The most recent addition to the line is the Sample 2, which doubled the amount of memory available on the original and added USB connectivity for transferring samples. Slice, repitch, and rearrange samples on the fly and sequence these parameters to your heart's content. Use the built-in sounds, or fill to the brim with your own samples. It primarily functions as a rhythmic source, a sample-based drum machine, but it crosses the line into melodic sequencing with a little coaxing.

Or if sampling isn't for you, check out the Volca FM—taking inspiration from FM synthesizers from the 1980s and beyond, this is a complete three-voice FM synthesizer. It is fully compatible with DX7 program files and brings the classic metallic, and bell-like FM sounds to your fingertips. The six-operator architecture features 32 algorithms to craft the perfect sound with a simple knob and slider interface. Add another layer of texture to your sounds with the built-in lush-sounding chorus.

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The Volca Modular is perhaps the most surprising addition to the Volca line. It retains the compact form factor of the other Volcas but fits an entire west-coast modular synthesizer complete with patch points. These allow you to change the signal flow as much as you please and even feature an input for connecting with modular devices that use 3.5mm jacks. The oscillator is a triangle wave oscillator with a secondary modulation oscillator and wavefolder for creating complex FM sounds, but not quite in the same way as the Volca FM—instead, it is inspired by classic, rare Buchla designs such as the Music Easel or 259 Complex Oscillator. A pair of function generators, a clock divider, and a random voltage generator named Woggle (inspired by the classic Grant Richter design) provide the primary modulation lanes to alter the synthesizer's sounds dynamically. A pair of low pass gates both affect the loudness of a sound and the timbre with slight filtering as the volume is reduced. The sequencer can also break out of the traditional western 12-tet system. It features robust microtonal sequencing options and a randomize function that adds a bit of inspiration if you're stuck on a sequence.

Although they may look like toys, there's serious power in the hood of these compact instruments. With a full range of options, they suit any number of musical styles. Once you get one, you'll want them all.

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With their wide visibility and accessible price point, Teenage Engineering has also chosen to collaborate with a few popular franchises to offer some clever twists on their compact instruments in special, limited-edition packages. Last year we saw the release of the PO-137, a variation on the Speak with unique graphics and sounds from the interdimensional Adult Swim cartoon Rick and Morty, making it a perfect choice for the fan of synthesizers and comedy in your life. Just a few weeks ago, Teenage Engineering announced their latest joint Pocket Operator venture with Capcom, commemorating two of their most iconic video game franchises. Based on the K.O., the Street Fighter edition PO-133 comes loaded with a bunch of samples from the legendary fighting game series, specifically honing in on the character of the low-fidelity sounds of the early arcade consoles. Retro video game fans will also love the PO-128, a special Mega Man variant of the Robot. TE adjusted the 8-bit engines to channel the classic vibes of the early Mega Man games, with sounds as if they were coming straight from your old console!

Regardless of which Pocket Operator you find most appealing, there are enough options these days that any choice can fill a role in an existing music setup or be a great first instrument for someone just starting out. They might have a vaguely toy-like appearance, but don't underestimate their potential—these are serious instruments in their own right!

If you’re shopping for someone interested in almost any facet of sound design or music production, you can’t ask for a better bundle than one of Novation’s Mk3 Launchkey series. Novation's Launchkeys have provided entry-level devices for controlling Ableton Live and other digital audio workstations for the better part of the last decade—these sleek USB keyboard/controllers provide all the tactile interface that a producer, musician or sound explorer could need to get started, 16 RGB velocity sensitive pads, 8 encoder knobs, full-sized keys that make playing a breeze, as well as a host of interesting compositional tools such as arpeggiators, sequence loopers, scale functions and transport controls. The Mk 3 units provide a noticeable improvement in quality from previous offerings, now sporting a DIN MIDI out for interfacing with other hardware, backlit buttons, and an updated keybed and RGB that feel responsive and wonderful to play.

The Launchkey series comes in multiple different sizes, but the Launchkey 25 and 37-key models offer a great balance of form and features. The Launchkey Mini 25 does strike a convincing argument for mini-keys and portability however, and shouldn’t be overlooked—it’s small enough to throw in a backpack, and sports the same feature set as its larger siblings.

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Of course, if you're not a keyboardist, there's still a controller out there for you. For performers, DJs, and other creatives who use Ableton Live or other DAWs, Novation’s Launchpad has quickly become a classic. Originally released in 2009, the Launchpad redefined the idea of what a software controller could be, and over a decade later the Launchpad is more refined than ever. Compose full songs, sequence melodies and drums on the fly, or arrange and play full sets, it’s all possible from this beautiful little pad controller. All Launchpads offer complete control of Ableton Live from a grid of 64 pads that are now both pressure and velocity sensitive (with polyphonic aftertouch!) and feature RGB LEDs that match the clip color of Ableton’s grid view for easy navigation and clip-launching.

Launchpads now come in three sizes—the Mini, the X, and the Pro. The Launchpad Mini and X are ideal for beginners as they streamline creative processes and offer a unique take on interfacing with music production software, while the Pro offers all of those features, a few added bells and whistles for advanced users, and TRS MIDI. One of the most appealing features of the Launchkey and Launchpad series for newcomers is the bounty of impressive software bundled with each of the controllers. Included with all the Launchkeys are Ableton Live Lite, Serato Sample, and plug-ins from AAS, XLN, and Spitfire Audio. Launchpads come with Ableton Live Lite, plugins from AAS, Softube, and a two-month subscription to Splice’s sample library service, guaranteeing that anyone who receives a Launchpad this holiday season is primed for take-off.

Arturia released Keystep 37 earlier this year—and it maintains the thoughtfully flexible I/O from prior models, offering USB, MIDI, and CV/Gate connections. And while on the surface it may look like Arturia has merely added five extra keys to the original Keystep, there is more to the story than that. The exciting changes are implemented in the function set of the keyboard itself.

Keystep 37 includes a robust Chord mode, which provides an intuitive means to construct complex harmonic progressions with a minimum amount of key presses. Specifically, a single key can store up to 12 chord voicings. The controller also includes a Scale mode, which quantizes each note played to the nearest note in the selected scale. Oh, and yes, you can create and save your own custom scales. Finally, Kesytep 37 is equipped with a unique Strum mode with dedicated controls for note velocity, spacing, and duration. The mode lets you emulate the natural response of stringed instruments like guitars, mandolins, and harps. On top of that, Keystep 37 also includes a convenient BPM display, and 4 encoders with 4 banks of customizable MIDI CC mappings.

Ether is equipped with two antennas—a magnetic one that responds especially well to the rotation of the device, and an electric one printed directly on the PCB of the unit. There are also two antenna pins on the unit that allow you to expand the receiving range of the unit by connecting them to external antennas, that can be as simple as your own body or any other conductive surface (the larger the better). As both pins are connected to different parts of the circuit, using either or both simultaneously will greatly vary the sounds produced. Unlike traditional electromagnetic pickups that work really well in close proximity to the source, Ether is extremely sensitive and excels in larger environments like city streets, trains, buildings, etc. Of course, it will still amplify the noise of the power supply if placed next to it, but as you can imagine, it is capable of so much more than that.

If you are familiar with other instruments from SOMA Laboratories like their flagship Lyra-8 synthesizer and mind-boggling Pulsar-23 drum machine, you know the unique and close to mystical character to their instruments. Ether is no exception to this, and it presents a budget-friendly entry point to the SOMA universe. Its sturdy construction, extremely low weight, and power efficiency (it can run on two AAA batteries for at least 300 hours) make it a perfect companion tool for an adventurous musician—providing new sonic inspiration around literally every corner.

Crank's Classic Contact Mic features a silicone-coated piezo element connected to a Switchcraft plug. The silicone protects the delicate piezo and makes it simple to secure an object using tape or a clip. Connect the plug to a mixer and place the microphone on an object's surface and hear the sounds contained within. The Immersion Sturgeon takes the basic silicone-coated contact microphone and adds additional protection to create a waterproof contact microphone. Now not only can you hear the sound of vibrating objects, but objects within water. Or freeze the contact mic in water and hear the cacophony of melting ice with the cracks and pops not normally heard by observers. Both these microphones also come in XLR versions in addition to Switchcraft 1/4" plugs.

Not only does Crank Sturgeon make contact microphones, but he also makes instruments that use contact microphones in them. The Perpetual Spring Device is simply a metal tin with springs attached with a contact microphone inside. Moving the springs causes the tin to vibrate and pick up the vibrations. This may sound basic, but it can make some serious sounds with some creative playing and manipulation. Taking this simple idea a step further, the Multi-Plunk Pocket Gamelan adds longer strings, wires, alligator clips, and an external contact microphone to bring other sounds into the system. Pluck the springs, bow the wires and strings, attach the microphone to a resonant device and make expressive sound design experiments.

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Among Behringer's ever growing synthesizer catalog, it's hard to find a better value than the TD-3 bass synthesizer and RD-6 drum machine. Anyone savvy with synth history might recognize that these bear a strong resemblance to Roland's iconic TB-303 and TR-606, and they'd be totally right! These groovy little boxes effectively channel the sounds and workflows of the originals, with a few clever twists and additions for music makers in 2020.

The TD-3 is as much of an acid machine as its ancestor, but for a mere fraction of the cost of what an original 303 is going for on today's vintage market. It contains the same diode-ladder filter with squelchy resonance, glide, and accent functionalities, but the sequencer has been greatly expanded and revamped, offering 250 user slots and further capability afforded by pattern chaining and transposition. TD-3 also rewards modular users that get comfortable with its workflow, providing CV note and gate outputs to patch in their system to play along. It's also fully MIDI-capable through traditional 5-pin connectors or USB. For a more personalized touch, the TD-3 is also available in a wide range of colors, ranging from the classic silver and minimal black to bold translucent green, blue, and more.