GRP A10 Semi-Modular Synthesizer Available To Pre-Order For €10,000


GRP Synthesizer has announced that the Grp Synthesizer A10, a new semi-modular monster synth, is now available to pre-order.

They say that the A10 features uncompromising construction, immediate access to sound generation and control functions, and integration of synthesis with performance control, including a 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.

The GRP A10 is available to preorder for €10,000 plus VAT, with shipping expected for the end of 2026. Once the pre-order list has closed, customers placing a regular order will pay €12,000 plus VAT for the instrument.

 

4ms MESA Reverb Module For Eurorack Systems


Ahead of Superbooth 2026, 4MS Company has introduced MESA, high-fidelity reverb module, created in collaboration with Valley Audio.Running at 96 kHz with 64-bit double-precision processing, Mesa is “among the finest-sounding reverbs available at any price point”, according to 4ms.

The four modulation LFOs, pre-delay buffer, dual filters, and vast reverb network open the door to subtle chorusing, plucked strings, pitched echoes, swirling textures, and deep ventures into “genuinely alien sonic territory”.

Features:

  • Stereo Inputs and Outputs
  • Freeze: holds the reverberations forever. Button can be set to momentary or toggle/latch
  • Clear: clears the buffer, canceling all existing reverb and letting new echoes build up. Useful for gated reverbs or purging chaos
  • Size: Sets the overall delay time and apparent size of the reverb. Ranges from very short to extremely long.
  • Tuned Size button: Shortens the delay times and tunes the all-pass filters to an exponential response so that the reverb can be played with 1V/oct sources
  • Diffusion: Controls how diffused and smeared the reverb is. No diffusion results in audible echoes like in a delay effect
  • Diffuse Input: Engages the input diffusion stage that pre-diffuses and smears the signal before reverberation. Bypassing the stage sharpens the input signal.
  • Decay: Sets the speed at which the signal decays over time. The maximum setting results in a long reverb that evolves over time into a very slowly dying cloud of sound.
  • Pre-Delay: Determines the delay for when the original signal is fed into the reverberator. Ranges from 0 to 500ms.
  • Input Filter: Filters the incoming signal from low-pass to flat to high-pass
  • Reverb Filter: Filters the reverberations from low-pass to flat to high-pass
  • Dry/Wet: Control the mix of the original and reverberant signals. Reverb clipping light flashes when clipping at this stage.
  • Input Level: Boost/cut the input from -? to +3 dB. Input clipping light flashes red when clipping at this stage.
  • Mod Depth: Amount of modulation to apply to the left and right delay sections via the four modulation LFOs
  • Mod Rate: Speed of the modulation. Each of the four LFO’s speed is offset from the others
  • Mod Shape: Shape of the modulation LFOs. From rising sawtooth, to triangle, to falling ramp.

The 4ms MESA module is priced at $399 USD, with availability to be announced.

 

Roland Future Design Lab x Neutone Debut a New Approach To Neural Sampling At Superbooth 2026


Superbooth 2026: Announced last year, Roland’s Project Lydia – a neural sampling stompbox that enables you to apply the tonal qualities of a trained AI model onto an incoming audio signal – has now reached the second phase of its development, bringing it closer to becoming a fully realised commercial product.

Various changes and improvements have been made since we first got wind of the device, which comes from Roland Future Design Lab. This innovation wing of the company was founded in 2024 “to help design the future of music creation”.

What musicians want that future to look like is very much open to question so, perhaps wisely, Roland has made the changes to Lydia based on demos, industry showcases and global surveys.

The result is a refined hardware design that promises enhanced flexibility, such as easier Raspberry Pi 5 installation and standalone USB MIDI controller operation. There’s also fully integrated I/O, which does away with the need for an external USB audio interface, and an onboard LCD display for easier navigation and real-time parameter feedback.

User preset memories are now part of the package, so control settings can be stored, and MIDI connectivity has been added for deeper control, automation and integration with other studio and live gear.

We’re still a way off from Lydia being something that you can actually buy, but Roland says that the first prototype generated strong interest, which prompted it to have a good think about where to go next with it.

“From the very first demos with professional audio developers through the overwhelming response from musicians worldwide, it was clear that Project Lydia was resonating,” says Paul McCabe, LA‑based leader of Roland Future Design Lab. “That dialogue directly shaped Phase 2. This version reflects what creators told us they want from AI hardware in real musical contexts, while also bringing forward new ideas from our team.

Roland’s philosophical argument for using AI in this case is that, rather than replacing musicianship, it augments it, giving people a way of interacting with neural models and developing another avenue of expression. Lydia was conceived with the help of AI music technology company Neutone, and our correspondent’s view of the first prototype was positive, with its ability to turn one sound into another turning out to be a compelling creative proposition

If, as now seems likely, Lydia does end up coming to market, Roland’s hope is that the familiar pedal form factor will help musicians to trust in the new technology, giving them something tangible to cling onto as they experiment with what the AI side of the technology can do. The company also says that Lydia conforms to its ‘seven principles for music creation with AI, which it laid out in 2024.

Visit the project site for details.

No release date or price has been announced yet. The Lydia Phase 2 is a prototype and can be seen at Superbooth 2026 at booths B023 and B026.