Rabbit Hole is an expandable summing mixer with two default VCA channels, and a hybrid vacuum tube/solid-state circuitry. Even a single look at its front panel, proudly boasting a 12AU7 tube right at the center, makes it clear that this module far exceeds the expectations of a conventional utility, and no doubt it can throw a serious sonic punch.

Surrounding the vacuum tube are seven parameter controls: Gain A, and Gain B for each of the VCA channels, Drive, and Tube for each of the distortion stages, Tone for crossfading between high-pass and low-pass filters, as well as feedback amount (FB), and dry/wet Mix. Below the parameter knobs are three switches: L8 changes tube character, FB turns on feedback, and finally OWTH (Off With Their Heads) engages the diode LED clipping circuit which yields even more absolutely unapologetic sonic destruction. Nearly every control on the module can be modulated with CV signals, and the modulation amount can be set directly on the module via attenuators. With such a wealth of options, Rabbit Hole serves as a highly flexible framework for analog sound processing. It can act rather gently by subtly enriching any sound with harmonics, and adding a tint of the desirable analog warmth. However, when you are ready to wreak havoc a couple of switch flips, and clockwise knob turning moves will set you on a way.

Curiouser is a trusty companion for Rabbit Hole, adding two more channels to the mixer. Up to two Curiouser modules can be linked up with a single Rabbit Hole, collectively making up a comprehensive six-channel analog summing mixer and sound processor. Curiouser can also be used independently as a dual VCA…and for maximum flexibility, switching between expander or independent operation modes can be done right from the front panel.

Without a doubt, with their debut release, Apollo View enriched the land of Eurorack with what is perhaps one of the most unique mixing solutions available. The Rabbit Hole/Curiouser combo is simultaneously a functional utility, and a highly creative sound processing device that will be a welcome addition for anyone who has an appreciation for analog sound, and distortion effects.

First off, what is Orba? Designed as a sort of gestural instrument, this round, handheld friend is an instrument, looper, and MIDI controller all packed into one box, or should we say, orb. Nine gestures like taps, shakes, and more impart different results into your jams, whether you're using the built-in looper or controlling hardware instruments or a DAW. There's a built-in speaker to easily play with friends on the go, and the Orba App connects via wireless pairing to customize Orba to your needs.

The original Orba isn't going anywhere, but Orba 2 aims to deliver an enhanced version of the experience. In addition to the built-in synthesizer, Orba 2 contains a sampler to record your own sounds, as well as a number of pre-loaded factory samples to play guitars and other instruments out of the box. The looper has also been drastically expanded, with maximum duration increasing from eight bars to an impressive 128, plus the option to enable automatic quantization to ensure your loops are always in time with the music.

The Vocaster series is currently comprised of two interfaces: Vocaster One and Vocaster Two. These each have a lot of features in common: for instance, they each provide super clean XLR mic preamps with a ton of gain (70dB), making them a great choice with industry-favorite dynamic microphones. They feature several "enhance" presets, designed specifically to add pleasant emphasis to spoken word. They each have a powerful and easy-to-use auto-gain feature, which can easily set your preamps to the optimal level for your voice; and they even feature an easy mute button, great for cutting out sneezes, coughs, or unexpected audio interruptions as you're recording.

Both models of Vocaster have dedicated headphone outputs and monitor outputs, and they connect to computer via USB-C. Moreover, they can connect to external devices via a dedicated 3.5mm TRS connection, allowing you to easily record audio (bump in music? call-in guests?) from external devices. They also include 3.5mm stereo outputs for sending your audio directly into a camera—great for all you vloggers out there. There's also a dedicated loopback function, making it simple to capture audio from your computer into your recordings as well (without the need for further editing or audio routing software). Beyond that, they include a huge suite of software designed to make it simple to set up and get straight to broadcasting—no fussy setup required.

Vocaster One features a single mic input and headphone output, making it ideal for solo shows. But if you have a co-host or frequent in-person guests, you might consider Vocaster Two—which includes a second mic input with all the same niceties (enhance, auto-gain, and muting) as well as a second headphone output with independent level control. Unlike Vocaster One, it also allows Bluetooth connectivity for external devices, making it possible to record audio from your phone wirelessly rather than using the 3.5mm TRS input.

Walrus Audio comes at us with a creative take on the classic reverb and delay combination with their new pedal Lore: a reverse soundscape generator. Instead of your standard effects, Walrus opted to focus purely on reverse delay and reverse reverb algorithms, with each of the effects having their own independent DSP chips. Spread across five modes, you get almost instantaneous access to the dreamiest atmospheres and high vibrational sonic worlds.

There is some variation on the type of reverbs and delays, too—like a mode that will turn both effects into delays with pitch shifting that are harmonically related to each other. Other modes include: Reverse Delay into Reverse Reverb, Reverse Delay into Octave Up Reverb, Reverse Delay into Octave Down, and Reverse Reverb into Forward Reverb. To combat the somewhat cold nature of the digital effects, the feedback path is all analog—giving it a nice warmth often not found in such necessarily-digital effects.

Starting with an update to a favorite, the new iD44 MkII isn't just a cosmetic refresh—though we have to say that smokey grey finish looks slick—but also adds some welcome features and general performance improvements. There's still four incredibly solid Audient Console microphone preamps onboard, two JFET instrument inputs on the front, and two pairs of insert loops for pre-converter outboard processing, as well as assignable function buttons and Scrollwheel options to control your DAW and plugins away from the computer.

New to this iteration, though, is the addition of audio loopback, a feature that has become more prevalent for podcasting and streaming purposes, plus an additional 3.5mm headphone output tied to one of the existing outs. All in all, iD44 promises to remain as one of the most forward thinking interfaces available, and now it's better than ever.

Extending their EVO line, EVO 16 is a new flagship interface, providing premium features and generous I/O with intuitive functionality. Eight EVO preamps provide noise-free recordings, with eight TRS outputs on hand for monitoring, outboard processing, and a whole lot of other uses. Notably, EVO 16 offers a feature called Smartgain, which can apply automatic leveling to any or all of its input channels—this makes it remarkably easy to save valuable time while miking up a drum kit or tracking a vocalist. Additionally, the clean Motion UI utilizes the beautiful front panel screen to display clear labeling, signals levels, and easy access to vital parameters. Like iD44, this interface also provides loopback functionality, plus low-latency software mixing control.

We're also pleased to see that EVO 16 has a total of eight analog line outputs, despite its compact size. This makes it a great contender for complex live performance setups, multi-channel spatialization, or for complex reamping situations…all of which really get our creative gears turning. All of this places EVO 16 as a solid contender for anyone in need of an interface with generous I/O but could benefit from modern conveniences and features to make the most of your recording time.

This year, Steinberg is showing off the UR12B, a new version of the popular UR12 USB audio interface with a new, bronze look. Both versions of the UR12 are dependable interfaces, providing two inputs, with Steinberg's D-PRE preamp on the microphone input, and two line outputs. In addition to solid connectivity with Mac and Windows computers, UR12 and UR12B are also compatible with iOS devices when used with a Camera Connection Kit or other USB to Lightning adapter…making them a great choice for a wide variety of recording scenarios both in the studio and on the go.

In addition to the interface itself, Steinberg also offers the UR12 Podcast Starter Pack, a complete recording bundle to get started on your journey of working with audio. Included with the UR12B is an ST-M01 microphone, plus a pop filter, mic cable, and desktop mic stand to make setup and connection easy. Whether you're getting your podcast idea off the ground, streaming on social media, or need a way to connect with friends, family, coworkers from home, the UR12 Podcast Starter Pack is a versatile assortment of tools to get the job done.

On one hand, Echo X is a fairly straightforward delay: it has controls for delay level, rate, feedback, input volume, and overall output volume. Like many Rainger pedals, it also includes the Igor pressure-based foot controller, which is capable of controlling your delay rate, feedback level, or even the send level from your dry signal into the delay line. This makes it a highly playable pedal; even with your hands occupied, you can use it to do everything from expressive feedback swells and send animations to warped delay rate modulation.

But the most interesting aspect of Echo X is the gate functionality, which uses your incoming audio to tell it when to produce the delay signal. You can think of this as being similar to a noise gate—but rather than muting/unmuting your dry signal, it mutes/unmutes the delay signal so that it's only audible while you're playing. This has some practical applications...for instance, it makes it quite easy to mute your delay trails in moments where you want your musical texture to be suddenly much more sparse. On the other hand, it also has a ton of experimental applications, especially when used in conjunction with the sure-to-be-weird applications the Igor controller offers.

As the names of the instruments suggest, East Beast and West Pest are designed around the principles of so-called East Coast and West Coast synthesis, respectively. The former focuses on traditional subtractive synthesis, where the sound is sculpted out of harmonically-rich waveforms, VCAs, ADSRs, and buttery filters. The latter entails a more esoteric approach to synthesis characterized by waveshaping, and nuanced dynamics control. While following the general trajectory of these synthesis paradigms, East Beast and West Pest remain distinctly unique instruments with novel features. Let's have a look at each synthesizer individually.

At the core of East Beast is a powerful analog oscillator which offers a selection of classic waveforms (Sine, Tri, Saw, Pulse) plus several compound waveforms, as well as pitched noise. The oscillator is followed by a lush multimode state-variable filter, which again offers the option for low, band, and high pass filter modes. Modulation-wise, East Beast features a four-stage envelope, and an analog LFO. And if that wasn't enough, the synthesizer also holds a robust arpeggiator and random generator, as well as a built-in keyboard and 32-step sequencer.

The oscillator on West Pest features three main waveforms, Sine, Tri, and Saw, and similarly to its sibling, a number of combo waveforms. At the centerstage here, though, is the wavefolder, whose importance is clearly emphasized by the size of Fold parameter knob. Another particularly fascinating part of the West Pest is the Dynamics Controller section which is a sort of Pittsburgh Modular's answer to low pass gate design with an adjustable Release stage. As a result, you get the much-adored West coast 'boingy' sound with extended functionality. Interestingly, the Dynamics controller also sports a resonance control which further emphasizes a narrow band of frequencies around the cutoff position. And similarly to East Beast, a low-frequency oscillator is also in place here, as well as a built-in sequencer, and random generator.

Both synthesizers feature a default normalled signal path between the modules, which makes them ready to play right out of the box without any patching. Once you are ready to switch things around you can easily change the default routing of the modules via the 20-point patch bay. The synthesizers include a handy one-octave keyboard directly on the panel. Alternatively, you can pair the synths up with an external controller of your choice, be it MIDI or CV/Gate.

Coming in with a product that's sure to catch the eye of many producers and engineers, the OST8-ADAT is a 500 series chassis with integrated optical connectivity. With room for up to eight 500 series modules, you can load this enclosure up with any combination of preamps, compressors, or other type of module, then use the ADAT outputs to connect with your audio interface—instantly unlocking eight more input channels.

But actually, what's particularly cool about OST8-ADAT is its flexibility in assigning input sources to the digital converters. Of course, you can capture signals after being processed by the 500 series modules, but you can also capture the raw input signals, or a secondary external input—and this is assignable on a per-channel basis. With the number of powerful desktop interfaces out there supporting optical input, OST8-ADAT is perhaps one of the best ways to get the most out of your existing rig.

Cranborne Audio is known for having high quality creative ways to connect all your gear, and this year they debuted their N8 C.A.S.T. system: a great way of bringing your entire studio together. For those not familiar with the C.A.S.T. system—it's an audio routing solution utilized in many Cranborne products, eliminating the need for bulky, expensive audio snakes in favor of dedicated routing boxes that connect together with affordable, easy-to-procure, shielded networking cables (Cat 5, Cat 6, or Cat 7). Moreover, it makes it possible to connect remote snake boxes to Cranborne's own series of interfaces/500 Series chassis.

The new N8 C.A.S.T. distribution hub allows you use their existing routing technology with any audio interface—previously, if you wanted to make use of their technology, you needed to have their own interfaces or 500 series ADAT rack. Now, you can simply grab one of these inexpensive boxes or their C.A.S.T. intro bundle and you're good to go.

×

The new MRCC µ88 has us particularly excited. Much like a smaller version of their flagship MRCC, it provides an insane number of MIDI routing options—but this one features considerably fewer input/output channels, making it a great choice for folks with a smaller setup, or for tying together a live performance rig. It features four 5-pin DIN inputs (one of which offers a shared 3.5mm TRS MIDI input), four 5-pin DIN outputs (one with an optically-isolated 3.5mm thru connection), and four USB MIDI virtual ins and outs. It can connect to a computer via USB-B, making it an excellent choice of USB MIDI interface...but it can also be used completely standalone, great for routing data between hardware devices with astonishing flexibility.

Frankly, the options available with MRCC and the new µ88 are astounding. Featuring dedicated per-port routing buttons, it's easy to direct data to/from any desired location; this allows easy "thru"-like connection, and even merging multiple MIDI source to a single destination. You also have access to data filtering, channel split, and much more...it's honestly pretty incredible.

×

For those with more extensive setups, they've also introduced the MRCC XpandR 4x1, an expander for the MRCC which adds four DIN inputs (one of which features a shared 3.5mm TRS connection), as well as a single DIN output (with 3.5mm Thru connection). It connects to the MRCC using the MRCC's USB ports—so it's actually possible to add up to four XpandR 4x1s to a single MRCC. Beyond that, you can actually connect the XpandR 4x1 directly to your computer via USB, allowing it to act as a dedicated, class-compliant MIDI interface. Pretty snazzy.

If our experience with NDLR is any indication, µ88 and XpandR 4x1 are going to be super solid and insanely useful. Truthfully, I'm eyeing that µ88 myself. We're not quite sure yet when these will be available for order...but our eyes are open.

×

Reading off the specs, it's hard not to be impressed by what the 3rd Wave offers. A generous 24-voices may be divided into four parts for multitimbral performance, and each voice itself provides three wavetable oscillators—there's no shortage of sound generation here! Speaking of those oscillators, they can function as retro PPG-style wavetables, dense modern wavetables, or model and analog waveform. And no wavetable would be complete without a stunning filter, there are, in fact, two available on 3rd Wave: a contemporary version of the iconic Dave Rossum 2140 for 24dB/oct lowpass filtering, and a continuously variable SVF.

There's more to the 3rd Wave story: onboard sequencing, powerful digital effects, and an onboard wavetable editor with a "sample-to-wave" function. Like all great wavetable synths, the modulation capabilities are generous as well—between 16 assignable slots and 12 fixed slots, 27 sources and 114 destinations, intricate sound design opportunities await. We're certainly eager to learn more about 3rd Wave and Groove Synthesis in the near future, but in the meantime, expect these to be available around August 2022.

When a piece of gear is tailored to one artist's specific needs, the result can be either something that is too niche or, contrarily, it can turn out to be an apt response to the unvoiced dreams of the many. In the case of Nocturnal by Collision Devices, it is likely the latter.

Born out of collaboration with the company's friend, Nocturnal combines three powerful effects in one box: Modulated Delay (Dusk), Dynamic Tremolo (Night), and Shimmer reverb (Dawn). Each of the effects can be engaged individually, and when combined together or in any combination with each other they can be used to create infinitely rich, and unfathomably beautiful textures. What's more, each section offers a wide range of parameters, therefore presenting a framework for great sonic diversity.

While we can easily imagine this pedal on anyone's pedalboard (it is that flexible, and great-sounding), Nocturnal's potential to summon evolving and otherworldly sonic landscapes ostensibly make it particularly attractive to fans of shoegaze and ambient tones.