as are discounted rate tickets, as well as tickets for individual workshops and DIY sessions.

For those that can’t make it to Berlin, you can keep up with all the latest news, gear demos and oddities in our rolling live blog.

What happened at Superbooth 2025?

To get an idea of the general vibe of Superbooth, revisit our 2025 show report.

What is it?

Elektron's music machines are not always obvious devices, marrying synths, drum machines, grooveboxes and sampling together in pretty much whichever way you wish, focusing on everything from dynamic processing (Analogue Heat + FX) to grooves (Model:Cycles), analogue drums (Analog Rytm MkII) to analogue synths (Analog Four MkII).

Tonverk is the company's latest and most-anticipated music box, a polyphonic sampler, sequencer, granular machine, audio interface and effects processor all-in-one. You might be thinking 'sampling groovebox' and you wouldn't be too far off, but there's a not-so-hidden depth to this machine that takes it up a few levels as a sound design tool, with a character that can evolve, twist and shout more than most.

It's dirty, fun, and importantly to us, straightforward to grasp. We've not always enjoyed – sometimes endured – the Elektron user experience, having owned and used many a device over the last three decades. But this time around, Tonverk's larger form factor, extra keyboard and effects give it an edge over other Elektron devices, so while we came for some dirty beats, we went away with a lot more, including a new-found respect for this particular 'sound factory'.

Performance

There's a lot to get across with Tonverk and inevitably we're not going to be able to cover everything here. The modulation alone is worth its own chapter, as is an extraordinary set of sequencing and dynamic features, but focusing on Tonverk's tracks, new effects and architecture – basically how to make a tune – will give you a flavour of what it is capable of.

Tonverk has a total of 16 tracks. The first eight are audio, each with eight voices of polyphony. Tracks 9 to 12 are bus tracks, with tracks 13 to 15 acting as effect sends and track 16 the overall mix. All tracks can also be used as standard MIDI tracks for use with external gear.

Typically Tonverk works by layering up the audio tracks with either preset samples (from a supplied 64GB SD card) or your own. Select a track by holding the Track button – top-left above the very welcome mini keyboard – and one of the first eight track buttons along the bottom. Then you select a 'Source Machine' from the Setup options for the chosen audio track. These determine how the audio is played back and, at the time of writing – they can and have been expanded with system updates – include five options.

Single Player is an eight-voice polyphonic single sample player where the audio is mapped across the keyboard. Multiplayer mode acts like a multisample or soundfont player, able to load in more detailed, velocity-layered sample setups. Subtracks are a huge addition as they are like kits of sounds, up to eight together per track, split across the keyboard.

Think of Subtracks as tracks within tracks, with Tonverk able to play up to 64 sounds simultaneously across its eight tracks, with each block of eight able to access a very comprehensive effects section. However you think of them, they are a big Tonverk highlight, especially given that each Subtrack has its own two filters, an envelope and modulation.

Finally, in addition to the aforementioned MIDI tracks, the last of the Source Machines is the all-new Grainer, Elektron's first granular engine, so an important update that gives Tonverk a lot of its sonic bite, smashing, as it does, a sample into manipulatable grains.

Effect madness

Tonverk's other effects are, quite simply, stunning. You get two insert effects per audio track plus three send effects, with around a dozen types to choose from. These include the usual Elektron compressor, reverb, delay and chorus, plus all-new mostly filter and lo-fi style effects like Degrader, which should be heard to be believed. Its eight assigned parameters can truly smash a sound to pieces which, along with others like Chrono Pitch, prove that Tonverk, while clean if you want it to be, excels at proper filth with some outstanding, dirty options.

You can easily layer two of these effects per audio track, with the flexibility to add up to three more via send effects, found by dialling up each of tracks 13 to 15, and with the level of each adjusted via the main FX page. Tracks 9 to 12, meanwhile, offer four bus tracks for setting up even more flexible routing – like you think you must be needing it at this point – as each also has two more insert effect slots.

All of the main parameters within Tonverk's effects have been mapped to the eight function dials on the top-right of Tonverk, which change function according to what mode you are in, so it's dead simple to tweak each one, and you can quickly set up very complex layered insert and send effects right across your song or parts of it.

Layering more icing onto an already sweet cake, you can also add an Effects Machine to the overall mix of a pattern by selecting track 16 and hitting Func>FX to select – it's basically an effect to add to the entire track. While we're on Track 16, the Mix track, here you can also set your mixer up, adjusting settings across the audio tracks, and also those for Tonverk's two audio inputs.

You can get an overview of Tonverk's potentially complex routing setup by hitting the Shift and Routing/Mute button which offers a simpler view of your setup and allows you to set up the routing for everything. Here, for example, you can set the audio destinations for multiple tracks to the main Mix, four busses or direct out, and you can even send the audio from one of the three send effects to an external effects box, and route the effected signal back into Tonverk's input, which obviously opens the box up to processing with a mountain of external modular or other studio gear.

Other features worth noting are that each track has a sequencer, and effects can be (quite) easily automated to create incredibly moving and dynamic sequences; set sequencer steps, for example, to route to certain effects and levels. You can also control effects in real time using hands-on performance options like freeze and stutter via the function knobs to liven up any live performance.

Sequencing is often where we used to fall down with some Elektrons – here you get Projects with up to 16 songs, each with up to 128 patterns for the 16 tracks. You might struggle with some of the terminology, with sequencing rows and suchlike, but seasoned Elektron users will be at home, and it's probably (OK, likely) more logical than our brain realises. Certainly the recording options – step and real-time plus Grid recording to add trigs – fulfil those composition requirements, and the real-time editing options are endless.

Add in that modulation we mentioned, including a filter, two LFOs per track, effects bus and mix plus a modulation envelope per voice, and you have an almost overwhelming number of options – Tonverk really is just on the right side of 'doing too much'. Yes, some processes can seem convoluted on occasion – mostly because there are just so many options – but it is by no means as complex as it could be for such a flexible beast.

We should also touch on the sampling – this is a sampler at heart, after all – and here you can load in samples from an extensive and high-quality Elektron library (from the SD card). There are 80 multisampled synths here, for example, plus kits, basses, single samples and projects.

Sampling yourself is easy. We touched on how you can route to external hardware earlier, but standard sampling includes an Auto Sampler that makes creating multisamples easy. Select audio via USB or physical inputs, set a number of velocity layers and notes, record and Tonverk maps and layers for you. Finally, an on-board arpeggiator and chord mode add even more creative possibilities should you tire of the rest of the machine's extensive features (you won't).

Verdict

Tonverk has certainly opened our eyes up to 'the Elektron way'. While it follows a similar Elektron path to other Elektron devices, it gels better as a product to us, possibly because its larger format makes everything more approachable. The point of the machine also seems more obvious and a happy compromise between what we expect a device to do while keeping some of Elektron's rather exclusive clubby feel – basically, we've been invited to the VIP area of a bar and are actually enjoying it.

Tonverk, then, is a bit of a triumph to our eyes and ears. We're not surprised that it is so deep – Elektron will always prioritise flexibility and sonic mayhem, while rewarding your time spent diving in – but the fact that we actually get the message and can use it is the real joy.

With an emphasis on the dirtier side of music production – the Grainer machine alone here will suffice – and with a range of effects and routing flexibility that can back this up in any situation, Tonverk has surpassed our expectations in many ways. We started out wanting a box to add some filthy beats to some way-too-nice tracks we've been working on, but ended up pretty much getting this particular sound factory to supply most of the actual tracks.

Tonverk isn't cheap but a) it does cost less than two of our alternatives and b) it's not 2024 anymore. Yes, it's not quite as mobile as it could be, and there are maybe one or two extra button pushes over what we'd like, but if you want in-your-face electronic music productions, Tonverk has the flexibility to be whatever you want it to be, and is easily one of the most inspirational and accessible Elektrons we've used.

Hands-on demos

Elektron

Alternatives

Specifications

Given that it’s been on the market since 2022, you’d be forgiven for assuming that we’d seen all that Syntakt has to offer. But Elektron – a company with a history of releasing lifespan-extending firmware updates for its hardware – isn’t done with it yet, further expanding the scope of the hybrid drum machine with a new sample engine and a raft of sequencing features.

These additions land as part of Syntakt’s free v1.40 update, the highlight of which is the new SP Twinshot machine. Those so-called ‘machines’ are the interchangeable sound generators that Syntakt uses for its semi-modular approach to drum synthesis. Existing machines offer a range of sound creation approaches, including FM and analogue synthesis, as well as SidStation-inspired retro digital synthesis.

Now Twinshot adds samples into the mix. The new machine can trigger two one-shots simultaneously, loaded independently into slots 1 and 2 from a global pool of 64 samples. Each sample can be triggered in forward or reverse direction. Twinshot offers decay and filter controls for slot 1, plus the ability to hold and loop the sample loaded into slot 2. The machine also has a digital overdrive parameter applied to both sample slots simultaneously.

The most obvious application of these two sample slots is creating layered drum sounds, using slot 1 for a punchy transient element while slot 2 provides body. This approach is particularly effective for creating snares, hi-hats or kicks with more complexity than those generated by synthesis alone. Users can upload their own sounds for use by the Twinshot machine using Elektron’s Transfer application, allow users to further customise the synth’s sound palette.

Although the primary focus is percussion, as with many of Syntakt’s other machines, it’s not hard to imagine how Twinshot could be pushed into creating more melodic or textural-focused sounds as well.

Announcing the update, Elektron writes: “Syntakt’s newest machine is an unexpected one. Bringing sample playing to a device already covering so many Elektron bases really does solidify it as a heck of an all rounder. And it’s very much a happy bending of the rules of nature in order for it to be possible, given that Syntakt’s architecture wasn’t designed to accommodate samples. But Twinshot is here, nonetheless, in all its quirky goodness.”

Beyond that new machine, v1.40 also adds a new filter pan functionality to the FX track’s multimode filter, allowing for the filter cutoff to be modulated across the stereo field. Syntakt also gains a new Track Relations feature, which lets users link and layer tracks so that they function in unison, as well as apply mute or choke groups.

There’s a new Personalize menu too, which contains existing parameters for things like LED brightness along with a range of new options controlling recording and automation behaviour. Elektron has also added the option to route keytracking to up-to four destinations, as well as a trio of new trigger conditions, LST, Not LST and Not A:B.

There are numerous other quality of life improvements and bug fixes, details of which can be found within the release notes.

All things considered, it’s yet another impressive update for Syntakt, which we’ve loved since its initial release, and has already been significantly enhanced with 2024’s 1.30 firmware, which added four new machines and a Euclidean sequencer.

Unlike some other similarly aged hardware instruments, Syntakt’s price hasn’t dropped since launch – in fact, it seems to be retailing for slightly more than the original £849/$999 launch price. But considering these various improvements, it remains one of the most powerful drum machines you’ll find for under £1000.

Head to the Elektron website for more information.

Just a few days after unveiling the JN-80, its eight-voice Juno-60 clone, Behringer has dropped another affordable recreation of an '80s classic: the Behringer BMX.

Though the German manufacturer had previously teased the BMX on Facebook and at the NAMM show in January, today Behringer has made BMX available for pre-order, with first units shipping in May.

BMX is based on the Oberheim DMX, a drum machine released in 1980 that featured prominently in many early hip-hop productions and can be heard on New Order's Blue Monday and The Police's Every Breath You Take. It was the second digital drum machine ever to hit the commercial market, closely following the Linn LM-1.

Like most of Behringer's clones, the BMX is not an exact replica, but a modern drum machine that draws inspiration from a much-loved classic. It features the original DMX sounds, analogue filters and a 8/12-bit sound engine for vintage grit, while adding a handful of contemporary enhancements, including a LCD screen, MIDI support and digital effects.

BMX offers eight channels, each with its own 1/4" analogue output, and a dedicated DAC with variable sample rate and adjustable 8/12-bit resolution. Each channel gets its own volume fader and pan control on the interface, and below these you'll find 24 velocity-sensitive pads that look much more playable than the DMX's somewhat fiddly buttons.

Along with the original DMX samples, BMX features 121 onboard sounds, including samples from the Oberheim DX, the DMX's stripped-back successor. You can import your own samples or record live via the line input. Along with the analogue filter, which sports both low- and high-pass modes, BMX features Behringer's Wave Designer transient shaper.

BMX's 64-step sequencer is capable of polymetric and probabilistic sequencing, swing, flams and randomization, and can store up to 256 patterns and 16 songs. A Pattern Mode allows for the arrangement of patterns into full songs, while Song Mode can be used to chain songs together for live sets.

BMX is well-equipped in the I/O department for a budget drum machine: there's MIDI In, Out and Thru over 5-pin DIN, USB MIDI, a 1/4" stereo output and headphone output, three trigger outputs and sync in/out, alongside its eight channel outputs and line input for sampling.

Behringer BMX is priced at $459/£349.

Check out a video demo below or find out more on Behringer's website.

What is it?

Erica Synths is a highly respected and firmly established presence in music tech circles, and its lineup features a range of well-regarded drum, synth, and processing hardware. It was therefore with some excitement that news of a collaboration between Erica Synths and the team behind the now sadly defunct Hexinverter Electronique was received. As more details became available, it was clear that the new product was aimed at fans of the cult-favourite Mutant drum modules, and with some sequencing thrown in.

The original Hexinverter Mutant drum modules were available in both DIY and ready-built versions and were famed for their tweaked takes on Roland’s original TR-808 and 909 circuits – hence the ‘Mutant’ tag. This moniker also suggested they could offer greater sonic variation than the limited tweakability of the original Roland designs.

Fast-forward to now. According to the manufacturer’s blurb, Hexdrums is a "drum synthesizer merging Erica Synths’ techno DNA with Hexinverter’s Mutant circuits", and looks like it's an obvious attempt to bring the flexibility of a modular drum rig (minus the patch cables) into a desktop format.

At its core, it is a 10-voice drum machine featuring eight analogue percussion engines – including two distinct kick drums and a more versatile "Machine" voice – and a digital cymbal section. You also get separate voice outs, plus a compressor and ‘Master Drive’, derived from the Mutant Glue.

Like other knob-laden drum machines, it aims to convert raw rhythmic intuition into powerful percussive sequences without the menu navigation typical of modern digital hardware or DAW software. This intent is certainly helped by its heavy-duty black chassis and industrial design, which together give Hexdrums the feel of a robust and serious piece of studio equipment that would also be at home in a live setup.

Performance

The primary draw of HexDrums is its tactile workflow, which offers an engaging way to build complex rhythms on the fly. The standout feature is the X0X-style sequencer, which allows for nuanced pattern design with up to 64 steps, including per-step probability and microtiming. One thing to be aware of, though, is that you need to actively save patterns or they will be cleared after cycling the power. This is different from some other machines, but it does mean that it’s possible to indulge in live pattern tweaking without worrying about losing the originally saved idea.

We also found the LED brightness a bit of an issue when determining accented steps, and there is no per-step visual feedback on ratcheted or microtimed steps. Use of different LED colours or a larger screen might have helped here, but with potential impact on both aesthetics and cost.

The synth engines provide a decent range of percussive tones, with the Bass Drum circuits offering everything from sub-sonic thumps to long, booming sweeps, and Snare, Clap and Rimshot delivering their own take on 808/909 circuitry. If the standard percussion voices are too predictable, the Machine voice can generate more complex and FM-like timbres via the two detunable oscillators.

We did miss having at least a couple of dedicated tom modules, and more control over the hats and other cymbals would have been welcome. It is also worth noting that there is no parameter automation or modulation, so any sonic tweaking has to be done in real time by hand. This is where digital/hybrid systems like Erica’s own Perkons HD-01 or the Elektron Rytm, and fully-patchable modular setups win, as they offer much more in the way of in-pattern variation.

It is easy to be impressed by the master section, which includes a stereo compressor and a drive circuit designed to add cohesive grit and saturation. When you dial these in, it becomes clear that Hexdrums works best for harder, more in-your-face forms of electronic music. You can also use the unit as a central hub for larger setups, using the individual voice outputs to treat sounds with external pedals or a mixer and rack gear.

Verdict

Erica Synths Hexdrums is a fun and powerful attempt to consolidate some well-regarded modules from the Eurorack drum world into a single, playable box. It prioritises immediacy and performance over deep 'menu diving', making it a strong choice for those who want to explore industrial or techno textures without a screen.

The sounds themselves can be unapologetically aggressive when required, with a solid array of hands-on controls for pitch, decay, and tone. However, editing is strictly physical; there are no digital menus or preset saving for the analogue voices, and MIDI is limited to note and clock data.

This design choice allows you to focus on the performance in the moment, though it may be a hurdle for those who need to recall exact kit settings between sessions, and modular users may miss the serendipitous joy of CV-led parameter control. It also has to be said that sonically it carves its own particular path, and if flexibility is what you are after, other drum machines offer a wider tone palette or an expanded range of voices. Equally, if you’re looking for a faithful 808 or 909 clone, then Hexdrums is probably not for you, and you may get more satisfying results elsewhere.

Hexdrums is not cheap, and its lack of presets and more expansive parameter control will be a deal-breaker for some, but if you’re after a raw sonic character and a fast, hands-on workflow, it may be exactly what you’re after.

Hands-on demos

Erica Synths

Alternatives

Specifications

NAMM 2026: MusicRadar’s tech team pick their NAMM 2026 show highlights, including new gear from Korg, Ashun Sound Machines, Nord, Fender, Behringer, Akai and more.

After a strong return last year, NAMM 2026 was back at full force, with an impressive showing of exciting new synths, software, beat makers and studio gear.

MusicRadar’s Tech Editor Matt Mullen and Music Making Editor Andy Price have been on the ground in California getting hands-on with the latest new announcements and forthcoming releases. We caught up with them from the UK via high-tech video link up (ie a laptop) to quiz them on their highlights of this year’s show.

Check out our six highlights below, along with a selection of runners up that are also very much worth keeping an eye out for.

For more NAMM news, insights and oddities, head over to our rolling live blog.

NAMM 2026 music tech highlights

ASM Leviasynth

Expected price: From $1799

Due: February

This is it - arguably the big one at NAMM 2026. The synth that those who’ve been swimming through the rich waters of Hydrasynth by Ashun Sound Machines have been eagerly waiting for since 2020.

The question is, does Leviasynth deliver? Well, listen to our sound demo in the video above to hear for yourself.

Get a load of the density of those patches - that’s a multi-layered sound that’s built on a brand new synthesis engine, which brings 8 algorithmic oscillators per voice and the warmest analogue (and slick digital!) filters.

Modulation is vast, with multiple LFOs, envelopes and a dense modulation matrix that enables hyper-colourful sonic wrangling. All this sound design potential is playable via ASM’s well-regarded Polytouch (aka polyphonic aftertouch) keyboard while the desktop version features 16 Polytouch pads.

All these tech specs are all well and good, but the proof of the pudding is in the… listening.

We were treated to a sound demo of Leviasynth over at ASM’s booth at NAMM, and crikey – this thing has some heft.

16 voices of polyphony with bi-timbral split/layer modes mean you can easily re-design your sound from the ground up.It’s not long before you’re faced with massive-sounding cinematic breadth and density.

One of the key things to note with Leviasynth is that, although it builds on the recognisable control structure, feel and aesthetics of Hydrasynth, it’s really an instrument that’s aimed at those who are serious about sound design. Its FM-like architecture is quite different to Hydrasynth’s wavetable synthesis philosophy. This thing is big in every way.

The Leviasynth keyboard version is available to order now from retailers for $2499/3299€ while the desktop version’s RRP is $1799/2399€. We’re told they’ll be shipping in mid-Feb!

Korg Phase8

Expected price: $1149/£859

Due: April

In a synth world that can sometimes seem a little oversaturated with retro nostalgia, it’s always refreshing to see a major manufacturer exploring innovative new avenues for music creation.

Korg’s Phase8 is the brainchild of renowned engineer Tatsuya “Tats” Takahashi, best known for masterminding the hugely popular Minilogue and the Volca series, but where those instruments found mass appeal through accessibility and affordability, Phase8 takes a very different direction.

Described by Korg as an “acoustic synthesizer”, Phase8 is essentially a hybrid of a synth and an electric kalimba, bringing together acoustic sound generation with electronic control via synth-style sequencing and modulation.

At its heart are eight tuned steel resonators that are electromagnetically stimulated to produce sound – the resonators can also be physically touched, plucked or strummed, and Korg suggests that you place objects on the instrument to modify its timbre.

Though we admittedly found Phase8 a little baffling at first, after spending some quality time with this oddball of an instrument, we’re converted. Tinkering with its resonators while a sequence plays can produce a surprisingly diverse spectrum of timbres and textures – armed with a humble pebble and screw, we coaxed some truly unearthly sounds out of its tines that could easily soundtrack an arthouse horror movie. Phase8 is a stroke of genius, and easily the most innovative product we’ve tried at NAMM so far.

Stylophone Voice

Expected price: $50

Due: July

Now this is a great deal of fun. The new Stylophone Voice takes the classic pen-based concept and updates it with a Daft Punk-esque twist. Prompting you to record your voice (or anything you like, really) via the small ‘Sample’ button on the left-hand side of the machine (or via the aux input), the lightweight Stylophone Voice allows you to not only capture original audio, but to mash it up as much as you like!

12 onboard effects, spanning chorus, delay, reverb, filter and drive can completely mangle your sample, and experiment intuitively via the tactile stylus keyboard. A built-in sequencer and integrated drum sounds mean you can get a new idea going in minutes.

We entertained ourselves tinkering with this on the show floor, alongisde Stylophone’s other new release – the Stylophone On-The-Fly Performance Sequencer. More on that soon.

So speed and fun are the watchwords with Stylophone Voice. The best part is the price point – it’ll be launched at around the $50 mark sometime in July, we’re told. We’ll bring you more details and a full review soon.

Behringer JN-80

Expected price: $599

Due: Soon

The product catalogue of Behringer continues to grow at an exponential rate with another clone of another classic synthesizer delivered at a price point that nobody can argue with.

But this isn’t just any vintage synth, it’s the Roland Juno-60, a strong contender for one of the most beloved instruments in musical history – and while you’d do well to get a legit Juno for under $3,000, Behringer’s version comes in at $599.

Behringer tell us they went to great lengths to recreate the Juno-60’s signature sound, closely following the designs of the original oscillator and filter circuits and even crafting an analogue BBD chorus from the ground up to imitate the Juno’s rich and shimmering chorus effect. I

t’s not an exact replica, though, and despite staying true to the classic Juno tone, the JN-80 adds a host of modern conveniences that the original synth lacked while expanding the polyphony with two additional voices. JN-80 also features expanded modulation capabilities, channel aftertouch, full MIDI support and a selection of voice modes that let you creatively redistribute JN-80’s eight voices in poly, mono, unison and duo configurations.

The JN-80 is tons of fun, capturing all the things that made the Juno-60 a classic – the lush, warm analogue sound and the simple, intuitive interface – while bringing it into the 21st century with some well-placed tweaks and enhancements. As with any clone, purists will debate the authenticity of its sound, but it sounds pretty damn good to our ears – and at $599, we’re not complaining.

Fender Studio Pro

Price: $199

Due: Out now

The new rebranding of PreSonus’ Studio One into Fender Studio Pro was motivated in part by the drive to get away from a burnt-in perception of the Fender brand as purely guitar-oriented.

Instead, Fender has taken a significant chunk of the existing PreSonus’ music production catalogue and brought it in-line with a singular ‘eco-system’ based ‘Fender Studio’ branding ethos, the company explained to us at the NAMM Press Day.

Being Fender though, and it’s the guitar-angled additions to the Studio One-derived DAW that are the most substantial. In Fender Studio Pro, the new Fender Mustang Guitar and Rumble Bass plugins offer guitarists an extensive selection of 39 guitar amps and 18 bass amps alongside 125 modelled effects pedals.

The most impressive feature we’ve seen so far at the show is the new Chord Assistant, an intelligent songwriting tool that offers chord recommendations based on existing progressions, while a new AI-powered conversion tool transforms audio files into editable MIDI notes for creative rearrangement.

It was genuinely cool to see and hear it in action – at the press day, a guitarist inputted a wash of distorted guitar, which was instantly converted into a MIDI track. This output via a lush synth pad, which responded to every subtle chordal variation within the guitar audio. Colour us impressed.

UDO DMNO

Expected price: £2,499/$3,500

Due: 2026

Unveiled late last year, DMNO is the latest synth from UDO, joining the Super 6, Super 8 and Super Gemini in the company's line-up.

DMNO is a polyphonic, multitimbral and hybrid analogue/digital instrument made up of two fully independent four-voice synths, each with a dedicated set of front-panel controls.

Like UDO’s Super series, DMNO is a hybrid synth with FPGA-based digital oscillators and an analogue signal path and filter. Each of DMNO’s oscillators is made up of a central oscillator and six peripheral “sister” oscillators that can be dynamically dephased in the stereo field to create lush and wide timbres in the synth’s Super Mode.

Available waveshapes cover sine, saw, square, triangle and pulse, along with 3 user-assignable complex waveforms. Each synth engine is armed with two LFOs with 10 waveshapes (including 2 user-assignable shapes) that can be assigned to multiple destinations via the mod matrix. There’s cross-modulation and PWM onboard too.

DMNO is eight-voice polyphonic, dropping to four “super voices” when the synth’s Binaural Mode is engaged. Each of DMNO’s voices runs through a newly-designed Dynamic Multi-Core Stereo VCF with LP, HP, BP, all-pass and phase shifter modes, overdrive, keyboard tracking and multiple routing options. DMNO features a 32-bit DSP digital effects engine that covers delay, reverb, EQ, overdrive, distortion and chorus.

DMNO is equipped with a 44-key Fatar keybed with channel aftertouch and a two-axis bender, and can be programmed via its 64-step sequencer and multi-mode arpeggiator. The synth also boasts a high-contrast electroluminescent vacuum fluorescent display. DMNO is available in black and white editions, the latter giving off some unmistakable Oberheim Two Voice vibes.

DMNO features a selection of eight Play Modes that determine how the synth engines interact and how the 44-note keyboard interacts with them. These range from traditional options that allow patches to be layered or split across the keys to creative configurations such as Series mode, which goes semi-modular by routing one synth’s output into the other’s oscillator, and Chaos mode, which assigns notes randomly to either synth.

Also worth checking out…

Korg Kaoss Pad V

While most of the buzz at Korg’s booth was centred around its new Phase8 “acoustic synthesizer”, the long-established Japanese brand had plenty more on show for electronic music-makers, most notably a long-awaited update to its widely beloved Kaoss Pad effects unit and sampler.

Kaoss Pad V is the first full-size, traditional Kaoss Pad to be released since the KP3+ in 2013, and brings with it a host of new features and enhancements that make this effects-laden powerhouse an even more powerful tool for creative sound design and live performance.

The most distinctive feature of the Kaoss Pad has always been its XY touchscreen interface, which provides a rewardingly hands-on means of manipulating its ample catalogue of effects. Kaoss Pad V introduces dual-touch operation for the first time, allowing you to use two fingers to control two parameters at once to produce complex textures that leverage multiple effects.

These can range from the obvious – tweaking filter cutoff and resonance simultaneously, for example – to the wildly experimental, effectively doubling the real-time control that the Kaoss Pad can provide and considerably expanding its sonic scope.

The new Kaoss Pad V has been equipped with a newly-developed Voice FX engine for creative vocal processing, and while we were a little disappointed not to get the chance to test this out over at Korg’s booth, we had heaps of fun messing about with its delays and reverbs, and slicing and dicing a MicroKorg arpeggio with the V’s extensive selection of glitchy stutter effects. Well into its second decade, the Kaoss Pad remains as relevant as it ever was.

Akai MPC XL

Akai’s MPC XL is one of the biggest announcements at this year’s NAMM show in more ways than one - not only a significant release, it’s also absolutely massive, both larger and heavier than the MPC X that preceded it in Akai’s product line-up. That can be a benefit or a drawback, depending on what you’re looking for, but it’s clearly intended as more of a do-it-all studio centerpiece that’s going to remain in one place than a live performance instrument like the recently-released MPC Live III.

All that space means tons of room for controls, so you get way more hands-on control than you would on any MPC released before it, and that means less menu-diving – but even when you do reach for the menus, you’ll be navigating them via a gorgeous 10” touchscreen, which is especially useful for taking advantage of the XL’s sophisticated arrangement capabilities. They haven’t only supersized the interface, either, but they’ve maxed out the specs too, and you essentially get the power of a decent laptop in the XL with 16GB RAM, 256GB of storage and a Gen 2 8-core processor.

That’s all well and good, but what really impressed us about the XL was the expressive MPCe pads, which were introduced with the Live III. Each backlit, colour-coded pad is divided into four quadrants that can be assigned to different samples, so you’ve essentially got 64 pads here. There’s velocity sensitivity, aftertouch, and the pads can track your finger’s motion and use its position across an XY grid to control assigned parameters. (I was a bit disappointed to find out that this can’t currently be mapped to some instrument parameters, but we’re told this is coming in a future update.)

Akai has knocked it out of the park with this one: it’s safe to say that in terms of raw power, control and capability, the MPC XL is probably the most advanced piece of standalone music production hardware on the market.

Polyend Endless

AI has been a massive topic of conversation at this year’s NAMM Show, with its ubiquity in a range of software, DAWs and web-based generative platforms debated and mused upon.

But AI in… a guitar pedal is something we really didn’t expect to be reporting on.

Polyend Endless is a new open-source effects pedal that allows users to swap its internal sounds using either C++ coding or - for the less coding inclined - using a prompt-based interface, called Playground (currently in beta) wherin you can essentially describe what effect you want your Endless pedal to add, and the results can be easily exported to your hardware via a file.

In Polyend’s words, users can “describe an idea, download the file, and drop it into the pedal. Play it, suggest tweaks, ask for improvements, and get results without coding.”

Although this is unmistakbly AI at work here, Polyend is keen to avoid using that term.

To us, this feels like a solid example of AI as a ‘good thing’ as the application of the intelligently crafted, prompt-generated sound certainly lends itself to creativity and imagination.

The swappable front plates underline the concept in an eye-catching way. The pedals (and the wholly unique concept) certainly piqued interest at NAMM this year.

Although a community library of effects is free, Playground will use a system of tokens in order for users to purchase custom effects. When buying Endless, users will get $20 of Playground tokens.

Endless is available to preorder now, priced at $299/€299. The units are scheduled to start shipping February 22, 2026. Endless ships with a blank faceplate and $20 in Playground tokens.

Soundtoys SpaceBlender 2

Soundtoys is teasing a sequel to its SpaceBlender plugin at NAMM this year, an experimental reverb designed to create unreal and imaginary spaces: “shapes, textures and tones that are otherwise impossible in the real world”. It’s a powerful sound design tool that looks set to become even more capable in its second iteration.

SpaceBlender 2 is still a work in progress, but the Soundtoys team tell us that it will offer several additional reverb algorithms or “styles” (including the intriguingly named Bubble, Metronomic, and Synthi) and more in-depth control over texture and density, while opening up the ability to dial in independent reverbs across both left and right channels simultaneously for wide, spatial stereo effects.

Nord Electro 7

One of the most eye-catching new arrivals at NAMM this year, the Nord Electro 7 brings in a fully fledged synth section to proceedings, as well as a redesigned interface and dedicated per-section effects processing to this latest incarnation of a stage keyboard classic.

Nord says it’s the most versatile model in the Electro line to date (the last, Electro 6 was revealed way back in NAMM 2018 if you can believe it…) Although there’s numerous new additions to the Electro 7 - including a snazzy redesigned interface - it’s the new virtual analogue-powered synth section that is perhaps the most interesting development, filling out Electro 6’s sample-based synthesis with a virtual analogue synth section and some straightforward FM capabilities.

You can play it in either mono or legato, or if you really want to get performative you can use the glide mode. There’s dual ADR envelopes for amp, filter and FM amount, vibrato and a resonant low-pass filter.

Although our own time with it was a little compromised by the excessive noise of a band performing just next to the Nord rack (that’s NAMM in a nutshell) we can vouch for an impressive depth of sound and some lovely key action.

Nord Electro 7 comes in three editions: 61-key and 73-key versions with a semi-weighted waterfall keyboard and a 73-key edition with a triple-sensor Kawai Hammer Action Portable Keyboard, the Nord Electro 7 HP. Electro 7 61 is priced at £2299/$3299, Electro 7 73 is priced at £2499/$3599, and Electro 7 HP is priced at £2799/$3999

Neumann M 50 V

While everybody of course rushes to the synths, drum machines and playable toys at NAMM (us included, we admit) there’s also been some significant drops in the microphone department this year.

Chief among them was the Nuemann resurrection of the legendary M 50 - the tube microphone used on a wide range of film scores and orchestral recordings. The original has been a scarce rarity for years, coveted by those who own them. Now, the M 50 V carries the baton into a new era.

A noted mainstay in the orchestral world, the original M 50 - introduced to the world back in 1951 - was the microphone that was pivotal for birthing the renowned Decca Tree technique, something it was particularly adept at due to its highly unique polar pattern and transient response.

Although this new version is a faithful reproduction of the original acoustic concept which includes the small diapragm omni capsule mounted within a 40 mm sphere, the capsule type has been improved, now sporting a titanium K 33 Ti for extra durability. The noted realism and depth of the stereo image that the original M 50 brought to the table is preserved, and then some.

The M 50 V will be handmade to order by Neumann itself, with a limited production run to maintain the lofty standards that Neumann prides itself on. Orders can be placed now and shipping begins in Feb. The mic also comes with an NM V power supply and the classic yoke mount. You’ll need to start saving now if you want one - as the price is $12,500.

“This reissue is not just a microphone - it’s a piece of recording history reborn,” Medzid Veseli, Head of Neumann Service and Quality Control, stated at launch. “The production team and I take immense pride in crafting each unit by hand. Every component is meticulously inspected and assembled to deliver the legendary sound that professionals expect from Neumann.”

NAMM 2026: Released in 1980, the TR-808 might be remembered as the device that (eventually) became Roland’s first classic programmable drum machine, but rhythmic scholars will tell you that, two years previously, the company released the CR-78.

This analogue beast offered not only a decent selection of built-in rhythms, but also the option to create four variations of your own, giving it an extra level of flexibility.

The machine itself may have had a relatively low profile, but its sound became well-known thanks to the CR-78’s use on hits such as I Can’t Go For That (Hall & Oates), Vienna (Ultravox) and, most notably, Phil Collins’ In The Air Tonight.

Now the CR-78 has become the latest instrument from the Roland archives to join the company’s plugin roster, which is available via the Roland Cloud. And not only is it designed to bring the sound of the original hardware to your DAW, but it’s also been enhanced with modern sequencing features, individual sound mixing and tuning, tempo sync, drag-and-drop audio/MIDI support and various other things.

This isn’t the first CR-78 plugin we’ve seen - vintage emulation king Cherry Audio had its own stab at it in 2024 - but, obviously, having the Roland name on it adds to the allure.

As you’d expect, Roland has gone for an interface that closely resembles the original hardware - you can choose between the wood panel and black vinyl covering variations - and there are direct access controls for rhythm patterns, instrument sounds, shuffle, fills, volume balance, fade-in/fade-out, and more.

There’s also a detailed Pattern view where you can fine-tune your rhythms and sounds, and mixer controls can be found on the Kit screen.

If you have a Roland Cloud Ultimate membership, you’ll have access to the CR-78 already, and the Lifetime Key is currently on sale for $49 (regular price $199). It runs on PC and Mac in VST/AU/AAX formats.

Find out more on the Roland website.

NAMM 2026: Akai has launched its successor to the flagship MPC X, the MPC XL. The XL follows in the footsteps of last year’s excellent MPC Live III upgrade, adding a lot of similar enhancements such as vastly improved CPU power, expressive MPCe pads and a new step sequencing workflow.

The MPC XL maintains the design ethos of the MPC X, which was first released in 2017, and followed by an upgraded Special Edition model in 2023. Broadly speaking, it offers the same workflow as the smaller MPC Live and MPC One models, capable of self-contained beatmaking, recording, sampling, arranging and mixing, but with an increased amount of inputs and outputs and a broader variety of hands-on controls.

There are significant upgrades here compared to previous gen MPCs though. As with last year’s MPC Live III, the XL is now powered by a Gen 2 8-core processor that Akai says offers four times the processing power of previous MPCs. The XL is also packed with 16GB of RAM, which is double the 8GB offered by the MPC Live III and a massive upgrade from the 2GB and 4GB of RAM in the MPC X and X SE respectively.

From a practical perspective, that means the MPC XL can now run up to 32 plugin instruments and 16 audio tracks simultaneously, with support for up to 256 simultaneous voices. The MPC XL also ups the onboard storage to 256GB, with a SATA expansion bay for additional storage.

The central grid of pads is upgraded with the MPCe tech seen on the Live III last year. This brings an expressive functionality broadly inspired by MPE controllers, although functioning a little differently in practice. As well as offering aftertouch expression, the pads can also be configured to modulate parameters by moving a finger across their X/Y axis.

The pads are divided into four quadrants, and the MPC XL also allows for these to be configured to trigger different samples, effects or timing divisions depending on where the pad is pressed, which is fantastic for creative finger drumming.

Another new feature carried across from the Live III is the touchstrip, which can be configured to control pitch, volume levels, trigger samples or introduce performance effects and beat repeats.

The 16 multi-functional Q-Link rotaries of the previous MPC X are still included, but they’re now moved to sit in a row running across the middle of the unit, above a bank of buttons used for step sequencing. Each Q-Link controller has its own OLED screen offering feedback on various parameters within different sequencing and arranging modes.

Thanks to the repositioned Q-Links, the MPC XL has more front panel UI space, which allows it to offer, according to Akai, “one-to-one function buttons for immediate access to every feature.” A particular highlight of this is a pair of buttons for instant access to sample slicing and stem separation.

On this latter front, as with the MPC Live III, the increased CPU allows for the MPC XL to include the higher quality separation algorithms used in the desktop version of the MPC software, as opposed to a more ‘efficient’ variation.

Connectivity-wise, the MPC XL is similar to the MPC X. Its rear panel has two preamp-equipped combo XLR/TRS ports, along with an additional pair of rear inputs switchable between stereo TRS or phono. These are joined by a pair of front panel instrument inputs.

The MPC XL has eight ¼-inch jack outputs arranged in four stereo pairs. As with the MPC Live III, the X can now stream ​24 channels of audio I/O and 32 channels of MIDI I/O via its USB-C port.

The MPC XL has six MIDI ports, offering two inputs and four outputs. There are also eight stereo CV outputs, allowing the unit to output up-to 16 CV signals simultaneously. For additional storage and connectivity, the MPC XL also has two rear panel USB ports, along with an additional USB and SD card slot on its front edge.

"The MPC XL represents the evolution of everything we've learned from decades of innovation in music production," said Andy Mac, Creative Global Marketing and Artist Relations Manager at Akai Professional. "We've created a true studio-grade workhorse that delivers DAW-like power in a standalone format. MPC XL removes every barrier between inspiration and creation, giving producers the speed, control, and connectivity to bring their most ambitious musical visions to life."

We got our hands-on the MPC XL ahead of launch. In the video at the top of this page, we explore how it differs from the MPC Live III and MPC X, along what we like and what we’d like to see added.

The MPC XL is out, now priced at €2,899.99, £2,499.99 and $2,899. Head to the Akai Professional site for more.

As 2025 draws to a close, we look back on another exciting year of new music technology gear, packed with characterful synths, hard-hitting drum machines and cutting-edge software.

In our two-part gear of the year video round-up, MusicRadar’s Managing Editor Si Truss and Reviews Editor Simon Arblaster each select their three favourite hardware and three favourite software releases from the past twelve months.

You’ll find the full list below. Watch the videos to hear us explain our choices and highlight a few wild cards and honourable mentions.

These are our personal highlights of 2025, but there's so much other great gear we've not had time to mention. Tell us what you've been loving and using in the comments below.

The best music tech hardware of 2025

Sequential Fourm (Chosen by SA)

What is it?:

Despite a slightly clunky name, Sequential’s latest polysynth is its most accessible instrument in years, thanks to a sub-$/£1000 price point and compact form factor.

Why we love it:

It might be at the cheaper end of the Sequential range, but Fourm sounds just as top-quality as any of the brand’s other instruments. The big winning feature here is poly aftertouch, which is brilliantly implemented and leads to some wonderfully expressive chord and arp patches.

Any downsides?:

The slim keys are likely to upset some users, and there’s a lack of onboard effects.

Read the full Sequential Fourm review

Akai MPC Live III (Chosen by ST)

What is it?:

The third iteration of Akai’s most portable and self-contained MPC doubles down on the standalone DAW-in-a-box capabilities by vastly increasing the power of the CPU, improving the pads and adding a host of new features to the hardware.

Why we love it:

The new multi-zone MPCe pads are great, and feel brilliantly responsive for finger drumming and playing software instruments. The addition of a more X0X-like step sequencer is a really nice touch too, particularly for those working with modular gear and external hardware. The real highlight here is the additional power though, meaning there’s far less of a reason to hook up to a laptop to get projects over the line.

Any downsides?:

Some might argue that the extra features make the interface feel cluttered.

Read the full Akai MPC Live III review

Arturia AstroLab 37 (SA)

What is it?:

The third, and smallest, addition to Arturia’s AstroLab range, which draws on the company’s Analog Lab software to offer, essentially, the much-loved V Collection as a standalone instrument.

Why we love it:

We really enjoyed using AstroLab and the AstroLab 88, but both are big commitments in terms of price and space. For studio users that don’t need the full stage keyboard playability of the bigger units, this offers a convenient route into the expansive and slickly designed AstroLab system.

Any downsides?:

Again, some will bemoan the slim keys. It also lacks the flexible sound layering of the larger units.

Roland TR-1000 (ST)

What is it?:

Undoubtedly the most high profile hardware release of the year, the TR-1000 is Roland’s new flagship drum machine, combining virtual analogue, digital percussion, flexible sampling and – yes – fully analogue recreations of the classic TR-808 and TR-909.

Why we love it:

The analogue drums are nice to have, but the real highlight of the TR-1000 is how flexible it is in terms of connectivity and sequencing, particularly thanks to the inclusion of a fair few ideas ‘borrowed’ from Elektron machines.

Any downsides?:

Yes. It’s very expensive and as much as the analogue sounds good, honestly, we kind of wish it was all digital and £1000 cheaper. There were a fair few bugs at launch too, particularly when it comes to syncing to external clocks – although Roland is working on ironing these out.

Read the full TR-1000 review

Novation Launch Control XL 3 (SA)

What is it?:

The third gen iteration of Novation’s knob and fader-equipped controller. As with other devices in the ‘Launch’ range, while this was originally launched as an Ableton Live controller, this latest generation is much broader and more versatile in its uses.

Why we love it:

The general look and design is a big improvement on v2, but our highlight here is the inclusion of full-sized MIDI ports, allowing the Launch Control XL to be hooked up to your studio hardware without the need for a computer.

Any downsides?:

The OLED screen is a little small, meaning some functionality requires slightly confusing use of the shift button.

Read the full Launch Control XL 3 review

Erica Synths Hexdrums (ST)

What is it?:

After Canadian modular brand Hexinverter Électronique went out of business in early 2023, Erica Synths stepped in to ‘rescue’ some of its best loved designs. This means that Hexinverter modules like the Mindphaser are back in production. The two outfits also collaborated on a standalone drum machine, Hexdrums, which converts the sounds of Hex’s Mutant Drum series into a desktop, mostly-analogue beatmaking beast.

Why we love it:

Where the analogue drums of the TR-1000 are refined iterations of vintage sounds, Hexdrums’ generators are fresher, more modern and hit like a frying pan to the face. This is a wonderfully hands-on, intuitive machine that sounds massive right out the box.

Any downsides?:

For the price, there are considerably more capable options out there. Hexdrums’ raw and gritty sound is likely to suit some users more than others.

The best music tech software of 2025

Xfer Serum 2 (Chosen by ST)

What is it?:

One of the most widely-used and well-loved software synths of all time returns for a full v2 refresh. New additions include a host of new sample-based oscillator modes, including sample, granular and spectral synthesis.

Why we love it:

Serum has always been a fantastically deep and rock-solid synthesizer, making it a real workhorse for modern bass, lead and pad sounds. This update only doubles down on that, adding a wealth of new sound design capabilities. What we really love, however, is the fact that Serum 2 is a free update for existing owners, meaning that even if you bought v1 in the early 2010s, you’re still getting everything for free – a great bargain.

Any downsides?:

Arguably if you don’t already own Serum and you do own, say, a power synth like Pigments or Phase Plant, there’s not a lot you can’t achieve in those other synths. Other than that, there’s little bad to say about it.

Read the full Serum 2 review

Acon Digital Remix:Drums (Chosen by SA)

What is it?:

Acon Digital's AI-powered Remix:Drums separates drum recordings into individual stems in real-time, giving you precise control over each percussive element in a mix. It allows users to apply targeted processing to each component of an existing recording, rebalance their levels or simply remove them altogether.

Why we love it:

There are a lot of AI-powered stem separation tools out there, most of which work in a broadly similar manner. Remix:Drums stands out by focusing on a specific track element – percussion – which allows it to be a deeper, more powerful studio tool.

Any downsides?:

Although the technology and usability really impressed us, there are still occasional imperfections and artifacts in the extracted audio.

ValhallaDSP FutureVerb (ST)

What is it?:

The latest plugin from reverb and delay specialists ValhallaDSP, FutureVerb is said to be based on eight years of research and development. The result is a plugin that combines reverb and echo modules, each with an array of new algorithms that run the gamut from clean, modern sounds to wonky, ethereal effects.

Why we love it:

As with other Valhalla plugins, FutureVerb is neatly designed and incredibly easy to use. It’s versatile too, capable of both realism and extreme effects. The ‘80s-style nonlinear reverbs are a particular highlight. At $50, it’s a bargain too.

Any downsides?:

Although it has its own character, there’s a fair amount of crossover between what FutureVerb does and other ValhallaDSP plugins – including the free SuperMassive – meaning it’s not quite a must-buy for those who own the rest of the range.

Arturia Mix Drums (SA)

What is it?:

The latest addition to Arturia’s rapidly-expanding effects line, Mix Drums is pitched as an ‘all-in-one’ drum processing plugin combining dynamics, reverb, distortion, tone-shaping and much more.

Why we love it:

Mix Drums lives up to its promise of quick and easy drum mixing by providing all our usual go-to percussive processors in one place. It’s packed with genuinely useful presets and comes contained in a stylish and easily navigable interface. Easily the most day-to-day useful plugin we’ve tried this year.

Any downsides?:

Although Mix Drums ties up a lot of functionality in a single package, arguably much of what it does could be reconstructed using stock tools in your DAW.

Native Instruments Absynth 6 (ST)

What is it?:

Absynth is another bonafide classic softsynth. Combining elements of granular, FM, spectral and subtractive synthesis with sound-shifting effect modules, Absynth has long been a go-to for creating soundscapes and textural synth patches. Version 5 was discontinued by NI a few years ago, but Absynth has now returned, re-built to run on modern architecture and with original designer Brian Clevinger back in the fold.

Why we love it:

Everything we used to love about Absynth is still present and correct, but version 6 has given its dated UI a lovely modern refresh. It’s not all about looks though, the new interface adds a neat preset map that makes it quicker and easier to browse similar sounds. The best new feature is MPE compatibility, which really suits a texturally-minded synth such as this.

Any downsides?:

Beyond the improved UI and a few new sound design tools, Absynth 6 isn’t a huge leap forward from version 5. It’s great to have it back on our hard drives nonetheless.

Spectrasonics Omnisphere 3 (SA)

What is it?:

The return of another synth icon. Omnisphere is a sample-powered behemoth beloved by countless pro producers. Omnisphere 3 arrives with thousands of new sounds, a new global control system, an expanded effects engine, patch mutation, MPE support and more.

Why we love it:

Omnisphere sounds exceptional and in this latest iteration it really is stuffed with a mind-boggling amount of creative sounds. The new MPE support and hardware control features are excellent too.

Any downsides?:

Omnisphere is massive in both sound and size – it requires a download of more than 60GB to install.

Read the full Omnisphere 3 review

I probably lust after music gear more than most. Yes, of course I realise that it's not just about the hardware or software you use that makes your music great, and that your creativity, imagination and musical chops are the main factors that open the doors up to successful music making. But as I lack all three of those, I more than make up for it by buying gear, and if I can get the same gear that my heroes use, then all the better.

My particular heroes started out as Kraftwerk, after seeing them at the Hammersmith Odeon in 1981, at the tender age of just 14. That gig changed my life and put me on a path to writing about synths, bands, synth bands, and more synths, which I've been following for the last four decades. And when I met/stalked the band's co-founder, Florian Schneider, at Superbooth a few years ago, I told him just that, during the only conversation I have ever had with a famous musician where I would describe myself as resembling a giddy teenager. (Luckily, security was called and I was led off before I could make too much of a fool of myself.)

So when Florian died in 2022, I wrote this about him, and when an auction of many of his possessions took place this month, including a wide array of instruments and studio gear, I was the first to turn up, credit card in hand. The only problem was, it was my first ever auction, and it would end both brilliantly (gear) and terribly (bank balance).

“Never meet your heroes,” they say. That's wrong, they've all been lovely. They should have said, “never buy your heroes' gear” instead.

To say I got a little overexcited is an understatement. This article is the result, not only because I learned some hard lessons so you don't have to, but because I've had to un-retire, thanks to the bill I now have to pay. So here's the story of how I went to an auction to buy some studio chairs, but came back with loads of the contents of a legend’s studio instead.

Starting sensibly

A wise auction goer – which I thought I was to start with – goes through the entire auction catalogue and decides way before what items to focus on. And with more than 450 in this case, there was a lot to get my head around.

The first ever synthesizer that Kraftwerk bought, an EMS Synthi A Suitcase, was an obvious target, but had a selling estimate of between $15 and £20k, well out of my price range.

So I set my sights on some cheaper items, in what can only be called a random scattergun approach that covered drum machines, synths, outboard gear, even mixers. I recently sold a lot of studio gear so pretty much have to start again from scratch, so why not use some of an ex-Kraftwerk member's gear to do just that, I thought?

This meant I was looking at simple 16-channel mixers, controller keyboards, even sunglasses that lit up (yes, really). As an ex-middle-aged-man in lycra, I even considered a road bike (from the band's Tour De France video), but not the VW Camper that ended up selling for over $40k.

The sensible point I am trying to make is that I plan to actually use the gear, something that Schneider wanted to happen to all of his equipment after he passed away.

So far so good. I made a list of some 43 items I was interested in, even putting my maximum bid next to each. I also chose a couple of items I thought only I would be interested in, including four studio chairs with a sleek, industrial design, that were used in Kraftwerk's legendary Kling Klang Studio. How much closer to the band could you get than by having something each of them sat on while recording?

Before the auction started, then, I was armed with a budget, a list, and some maximum bids. The auction was streamed live with – thankfully – an auctioneer who didn't talk like those ones that sell livestock. The process was clear, calm and collected. Unfortunately, I wasn't.

One… two…

I first realised that things would go too far north price wise when a 1930s Telefunken Volks-Trautonium Pre-Synthesizer sold for $38,400, well above its top estimate of $7k. And that Synthi A? Well that went for $115,000, trouncing its maximum estimate of $20k.

By this time I was also annoyed that I hadn't gone for Schneider's oscilloscope, which appeared in several early pictures of him like this one on the back of the Ralf & Florian album.

That went for a shade under $4k, a price that would eventually seem reasonable in the grand scheme of this auction. Instead, I thought I would take a stab at one of the vocoders that Kraftwerk used – after all, Kraftwerk pretty much invented the robot voice, so these could be fabulous buys. That thought quickly evaporated when one went for a mere $256,000.

Now was the time not to panic so of course, I did, although thankfully the auction would end up being around six hours long and it would be some time before my next targets came up: three drum machines which I had put a £3k limit on each, not expecting them to get close.

The first, a 1979 Korg Rhythm 55, sold for $4,500, and the TR-606 for $4k. That left a Korg KPR-77, which Vintage Synth Explorer kindly describes as a '606 wannabe', but I snapped it up in my first purchase for $2k. Even though they sell for a fraction of that, it is an analogue drum machine from the '80s that Kraftwerk used, and it was half the price of the others, so I was feeling OK. Yes, I'm putting a positive spin on things.

Price wise, things were now getting even tougher. Those 16-channel mixers I mentioned sold for $900 and $1,500, way above my $600 maximum bid. Luckily, no-one seemed to notice a third one sitting in a studio rack lot that I did manage to get for around $1,700 – one of the few items to sell under its estimate – and that also included two other effects and a Yamaha FM synth.

At this point I was happy with my lots. I pretty much had what I wanted: a drum machine, synth and a mixer, albeit not quite the classic gear you'd necessarily associate with the big K. Perhaps I should have departed at this point with a relatively decent bank balance still intact.

Then it went crazy

Prices started to go sky-high after this, with a short wave radio I had my eye on selling for over $10,000, and a couple of Korg PS synths that I had fantasised about getting shifting for around $20k each. Then the 'Ruhe' electric Kling Klang 'Recording' studio sign (which I had thought would be popular) sold for nearly $20k while the studio clock – another item I thought I could snaffle up while no-one noticed – sold for $16,000.

Even a dentist's chair, one of many odd items to feature (including a giant plastic fly) sold for $1,600, although that is about the price of a filling in the UK now, so could be considered 'a bit of an earner'.

Then it was time for the studio chairs. I wanted them so much I even broke my own 'maximum bid' rule, but, alas, was unfortunately outbid by another eagle-eyed studio boffin. After a promising start, things were starting to go wrong.

The next item to catch my eye was a 1950s filter, but that went for over $5k. After way too many saxophones, we arrived at three sets of studio speakers, two of which were actually employed at Kling Klang and have appeared in a couple of rare KK photos.

The first, a set of cinema-style speakers, sold for close to $30k, so I wasn't too confident on my target, some classic JBLs that the band used in Kling Klang from 1980 onwards. However, by this time, I was panicking that I didn't have any actual Kling Klang gear, so when these stalled at my maximum bid, I bought them.

The lesson here is to check the size of the gear you buy… before you buy it. At 80kg a piece and a metre tall, these are not your average nearfields, and will likely cost the same again to ship them to me, but with second-hand prices for the individual speakers being anywhere between $5k and $10k I still think I might have got a bargain, although ask me again once they have arrived.

Synths!

And so we actually get to the point of what I wanted: a synth. Yes, I'd bought a TX81z as part of that rack lot, but that FM module is hardly a Moog is it? Luckily, there were two further options that I was targeting. The first was a reverse key Korg Poly 800, an 8-voice polyphonic analogue synth that is a hidden gem to my ears, and sells for silly money (as in silly cheap). Importantly, it was also the first synth I ever played back in the '80s, so to get Schneider's would be a full circle moment for me, and in more ways than one. Luckily, it snuck in at just under my maximum bid so I managed to get it.

Finally, I had Schneider's Roland XP-80 as my last synth target. Again, this is an undervalued beast, basically a Jupiter 8 in rack form. With those synths selling for anything north of $10k, I was willing to go up to $6k but managed to get it for $4.5k (plus fees).

Lessons learnt?

I ended up with three synths, two pieces of outboard gear, a mixer and some (very large) speakers – a haul that could be construed as a studio, of sorts. Yes, I'd clearly overpaid for some items, and possibly underpaid for some, but there's a big BUT coming right at you… or me. Fees are the killer. In this case you had to add a mighty 28% on top of the selling price for the auction fees, and then there's the small matter of getting the stuff shipped. I've spent a lot, well into five figures from my pension pot. That might increase rapidly with Trump's tariffs and those shipping fees.

I'd say, then, that buying gear from any auction can be a way to snap up bargains, but you need to factor in all of those extras before deciding on your maximum bid – in this case basically doubling the sale price – to get that gear to you.

Obviously, the iconic ex-owner is going to be a future factor in these prices, and is likely only to add value, but in this case, I am also finding comfort in the fact that Schneider wanted his gear used, and I will certainly do just that, even though my pension has vastly diminished and I might end up on the streets busking with it.

Oh, and if you fancy some enormous speakers…

In partnership with Terry Lewis, Jimmy Jam became synonymous with the drum machine during the ‘80s, particularly through their work with Janet Jackson. In a new interview with Elmo Lovano, though, the producer suggests that things could have been very different if he’d listened to some of the negative voices around him rather than take inspiration from one in particular: Prince.

Jam, you see, began life as a drummer, and as drum machines started to rise to prominence in the early ‘80s, many drummers saw them as a threat rather than an opportunity. Jam, though, saw things differently.

“The leadership or the influence we had was very much from Prince, because Prince was always very forward thinking about things,” he says. “He never took a piece of equipment and used it the way that was supposed to be used. He would come up with his own way of doing it. So we were always open to the idea of drum machines.”

Rather than being scared of this new technology, then, Jam chose to embrace it, believing (rightly, as it turned out) that his musical background would put him at an advantage. “I thought drum machines were great, and I felt like ‘I know how to do this, because I'm a drummer.’”

There were definitely some who saw it differently, though. Jam recalls going to LA in the summer of 1982, and discovering that a number of his peers were openly hostile to the idea of using any kind of new tech.

“I remember there were drummers that would refuse to play with a click, and they would refuse to play with a drum machine, or even if you put a drum machine on a track, they didn't want to replace [it]. We said, ‘just replace the drums’, and they wouldn't do it.”

Prince might have been one of those who was open to the idea of using a drum machine - notably the Linn LM-1 - but Jam says that he was also protective of his methods, which actually ended up influencing his choice of beatmaking gear in the early days.

“In Minneapolis, under the Prince regime, we used, it was the LinnDrum, the LM-1. And Prince always, was always scared that we were going to give The Time’s sound away,” says Jam.

Things came to a head in 1983 when Prince fired Jam and Lewis from his sideband The Time when they failed to make it back for a show due to a blizzard in Atlanta that grounded their flight. Prince was also unaware that Jimmy and Terry had been in Atlanta producing for the SOS Band, and he wasn’t best pleased when he found out - not least because one of the songs - Just Be Good To Me - became a hit.

But what Jam and Lewis weren’t doing was stealing The Time’s sound. In fact, they’d made a conscious effort not to by putting the LM-1 to one side and firing up another beatbox: the Roland TR-808.

“We were like, ‘no, no, we're going to do something totally different, you know,’ says Jam. “And so that started for us with the drum machine. Let's start with a whole different sonic and then build from there. So that was the reason we went with that with the SOS band.”

Fine Young Cannibals have been discussing the making of She Drives Me Crazy, their 1988 smash hit single, revealing how they drew inspiration from recording it at Prince’s Paisley Park studio complex using the great man’s gear.

Speaking to The Guardian, lead singer Roland Gift says that, as they prepared to record what would turn out to be their second and final album, 1989’s The Raw & the Cooked, the names of all kinds of different producers were discussed, including Phil Collins. In the end, though, the band elected to make the record “in a way people say you should never do an album: in lots of different studios with different producers.”

Top of the ‘dream collaborator’ list was Prince but the band’s label, London Records, had to break it to them that he wasn’t an option. However, they did manage to secure the services of Prince associate David Z, the elder brother of Revolution drummer Bobby Z, and he got the go-ahead to let Fine Young Cannibals use not only Paisley Park, but also all of Prince's equipment.

“The Purple Rain guitar was in the corner, his lava lamps were everywhere and the mixing desk had been used by Sly and the Family Stone,” remembers the band’s bassist David Steele, who also played keyboards and programmed the drum machine.

Inspired by their situation, Steele says that they started to experiment with the toys they had to play with.

“We tried things such as putting the keyboards through Prince’s wah-wah pedals,” he remembers. “Andy [Cox, guitarist] played the riff on Prince’s Rickenbacker guitar. David tells a very complicated story of how he got the snare sound by gating it and all sorts, but most of it was just the conga preset on Prince’s drum machine.”

Speaking to Mix Online in 2001 about the collaboration - and Fine Young Cannibals’ hope that Prince might produce for them - David Z explained: “They were told that Prince doesn’t work with anybody that way, as a producer-for-hire. But they were also told there was someone who works with Prince who does. That was me, and they were willing to try it out.”

Z also told Mix that “complicated story” of how the snare drum was created, confirming that the drum machine in question was a Linn 9000 - an evolution of the Linn LM-1 (and then the LinnDrum) that Prince became a master of in the early ‘80s. It turns out that there was a lot more to the sound than that, though.

“I took the head off a snare drum and started whacking it with a wooden ruler, recording it through a Shure 57 microphone,” he explained. “As I did that, I started twisting the hell out of the [API 550] EQ around 1kHz on it, to the point where it was starting to sound more like a crash. I blended that with a snare I found in the Linn itself, which was a 12-bit machine, so it sounded pretty edgy to start with.”

There was more, though: Z then took this blended sound and ran it through an upside down Autatone speaker that was sitting on a snare drum, which then rattled and added more ambience. A bit of limiting and a touch of reverb and the wood-blocky ‘snare’ was complete.

Z says that he went on to hear countless approximations of his sound on other records and believes it was even sampled directly on some. And, decades later, it was still inspiring other artists - in fact, speaking to Rolling Stone in 2014, producer Jack Antonoff said that it was this very sound that sealed his creative bond with Taylor Swift.

“The moment when we shifted from friendship into working together was when we were talking about the snare drum on Fine Young Cannibals’ She Drives Me Crazy,” Antonoff confirmed. “Taylor brought it up first, and I was like, ‘Holy shit, you’re not going to believe this: I just sampled that snare in a track.’ I played her one second of it on my iPhone, and she was like, ‘Send me that track.’”

That song would end up being I Wish You Would, from Swift’s 1989 (the very year that The Raw & the Cooked was released, funnily enough), and she was quick to praise the Fine Young Canniballs hit that kickstarted it.

“I really think She Drives Me Crazy could be on the radio now,” she told Rolling Stone. “It’s that timeless.”

Roland recently released the TR-1000 Rhythm Creator. The company’s first drum machine with analogue voices to be released in 40 years, it’s capable of SP-404 MKII-inspired sampling and has a premium build, analogue effects and extensive connectivity.

In short, it’s a highly capable and robust machine. But it also has a price tag to match, with an official MSRP of £2286/$2699. For many, this was a decimal point too far, prompting a flurry of angry comments taking aim at the Japanese manufacturer.

Since release, the flames have only been fanned by issues some users have experienced with the TR-1000's sync capabilities – issues that Roland has promised to fix with a forthcoming system update. All of this begs the question: is the TR-1000's price justified, or is Roland taking advantage of musicians that have spent decades pining for an analogue successor to the iconic 808 and 909?

To be fair to Roland, the reaction to the TR-1000 has not been entirely negative. Many have praised the company for listening to its customers and finally releasing a drum machine with true analogue 808 and 909 voices. The response from the professional community has been almost universally positive, with Facebook and Instagram feeds full of producers and DJs showing off the many things that the TR-1000 can do.

All that being said, though, the cost is still surprising. “I’m not saying that the price is unreasonable,” opined MusicRadar’s Si Truss in a recent feature on the TR-1000. “There are a lot of impressive features and flexible connectivity options that warrant a top-range price point.”

When we asked Roland to shed some light on the thinking behind the price, the company had this to say: “We thought about what the specifications (and the resulting price) should be for a flagship model from Roland. We are happy with the reaction from the market and would like to leave the verdict of price versus value to the customers.”

Given that the TR-1000 is a flagship model, with components reflective of this – and it’s also the machine that people have been asking Roland to make for years – why, then, is there such an apparent disconnect between the actual price and what people think the price should be? Why does Roland’s chosen price not match its customers’ expected value?

When people complain about the cost of an electronic instrument, they will often speculate on the cost of the materials and components and then compare this figure with the sticker price. But why?

“Because most people have no idea what it takes to make a physical synthesizer, and all the development costs involved,” answers Girts Ozolins, the founder of Erica Synths, a company with an extensive catalogue of hardware products on the market, including a recently-released analogue drum machine, HexDrums.

While it may seem as if the components themselves don’t add up to that much, there are many additional hidden costs that the customer doesn’t see. “You can reduce your question to printed circuit board design, basically,” Girts continues. “In analogue circuitry, there are technically more components than in a microcontroller or FPGA-run instrument, but money-wise, [an analogue instrument] will be maybe 50 Euros extra. But what is tricky is calibration and tuning. That can take much more time with analogue instruments,” and result in additional expense in terms of manpower.

Expense compounds in other unexpected ways. “With digital instruments,” explains Girts, “you just do firmware updates and the issue is fixed. With analogue instruments, most of the time you need to cut traces on the PCB, do the green wires, and then redesign the PCB multiple times until you get to the perfect result. For instance, on HexDrums, we had three revisions, and with the next run we'll [be on the] fourth edition because we found places to optimize.” All of this impacts the price of analogue gear. To wit, R&D on the TR-1000 took Roland four years – a considerably long time for a drum machine.

“That's one of the major reasons why big companies are hesitant to make analogue gear,” says Girts, “because it’s really a lot of manual work. We tried to make some automatic calibration tools, like screwdrivers that tune one volt per octave, but it doesn't work. Even Korg does manual calibration of their analogue synthesizers.”

Another factor to consider is economies of scale. The more of something that you manufacture, the less each unit costs to make. If you ordered a million units, the cost would be much less than 10,000. “But the question is,” counters Girts, “is there a market for a million HexDrums? I don't think so. Of course, that would have to be quite a different instrument. And then if you aim for a million units, you need to reconsider your development and your product strategy radically, because you're aiming for quite a different market.”

Instead, what manufacturers will do is create a diversified lineup of products so that they can appeal to different types of customers with different budgets. “For instance,” Girts says, “those who feel that HexDrums is too expensive can always get the LXR-02 drum machine for a third of the cost. Our pricing strategy is top to bottom.” You can see this in Roland’s lineup too, with the TR-1000 now at the top, the TR-8S and TR-08 in the middle, and the affordable T-8 Beat Machine at the affordable end.

As for the price itself, Girts feels that manufacturers have the right to set any price point that they wish: “There are different pricing strategies. One is you calculate manufacturing costs and then add desired profits, or profits that are required from stakeholders. The other is, you look at what is happening in a market. Roland feels confident that their [first] new analogue drum machine in decades will perform well at that price point. So why not?”

As Roland stated, the TR-1000 is a flagship product, which is typically a premium item with a premium price tag. It’s comparable to the Jupiter-8, or even the original TR-808, which had a similar price to the TR-1000 when adjusted for inflation. And yet people still seem mad about it.

“It's what people have been asking Roland to make for probably 30 years now, and they finally made it,” says musician Jeremy Arndt. “I don't understand the backlash, honestly. There are different segments in every market, and this is primarily aimed at professional users.”

It’s the latter part of Jeremy’s comment that the angry online posters seem to have missed. The TR-1000 is not aimed at hobbyists, like the T-8, but at industry professionals – much as an acoustic musical instrument would be.

“I am the father of a daughter who plays classical music,” says Girts. “Try to buy a decent clarinet for less than 8K. Of course, you can get cheaper ones, but when you go professional, the pricing starts there. For electronic musicians, there is this GAS, you know, gear acquisition syndrome. Classical musicians do not suffer from that.”

Somehow, along the way, electronic musical instruments came to be thought of as consumer products rather than as specialist musical instruments, which have their own price that people do not necessarily question. “How did we get here?” laughs Girts.

As the number of musicians and producers has grown, the cost of hardware has generally decreased. Compare the price of a Fairlight CMI sampler in 1979 (£27,000, or about the same as a house) to a sampler today, which you can comfortably pick up for a few hundred. Synthesizers have travelled in the same direction, with a Yamaha GX-1 setting you back $60K in the early 1970s, the equivalent of $425,000 in 2024. A budget polysynth can now be had for little more than $100.

We’ve been conditioned to expect instruments to be affordable. This is called price expectation, and it’s just one of the many factors that affect how consumers react to the perceived cost and value of a product.

When people evaluate the price of a product, they’re often not taking into account its objective price – that being the cost of manufacturing (what we outlined above) plus the profit margin. According to the Harvard Business Review’s John T. Gourville and Dilip Soman, consumption is driven not so much by the actual cost of a paid-for product as by its perceived cost – what they feel like it should cost.

No matter that the original TR-808 and TR-909 – the two drum machines referenced by the TR-1000 – were priced about the same on release (accounting for inflation) as the TR-1000 now, and competitors like Erica Synths and Elektron offer similarly specced instruments with comparable price tags, there’s still the expectation that a TR machine should be cheaper. This is because consumers may be holding a reference price in their heads, namely the £600 of the TR-8S, an item with a similar form factor and branding, and comparing it to the new model.

According to research, the jump from the reference price to the actual price ends up being viewed as an unjustified markup, rather than the added value that it really is. And, when consumers attribute price increases to the profit motives of the company, not to production costs or performance, they inevitably get angry, resulting in an emotional backlash.

A phenomenon called category signaling can also occur. For professionals, the price indicates a certain level of seriousness, craftsmanship, and even exclusivity, while for hobbyists, that same price can end up feeling like exclusion. The emotional reaction that results stems from a perceived loss of identity with the brand.

A similar process happened when Teenage Engineering released the OP-XY. “I think people are upset because Teenage Engineering has created an interesting flagship instrument that is out of the reach of a lot of people,” said Richard Nicol of Pittsburgh Modular when asked about the OP-XY’s price. In other words, people feel as if they deserve it, but they can’t afford it.

Additionally, when consumers fail to rationalize a price increase – when they fail to understand the costs associated with manufacturing or running a business – they may infer negative intent on the part of the company, such as greed or manipulation. “The massive sense of entitlement of some commentators online who believe that this is just Roland fleecing their customers is both insidious and laughable,” comments musician and journalist Rob Puricelli.

At the end of the day, the TR-1000 is a premium machine targeted at a specific audience. It may feel subjectively expensive, but it is also objectively capable of generating high-quality analogue and digital drum sounds that are suited to music production at a professional level. If this is what you genuinely need, the price should no longer feel like a barrier – psychologically, at least. Medical equipment may also seem expensive from the outside, but for a hospital it’s a necessary expenditure.

“To justify the TR-1000’s price,” sums up Si Truss in his review of the machine, “you really need to buy into everything that it does.” Truss points out that if you don’t need so much power, “the TR-8S is still a far better value (and more portable) option, even if some sounds are a little flatter.” There’s also the SP-404MKII, if performance sampling is your purview.

To put it another way, “I think there’s a difference between ‘expensive’ and ‘extortionate’,” comments musician and journalist Bob Malkowski. “The retail price of a TR-1000 is most likely close to the monthly wage of most people with an average paid job. That makes it a very considered, aspirational purchase.”

Lastly, Girts Ozolins of Erica Synths notes that, “You cannot have both quality and price. It's always design decisions. If you go with an injection-molded plastic case, it will be a fraction of the cost of a bent sheet aluminum enclosure, but the feel will not be there. Nobody will say that this injection-molded plastic enclosure is built like a tank. It’s not built like a tank – it's built like a toy.”

Roland has finally given the people what they want, at a price that many of them can't stomach. But the reality is that premium gear rarely comes cheap, and in today's crowded marketplace, there's no shortage of budget alternatives available to those who can't justify the outlay. However you feel about the TR-1000's price tag, the fact remains: if you want a drum machine that’s built like a tank, it's going to cost you.

What is it?

For a long time, Roland refused to revisit the heritage of its iconic ’80s instruments, preferring to focus on new technologies even when producing continuations of ranges like its Junos and Jupiters.

That changed with the launch of the Aira range in 2014. Although still based on modern digital technology, the Aira instruments openly reproduced the sounds of classic Roland instruments. That was especially true of the TR-8, a drum machine that replicated both the sounds and general workflow of the TR-808 and TR-909.

In the decade since, Roland’s policy has swung the other way. Although the Japanese brand has released a lot of impressive gear in the past decade, it’s certainly been guilty of repackaging the same emulated sounds into a multitude of different packages across its Aira, Boutique, Juno and Jupiter ranges.

In all those cases, those vintage sounds have been provided by a mix of Roland’s Analog Circuit Behavior (ACB) and Zen-Core engines, the former of which uses analogue emulation and the latter a mix of PCM samples and virtual analogue synthesis.

The main reason that Roland’s latest drum machine, the TR-1000, is particularly attention-grabbing lies in the fact that it includes real analogue circuitry – the first time a Roland drum machine has done so in more than 40 years. That comes in the form of 16 drum voices that claim to authentically replicate those found in the original TR-808 and TR-909, plus an analogue effects unit that takes inspiration from the company’s classic synths.

While the TR-1000’s analogue voices might be its most talked-about feature, putting all the focus on those sounds would be doing the machine a disservice. Yes, there’s analogue here, but that’s only one part of an expansive feature list that reads like a best-of compilation of Roland’s modern beat-makers – plus a fair few ideas borrowed from competitors.

In terms of its sounds, those 16 analogue voices are accompanied by a generous crop of percussive generators based on a mixture of Roland’s ACB tech, simple FM synthesis, PCM synthesis and samples.

Like the TR-8S before it, the TR-1000 can import user samples, but it can also sample and resample sounds directly into its onboard memory, with a sampling workflow that loosely replicates that of Roland’s popular SP-404 MkII.

Its overall creative workflow, meanwhile, builds on that of the TR-8S – itself an evolution of the classic X0X design. Sequencing is focused around a central step sequencer, the capabilities of which are expanded by a host of tools, including variations and fills, automation, a song mode and effects.

Here, those tools are augmented further by new features including off-grid recording, probability sequencing, parameter snapshots and a cross-fader controlled Morph mode.

Performance

Although the general layout of the TR-1000 shares a lot of similarities with the TR-8S, in person, its size and shape is closer to that of an original 909. It’s considerably heavier than its predecessor, which immediately makes it feel like less of an obvious choice for gigging musicians, although its metal chassis gives it a tough tank-like feel, which is appropriate for one of the most expensive drum machines on the market.

Personally, I’m a little on the fence about the TR-1000’s silver and black design, which to me feels a little dated rather than retro, although I appreciate opinions will vary on this point. I do really like the 909-style angled profile, which makes programming the TR-1000 on a desktop feel considerably nicer than a TR-8S.

One of the TR-1000’s biggest selling points is the abundance of physical connectivity. Whereas the TR-8S had six assignable outputs and a stereo pair of main outputs, the TR-1000 has a comprehensive array of I/O options that include individual audio/trigger outputs for each of its ten drum sounds, sampling inputs, CV/trigger connectivity, MIDI and USB connectivity.

I particularly like the inclusion of a direct output from its analogue effect unit, which allows for a multitude of routing possibilities, including being able to use the TR-1000 to process external sounds whilst simultaneously using it as a drum machine.

Like the TR-8S, the TR-1000 can also connect to a computer via USB and function as an audio interface, allowing streaming of individual outputs into a DAW (although you’ll need to download the Roland drivers to make this work). There’s also a desktop control/librarian app, although disappointingly, this is standalone only and doesn’t offer a plugin version for controlling and saving parameters inside a DAW.

Sonics

Setting aside how they’re produced for a moment, the sounds within the TR-1000 are universally impressive. There are, of course, plenty of classic drum machine sounds based on Roland’s heritage machines. Along with the analogue 808 and 909 generators, there’s a generous crop of ACB emulations that offer interesting circuit-bent reworkings of those same machines, along with other classics like the 707, 606 and CR-78.

On top of these heritage sounds, we also get a mix of modern tones and textures, from sampled percussion to melodic stabs, punchy FM hits and creative FX.

As for those analogue sounds, I’ll admit to approaching the TR-1000 with some scepticism. The TR-808 and TR-909 are undoubtedly classics, and play important roles in countless electronic genres. Their sounds are fairly ubiquitous though, and whether through sample packs, software emulations or hardware clones, most producers have access to them in some form or another.

Obviously, a proper analogue recreation of a drum machine is always going to offer a more authentic version than using a stock sample pack from your DAW, but bearing in mind Roland’s own TR-8 and TR-8S already offered impressive, thoroughly convincing digital emulations, could the TR-1000’s sounds possibly offer enough of an improvement to warrant the significant jump to a top-end price?

Having spent time A/Bing the sounds from the TR-1000 with their TR-8S counterparts, I must admit that, for the most part, I do prefer the new analogue versions. When announcing the TR-1000, Roland stated that it had worked on improving the dynamic range of the original drum designs, and that’s noticeable. Particularly at their highest volume, the TR-1000 sounds have a little more depth than the TR-8S versions, which can sound a little compressed by comparison.

Roland has also updated the analogue circuits in other important ways too, such as adding tuning to elements that weren’t tuneable on the original machines – most notably the 808 kick – and allowing additional refinement over the decay and colour of some sounds.

That being said, though, the difference isn’t huge, and at lower volumes or within a full mix, I think you would really struggle to tell an analogue TR-1000 from its ACB counterparts. If you intend to use the machine purely as an 808/909 clone and have no interest in the sampling, modern sequencing tools and expanded connectivity – all of which go a long way towards justifying the price point – then I’m not sure it’s worth the near-£/$2k mark-up from the TR-8S.

No matter what form of generator is in use, there’s a good level of sound-shaping on offer. Each drum track has separate modules for its generator, a state-variable filter/EQ, compressor, multi-mode amp envelope, LFO and a digital effects module. In-depth design of these elements requires a fair amount of menu diving using the TR-1000’s diminutive screen, but it’s possible to map core controls to the front panel knobs for a more hands-on experience.

A particular highlight of the TR-1000 is its four-layer tracks. The bass drum, snare, low tom and high tom tracks each have both A and B layers, which can each be assigned their own generator (there’s also a good crop of presets on offer that make use of both layers at once). The only real restriction in the way generators can be mixed and matched is that it’s only possible to use each analogue generator once within any kit.

It’s also possible to sequence these layers independently using the step sequencer, allowing these tracks to play two sounds at the same time, albeit with a shared volume fader, mute control, etc.

The sampling capabilities add another layer of sonic flexibility. The TR-1000’s sampling menu makes it pleasantly easy to sample either externally or internally, and then assign said sample to any of the 10 tracks.

Along with basic start/end editing, the sample editor allows for repitching, timestretching, bitrate reduction and sample slicing. By pushing these to extremes, it’s possible to get some pleasingly old-school sampling tones. In a particularly nice touch, it’s possible to apply pitch changes and timestretching to individual sample slices without affecting the others.

Personally, my favourite analogue element of the TR-1000 is its master effects unit. This combines analogue drive with an OTA-design state-variable filter inspired by those found on Roland’s classic ‘80s synths. As a combination it sounds fantastic, particularly when driven hard, and works wonders for tying together sounds, particularly when combining different analogue, digital and sample tones within a single kit.

Those analogue effects make for a nice counterpart to the digital effect capabilities, which include reverb and delay sends, a master multi-effect slot, an insert effect slot for each track and internal sidechaining capabilities.

Sequencing

As much Roland’s vintage drum machines are remembered for the sounds they created, their influence and legacy lies equally in the way they helped to define the standard of modern drum sequencers. Their button step sequencers, accents, trigger outputs and various other features are staples of modern drum machines to this day.

As well as reproducing classic sounds, the TR-1000 – like the TR-8 and TR-8S before it – replicates that core workflow while building on it with modern tools and embellishments. As such, the basic workflow here will be familiar to any TR-8S user, but there are several interesting new tools introduced here that makes the TR-1000 a significantly more powerful performance tool.

While the core workflow is classic Roland, many of these more contemporary touches owe an unacknowledged debt to Elektron. This includes expanded step sequencing functionality, which allows the user to hold down a step to access sub steps, probability, cycle conditions and per-track shuffle. The machine also allows for unquantised recording, allowing for looser rhythmic creativity.

The TR-1000 also introduces a crossfader that looks remarkably like that found on the Octatrack, although functions a little differently. Here that crossfader controls a Morph mode. This allows the user to input different combinations of front panel parameter changes to one of 16 Morph slots.

With the Morph mode engaged, the crossfader is used to alter the current sound based on those settings, which is an excellent tool for hands-on performance. A similar highlight is the Snapshot feature, which lets users capture and jump between up to eight saved parameter configurations for each track.

Any issues?

TR-1000 promises a lot – too much to discuss everything in the space of this review – and for the most part it delivers, although it’s not without a few teething issues and odd design choices.

One surprising difference between the TR-1000 and the original 808 and 909, as well as both the TR-8 and TR-8S, for that matter, is its lack of a mid tom/conga channel – likely a decision made to save on interface space.

The inclusion of a mid tom sound might not be a dealbreaker in itself, and Roland has increased the tuning range of the other toms, so it’s possible to create the same sound using the mid and high tom generators. The TR-1000 can mix and match its various sounds on any of the 10 channels, though, meaning an additional track could equally have been used for, say, melodic samples or additional percussion.

It’s true that, to an extent, the dual-layer capabilities of the first four tracks compensate for this omission, but those dual-layer tracks each share a front panel fader, mute button and sequencer track – all of which are important performance features. There’s no getting around the fact that the TR-1000 offers one track fewer than its considerably cheaper counterparts.

There are also a few curious omissions when it comes to how the front panel controls work. For example, the four-layer tracks each have a dedicated mix control. When loading any preset instrument that already has two different generators assigned to its layers this control is mapped to adjust the balance between parts A and B.

If the user sets up these layers themself, though – ie individually selects different generators for layers A and B – the mix control is redundant until manually assigned. It seems odd to have a control labelled ‘mix’ that doesn’t automatically mix between the two layers, and in fact just acts like any other assignable control.

Another gap in the workflow lies in its inability to play sounds chromatically, which would be particularly handy when sequencing pitched samples. There’s a Slice play mode that allows the sequencer to trigger 16 sample slices individually, as well as a Velocity mode where the steps trigger 16 velocity levels – it seems like an obvious missed opportunity not offering a similar mode in order to play 16 pitches chromatically or across a preset scale.

The most problematic of the TR-1000’s current issues, however, is its hit-and-miss sync capabilities. In our tests the machine worked great when used as a master clock to sync external gear via MIDI or analogue sync. However, syncing the TR-1000 to an external clock introduces a lot of latency, with no easy means to address it.

This is true when routing a clock via both MIDI and analogue. For example, we tested the TR-1000 and TR-8S side-by-side. With the MIDI out of the TR-1000 routed to the MIDI in of the TR-8S, the two machines operated perfectly in sync. With the relationship reversed (MIDI out from the TR-8S into the TR-1000) there was significant latency between the two machines.

The same was true when using triggers to sync the TR-1000 with Moog’s semi-modular DFAM. With the TR-1000’s trigger output driving the DFAM sequencer, it was possible to sync the two machines tightly, but with triggers coming from DFAM into the TR-1000, there was significant lag and somewhat shaky timing.

We reached out to Roland about this, who told us they are “aware that a small number of TR-1000 users have encountered issues affecting performance stability in certain situations. Our development team has been actively investigating and working to address these reports.

“A system update is currently in progress and will include important improvements and refinements to enhance overall stability and performance.”

Verdict

On the whole, most of our criticisms of the TR-1000 are things that can be addressed by firmware updates, and we’re confident that Roland will continue to improve the workflow. (They tell us that, “We appreciate the feedback and patience from our TR-1000 community as we continue to strengthen the instrument through ongoing updates.”)

Setting these things aside, though, the TR-1000 has the makings of a potential future classic, albeit one that doesn’t come cheap. It’s hard to think of another drum machine that aims to do quite so much, and taken all together, the TR-1000 makes a fairly good case for its top-end price point, although unless you’re invested in its full feature set, there are better value options out there.

The most obvious comparison is probably Elektron’s Analog Rytm, which also combines analogue drums and sampling, although with its digital emulations, the TR-1000’s sound set has more breadth. What plays in TR-1000’s favour when comparing directly with the Rytm is that Roland has managed to borrow much of the sequencing depth typical of Elektron gear without getting bogged down in the same convoluted workflow. While the somewhat stingy screen means that there is a lot of menu diving involved with the TR-1000, it’s a machine that’s easy to navigate nonetheless.

To justify the TR-1000’s price, though, you really need to buy into everything that it does. If you’re only after day-to-day 808 or 909 sounds, the TR-8S is still a far better value (and more portable) option, even if some sounds are a little flatter. Equally, Roland’s SP-404 MkII offers performance sampling at a fraction of the price. (At the time of writing, you could pick up those two together for half the price of one TR-1000).

The TR-1000 is designed to be a studio or stage centrepiece, and it’s at its best when you make use of its broad connectivity options, routing capabilities and varied performance tools. It’s for that reason that the current sync and workflow teething problems hold me back from giving it a full-throated endorsement.

I can see the TR-1000 shaping up as a highlight of Roland’s catalogue, and a machine we’ll be talking about for decades to come – but personally, I’d wait for some firmware refinements before committing to it.

Hands-on demos

Roland

Alternatives

Specifications

One of the most exciting announcements from the Superbooth trade show back in May, HexDrums is a collaboration between Latvian manufacturer Erica Synths and the now-defunct modular brand Hexinverter Électronique. This week, Erica Synths has made HexDrums available to pre-order and announced a price: €1200.

HexDrums is an analogue drum machine that inherits the DNA of Hexinverter's Mutant Drums series of Eurorack modules, which themselves are "mutated" or reimagined takes on classic analogue drum circuits.

There are 10 sound sources on board, eight of which are fully analogue percussion voices, spanning 808 and 909-inspired kicks, snare drum, clap, rimshot and hi-hats. These are joined by Machine, a versatile percussive synth module made up of four sound generators that can be called upon to produce snares, toms, drones and more.

HexDrums' analogue voices are complemented by two hybrid voices that run an adjustable pair of cymbal and ride samples through an analogue VCA – you're able to load your own samples into these slots via the USB connection.

All 10 voices can be panned individually and then mixed in HexDrums' master section, which is equipped with analogue drive and a soft-knee stereo compressor based on a premium chip typically found in high-end studio gear. Both the drive and the compressor offer blend controls for parallel processing.

All of HexDrums' sound-tweaking parameters are accessible via the top half of its front panel, presenting an array of options for shaping the timbre, pitch, tone and envelope of each sound. Parameters can't be automated and patches can't be saved digitally, however, so you'll have to dial in the desired sounds manually for each performance.

Below this you'll find a flexible X0X-style sequencer equipped with swing, accents, ratcheting, microtiming and probabilities, that can store 16 banks of 16 patterns of up to 64 steps in length. Each track can have a different pattern length and play direction, so you're able to create evolving polyrhythmic sequences, and a Song Mode is available for chaining multiple patterns together in structured arrangements.

HexDrums is well-equipped on the I/O front, with a dedicated 1/4" output for each voice alongside main stereo outputs and a headphone out. You also get MIDI In/Out and a USB-B port for MIDI control, sample upload, pattern memory backup and firmware updates. Finally, there are 1/4" Clock In/Out and Reset jacks for syncing up with external gear.

It's a great time to be into analogue drum machines. Only a few weeks after Roland delivered a modern spin on 808 and 909-style analogue drums with the TR-1000, Erica Synths has done the same – but at half the price.

Taking the "less is more" approach, HexDrums is a stripped-back, focused instrument that marries punchy, characterful sound with a versatile sequencer and an accessible workflow. If you're lusting after that raw analogue tone but don't want or need the TR-1000's bells and whistles (of which, admittedly, there are many) HexDrums could be the drum machine for you.

Erica Synths' HexDrums is available to pre-order now. Check out a sound demo below.

This week, Roland unveiled the TR-1000, its first drum machine in over 40 years to include genuine analogue sound generation.

Although much about this new instrument is thoroughly modern and designed to compete with machines from the likes of Elektron, undoubtedly its most eye-catching feature is the fact it contains 16 analogue circuits that claim to faithfully recreate sounds from the iconic TR-808 and TR-909.

A certain subsect of Roland fans has been crying out for this for years. Ever since the company began reviving its ‘80s drum machine heritage with the launch of the TR-8 more than a decade ago, new products have regularly been met with comments lamenting Roland’s unwillingness to revive the analogue approach behind the TR-808 and most of the TR-909’s sounds.

Although Roland has brought us multiple instruments in the past decade that recreate elements of the 808 or 909 in some way, these have invariably been based on either Roland’s Analog Circuit Behavior emulation technology or the PCM-based Zen Core engine.

With the TR-1000, Roland is finally giving the people what they want. The question is, is it what any of us actually need?

Let me be clear, I’m not saying this as a critique of the TR-1000. For one thing, I’m yet to spend the time needed with one in person in order to deliver a proper verdict, which will come in the form of our full review later this week. For another, I have one in front of me as I write this and, based on what I’ve seen so far, there’s a lot I really like about it. The ability to layer multiple forms of drum generation, the inclusion of SP-404-like sampling and its comprehensive connectivity all amount to a creative and capable-looking machine.

For my money though, the inclusion of ‘authentic’ 808 and 909 sounds are far from being the most exciting element. That’s not to say I have no love for the sound of those classic machines. As a fan of dance music and hip-hop, those sounds are, obviously, staples.

They are also incredibly ubiquitous. Sampled 808 and 909 kits are stock sounds in any DAW, Roland has released multiple updates takes on them, Behringer has its ‘tribute’ versions, and many contemporary drum machines come equipped with sounds that do a decent approximation.

Of course, these aren’t all entirely authentic. You’ll never capture the exact nuances of an analogue machine using simple one shot samples, and there are arguments to be made that emulations don’t capture the exact feel of things like the swing and accents of the original machines.

But in many cases these versions are good enough to be convincing. Particularly in the case of Roland’s largely on-the-money ACB emulations.

I’ve never had a chance to directly A/B test an original machine with the ACB sounds, although I have spent time comparing analogue and virtual analogue recreations – and I think it’s fair to say it’s not easy to tell a ‘real’ version from a virtual one.

I’ve heard it argued that when played in isolation on a big sound system, it’s easy to tell an original TR machine from a modern recreation. Perhaps. But I’d also argue that nobody listens to a drum machine in that way.

In the studio, sounds are invariably edited, mixed and mastered, the process of which can easily mask any differences between a real and faux X0X. In a live or club context, any drum sounds are likely to be processed and limited, then played out in an acoustically imperfect space filled with people dancing, drinking and talking. Nobody in that context is picking up on the authenticity of your analogue beats.

There are plenty of examples of notable artists using Roland’s ACB-powered instruments in these ‘pro’ contexts too. Last year, for example, I sat down with 808 State founder and acid house figurehead A Guy Called Gerald to talk about how he uses the compact T-8 Beat Machine onstage.

All of which isn’t to minimise the magic of the original machines. They are hugely influential and sought after for a reason, although it would certainly be an oversimplification to say this is because they represent some Platonic ideal of analogue sound that every instrument that has followed has failed to capture.

There is something almost Quixotic about the desire for an ‘authentic’ modern take on the 808 or 909. For one thing, there was a fair amount of variation in how different original units sounded, particularly in the case of the 808.

What’s more, some of the sounds we’ve come to associate with the 808 and 909 we are used to hearing heavily-processed and out of context. In hip-hop terms, the 808s is synonymous with booming, pitched basslines that can’t actually be created directly from an original unit, due to its lack of bass drum tuning.

The potential pitfall here lies in the fact that analogue circuitry comes at a cost – shut up for a moment Behringer fans, we’ll get to you – and the TR-1000 lands with an asking price of $2,699/£2,286, putting it right at the top end of the drum machine market.

I’m not saying that the price is unreasonable. On paper at least, there are a lot of impressive features and flexible connectivity options that warrant a top-range price point. The similarly analogue-equipped Elektron Analog Rytm retails for a price that is only marginally cheaper, and the Erica Synths Perkon HD-01 is in a similar ballpark.

All that being said though, there’s little doubt that had Roland used purely digital sound generation but kept the TR-1000 specs otherwise the same it would have hit the market at a considerably lower price point.

The risk, for Roland, is that the company is effectively asking those analogue purists to put their money where their mouth is and prove their willingness to pay more for an X0X recreation based on analogue circuitry.

To Roland’s credit, the TR-1000 is far more than just a rerun of the original 808 or 909. Even focusing just on those analogue circuits, Roland says it has “added parameters, expanded ranges and improved the dynamics”, which seems like a welcome tacit admission of the limitations of some of those original designs.

I’m particularly interested to explore how far those extended ranges allow the analogue sounds to be pushed beyond those of the original machines. While the authentic vintage designs might be the marketing tentpole of the TR-1000, the ability for musicians to coax new sounds out of it – or not – could be what influences whether we’re still talking about it in 10 or 20 years time.

Although Roland has been guilty of repackaging its ACB and Zen Core sounds into multiple instruments in recent years, to be fair to the company, it seems keen to move forward from the original designs too.

Instruments like the S-1 and SH-4 grooveboxes, for example, have each incorporated forward-thinking wave editing tools alongside the usual nostalgic sounds. With the TR-8S too, for all the talk of the analogue emulations, it’s the FM sounds, sampled tones and modern sequencing touches that helped elevate it to modern classic status.

Whether it proves successful or not, the TR-1000 feels like the natural peak of our collective desire for X0X authenticity. For those who’ve been holding out for a contemporary, genuinely-analogue, Roland-branded version of those classic machines, you finally have it.

Those of us without the money to spend can make do with the still-impressive ACB versions or, yes, Behringer’s RD-8 and RD-9, which if nothing else really nail the rugged, chunky feel of working with an original machine. Plus there’s plenty of more loosely-inspired takes from the likes of Jomox, MFB and others.

Ultimately, no amount of hardware authenticity is going to be the factor that makes or breaks an electronic musician. For all that the original units were pivotal to the evolution of genres in the ’80s and ’90s, much of that comes down to the musicians who dedicated themselves to exploring their capabilities and nuances.

Jeff Mills is arguably the artist most closely associated with the TR-909, but as he explained when he spoke to Future Music in 2022, he credits much of that to his ongoing commitment to learning new, exploratory ways to use the drum machine.

“For me, the TR-909 is what I really like to work with, but with any of these instruments if you just think about and approach them differently you’ll find a way to generate a different type of sound,” he says.

“I’d advise anyone who makes electronic music to just go into your studio, pick one machine and try to do something with it that you’ve not done before. Try to make it do something different. No one has to know what you did, but see where that leads.”

Again, none of this is intended as a critique of the TR-1000. I also totally understand the appeal for those who work with an original 808 or 909 in the studio – plenty of artists I really respect own original machines and if you can afford one, I can see the appeal.

Nor is it a plea to stop using the sounds themselves – from warm subby 808 kicks to crisp 909 claps, there's still plenty of mileage to be had from those classic tones. But when it comes to the hardware and software we pine over, it's time we placed more value in interesting new sound concepts than minor refinements of the same sounds that have been around for 40 years.

The TR-1000 is another welcome addition to a long lineage of TR-808 and TR-909 inspired machines. But can we agree, at least for a few years, we have enough access to those sounds now. It’s time we all made space for something new.

What is it?

It’s almost a decade since Akai first returned to standalone, laptop-free MPCs with the MPC Live and MPC X. Although the larger and better-equipped X was always pitched as the flagship, and the later MPC One offers the most affordable way into the range, the MPC Live has proved itself to be the highlight of the contemporary lineup, finding a sweet spot between power and portability.

When the Live first arrived in 2017, it acted as a bridge between the two sides of the MPC’s history. Under-the-hood, it was still powered by a variation of the MPC software developed for the range’s era of MIDI controllers, but its self-contained nature and ability to sample and sequence directly from the hardware offered a more direct link bank to the ‘80s and ‘90s designs that had such a powerful influence on the evolution of dance music and hip-hop.

As time has gone on, these latter elements have proved to be where the MPC Live’s strengths lie. While the software element of the MPC setup has long felt a little clunky and like a lesser version of dedicated DAWs, as a self-contained DAW-in-a-box the MPC Live has set a standard the more recent competitors like Ableton’s Push 3 and Native Instruments’ Maschine+ have looked to match.

With this third iteration of the MPC Live, Akai is going all-in on the standalone capabilities. Whereas previous versions were fantastic tools for idea creation or live performance, the level of power under the hood resulted in a few restrictions that meant that, for many users, creating full arrangements and finessing ideas would mean transferring projects to a desktop machine.

Pricing

$1,699 | €1,649 | £1,399

Performance

The MPC Live III is positioned more as an end-to-end production and performance workstation. The key factor making this more practical, is a significant step up in power under-the-hood. Whereas the MPC Live II had a quad core ARM processor and 2GB of RAM, this model ups that to an 8-core processor and 8GB of RAM – which Akai is touting as four times the power of the Live II. The onboard storage has also been significantly increased from 16GB to 128GB.

From a practical standpoint, this loosens many of the restrictions on what can be done in standalone mode. The amount of simultaneous plugin tracks that can be run within the hardware rises from eight to 32, while the simultaneous audio track count goes from eight to 16.

Along with this, the overall polyphony rises from 64 stereo voices to 256, and the max polyphony for a single drum/keygroup is now 64 voices, up from 32. There are improvements to the quality of various processes on offer too. The MPC Live III adds a new high-quality FFT (Fast Fourier Transform) time stretching algorithm and also now offers a higher-quality version of stem separation.

This latter feature is particularly nice. The standalone MPCs already had stem separation available, which was added in an update last year, but used an ‘efficient’ version of the tech. The Live III can now use the same ‘pro’ version as the desktop MPC software, which is noticeably more consistent and clearer.

Decent quality stem separation is a fairly common feature across many DAWs these days, but of everywhere I’ve tried it, I feel like the MPC is the place it makes the most sense. Sampling stabs and loops is such a core part of the traditional MPC workflow, and being able to grab a loop from vinyl, YouTube etc, and easily isolate a specific chord stab, drum break or vocal hit is a real revelation.

Getting hands-on

The upgrades to the MPC aren’t limited to its inner workings though. There are some significant new additions to the hardware control surface too.

The most prominent of these are the newly overhauled pads. While the traditional 16 pad grid looks and feels the same as previous models at first glance, the manner in which they respond and can be played has been upgraded massively.

Akai is calling its latest pad designs MPCe – a play on MIDI polyphonic expression (MPE) – and aims at introducing a similar level of expressivity as found on devices like Roli’s Seaboards or the pads of Ableton’s Push 3. I say similar, because while there’s certainly a deep level of control here, the way they work is a little different from standard MPE.

The pads are informally divided into four quarters, and can register initial velocity, pressure, aftertouch and movement across the X and Y axis of the pads. This allows for a whole variety of different setups, which are demonstrated nicely by the MPCe factory kits that ship with the new hardware.

Some patches, for example, use the four quadrants of each pad to trigger different samples using the four layers of each internal drum track. This means it's possible to, for example, trigger open and closed hats from the same pad, or different snare or clap sounds, but also lets the user morph between these layers.

Another use shown off well by the presets is assigning different articulations – such as rolls and trills – to different pad quadrants, which is a fantastic performance feature.

It’s also possible to route the various expression inputs in the internal mod matrix, this allows for all sorts of expressive options, with obvious examples being routing changes in pitch or filter cutoff, but the options are extensive and by combining different routings it’s possible to get really interesting setups out of the pads.

What it’s not possible to do is drift from pad-to-pad to create pitch slides as is common on MPE controllers. This doesn’t feel like a problem though – the pad-focussed approach here leans into the finger drumming, sample-orientated workflow of the MPC more than traditional instrument playing, which suits the design.

Beside the pad grid is a new touchstrip, which adds a further level of creative expression. Again, this can perform multiple functions, from pitch modulation to controlling volume levels, acting as a sustain or expression input or controlling punch-in performance effects. It can also be used in place of one of the right hand Q-Link controls. It’s another level of control likely to be welcomed by those that use the MPC onstage.

Step in

The other major new control element is a 16-step sequencer that now sits along the upper edge of the unit. I really like this as an addition. While the MPC has always been a pad-focused machine – and the grid rightly remains at the heart of the workflow – sequencing is obviously a major element of electronic music production, and the more rigid X0X-approach to beat programming can provide a nice counterpoint to the hands-on uses of the pad grid.

While it’s long been possible to step sequence using an MPC, using the pad grid and screen in previous Live models, the dedicated button sequencer is a much nicer way of working. It allows for the pads and sequencer to be used side-by-side in a variety of ways too.

The sequencer can do far more than simple note on/off programming. It’s possible to record automation and edit various parameters for each sequencer step, allowing for radical shifts in sound from step to step. It’s also possible to nudge steps off the grid, add ratchets, as well as set probability levels for individual steps. The step sequencer also has a Last Step mode, allowing for differing sequence lengths across each track.

The step sequencer is a particularly nice tool when using the MPC hooked up to external gear via MIDI or CV, and makes it far more practical, and fun, to simultaneously sequence an external synth or drum machine from the MPC while also performing with the pads.

Along with these control elements, there are a few upgrades to the connectivity offered by the MPC Live III. On the rear panel, the ins and outs are largely the same as version II, but the inputs are now combi ports, as opposed to jacks, which makes it easier to hook up a mic and adds to the flexibility.

The USB port used to connect to a computer is also upgraded to a USB-C port. This is more than a port upgrade though – the MPC III now lets users stream audio directly through this connection, either to sample into the machine or stream audio to a DAW. This means it’s possible to easily, for example, sample directly from YouTube or (some) mobile devices.

It also means that the MPC Live III can now stream up-to 32 simultaneous input/output channels of audio over USB (that results in 24 input options and 24 output options in your DAW). This is another handy option for those moving projects to or from a DAW, alongside the existing export/transfer functions.

On the front panel, meanwhile, there is a new onboard condenser microphone nestled along the top edge of the speaker. This allows users to sample directly into the hardware without needing to connect anything to the inputs. While it’s not going to replace your top-end studio mic and channel strip any time soon, the quality is decent and it’s great for recording quick percussion hits or rough vocals.

Out to launch

The final significant new feature added for the MPC Live III is clip launching. This is ported over from Akai’s Force – the device launched a few years back that was essentially a standalone Ableton Push before Ableton made that a real thing.

The workflow will be familiar to users of Live and Logic, etc. Along with the MPC’s standard arrangement functions, each pattern or loop can now be duplicated into a Clip, which can be arranged into and launched as scenes.

It’s a nice additional tool, particularly for live performers. Clips can be triggered from a variety of places, including the screen, pads and step sequencer, which is nice when multitasking. My only minor gripe is that I’d love to be able to drag and move clips around the grid using the touchscreen, rather than having to copy and paste them.

Verdict

Taking these headline features together, the MPC Live III really is a fantastic upgrade. It does land at a price point noticeably higher than its predecessor – around £400 at launch – but given the additional under-the-hood power and expanded controls, this feels reasonable.

There is an argument to be made that cramming so much more functionality into a similar sized box leaves the Live III feeling cluttered. Personally, I don’t find this a problem, if anything I actually find the additional buttons makes overall navigation easier.

I feel like some users may find the significant amount of extra controls cumbersome though. There is certainly a lot more to get your head around on the front panel, and it’s a lot easier to hit the wrong button.

When it comes to the OS itself though, the opposite is true. When I’ve reviewed previous MPC models in the past, I’ve often highlighted the slightly convoluted and disjointed workflow as a weak point. To Akai’s credit, when the company launched the v3.0 software last year, not only did it add features such as stem separation and NKS compatibility, but it also streamlined the workspace significantly.

Tracks are now unified into a single interface with a clear and more navigable ‘main mode’ and the overall look of the interface is more stylish and better laid out. There is, admittedly, still a lot going on within the overall MPC workspace, and I still find myself getting lost at times, but the overall user experience has improved significantly since the first version of the MPC Live launched.

Taking all this into account, there’s little doubt in my mind that the MPC Live III is the best standalone DAW-in-a-box on the market right now. That’s not to say it’s, for comparison, a Push 3 killer – what Ableton has that Akai doesn’t is a wealth of DAW heritage that allows Push to act as a conduit between standalone and DAW workflow.

For those looking for a hybrid workflow between standalone and DAW modes, Push arguably offers the smoother experience. With the MPC Live III, however, Akai has gone all-in on the standalone functionality, which seems like a really smart choice.

This is a truly go-anywhere production box that’s determined to keep you away from a laptop at all costs. For those who want to commit to that standalone workflow, there’s nothing better out there right now.

Alternatives

Specifications

Last week, Roland posted a teaser to its website headlined by the words ‘tomorrow returns’ accompanied by what sounded like a processed TR-808 drum beat. Now the company has unveiled the inspiration behind that cryptic post – its new flagship TR-1000 drum machine.

The TR-1000 is a significant new release for Roland. Not only is it a feature-packed, multi-functional instrument that sits right at the top of the company’s range of drum machines and grooveboxes, but it’s also the first Roland drum machine in over 40 years to come equipped with true analogue voices.

Those analogue voices are powered by 16 circuits based on elements of the iconic TR-808 and TR-909 drum machines, which Roland says have been “faithfully recreated from the original designs with detailed engineering and carefully selected modern components.”

The original TR-808 and TR-909, released in 1980 and 1983 respectively, are two of the most influential electronic instruments of all time, and likely need little introduction to most music makers thanks to the pivotal role they played in the evolution of genres including house, techno and hip-hop.

This is far from the first time Roland has returned to the sound of those classic drum machines, having released a multitude of Aira, Boutique and Cloud-branded iterations over the past few years. Those instruments have all been powered by a combination of the company’s virtual analogue ACB (Analog Circuit Behavior) tech, or its sample-driven Zen Core engine.

While Roland boasts about the authenticity of the TR-1000’s analogue engine, several of the voices add capabilities that go beyond the simplistic parameters of the original units.

This includes adding things such as tuning controls and amp envelopes to sound elements that didn’t previously have them, allowing the TR-1000 to create things like tuned 808 basslines and refined, punchy beats.

The analogue voices are only part of the story here though. The TR-1000 also features a powerful array of digital elements that build on the capabilities of the impressive TR-8S.

These include virtual analogue voices that make use of ACB tech to replicate a variety of circuit bent iterations of the TR-808 and TR-909 sounds. The TR-1000 also comes stocked with a variety of FM and PCM-powered drum sounds.

What’s more, the drum machine is capable of stereo sampling via its rear panel external inputs, or internal resampling. The machine comes with a 64GB internal memory stocked with 2000 factory samples, leaving 46GB free for user sounds.

The sample engine itself bears a fair similarity to that of Roland’s SP-404 MkII, allowing for the playback of both one shots and tempo synced loops. Loops can also be sliced and played across the TR-1000’s tracks, with the ability to warp and timestretch both full loops and individual slices.

The TR-1000 has ten drum tracks in total, the first four of which are layered tracks, which allow users to pair two different analogue or digital sound generators and blend between them.

The mix of analogue and digital continues in the TR-1000’s effects section. This includes an analogue state variable filter based on the OTA designs used in Roland classics such as the Jupiter-6. There’s also an analogue drive circuit for adding grit and saturation.

On top of these analogue effects are a comprehensive range of digital processors, including delay, reverbs, modulation effects, a compressor, bitcrushing, a DJ-style looper and the glitchy Scatter effects found on Roland’s Aira drum machines.

The sequencing workflow has its roots in the classic button sequences of Roland’s X0X boxes, with all the refinements found on the more recent TR drum machines including parameter automation, rolls and ratchets, and a comprehensive song mode.

The TR-1000 expands on these capabilities further still with so-called ‘next gen’ features that facilitate off-the-grid sequencing as well as options to set step probabilities and adjust the length of individual loop cycles.

There’s also a new crossfader-controlled Morph control, which allows users to fluidly move between multiple parameter configurations. A Snapshot function, meanwhile, can be used to quickly recall saved parameter settings.

Rhythm Creator

The TR-1000 hardware – which comes in an angular silver and black chassis that looks fitting of its Terminator adjacent name – is well stocked with connectivity options. There are individual audio/trigger TRS outputs for each of its ten drum channels, plus a master stereo pair of TRS outputs and a secondary pair of analogue effects outputs.

There is a pair of TRS audio inputs, plus trigger and filter CV inputs and mini-jack trigger and clock outputs. These are joined by MIDI in, out and thru ports, plus a pair of USB connections for hooking the drum machine up to a computer and external MIDI device.

The final element of the TR-1000’s setup is its desktop companion app, which allows users to edit the sound engine from an onscreen interface and acts as a librarian for presets and samples.

The TR-1000 certainly looks like a comprehensive and capable machine, and one that’s clearly aimed at being the centrepiece of your studio workflow. Those capabilities and the analogue tech comes at a cost, unsurprisingly. The TR-1000 has a price of $2,699/£2,286/€2,699 – more than four times the current street price of the TR-8S.

The TR-1000 is available to order now. You can hear it in action in the video above. Check out Roland’s website for more details.

We’ve known about the existence of Elektron’s Tonverk since leaked images of a prototype unit appeared online almost exactly a year ago.

At the time, Elektron appeared to confirm the veracity of the leak, while simultaneously dampening any hopes that a release was imminent, stating that: “At any given time there are a number of prototypes in various stages of development… Some eventually see the light of day and others stay in the proto stage.”

Now the Swedish brand has finally made things official, revealing full details of its latest hardware groovebox, which is available to order as of today.

As expected, Tonverk is a primarily sample-based instrument, albeit one that incorporates workstation-like elements that go beyond the sampling capabilities of regular samplers like Elektron’s own Digitakt. The instrument features 16 tracks, the first eight of which are stereo audio tracks, while the remaining eight handle routing and processing, with four assigned as bus tracks, three sends and one master mix channel.

Each audio track can work in one of three ways, making use of Elektron’s system of playback ‘machines’. The first of these is the Single Player machine, which lets users record and playback both mono and stereo samples polyphonically, with the ability to adjust sample length and playback behaviour, as well as set loop points and crossfading.

The second machine mode is labelled Multi Player, which allows Tonverk to create and load multi-sampled instruments that can be played back polyphonically. To make full use of this, Tonverk introduces an Auto Sampler function, which uses MIDI to automatically multi-sample hardware instruments.

The final audio track mode is called Subtracks. This allows each audio track to play host to eight individual monophonic sample players, each with its own sample parameters and sequencer track. This allows a single audio track to be used as a full drum kit or a means to layer monophonic ideas.

Audio tracks can also function as a MIDI track for controlling external gear.

Each of these tracks can make use of what Elektron describes as ‘a kaleidoscope of effects and huge modulation possibilities’. In practice, that equates to features including two assignable LFOs and two effect LFOs per audio track, an assignable envelope for each audio track, plus two LFOs for each bus/send track. There’s also a flexible mod matrix for routing pitch bend, mod wheel, breath control and aftertouch.

On the effect front, Tonverk has a total of 17 modules available across its various track types (options differ from track to track). Many of these are new for Tonverk, and feature enticing titles such as Infinite Flanger, Phase 98, Dirtshaper, Chrono Pitch and Supervoid Reverb.

In typical Elektron fashion, each of Tonverk’s tracks can be controlled using a deep and flexible step sequencing workflow. Tonverk’s sequencer can program up-to 256 steps per track and comes equipped with functionality including parameter lock automation, an arpeggiator, probability-based sequencing, per-track sequence lengths and micro-timing adjustments.

According to Elektron: “Whether you’re multi-sampling your favorite synth, crafting drum kits, routing things all over the place or sending sounds out and back in for further alchemy, Tonverk is made for expansive sound design and immediate play.”

With its ability to save fully-fledged multi-sampled instruments and multi-part drum kits, as well as its routing and sequencing tools, Tonverk looks like the closest thing Elektron has released to a true ‘DAW in a box’ system.

The obvious question is whether or not Tonverk is intended as a replacement for Elektron’s similarly-priced Octatrack. On paper, Tonverk looks a lot like an upgrade to the Octatrack’s eight-track design; keeping the stereo sampling but expanding it with new modes and internal routing options.

That said, Tonverk lacks some popular Octatrack features such as its crossfader and, at first glance at least, appears to put less emphasis on live performance and more on studio functionality.

In terms of the Tonverk hardware itself, the rear panel features four balanced jack outputs, two balanced jack inputs, a stereo headphone output, and MIDI in, out and through ports. There’s also an SD card port providing expandable memory, along with two USB-C ports.

Tonverk can function as a class compliant USB audio device. There’s currently no word on compatibility with Elektron’s Overbridge software.

Tonverk will come loaded with a sound library containing single samples, multi-sampled instruments, drum kits and preset projects.

Tonverk is available to order now priced at $1,599/€1,399/£1,199. Head to the Elektron website for more.

US plugin brand Baby Audio has released its latest plugin instrument, Tekno, a virtual drum synth with 18 engines that combine circuit-modelled virtual analogue, FM and digital approaches to percussion design.

Tekno has been designed in collaboration with audio signal processing engineer Jatin Chowdhury, and comes stocked with 73 preset kits from producers including Mr. Bill, Richard Devine, Virtual Riot and Yoad Nevo. According to Baby Audio though, Tekno is far more than a simple source of preset drum sounds.

Rather than making use of samples, every engine in Tekno synthesises its sounds from scratch, and the developer is quick to tout the non-linearity of its virtual analogue circuity, which apparently results in a more nuanced and varied response from each hit.

Each sound generator has its own set of bespoke parameters allowing users to adjust the pitch, shape and timbre of the sound.

At the low end of the frequency range are two kick generators, the first of which, Kick A, is punchy and slightly 909-like, albeit with a broader range of sound shaping options. Kick B, meanwhile, is more 808-inspired, with a long tail and powerful low-end.

There are similar variations in the other engines too. Snare A, for example, covers fuller and more tonal sounds, while Snare B is snappier. Similarly, Hats A and B between them cover off a range of sounds between sharp metallic tones and softer, noisier hats.

Beyond these engines are a range of percussive generators aimed at creating sticks, cymbals, toms and tonal bleeps and glitches.

Along with the generators themselves, Tekno comes equipped with a range of analogue modelled effects that can be applied to each drum hit individually. These include tape saturation, an exciter, ring modulation, reverb, a compressor and more.

There’s also a suite of master effects including a filter, reverb and a limiter/clipper capable of tying the full kit together with a touch of saturation. The master section also offers a variety of humanise tools designed to push the non-linearity even further, introducing changes in timbre, velocity and timing with each hit.

Baby Audio isn’t being shy about bigging up its latest release, claiming that Tekno combines “the best of both analogue and digital” and “sets the bar for the hardest hitting synthesized drums ever put in a plugin.”

You can put these claims to the test yourself with a free trial download. The plugin itself is priced at $129 but is currently available for the intro price of $79. It can also be bought via a 6-month rent to own program priced at $14.99 per-month.

Tekno is available in VST, AU and AAX formats for PC and Mac. Head to the Baby Audio site to find out more.

Esteemed electronic instrument designer Roger Linn has uploaded a new video onto Youtube that sees him demonstrate how the Akai MPC Live can be used as ‘the ultimate looper’.

It’s quite a turn of events for Linn, one of those select individuals whose name is synonymous with an instrument, in his case the Linn Drum, the sound of late '80s pop.

Linn worked with Akai in the late '80s to create the original MPC60. Akai was then bought out by Jack O’Donnell, the American company Numark, with whom Linn has a notorious falling out in the late 1990s.

Jack O’Donnell's company – later rebranded as InMusic – stopped paying royalties to Linn and let the MPC line decline. Linn became a prominent critic of the company, to the extent of calling O’Donnell, “a bastard”.

But times change, people move on and Akai and Linn now appear to have mended their broken relationship – hence the video which sees him extolling and then demonstrating the looping capabilities of the Akai MPC Live 2. “Kudos to Akai’s software team,” he says.

The video also see Linn making use of his own Linnstrument hardware, an expressive keyboard-like control surface first released in 2015.

It’s not the first such video Linn has made since he and Akai made up. Last year he surprised many by reviewing the MPC Live 2 after the current Akai company sent him a model.

Linn himself isn't alone in being impressed by the current generation of MPC hardware. When we reviewed the MPC Live 2 in 2021 we called it "the high point of the current MPC range."

It’s been a while since we’ve seen any new music production gear released from AlphaTheta, the brand previously known as Pioneer DJ. Back before rebranding, the company released a short run of studio tools under its Toraiz brand name, which it used as an offshoot of its all-conquering DJ product line in order to focus on studio and production tools.

Previous Toriaz releases have included the SP-16, an MPC-influenced sampler equipped with Dave Smith-designed filters, the under-rated AS-1 analogue monosynth and Squid hardware sequencer. Now, six years on from the release of Squid, AlphaTheta has a new music production tool – Chordcat.

Chordcat is a compact, budget-friendly groovebox that puts chord sequencing at the centre of its workflow. It has eight individual tracks each of which can sequence sounds selected from 145 sample-based instruments and 16 drum kits.

Each track has its own polyphonic sequencer with a maximum of 128 steps. These allow for patterns to be input and edited step-by-step or via live recording. Chordcat also allows for basic parameter recording using its XY pad.

Its most notable features, however, are those that focus on chord sequencing. Chordcat features a scale mode, chord function and pre-made chord sets for quickly creating progressions. It also has an innovative Chord Cruiser feature, designed to automatically suggest chord combinations in order to inspire new compositional ideas – particularly handy for those lacking in musical know-how.

I’ve spent some time with Chordcat ahead of its release, although there are a few key features I’ve yet to try. Ahead of a full review, what follows are a few first impressions of AlphaTheta’s latest music making tool.

The hardware

In person, Chordcat is smaller than it looks on screen and is significantly more lightweight and budget-feeling than previous Toraiz releases.

There are good and bad aspects to this. At the positive end, Chordcat is an incredibly convenient feeling piece of hardware – it’s only a touch over pocket sized and very light, meaning that it’s definitely something that can easily be thrown into a backpack and used on the go.

It can be powered by either AA batteries or USB-C, which adds to the portability. Some might bemoan the lack of a built-in speaker, but personally that’s not something I miss – speakers on instruments at this price point tend to be weak and disappointing anyway, and rarely offer an experience that can match connecting to external speakers or headphones.

On the negative front, Chordcat’s interface feels cheap and certain elements are fairly unpleasant in use. The XY pad is the main offender here. It’s a good idea in principle, but in reality the pad is more like a grid of 16 buttons covered by a sheet of plastic, resulting in a very stepped response when adjusting sound parameters. It’s not the smooth, continuous control you’d expect from this form of interface.

If you can get past the feel of some elements though, Chordcat packs a lot of hands-on functionality into its small frame. It also lands at an affordable price point that is likely to mean that many users are happier to overlook some of its less refined elements.

Sequencing

The headline feature of Chordcat is its Chord Cruiser mode. This is designed to automatically suggest combinations of chords. It’s fairly simple to use in operation – the user selects an initial starting chord using the key/scale functions, and then the 16 buttons of the XY pad light up to present a varying number of compatible chords that could work next in a sequence.

These chords can be auditioned using the XY pad buttons. The user can then select their favourites to assign to the buttons along the bottom edge of the UI. Once assigned these chords can be quickly triggered and sequenced with a single button press.

It’s an interesting idea and generally well implemented. Particularly for those lacking deep music theory knowledge, it provides a simple, quick way to discover chord progressions that the user might not have created otherwise.

There is also a selection of pre-defined chord sets, which are separate from the Chord Cruiser mode. The inclusion of these chord banks alongside the automatic Cruiser mode is arguably a little confusing from a workflow perspective – it’s unclear if, or how, these two features are supposed to interact – although I won’t bemoan the extra functionality.

Chordcat’s other interesting sequencing feature is the Running Direction function inherited from the Toraiz Squid. This can be used to alter the direction in which a sequence moves around the grid of 16 steps, with right, down, clockwise and counterclockwise options, along with the option to reverse sequences and have patterns bounce back and forth. This is a really fun feature, and a great way to quickly turn a pattern on its head or alter the way that Chordcat’s eight tracks are interacting.

Sounds

For my money, Chordcat’s weakest element is its sound engine. Although there’s a broad range of sounds on offer, including banks of synth tones, pianos, keyboards, basses and multiple drum kits, the selection within these categories is a little vanilla and there’s little in the way of editing capabilities.

Each sound can have its low pass filter and amp envelope controlled via the XY pad, but there’s not much depth here. The filter has just controls for cutoff frequency and resonance, and the envelope has just attack and release. What’s more, in the case of drum kits, these parameters are shared across every sound in the kit – ie, if you want to shorten the release time on a hat, it will apply to your kick as well.

There are a few effects to add a little character. Chordcat features an arpeggiator, delay and ducker, each of which can be controlled via the XY pad. Kits can have reverb applied via a send too, as well as have their individual levels and pan position adjusted.

It’s not that any of this is outright bad, but it all feels a little lacking in character and sound shaping potential compared to other devices you’ll find at this price point, such as Novation’s excellent Circuit.

First impressions

Given these misgivings about the sound, it would be easy to write off Chordcat. Certainly, as an entirely self-contained unit, I feel its middling sounds let it down.

It is, however, possible to ignore these sounds and focus on the genuinely interesting sequencing ideas. The Chord Cruiser mode is a lot of fun and genuinely inspiring, as is the Running Direction capability. Fortunately Chordcat has both USB and MIDI connectivity, meaning you can quite easily hook it up to one or more devices that make sounds more inspiring than Chordcat’s own, in order to enjoy the best of both worlds.

AlphaTheta has also released a Chordcat Manager application that promises to make it easy to export and import sequences from the device via USB. This is one of the elements I wasn’t able to try when I previewed the device, which is a shame, as I can see it potentially broadening its appeal as a sketchpad for patterns and chord progressions.

While I'm dubious about warming to Chordcat as a groovebox in itself, I can certainly see the potential appeal of it as an on-the-go device to sketch progressions, riffs and patterns, which can then be applied to external hardware synths or in-the-box sounds. The manager application certainly has potential for enhancing these capabilities too.

In short, Chordcat features some genuinely fresh and inspiring sequencing ideas, paired with an underwhelming sound engine. Fortunately though, that latter element can potentially be ignored or tolerated in favour of its stronger aspects. Whether the innovative side of Chordcat is appealing enough to warrant its price – and let it compete with other similarly priced sketchpad tools like Circuit or Ableton Move – remains to be seen. We’ll bring you a full review in due course.

Chordcat is out now priced at €279/$279/£239. Head to the AlphaTheta site for more.

Visco, the debut plugin from Berlin developer Forever89, launched in 2024 and over the past year has become one of our favourite sound design tools.

At its core, Visco is based around a fairly standard drum machine setup – it has eight tracks that use samples as their primary source, accompanied by a grid-based sequencer, mixer window, modulators and effects.

Under the surface, however, Visco does some very interesting things. Rather than simply playing back the samples themselves, the plugin uses a method its developer calls ‘sample modelling’ to resynthesize each sound so that it can be manipulated and modulated.

These resynthesized sounds can be shaped using a variety of visual manipulation tools, macros and modulators in order to create unusual timbres and sounds that morph in both shape and frequency.

Now Forever89 has released a free v2 update, which adds some significant new capabilities to the plugin, aimed at creating pitched sounds as well as percussive ones.

Synth shaping

Visco 2.0 adds a new tonal mode, which reconfigures the drum machine’s sound engine to allow it to function as a synthesizer. When switched on, rather than playing or sequencing multiple sounds across its eight tracks, Visco instead plays a single sound back chromatically using up-to eight voices of polyphony.

The basic setup of the tonal sound engine is the same as that of its percussive counterpart. Two source samples can be loaded into the A and B slots of the resynthesis engine, which provide the core characteristics of the morphable ‘blob’ used to shape the sound in real time.

The key difference here is that the sound is also processed via an oscillator section. Visco’s synth engine has 12 oscillator styles, ranging from traditional saw and square wave shapes to chord oscillators, a Metallic oscillator, organ-style DrawBar mode and more.

In the oscillator section, users can also ‘stretch’ the sound to alter the distribution of harmonics, apply detuned unison, as well as adjust parameters such as sustain position, glide and detuning.

I've been playing around with the new version for the past week, and this new engine is a fantastic addition to the plugin.

Compared to using Visco in percussive mode, the resynthesis engine tends to capture a little less of the characteristics of the loaded sample, depending on the source sound used.

Insert a synth one-shot or tonal percussive element, and Visco will often do a good job of replicating the characteristics of the sound, but more left-field or non-synthesized tones often produce characteristics that have more in common with the oscillator mode and just maintain the approximate shape of the source sample.

This is hardly a problem though, because even when it doesn’t generate the exact tone you were expecting, Visco’s engine almost always throws up something interesting. This is even more true when you factor in the existing controls carried over from the percussive mode.

The visual editing tools allow users to shape the frequency and timing of the sound in real-time. Perhaps more powerful is the bank of five macros along the bottom of the interface, which can be used to transform a sound between its A and B states, as well as morph its frequency content, duration, noise density and more.

As with its drum capabilities, the key to making the most of Visco lies in pairing these capabilities with its comprehensive modulation and sequencing tools. A range of flexible envelopes, LFOs and randomisation tools make it easy to add movement to a sound, allowing the tonal engine to create synthetic tones that feel like they’re endlessly shifting and morphing.

Although it’s possible to get straightforward melodic sounds out of Visco’s tonal engine – as demonstrated by some decent presets – as with its percussive mode, it feels like you’re missing the point of Visco if you’re not pushing it to its extremes.

This isn’t the best engine setup for precisely shaping sounds based around a fixed plan. There’s little in the way of precise control over a sound’s attack, for instance. But for boundary-pushing experimentation, Visco is shaping up to be one of the best tools around.

The synth sounds on offer here remind me a lot of those created by Synplant 2 – another excellent experimental tool that makes use of resynthesis technology. As with Synplant, the best results created by Visco are often the ones that don’t come out quite as intended.

I was already thoroughly won over by Visco as a drum machine, but its new synthesis mode adds an extra layer of sound shaping potential. Coupled with its powerful macro setup and flexible modulators, this is a must for lovers of cutting-edge sounds.

Along with the new capabilities, v2.0 also add the ability to import FLAC files as well as a variety of stability and performance improvements.

Visco 2.0 is out now as a free download for existing users. New users can currently pick up the plugin for a limited-time price of $99. Head to the Forever89 site for more.

Digitakt II arrived last year, and seriously expanded on the specs of Elektron’s modern classic sampler.

Most of what the original Digitakt could do, version 2 aimed to do better – it swapped mono sampling for fully stereo operation, doubled the audio track count from eight to 16, expanded the step sequencer and added new filters and improved effects.

As we said in our review at the time, however, while Digitakt II doubled down on what we liked about the original, it didn’t add much that the original wasn’t capable of. It was a case of more of the same, but better. With its latest firmware update, that looks set to change.

Any way you slice it...

One of the key shortcomings of both iterations, in the eyes of some users at least, was its lack of manual sample slicing capabilities. This is what Elektron is now set to rectify with the release of OS 1.5 and its new Slice machine.

As with other instruments in Elektron’s lineup, Digitakt’s sound engine makes use of a system of ‘machines’, which are virtual modules that let users swap out different modes of sound generation and filter types.

Both versions of Digitakt offered basic sample slicing thanks to the original Slice machine, which was added to Digitakt I via a firmware update (and later renamed Grid machine for Digitakt II).

That original machine allowed users to divide a loop into equal slices and then trigger and sequence these elements individually. Technically, it was a form of sample slicing, but compared to functionality in rival machines such as Roland’s SP-404 or software such as Ableton’s Simpler, where users can manually adjust slice points or automatically slice a loop by its transient, Digitakt’s functionality felt somewhat lacking.

It is precisely these features that Elektron has addressed with the new Slice machine. Digitakt II users can now divide a loop into a maximum of 64 slices. As well as applying an equally-divided slice layout, users can also engage the new Transient mode in order to slice a loop by its transient peaks.

The new machine also comes with a Slice editor, which lets users adjust the start, end and loop points of every sample. A link mode allows adjacent slices to be edited in unison.

As well as offering new ways to divide and edit slices, the OS update also adds Slice-friendly features to Digitakt II’s versatile sequencer, including features designed to make it easy to sequence and randomise slices.

In addition to broadening the capabilities of what Digitakt II can do, the new Slice machine also adds a further dividing line differentiating it from its predecessor.

It doesn’t appear that Elektron intends to roll out similar capabilities to the original machine. It’s unclear whether this is due to limitations of the original hardware or simply a choice in order to focus on the newer model, but either way, it provides a more compelling reason for owners of Digitakt I to take the plunge on an upgrade.

OS 1.5 is a free download for users of Digitakt II. Head to the Elektron site for more information.

When we launched our Superbooth live report last week, we prefaced it by saying that “Superbooth has grown to become the most significant date in the annual music technology calendar.” That statement remains true, but in retrospect feels like an understatement.

For a few years now, the Berlin synth show has been a focal point for music technology gear announcements, but the 2025 iteration took this to another level. The sheer volume and variety of new music making gear on display in and around the FEZ event space was beyond anything we’ve seen in previous years.

In 2025, Superbooth is more than just a significant date in the annual music technology calendar – it feels like the focal point of the whole industry. Even brands that weren’t at the show itself, such as Roland, got in on the action with conveniently timed synth news. From small DIY projects to major brands releasing flagship instruments, this year’s Superbooth had something fresh around every corner.

If there was anything that was going to sour the vibe at this year's show, it was the looming spectre of tariffs. The implications of Donald Trump’s baffling trade war lent an unspoken air of uncertainty to this year’s Superbooth. More often than not, when we asked brands about price and availability of upcoming products, any information was accompanied by a caveat that uncontrollable factors might change things.

From our perspective, the main problem with this year’s Superbooth was that such a massive volume of exciting new releases makes narrowing things down to a manageable ‘best of’ list incredibly tough. Honestly, we could waffle on here for thousands of words.

As it is, our team on the ground has argued out their favourites and whittled it down to 12 highlights – plus a few honourable mentions. You can hear more of our reasoning along with audio demos of everything mnetioned in the video above. Visit our Superbooth live report for even more from the show.

Synths and keyboards

Frap Tools Magnolia

Italy’s Frap Tools has made a name for itself in the modular world, but Superbooth 2025 sees the company stepping up with its first full polysynth. Based on ideas previously explored in the company’s Bresno oscillator module and Cunsa filter, this 8-voice analogue synth combines ideas from conventional subtractive synthesis with ‘West Coast’ features such as wavefolding, flip sync and audio rate modulation.

Key to the synth’s sound is through-zero FM, applicable between each voice’s two oscillators, but FM can also be applied to the high and low pass filters. Combined, it produces some wonderful metallic tones that can morph into edgy, aggressive territory easily. The company described it to us as like exploring digital sounds in the analogue realm, which seems pretty fitting.

Another important element of Magnolia’s sound is the bi-timbral design, which allows two sounds to be split into dual, keyboard split, morph and unison modes. Assigning these layers appears to be very easy, and in our demos the synth really comes alive when combining elements of bright FM tone with rich, traditional poly patches.

The keyboard has poly aftertouch, along with a user-friendly mod matrix, and assigning expressivity looks like it would open up a lot of interesting sonic potential. It reminds us quite a lot of UDO’s synth designs, which is no bad thing, but already seems to have a distinct sonic palette of its own.

Availability: Towards the end of 2025

Price: TBC, but we’d expect top-end

Moog Messenger

Moog Messenger may be a monosynth with a simple architecture and an accessible knob-per-function interface, but the instrument has a few tricks up its sleeve, specifically wavefolding oscillators inherited from the recently-released Labyrinth and a “next-generation” ladder filter that delivers four modes (4-pole low-pass, 2-pole low-pass, band-pass, and high-pass) thanks to its versatile pole-mixing design.

Filling a hole in Moog’s product catalogue left by the recent discontinuation of the Subsequent 25, Messenger gives music-makers a way to access the classic Moog sound for under $1000, without losing a keyboard and venturing into semi-modular territory.

And it’s clear that with Messenger - as with several recent releases - Moog is attempting to complement the sound that the company is known for with modern enhancements and an exploratory new direction.

In person, Messenger surprised us a little with how compact it is, and we feel this form factor might be divisive. It’s also got some tough competition from other monosynths at this price point. We’ll never complain about getting our hands on a new Moog monosynth though.

Availability: Available to order now

Price: £699/$899

Instruō Seashell

Bridging the knob-twiddling hardware world of modular synthesis with the software landscape via an accompanying plugin, Seashell aims to bring perfect integration with your DAW or software control environment.

The synth itself has a semi-modular architecture fuelled by dual analogue sawtooth-core VCOs sporting sync and cross modulation. There’s a wave folder and lowpass filter (CV controlled) and on the modulation front, there’s an LFO, a flexible envelope generator and a stereo diffusion effect. All of these elements can be manipulated via the accompanying software. It’s also patchable via CV inputs for external signal manipulation.

Connecting to your computer (Mac, Windows or Linux) via USB-C, users can modify any and all of the Seashell's analogue components via the plugin’s fairly contemporary-looking UI, with high resolution digital control (14 bit) over its main areas.

Availability: Available to order now

Price: £649

Drum machines, samplers and grooveboxes

Erica Synth HexDrums

The big news from Erica Synths at Superbooth this year is the release of HexDrums, an analogue drum machine that inherits the DNA of percussion modules from now-defunct Eurorack brand Hexinverter Electronique.

In typical Erica Synths fashion, it’s a beastly-sounding instrument that packs all the percussive firepower one could need into its sleek black-and-yellow shell. It also packs a master compressor, based on Hexinverter’s Mutant Hot Glue module.

We love the chunky sequencer buttons and abundance of hands on control here. In use, HexDrums feels very intuitive and its meaty sound is perfect for raw techno, capable of serving hard-hitting percussion and meaty bass parts side by side.

Availability: Late 2025

Price: TBC

Cre8audio Boom Chick

Boom Chick is a Eurorack-friendly drum machine from Cre8audio and Pittsburgh Modular. Its five drum voices feature the expected kick, snare and hi-hat alongside two multifunctional voices that can be used to craft toms, claps, cymbals and experimental percussive textures through waveshaping and frequency modulation.

The sequencer is surprisingly deep and flexible for such an affordable instrument ($399) and there’s more than enough connectivity here with individual outputs per voice. We’re impressed.

Availability: Mid-May 2025

Price: $399

1010music Bento

Bento is an eight track sampler and sequencer, designed to be the hub of a DAW-free setup. Its neat form factor feels just right to us - small enough to feel light and truly portable, but not fiddly. Its touchscreen is clear and responsive, although it remains to be seen how well it works as an interface for deeper editing.

First impressions are that Bento feels a lot like Polyend’s Tracker, albeit designed for those put off by the more esoteric elements of that machine’s retro-influenced design. With the ability to live play its pads, step sequence and edit on a piano roll via the touchscreen, there’s plenty of ways to sculpt patterns.

Although sample content is very much the focus, with one-shot, looping and multi samples catered for, the inclusion of the granular engine from 1010music’s Lemondrop adds a touch of textural synthesis to the sound palette. We like the overall look and feel of Bento. And the inclusion of plenty of MIDI and audio connectivity.

It’s worth noting that while the instrument is available to purchase now, some notable features are yet to be implemented, including some clip functions and the ability to process external sounds through effects. These are said to be on the roadmap for the very near future.

Availability: Available to order now

Price: £849/$899

MIDI controllers and sequencers

Novation Launch Control XL 3

Launched in 2014 as a dedicated Ableton Live controller that expanded the capabilities of the dinky Launch Control, Novation’s Launch Control XL has since gained a reputation as a reliable and affordable DAW controller, though it hasn’t been updated since the MK2 version gave it a mostly visual refresh back in 2017 - until now.

Novation’s Launch Control XL 3 sees the controller transitioning from a primarily Ableton-focused device into something that’s aimed equally at users of all DAWS - and those who have ditched them altogether. It’s got out-of-the-box integration with Ableton, Logic, Cubase, FL Studio and more, and now thanks to its new MIDI I/O, it’s a viable option for those looking to control a hardware-based set-up.

XL 3’s hardware also received a complete redesign: its new OLED display makes it easy to reference parameter values and assignments while performing, while LEDs under each encoder denote values via their brightness and colour. It’s also got a sleek and minimalist new look. Launch Control XL has historically been a pretty decent controller at a reasonable price point, but it was looking rather outdated in 2025: this is the update it needed.

Availability: Available to order now

Price: $249/£189/€193

Neuzeit Instruments Drop

Arriving out of nowhere this year is something entirely unexpected from Neuzeit Instruments, a manufacturer best known for its experimentally inclined Eurorack modules. Drop is a formidably powerful snapshot-based MIDI and CV controller: 32 LED-equipped knobs, eight faders, eight mutes, and 20 buttons (all duplicated across two layers) give you tons of control, while 4x MIDI ins and outs and 2x CV ins and outs provide ample connectivity.

The concept at the core of Drop is right there in the name: it’s designed to make it easy to create impactful build-ups, transitions and drops. 20 banks of 20 snapshots can be used to program multiple scenes, which can be pre-scheduled. Line up your drop for a chosen number of bars, then go nuts on the effects to create a dramatic build-up, knowing that the next section of your song will automatically drop in at the specified time.

If you’re working on live performances that incorporate multiple instruments and pieces of gear with complex arrangements and transitions, this could be the controller for you.

Availability: Late-summer 2025

Price: €799

Effects processors

Polyend Mess

The latest in Polyend’s relatively new line in stompboxes, Mess is an abbreviation of Multi-Effect Step Sequencer. There are 125 effects under the hood, including reverbs and delays, granular and glitch processors, overdrives and bitcrushers, pitchshifters, loopers and slicers.

You can use all of these without the sequencer if you wish, stacking them in any combination you like, but there’s almost certainly more fun to be had if you start tweaking those parameters over time.

You can set the speed and length of each track to create polyrhythmic or polymetric patterns, while the chance/probability options introduce elements of randomness and ensure that the effects just keep on changing. 200 presets are included, along with 1000 slots for your own concoctions.

The knob-per-function interface should help to ensure that preset building is as fun as playing, with sequences being built across 16 step pads. Connectivity includes MIDI I/O, Stereo TRS audio I/O, an expression pedal input, USB-C and a slot for a Micro SD card.

On the show floor we got to test Mess on a guitar, and loved the way it could turn simple chords into richly modulated soundscapes. We can’t wait to see what it can do on things like synths or drums.

Availability: June 2025

Price: $599

Innovations

Korg Berlin Phase8

Launched as an experimental offshoot of the Japanese synth company, headed up by Volca designer Tatsuya “Tats” Takahashi, Korg Berlin has spent the last few Superbooths demonstrating its acoustic synthesis concepts in various forms of development.

At Superbooth 2025, the team is finally showing a (near) finished product. Phase8 is a desktop synth built around the concept of acoustic synthesis. Its eight independent voices are electromechanical. Sounds are created using tunable metal resonators–- these can be sequenced and tweaked using envelopes, waveshaping and audio modulation.

Sonically, Phase8 certainly falls into experimental territory. Its sound is somewhere between percussive and melodic, and can initially come across as a little flat and one-dimensional. The beauty of the synth reveals itself, however, as you explore how subtle changes to the velocity of each note, the shape of the envelope and depth of modulation can alter both the tone and rhythm of the sound.

Perhaps the most interesting aspect of Phase8 is the way its resonators can be physically manipulated. Placing a hand or any sort of object on to the resonators can mute the sound or alter the tone in a similar manner to working with a prepared piano.

Availability: Early 2026

Price: TBC, but aiming for below £/€1000

Clank Uranograph

Uranograph is undoubtedly one of the most unique instruments at Superbooth 2025 (and that’s a tough category). Its creator describes it as an instrument that "merges the expressive depth of classical instruments with the limitless possibilities of synthesis.”

In practice, this involves a five voice microtonal synthesizer controlled by dual capacitive keyboards inspired by the expressive articulations of MPE instruments. These keyboards are highly customisable to work with different scales and tunings, and the instrument comes loaded with over 50 keyboard layouts.

The keyboards respond to velocity and aftertouch. There are also articulation plates for creating glissando, staccato and trillo effects.

The synthesis core makes use of additive and phase morphing synthesis, with wavefolding capabilities as well as asymmetrical distortion. There’s also a delay-focused DSP effects engine that can process both internal and external sounds.

This is certainly not an entry level synth – Uranograph looks deep, complex and utterly unique. It sounds pretty fantastic too.

Availability: Available to pre-order

Price: 1st batch €1552, after that €2240

Eternal Research Demon Box

Demon Box works based on the concept of sensing and converting electromagnetic fields. It does this using the 33 ‘hand tuned’ inductors placed on its top panel, which can pick up signals from everyday objects – the company’s Superbooth display had people using phones, power tools, toys and more.

The electromagnetic fields are converted to raw audio, which Demon Box can output via the individual audio outputs. Demon Box can also output signals via MIDI, CV and USB in order to act as a control device for other gear.

Whether used as a way to generate soundscapes from the world around you, or an interesting way to get expressive with other music hardware, Demon Box looks like a fun and innovative device with lots of potential.

Availability: Available to pre-order

Price: $999

Honourable mentions

These are our highlights from the Superbooth show floor, but we’ve barely scratched the surface of what Superbooth 2025 had to offer.

Alongside new gear, there were numerous updated products on display, including some of our favourite bits of kit from recent years. Polyend’s Synth, for example, gained a new dual-sample engine, while Ableton updated its compact Move groovebox with much-requested sample slicing as well as better MIDI capabilities.

Several existing products gained impressive looking new siblings too. Groove Synthesis’ excellent 3rd Wave is one of our favourite synths of recent years, but it’s expensive and probably has more voices than a lot of us need. That’s why its new smaller, relatively affordable sibling the 3rd Wave 8M is a welcome addition.

Bastl has added another addition to its always-fun Kastl 2 range of mini synths. The latest Kastl model, named Wave Bard, is a stereo sample player that looks like it will be great fun for experimental sound mangling.

Superbooth 2025 also saw the release of a huge wealth of Eurorack and modular gear we’ve barely had a chance to touch in this roundup. If we were forced to highlight a single module, it would have to be Make Noise’s new Polimaths – an eight-channel function generator that expands on the design of its widely-loved Maths module.

Superbooth 25: In recent years, LA-based instrument brand 1010music has made a name for itself with its Nanobox range – an assortment of ultra-compact digital instruments that includes the Razzamatazz drum machine, Lemondrop granular synth and Tangerine sampler.

Its latest release, Bento, is something altogether more substantial. Described as a “flagship music production lab” Bento is a self-contained sampling instrument that aims to replace your DAW and become the focal point of your music making setup.

“Bento is everything our users have been asking for in a flagship sampler – more power, more control, and more performance tools, all in a portable package,” says 1010music founder Aaron Higgins. “It’s designed to replace your laptop and become the brain of your setup.”

The device itself is focused around a 7-inch colour touchscreen, which comes accompanied by 16 velocity and pressure sensitive pads and eight endless rotary controllers.

Bento can create fully-fledged compositions using a scene-based workflow, capable of real time recording, step sequencing, piano roll input and equipped probability tools. It can sequence eight tracks, each with four sequences, allowing users to build full sequences or launch clips for DAWless jam sessions.

Bento offers a range of sample playback modes, capable of hosting chromatic multi-sampled instruments, pad-based drums, one-shots and loops. It also features beat slicing and granular capabilities inherited from 1010’s Lemondrop.

The instrument is also designed to play nicely with your other bits of studio hardware. There are three stereo inputs, three stereo outputs, dual TRS MIDI I/O and USB-C host/device ports. The instrument has an effects engine with per-track delay, reverb, chorus, flanger, and phaser with automation, as well as an internal mixer that allows the user to process external sounds.

Bento will ship with 5GB+ of sample content, including multi-sampled synths and instruments created by Samples from Mars, Soundtrack Loops and Drew Neumann. It also offers Internal 24-bit resampling and sample streaming from its microSD.

Bento is completely standalone thanks to its onboard battery, which 1010 tells us offers 3 hours of wireless use.

Bento is available to order now priced at $899. Head to the 1010music website for more.

Superbooth 25: Eurorack module specialist Hexinverter Électronique may have closed its doors in 2022, but its tech lives on thanks to collaborations with Erica Synths.

The latest of these is HexDrums. Taking the DNA of Hexinverter’s Mutant series of percussion modules, this is an analogue drum machine with 10 sound sources. These include two kicks, an optimised Mutant Machine, snare, clap, rimshot and hi-hats. There are also 10 sets of crash and ride cymbal samples from Erica itself.

There are individual outputs for all the drum sounds and stereo panning on the master channel. The compressor and master drive effects, meanwhile, have their roots in the Hexinverter Mutant Glue module.

Of course, to achieve full ‘drum machine’ status you need to have a sequencer, and the one in the HexDrums has 64 steps and offers per-track accent, per-step microtiming, ratchets, rolls and per-step probability. Each of the 16 banks can hold 16 patterns.

Discussing the HexDrums - which is set for release later this year - Hexinverter Électronique’s Stacy Gaudreau says: "Our plan was always to use the Mutant Drum DNA to create a next-level desktop drum machine. We began early work on one before the pandemic. I'm so glad that the Erica Synths crew was able to carry out the vision and finish the dream!"

Find out more on the Erica Synths website.

Superbooth 25: Ableton Move arrived last year and was quite a surprising release from the Berlin software brand.

Although, on the surface, it looks like just another pad-based Live controller, Move is actually a self-contained instrument that functions like a cross between Ableton’s flagship Push hardware and its Note iOS app.

In short, Move allows users to play and sequence four tracks’ worth of instruments, based on devices derived from counterparts in Live. These include sampled beats and instruments, making use of Live’s Drum Racks and Drum Sampler, as well as synths powered by the likes of Drift and Operator.

Move also allows users to sample directly into the device, manipulate sounds using a small selection of Live effects, as well as act as a Live controller when hooked up to a computer running that DAW.

Now Ableton has launched a new firmware update for Move, which looks to be its most significant update yet.

When Move launched, one of the most common complaints from potential users was its lack of automatic sample slicing. Although Move allows users to sample using its audio input, onboard mic or internal routing – and lets users manually spread a recording across different pads – at launch it lacked the ability to automatically slice a loop to be triggered across different Drum Rack pads, in the way Live allows.

With the 1.5 update, Move now offers that option to slice a sample into equal regions, with the amount of slices set by the user. Users can then adjust the individual slice points in order to fine tune the process.

Move 1.5 also significantly enhances the device’s MIDI capabilities. Move can now simultaneously send and receive MIDI across its four tracks, which can each be configured with its own MIDI in and out settings. Move can also now receive MIDI clock settings from external devices.

It’s worth noting that Move uses its USB port for MIDI I/O, and doesn’t have conventional MIDI input and output ports.

Live’s newly overhauled Auto-Filter device also comes to Move 1.5, along with a range of presets. The update also adds some refinements to how Move functions when controlling Live, along with a variety of bug fixes.

These new updates join several other enhancements to the Move workflow that have been added since launch. These include the ability to sample using the device’s USB port, as well as improvements to the arpeggitor and quantize modes.

The 1.5 firmware is currently in public beta, head to the Ableton beta program site to find out how to join.

Move itself is available now, priced at £399/€449/$449. For more info visit the main Ableton site. Revisit our original review below.

What is it?

Sonicware is a relatively new company that has chosen an arguably tough route to market: music production hardware with a difference, and at an affordable price. Its Liven range – which includes Ambient O, 8bit Warps, and Lofi-12 – perhaps sums up its target audience: those after something a little off-kilter or genre-specific, and products that the big oil tankers like Roland and Yamaha would never attempt a turning for, let alone sell for just $239.

CyDrums is more of the same, although pricier at $499 (currently $399). It’s an impressively spec’d drum machine that doesn’t deliver XOX sounds – unless you delve and tweak (which it encourages you to do) – but does deliver beats, blips, and melodic monophonic sounds all based on a dual wavetable engine, and aimed at glitch, leftfield EDM and genres yet to be invented. It’s doing different beats in hardware, for not much more than a top-end piece of software, and it’s doing it rather well.

The CyDrums form factor is more in line with the company’s SmplTrek and Lofi-12 XT units; that is oblong/portrait-shaped with a lot of parameters on hand, rather than the more keys and landscape-orientated Liven range. We suspect that SonicWare sticks to a couple of main designs and operating systems to keep costs down across its ranges and we’re all for that approach.

However, this does mean CyDrums has features that are seemingly yet to be implemented. Its mic and audio ins have ‘sampling’ written all over them, but the unit just functions as an effects box thus far, so you can’t add wavetables nor samples to its engine, although an expansion slot does let you load and save externally. Sonicware says of these inputs, “They only serve as inputs for instruments or vocals during streaming (with reverb applied). In future updates, we have plans to make them usable for sound design and beat-making.”

In terms of the main event, CyDrums has eight tracks of sequenced beats and melodic tones, each with 22 parameter setups to tweak. There are eight pads for each of the tracks and seven mode pads above these open up menus and sub-menus to access different options, including the sound for each track, and filter, oscillator, modulation, and effect options among others.

There are a very decent 550 sounds on offer, 256 effects patches but only nine preset kits, which is slightly surprising, but there are 128 locations to create more, and that really is CyDrums’ ‘thing'’; it wants you to take the onboard wavetable sounds, layer a couple together and tweak them into something crazy and create your own kits, and this you will do as it is pretty easy.

Use the onboard kits or your own to create patterns, which create songs within projects. With Pad mode allowing you to select a melodic sound, bass for example, across more than an octave of notes, you could sequence complete 8-track songs with CyDrums, pushing that drum machine remit way past its definition. Add the fact that those inputs make CyDrums an audio interface and effects box too, and it’s already looking like a bit of a winner, but how does it sound and how do we get there?

Pricing

• Full price: $499
• Currently on offer at: $399

Performance

The CyDrums screen is key to all of this functionality and displays a wide range of info including pattern/song/step position, tempo, battery level, USB connectivity, track number, and sound/wavetable type, plus a whole host of other parameters depending on which mode you are in.

To get your beats going, it’s simply a matter of selecting one of the eight tracks, a sound for it (in Snd mode), and highlighting where you want it played by choosing from the 16 pad buttons on the cycling sequencer. You can also list all of the sounds available – 550 from 1,024 locations – by pressing the A button and navigating with the cursors.

You then create different patterns (of up to 128 steps), chaining them together for songs (with up to 99 patterns) which let you copy, paste, edit, and select patterns and step durations. There are also probability and random options for pattern creation which ups the creative side of CyDrums no end. Finally, there’s the ‘project’ which is the largest structure type and can include up to 128 patterns and 16 songs.

So far so ‘drum machine/sequencer’. The real fun with CyDrums starts with the hands-on tweaking where you can easily change a sound per channel and many other real-time parameters. Tweak the pitch – the screen indicates which control does this, which is rotary C in this instance – or change the envelope release (D). More envelope settings can be changed in Amp mode with its ADSR parameters, while the EFX mode gives you access to five effects routing options, each with two effects, reverb and master effects.

Again, controlling levels here is indicated by the A, B, C, and D screen icons referencing the main rotaries, and pressing each of these gives you access to the different effects on offer – 22 each for the two effects blocks and five master effects. These effects do sound incredibly dramatic when dialled to the full, stretching the onboard speaker to its limits, so we’d advise using phones or your main speakers here.

Other hands-on options include a fully-formed filter section with six types and a filter envelope, plus a dedicated Mod mode with two each of velocity and aftertouch modulators, and a modulation envelope that can all be applied to around 68 different parameters, including all of those wavetable options – very decent synthesis flexibility for a drum machine!

Another great hands-on feature is the Performance mode where you can introduce tape speed and stuttering effects, randomise steps, change pattern lengths, and alter track release times, just to add yet more variation, but without destroying the original patterns.

Finally, going even deeper, you can go into Osc mode and select from 64 wavetables and a noise oscillator and edit wavetable scan speeds, loops, directions, and much more. Really this is a fully-featured synth with more than you might ever wish for to experiment with, and as much depth as you dare dive into. Use it as a drum machine, yes by all means, but there’s a vast world to explore beneath the easy beats.

Verdict

CyDrums is an excellent, if slightly niche drum machine with some flexible functionality taking it into effects/interface territory. Channel any external audio via USB or the external audio ins and use the onboard effects. We particularly wanted to use CyDrums sync’d to our DAW with the audio monitored through it and mixed with the beats we were creating. After about half an hour, we had a pattern of bass and beats that very quickly became the backbone to an old set of ambient loops we’d been fiddling with for months, resulting in a track that – we think, anyway – could easily have been released on any Berlin label in the early 2000s.

CyDrums’ main plus point, though, is that it encourages sonic experimentation, eschewing the ‘normal’ beats you get on so many other drum machines – and in most DAWs – in favour of hands-on tweaking options and extreme sounds. The depth on offer can make for a steep initial learning curve, and some features don’t always do as you might expect – we occasionally found ourselves editing the wrong track parts, for example. But if you need to liven up your rhythms – so maybe it should have been in the ‘Liven’ range after all – CyDrums will deliver all the bangs for not so many bucks and all the blips and beeps you need. Do you dare ditch those ‘normal’ beats in favour of hands-on tweaking and extreme sounds? Of course you do.

Hands-on demos

SONICWARE

Alternatives

Specifications

Native Instruments' Maschine 3.0 software arrived late last year and was met with a somewhat mixed response from many users (us included).

Although v3.0 added features including stem separation, new MIDI edit tools, custom tempos per scene and audio bounce in place, many considered it a fairly lightweight update, particularly given the 11 year wait for a full version upgrade from Maschine 2.

Combined with a lack of new Maschine hardware and controversy over the discontinuation of some older units, NI has some work to do keep the Maschine community onside.

To that end, the company is now back with another update – Maschine 3.1 – which is free for existing version 3 users and offers a much-requested user chords feature. This allows users to save banks of chord progressions for use across projects or to share with others.

3.1 also notably adds a new fullscreen mode in the standalone app version – something that has, incredibly, not been included until now.

The release is likely to please some users more than others though. While the new update will be coming shortly to PC and Mac, users of the standalone Maschine+ will have to wait a little longer.

NI is promising that Maschine+ will receive the 3.1 update later this year, but bearing in mind that users are still waiting for version 3.0 to arrive, this might sound like a slightly hollow promise.

The 3.1 update does, however, add Ableton Live integration for Maschine+ when used in controller mode.

Quiet obsolescence

The recent history of Maschine has been something of a mixed bag for users.

Back in October NI ditched support and compatibility for its latest Maschine software with the Mk1 and Mk2 Maschine controllers (having previously quietly ditched Komplete Kontrol compatibility for its Mk1 keyboards). While this isn't an uncommon practice for hardware brands, it does leave users of older controllers unable to upgrade to the latest version of the software.

More jarring is the lack of significant updates for the standalone Maschine+, which is now a version behind the desktop software, and has had little in the way of new functionality since it arrived in 2020.

What's more, given the constraints of the Maschine+ hardware, it's unclear whether Maschine 3's headline feature – stem separation – will be available on the hardware at all. In recent updates, NI has indicated that, at least initially, Maschine+ will be able to play but not generate stems when the v3 update arrives.

It’s understandably something that owners of the pricey Maschine+ (£1019) aren’t happy with, particularly since it follows soon after the news that Maschine+ wouldn’t be getting access to the software version’s Play Series instruments and Expansions sound packs. This despite the fact that the company's hardware rival, the similarly standalone Akai MPC, would.

The move seemingly tipped Maschine+ users over the edge, claiming that NI were fracturing and planning to abandon their beat-based DAW altogether, an uproar which prompted a rapid backtrack by NI.

However, with this update NI is promising full 3.1 and reinforced Play Series compatibility with Maschine+ for later this year.

As to how long the existing Maschine+ can keep up, and when a yet-to-be-announced update to the Maschine+ hardware may surface, remains to be seen.

Read full details of the Maschine 3.1 update at Native Instruments' website.

What is it?

OK, so you might not have much of an interest in drum machines (especially the sampled variety), and you may have even lost interest from the moment that we mentioned the return of an ’80s classic! So why should you take note?

IconDrum is an accurate and detailed reincarnation of the machine generically described as the LinnDrum. This machine has adorned more classic music from the last 40 years than just about any other drum-sound source. It’s one of the reasons that the LinnDrum’s designer, Roger Linn, was awarded a Grammy in 2011, in recognition of his substantial technical contribution to music.

If this hasn’t sold the concept to you, you’ll need to line up behind a plethora of artists, from Michael Jackson and Prince, through to The Human League, Daft Punk and The Weeknd. Moreover, these artists didn’t just use the onboard sounds; they made the sounds their own.

Pricing

• Full price: £49.99 (ex. VAT)

GForce Software launched IconDrum in December 2024 with a special introductory offer of £29.99 (ex. VAT), but is now back to full price at £49.99 (ex. VAT).

You can try before you buy by downloading a free trial. The trial is active for seven days but doesn't include any bundled MIDI content.

Performance

IconDrum is a very faithful recreation of the sounds included with the Linn LM-1 and LM-2 models of drum machine. Famously, these original sounds were sampled, resulting in a sonic construction that was particularly realistic for the ’80s, as well as becoming hugely desirable for current production.

Once installed, it doesn’t take more than a quick sojourn through the default sound-set to remind us just how big and impressive these sounds are. GForce has included 100 sounds, distilled through the faders on the left of the interface. While most of these categories are made up of single timbre (such as bass drum, snare or cowbell) some categories include multiple sound sources, such as open and closed hi-hats. In keeping with the original unit, the included sounds are a wonderful cross-section between a conventional drum kit and various forms of percussion.

The Kick is packed with bottom end, but with a nice edgy click which cuts through a mix. The snare is as fat as you always remembered, and the hi-hats can easily handle anything from a gentle acoustic swagger, to a more aggressive accent-laden pattern. All this before we’ve moved on to the percussion classics, such as the cowbell, sidestick (rim click), tambourine and cabasa.

A bank of 15 faders forms the mixer section, which controls individual sample volume. Our previously mentioned hi-hats occupy a single fader, making perfect sense!

While the faders provide overall volume control, GForce has replicated one of the many useful features from the Linn interface, via the sample-trigger buttons, located on the right. Most of the samples come pre-equipped with more than one trigger, with degrees of accent applied across them. This is replicated across the mapping of your MIDI keyboard, meaning that it’s possible to recreate those classic Linn-like crescendos, particularly via the three available dynamic layers relating to the snare. It’s also possible to engage Velocity control, should you prefer to handle dynamics in a pianistic sense.

Sound selection

Immediately above the sample trigger section, are a series of sound selection locations. These are categorised by instrument, and you are invited to select a sample from a drop-down menu, captured from the original LM-1 or LM-2 models of machine.

There are a number of timbral options, in part formed by the inherent signal path, during the sampling process. This includes the use of classic ’80s hardware, modern signal paths utilising digital EQ, and a set of sounds that have been run through a relatively well-used tape machine. The LM-2 samples also include A & B options, which have been drawn from two different machines, where the aging process has clearly infiltrated their sound. The revision A samples are slightly brighter, while the B revision exhibits a greater mid-range content. It endorses the attention to detail, for which GForce is noted.

Pitch techniques

Moving back to the mixer section, there are a substantial number of parameters open to exploitation, which could change the playback of the samples considerably. Immediately above the volume faders, a smaller set of faders allow for L-R panning. A decay pot provides a simple envelope parameter, for controlling the tail of the sample.

Immediately above this, we have the ubiquitous pitch control, which allows the variance of the timing of each sample, which in turn changes the pitch. It was impossible for us to visit this section, without immediately reaching for the pitch control relating to the Sidestick sample. By lowering the pitch, we were immediately able to conjure the spirit of Prince, with one of the many sounds which he made his own. Keeping the pitch parameter in a more sensible location, the subtlety of control proved exceptionally useful throughout, while working in a production setting. The ability to easily adjust the pitch of a hi-hat or cowbell was very useful for keeping tones in check, alongside the tonality of a track.

At the very top of the mix section resides a low-pass/high-pass see-saw filter pot; useful for refining individual sounds, within the construct of a kit. It’s a little like having basic EQ available at the instrument level.

Getting effected

Unlike the original hardware, GForce has included delay and reverb effects, available at the instrument level. Alongside this, there is a global section for adding EQ, distortion and compression. Unsurprisingly, all of these effect elements perform incredibly well, with the delay allowing synchronisation to your DAW.

Verdict

The IconDrum is a pretty sizeable sum of its parts; through the 100 included samples, the ability to sonically alter and align these within the construct of a patch (which may be saved), is everything we would have wanted on the original unit.

One point that we have to conclude as a slight disappointment though, is the lack of inclusion of an onboard sequencer. GForce has addressed this absence by including a host of patterns, in the form of MIDI files. This serves a purpose (while being hugely programmable from within the DAW environment), but half the fun and nostalgia of this product relates to the programming onboard. In our minds, this makes the standalone version slightly redundant, unless of course you have a hardware sequencer to patch into your computer.

However, this small grievance is more than made up for by the astonishing quality of the overall product sound and design. It looks totally iconic and sounds all killer… and an absolute Thriller!

Hands-on demos

GForce Software

Alternatives

Specifications

What is it?

From the early days of beatboxes for home organists to the gigging guitarist’s drummer-in-a-box, we revere these vintage drum machines with huge affection. They sound immensely cool, but while we can all reel off a list of the commercial classics, there are still a considerable number of models that remain fully untapped.

Enter the KR-55C, from Cherry Audio, a software reincarnation of the Korg KR-55 (aka Rhythm 55), originally released in 1979. Adopting all of the usual kitsch bossanova and cha-cha favourites, the original packed a sizeable punch in the sonic department, and it didn’t take long for commercial artists to realise its potential. A case in point: that pulsing rhythm with highly identifiable hi-hats, from Joe Jackson’s ‘Steppin’ Out’, supplied by the KR-55.

The original machine was updated in 1982 to the model 55B, offering a new selection of patterns and fills, along with a sleek redesign of the graphics. Cherry Audio’s KR-55 now climbs to revision ‘C’ in software, offering vintage charm alongside a raft of new and programmable features.

Pricing

• Full price: $49

We were lucky enough to get hold of a copy of KR-55 prior to the official launch so we could bring you our review on the day of release.

Unlike other plugin releases of late, the KR-55C isn't announced with a special introductory offer, but at just $49, few can argue with the price.

Performance

We have become very accustomed to the extraordinary levels of detail supplied by Cherry, particularly when it comes to graphics. The KR-55C seems deeply three-dimensional when on screen. The fully resizable interface is available in plugin and standalone formats, with the ability to quickly switch from the A/B machine revisions through the flick of a switch at the bottom of the window.

As any early drum machine aficionado will tell you, the machine-like tendencies of the original drum patterns have an allure all of their own, with patterns presented from both A & B revisions, totalling 240.

Blow your x0x off!

If Bossa’s aren’t your thing, a quick flick to User mode will present a highly familiar x0x-style programming format, allowing the creation of any pattern you like. You can create patterns up to 32 steps, utilising the familiar process of chaining two 16-step patterns together, and you can also move into triplet territory, working in a format up to 24 steps. In Song mode, you can chain up to 99 patterns, or if you prefer, simply trigger sounds from within your DAW. There is a unique charm and immediacy to creating patterns on the KR-55C interface, though, which we really like. Your patterns can then be dragged and exported into your DAW as MIDI, or you can sync the KR-55's sequencer to your DAW’s clock, if that’s your preference.

BeatBox palette

Creating patterns is one thing, but they’re not convincing without good sounds. The basic sound set is nothing short of sublime! Oozing vintage character, these sounds were popular with Mute recording artists, such as Fad Gadget and Depeche Mode. Regardless of your knowledge of synth-pop history, they will still sound instantly recognisable and really very classy!

There are 11 sounds available, which are immediately editable from the main front panel. The instrument channels offer a useful set of parameters to adjust each sound to suit your own cause. The thud of the Bass Drum (which is a beautiful thing in itself) can be fine-tuned in both decay and tuning, should you wish to move in the direction of an 808 kick. A see-saw pot allows the blending of timbre between the upper click and the lower body weight. It’s a similar story with the snare, with the tone parameter allowing adjustment between the attack element and the supporting noise.

Steppin’ out, hats off!

There is something about the sound of the KR-55 hats that we find incredibly endearing! Its metallic-but-electronic make-up has been beautifully modelled here. It seems to meander, much like an analog circuit. The closed and open hats are programmed individually, with control over the decay of the open hi-hat.

The sound palette continues with low and high toms, low and high congas, rim shot, cowbell and claves. Of course, these descriptions can be stretched to the max, particularly with instruments such as the cowbell. With the decay elongated, it sounds very bleepy indeed!

Each instrument channel is also equipped with a cut and boost EQ pot, with an accompanying frequency pot above. This can be useful for removing or endorsing certain frequencies at the source, although for our money, we really did enjoy the sounds just as they were, all be it with some fine tweaking in tone, tuning and decay.

Mix and FX

Two further pages provide Mix and FX parameters, which can extend each sound considerably. The Mix page provides the requisite volume and pan controls for each sound, with useful mute and solo buttons, too. There are 4 further FX buttons, which divert the signal path for each sound, toward reverb, echo, modulation and overdrive. A quick switch over to the FX page reveals these elements, although each of the effects is shared across all sounds. There is also a wonderfully effective Bus Limiter and Compressor (equipped with a classic VU meter) to help keep the backend output under control.

You would be forgiven for thinking that the addition of these backend effects are just a bit of an add-on. That would be a serious error of judgment because they bring so much to the sonic party. Even the basic construct of an open-decay bass drum, with added Overdrive, completely changes the character of what’s an offer. It can be truly aggressive and easily extend to the avant-garde.

To fully understand this, you don’t need to go much further than the patch browser. Each patch saves both the edited sounds and accompanying pattern, and Cherry supplies a wealth of diverse patches way beyond the original humble beatbox. Should we need any further evidence, it supports the concept that the KR-55C extends considerably beyond the original remit, providing a highly contemporary palette from vintage designs.

Verdict

It’s fair to say that we are completely smitten with the KR-55C; with our nostalgic ears, we found ourselves programming and enjoying the original sounds of this underrated classic. But in full production mode, the KR-55C turns into a total beast! The bass drum is a total bad-ass, while the potential for Aphex-style bleeps and mayhem is available with full-on MIDI control.

Hands-on demos

Cherry Audio

Specifications

Alternatives

Music's many stylistic evolutions have always been underpinned by technological innovation. Think of how many genres and attitudes are formed around a specific set of instruments - or a prerequisite gear toolkit. Electronic music might have spawned countless sub-genres, but they all still orbit one firm foundational element - the drum machine.

But, as with our recent look at the first band to use a synth on-record (astoundingly, The Monkees!) the tech that would shape so much of the future can be, at first, seen as a colourful novelty to wackily incorporate into an existing production framework.

In terms of the drum machine, its origin in terms of popular music stemmed less from being perceived as a disposable new toy, and more out of the necessity for artists to work and write music quickly without the need to work with (or spend money on hiring) a real drummer.

Fascinatingly, machines designed to simulate rhythm date as far back as 1930 (and Leon Theremin’s ‘Rhythmicon’). These early contraptions later evolved into electric keyboard-accompanying rhythm boxes, such as Wurlitzer's Side Man. Though precursors to what we'd come to know as a drum machine, their controls were limited, and their sounds basic.

But, it wasn’t until the late 1960s that standalone electronic drum machines begun to be commercially available. Spearheaded by the Japanese companies Korg (then known as Keio-Giken) and Ace Tone - a company founded by future Roland founder Ikutaro Kakehashi.

Among the glut of early, basic releases came the Ace Tone FR-1 Rhythm Ace. Simple controls on the front of the sturdy, analog circuit-packed, box enabled users to switch between preset genre-aligned rhythms (rock, samba, waltz, swing), set the tempo and choose between different patterns within the currently selected rhythm. Pretty innovative for its time.

It would be this particular drum machine that the Bee Gees’ Robin Gibb - then in the midst of a short-lived solo career - leaned on when working on his 1969 solo hit, Saved by the Bell.

It's this song that is regarded by many as the first popular song to include a drum machine in its mix.

While Gibb’s haunting, string-soaked ballad is a gorgeous slice of dreamy 1960s pop in its own right, the underpinning of the FR-1's steady pulsing beat adds a further out-of-time quality, especially when listened to in retrospect.

Saved by the Bell was the first single of Robin’s brief 1969 solo career.

Going it alone seemed like an odd move in the wake of the Bee Gees' first flurry of success (which included New York Mining Disaster 1941 and I Started a Joke).

Though still some way off their mid 70s disco pomp, these early triumphs thrust the brothers (and their songwriting/vocal prowess) into the spotlight. Tensions had begun to bubble internally, and the added pressure of sudden fame ultimately caused Robin to suffer from nervous exhaustion.

“That was a period where we [fellow Bee Gees and brothers Maurice and Barry] had tremendous egos for success where we just stopped talking to each other,” Robin told NPR. “We had people saying that 'you're responsible for the success of the group,' and 'he's successful,' so we all had our own sort of court”

Though the Gibbs would reunite at the dawn of the 1970s, just in time to morph into key figureheads of the burgeoning disco revolution, during the early part of 1969, Robin Gibb was an independent agent.

At that time, Robin’s solo recording approach was to record himself playing organ alongside the FR-1, adding guitar and vocals after the core bedrock was established.

Robin's drum machine and organ set-up is pretty analogous to today's click-track sync'd, MIDI-keyboard-originating DAW projects, but back in the 1960s was quite a unique way of working, as studios were largely still set-up for recording live bands. (and drummers).

At the time, using a standalone drum machine in this way was quite a new innovation, with the Wurlitzer Side Man (released a decade earlier) a typical go-to for electric piano players’ rhythmic duties.

A few years prior to Gibb using the FR-1, Korg's Donca Matic DE-20 and Mini Pops drum machines became commercially available. These further expanded on the simple clicks and clangs of their predecessors with more lifelike sounds. These units featured expanded controls which users could wrangle to build their own fills and unqiue patterns.

The FR-1 was released in this same marketplace context, and enabled users - for the first time ever - to combine these preset beats and solo or remove certain drum elements.

According to The Cambridge Companion to Percussion, Gibb used the FR-1’s ‘Slow Rock 12/8 rhythm preset, which you can clearly hear during the song’s introduction prior to the first verse (after the lush string flourish at the start).

The song itself evokes the types of emotionally heavy balladeering of the previous decade. But it's that constant drum machine pulse which signposts the future.

The song would soon feature on Robin Gibb’s debut solo album, Robin’s Reign. Over the course of the album's eleven tracks, the drum machine would periodically re-appear. Though Gibb said little about using the drum machine use in later years, its clear that he felt it was adding something to his songs.

In fact, the FR-1 is the very first thing you hear on the record, as it precedes the intro to album opener, August October.

Yet, while Saved by the Bell - released on the 27th June 1969 - is certainly the first pop hit to feature an electronic drum machine throughout its run-time (the track hit the #2 in the UK charts, despite a poor performance in the US), the forebears to the drum machine had featured on record before.

In 1968, the United States of America’s one and only studio album sported several preset-led drum machines, amid a soup of innovative technical feats. But, despite acclaim in avant garde circles, didn't connect in either the UK (where it didn't chart) or the US, where it remained in the chart's outer reaches.

A scant two years later, Sly and the Family Stone would further push the drum machine into the ears of listeners around the globe, with the US number one hit Family Affair prominently sporting the Maestro Rhythm King MK IV as a central part of the mix.

Arguably, it was that track that really 'defined' the drum machine as a rhythmic backdrop of a funky, danceable song. But that doesn't meant that credit shouldn't go to Robin for being the first to include it in the context of a pop song.

Within a year, Robin had reunited with his brothers in the Bee Gees. They would, of course, go on to become one of the most significant acts in music history, selling over 220 million records, spawning nine number one US hits, and grabbing five Grammys along the way.

With these mountainous achievements just around the corner, Robin's short-lived solo career tended to get maligned as a temporary blip - a confused pit-stop before the three permanently reconciled and became disco titans.

Yet, aside from it being notable for yielding the first drum machine-based pop hit, the creative fruition of this period has been re-appraised, especially in the wake of Robin's sad death in 2012.

The Guardian’s Alexis Petredis is a particularly eloquent exponent of this era. “[It’s some of the] weirdest, most fascinating music of the sixties," Petredis stated in a video review of a boxset collating Robin's solo work. "The orchestration is marooned over this primitive drum machine, thudding away. It’s fascinating, it’s chilling, it’s the product of an utterly unique mind.”

As if the headlines weren't looking quite Orwellian enough at the moment, Arturia has decided to give its DrumBrute Impact drum machine a retro spin with the introduction of DrumBrute Impact 1984, a new visual rework of the boisterous analogue beatmaker first released in 2018.

With a fresh lick of paint, DrumBrute Impact 1984 looks undeniably fetching with its orange-accented off-white stylings, but under the hood this limited-edition variant is identical to the original version, itself a stripped-back successor to the DrumBrute, a gutsy analogue drum machine unleashed in 2016.

DrumBrute Impact features 10 analogue drum voices accessible via eight control lanes and pads. Kick, Closed Hat, Open Hat, High/Low Toms and Cymbal/Cowbell are joined by two snares and an FM Drum voice that generates unconventional percussive tones via frequency modulation, and you're able to access unique tonal variations on each voice by engaging the Impact's Color mode.

Effects are absent, aside from an output distortion that can be used to add edge and saturation to the machine's already-potent percussion, but Impact's 64-step sequencer is versatile, with swing, polyrhythmic and randomization functionality joined by a Beat Repeat-style Pattern Looper and Roller function for fills and transitions. Up to 64 patterns can be stored and multiple sequences chained together via the Impact's Song Mode.

Impact has a decent array of I/O for a drum machine this affordable: you've got USB, MIDI in/out and sync in/out alongside a main stereo output, headphone out and four 3.5mm outs for the Impact's kick, snares, hi-hats and FM Drum voices. All in all, DrumBrute Impact was - and is - a stellar drum machine for $299, and the new vintage-inspired aesthetic is miles easier on the eye than the original's gloomy dark blue. We're on board.

Find out more on Arturia's website.

Behringer is on a hot streak at the moment: following the release of a raft of new products in December - including long-awaited recreations of the classic PPG Wave synth and LinnDrum drum machine - the German manufacturer returned to NAMM after a decade away with a show-stealing clone of the Yamaha DX1.

You'd think the company might take a little downtime after such a barrage of headline-grabbing new releases, but it seems that Behringer is only just getting started. Today, it's announced that the RD-78, a remake of the historic Roland CR-78 drum machine first teased in 2020, is now available to order.

Released in 1978, Roland's CR-78 was a landmark instrument in the history of music technology, being the first drum machine that allowed users to program and recall their own custom patterns. Though designed as an accompaniment for organ players, the CR-78 found favour with scores of influential musicians throughout the '70s and '80s, including Tears for Fears, Blondie and Phil Collins.

Behringer says the RD-78 authentically captures the classic tones of the CR-78 thanks to detailed recreations of the original drum machine's analogue circuitry. A new 909-esque clap joins the CR-78's selection of 14 drum sounds, a list that includes guiro, bongos and cowbell alongside the usual suspects, and you'll find all of the CR-78's beloved preset rhythms onboard.

RD-78 also recreates of some of the CR-78's more distinctive features, letting you drop in drum fills and breaks between patterns, fade patterns in and out when triggered, and adjust the tonal balance between bass and treble via the Balance dial. While the CR-78 required the use of an additional device - the WS-1 - to dial in your own patterns, RD-78 is equipped with a far more intuitive 16-step sequencer that can store up to 32 patterns.

RD-78 augments its vintage forebear with a number of modern features that, though they now seem par for the course, were a little way off back in 1978: you've got individual volume and mute controls over each voice, along with enhanced connectivity options that include MIDI in/out/thru over DIN and USB, sync in/out, and individual 3.5mm outputs for each voice alongside a dedicated headphone out and main output. You've also got also ports for hooking up footswitches to control transport and trigger fills, should you so wish.

Behringer's RD-78 is priced at $199. Find out more on the company's website.

NAMM 2025: Billed as “the first fully programmable drum machine in guitar pedal form,” Polyend’s Step is the beatmaking box that you can control with your feet.

Already known for its grooveboxes - the likes of Play+, Tracker+ and Tracker Mini - Polyend says that Step takes a fresh approach to rhythm creation. It's designed to be used both for live performances and as a practice tool, with the simple controls ensuring that musicians - and guitarists in particular - can focus on their playing.

If you want to really take the creative load off, you can make use of the 350 preset rhythms, but there’s far more to Step than these. You can also design your own beats from scratch, making use of the 200 built-in drumkits. Your 16-step patterns can be looped or combined into 16-pattern songs, and up to 1,000 songs can be stored on the hardware.

You have four tracks to work with, each of which has controllable swing, speed, step probability and more. Other humanisation features include velocity control and micro-move, but you can also lock things to the grid if you want machine-like rhythmic precision.

You can use up to 16 effects per song - delays, repeaters, rearrangers and more - selectable from a palette of more than 50, and these can be punched in with your foot. Other stomp switches enable you to change patterns and adjust the tempo.

Polyend has also added plenty of connectivity to ensure that Step plays nice with all your other gear. This includes MIDI I/O for easy syncing.

Step is shipping from right about now and is priced at £499/€499. If it sounds like a bit of you, you can find out more on the Polyend website.

Love it or hate it, Behringer has been announcing a vast number of recreations of famous and not-so-famous synths and drum machines over the last few years. We published our first (huge) list last year which, frankly, nearly killed us with its girth.

Here's our even bigger 2025 'coming soon' update of what's been announced by Behringer – including the company's latest surprise outings at NAMM 2025 – and where each product is in its production cycle. Contributions to our sanity fund will be warmly received…

Little did we know that back in 2016, with the release of its Deepmind 6/12, Behringer was starting a many-years-long mission to recreate/reimagine/repackage every classic (and not so classic) synth and drum machine ever created into a lower cost hardware alternative.

The last eight years or so has seen probably hundreds of announcements of low-cost (mostly) synths and drum machines, many (but not all, it has to be said) based on vintage models costing many times more on the secondhand market.

Uli Behringer and his team have divided opinion with these releases, and made as many headlines, controversial statements and claims as they have actual products, but we're not here to argue the law or ethics – we're simply here to list what is actually available and what is not. Announcements don't always mean actual products, so it''s time to sort the hardware from the vapourware

The good news is that when Behringer does finally get its products onto your local dealer's shelves - and we're talking gear like the Monopoly ,TD- 3 and 2600 synths and RD8 and RD9 drum machines - they actually represent very decent bang for buck.

One thing that has plagued Behringer, as it has other synth and gear companies, has been the rising cost in and lack of components, but many of those issues appear to have been ironed out so that new products are more frequently starting to appear in the stores.

As ever, this is a fluid feature, so expect additions and omissions as we are frequently updated by the big 'B' via its Facebook page, and do feel free to update us on anything we have missed. We're focusing on all things synth – not Eurorack – and drum machine. We're aware of the outboard gear that Behringer is announcing and will run a separate feature for this soon.

So, without further ado, here's our 2025 update (so far). We're off to sunnier climes for a well deserved break. Dive in and we'll see you in a few weeks.

Currently available products

These are the Behringer synths and drum machines currently available to buy, along with a rough guide to their respective street prices.

• 2600 – ARP 2600 – £350/$450
• Deepmind 6 synth – inspired by the Roland Juno 106 – £550/$550 Read our review
• Deepmind 12 – double the polyphony of the 6 – £650/$750 Read our review
• Crave – Moog Mother 32 – £165/$185
• Edge Semi-Modular Percussion Synth – inspired by Moog DFAM – £149/$199
• JT-4000 Micro synth – inspired by the Roland JP-8000 - £50/$60
• JT-Mini – Mini analogue polysynth inspired by Jupiter 8 – £89/$99
• K2-MK II – Kobol synth clone – £159/$199 (in stock soon)
• Kobol – based on an RSF Kobol Expander – £149/$179
• MonoPoly – inspired by the Korg MonoPoly – £369/$490
• Model D – Moog Minimoog – £159/$199 Read our review
• Model 15 – Moog modular – £215/$259
• MS-1 Mk 2 – Roland SH-101 – £299/$349
• MS-5 – Roland SH-5 – £449/$499
• Neutron – original – £349/$400 Read our review
• Odyssey – ARP Odyssey – £439/$499
• Poly D – Moog Minimoog – £499/$599 Read our review
• Pro-1 – Sequential Circuits Pro-1 – £159/$199 Read our review
• Proton – updated Neutron (original Behringer synth) – £349/$399
• Pro VS Mini – inspired by the Sequential Prophet VS – £99/$109
• Pro 800 – Sequential Prophet 600 – £238/$390
• RD-6 – Roland TR-606 – £99/$109
• RD-8II – Roland TR-808 – £255/$290
• RD-9 – Roland TR-909 – £299/$329
• RS-9 – Rhythm Sequencer Module with 64-Step Sequencer – £139/$159
• Solina – Solina String Ensemble – £260/$280
• Spice – Inspired by Moog’s Subharmonicon – £229/$249
• Syncussion SY-1 – Pearl Syncussion SY-1 clone – £169/$199
• System 15 – Moog Modular System 15 – around £850/$900
• System 35 – Moog Modular System 35 – around £900/$950
• System 55 modular – Moog Modular System 55 – £1600/$1800
• TD-3 – Roland TB-303 – £99/$119
• Toro – Moog Taurus –£175/$249
• UBXa and D (module) – Oberheim OBXa – £899/$999 (£$799 for module)
• Vocoder VC340 – Roland VP-330 – £340/$450 Read our review

Products planned or announced

These are the products that Behringer has announced or has asked for feedback on – as to whether we think the company should produce them – plus all the latest updates alongside each one. Or not…

2-XM

What is it? Eurorack-compatible version of an Oberheim 2-voice

Expected price: $299

Announced: March 2022

Latest news (20/7/23): We're assuming it's in prototype form thanks to the cryptic message: "Everyone has left and I’m still here as the guys have locked the office. So I walked over to the testing center and found this beauty on a desk with a note “ready for p”. Does anyone have a clue what that means?"

AKS Mini

What is it? Mini version of a VCS3

Expected price: $99

Announced: May 2022

Latest news (January 2023): The 'final' version was shown over a year ago but has still yet to materialise in a form which we can buy.

ARP Quadra replica

What is it? Clue is in the name

Expected price: $TBA

First mentioned: March 2023

Latest news (16/3/23): This is not actually a work in progress… yet. The company is just putting the feelers out, saying: "Isn’t this one of the most beautiful synths ever designed? The iconic ARP Quadra. What do you think? Disclaimer. We’re not promising to build one." And no promises since this quote either.

BCR32 sequencer

What is it? Hardware sequencer

Expected price: $TBA

First mentioned: Jan 2021

Latest news (2/7/24): "We have just completed the firmware for the highly anticipated BCR32. The next and final step is to involve our external beta testers for final approval before moving to mass production. We apologize for the delay, as the firmware was quite complex, especially with the inclusion of the Zaquencer firmware. Thank you for your patience."

Behremin

What is it? Behringer's take on the iconic Theremin

Expected price: $99

First mentioned: November 2020

Latest news (26/4/23): It's in prototype as Behringer says: "Some of you asked about our Behremin, our interpretation of the Theremin synthesizer. Here is the first prototype and we’re very excited to start the software development. Please let us know what features you’d like to see."

BMX

What is it? Oberheim DMX clone

Expected price: $TBA

First mentioned: March 2023

News (26/4/23): Prototype! Behringer said: "Friday fun. Our engineers love when they get a new prototype on their desk. Today, we fired up the first version of our BMX prototype, an homage to the legendary Oberheim DMX. Aside from the original sound samples, the BMX has also a built-in sampler, analog filters and much more. This is one cool sampling drum machine."

Update 16/8/24: Prototype shown apparently working. "This was an amazing week as we achieved another major engineering milestone. We’re getting closer:-)."

BoogerFoogers

What is it? MoogerFooger clones

Expected price: $TBA

First mentioned: March 2023

Latest news (22/3/23): Possible prototype. Behringer has not said much about these other than: "Please welcome our new family members" and showing photos of several models in the Moog-inspired range, so they might or might not be prototypes.

BX1

What is it? Yamaha DX1 clone with some CS80 extras

Expected price: $TBA

First mentioned: January 2025

Latest news (January 2025): The surprise announcement at NAMM 2025, the BX1 certainly has that DX1 aesthetic, with the imposing design and feel of the original range, right down to the more welcoming front panel. It has access to CS extras - notably the filters and envelopes - on hand via decent-sized screens. The synth includes a CS filter per voice, 32 notes of polyphony and multiple effects including reverb and chorus - all bonus features over the original. It is expected to go on sale in 2026, with a price at the upper end of Behringer's synths so around $1,000 plus.

BX700

What is it? A DX7 groovebox with a Yamaha CS80 filter. Yes, really.

Expected price: $TBA

First mentioned: July 2023

Latest news (4/10/23): Possible prototype. Behringer says, "It’s alive!!! We’re getting close to finishing our BX700, a really cool Groove Box. It’s a DX7 on steroids as it has an authentic CS-80 analog filter, a built-in drum machine, a B-Ray and many other cool features."

CS Mini

What is it? A tiny CS-80.

Expected price: $99

First mentioned: March 2022

Latest news (28/9/23): This does indeed look pretty cool, like a Korg Volca but with Yamaha CS-80-style innards, and it looks like it might be at prototype stage. Behringer says: "Very exciting. We’re about to fire up the first CS MINI synth prototype. It’s modelled after the famous CS80 and carries the exact same analog voice. It includes polyphony, patch memory and much more."

CZ-1 Mini

What is it? Casio CZ-1 clone (or mini version)

Expected price: $99

First mentioned: May 2023

Latest news (30/1/24): "The momentum keeps building as we introduce CZ1 Mini," Behringer said in January 2024. "It's an extraordinary reproduction of Casio's CZ synthesizer engine, combined with an analogue filter. With its exceptional phase distortion synthesis, the sound the CZ1 Mini produces is unparalleled."

DS-80

What is it? Yamaha CS-80 clone

Expected price: $99

First mentioned: July 2020

Latest news (28/4/22): One of the most anticipated Behringer products because it is a CS-80 clone. This is what the company said on Instagram in April 2022: "We have some exciting update on the DS-80 development. Our lead engineer John Price spent nearly two years recreating the magical CS-80 voice board and transforming it into a modern design, while retaining the authentic behaviour or the original circuitry. This board is now ready to be tested. We have completed the voice “bread board”, which is the final step before moving to the actual design of the synthesizer. This board serves as test and evaluation platform to compare its performance with the original voice board.

"As you can see, the board contains two voices, and also the digital control section, plus VR’s that represent the temporary front panel controls. Because this is one of the most complex synthesizers ever designed, we’re still a long way from delivering a final product, but we hope you’ll find this interesting. Wish us luck with this challenging project:-)"

Sadly no update since this one that we can find.

E-mu sampler clone?

What is it? A (possible) E-mu SP 1200 clone

Expected price: n/a

First mentioned: n/a

News (12/1/25): One of Behringer's 'putting out the feelers' products; so early in fact that there is not even a prototype photo mockup. Behringer said on Facebook: "Many of you have asked us to create an affordable version of the legendary E-mu SP1200 sampler. We’re excited by the idea and would love your input! What additional features would you like to see in a modern take on this classic sampler? Share your thoughts below. We believe we could make this happen for under US$500. Let’s reimagine the SP1200 together! If there are any experienced software engineers who would like to be part of this project, please reach out to us at joinus@musictribe.com"

Safe to say: very early days on this one, then.

Enigma

What is it? Buchla Easel 208 clone

Expected price: $399

First mentioned: April 2022

News (20/7/23): Prototype ready but still a way off. Behringer says, "We're excited to share with you the progress of the Enigma. We have now completed the assembly of our prototype and will start troubleshooting the unit while developing the software. We're still a long way from shipping the unit, but we simply want to share our joy with this iconic synth."

Update 31/5/24: "We're excited to share our latest Enigma prototype as we get closer to the final product. It's a very complex design, particularly with the addition of total patch memory. We hope you enjoy the vibrant colors!"

Grind

What is it? "The next instrument in Behringer's Producer series of compact semi-modular desktop synths; joining the Crave, Edge and Spice. Grind's hybrid architecture pairs a comprehensive selection of digital oscillators with a 24dB analogue ladder filter. Among the 24 oscillator types we have virtual analogue, wavetable, additive, waveshaping, Karplus-Strong and FM synthesis, along with Yamaha DX7 and Roland TR-303 emulations."

Expected price: $199

Latest news (2/10/24): "This new hybrid synth is a jack of all trades and you’re going to be the master of all of them! The Behringer GRIND is an amazing sound powerhouse that can do anything from percussion, searing lead tones, thunderous bass lines, drones and dreamy soundscapes. List Price: $199 (in stock and immediately shipping from our factory)"

Dealers reporting May - July 2025 landing dates.

Groove Keys

What is it? Original groove keyboard

Expected price: $TBA

First mentioned: December 2022

Latest news (19/12/22): Not much beyond the initial announcement of: "The ultimate Groove Machine. We’re super excited to have completed the first working prototype called Groove Keys. The casing is still 3D printed but all functions are already working. Groove Keys comes with very cool features such as:

- 4-Channel Sequencer

- Dedicated Drum Sequencer

- Internal Polyphonic Sound Engines

- Tons of I/Os and CVs

"We don’t have a delivery date or price yet, but as always it’ll be very affordable. While we’re still waiting for chips, our many engineering teams are working on close to 100 exciting products to come."

Hirotribe

What is it? Analogue Groovebox

Expected price: $TBA

First mentioned: March 2022

Latest news (4/3/22): Not much beyond the original Facebook post which was: "In 2019, Hiroaki Nishijima, the legendary synthesizer engineer, who designed the famous Korg MS-20, joined us in our mission to create amazing synthesizers everyone can afford. Hiroaki is watching this space, so please send him some love:-)

Listen to Hiroaki himself:

"The 'Hirotribe' is one of the analog synthesizers I always wanted to achieve. 'Hiro' of 'Hirotribe' was taken from my first name ‘Hiroaki'. I designed and developed the 'Korg Monotribe', but I really wanted to make an evolved version of it. Fortunately, Uli Behringer kindly agreed to my proposal."

JT-16

What is it? 16-voice Jupiter-8 clone

Expected price: $TBA

First mentioned: March 2021

Latest news (25/1/24): A new update tells us this Jupiter-8 clone is actually going to be a 16-voice version. The Facebook post says…

"After many years, we have finally created the first prototype of our upcoming JT-16, a 16-voice polyphonic synth. Our product engineer, Gilles, who is also a synth enthusiast, couldn't stop playing with it, but we managed to pry it away from him for a moment to capture it on camera. Sorry Gilles:-) Currently, the synth is in its very early stages, and we are now focusing on debugging and implementing the necessary software. We kindly ask for your patience, but we assure you that this beauty will come to fruition."

Sadly no update to report.

JT-2

What is it? Eurorack Roland Jupiter-8 emulation

Expected price: $99

First mentioned: Feb 2023

Latest news (21/2/23): Nothing added to the tease from a year ago when Behringer said: "While we’re currently working on a full key version of the Jupiter, here is a new prototype in a smaller and more affordable Eurorack package. It features an authentic Jupiter voice based on the same VCOs and VCFs, plus an autotune and arpeggiator function."

No update to report.

LmDrum

What is it? LinnDrum clone

Expected price: £369/$399

First mentioned: July 19

News (22/9/23): One of Behringer's longest running projects, this drum machine was apparently ready to go (finally) in May 22 when Behringer said, "our final prototype is ready for testing." However the most recent update last July just adds: "We’re getting there:-)".

Update 18/12/24: "Today, we’re proud to showcase the packaging of our new LM DRUM. This amazing drum machine features an authentic 8/12-bit sampling sound engine that captures the essence of over a hundred legendary '80s drums including LM1*, LM2*, LM9000* and more. You can even record and store your own samples using the integrated line input. List Price: $399 (in stock and immediately shipping from our factory)"

Dealers showing availability any time from February 2025 onwards.

Memory

What is it? Moog Memory Moog clone

Expected price: $TBA

First mentioned: Oct 23

Latest news (7/10/23): Another 'might do' product after Behringer reached out to gauge a response in October: "Over the years, many of you asked us to remake the highly sought after Memory Moog. However, rather than replicating an outdated user interface, we’d like to ask you what improvements you like to see? Just to be clear, we’re not promising to make this synth, but since one of our synth engineering teams is finishing up a product, there is an opportunity to select the next project."

Model D Soul

What is it? Moog Minimoog, but smaller

Expected price: $99

First mentioned: March 22

Latest news (6/3/22): Not much beyond the initial Facebook post of: "The Model D Soul synthesizer is based on the authentic MiniMoog circuitry. Now you can enjoy the famous sound, but in a portable and affordable package. The Model D Soul is fully completed and ready for production. Once we’ll receive the chips, this synth will be on the way to you."

Mutronics Mutator filter

What is it? What is it? Mutronics Mutator filter clone

Expected price: $TBA

First mentioned: June 24

Latest news (18/6/24): "The Mutator is a legendary analog filter and envelope follower that gained prominence in the '90s, known for its unique ability to transform sounds in creative and dynamic ways. It’s been a favorite tool for many musicians and producers, offering rich, warm analog filtering with the ability to create complex modulations and effects. We’re now finalizing our exciting Mutator product and are collaborating closely with the original designer to ensure its authenticity and quality."

Neptune-80

What is it? Roland Juno 6/60 clone

Expected price: $TBA

First mentioned: March 23

Latest news (10/3/23): A lot of excitement about this one, but not a lot of news beyond the initial announcement, although for that there was a 'fully-working' prototype. "So, for years you guys have been urging us to build one of the most sought after synth. We managed to resist for a long time, but we finally gave in;-)

"Here is the fully working prototype of our Neptune-80, an 8-voice polyphonic synth with original analog matrix, BBD chorus and modern user interface such as LCD Display, USB/Midi etc. We modelled it after the best sounding 6/60 version and we absolutely love the sound. Our product engineer Ben (a synth fanatic himself) couldn’t stop playing the Neptune, but we luckily managed to pull it out of his hands and get it in front of our camera. Sorry Ben:-)."

Phara-O-Mini

What is it? A Korg Volca Keys clone?

Expected price: $99

First mentioned: April 21

Latest news (23/12/24): "Embrace the power of the PHARA-O MINI's all-powerful trinity of VCOs, each offering saw or square waveforms to shape your sound. Unleash the multi-mode ring modulator on square waves for metallic sound effects that will transport you to a new golden age of sonic creativity. List Price: $99 (in stock and immediately shipping from our factory)"

Dealers estimate July 2025 release date.

PolyEight

What is it? A Korg PolySix plus 2

Expected price: $TBA

First mentioned: April 21

Latest news (7/4/23): Another exciting announcement, but getting on for a year for an update. The last one said: "And the PolyEight is getting ready. This is one beautiful sounding synth."

PolyOSC

What is it? OSCar synth clone

Expected price: $TBA

First mentioned: August 24

Latest news (7/8/24): "Once upon a time, the OSCar synthesizer was born—a groundbreaking instrument crafted by the Oxford Synthesiser Company between 1983 and 1985. Ahead of its time in many ways, the OSCar was one of the few mono-synths of its era to feature MIDI, making it a sought-after tool for musicians. With only around 2,000 units produced, it became a cult classic known for its distinctive sound and innovative design.

Fast forward to today, and we’ve taken inspiration from this iconic synth to develop the POLYOsc prototype. This modern version builds on the legacy of the OSCar, incorporating many additional features while staying true to the original’s spirit. However, whether the POLYOsc will move from prototype to production is still undecided.

That’s where you come in. We’re looking to the community for feedback to help us determine if the POLYOsc should become a reality. Your thoughts and input are essential in guiding this decision, and we invite you to share your opinions with us. Let’s continue the OSCar’s legacy together."

PolySource

What is it? Moog Source clone

Expected price: $400

First mentioned: July 23

Latest news (7/4/23): Quite a recent announcement so as you'd expect, not a lot to add to the initial buzz but Behringer has added, "PolySource Update. Thanks for all the valuable feedback. We have taken many of your suggestions to heart and like to present our new iteration."

Polivoks

What is it? Polivoks clone

Expected price: $TBA

First mentioned: July 21

Latest news (25/8/23): The synth is in prototype stage. Behringer said in August 2023: "Two years ago Vladimir Kuzmin and Behringer entered into a collaboration to develop a new Polivoks synthesizer. Here is the latest prototype, which is now undergoing thorough testing and hopefully the approval of Vladimir."

Pro-16

What is it? Souped up Prophet-5 (from five to 16 voices)

Expected price: $TBA

First mentioned: March 20

(25/9/24): "Exciting news! Our PRO-16 synthesizer is currently in beta testing, and we’re working on creating presets that bring this incredible synth to life. With 16 analog voices and a polyphonic aftertouch keyboard, the PRO-16 not only captures the iconic sound of the original Prophet 5 but also introduces a host of new features and sound capabilities. The polyphonic aftertouch keyboard adds an unmatched level of expressiveness to your playing, making this synth a true powerhouse. Stay tuned for more updates!"

NAMM 2025: PRO-16 was on display at the show along with the all-new BX-1, and seemed at the same stage of completeness. If that is the case we're looking at an on sale of next year and we'd assume a similar price of around $£1,000.

QT32

What is it? MIDI controller

Expected price: $129

First mentioned: April 22

Latest news (26/4/23): We take a brief break from the synths and the drum machines for a bit of Behringer control: "We built a cool little Midi controller QT32 with 127 MIDI sounds and drum sets included as well as CV out. It’s still a prototype but we’ll build it if you’re interested."

RD-78

What is it? Behringer's take on the Roland CR-78 drum machine

Expected price: $TBA

First mentioned: June 20

Latest news (30/1/24): "We are in the last stages of pre-production and are working closely with our beta testers to ensure the unit sounds spot on. For those who love the technical details, we have incorporated the exact same circuitry into the design, including the original coils and LC filters. The team is filled with excitement about this legendary drum machine."

Saturn Soul

What is it? Single-voice Jupiter-8

Expected price: $99

First mentioned: Feb 22

Latest news (6/3/23): Another product with little news beyond the initial Facebook post: "Many of you shared with us how much you love the amazing sound of this magic synth. While we’re also working on a full size synthesizer, here is our affordable mini version with the authentic circuitry and sound, but accessible to everyone. The product development is completed and once we receive the necessary chips, we’ll ship this marvel."

STX

What is it? Elka Synthex clone

Expected price: $TBA

First mentioned: July 24

News (12/7/24): "Recreating the Magic of the Elka Synthex. We're working to revive the Elka Synthex with a dedicated team of top-notch R&D engineers in Italy, where the original was created. Using original DCO oscillators and advanced Field Programmable Gate Arrays (FPGAs), we're able to replicate the original circuitry and signal paths, capturing the essence of its distinctive sound.

"Stay tuned as we work to bring the Elka Synthex back to life, celebrating its history and sound with the same passion and innovation that marked its original creation. This “labor of love” project will take lots of time, but it’ll be worth the wait as the Synthex is one of the most iconic synthesizers of all times."

UB-1 Spirit/Micro

What is it? Inspired by an Oberheim Matrix

Expected price: $49

First mentioned: March 22

News (2/3/22): Another product with little news beyond the initial Facebook post: "Introducing the UB-1, a Portable Analog Synthesizer with 2 Analog Oscillators, Classic VCF and Arpeggiator. Uli passionately believes in empowering everyone by providing access to great sounding musical instruments, especially for kids, so they can start a lifelong love affair with electronic music and sound synthesis. The UB-1 synthesizer is fully developed and once we receive the chips, we’ll be shipping this marvel your way. Don’t be fooled by the size - this is a monster synth in a small package."

Update (31/5/24): Now called the UB-1 Micro, but no news on availability.

UB-Xa Mini

What is it? Mini version of the Oberheim OB-Xa clone

Expected price: $99

First mentioned: January 2024

Latest news (28/1/24): "We now have a more affordable option, the UB-Xa Mini, available for only 99 USD for those who want the authentic sound of the OB-Xa. The synth is currently in beta testing and we are looking forward to shipping it soon."

Note: This could be the same as the UB-1 Micro mentioned by Behringer in May 2024: "Here is the little brother of the UB-Xa. Same iconic sound and with full MIDI. We’re targeting 49 USD. What do you think?"

VCS 3

What is it? VCS3 clone

Expected price: $TBA

First mentioned: June 2019

Latest news (18/10/23): Another one that's been long on the test bench, but it sounds like we're pretty close now… "We’re now shipping units to our beta testers for final testing and comparison with the original synthesizer. Once passed, we will start manufacturing."

Wave

What is it? PPG Wave clone

Expected price: $TBA

First mentioned: August 2020

Update (10/12/24): "Another legend of '80s music is here and it's sure to make its way into your collection. It’s time to ride the Behringer WAVE! Capable of classic 8 or 12-bit wavetable synthesis and layering of up to 8 different multi-timbral sounds. List Price: $599 (in stock and immediately shipping from our factory)"

Dealers suggesting a landing date of between March and July 2025.

Looking for more great new gear? Get all our roundups, news, features, tutorials, tips and more at our Gear Expo hub page.

It's 2025, NAMM is approaching, and the gear announcements are beginning to roll in. Kicking things off in fine style this year is Japanese manufacturer Sonicware, best known for its highly affordable synths, samplers and grooveboxes, who has just released a fantastic-looking drum synth at a characteristically generous price point.

CyDrums is a drum synth and sequencer built around a dual-oscillator wavetable synthesis engine equipped with 64 proprietary wavetables. Though it arrives with 520 preset sounds and 128 drum kits, there's plenty of scope for designing your own patches.

The synth is kitted out with 22 preset "sound structures", each geared towards producing a specific kind of drum sound. Many of the usual suspects - bass drum, snare drum, rim shot, tom, cymbal, clap, open hi-hat and closed hi-hat - offer multiple variations, and there's also a conventional, non-percussion synth structure onboard for adding melodies and basslines to your grooves.

CyDrums can be programmed via an 8-track, 128-step sequencer which can store up to 128 patterns per project. Based on the workflow of the Lofi-12 XT, the sequencer is capable of polyrhythmic, randomized and probabilty-based sequencing, along with Elektron-style parameter locking, and is equipped with a handful of performance modes that include VariSpeed, a timestretching device that emulates tape machine playback.

CyDrums' 15 backlit pads can be used not only to trigger sounds, but also to control various parameters of the synth engines and effects via velocity and pressure sensitivity, giving you plenty of options for expressive live performance.

Each of CyDrums' eight tracks runs through a multi-mode filter and an amp envelope with adjustable ADR curves and a distortion module, before being processed by a comprehensive effects engine that features 22 insert effects; chorus, flanger, reverb, delay, ring mod, overdrive, bitcrusher, compressor and a vinyl noise simulator are joined by five master effects - including a sidechain compressor and looper - that can be used to process entire patterns.

As for the hardware, CyDrums shares its form factor with SmplTrek and Lofi-12 XT, two previous Sonicware products. Equipped with a 1.5" OLED display, onboard microphone and speaker (both mono), it's battery- or mains-powered and weighs around half a kilo.

Connectivity-wise, you've got 1/4" stereo ins and outs, a 3.5mm headphone jack, MIDI in/out, USB MIDI and audio, and sync in/out via 3.5mm minijacks. Presets and wavetables are stored on an included 32GB SDHC card.

All in all, CyDrums looks like a whole lot of drum machine for the price; though it's priced at $499, it's available now for an introductory discount of $399.

Find out more on Sonicware's website or watch a demo video below.

2024 has been a great year for new music making gear. As it comes to a close, we’re counting down our top 10 music tech instruments of the past 12 months. You can watch them all in action in our video above, or read more about each in the count down below.

For this round-up, we’re focusing on hardware – there have been a multitude of excellent software releases in the past 12 months, from Ableton Live 12 to FabFilter’s Pro-Q 4, but we’ll save that for another time. We’re sticking to instruments too – hardware synths, samplers and drum machines. Check out our regularly updated buyer’s guides at the links below for the best interface, monitors, mics and headphones. We’re also overlooking the whole modular realm where, again, there have been lots of great releases, but ones we don’t have space to include here.

Some brands have dropped multiple impressive releases this year, including the likes of Korg, Moog and Roland, and for the most part, we’ve tried to limit ourselves to a single release from each. That means some hardware devices that we’ve really enjoyed using this year haven’t made the cut, such as Moog’s generative semi-modular Labyrinth or several of Korg’s releases.

We’ve based our rankings on a number of factors, such as innovation, value and usability. Ultimately, it’s all pretty subjective too, and we’d love to hear your thoughts on what you disagree with, what you think is missing and what you’ve been using most in 2024.

READ MORE: MusicRadar's best VST plugins

MusicRadar’s tech hardware of the year 2024

10. Oberheim TEO-5

What is it?

The TEO-5 is essentially Oberheim’s ‘take’ on the Sequential Take 5. At its heart lies the basic elements of a classic Oberheim synth, but these are housed in a compact and modernised instrument.

Created with help from Sequential – and as a result, Sequential’s new owner Focusrite – the TEO-5 offers a more affordable and convenient way for musicians to get hold of that classic Oberheim analogue sound.

What do we like about it?

TEO-5 is a very clever performance and sound design synth created for a small footprint and decent price. Despite it having some obvious points of comparison, there is enough personality here to set TEO-5 apart from all the synths we’d naturally try to align it with. Its easy modulation and SEM filter variations will have you creating new sounds with reckless abandon with it in no time.

Any downsides?

Five voices, for well over £1k isn't a massive amount. Some will feel limited by the polyphony and there are many other great synth options out there for similar money or even less.

READ MORE: Full Oberheim TEO-5 review

9. Elektron Digitakt 2

What is it?

Originally released in 2017, Elektron’s sampling drum machine Digitakt is one of the most popular and influential hardware instruments of recent years. This sequel doubles down on the capabilities of the original, doubling the audio track count from 8 to 16, as well as making each capable of stereo sampling. There are also significant updates to the instrument’s filters, LFOs and sequencing capabilities.

What do we like about it?

The enhanced audio capabilities instantly make Digitakt II feel capable of more complex and expansive projects. The easy, flexible modulation tools have long been one of our favourite features of Elektron gear, so an additional LFO per track is a great upgrade. The new Euclidean sequencer mode – also added to some other Elektron devices – is a great fit with the overall workflow.

Any downsides?

Despite being an all-round improvement to the format of the original – and one which justifies the bump up in price – there’s nothing here that reinvents the wheel. For anyone that wasn’t convinced by the original, either due to its limitations as a sampler or its complex workflow, there’s nothing here that’s likely to change your mind.

READ MORE: Full Elektron Digitakt II review

8. PWM Mantis

What is it?

Mantis is the second instrument from British brand PWM, which debuted in 2012 with the analogue semi-modular synth Malevolent. Mantis was created in collaboration with the late Chris Huggett, known for his work on classic synths like the Wasp and OSCar, as well as a multitude of Novation instruments. It’s a hybrid paraphonic synth that very much channels the sound of those classic instruments, albeit in a modernised format.

What do we like about it?

Mantis is a fantastic-sounding and characterful synth that lives up to its promise of capturing the essence of synths like the Wasp and OSCar in a modern format. Its multidue of filter modes, versatile digital oscillators and abundance of hands-on control offer plenty to get lost in, and exploration often rewards rich and fascinating sounds.

Any downsides?

Mantis’ price point is fairly steep for a paraphonic synth, and in terms of sheer bang-for-your-buck, you can certainly get more for your money elsewhere. While the synth’s interface is generally well laid out, the fact that all controls are similar in style and look can make navigation a bit confusing.

7. Ableton Move

What is it?

Although it kind of looks a little like Push mini, Move is actually more like a hardware version of Ableton’s iOS app, Note. Although it’s capable of being both a standalone instrument and a Live controller, Move’s primary purpose is as a sketchpad for Live. In standalone mode, it can sequence beats using Drum Racks, as well as playing sampled instruments and synths based on some of Live’s stock devices. There’s simple onboard sampling and basic effects too.

What do we like about it?

What Move does, it does really well. It’s designed for ease of use and the process of generating basic ideas and capturing samples is fluid and intuitive. The integration with Live is excellent too, making it really easy to take ideas started on Move into the full version of the DAW for further development. Aside from its standalone capabilities, Move is a convenient basic Live controller too – great for those that want simple interaction with the DAW without needing to lug Push around on the road.

Any downsides?

Move is very much a sketchpad, and it's inherently limited by design. Because of this, it won’t suit everyone – effects processing and audio sequencing is very minimal, for example. You really need to embrace its limitations to get the most out of it.

READ MORE: Full Ableton Move review

6. Korg Multi/Poly

What is it?

The latest in Korg’s line of 37-key digital polysynths – joining the likes of the Modwave, Opsix and Wavestate – is inspired by the classic analogue Mono/Poly. Korg pitch Multi/Poly as an analogue modelling synth, but we still think that description undersells it somewhat; although it does a good line in virtual analogue, it’s also equipped with powerful wavetable and wavefolding capabilities, along with deep modulation and sequencing tools that go well beyond what an analogue synth would be capable of.

What do we like about it?

As with other recent digital synths in Korg’s line-up, the Multi/Poly has a ton of depth and flexibility for its price. It can do a decent line in analogue style sounds, but with four timbral layers and a mass of digital and VA sound generation, it’s capable of much more than mere analogue emulation. Its layer rotate function – inspired by the original Mono/Poly’s round robin capabilities – is the most distinctive and fun feature here.

Any downsides?

The Mono/Poly-inspired branding is a slight red herring here, and although it leans into a few vintage-inspired ideas, those hoping for an authentic Mono/Poly experience might be disappointed.

READ MORE: Full Korg Multi/Poly review

5. Moog Muse

What is it?

Following the discontinuation of the mammoth Moog One, Muse is the synth brand’s latest flagship eight-voice poly. It’s considerably cheaper and more accessible than the One, but maintains much of what the Moog One had to offer, including eight analogue voices, a multi-timbral design – reduced from three to two timbral layers – and a similarly flexible approach to modulation.

What do we like about it?

This might be the purest form of what one hopes to hear when imagining a ‘Moog poly’; rich, characterful and full of life. Unlike the all-guns-blazing One, Muse nails the balance between modern depth and approachable, hands-on design.

Any downsides?

With its price point just shy of £3k, Muse invites inevitable comparison with a number of other polys. Within a few hundred pounds either way, you have Arturia’s PolyBrute 12, UDO’s Super Gemini, Novation’s Summit, and Sequential’s Prophet-5 and 6, among others. Muse isn’t the outright biggest-sounding nor the most versatile of the bunch. Several of the synths named above outstrip Muse in terms of voice count, and we’d argue that those that embrace more of a hybrid analogue-digital design offer a wider spectrum of potential sounds.

READ MORE: Full Moog Muse review

4. Roland P-6

What is it?

The latest addition to Roland’s Aira compact range, the P-6 is a compact and very affordable sampler, with six tracks of stereo sampling, a granular engine and some neat global effects. It’s battery powered, with a built-in mic and a good array of ins and outs, making it great fun for sampling on-the-go.

What do we like about it?

The P-6 is the cheapest product in our GOTY round-up, and for its size and price there’s a lot of creative power on offer here. The granular engine is a great addition, as are the effects, which are great for lo-fi crunch and grit. What’s more, unlike many of Roland’s Aira instruments, the P-6 doesn’t feel beholden to retreading past glories.

Any downsides?

As with other Aira compact machines, the small size can make for a somewhat fiddly user experience and there can be a fair amount of shift-pressing and menu-diving. Ideally, we’d like a few more options for sample editing and effect routing too, but given the price point these are understandable omissions.

3. Polyend Synth

What is it?

Synth is, shockingly enough, a synthesizer. More specifically, it’s an 8-voice digital synthesizer that lets users layer and perform with three independent synth engines. Each of these layers can be loaded with one of eight different engine types, each of which is designed to have its own unique palette of sounds.

What do we like about it?

The multiple digital synth engines here are excellent and incredibly versatile. Synth’s strongest assets, however, are in its hardware design. The poly-aftertouch pads are a joy to use and equipped with some clever features that make it easy to play up-to three sounds from a single interface. The layout of each synth engine and use of macro controls makes hands-on editing wonderfully simple.

Any downsides?

Eight voices isn’t a lot from a digital synth in this day and age, and you can certainly get more polyphony for your money elsewhere. It can be a little too easy to overload Synth’s onboard CPU too, leading to unwanted glitches when using the more demanding synth engines.

READ MORE: Full Polyend Synth review

2. Arturia PolyBrute 12

What is it?

A 12 voice update to Arturia’s flagship PolyBrute synth, which doubles down on the expressive nature of the original with innovative aftertouch features as well as doubling the voice count.

What do we like about it?

The original PolyBrute was already a hugely expressive multitimbral synth, but particularly when layering patches, it was easy to butt up against the six voice limit. The extra polyphony pays real dividends here. What’s more, the improved keybed adds even more to the expressivity – already emphasised by the morphing capabilities, ribbon controller and Morphee expression controller.

Any downsides?

Aside from the imposing price point, it’s hard to find anything negative to say about the PolyBrute 12. This is an all-round winning upgrade to an excellent poly, and those that can afford the outlay will find a synth with enough depth to warrant its top-end price.

READ MORE: Full Arturia PolyBrute 12 review

1. Elektron Digitone II

What is it?

A sequel to Elektron’s multi-timbral FM synth. Like the Digitakt II – above – the updated Digitone massively expands the audio and sequencing capabilities of the original. Here upping the polyphony to 16-voices, which can now be sequenced across 16 individual audio tracks. A new system of ‘machines’ adds extra synthesis engines and filter types into the mix.

What do we like about it?

Whereas Digitakt II felt like an upgrade to, rather than a reinvention of the original instrument, the improvements to Digitone are more fundamental. The new synth machines add virtual analogue and percussive synthesis capabilities alongside the original FM engine, which remains onboard too. Because of this, and the ability to program up-to 16 audio channels, Digitone II has changed from being simply a multi-timbral synth to a full multi-channel groovebox with almost DAW-in-a-box capabilities.

As a result, it vastly expands what Digitone can do without losing much of what we loved about the original. The typically powerful Elektron sequencer has been expanded and upgraded too, with double the step count, a new Euclidean sequencer mode, and more.

The original Digitone was one of our favourite and most-used synthesizers of the past decade, and Digitone II looks set to claim pride of place on our studio desktop.

Any downsides?

Ultimately, Digitone is still an Elektron groovebox for better and worse. While that means powerful sequencing and lots of under-the-hood features, it also comes with a steep learning curve. Set aside time to read the manual front to back, twice, in order to get the most out of it.

Behringer is on a roll. After unveiling a clone of the PPG Wave and a mini-synth inspired by the Roland Jupiter-8 earlier this month, the German synth and effects brand has announced the official release of its long-rumoured LM Drum, a recreation of the classic LinnDrum drum machine.

LM Drum isn't an exact remake of the original LinnDrum, but instead combines its vintage sounds with a host of contemporary features that includes sample recording, transient shaping and enhanced connectivity. The interface is broadly similar in style, though not an exact replica, the main difference being that LM Drum is equipped with an LED screen (displaying a UI that looks, er, oddly familiar). 

The 16-voice drum machine features 109 authentic '80s drum sounds from the LinnDrum, LM1, LM9000, three iconic instruments designed by Roger Linn and manufactured by Linn Electronics in the '80s. You're also able to record and play back your own samples via the 8-/12-bit sampling engine.

LM Drum's sampled drum sounds run through an analogue filter offering low- and high-pass modes and an analogue VCA. The machine is equipped with independent pan and level controls for each voice, and sounds can be processed via Behringer's Wave Designer, a transient shaper found in Behringer's X32 mixer.

LM Drum's sounds can be played via its 16 velocity-sensitive, aftertouch-equipped pads or programmed with its sophisticated 64-step sequencer that supports swing, flam, randomization and probability-based sequencing. LM Drum can store up to 8 songs and 128 patterns, while its Song Mode enables you to chain songs together for live performance.

As for I/O, there's tons of connectivity on offer, including USB, MIDI in/out/thru and sync in/out, joined by three trigger outputs, a stereo output, headphone output and individual outputs for each voice. There's also a line input for live recording and sampling.

LM Drum is priced at $399 and available to order now.

Head over to Behringer's website to find out more.

Housed in London’s Musical Museum, the new Korg Gallery exhibit plays host to almost every synth, keyboard and drum machine the Japanese giant has released in its 70 year history.

We recently paid a visit, taking a tour through Korg’s history via a collection of its most influential instruments. While we were there though, we were also curious to explore some of the more unusual and rare exhibits on display.

We asked Korg’s Luke Edwards to talk us through a few of Korg’s more obscure and unusual releases, which you can watch in the video above. How many have you tried?

Nick Hayes, aka The Last DJ, is something of an internet phenomenon. Since retiring from the auto industry in 2023, the 67-year-old has embarked on a second career as a producer and DJ of tough, dancefloor-ready techno.

His posts across social media – where he creates and performs tracks using a simple hardware setup, mostly focused around Elektron’s Syntakt drum machine – have seen him amass a combined total of 360,000 followers.

READ MORE: Meet the viral 67-year-old producer raving into retirement - and proving that techno has no age limit

We’re big fans of Hayes’s videos, particularly of the way he wrings as many ideas as possible out of a single hardware instrument. Following our recent interview, we asked Hayes to boot up his trusty Syntakt and break out his famous notepad, and talk us through how he creates his tracks. His biggest tip – never stop listening to new music.

“If you're going to create music, listen to as much music as you can,” Hayes tells us. “What you can do is you can listen to internet radio. I go to the gym, I go for walks. I put on internet radio. It's 24 hours a day. It's completely free. You don't always know who's actually playing the music, but it creates an input, and with that input, you get a great output.

“Before I actually start any music, I listen to quite a lot of techno music, just to give me some inspiration. But the real key behind inspiration, I believe, is just getting stuck in.”

Part of what makes The Last DJ’s videos so popular is Hayes’s obvious enthusiasm and how much he’s visibly enjoying himself. It’s this attitude, and a willingness to bend the rules of techno, are at the heart of his approach to making music.

“[For this track ] I've gone at 145bpm for techno,” he explains. “Now some people say that techno is 128bpm to 135bpm. But I go with what I like, and I'm not afraid of breaking the rules. The main thing is just to enjoy yourself.”

In the video above, Hayes shows us how he sketches out an idea using the Syntakt and how he develops a handful of patterns into a full arrangement.

Follow The Last DJ on Instagram or subscribe to his YouTube channel.

GAS is a problem, we all know it. Events like Black Friday and Cyber Monday only fuel the addiction. With so many crazy deals flying about it can be a tough time for GAS-heads, especially with Christmas just around the corner.

This time of year is rough for those obliged to buy gifts for others and sate the urge to buy a little something for themselves at the same time.

If you're reading this, unaware of what Gear Acquisition Syndrome is, then you can use this article in one of two ways. You either A) take heed of these words and run… run like the wind. Don’t look back and certainly don’t check out any of the deals below on some of the biggest savings on synths we’ve found this Cyber Weekend, or B) do the opposite. The choice is yours.

The premise here is simple. You have a modest budget of $/£200 to spend on a synth or synths and they have to be special offers. That way, your loved ones still get to enjoy Christmas and you get to feed your addiction in a restrained and sensible fashion, knowing that you nabbed yourself a deal. Think of it as a box-ticking GAS/FOMO exercise.

US Cyber Monday synth deals under $200

UK Cyber Monday synth deals under £200