Cineol-X 224 is an open-source development project that brings the reverb processing of the classic Lexicon 224 digital reverb to your DAW, with a desktop plugin for macOS and Windows, along with a version designed for the Daisy embedded DSP platform.
This is a ‘bring your own ROM’ project – meaning that it avoids copyright infringement by requiring you to supply the original Lexicon firmware.
The latest GitHub prerelease, v1.0Alpha, adds controls for lowering the DSP clock rate and adjusting converter-filter behavior, offering additional ways to shape the character of its digital ambience.
The plugin includes six programs based on the original Lexicon 224. Controls include bass, mid and treble decay, pre-delay, diffusion, modulation enhancement and a continuously adjustable Dirt parameter for altering the converter-filter character. Optional spillover helps preserve reverb tails when changing algorithms.
Cineol-X 224 is available now as an AU and VST3 plugin, as well as a standalone application on macOS; Windows builds support VST3 and standalone use. The software requires users to supply their own compatible Lexicon ROM files, which are not included in the repository or downloads.
*Note: The official Lexicon 224 plugin is available from UAD for $39 USD.
The Model 112 and Model 210, two full-range, flat-response (FRFR) instrument amplifiers purpose-built for synthesizers, keyboards, drum machines, and modern electronic performance rigs.
Moog Music today launched Model 112 and Model 210, its all-analogue path amplifiers. The Model 112 and Model 210 have been carefully crafted to make sure that the unique characteristics of a wide array of electronic instruments are retained when being performed on stage.
Model 112 combines a portable 12-inch format with 440W RMS bi-amplified power for studios, rehearsals, personal monitoring, and live performance. Model 210 steps up to a 550W RMS, 2.5-way design with dual 10-inch woofer and deeper low frequency extension for larger stages and more demanding performance rigs.
Both models deliver an all-analog amplification path, 4 stereo inputs and an integrated four-channel stereo mixer, balanced PA connectivity, Bluetooth streaming, headphone monitoring, and Stereo Link for building a two-amplifier stereo system.Together, Model 112 and Model 210 extend Moog’s focus on electronic performance from the instrument itself to how it is monitored and heard on stage, in rehearsal, and in the studio.
The points of difference between the two amplifiers comes with the oomph of their respective outputs. The lighter (47.84 lbs/ 21.7 kg), handle-equipped Model 112 is angled at – what Moog describes as ‘everyday versatility’ for users who travel gig-to-gig. Inside a 440W RMS bi-amplified system powers a 12-inch woofer and a 1-inch compression driver with a frequency response of 40Hz-20kHz.
In comparison, the larger (69.89lbs/31.7 kg) Model 210 sports a 550W RMS bi-amplified, 2.5-way design which combines its 1-inch compression driver with a pair of 10-inch woofers. One of these woofers is purpose-designed for full-range audio, while the other is sp
Both amplifiers also feature an integrated four-channel analogue stereo mixer that allows the inputting of numerous instruments at the same time, allowing you to manage their respective outputs via the four front panel knobs.
The first channel also includes a microphone preamp. A Baxandall master EQ allows master control over the full mix, which can be sent to the front of house or used as the basis for onstage monitoring. Stereo Link allows you to combine two compatible Moog amps to build a robust stereo system.
“Every great electronic instrument has its own sonic identity,” states Joe Richardson, President at Moog Music. “Model 112 and Model 210 were designed to preserve that identity, not colour it. From the unmistakable warmth of a Moog synthesizer to the transient snap of a drum machine, these amplifiers allow the true character of the instrument to come through. Musicians work hard to shape their sound. They deserve amplification that delivers it honestly, consistently, and exactly as intended.”
KEY FEATURES:
ALL-ANALOG FRFR AMPLIFICATION: Full-range, flat-response Class D amplification designed to reproduce the character and frequency range of connected instruments.
DESIGNED FOR ELECTRONIC INSTRUMENTS: Purpose-built for keyboards, synthesizers, drum machines, and electronic performance rigs, plus bass and guitar preamps and modelers requiring FRFR amplification.
INTEGRATED 4-CHANNEL STEREO MIXER: 4 stereo inputs allows connection of multiple instruments and playback sources through one system, with a microphone preamp on Channel 1.
3-BAND BAXANDALL MASTER EQ: Shape the complete amplifier mix directly from the system.
PROFESSIONAL PA CONNECTIVITY: Balanced stereo XLR and TRS outputs route the complete mix to front of house while the amplifier remains available for personal monitoring.
BLUETOOTH STREAMING AND HEADPHONE MONITORING: Bluetooth® 6.0 audio streaming (A2DP, AVRCP) supports reference tracks and play-along practice, with headphone output for silent monitoring.
STEREO LINK: Connect two compatible Moog amplifiers for stereo amplification.
PREMIUM MOOG INDUSTRIAL DESIGN: Tolex-wrapped wood with protective metal corners, vintage grille cloth, top carry (112) and side handles plus removable casters (210).
MODEL 112:
440W RMS bi-amplified system
12-inch woofer and 1-inch compression driver
40Hz–20kHz frequency response
Top carry handle
84 lbs / 21.7 kg
MODEL 210:
550W RMS bi-amplified 2.5-way system
Dual 10-inch woofers and 1-inch compression driver
Released two decades ago this month, Native Instruments’ Massive became one of the most influential soft synths of its era. From bass music and electro, to film scoring and sound design, users have relied on Massive’s distinctive sonic character and flexible synthesis architecture to create sounds that stand apart, before a belated sequel, Massive X, was released in 2019.
Today, Native Instruments unveils Massive’s third generation, Massive XL, the successor to Massive X and the company’s most significant instrument release since it was acquired by inMusic, owner of Akai and Moog, earlier this year, after going into preliminary insolvency in January.
New tools in Massive XL, including Preset Generator, Mutator, Morpher, and Animator, make it easier to discover, shape, and personalize sounds while preserving the deep synthesis engine and open routing architecture that Massive users have relied on for years.
Though there are tons of improvements and new features in Massive XL, it’s the Generate function that’s going to steal the headlines. This is an AI model, developed in-house by NI, that analyses any imported audio file and recreates it as a fully editable patch in Massive XL.
Here’s a closer look at what’s new in Massive XL:
Faster paths to new ideas. At the center of Massive XL is a set of new creative tools designed to accelerate sound discovery without sacrificing control.
Drop an audio file into the newly-added menu on the right-hand side of the synth’s interface, and you can select a slice of up to four seconds in length to use as the basis for a patch. NI has added stem separation here, so you’re able to drop a sample from an existing song, split it into its constituent stems (Vocals, Bass, Drums and Other) before running a slice into Generate.
Generate creates four different patches by default, and you’re able to adjust how much variation there is between presets and how closely they match the timbre of the original audio file. Each preset variant is automatically assigned six macro controls that let you make quick edits to the character of the sound.
Like Massive X, Massive XL is built around two wavetable oscillators with 10 oscillator modes, plus phase modulation oscillators, two noise generators and a filter with nine types, three insert slots, three effects slots, semi-modular routing and a flexible modulation system.
Both the Generator and Mutator give users new ways to access fresh sounds at the click of a button, but Massive XL has plenty of upgrades for more traditional sound designers too. You can now create your own wavetables – something Massive users have been asking for for a long time – by dragging-and-dropping any audio file or single-cycle waveform into the oscillator section, and there’s a new single-oscillator view that lets you see the whole wavetable in a waterfall display as well.
*NEW* Preset Generator: Transform an audio reference into a playable Massive XL patch that remains fully editable and ready for further sound design. Stem separation is included, giving producers new ways to explore and reinterpret source material.
*NEW* Mutator and Randomizer: Generate new sound variations with guided, similarity-aware mutations or randomize individual modules while keeping your favorite elements intact.
*IMPROVED* Morpher and Animator: Create movement that can be performed, locked, transferred, and reused across presets, making evolving sounds faster to build and easier to control.
*NEW* Starting point templates: Jump into sound design with practical factory defaults and saveable curves for filters, effects, and modulators.
Joining the 170+ wavetables already in Massive X’s library are more than 100 new wavetables designed for XL, including some retro options lifted from classic PPG synths and the original Massive, and you get over 100 new noise tables as well.
There are three new effects onboard based on existing NI plugins: Raum is a three-mode algorithmic reverb, Replika Shimmer combines delay, reverb and pitch-shifting to create classic shimmer effects, and Tape Wobble adds wow, flutter, saturation and noise in the style of analogue tape machines. Sub-presets for effects, inserts and filters can now be saved too.
Massive XL also introduces polyphonic aftertouch support, so controllers that send per-note pressure can shape the sound of each note independently – any existing aftertouch assignments, including those in older presets, will automatically switch over to per-note response.
That’s not all, either: there’s a long list of minor improvements, including animated modulators, interactive envelope graphs with draggable handles and curve segments, custom user banks for user presets, and undo/redo functionality.
Along with Massive XL, Native Instruments is releasing Massive XL Player, a free version of the synth that lets you load and play presets in the Play view but doesn’t give you access to full editing, or the new Generate or Mutate features. NI has confirmed that Massive X and Massive X Player are both being retired with the release of Massive XL.
“Massive has always been about giving producers the freedom to create sounds that feel uniquely their own,” Native Instruments’ Senior Director of Product Management Tim Adnitt said in a press release.
“With Massive XL, we’ve focused on helping users reach those sounds faster. It delivers the character, flexibility, and control Massive is known for while introducing new tools that make exploration, experimentation, and sound creation more immediate.”
Massive XL – New Sonic Capabilities Include:
100+ new wavetables, including material from the original Massive and classic PPG wavetable content
100+ new noise tables
Custom wavetable creation from imported samples and sample libraries
Integrated effects including Raum, Replika Shimmer, and Tape Wobble
Polyphonic aftertouch support for expressive performance with compatible hardware
Deep control with greater clarity:
ANIMATED MODULATORS: See modulation displayed in real time, with visual feedback showing exactly how parameters are being influenced. Massive XL introduces a redesigned user experience built to make advanced synthesis easier to understand and navigate.
VISIBLE MODULATOR INFO: Quickly identify what is affecting any parameter or reveal all active modulation sources in a patch simultaneously.
ADVANCED MODULATION ENVIRONMENT: Create sophisticated movement using drag-and-drop modulation, sidechain routing, envelopes, LFOs, Performers, Trackers, and 16 assignable macros with full host automation support.
CONTEXT HELP: Access explanations directly inside the instrument, reducing interruptions to workflow and making advanced functions easier to learn.
WORKFLOW UPGRADES: Undo/redo history, draggable envelope handles, reusable component sub-presets, and customizable user banks help streamline day-to-day production.
Massive XL is available now for €199/$199/£179, with an introductory price of €99 / $99 / £89 from October 27 through December 31. Owners of Massive X can update to Massive XL for €69 / $69 / £59, or €49 / $49 / £44 during the introductory period, and owners of the original Massive can crossgrade for €129 / $129 / £109, or €79 / $79 / £69 during the introductory period.
