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Nina, that synth with the motorised knobs, is finally heading your way - almost

Nina, the at-the-time mysterious synth which monopolised much pre-NAMM talk earlier this year, is finally inching towards release, with pre-orders now open ahead of a December 2022 shipping date.

That pre-show buzz was mainly driven by the motorized automation in an anonymous teaser video - self-turning knobs! - but there's plenty more going on inside, as we discovered when we got to grips with Melbourne Instruments' rich-sounding synth on the show floor. 

Perhaps the most notable non-knob features are the variable shape oscillators, which can continuously morph wave-shape between triangle and sawtooth and the hackable Open Source software running on a Raspberry Pi 4 with Elk Audio OS.

Now, the first run of 500 units is up for pre-order, with a $500 discount on the first 100 secured, or $250 off of any order before 1 Nov. Thereafter, Nina will set you back US$3500.

Head over to melbourneinstruments.com for more info and to order.

Features

• 12 Voice Polyphony
• Fully analog signal path
• Motorized recallable and automatable control panel using long-lasting zero wear encoders with the feel and precision of analog pots
• Variable shape triangle oscillators. Continuously morph wave-shape between triangle and sawtooth to find new timbres. Different to a traditional blend
• 4 pole transistor ladder VCF with modulatable resonance
• Huge voice-level filter overdrive
• Digital Wavetable Oscillator
• Sampling capability
• Deep Modulation Matrix. 16 sources to 27 destinations
• Patch morphing for complex expressive effects
• Stereo 4 Quadrant VCAs with Infinite Panning effects
• Onboard digital effects
• Multitimbral, layered, split, or overlapping
• Hackable Open Source software built on a powerful Raspberry Pi 4 running Elk Audio OS

Melbourne Instruments Nina

(Image credit: Future)
Will Groves
Editor-in-chief

I'm lucky enough to be MusicRadar's Editor-in-chief while being, by some considerable distance, the least proficient musician on the editorial team. An undeniably ropey but occasionally enthusiastic drummer, I've worked on the world's greatest music making website in one capacity or another since its launch in 2007. I hope you enjoy the site - we do.