MeeBlip’s geode blends digital synthesis with dirty guitar-style distortion

MeeBlip has become a byword for small, affordable and fun synths, and the latest product in the range, known as the geode, is said to be the best one yet. Once again, it’s the brainchild of James Grahame (Blipsonic) and CDM.

As in previous ‘Blips, the oscillators are digital - you get two, each of which can host one of several different waveforms - but the real fun starts when you get to the Twin-T analogue filter. This is based on a ‘70s guitar distortion circuit, and gives you the option to dial in some serious dirt.

The geode has a true one-knob-per-function interface, giving it a fast, furious experimental vibe. There are no presets here - it’s all about the tweaking. You’ll find MIDI In over Din and USB.

Priced at $150 (plus any applicable tax, duty and shipping costs), the geode is available for pre-order now and will be shipping in May. Find out more on the MeeBlip website.

MeeBlip geode

  • Shape your sound with envelope (attack, decay, sustain) and glide
  • Choose from a range of independent, digitally generated waveforms on two oscillators: PWM, pulse, sawtooth, and triangle (osc A) or noise (osc B).
  • Mix A + B oscillators, or choose one or the other (so you can focus on noise for percussion or single-oscillator acid)
  • Sub octave and detune
  • The unique analog MeeBlip filter, based on a 70s guitar distortion circuit
  • Modulation routable to filter and pitch, for subtle effects or cranked for chaotic warbles and FM-style sounds
  • Complete MIDI implementation: use with USB, with iOS (via Apple adapter, not included), or hardware DIN (full-sized, with selectable channel)
  • All-new, great feeling knobs
  • Dual mono minijack output for easy monitoring with headphones or connection to other gear
  • MIDI DIN input for connecting MIDI hardware
  • USB for MIDI input, connecting to a computer
  • Driver-free operation on macOS, Windows, Linux, iOS*, Android
  • USB powered
  • 1m USB cable included 
Ben Rogerson

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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