Monomono

What’s inside

• EQ 422 Pink, a four-band parametric EQ with high- and low-pass filters, gain-dependent bell widths that widen on gentle moves and tighten as gain increases, and ×3 and ÷3 switches that extend the mid bands from the deep lows to 17 kHz
• EQ 424 Black, a four-band parametric EQ with constant-width bells at any gain, a resonance trim on the high-pass, and shelf or bell toggles on the LF and HF bands for precise lifts and clean scoops
• EQ 420, a streamlined four-band version of the 422 with wider band interaction range and a simpler layout for fast, natural tone shaping
• Dyn 432 channel dynamics, modelled from the hardware compressor and gate found on every channel of the original console

What’s inside

• Two oscillators: VCO 1 covers triangle, sawtooth, PWM square, and noise with a Pulse Width dial that sweeps from a full hollow square to a thin buzzing sliver; VCO 2 adds sawtooth, two fixed pulse widths, and ring modulation against Osc 1, plus a Pitch knob that detunes up to plus or minus 12 semitones
• Dual resonant filters in series, high-pass into low-pass, each switchable between OTA and Korg35-style topologies with circuit-accurate saturation, independent Cutoff and Peak controls, and both capable of self-oscillation
• Morphing Modulation Generator: one LFO whose Waveform dial continuously morphs from falling sawtooth through symmetric triangle to rising sawtooth, free-running from 0.1 Hz to around 20 Hz or tempo-synced to Live with phase reset on transport and per-note reset
• Onboard patch bay with 15 modulation sources and destinations including MG triangle, MG square, EG1, EG1 inverted, EG2 inverted, Mult, VCO 1 PWM, VCO 2 CV, TRIG IN, EG1 TRIG, MG Wave, and MG Freq for complex self-patching architectures

What’s inside

• 8-voice polyphonic 12-bit additive synthesizer
• 24 partials per voice with exponential level control (Slope)
• Adjustable partial interval for harmonic and inharmonic tuning
• Per-partial waveshape selection

What’s inside

• 6-voice polyphonic synthesizer built for MaxforLive
• Oscillator section: Sawtooth, variable square (with PWM), sub-oscillator, and noise generator
• Classic subtractive synthesis architecture with authentic high-pass and resonant low-pass filters
• Built-in chorus effect with 3 modes for shimmering, wide stereo textures

What’s inside

• Authentic analog-style monophonic synth for Max for Live
• Classic waveforms: Square (with PWM), Sawtooth, Sub + Noise
• Resonant 4-pole low-pass filter with self-oscillation
• Saturating amplifier for added character

What’s inside

• Channel×80: Includes Pre×73 (vintage preamp emulation) and EQ×73 (flexible tone shaping).
• Comp×54: Diode bridge compressor for smooth, punchy dynamics and added sonic texture.
• Console×80: Summing amplifier with vintage and modern modes, realistic analog noise, and unified settings for a cohesive mix.
• Classic Diode Bridge Compression: Offers a distinctive sound known for its musicality and responsiveness, capturing the essence of vintage hardware.

What’s inside

• Three tape decks modeled after famous studio decks with two playback speed options. Each deck has a unique character - saturation curves and authentic frequency responses.
• A820 inspired by the iconic Studer A820, offering a modern and balanced sound signature; A80 with a pronounced low-end for grounded bass presence; C37 with a distinctive low-mid focus for a vintage touch.
• Two playback speeds per deck: 15 ips emphasises low-frequency richness with a gentle high-frequency roll-off; 30 ips extends the high-frequency response with a slight low-end attenuation.
• Three tape formulations: 900 inspired by the BASF 900 for crisp detail; 456 a nod to the Ampex 456 for analog warmth; Б3716 capturing Soviet-era lo-fi texture.

What’s inside

• Curves EQ V2.0: three-band passive EQ inspired by Pultec designs, with a completely reworked signal path, expanded frequency selection, and 2x oversampling for the tone stack and saturation circuit
• Simultaneous low-frequency boost and cut for the classic 'low-end trick', with independently adjustable boost and cut frequencies
• Toggle between a warm, vintage-like tube/transformer output stage and a clean, modern output stage; adjustable saturation levels for subtle warmth to obvious analog texture
• Inductor-inspired mid band with subtle harmonic saturation, adding presence and richness - especially noticeable on vocals, guitars, snares, and synths

What’s inside

• Easy to set up: Just push the input to get more compression and makeup with the Output gain. Everything else is taken care of.
• Vintage Tone: Emulates renowned optical compressors.
• Analog Output Stage: Capture the magic of transformer and tube saturation.
• Flexible Controls: High-pass sidechain, channel summing for stereo operation, and blend dial for parallel compression.

What’s inside

• Drawing from the Pultec EQP-1A3's unique circuitry, Curves EQ captures its essence in a fresh, modern design.
• Offers simultaneous low-frequency boost and cut, providing a distinctive frequency curve reminiscent of classic hardware.
• Toggle between a warm, vintage-like transformer output sound and a clear, contemporary output stage.
• Incorporates a high-pass filter for precise low-frequency sculpting.