Archive for May, 2025

GRP Synthesizer A10 Promises To Be ‘A Complete Electronic Music Studio In A Box’


GRP Synthesizer has introduced the Grp Synthesizer A10, a new instrument that they say embodies the Grp philosophy: uncompromising construction, immediate access to the generation and control functions, integration of the synthesis structure with the performance control offered by the Step Sequencer and the powerful MIDI Arpeggiator.

In addition, the A10 hosts a complete and flexible Analog Effects section (Wavefolder, Dual Triple Resonator Filter, 1-Sec BBD Stereo Delay, Dual Phaser, Stereo Spring Reverb).

Here’s an overview:

 

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Key Features:

  • GRP says that the A10 embodies the Grp DNA: uncompromising construction, hands-on access to all functions, minimal – but functional – implementation of parameters on the Display for the main configurations.
  • The synthesis resources of the Grp Synthesizer A10 can be organized to produce a single voice with four VCOs, four VCFs, two VCAs, two Waveshapers, two Triple Resonator Filters, a Dual Phaser, a 1Sec BBD Stereo Delay, a Stereo Spring Reverb, four EGs, three LFOs, an S/H, a RingMod, an Env Follower under control of the Step Sequencer (Mono or Dual Mode) or can be distributed in two independent operational timbre sections Upper and Lower (Split Mode) freely controllable by MIDI/CV keyboard or Step Sequencer or Arpeggiator.
  • Completeness – The A10 is designed to be a complete electronic music studio in a box.
  • Powerful Sound Sources – The new Grp oscillators make available classic analog waveforms (including the Grp Sine Wave – arguably the purest commercially available sine wave in an analog oscillator) plus SuperWave customization applicable to Super-Sine, Super-Triangle, Super-Saw, Super- Square. Sources include: VCO 1, VCO2, VCO3, VCO4, SUBVCO 1, RINGMOD 3*4 (or EXT*4), NOISE, EXT IN/FBK.
  • Flexible and complete audio path – Each sound source can be continuously rotated to the first or second VCF. The two VCFs in turn can work in Parallel, Serial 1-2 or Serial 2-1 mode. The filter signal is received by a pair of VCAs equipped with a dedicated envelope and dedicated AM function. The output of the two VCAs is finally regulated through the MAIN MIXER – AUTO PAN section, with level visualization through a pair of Vu-Meters and manual or automatic adjustment on the stereo vectorization of the signal.
  • External Input & Envelope Follower Grp – Synthesizer A10 can receive an external audio signal, adjust its audio level for subsequent processing and process the Gate Extraction controls (with adjustable Gate Threshold) from the audio signal to trigger the internal Envelopes and Envelope Follower (to control the operation of the synthesizer based on the intensity of the external signal).
  • Many Filters – The Voltage Controlled Filter 1 can work in -12dB Vactrol or -24 dB Transistor Ladder configuration (with selection of the desired order: from LP1 to LP4 with or without Gain Compensation). The Voltage Controlled Filter 2 can work in -18dB Diode Ladder or -12 dB State Variable Filter configuration (with HP2, BP1, LP2, BR1, BR2 selection). In all configurations, it is possible to modulate the amount of Resonance. Each filter has independent Envelope Amount with positive or negative polarity.
  • Audio Processing Grp – Synthesizer A10 opens, for Grp, the integration of analog effects within the synthesis channel. The instrument is equipped with: Dual Voltage Controlled Wavefolder (adjustable in Pre/Post Filter position, with modulatable Wavefolding Amount); 1-Sec BB Stereo Delay (synchronizable independently on the two channels, with Tap Tempo and Time Modulation, Clock Divider, PingPong switchable, also usable for external signals), Dual Triple Resonator Filter (each with built-in LFO, three adjustable Resonant Freq, Resonance High/Low, Dry/Wet), VC Dual Phaser (each section configurable 6/12 Stages, with Phase Reversal), Spring Stereo Reverb (two independent tanks, to preserve the stereo flow, with adjustable Reverb Return).
  • External and internal controls – In addition to MIDI/USB signals (the 16-bit DAC converts Note On/Off, Key Velocity, Pitch Bend, Channel. Aftertouch, ModWheel, Sustain, Volume, MIDI Clock) and CV/Gate signals received from outside, Grp
  • Synthesizer A10 offers: two Voltage Controlled Envelope Generator 1 and 2 in Delay-Attack- configuration Hold-Decay-Sustain Level/Time-Release (with selective Loop activation, with or without Keyboard-AND, independent Wheel/Vel/Seq modulation on Attack-Decay-Release Time, activation from MIDI/USB keyboard/ CV, Step Sequencer, S/H Clock/External In and two simultaneous CV outputs with independently adjustable Amount and Polarity), two Voltage Controlled LFO 1 and 2 (with adjustable Frequency and controllable from internal and/or external CV sources to the instrument, selectable Waveform, with Shaping on the external signal; it is possible to synchronize the modulation cycle to the Step Sequencer and to other Clock sources); a Performance Low Frequency Oscillator (with adjustable Frequency, Range, Shape and Shaping, addressable to VCO1-2, VCO 3-4, PWM1-2, PWM3-4,VCF1, VCF2, VCA1, VCA2).
  • Assignable Modulations Grp – Synthesizer A10 expands the semi-modular Grp philosophy based on high-quality mechanical multiselectors to offer maximum flexibility of use without having to resort to physical patching. The four VCOs, the two VCF blocks and the two ASSIGN blocks each offer access to 21 possible Audio/Sub Audio modulation sources freely assignable to the pivot points of the instrument (Osc Frequency, Filter Cutoff, Assignable Source). In addition, the CV signals selected in the ASSIGNABLE CV 1 and CV 2 sections can be routed to VCO1-4 FM2, VCO1-4 PWM, WAVEFOLDER 1-2 Amount, VCF1-2 Resonance, Triple Resonator Filter 1-2 Mod Frequency Amt, VC Dual Phaser Mod Rate Amt, Mod Feedback Amt, VCA1-2 Mod AM Amt.
  • MIDI Arpeggiator A – MIDI Arpeggiator addressable to the Upper or Lower parts (when the instrument is in Split mode) or to the entire instrument, with adjustable Pulse Width configurable in Advance Mode, Note Repeats, Octave Range and Advance Division (to de-align the Arpeggiator rhythm from that of the Step Sequencer).
  • Step Sequencer 8*3 – Imagine a Grp R24 inside the synthesizer: now, imagine it more powerful, simpler in the immediate choice of important parameters, with the capability of storing sequences of notes up to 24 Steps long. Three rows of 8 Steps each, which can be organized in 8*3, 16+8, 24 Step configurations. Each Step, in addition to adjusting its own value (of pitch or CV control), can trigger the synthesizer’s Envelopes. (each Envelope can be connected to the desired Sequencer Row ABC independently from the others), or enable Portamento or Activate Ratchet bounces or more. Each row can work independently as Order, Step Repeat, Advance Rate Division, Row Advance, Function Activation. The Sequencer can be clocked internally, via MIDI/USB, via Analog Sync TTL, via keyboard. The stored sequences are stored and can be recalled at the user’s discretion at any time. moment.
  • Dedicated Clock center – Grp Synthesizer A10 is equipped with a Clock center that can be customized to differentiate – simultaneously – the advance density of the Arpeggiator and the Step Sequencer. But it can also be used to manage the modulation cycles of the VC LFO 1 and 2, the analog Stereo Delay, the Sample & Hold.
  • Grp Synthesizer A10 offers a block of 57 + 2 front Audio and CV/Gate control connections unbalanced and balanced XLR through which to interface the instrument with the outside world. You can connect the balanced Main L/R outputs, or take the Upper and Lower L/R stereo pairs, manage headphone listening or receive external monaural signals. The Analog Delay, Reverb and Phaser sections can be used completely independently to process external stereo signals; all the most important parameters can be managed via CV/Gate. The Step Sequencer offers a full complement of connections for CV/Gate control of independent external analog devices (one for each Row ABC) and can in turn be externally analog driven for Run/Stop, Reset, Loop On/Off behaviors.

Details on pricing and availability are to be announced.

Electro-Harmonix Introduces Oceans Abyss Advanced Reverb Laboratory


Electro-Harmonix has introduced the Oceans Abyss Advanced Reverb Laboratory, a new hardware effect designed for immersive reverb effects.

The pedal is centered around dual reverb engines that are independently programmable with full-stereo algorithms including Hall, Spring, Shimmer and more. You can put these reverbs in a customizable signal path with additional FX blocks like Delay, Chorus, Tremolo, or Bit Crusher.

The Oceans Abyss can be configured as individual reverb, modulation, EQ, delay, bit crusher, saturation or volume effects, or as countless combinations.

Deep parameter editing is accessible via the high-visibility OLED display with multiple graphical views and easy-to-read designs. Expression/CV control is available4 over nearly every parameter. Fully-stereo I/O, plus an FX Loop, allows for use with any instrument, recording set up, or live rig.

128 programmable presets via onboard footswitching or MIDI ensure perfect recall in all performance situations. MIDI IN/OUT ports with MIDI IN support of PC, CC, and Tempo Clock expand the already immense talents of the Oceans Abyss.

Features:

  • Two Stereo Reverbs available at once, each fully pannable in the stereo field
  • 10 reverb types to choose from: Room, Hall, Spring, Plate, Reverse, Dynamic, Auto-Infinite, Shimmer, Polyphonic, Resonant
  • Additional FX blocks: Delay (Digital, Analog and Tape emulations), Tremolo, Chorus, Flanger, Phaser, Graphic EQ, Saturation, Bit Crusher, External FX Loop, Volume
  • Create custom signal path routing with up to 8 effects blocks. Two blocks may be reverb, the rest may be any of the additional FX blocks.
  • Infinite reverb sustain with the press of a footswitch
  • Stereo Audio I/O
  • Stereo FX Loop routing on TRS Jacks
  • Dual action footswitches allow for momentary or latching use
  • Easily enable or disable tails
  • 128 fully customizable presets
  • All controls can be saved to presets
  • Dive deep into global and preset settings to set up Oceans Abyss for your specific needs
  • Illuminated slide pots and buttons
  • High-visibility OLED graphical display
  • Multiple graphical views: Signal Path, Performance, Settings, Physical, Explorer
  • Easy-to-navigate menu system
  • Ergonomic NavCoder knob allows rotary and directional navigation through menus
  • EXPRESSION / CV input to control nearly any parameter in any FX block
  • Footswitch input allows for adding up to three external footswitches, each assignable to a number of functions
  • MIDI In and Out. MIDI IN supports PC, CC (over nearly every available parameter), and Tempo Clock
  • USB-C port to connect to Windows or Mac and interface with EHXport™ app (coming soon)
  • 96kHz / 24-bit sample rate conversion
  • Supplied with 9.6VDC / 500mA power supply

The Oceans Abyss is available now for $495.00

Roland Brings 8 Authentic BOSS Effects Pedals To Your DAW


Roland has announced that its bringing software emulations of eight Boss effects pedals to its Roland Cloud platform for the first time, placing much-loved stompboxes like the OD-1 Overdrive, DS-1 Distortion and PH-1 Phaser in your DAW.

Since launching their first compact pedal in the mid-’70s, Boss’s pedals have become some of the most popular on the market, carving out a reputation as reliable workhorses with an extensive catalogue that spans more than 140 different sonic flavours.

The new emulations developed by Roland span a variety of effects: drive and distortion are provided by the classic OD-1 OverDrive, SD-1 SUPER OverDrive and DS-1 Distortion pedals, while the PH-1 Phaser recreates Boss’s simple but effective 4-stage phaser pedal.

A number of vintage and discontinued pedals are featured, including the ultra-rare SG-1 Slow Gear, a filter pedal designed to provide automatic volume control, producing a smooth volume swell by filtering out transients.

Also included is the SP-1 Spectrum, a short-lived single-band parametric EQ pedal from the late ’70s, and the CS-1 Compression Sustainer, the company’s first compact compressor pedal. These are joined by the TW-1 T Wah, an envelope filter pedal launched in the ’80s.

The BOSS Effects Pedals Software Effects  feature authentic interfaces based on the original pedals, though additional control is available in the form of input and output levels and DAW tempo sync. The BOSS Effects Pedals plug-in can be loaded with one effect at a time from a growing library. Though the plugin is launching with a selection of eight pedals, Roland is planning on delivering an “ever-expanding selection of models” from its historic hardware line-up as time goes on.

The BOSS Effects Pedals plug-in is available with Roland Cloud Ultimate membership, which you can try for free with a 30-day all-access trial.  Ultimate subscription to Roland Cloud will set you back $19.99/month, but you can also snag three months for $49.99 or a year for $199.

Roland Cloud Ultimate not only gives you access to the Boss Effects Pedal plugin, but also an extensive collection of software that includes emulations of Roland’s most iconic synths, drum machines and effects.

Find out more on Roland website.