Monomono

What’s inside

• Six devices covering the full signal path: Pre 873, EQ 873, Pre 881, EQ 881, Diode Comp 854 and Bus 872, modelled on the Neve 1073, 1081, 2254 and 1272 circuits
• Class A and Class AB preamp designs: Pre 873 models the single-ended class A circuit with its even-order harmonic character; Pre 881 models the push-pull class AB output stage for a cleaner result at normal levels, with high-order harmonics at the extremes noted by Rupert Neve himself
• Serial number system: every device carries a six-digit serial that draws transformers, inductors, resistors, capacitors, output stage bias and compressor rectifier diodes each within factory tolerance, so no two channels ever measure quite the same
• Consecutive serials come from the same production batch for a matched stereo pair; distant serials spread wider across the tolerance window, broadening the stereo field and giving the track more space

What’s inside

• Component-by-component model of the SSL SL 4000 G-series Pink EQ card, channel tolerances included
• Dynamic bell behaviour: bells widen at low gain and tighten as you push, keeping gentle moves smooth and hard boosts focused
• Low shelf from 30 to 450 Hz with up to 20 dB of boost or cut, broad and smooth, suited to bass lines, drum busses and full mixes
• Low-mid bell from 200 Hz to 2.5 kHz with up to 20 dB of boost or cut; a divide-by-3 switch extends the range down to 50 to 600 Hz

What’s inside

• EQ 422 Pink: four-band parametric EQ with high- and low-pass filters, gain-dependent bell widths, and ×3 and ÷3 switches that extend the mid bands deep into the lows or high into the air
• EQ 424 Black: 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, surgical control
• EQ 426 Orange: four-band parametric EQ with narrow, Pultec-style bells whose Q trades width for reach, and a low shelf that lifts well past its printed range for broad, weighty tonal moves
• EQ 420: a streamlined version of the 422, with four bands and wider range for fast, natural tone shaping without the additional filters or M/S options

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

• 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.