Erica Synths and Sonic Potions have cooked-up the LXR-02, a new digital drum machine

Erica Synths and Sonic Potions LXR-02
(Image credit: Perfect Circuit)

Sonic Potions and Erica Synths are set to release the LXR-02 drum machine, seemingly an evolution of the former company’s original LXR.

Although it doesn’t yet appear on the Erica Synths website, several retailers are listing the LXR-02, which is described as a complex standalone drum synth with a powerful integrated sequencer.

There are six digital drum voices. Three are multi-purpose, and there’s also a dedicated subtractive clap/snare voice, an FM percussion voice, and a hi-hat voice. 

Each voice can be shaped using a variety of modulatable parameters for the oscillator, amp envelope, frequency modulation, transient generator, filter, and variable waveform assignable LFO.

Erica Synths and Sonic Potions LXR-02

(Image credit: Perfect Circuit)

This gives you plenty of scope to design your rhythmic sounds, but the beating heart - quite literally - of the LXR-02 is the sequencer. This offers seven tracks (one for each voice, and an additional one to control the open hi-hat of the sixth voice), each of which can have up to 64 steps.

You can automate two parameter changes for each of these steps, and the sequences for all seven tracks can be saved as a pattern. Up to 64 patterns can be saved as a song, and you can have 64 songs in a project.

The LXR-02 also has a performance mode that enables you to mute tracks and create manual rolls at the touch of a button. There’s sample rate reduction, too, and you can morph between active and target presets.

Connectivity includes four 1/4-inch outputs, a headphone output, MIDI I/O, USB and analogue clock I/O.

The LXR-02 looks set to cost $589, and is currently available for pre-order.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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