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| Controllers | Ableton Push One, Ableton Push THREE Controller, Ableton Push THREE Standalone, Ableton Push TWO |
|---|---|
| MaxforLive | Instruments |
| Ableton Live Compatibility | Ableton Live 11 Standard with MaxforLive, Ableton Live 11 Suite, Ableton Live 12 Standard with MaxforLive, Ableton Live 12 Suite |
| Min. Requirements | Ableton Live 11 Standard with MaxforLive Installed or Ableton Live 11 Suite |
| OS | Mac, Windows |
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7 reviews
100% average rating
In a second I find myself in the early 90s.
A sensational bomb!
An extra point for the graphics, dry and super stylish.
Highly recommended.
A total hame changer. This M4L synth liberated my push3 standalone. Up until now I had to use external hardware or a vst tethered to my laptop.
The controls and ui are simple and easy to dial in the familair timbres. Sounds great.
Sounds great, interface is super intuitive – and it maps perfectly to the Push 3, giving the best of both worlds between software and hardware! Props to the developer.
Mono ONE sounds insanely great. It has the sound and feel of a classic 80’s mono synth.
I still need to install it directly on my P3SA but so far, controlling it on the Mac with the P3, I am absolutely blown away!
Thanks Monomono!
Great classic sounds, simple intuitive interface. Using it on Push for the ‘true hardware experience’ is lots of fun,
even more so with a bit of MPE. A winner in my book.
Monomono has quickly risen to become amongst my favourite Max for Live developers. Not only are the devices very well designed, but they sound excellent. Mono One is no exception, and is bringing back memories of when I used to own an MC-202 (yep, I know… but the MC-202 had almost the exact same synth components). I am very much looking forward to any more devices that might be coming!
I really loving this synth. It’s good for entry level Synthesis-learning. I showed it to my son and he was instantly geling with it. It sounds top notch and feels good when you control it via Push or MIDI.
A polyphonic option with four to six voices would have been interesting, but for now I’m fine with it.
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Step into the golden age of synthesis with Mono One, a modern instrument that captures the unmistakable sound and spirit of early 1980s analog synthesizers. This focused sound engine delivers iconic bass lines, cutting leads, and distinctive sound effects through its perfectly balanced combination of three classic waveforms.
At its heart lies a characterful four-pole resonant filter and saturating amplifier, delivering everything from subtle warmth to aggressive drive rich in harmonics. Though elegantly simple in design, Mono One carries forward a sonic legacy that has defined the sound of electronic music for generations.
Classic Sound, Modern Features
Experience authentic analog-style synthesis through a precise recreation of classic waveforms, a punchy resonant filter with satisfying self-oscillation, and a snappy envelope generator that brings every patch to life. The saturating output section adds modern width control through its innovative stereo spread feature, perfect for contemporary productions.
Thoughtfully Enhanced
While staying true to the original workflow, Mono One introduces powerful modern features:
Intuitive Interface
The streamlined interface presents every control exactly where you expect it, making sound design feel natural and immediate. Whether you’re a veteran synthesist or new to electronic music, Mono One invites instant creativity – every setting sweet, every patch musical.
Live Integration
Mono One seamlessly integrates with Ableton Live, adapting to your chosen color theme while maintaining its distinct character. The thoughtful design follows established Live conventions while adding unique aesthetic touches that help it stand out in your toolkit.
FEATURES
Four versatile modulation sources
Portamento with Auto mode and variable and constant rates for expressive glides
Three waveform sound engine
and noise antialiased for maximum aliasing rejection
MPE and aftertouch support for expressive playing
Multiple Pulse Width Modulation sources
4x oversampled filter and output stage for pristine audio quality
Four-pole resonant saturating low-pass filter.
December 2024 – Initial Release
Our Products are generally provided as Zip file downloads which in all cases will need to be extracted and saved to your hard drive prior to installation. Details on the different file type provided and what to do with them are below.
.alp Files – These are Ableton Live Packs and will either install directly into the Packs Section of the browser of Ableton Live or ask you to save them to your hard drive. For packs that install to the library, when you double click on them you will see a pop up window asking you to confirm that installation is ok as the files are described as “Legacy”. This is fine and you are ok to proceed, the packs are created using the format for an earlier version of Live and so remain compatible with the current version.
.amxd files – These are individual MaxforLive Devices and can be stored anywhere on your hard drive. We’d advise creating a folder for them and then adding that folder as a location within the Places section of Lives Browser.
END-USER LICENSE AGREEMENT FOR ISOTONIK STUDIOS SOFTWARE PRODUCTS.
PLEASE READ THE TERMS AND CONDITIONS OF THIS LICENSE AGREEMENT CAREFULLY BEFORE CONTINUING WITH THIS PROGRAM INSTALL.
This End-User License Agreement (referred to as “EULA”) is a legal agreement between an individual or a single entity (referred to as “LICENSEE”) and Isotonik Studios for the Isotonik Studios software product(s) which may include associated software components, media, printed materials, and “online” or electronic documentation (referred to as “SOFTWARE PRODUCT”). By installing, copying, or otherwise using the SOFTWARE PRODUCT, the LICENSEE agrees to be bound by the terms of this EULA.
This EULA represents the entire agreement concerning the program between the LICENSEE and Isotonik Studios and it supersedes any prior proposal, representation, or understanding between the parties. If the LICENSEE does not agree to the terms of this EULA, the LICENSEE should not install or use the SOFTWARE PRODUCT.
The SOFTWARE PRODUCT is protected by copyright laws and international copyright treaties, as well as other intellectual property laws and treaties. The SOFTWARE PRODUCT is licensed, not sold.
The SOFTWARE PRODUCT is licensed as follows:
(a) Installation and Use. Providing that the LICENSEE has paid any applicable license fees, Isotonik Studios grants the LICENSEE the right to install and use copies of the SOFTWARE PRODUCT on up to two computers in the LICENSEE’s possession that are running a validly licensed copy of the operating system for which the SOFTWARE PRODUCT was designed [e.g., Windows 10, macOS]. The computer(s) must be owned by the LICENSEE.
(b) Backup Copies. The LICENSEE may also make copies of the SOFTWARE PRODUCT as may be necessary for backup and archival purposes.
(a) Maintenance of Copyright Notices. The LICENSEE must not remove or alter any copyright notices on any and all copies of the SOFTWARE PRODUCT.
(b) Distribution. The LICENSEE may not distribute registered copies of the SOFTWARE PRODUCT to third parties.
(c) Prohibition on Reverse Engineering, Decompilation, and Disassembly. The LICENSEE may not reverse engineer, decompile, or disassemble the SOFTWARE PRODUCT, except and only to the extent that such activity is expressly permitted by applicable law notwithstanding this limitation.
(d) Rental. The LICENSEE may not rent, lease, or lend the SOFTWARE PRODUCT.
(e) License transfer The LICENSEE may not transfer their license to the SOFTWARE PRODUCT to any third party. Any attempt to do so will be considered a violation of this EULA.
(f) Support Services. Isotonik Studios may provide the LICENSEE with support services related to the SOFTWARE PRODUCT for a period of 12 months following the date of purchase. Any supplemental software code provided to the LICENSEE as part of the Support Services shall be considered part of the SOFTWARE PRODUCT and subject to the terms and conditions of this EULA.
(g) Compliance with Applicable Laws. The LICENSEE must comply with all applicable laws regarding use of the SOFTWARE PRODUCT.
CHECKOUT MONOMONO’S OTHER PRODUCTS – CLICK HERE
For support as an existing customer please use the Support Request section within your account page, this will enable us to validate your purchase automatically and assign the request to the relevant developer to respond when they're available.
wattabass bass –
In a second I find myself in the early 90s.
A sensational bomb!
An extra point for the graphics, dry and super stylish.
Highly recommended.
[email protected] –
A total hame changer. This M4L synth liberated my push3 standalone. Up until now I had to use external hardware or a vst tethered to my laptop.
The controls and ui are simple and easy to dial in the familair timbres. Sounds great.
Paul Grewal –
Sounds great, interface is super intuitive – and it maps perfectly to the Push 3, giving the best of both worlds between software and hardware! Props to the developer.
Ed Blomquist –
Mono ONE sounds insanely great. It has the sound and feel of a classic 80’s mono synth.
I still need to install it directly on my P3SA but so far, controlling it on the Mac with the P3, I am absolutely blown away!
Thanks Monomono!
Lennart Verhoeff –
Great classic sounds, simple intuitive interface. Using it on Push for the ‘true hardware experience’ is lots of fun,
even more so with a bit of MPE. A winner in my book.
Andrew Bates –
Monomono has quickly risen to become amongst my favourite Max for Live developers. Not only are the devices very well designed, but they sound excellent. Mono One is no exception, and is bringing back memories of when I used to own an MC-202 (yep, I know… but the MC-202 had almost the exact same synth components). I am very much looking forward to any more devices that might be coming!
Toni Behrisch –
I really loving this synth. It’s good for entry level Synthesis-learning. I showed it to my son and he was instantly geling with it. It sounds top notch and feels good when you control it via Push or MIDI.
A polyphonic option with four to six voices would have been interesting, but for now I’m fine with it.