Superbooth 2025 is here! We're in Berlin for the most raucous and exciting gear event of the year: new synths, Eurorack modules, effect pedals, drum machines, samplers, and much more!

Even before the show got started, we caught wind of plenty of new announcements: the Frap Tools Magnolia, Instruo Seashell, Make Noise Jumbler, 1010 Music Bento, Polyend MESS, new Tiptop x Buchla Eurorack modules, and rumors of plenty more news to come. Keep up to date with all the new announcements: we'll update this page regularly as more emerges!

1010 Music Bento

More than an evolution of 1010’s earlier gear, Bento is a convergence point. It takes the immediacy of the Blackbox, the utility of the Bluebox, and amplifies both into something self-sufficient and performance-ready. The pads are expressive, the I/O is generous, and the workflow is tight. Whether it’s the heart of a mobile setup or the centerpiece of a studio, Bento isn’t just a tool—it’s an invitation to create, wherever you are.

Be sure to check out our full review here!

^^^ Take me back to the top! ^^^

4MS: POD104X, Smaller Sampler, + More

×

While many misguided modular musicians may gladly bask in piles of empty, powered boxes, for most the addition of power and housing for their precious patchable instruments is simply a hurdle to overcome before any music can be made. Among the options in the market today, 4MS has continually championed their highly affordable entry points into the modular world with their Pod cases. For the uninitiated, these simple yet highly capable boxes, available in multiple sizes from single-module set-ups to proper skiff cases, offer a streamlined solution for getting started in modular or simply expanding an established set-up. Convenient and capable, they also provide daisy-chainable power, making it easy to assemble a few small systems which can be mixed and matched as you please.

×

4ms have also revised their legendary Sampler with all the same functionality as the original, now in only 12HP! Save and record samples in stereo, modulate the sample Length, Start Position and Pitch, and store up to 600 samples with the SD. Like the original, the 12HP version includes an input to trigger the selected sample, along with an additional input for triggering the sample in reverse, meaning you can integrate samples into your patches for not only textural excitement, but rhythmic as well. Because this revised edition maintains all the inputs as the original, you can take advantage of the Sampler’s dynamic granular-like functionality with the Sample Length control. This makes it much more than a standard sampler, but an all-in-one sampling voice. Sample and retrigger your synthesis on the fly, or add your own home-grown samples to your patches—now in even fewer HP.

New products aside, 4MS have also released their long-awaited 2.0 firmware update for the MetaModule. Ranging from useful quality of life updates, to CPU optimization, to brand new functionality. All of which come together to create an even more well-rounded user experience. Some updates fall under the category of aesthetic improvements, such as screens within modules now displaying and reacting to incoming signals with graphics—modules such as scopes, waveform displays, sequencer grids, visualizers, etc., as well as a new full-screen module view mode for even deeper, more subtle parameter adjustment.

Other updates are more fundamental changes to MetaModule’s patching potential, such as the ability to right-click on parameters for deeper customization, or the ability to open the new file browser on modules that can save/load samples for accessing the SD card / USB drive. MetaModule v2.0 also has expanded MIDI capabilities, such as the new CV-to-MIDI and MIDI-to-CV modules, making MetaModule a now fully-fledged USB-MIDI host. 4ms have also updated and expanded a wide array of plugins, bringing the total module library now to 1,400! On top of all that, v2.0 includes a ton of bug fixes, and CPU optimizations, improving the functionality and efficiency of the MetaModule overall.

If you own a MetaModule, this update is a no-brainer. If you don’t yet own the MetaModule, 4ms has given you a ton of reasons to get curious.

^^^ Take me back to the top! ^^^

Acid Rain Technology Ripsaw

Certified supersaw enthusiasts Acid Rain Technology are back at Superbooth 2025, and they didn't show up empty-handed. Though we recently had to say goodbye to their beloved Chainsaw module due to the discontinuation of an essential component, the folks at Acid Rain are making sure that you still have a dependable option for bringing luscious trance sounds into your modular rig. Enter their newest module: Ripsaw.

×

Ripsaw contains all of the spirit of Chainsaw, but brings some new features and tricks to the table. Up from the Chainsaw's three voices, Ripsaw contains four voices with seven detuned oscillators, armed with a shape control that blends between square and sawtooth waveforms. Ripsaw even goes a step further, introducing a Shift feature for "Supersync" hard-sync sounds. Regardless of your preferred super-sound, Ripsaw pans oscillators across left and right outputs for rich stereo imaging.

Boasting four independent 1V/Oct inputs, Ripsaw easily allows you to craft chords or independent lines from one single module. Like the original Chainsaw, Ripsaw is easily tuned thanks to its (optional) onboard semi-tone quantizer. It's even easier to keep track of your oscillator's tuning now, thanks to the new display assembled from 77 tiny blue LEDs.

But that's not all—Ripsaw is built on a hardware platform that Acid Rain is calling HEX, and aiming to support swappable firmwares in the near future. So if supersaws aren't your vibe, stay tuned for other oscillators and effects to come!

Ripsaw is in production now, with an estimated release later in May.

^^^ Take me back to the top! ^^^

Adam Synths Warthog

In modular synthesis, patches are usually temporary: once a cable is pulled, the sound is gone. Adamsynths challenges this idea with the Warthog, a modular synthesizer that offers total recall. It saves the position of every knob, switch, and cable. This means you can return to a patch exactly as you left it and catalog everything you cook up. Perfect for revisiting a session after a short break or months later, the Warthog makes it possible to pick up right where you stopped.

Organized around the Central Unit which manages all recall, control, and supervision across the modules, users can create snapshots that instantly recall different states of a patch. These snapshots can also be morphed between, creating smooth transitions that respond in real time. The Warthog connects to any DAW or hardware sequencer through USB or MIDI. All of its parameters are available without needing extra patch cables, which keeps more CV inputs and outputs free for creative use.

The base model has three oscillators, two multimode VCF and VCA modules, a matrix 428 module, amodulation tools module, two dual VC envelopes, an audio mixer, passive divider, Moodwheels, a case, and a power supply. The Warthog is fully compatible with standard modular systems. It uses the same V/OCT tuning, supports PPQN sync, and accepts TTL-level gate, trigger, and sync signals. With these features, the Warthog combines the hands-on experience of modular synthesis with the convenience and precision of digital control.

Full details about Warthog's workflow and capabilities are still forthcoming; however, it's an interesting proposition in a world of wires and voltages. We look forward to following its development.

^^^ Take me back to the top! ^^^

ADDAC System New Modules

ADDAC System offers up a trio of utility modules at this year's Superbooth with ADDAC320 Servo Control, ADDAC220 Dual Envelope Follower+, and ADDAC607 Crossover. The ADDAC320, inspired by Neil Young’s legendary Whizzer, is a 4HP motorized solution for automating hardware knobs that lack CV inputs. By translating 0–5V CV into a motor-controlled 270° physical rotation, it offers real-world control over gear that would otherwise remain static. Attaching via a metal coupler and spring wire, its servo can be tailored using dedicated minimum and maximum angle controls, even allowing range inversion for more abstract behaviors. It’s a reminder that not everything in modular needs to be behind the panel—sometimes control is best exerted directly on the knob.

Their ADDAC220 Dual Envelope Follower+, brings an analog/digital hybrid approach to amplitude tracking. It begins with a rectified analog envelope follower stage, then digitizes the signal via a 12-bit ADC for deeper manipulation. From there, smoothing, slewing, and dynamic range mapping take over, offering refined control through an attack/decay stage and a response curve that shapes the envelope across log or exponential curves. With gain staging, offset, and multiple outputs—CV, inverted CV, and average signals—the 220 becomes a robust modulation generator from any audio source. Dual mono and stereo modes offer routing flexibility, and thoughtful additions like clipping indicators and threshold-based gates make it just as performance-ready as it is precise.

Finally, the ADDAC607 Crossover is a mono three-band crossover, splitting signals into high, mid, and low ranges using 24dB Sallen-Key filters. With selectable cutoff frequencies and gain control per band, it allows everything from basic EQ shaping to full multiband processing and routing. The stereo-to-mono summing option and buffered mono output make it easy to integrate, while the band-split outputs invite creative effects—delay only on the highs, compression per band, or isolating a snare’s dynamics using the 220’s envelope follower. Together, these modules speak not only to ADDAC’s engineering sensibility but to their deep understanding of creative workflows.

^^^ Take me back to the top! ^^^

Aircraft Designs Processing System

Aircraft Designs—makers of the Ember mid-side saturator Eurorack modules, have introduced a complete system of processing modules—aimed to bring the sound fidelity and processes of professional studio equipment to your Eurorack system.

Aircraft Designs has concocted the Processing System as a complete, no-compromise analog signal chain in Eurorack format, offering the kind of sonic refinement typically reserved for high-end studio gear. The Processing System is a set of six purpose-built modules, each designed for a distinct and critical stage of audio processing. From the ultra-low noise DC power module to the FL balanced stereo input, every element is engineered for maximum fidelity and reliability—delivering a chain that’s equally at home in a studio rack or on stage.

×

The signal shaping begins with HORIZON, a fully discrete stereo program equalizer that draws inspiration from the legendary Pultec EQP-1R. Using synthetic inductors—flying gyrators—it brings precise, musical control to the spectrum without introducing harshness. Next in line is CASCADE, a custom VCA-based compressor capable of everything from smooth, transparent glue to punchy, aggressive dynamic shaping. Add to this EMBER, the much ballyhooed (and currently available) analog stereo saturator that enhances signals with a signature character, bringing harmonic richness and stereo depth while preserving dynamic nuance.

Bookending the chain is the LD output module, offering balanced outs with level indication, rounding off the path with clean, stable delivery. The entire system operates independently and aims to bridge the gap betwixt Eurorack and 500 Series worlds with surprising elegance. With its compact form factor, modular architecture, and studio-grade specs throughout, Aircraft Designs’ Processing System is an all-analog solution for producers and performers who demand control, color, and clarity in every environment.

^^^ Take me back to the top! ^^^

AJH Matrix VCF

While it may be true that a Eurorack synthesizer can never have enough VCAs, it may also be true that most Eurorack synthesists would rather rack a dragon's horde worth of filters if given the opportunity. At this year's Superbooth, the brazen bunch at AJH Synth have released a remedy to this desire for filter flexibility, finding spectral-shaping abundance in an age-old design. And for good measure, they even threw in an integrated VCA, putting the online cats at bay for another year of peaceful synthesis.

^^^ Take me back to the top! ^^^

Anabrid The Analog Thing

Analog computers never really went away—they just became rarer, more specialized, and harder to find outside of museums or defense labs. But The Analog Thing (or THAT, for short) from Analog Paradigm offers a compact return to the practice of continuous-time computing, built not for nostalgia but for dynamic system modeling in real time. It’s a fully functional analog computer designed for speed, parallelism, and energy efficiency, with five integrators, four summers, two comparators, and a set of multiplier and coefficient controls that let you construct live, continuously evolving systems from scratch.

The layout encourages hands-on interaction and visual thinking, bridging mathematical theory with trial-and-error design. Whether you’re exploring population growth models, simulating chemical reactions, or analyzing oscillatory behavior in mechanical systems, THAT is made to support intuition and iteration. Its hybrid port allows for digital control, making it possible to create analog-digital hybrid programs. A built-in digital panel meter supports precision measurement—useful when tracking timing, values, or evaluating thresholds during a run.

In practice, THAT can be used to model what is, what could be, or simply what fascinates. Its open-source design and low cost reflect its not-for-profit origins, but the potential scale of its applications is anything but limited. With master/minion ports for daisy-chaining multiple units, it can grow alongside your ideas. Whether used for educational demos, speculative engineering, or pure experimental play, THAT reopens a pathway to computation that’s tactile, responsive, and fundamentally different from digital emulation.

^^^ Take me back to the top! ^^^

A Magic Pulsewave Obliquencer

A Magic Pulsewave’s Obliquencer is a melodic and rhythmic sequencer that sidesteps conventional step-by-step programming in favor of generative pattern construction. Rather than entering notes manually, users define how patterns behave and allow the system’s internal architecture to route those patterns toward melody and rhythm. The result is a three-channel output of tuned control voltage and an accompanying trio of gate signals—together forming everything from straightforward musical phrasing to complex, interlocking polyrhythms.

At the heart of the Obliquencer is an array of submodules, each contributing a layer of rhythmic or harmonic complexity. Two low-frequency clock oscillators provide foundational timing, while Decade Rings and Ripple Gate Sequencers introduce variable gate pulses through division and mixing down to a /4096 resolution. A central Ripple Melody Sequencer, operating on 3-bit CV logic, can be tuned across five octaves and re-shaped in real time using a Bit Inversion Matrix. Additionally, two Harmony Registers track melodic activity to generate complementary accompaniment automatically, making the Obliquencer as much a collaborative partner as it is a tool.

All internal connections are made using pin matrices, revealing more than 150 patch points for deep customization. Two external inputs allow synchronization or modulation by outside sources, while the AMP Link interface ensures direct connectivity with compatible Expandoor and Wave Expander modules. With its blend of structured logic and open-ended routing, the Obliquencer is not only a sequencer—it’s an invitation to explore the mathematical underpinnings of melody, rhythm, and the emotional resonance they unlock. Obliquencer is available to preorder now.

^^^ Take me back to the top! ^^^

Audio Gear Obsession GRANIO

Audio Gear Obsession’s GRANIO is a sample-based compositional device housed in a form factor that feels instantly familiar to anyone who grew up with handheld gaming consoles. Roughly the size and shape of a Sega Game Gear, GRANIO is designed with performance and portability in mind, bringing powerful sampling capabilities to a compact, self-contained unit. The right-hand side of the device features a grid-based interface—visually central to the workflow—while the left is populated by an array of performance buttons. Along the bottom of the screen, a row of encoders gives users direct access to core parameters, making real-time manipulation fast and intuitive.

Under the hood, GRANIO is designed for musical composition through sampling. Whether manipulating field recordings, cutting up drum loops, or layering melodic fragments, the device is centered on a fluid workflow where audio is both the source and the canvas. While full technical specifications remain under wraps, the design suggests a workflow that encourages hands-on experimentation, with tight physical controls mapped to key aspects of sample manipulation. From slicing and triggering to modulation and sequencing, the interface is structured to support both spontaneous sketching and more refined studio work.

GRANIO's extensive I/O further positions it as a bridge between hardware and digital workflows. It features stereo audio inputs and outputs, enabling easy integration with synths, effects, and mixers, while full MIDI I/O ensures that it can both drive external gear and respond to it. Whether used as a central hub for sample-driven composition or as a portable sketchpad for capturing and shaping sound on the fly, GRANIO brings thoughtful design and tactile control to the world of handheld electronic music creation.

^^^ Take me back to the top! ^^^

BASTL Kastle 2 Wave Bard Sampler

BASTL Instruments make their triumphant return to the Kastle series with the Wave Bard, a powerful fully featured stereo sampler in the palm of your hand. It contains nine banks of samples, each bank able to store up to eight samples each. That’s 72 potential samples via internal storage by recording straight into the unit, or by uploading your own home-grown samples with BASTL’s web app.

^^^ Take me back to the top! ^^^

Beatboxer.berlin Mosaik

Beatboxer.berlin's Mosaik arrives as a highly ambitious live performance groovebox, designed and developed in Berlin by former Native Instruments and Nonlinear Labs engineers. Sitting in a sleek aluminum and wood chassis, it immediately stands out—not just for its sturdy industrial design, but for its unconventional layout, which places 80 RGB mechanical pads and seven encoder knobs around a bright 10.1" capacitive multi-touch display. This isn’t a traditional grid: it’s a performance interface reimagined from the ground up, with color-coded UI layers and deep visual feedback, all in the service of immediacy on stage.

×

Under the hood, Mosaik offers a remarkable degree of depth and flexibility. Its 36 stereo tracks each host a full suite of tools: a 64-step sequencer, sample player, envelope with hitpoint control, multi-mode filter (lowpass, peak, highpass), distortion section (shaper, quantizer, downsample), and per-track pitch and tempo controls—including reverse playback. Add to that global reverb and delay effects, intuitive muting via touch, and four channels of input and output (with dedicated lines for mic, guitar, aux, and line-level signals), and you begin to get a sense of how thoroughly the Mosaik is built for fluid, layered performance.

Connectivity, too, is handled with notable foresight. Eight USB host ports allow for controllers, MIDI devices, or storage; a USB-C power port supports mobile performance via power bank; and Wi-Fi, Ethernet, and Bluetooth audio are all built in. Mosaik records directly in FLAC and supports export in virtually every common audio format. It syncs via MIDI or Ableton Link and doubles as a high-quality audio interface. With 250 to 500GB of onboard storage, 2 to 4GB of RAM, and a fast, software-defined UI, Beatboxer’s Mosaik is shaping up to be one of the most complete, performance-focused grooveboxes to emerge in recent memory—and a promising new chapter for Berlin’s already legendary music tech lineage.

Mosaik is not yet available for orders—but we have our eyes open and we're excited to see it in aciton.

^^^ Take me back to the top! ^^^

Befaco Oneiroi Pod + New 1U Eurorack Modules

×

For this year's Superbooth, Befaco has rolled into the convention to showcase a variety of newly-released products along with a handful of upcoming releases.

The Oneiroi Pod (above) packs Befaco's Oneiroi experimental voice and effects processing module into a special-edition 4ms Pod emblazoned with the Befaco logo and uniquely sized at 42hp. This package also includes a handful of blank panels, with one that lists out some handy button combos and startup settings. But of course, this also means you have room to pack in some handy additions to extend Oneiroi's power—Befaco chose the MIDI Thing 2 and Output v3 for their Superbooth demo rig, but the beauty of Eurorack is that you can put whatever you like in there!

Befaco is also showing off some new 1U utility modules, with a focus on incorporating external elements into your modular rig. Two pedal-centric options are on display: Pedal Pow, which offers two 9V DC outlets that allow you to power pedals from your Eurorack supply, and Pedal S-R, a stereo send/return loop with flexible level controls and scaling for line or instrument-level/hi-z signals. There's also the new Phono Amp module, which makes it easy to add a turntable to your setup for directly sampling or scratching vinyl along with your Eurorack patches!

The Oneiroi Pod is available now, while the new 1U modules are expected for release later this summer.

^^^ Take me back to the top! ^^^

Bela Trails

When Bela released the Gliss module, it offered an intuitive, gestural way to generate and manipulate control voltages by touch. Well Trails takes that tactile idea and expands it into a full multi-channel recording and sequencing environment. Designed for Eurorack, Trails features a main LED-lit touch plate and a smaller secondary touch area modeled after Gliss, offering real-time input and editing of modulation paths. Unlike the more common step sequencer, Trails allows you to record and playback fluid gestures, offering a more organic and expressive way to shape sound.

The interface is built around four independent channels, each with its own X, Y, and Gate outputs. Corresponding CV inputs and a dedicated clock input allow for both tight synchronization and modulation from external sources. Using the intuitive interface, users can layer, manipulate, and revise their gestures on the fly. Once recorded, paths can be stretched, warped, and quantized, giving users control over both rhythmic precision and freeform expression.

Trails is a great option for those looking to have hands-on control of their rack. You can use it to draw sequences directly by hand, loop them, and then bend or stretch them over time. Those drawn paths can easily snap into musical intervals or rhythmic subdivisions, making it equally at home in melodic or percussive roles. Whether you want to play your synth like a ribbon controller, sequence generative melodies, or create evolving modulation shapes, Trails offers a flexible and expressive surface for deep interaction.

Trails is still in the prototyping stages, but its release is anticipated this year.

^^^ Take me back to the top! ^^^

Blaknblu Oscar Tria Stereo VCO

Blaknblu’s newest module Oscar Tria can do much more than its mere 10HP of width might imply. At first glance it appears to be a more-or-less traditional stereo oscillator, but just below the surface it contains a wide range of functionality and timbral potential. It features three distinct operating modes: Green, Yellow and Orange, with a different-yet-similar set of controls in every mode. Each of these modes contains very different types of oscillator processing, ranging from traditional stereo waveform shapes, to 24-voice super-saw/square/triangle madness, to full-on polyphonic chords. Each mode takes advantage of the Oscar Tria’s variable waveform control, along with a CV input for modulating this parameter however your heart desires.

^^^ Take me back to the top! ^^^

Body Synths Metal Fetishist Special Edition + New FW

Body Synths has also teased a new firmware for the Fetishist, potentially increasing its already surprising amount of depth with new features. Once more information becomes available, we'll update this article with all the juicy details–until then, keep an eye out for more news on this mighty metalloid synth!

^^^ Take me back to the top! ^^^

Clank Uranograph

The Italian Eurorack innovators at Clank have touched down in Superbooth 2025 with a cosmically creative prototype of their first standalone instrument, the Uranograph. If you thought Clank's crowning achievements in bringing unique designs to electronic instruments stopped at their Toucan-esque knobs and delicate slack-line dance between chaos and control in their potent Oracle system, you've not yet seen Uranograph. Boldly idiosyncratic, brilliantly expressive, and primed to provide a lifetime of musical discovery to the daring instrumentalist, Uranograph is a testament to the vitality and importance of electronic instrument design in creating space for new modes of musical expression.

It also sounds really good. Like, incredibly good. But what the heck is it?

While its physical appearance looks like a cross between the Soma Terra and Boba Fett's infamous starcruiser, Uranograph is in fact a synthesizer. Its iconoclastic appearance invites appreciation as something new; unlike so many be-keyed or sequencer-laden instruments which repackage novel synthesis methods within familiar interfaces, Uranograph insists on new musical moves across its alien landscape. Dual capacitive keyboards, one for pitch and another for modulation, straddle a network of knobs, offering an incredibly sensitive interface for actuating sonic events. Responsive to touch, velocity, and afterpressure, these stainless steel keys evoke the multimodal contingencies of performing on acoustic instruments, enabling detailed and organic phrasing. Each key can also be independently defined in frequency, empowering microtonal experiments you can immediately explore with the over fifty preloaded layouts. The modulation keyboard provides direct control over articulation, octaves, and pitch bends, as well as four user-assignable modulation sources that can alter patch parameters as you play.

The sound examples from Uranograph span a wide range of textures and tones, generated from an additive synthesis engine which expands the harmonic content of sine waves through phase manipulation, phase distortion, and classic west coast wavefolding. This flexible core can readily shift between natural analog warmth and the glassy chill of digital synthesis, providing a vast space of sounds to explore. A dedicated suboscillator adds weight and heft to any sound with multiple waveforms and octave to select from, while an onboard modulation oscillator offers an additional voice or for controlling synthesis parameters well into audio rate, dramatically expanding Uranograph's sonic potential. Perhaps most interesting of all however is the Uranograph's harmonization engine, which splits the core oscillator into three harmonized voices with adjustable deviation to create chordal voicings. All of these sounds are processed through a resonant low pass gate / VCA, which adds organic response to each articulation and even offers resonant self-oscillation at high settings.

Beyond its formidable sound generators, Uranograph features a collection of onboard effects which extend the sonic character of its synthesis engine. A stereo delay with a wide range of time settings provides anything from resonant timbral transformations to hypnotic rhythms. Seamlessly blending microseconds into musical meter, the time control becomes tempo-locked beyond 25% of its travel, providing intuitive and immediate access to diverse delay processing on a single control. Likewise, a one-knob diffuse reverb stretches between subtle depth and stratospheric ambiance, shape-shifting its processing as you turn the associated control. Despite their depth, these two effects aren't the end of Uranograph's capability. The post-FX mix is fed into an integrated, Frippertronics-inspired, double-reel tape looper which enables realtime construction of sonic layers and collage. A key component of Uranograph's expressive potential, this unique looper helps a performer create large textures which can be iteratively developed or destroyed, dramatically extending the musical possibilities of the instrument.

While it may be a while before Uranograph brings its otherworldly expression to its first class of performers, with first batches expected to ship later on in the year, we can't wait to see what musicians bring to this uniquely daring device. Clank has clearly put a strong sense of artistic vision into the device, but despite its detailed description and sprawling specs, the full nature of Uranograph won't be revealed until it is afforded more time in the hands of inspired musicians who can shape its sensibilities through creative interaction. And that's precisely what is exciting about it – amidst the repackaged, revised, and re-released, Clank's Uranograph offers fresh and fertile ground for musical practices waiting to be discovered.

^^^ Take me back to the top! ^^^

Clatters Sonora

Clatters has designed Sonora, the final destination for your Eurorack signals, where every element of a patch finds its place in a well-structured stereo landscape. In its simplest form, Sonora is a 12-input summing mixer, but what makes it particularly striking is how it handles stereo placement: inputs are pre-panned across a fixed spatial layout, with two hard left, two hard right, two mid left, two mid right, one low left, one low right, and two mono channels. This organization offers a clear, intuitive way to assign voices not just by type or frequency, but also by perceived space in the mix, giving patches an instantly balanced and dimensional feel.

Despite its compact footprint, Sonora delivers a full master chain in miniature. A final volume knob controls the stereo output, which is monitored via an LED meter complete with a 0dB reference for quick visual feedback. A soft clipping limiter at the output stage helps tame peaks and preserve dynamics without sacrificing loudness or clarity, making it ideal for live performances or direct recording situations. The headphone output, complete with its own volume control and stereo LED loudness indicators, provides an immediate monitoring solution.

Sonora also leans into studio-minded design with its 3.5mm balanced line outputs, allowing clean integration with external gear or recording interfaces without requiring additional modules or DI boxes. Whether you're assembling a final track live from layered voices or routing spatialized submixes from across your rack, Sonora makes sure everything reaches the finish line in phase, in balance, and in its proper place. For modular users looking to impose clarity and spatial logic on the chaos of a complex patch, Sonora may be the mixer that finally brings it all together.

Sonora is expected to be released soon—keep your eyes peeled.

^^^ Take me back to the top! ^^^

Componental Dubby

Standalone music devices often land at one of two extremes—either they offer quick plug-and-play fun but limited flexibility, or they cater to deep customization but demand a level of programming that feels more like work than music. Dubby from Componental attempts to split the difference in a way that’s rare: immediate immersion, intuitive control, and deep potential for anyone who wants to go further. Designed for singers, producers, instrumentalists, and modular synth users alike, Dubby skips the computer altogether and puts real-time sound control into a portable, customizable piece of hardware. Out of the box, it’s a synth, an audio effect, and a creative tool. What it becomes after that is entirely up to you.

The heart of Dubby lies in its tactile interface and flexible audio architecture. Whether using it for quadraphonic effects or routing custom synth patches, the interface is designed to reflect your setup visually through a performance view, while the parameter window offers precise mapping and control over every function—complete with macro assignments, adjustable curves, and LFO modulation. And with support for algorithms built in Gen~ or C++, it becomes as programmable as any modular platform, but without the usual overhead of cables and signal calibration. Even the audio routing is handled onboard via a matrix, allowing for complex multi-channel setups that can be tweaked directly on the device.

But what pushes Dubby into a different category altogether is its adaptability for both hardware and software. Modular side panels let you configure it to match your preferred control scheme, whether that means button or traditional faders. Software-wise, updates and new effects can be loaded directly from the Dubby Studio via web browser, and MIDI control is flexible enough to either send or receive from your other gear. Dubby seems to be making quick and steady progress in the development of this handy tool that seems perfect for anyone looking for a multi-function tool in their studio or in the live setup.

^^^ Take me back to the top! ^^^

Doepfer's New Developments

Doepfer’s latest batch of modules offers utility, experimentation, and performance-ready tools that bring smart upgrades to classic concepts. Their A-119-2 Dual Input/Amplifier takes the basic idea of an external input module and trims it down—both in size and in complexity—offering two independent amplifiers with manual gain and overload indicators, all in just 4HP. Perfect for audio from a stereo source like a phone or boosting control voltages, this compact workhorse is a straightforward entry point for external signals. They also announced the A-145-2 Slim LFO, a slim but full-featured modulation source with triangle, sine, ramp, square, and even inverted waveforms, festooned with dual-color LED feedback. Doepfer kept the circuitry intact from the original A-145, but packed it tighter, now with additional LED indicators for better visual feedback in patch-dense environments.

×

For those leaning into unpredictability, the A-149-3 Fluctuating Random Voltages delivers a rich palette of noise-based modulation inspired by Buchla’s Source of Uncertainty. The A-149-3 goes beyond the realm of a simple clone, offering hands-on control of the internal triangle oscillator frequency, noisiness (or jitter), and an S&H section that can be run manually or driven by a vactrol-controlled clock. Not to mention 3 independent noise outputs for Blue (+3db), Red (-3db), and Pink (Flat) noise that can be used for added sonic texture and voltage grit. On the structured side of things, the A-155-2 Miniature Ratcheting Sequencer gives players eight steps of melodic or modulation sequencing with per-step ratcheting and multiple playback modes—plus MIDI note output for hybrid setups. Switchable from 1v to 2v to 4v, you have a wide range of control that allows for even the most subtle of nuances to become revealed. White it may be compact, the internal memory slots, direction control, and gate toggles per step, show how much function you can pack in.

At the more experimental end, the A-188-9 High Speed VCO caters to the Karplus-Strong crowd and digital explorers, with a PLL-enabled core that can hit up to 500kHz for ultra-fast modulation perfect for exciting various excitables. Standard waveforms, triangle, saw, PWM, along with a dedicated high-speed square output (accessible with the HSVCO switch) ideal for pinging BBDs or digital filters. Rounding out the Doepfer delicacies, the A-198-2 Ribbon Controller II reinvents the Trautonium concept with a modern UI: programmable quantization, pressure sensitivity, dual CV/gate outputs, and even MIDI capability. Essential for dialing in glissandi or adding pressurized aftertouch to your rack, the A-198-2 offers the kind of tactile control that brings modular systems to life. Doepfer continues to add interesting and essential modules to their robust lineup, making sure the Eurorack progeny don't forget the progenitor.

^^^ Take me back to the top! ^^^

DPW Design SW3 Splice

SW3 Splice prototype

×

In the ever-evolving landscape of Eurorack, DPW’s SW3 Splice arrives as a compact yet deeply capable utility that invites experimentation at both the control and audio rate levels. At its core are two bidirectional analog switches—fully operable via manual toggles or CV—that open the door to clickless, high-speed signal switching. Whether you’re working with mono or stereo sources, the SW3 Splice allows you to interleave or replace audio streams with exceptional precision, enabling everything from rhythmic gating to the creation of entirely new timbral textures. One especially creative trick is to assign separate mono signals to the left and right channels and swap them at audio rate, producing a dynamically shifting stereo image that moves with razor-sharp articulation.

Where SW3 Splice really separates itself, however, is in its slope detection functionality. Unlike traditional switch modules that respond blindly to signal thresholds, this unit gives you the ability to condition switching behavior based on whether both incoming sources share positive or negative slopes—an incredibly smart way to reduce unwanted switching artifacts. Additionally, a division system (by 2 or 4) lets you slow down the switching based on zero-crossing differences. The result? Subharmonics, pseudo-random modulation, and a wider palette of rhythmic complexity when working with LFOs or layered signals. The division circuits even include asynchronous reset inputs, providing a high degree of sync flexibility with the rest of your system.

For users already familiar with DPW’s Zero module, the SW3 Splice includes ON outputs that offer similar utility—letting you forgo the switching entirely if all you need is tight signal synchronization or triggering behavior. But it’s in its full deployment that the Splice becomes a truly unique tool: a voltage-controlled crosspoint for patching together VCOs, samplers, LFOs, and envelopes into fresh hybrid voices or evolving modulation sources. Whether you’re sculpting sound design chaos or crafting precision-modulated stereo fields, the SW3 Splice is a tight, powerful node for sonic reconstruction and controlled unpredictability.

^^^ Take me back to the top! ^^^

Electro Jam Jam Sandwich

Sequencing in Eurorack has long been a question of trade-offs—between immediacy and flexibility, between visual layout and tactile feedback. Jam Sandwich from Electro Jam doesn’t aim to reinvent how sequencers function at the signal level, but instead shifts focus to how the performer engages with the device. At the core is a 4x4 grid of endless rotary encoders, each with click feedback and integrated LEDs. This setup offers a blend of visual clarity and physical control, giving performers both precision and an intuitive understanding of what’s happening across tracks, modifiers, and global parameters.

Each row of the Jam Sandwich's grid is purpose-built for a different layer of the sequencing process. The top row focuses on stage control where steps are activated or defined. The second row introduces performance modulation through ratchets, probabilities, and other event modifiers. Below that, the third row allows for per-track operations, giving the user granular control over each voice in their sequence. The bottom row is reserved for global settings, ensuring that broader adjustments remain separate from moment-to-moment programming decisions. Together, the four rows build a workflow that is tactile, readable, and adaptable.

Though the unit has only eight CV jacks, Electro Jam uses TRS connections to enable sixteen CV outputs—doubling the potential without taking up additional panel space. For accessibility, Jam Sandwich includes a stereo audio output that provides auditory UI feedback, a rare but significant feature for the visually impaired. The Jam Sandwich focuses less on novel sequencing techniques and more on improving the physical and sensory interaction between musician and machine, wrapping a familiar concept in a new layer of clarity and intention.

^^^ Take me back to the top! ^^^

Elektrofon Klang

We're happy to report that Elektrofon is back after a hiatus—and the Klang module is headed back into production.

Polyphony in Eurorack has long been a challenge—not just in terms of voice management, but in how to meaningfully sequence and recall complex harmonic material. Elektrofon’s Klang addresses this with a uniquely intuitive interface that gives you four independently tunable voice outputs, each capable of being precisely set and sequenced. Though it’s designed with chord progressions in mind, it functions just as comfortably as a four-channel precision voltage source, making it a valuable utility for anyone working with complex CV modulation. At the heart of the module is a central display and large browse knob that shows your place in a chord sequence and lets you move freely between steps, add duplicates, or remove chords as needed.

Each voice is color-coded and features a dedicated knob for setting pitch. As you turn the knob, a dial on the display updates accordingly; press and turn for fine control that goes beyond semitones, opening the door to microtonality or subtle modulation curves. Each dial also displays octave position numerically, allowing easy management of register. While Klang defaults to the 12-tone chromatic scale its native language is in cents, it accommodates both standard and exploratory tuning systems with ease. Playback is equally flexible—trigger inputs allow for step sequencing, resets, and directional control, with bipolar CV at the <—> input determining not just direction but the number of steps moved with each trigger.

Klang also makes strong claims on usability. Every feature is directly accessible—there’s no menu system, no hidden parameters, no shift functions. Even tuning mode is a simple press-and-hold of the browse knob, temporarily setting all voices to middle C for quick oscillator alignment. All changes are automatically stored thanks to high-endurance memory capable of billions of write cycles, ensuring your settings persist even after power-down. Klang is a rare example of a Eurorack module that merges simplicity with deep functionality, offering an open-ended yet reliably repeatable platform for harmonic experimentation.

Klang should be available soon!

^^^ Take me back to the top! ^^^

Elektron Overbridge for iPad

While not a new hardware product, Elektron is showing some exciting developments on the software side of things. Overbridge, which is Elektron's software suite for multitrack audio streaming and plugin-based device control for DAWs, is being shown in a beta state for iPads.

As many electronic musicians are moving away from laptops in favor of increasingly powerful tablets like iPads amongst their hardware rigs, this is an exciting development for those utilizing Elektron devices. Like with a computer, multiple Elektron devices can be connected to a single iPad via a USB hub and accessible in a variety of compatible applications. This includes multitrack audio recording and mixing in apps like Logic or AUM, or MIDI sequencing software instruments.

Overbridge for iPad has no defined release date or even a guarantee of ever being released. But the fact that Elektron is willing to demo this concept for Superbooth attendees is exciting in itself, and proves their commitment to making their instruments useful in a variety of differing concepts.

^^^ Take me back to the top! ^^^

Elta Music TSC-12

In the lineage of exploratory instruments that blur the lines between interface and expression, Elta Music’s TSC 12 is a natural, compact, tactile, and just abstract enough of a device to pull your hands (and mind) into new territory. Borrowing the same capacitive technology from their flagship Solar 42, the TSC 12 reshapes that gestural experience for Eurorack. You get the same twelve touch points—eight vertical strips and four triangle plates—that are ready to transmit pitch, gesture, and intention.

×

Unlike many alternative controllers that require calibration rituals or accept sloppiness as part of the charm, the TSC 12 boasts impressively accurate volt-per-octave tracking. That means no second-guessing your pitch when layering lines or dialing in sequences—it plays nice with quantizers, oscillators, and even temperamental analog voices. And because each touch surface responds to both pressure and position, there’s nuance baked in from the start. Glide between notes. Tap out patterns. Hold for sustained CV. Suddenly, your patch isn’t just receiving instructions—it’s listening.

And for all its sonic potential, the TSC 12 also taps into something quietly profound about performance in modular systems: the return of touch. In an environment often governed by dials, sliders, and automation, Elta’s decision to foreground the human hand is a meaningful one. Mounted in your rack, it’s not just another input—it’s an invitation. An interface that rewards hesitation and certainty equally, that lets you play your system like an instrument rather than programming it like a machine. Whether it’s the centerpiece of a performance or just a shortcut to get you unstuck, the TSC 12 is a reminder that sometimes, the best way forward is to simply reach out.

^^^ Take me back to the top! ^^^

Emute Lab Instruments Myriad Multi Oscillator

Emute Lab Instruments is a new face within the modular field, coming out of a music technology research group at the University of Sussex, they’re set to release their findings onto the world with the Myriad Multi Oscillator—a hybrid analog/digital multi-oscillator, with an emphasis on utilizing algorithms to create complex and otherworldly movements within your sound.

The center screen does an excellent job of demonstrating what Emute Labs call “Meta-Modulation”. Complex shapes that can be applied to a number of parameters on the Myriad, and attenuated with depth and speed controls. The Myriad’s 9 oscillators can be detuned, wavefolded and spread independently from each other, all to the movement of these Meta-Modulations. If you’ve ever wanted to bake a neural-network into the fabric of your sound, or casually add the universe-shifting mathematics of a Lorenz attractor to your patch, Meta-Modulation is a truly awe-inspiring feature.

Additionally, the Myriad has Detune and Spread controls for making its 9-oscillator sound even thicker. The spread control allows you to adjust the octaves of the individual voices, so that some are lower and some are higher. This in combination with the Meta-Modulation make the sounds the Myriad can produce truly exciting. To round it all off, it also includes Overdrive and Wavefolding controls, making for some devastatingly dense synthesis. While Emute Lab Instruments may be new to the modular scene, they’ve certainly put their own name on the map with a module as bold and inventive as the Myriad Multi Oscillator.

Myrid is not yet available for orders, but we're eager to get our hands on it!

^^^ Take me back to the top! ^^^

Erica Synths x Hexinverter HexDrums

One of the best things about modular synths is that they provide designers fertile ground for developing new circuits without the high bar of creating a unified system like a fixed architecture polysynth, drum machine, and other such characteristic tools of electronic music. Individual elements and voices can be sculpted and refined, then tested alongside other utilities, processors, and control schema, allowing users to imagine these pieces within a broader performance or studio-centric instrument. While we would never turn our backs on the fun and flexibility that modular environments provide, the standalone instruments that arise from modular origins are often fantastic tools, shaped into musically relevant forms by the deft hands of musicians and designers.

Erica Synths has tapped into this magic with their new drum machine HexDrums, a mutant 909-inspired analog groove machine which fuses the now-legendary Hexinverter drum voices with Erica's wonderfully tactile sequencer workflows. If you missed the memo on the Hexinverter drum voices, now is a great time to get up to speed - the Eurorack classics have been steadily rereleased under Erica's stewardship, and generally offer 909-inspired analog sounds which have been reimagined to provide a greater range of timbral control. Whether you're celebrating your hardcore roots with classically crunchy kicks or insisting on the techno of the future, these versatile and characterful voices are perfectly suited for all manner of dance-floor delicacies.

The HexDrums gives you nine distinct voices, each with independent outputs. Two kick drums for layering and variation, the ineffable shapeshifting Mutant Machine, and a full complement of snare, clap, rimshot, hats, and cymbal are at your disposal. While the multiple modulation points have been eliminated in favor of straightforward, sweet-spot centric manual controls, the vast timbral range and highly playable layout provide plentiful potential for getting sounds moving within a track. A row of mechanical keyboard switches is your entry point to HexDrums' formidable 64-step sequencer, which comes complete with per-track accents, microtiming, ratchets and rolls, and even probability features. Saving and recalling patterns for performance is easy, with 16 banks of 16 patterns ready to recall at a moment's notice.

At the end of the signal chain, the master output splits drums into the stereo field. Inspired by the Mutant Glue, the master bus also features an integrated compressor and master overdrive, adding an essential dose of saturation for industrial applications. HexDrums is currently in a prototype phase, but Erica plans to have them available later this year. As some of our favorite drum voices in Eurorack, we can't wait to see how HexDrums does in the hands of musicians, and are glad to see these wonderfully walloping percussive voices combined in a performance-ready standalone device.

HexDrums isn't available quite yet, but it's expected to be released later this year.

^^^ Take me back to the top! ^^^

Eternal Research Demon Box

When it comes to capturing sound, microphones traditionally rely on vibrations, waves, pressure, but the Demon Box from Eternal Research skips that entirely, tuning in instead to the electromagnetic fields that surround us every day. Using 33 hand-tuned inductors, the triangular, folded-steel instrument detects the silent signatures of phones, lights, laptops, and more, turning them into sculptable, playable audio. Each of its three EMF channels captures these hidden energies independently, producing a polyphonic signal that reveals an alternate sonic layer of the world, usually hidden from perception.

The triangular exploratory plane is designed to invite experimentation. Each EMF channel has its own mono output and dedicated aux input with a blend control, making it easy to fold external signals into the EMF textures and push the result into unpredictable territory. Built-in tools such as panning and phasing allow for deeper spatial manipulation, and the open-ended interface is tuned for accidents as much as intention. Eternal Research presents a new framework altogether, one in which noise, interference, and environmental chaos are not only welcome, but essential. The approach is non-linear, and the results are often startlingly musical.

Alongside its three mono outputs, it includes a stereo headphone jack, MIDI out with CC and note data, and USB-C for charging or digital output—making it compatible with DAWs, modular rigs, and more. The final production units are slated to ship in September, with orders beginning July 1. Eternal Research describes the Demon Box not just as an instrument, but as the first tool in a new kind of symphony—one that begins not with melody or rhythm, but with the raw hum of the electric world around us.

^^^ Take me back to the top! ^^^

Euterpe Itinera Multimode Filter

^^^ Take me back to the top! ^^^

Expressive E Osmose 2.1 Firmware

Continuing to bring new hot features to the one-of-a-kind Osmose, Expressive E is showing off the latest firmware version 2.1 at Superbooth 2025.

Most notably, Osmose firmware 2.1 brings a generous 80 new presets to the highly expressive instrument, showcasing a wealth of virtual analog sounds. These supplement the existing assortment of physical modeling and other sounds already in the Osmose, and round out the instrument's sonic palette. Additionally, you'll find some new effects in the form of a tanh saturation (any Max/MSP enjoyers out there?) and a long reverb for huge ambient textures. These coincide with Haken Audio's recent EaganMatrix 10.52 updates: the robust sound engine built into both the Osmose and Haken's Continuum instruments.

Firmware 2.1 is a free update for Osmose owners and is available now from the Expressive E website.

^^^ Take me back to the top! ^^^

Floating Knobs Spice

×

Floating Knobs unveil the first in their quadraphonic line of modules, Spice—a complex quad wavetable oscillator with a ton of interesting features and modes that take advantage of its quad nature. Up front, we’ve got a four-input, four-output panel, giving you immediate access to the module’s quadraphonic functionality. Three of its VCOs are coupled to the main oscillators, but each voice is designed to be modulated and manipulated in relation to each other in a variety of harmonious ways.

Spice features four main modes of operation: the first being its Exponential mode, which provides standard V/oct operation. Phase Modulation mode gives you CV control over the phase relationships between each oscillator, while Scale-quantized mode, is optimized for melodic generation. And finally, Beat Frequency mode, which is a binaural mode that gives you relative frequency control between channels.

Spice also includes a number of global features, such as saving wavetable states to an SD card, individual channel parameter freezing and editing, and bitcrushing / sample rate reduction. All in all, Spice from Floating Knobs is shaping up to be a very interesting oscillator module, worthy of joining the pantheon of quadraphonic trend-setters. Spice is not yet available to order—but we're eager to see how it develops from here!

^^^ Take me back to the top! ^^^

Frap Tools Magnolia

If one of the big trends of this Superbooth is "modular maker transitioning into standalone instruments," then the fine folks at Frap Tools might be rolling in with the biggest surprise yet.

Magnolia is quite possibly the quintessential keyboard synthesizer for analog modular synthesis enthusiasts. While it does offer typical features of a polyphonic keyboard synthesizer, it's packed with circuits and sensibilities referencing Frap Tools' extensive history of designing incredible Eurorack modules. But accessing these sounds in an eight-voice, bitimbral synthesizer with polyphonic aftertouch? That's a whole new territory of sonic exploration to dive into.

It's not uncommon for keyboard synthesizers to feature two oscillators per voice—classic instruments like the Prophet-5, Jupiter-8, and CS-80 allow you to blend and tune dual oscillator voices for richer sounds. However, Magnolia approaches this idea from a decidedly modular-inspired perspective: what if the two oscillators were arranged in a complex oscillator-like fashion? Building on the circuits and sounds found in their Brenso Eurorack module, which is itself a spin on the archetype established by Don Buchla's Model 259, Magnolia provides the rare experience of a so-called "West Coast Synthesis" sound under your fingertips with true polyphony. And like Brenso, Magnolia's implementation includes through-zero FM capabilities and rich wavefolding. But if you'd rather stick with more traditional polysynth sounds, Magnolia is totally capable of those, too!

Following its oscillators, Magnolia provides a fairly traditional polysynth featureset, though still doused with plenty of Frap Tools' special sauce. The filter section, in particular, is cited as evolving from their Cunsa module, and offers a dedicated linear FM control for gritty modulation—no patch cables required! ADSR envelope generators abound within the oscillator, filter, and amplitude sections, all capable of looping and free assignment to a wealth of parameters across Magnolia.

As of its public debut at Superbooth 2025, Magnolia remains in a late prototype stage, but Frap Tools is expecting to finalize its featureset and pricing by the end of the summer. That said, the instrument that they've managed to shape so far is already turning heads in our little corner of the synthesizer world. This is one that we're personally eager to learn more about in the coming months.

^^^ Take me back to the top! ^^^

Future Sound Systems Cric

Recently released and on full display at Superbooth 2025, Future Sound Systems is showing off Cric, a true-blue pin modular synthesizer with a pin matrix patching interface. Though this immediately calls to mind legendary vintage EMS instruments like the Synthi-100, Cric is filled with super-modern circuits borrowed from FSS Eurorack modules.

Not strictly pinned down (pun intended) to its own patching domain, Cric is easily connected to the outside world. Quadrophonic I/O on both 1/4" and 3.5mm jacks is available, along with a microphone preamp on input one and a headphone output for output one. There's also courtesy 1V/Oct and gate inputs, and some additional CV inputs that make integration with Eurorack systems a bit more seamless.

Cric is available to order now, and if you're local to our Burbank location, come by and try one out on our showroom floor!

^^^ Take me back to the top! ^^^

Ginkosynthese BATTLE V2

Ginkosynthese’s BATTLE v2 reimagines the soul of classic hip-hop battle mixers and drops it squarely into the modular domain, now reengineered with a sweeping list of improvements over the original. This second version centers around stereo architecture and Blackmer THAT VCAs, yielding clean, transparent gain staging that holds up under the demands of aggressive performance. It retains its roots in fader-centric control but expands in nearly every direction—each channel now includes razor-sharp curve control, tilt EQ, and an upgraded headphone section with pre-fader listen (PFL) switching. And of course, it wouldn’t be a true BATTLE without the hamsterswitches—now two per channel—allowing for fully reversible fader behavior on the fly.

×

Where BATTLE v2 truly breaks new ground is in its CV integration. The movement of each fader is not just audio—it's also control voltage. Each channel sends out a bipolar CV based on differential fader motion, letting you use fast cuts and gentle rides to animate other parameters in your rack. In addition, two fader CV outputs can be configured to follow the same sharp curves as the audio path or operate linearly, with both CV lanes switchable by their corresponding hamsterswitches. This positions BATTLE not only as a performance mixer but as a modulation source—fluid, expressive, and fully playable.

The PROFADERs at the heart of the unit are a standout feature in themselves. Built with conductive plastic and riding on dual gliding rails, they offer exceptional durability and precision, even in dusty or high-wear environments. This mechanical reliability, paired with BATTLE v2’s feature set, makes it uniquely equipped for modular users who treat the mixer as an instrument rather than just a utility. Whether used for crossfader cuts, scene transitions, or dynamic CV performance, BATTLE v2 turns mixing into a tactile, expressive act.

^^^ Take me back to the top! ^^^

Groove Synthesis 3rd Wave 8M

Distilling the essentials down to an even more compact desktop synthesizer package, Groove Synthesis has unveiled the 3rd Wave 8M. Offering the same sounds in an eight-voice, bi-timbral desktop module, 3rd Wave 8M maintains full compatibility with patches made on the larger keyboard and desktop versions. It aims to be a bit more affordable than the other models, so it should hopefully end up in the hands of more musicians to deliver luscious wavetable synthesis and beyond.

×

If you've not given your ears a chance to hear the 3rd Wave, they've really been missing out. Rooted in the sounds of the original PPG wavetable synthesizers, 3rd Wave incorporates modern synth design sensibilities and features to give it a seriously impressive range of sonic capabilities. From classic to modern wavetable synthesis methods to virtual analog, sampling, and beyond, there's a lot that the 3rd Wave can do. And with its multitimbral functionality, which extends to its sequencing and arpeggiator capabilities, you can easily establish rich, layered sounds without requiring multiple synthesizers, mixers, and controller hardware.

In addition to flexible digital oscillators, 3rd Wave offers two stages of powerful filtering to shape and sculpt your sounds. The 2140 lowpass filter harkens back to legacy synthesizers with a distinctive characteristic, while an additional SEM-style filter affords morphable state-variability for further variety. These are complemented by generous modulation capabilities, ensuring that sounds are as dynamic, lively, and ever-evolving as you'd like them to be.

Even with just eight voices and two parts, the 3rd Wave 8M is a might capable instrument that's sure to add magical sounds to your music. Pricing and availability remains to be seen, but it will be well worth the wait.

^^^ Take me back to the top! ^^^

Half-Time Modular Humanizer + 8TR

Half-Time Modular’s 8TR is a deceptively compact multitrack recorder, offering eight channels of simultaneous audio capture in just 4HP. Designed with live performers and DAW-centric producers in mind, the 8TR allows for up to 10 hours of recording time at 48k/16-bit, storing each channel as an individual WAV. Whether you're tracking an improvised modular session or laying the foundation for intricate post-production work, the 8TR makes it easy to capture and process any sound you'd like in multitrack clarity.

×

Half-Time also brings us the Humanizer, a module focused squarely on pitch manipulation. This 10HP envelope generator introduces a controlled layer of musical imperfection—transients, glides, ramps—subtle elements that shift pitch in ways that feel more organic. It also includes a vibrato that can reach FM territory, making it a versatile tool for everything from natural modulation to more extreme frequency warping. Built-in quantization and MIDI-to-CV conversion allow Humanizer to really shine in tightly focused, smaller systems, whether you're syncing to a master keyboard or creating generative pitch dynamics.

CV control is available for all parameters, allowing for deep modulation over key tracking, accenting, or any real-time transformation you can imagine. When used together, the Humanizer and 8TR form a compelling feedback loop between performance and production—capturing every expressive detail, then handing it off for sculpting and expansion. Availability and pricing remain to be announced, but these two modules already promise to carve out significant utility in small footprints.

^^^ Take me back to the top! ^^^

Instruo Seashell

Ultimately, Seashell is a self-contained system built to grow with its user, whether you're a seasoned Eurorack enthusiast looking for a dense, expressive voice, or a newcomer seeking a gateway into modular synthesis, Seashell offers immediate musicality without compromising depth. In the year 2025, there's no reason to silo off your computer from your hardware, when the two combined can be more than the sum of their parts, and the Seashell showcases that very notion.

Be sure to check out our full review here!

^^^ Take me back to the top! ^^^

Intellijel: Tons of New Gear

Intellijel’s latest releases bring a fresh layer of utility and sonic spelunking to the Eurorack environs, anchored by Swells, a 20HP multi-algorithm reverb module that promises expansive spatial design in an intuitive interface. Featuring a selection of algorithms designed to recreate your ideal hardware or fantastical reverb machine, Swells serves as either a dynamic end-of-chain processor or a sound-design tool. Scoops is a compact 8HP dual stereo filter that combines 4-pole low-pass and high-pass paths with a versatile quad band-pass mode, giving users an array of filtering options for taming or enhancing complex stereo sources.

Intellijel also brings us Mic, a 2HP MEMS microphone module with CV-controllable level adjustment, offering a simple but effective way to bring external acoustic elements into your rack. Sample ambient environments or trigger modulation with external input using Mic, and bring the outside world in. Intellijel’s 7U cases have been a go-to recommendation here in teh shop and they are also showing off an update, now equipped with upgraded power handling and lower-noise performance. Key new features include eight TRS input/output jacks, a redesigned internal latching lid system, and VESA mounting compatibility.

Rounding out the release is Jellymix, a compact stereo mixer designed for desktop performers and composers. Replete with five stereo channels, two stereo aux sends, and per-channel tilt filters, it delivers a tactile mixing experience with deep functionality. Each channel’s stereo path is accessed via 1/4" Neutrik TRS jacks, and channel 1 offers an optional Hi-Z mode for plugging in instruments directly. The master section includes a dual stereo filter and a headphone cue/mute bus, bridging modular and outboard workflows seamlessly.

Intellijel's new offering aren't yet available to order—but we'll shout from the mountaintop as soon as they are!

^^^ Take me back to the top! ^^^

Jolin Lab Krono

^^^ Take me back to the top! ^^^

Klavis Terminal 4

Klavis’s Terminal 4 is a quad-channel utility module that consolidates four independent signal paths, each housing a VCA, a low-pass gate (LPG), and an envelope generator, all packed into a single cohesive interface. Each VCA is DC-coupled and handles both audio and CV with equal precision, offering flexible control over amplitude shaping and modulation alike. With linear/logarithmic curve options, offset settings, and even zero-crossing switching for cleaner transitions, these VCAs can be fine-tuned to match the needs of subtle dynamic adjustments or more pronounced, articulated shaping. The inclusion of stereo linking—with both manual balance settings and CV control—makes Terminal 4 capable of handling both mono sources and spatialized stereo content seamlessly.

×

The LPG section in Terminal 4 adds a distinct analog character, with four dedicated low-pass gates each offering a selection of curated presets. These presets are designed to emulate various gate behaviors, giving users tonal flexibility without requiring extra patching or configuration. Whether used to impart a woody, percussive response or a smoother, rounded contour, these LPGs serve as a creative coloration tool that can be dialed in quickly. Additionally, clipping LEDs on each channel provide instant visual feedback, ensuring users can keep levels under control in performance or studio scenarios.

What elevates Terminal 4 further is its integrated envelope section. Each channel features its own envelope generator with eight distinct templates, adjustable through proportional timing and selectable curvature from linear to logarithmic. The envelopes can either control the internal VCA or LPG directly or be routed out as CV sources for use elsewhere in the system. This layered architecture allows Terminal 4 to serve as both a dynamic processor and a modulation hub. Whether deployed as a quad VCA, LPG, envelope bank—or all three at once—it offers a powerful, space-conscious solution for those seeking nuanced control over amplitude, tone, and timing within a single Eurorack module.

^^^ Take me back to the top! ^^^

Kaona Sisyphus + Joey + New FW

Kaona’s Sisyphus introduces a fresh approach to granular synthesis in the Eurorack world by embedding filtering directly into each grain’s generation—rather than treating it as a post-process. With eight custom-designed filters, including lowpass, highpass, Karplus, and Comb, each grain carries its own spectral character, shaped further by dedicated controls for cutoff, resonance, feedback, and grain-specific attributes like length, density, and pattern. Sisyphus operates in stereo or dual mono, and its four assignable CV inputs make it a formidable engine for immersive, filtered textures that evolve in real time.

That textured sound finds a rhythmic counterpart in Joey, Kaona’s generative gate module built as a companion to Skippy. Joey features Random, Fractal, and Euclidean modes, each capable of producing dynamic gate sequences with varying degrees of complexity and predictability. Its parameters—pattern complexity, gate length, and tempo—can be shaped via a single encoder, offering both fine control and spontaneous variation. With internal or external clocking and a PLAY/STOP switch for instant performance control, Joey becomes especially potent when paired with the new Skippy CV Expander, which adds eight CV inputs assignable per track or globally, greatly expanding the scope of modulation across a system.

Meanwhile, Kaona continues refining its broader ecosystem with beta firmware updates and new modules. Skippy now supports selective expander activation and introduces a new CV gate output plus fractal algorithms for deeper generative structures. Zazou, their sequencing module, receives per-track ADSR envelopes and a range of compositionally inspired algorithms like Tintinnabuli and Fugue. Finally, the new Voltator module builds on their Transpos utility with four channels of voltage math—transposition, addition, subtraction—complete with a built-in voltmeter. These additions reinforce Kaona’s vision: a modular toolkit that bridges experimentation with control, turning abstract ideas into musical, voltage-driven results. We're not quite sure when the final firmware will be available, but we're excited for its release.

^^^ Take me back to the top! ^^^

Knas Ekdahl FAR is Back

After years of mechanical experimentation and software development, Knas presents the final version of the Ekdahl FAR, a unique revelation in the world of electro-acoustic instrumentation. At its core, FAR is a string-based sound generator that employs a motorized wheel whose speed is precisely controlled to highlight natural overtones of a string and gives a similar bowing feeling, like you'd find in orchestral strings. The analog-acoustic audio path is shaped further by a hammer, a variable mute, and an electromagnetic pickup, while the bowing wheel sits on a controllable pivot which allows for expressive shifts in volume and harmonic content. Though the sonic output is mechanical, the controlling architecture inside the FAR is entirely modern, powered by a Teensy microcontroller.

The FAR's unusual architecture is equally suited to free improvisation and precisely sequenced performance. Every element—from the articulation of the bow to the engagement of the hammer—can be mapped and modulated through digital and analog control sources, with configuration options built deeply into both firm and hardware. This design philosophy invites modification and expansion, encouraging users to customize the instrument’s functionality. With a modular layout, the FAR supports a wide range of future upgrades, such as multiple strings, polyphonic operation, and expanded pickup and articulation systems.

To make this flexibility accessible, the Ekdahl FAR’s firmware will be released as open source software, using a plain-text message protocol for both internal and external communication. This makes custom development, feature updates, and parameter mapping approachable no matter the skill level. Knas also created a GUI that runs across all major operating systems, allowing deep control over the instrument’s behavior for those who are not technically inclined. Altogether, the FAR sets a new standard for what electro-acoustic instruments can be: tactile and resonant, but governed by digital precision and unlimited in possibility.

We spoke to Knas's Karl Ekdahl a while back about FAR's development—be sure to check out the full interview here on Signal.

^^^ Take me back to the top! ^^^

Koma Kassiopeia + Monoplex

The latest creative tool from Koma Elektronik is as experimental and expressive as their previous endeavors, introducing Kassiopeia. A 4-channel DC interface capable of controlling motors, solenoids, fans and more with CV / Gates and MIDI information. Made in collaboration with Hildur Guðnadóttir, Kassiopeia allows you to smoothly adjust the outputting power levels per-channel, or instantly trigger them with Gate signals to generate all kinds of interesting results. Designed from the ground up with experimentation in mind, Kassiopeia allows you to interact with DC-compatible devices, (such as those found in Koma’s Field Kit Expansion Pack) in a variety of ways. Each channel has its own CV / Gate input, which can be used to trigger or control the channel’s respective DC output. Alternatively, connect your synths or computer to Kassiopeia with the dedicated MIDI input for even more control potential.

Kassiopeia even has power-starve controls for each channel, allowing you to create truly out-of-the-box sonic textures. If you’ve been searching for an experimental sound-design companion, Kassiopeia from Koma Elektronik is anything but average.

Koma Elektronik have also unveiled their latest Eurorack companion, the Monoplex. A deep yet intuitive 16-step CV / MIDI sequencer with a strong emphasis on being modulated. The Monoplex contains a ton of CV-controllable parameters, such as Glide, Per-Step Repeat, Skip Step, Transpose, Clock input, Divisions, First-Step, and sequencer Length and Direction control. All this amounts to a sequencer that gives new meaning to the phrase “sequence your sequencer”.

t features a plethora of outputs for modulating your synths in tandem with the sequencer, such as the aforementioned MIDI Out, which makes the Monoplex a versatile sequencer for nearly any piece of gear. The onboard Clock output makes it easy to sync other clockable Eurorack gear, and Start / End-of-Sequence trigger outputs supply instant access to patching potential for well rounded rhythmic sequences. The Monoplex is also an intuitive quantizer, allowing you to move instantly between Major, Minor and Chromatic quantization with the flip of a switch. You can also adjust the ratio of the pitch output by 2v 5v and 10v, for momentary transformation of your quantized sequences.

Koma Elektronik have once again created gear that is as open-ended as it is rock solid. While the Monoplex can certainly be your go-to run of the mill sequencer, it also contains much deeper potential just below the surface.

^^^ Take me back to the top! ^^^

Konstantine Croak

We have to take a moment to shine a light on a unique device by modular community member Konstantine—who has been publicly developing their wild, chaotic module/instrument Croak for quite some time. We were excited to finally get to see it in person...after all, we're really just a bunch of nerds who love esoteric sonic debauchery.

Croak is a dual sound generator designed to emulate the nuance of an acoustic instrument, using a new oscillator topology that replicates the unpredictability and richness of extended techniques on acoustic instruments. From digital rust and mechanical groans to breathy resonance and creaking tension, Croak produces textures that feel less like oscillators and more like something breathing, pushing, and resisting inside the rack. The controls echo this sentiment with sliders for Flutter, Swell and Bite—colorful descriptions for familiar musical textures.

The inspiration for Croak draws from both sides of a musical spectrum. On one hand, it recalls the sonic behaviors of experimental acoustic improvisers such as Steve Lacy, Colin Stetson, Evan Parker, and Peter Brotzmann. On the other, it channels the self-contained, performance-focused ethos of electronic instruments like Hordijk’s Benjolin and Hikari’s Duos. What emerges is not just a module that generates sound, but one that feels responsive and unpredictable, much like a physical instrument pushed to its limits.

Croak is Konstantine’s first complex oscillator, built to explore this boundary between acoustic mimicry and modular synthesis. It is not just the range of sounds that sets it apart, but the design philosophy behind it. Croak is less about traditional tone shaping and more about inhabiting a space between control and chaos, where the performer can coax out breath-like phrasing, unstable drones, or aggressive mechanical textures. The result is a voice that invites improvisation and interaction, giving Eurorack users access to a sound world usually reserved for acoustic experimenters.

We'll continue to follow Croak's development—and the Signal staff are all eager to try it out for ourselves.

^^^ Take me back to the top! ^^^

Make Noise Jumbler

Make Noise's Jumbler module is a six-by-six analog signal combiner and distributor, designed for the New Universal Synthesizer System (N.U.S.S.), but it works in any Eurorack case. At its core, the Jumbler enables the dynamic rerouting of up to six input signals to six outputs, all under voltage control. Instead of functioning like a typical switch matrix, it uses an analog, VCA-based architecture that allows for smooth transitions, continuous blending, and the creation of hybrid signals. The Rotate control shifts the signal positions across outputs, while Radiate adjusts how much of each signal is sent, giving users an intuitive, two-parameter system for reshaping a patch in real time.

Be sure to check out our full review here!

^^^ Take me back to the top! ^^^

Make Noise Polimaths

Stop the presses folks—the new Make Noise Maths is here. Having just released two certified bangers in the form of MultiMod and Jumbler, I'm not sure any of us expected another sick module to be shown off so soon. But here we are—Polimaths is here and we are so stoked.

Polimaths is another entry in a new conceptual series of modules that Make Noise refers to as the New Universal Synthesizer System, or NUSS for short. In line with the aforementioned modules that were recently released, Polimaths applies the basic triggered function generator principles of their ubiquitous Maths module in multi-channel context. Its eight function generators in one, and while you don't have exacting control over each channel individually, a core concept of NUSS is the idea of one gesture or signal traversing multiple channels affecting multiple elements in a patch. As such, Polimaths affords a variety of controls and modes to shape, skew, and spread the relationship of these function generators amongst each other.

Much of the magic of Polimaths comes down to the ways channels are addressable. The default is Channel Index mode, where the Span control is used to fire off functions as it scans through channels—either manually or via CV. Alternatively, Round mode cycles through channels in a round-robin fashion by monitoring gates into the Activate input, with the Span control now affecting the incrementing distance from one triggered function to the next. These all work in tandem with an Index CV output, corresponding to currently active channels and allowing you to chain Polimaths and other future NUSS modules together.

×

One neat feature baked into Polimaths is the inclusion of secondary oscillators within each channel. These may be introduced on the right side of the module, featuring Rate and Shape controls to shape these complementary modulations. Depending on the patch, these can be LFOs shaped by the Polimaths functions, or pushed up into audio-rate for 1V/Oct-controllable voices. For per-voice variety, a Spread control up top maps the control settings (including attenuverters for external signals) across all eight channels.

Like the original Maths, Polimaths is poised to be a vastly-applicable addition to any modular synthesizer, NUSS or otherwise. It's a patch-programmable powerhouse supercharged by the possibilities of multi-channel patching—and its capabilities are sure to be extended by whatever other NUSS modules that Make Noise is cooking behind the scenes.

Pricing and availability remains to be seen, but Polimaths is generally expected sometime later this year, along with other new modules coming down the pipeline.

^^^ Take me back to the top! ^^^

Maneco Labs Zeptomod + More

Maneco Labs is at Superbooth 2025 showing off multiple new products, most of which offer the formidably fun Zeptomod in new formats. A modular port of infinite.digits' open-source breakbeat mangler the Zeptocore, Zeptomod brings this fantastic sample-flipping device to Eurorack systems. The standard edition of Zeptomod arrived not long after infinite.digits' device started making waves, and this year at Superbooth the device has returned with a host of new tricks up its sleeve.

×

The Zeptomod Plus version adds independent trigger inputs for each of its sixteen buttons, perfect for populating with Eurorack trigger sources, bringing a significant amount of added modular integration to the design. It also replaces the three primary potentiometer controls with faders for easy finger adjustment, and is available in both tabletop and Eurorack formats. If that's not yet enough Zep in your step, the Zeptomod Mega (pictured above) is also available, which adds an additional set of eight controls and CV inputs for level, BPM, filtering, and other parameters.

Beyond the European Racks, Maneco is also starting to expand more into 4U territories with Zeptomod Serge and Zeptomod Buchla. Yes, it seems everyone can have a Zeptomod, even those wacky larger-format types. They're also adding in some other units from their line into the 5U range, including the EHX-inspired 16-seconds delay clone, the Sequencer16, the Drums4 and a handy mixer.

×

But hey, menacing skull knobs and breakcore mangling may not be for everyone, and Maneco understands that. They also have brought along an all-analog, patchable synth designed for kids and beginners called the Minisynth. Destined for a few workshops later on at the kid-friendly Minibooth, the Minisynth offers a basic synth voice with oscillator, low pass filter, AD envelope, and a few VCAs. In dazzling purple and gold, it looks pretty neat, and likely offers plenty of straightforward synth fun for people of all ages. Whether you're at the expo or following along from home, don't miss Maneco's many new offerings!

^^^ Take me back to the top! ^^^

Manifold Research Centre New Products

×

There’s a rebellious thread that runs through all of Manifold Audio Research’s creations and that's exactly what makes them so interesting and unique. From the twisted feedback paths of their modular effects to the playful yet serious control interfaces of their standalone devices, there’s a consistent urge to blur the lines between categories and create something fresh. Ubique, their collaboration with Heretic Machines, might be the purest expression of that ethos. It’s a flanger into a phaser into a flanger into a phaser (ad infinitum), packed into a Eurorack module with dual-channel routing, separate controls for frequency and feedback, and a cross-feedback slider that invites sonic experimentation. It sings, groans, combs, and warps with the charm of analog modulation, wrapping your signal in motion that shimmers, bends, and folds like audio caught in a Mobius loop.

If that wasn’t enough to shift your perspective, there’s LizaJuice (pictured above), a standalone ILDA interface that connects sound with laser light. Developed with Alberto Novello, this isn’t your standard MIDI-to-visual bridge. LizaJuice runs on Pure Data, the visual programming language beloved by many an experimental composer, offering a deep level of customization. At the same time, the planned support for WiFi and TouchOSC makes it far more accessible. Without needing a rack or dense setup, you can send your audio gestures into the air as glowing lines, transforming performances into full sensory events. It’s equal parts instrument and conduit, where waveform becomes waveform—light mapped directly from sound.

And then there’s Antilope (above), a hybrid device that lives between drum machine, processor, and tactile controller. It offers a three-channel performance interface, each channel with a push button, control knob, and dual sliders for expressive interaction. Built-in EQ, drive, and filter give it the tonal sculpting tools needed to stand on its own, while CV jacks open it up to full modular integration. Rather than mimic traditional instruments or grooveboxes, Antilope encourages fluid performance. It's a device for shaping rhythm and texture on the fly, letting you play with feel and intention rather than sequence and precision. Like the rest of Manifold’s work, it invites exploration, rewarding the kind of curiosity that doesn’t always care about clean lines or easy definitions.

Availability is not yet confirmed—but we're confident that all of these new developments are going to be downright rad.

^^^ Take me back to the top! ^^^

Meng Qi + Whimsical Raps Horizon

In the ever-curious landscape of modular synthesis—where precision often jostles with play—Meng Qi’s Horizon re-emerges not as a tool, but as a world unto itself. Developed in collaboration with Whimsical Raps, Horizon is more than a synthesizer; it’s an invitation to live within a shifting field of harmony and chaos, order and accident. At its core lie two "Mountains"—pinged filter cores that interact through stepped and smooth frequency modulation, feeding a lush and peculiar terrain of stereo delays and resonant filters. A garden of controlled instability, it allows tones to bend and bloom organically, modulated by five melodic "Bird" sliders tuned to just intonation. The interface is alive—Tide sliders, touch surfaces, and shifting delays respond with an immediacy that blurs gesture and result.

Not only are the sounds captivating, but the gestural interaction takes this to the next level. With a layout that rewards both practiced structure and reckless curiosity, the interface encourages a kind of sonic cartography: you're drawing maps of timbre and resonance in real time. The Currents section responds to touch, allowing for momentary harmonic clarity or latching patterns that ripple outward with unpredictable symmetry. Tides, meanwhile, introduce movement—gently shifting delay times and harmonic relationships in ways that feel more tidal than clocked. Horizon’s ability to nestle into a Eurorack system (via CV I/O) or to stand alone makes it adaptable, but once it’s in your setup, it becomes a gravitational center. It’s equally at home shaping external audio or diving headlong into feedback spirals of its own making.

^^^ Take me back to the top! ^^^

Meng Qi 孟奇 Skies

Meanwhile, Skies—still a prototype—offers a glimpse into Meng Qi’s continued fascination with control, constellation, and gesture. This is a 2D scanner for sound, a navigational interface composed of push encoders, a joystick, and a circular touchscreen. You don’t just dial in parameters—you plant "stars" that act as absolutes, while secondary stars, drawn from encoders, map relative changes around them. As you move the joystick through this digital firmament, timbral shifts unfold, like moving through sonic constellations whose gravity you determine. Meng Qi showed multiple versions of Skies with both 3.5mm and banana jack connectivity—as such, we anticipate that it is intended to link into the broader modular ecosystem, but its true power lies in the way it reframes modulation as exploration. It doesn’t ask what sound you want—it asks where you want to go.

Horizon + Skies are still in development, but naturally, we're eager to keep track of their progress.

^^^ Take me back to the top! ^^^

Moog Messenger

Moog’s Messenger draws deeply from the lineage of the company’s most celebrated monophonic synthesizers, reinterpreting and expanding on the Sirin. At its core are two continuously variable-shape oscillators augmented by hybrid wavefolding, along with a sub-oscillator capable of sweeping smoothly across waveforms, allowing for a wide palette of timbres from gentle to aggressive. The signature Moog ladder filter returns here with a new level of flexibility, offering a switchable RES BASS mode that maintains low-end power even as resonance climbs, plus selectable slopes for low-pass, band-pass, and high-pass responses. Together with a white noise generator, full audio-rate FM, and extensive routing possibilities, Messenger delivers a distinctly Moog sound with enhanced clarity and depth for modern sonic demands.

Be sure to check out our full review here!

^^^ Take me back to the top! ^^^

Mordax Siren

Mordax, in collaboration with the enigmatic Anonymous Developer, has unveiled the newest version of the Siren—a compact yet deeply immersive multi-oscillator drone generator. Housed in a mere 12 HP, Siren is a performance-oriented stereo wavetable module that emphasizes macro-level control over a densely layered sonic environment. With 21 oscillators and 23 LFOs, it invites exploration of evolving textures and harmonic clusters that exist outside the realm of traditional melodic composition. Rather than functioning as a tool for writing structured chord progressions, Siren’s macro controls—governing pitch, waveform, and amplitude—allow users to dial into rich timbral spaces with minimal effort and maximum result. A single twist can uncover shimmering intervals, slow-motion dissonance, or pulsating harmonic drift, all without ever pressing a key or notating a scale.

×

At its core, Siren is unashamedly digital, both in tone and philosophy. Its oscillators are not anti-aliased and its CV inputs are left unfiltered, a design choice that preserves responsiveness and immediacy. The result is a crisp, almost surgical clarity to the sound—particularly when operating within Siren’s tonal sweet spots. Push it too far, and digital artifacts emerge, not as flaws but as part of the instrument's personality: aliasing, stepping, and the occasional harmonic ghost all contribute to the module's unique, otherworldly voice. The absence of traditional filtering also allows the modulation—courtesy of the 23 internal LFOs—to feel direct and kinetic, making rhythmic CV inputs a particularly fruitful way to sculpt constantly shifting textures.

One of the defining features of Siren is its use of just intonation across its oscillator stack. By building harmonic relationships through whole-number ratios rather than equal temperament, Siren ensures that every voice is tightly tuned to its fundamental, giving the resulting drones an uncanny resonance and cohesion. Yet, this also means the module can often wander into alien tonalities—intervals that sound strange to ears trained on standard Western harmony, but that offer a unique emotional palette for adventurous sound designers. In practice, this makes Siren not just a drone generator, but a tool for carving new paths through the gray areas between noise, tonality, and rhythm.

Mordax is still working on some new features, but plans for Siren to be released by the end of the year.

^^^ Take me back to the top! ^^^

Morphor Echon6

Belgian BBD luminaries at Morphor are showing off their first standalone synthesizer at Superbooth 2025, the Echon6. Purveyors of a growing line of Eurorack modules that span from compact and essential analog tools to unique bucket-brigade designs like the Echo Analog Quad Tap Stereo Delay, Morphor has taken an approach to Echon6 that takes full advantage of their experience in BBD wizardry.

×

Billed as a six-voice analog polyphonic BBD synthesizer, the Echon6 takes a unique path toward relatively familiar territory, using analog circuits to achieve physical modeling sounds with unique character. The result is quite intriguing, though Morphor is still developing Echon6, so truly representative sound examples are limited.

Divided into three primary sections, Echon6 features exciters which ping the BBD feedback resonators, including an analog waveshaping VCO, noise source with S&H circuit in tow, as well as an external input. These sources can be mixed together and shaped with an ADSR envelope, providing a versatile foundation for pinging the BBD resonators. On the opposite side of the device, the resonator section gives you control over the feedback path and blend before hitting the output stage. Centrally located, a quad LFO handles additional modulation, sure to offer a powerful source for getting your signals wiggling.

We are excited to see more as Morphor continues development on Echon6, as its unique synthesis method in a fully analog device offers a rare tool for sound designers and musicians alike. The independent outputs and six-part multitimbrality are likely to add a ton of flexibility to the device, taking cues from Morphor's modular work to provide a versatile system for generating ear-catching contrapuntal sounds. Price and availability are still unknown, but no matter when Echon6 comes into the hands of eager users, we're certain it'll resonate quite nicely.

^^^ Take me back to the top! ^^^

Mzourack DIKTAAT

Mzourack’s DIKTAAT is a 4-channel trigger sequencer designed to prioritize performance, immediacy, and improvisation. Rather than encouraging pre-planned, step-by-step programming, DIKTAAT offers an interface and toolset geared towards spontaneous creativity with four banks each with four patterns allowing sequences up to 64 steps long. And with an 8-slot chaining capability to extend rhythmic ideas even further, you can easily create complex compositions right in the box. The module’s toggle between Play and Rec modes provides fluid transitions between live playback and real-time recording letting users remix, mute, copy, or shred sequences with a few combinations.

In Rec mode, DIKTAAT is perfect for real-time recording, pattern clearing, track copying, filling, and chaining. Each tool comes with an alternate behavior—enabled via the FN button—that expands the range from subtle edits to dramatic, structural changes. In Play mode, you get access to tools like Break, Shred, Prob, and X-Fade allowing expressive interactions with the sequences. Loop specific sections, introduce probability-based variation, blend between patterns or banks, or dynamically interact with your tracks.

The module's Reset In/Out and Clock In/Out ensure synchronization with other gear, and performance options like Assign and Mute offer streamlined control. Whether used to generate new rhythmic ideas or to manipulate complex pattern structures on the fly, DIKTAAT encourages hands-on exploration without getting lost in menus or screens. It’s a focused, compact sequencer that rewards improvisation while staying tight in a modular rig.

^^^ Take me back to the top! ^^^

NANO Modules OCTA Drum Module

×

Meet NANO Modules's newest Eurorack offering, the OCTA. Octa is a four-voice analog drum machine, and a love letter to the legendary sounds of the TR-808.

^^^ Take me back to the top! ^^^

Nekyia Occult + Ouija + Wand

Greek outfit Nekyia Circuits unveiled a new triptych of magical modular devices just before Superbooth this year, including a robust analog oscillator, Buchla-inspired voltage processor, and a handy companion to extend the capabilities of any VCO or LFO. Rounding out their line of modules which includes the ineffable Root Locus multimode filter, Nekyia now offers a full voice worth of analog designs. Boasting a seamless blend of classic analog sound with uniquely characterful designs, Nekyia's new offerings are sure to inspire both dedicated classicists and daring iconoclasts alike.

First in the list of Nekyia's new sounds is Occult, an analog thru-zero oscillator with two distinct waveshapers, serving up an impressive range of sounds for any system. The triangle core design offers classic waveform outputs including sine, triangle, saw, square, and pulse, as well as two suboctave outputs at one and two octaves below the fundamental frequency. Unsatisfied with the mere basics, Nekyia added in both a classic crossfader-style waveshaper as well as an implementation of Ian Fritz's "double pulser" circuit, giving you diverse avenues towards complex tones. The crossfader-based Shaper output blends between the Pulser output and the signal at the Shaper In input, which is normalled to sine wave when left unpatched. In addition to these timbral transformations, Occult provides a comprehensive range of classic manipulations including FM with thru-zero and exponential inputs, hard and soft sync, and PWM. From vast, morphing drone patches to ear-candy percussion and basslines galore, Occult is a dark mass of sonic potential awaiting your inspired sculpting.

Along with Occult, Nekyia has also released the Ouija VCO / LFO Utility and the Wand voltage processor, both offering plentiful patching potential to any system. Ouija combines multiple utility circuits which are useful for expanding the sound palette of any oscillator, and similarly succeeds in manipulating LFOs to derive more complex modulation signals. A voltage controlled glide invites acidic slides and slewed randoms alike, while a rich ring modulator and a difference rectifier expand tones and twist control signals into unique shapes. An analog white noise source is great for anything from sampling and holding to drum synthesis, and the onboard sub octave generators are sure to bring heft to your basslines. In just 4hp, Ouija is an easy addition to any oscillator, and you probably don't need a phantom board game to tell you that.

Last up, Nekyia's Wand brings a classic West Coast utility to a slim profile, retracing elements of the time-tested Buchla 257 to provide a wildly useful utility. As if the three musketeers were a synthesizer module, Wand combines a voltage-controlled crossfader, an attenuverter, and an offset generator. This triumphant triumvirate sums to a singular output, enabling a wide range of transformations for both audio and CV. It works as a VCA, a mixer, a waveshaper, a logic utility, a central controller for adjusting complex modulations, and so much more. If you're off to seek some synthesizer spellcraft, consider Nekyia's new additions in Occult, Ouija, and Wand.

^^^ Take me back to the top! ^^^

Neuzeit Instruments Drop

Neuzeit Instruments' Drop is a robust MIDI controller designed specifically to give live performers precise control over chaos. At the heart of Drop is its snapshot system giving you 20 banks with 20 snapshots each, allowing users to instantly recall stored positions of every encoder and fader across their setup. In JUMP mode, these snapshots can be triggered manually at any time, complete with quantization and variable fade times to ensure seamless transitions—perfect for building tensions, triggering an emotional release, or just simplifying your studio practice. With macro mapping that can send up to eight MIDI messages simultaneously per control, Drop empowers users to manipulate several parameters or devices at once, each with assignable curves for nuanced control.

Where Drop truly shines is in the titular DROP mode, a performance-focused feature designed for timing critical moments. With its built-in master clock counting cycles from 1 to 32 bars, you can schedule a snapshot to trigger automatically at the end of a pattern—this not only eliminates guesswork during a live set, but also allows for dramatic builds and resets, all without lifting a finger. Combined with a visual progress display and beat jump buttons for live break control, Drop ensures performers can stay spontaneous without ever losing sync. For more structured performances, CHAIN mode lets you sequence snapshots in a pre-arranged order, song by song.

The hardware itself is a comprehensive hub for any modern live rig comprised of four MIDI ins and outs via TRS (supporting both A and B standards), dual USB-C ports with automatic device/host detection, two CV ins and two CV outs for clock or voltage signals, Drop can command everything from laptops and synths to modular systems—all with per-port MIDI clock delay for tight sync. Mapping is done directly on the device, no software required, and an onboard MIDI monitor supports extensive configuration. Add in Ableton Live clip launching, keyboard mode, and global power compatibility, and you’ve got a controller that is as versatile as you are.

Drop isn't available quite yet—but it is expected to be available this summer.

^^^ Take me back to the top! ^^^

New System Instruments Discrete Map

New Systems Instruments has never been shy about pushing beyond the traditional framework of control voltage, and with Discrete Map, they offer something that sits between sequencer, logic system, and compositional philosophy. First seen at Buchla and Friends in Los Angeles early this year, Discrete Map transforms a continuously moving input—such as a ramp wave from its internal clock—into a cascade of eight voltage outputs, each triggered by rising or falling thresholds. These thresholds, adjustable via lower sliders, can be positioned absolutely or spaced relatively, allowing for temporal variation that responds naturally to the shape of your incoming signals. The upper sliders define the output voltage for each stage, forming everything from melodic phrases to timbral shifts. Unlike step sequencers driven by fixed pulses, Discrete Map is shaped by motion—perfectly at home in self-generating patches or complex performance systems.

Discrete Map doesn’t rely on microprocessors or digital conversion; it operates entirely on logic circuits, meaning its functionality extends into the audio domain with zero concern for sampling limitations. At audio rate, it becomes a graphic VCO, capable of spanning seven octaves with temperature-compensated tracking. It can phase modulate, bitcrush, or operate as a uniquely structured waveshaper. The system’s flexibility increases further when two or three units are used in tandem, enabling up to 24 stages for melodic or control sequencing. Whether acting as a quantizer, a harmonizer, or a clock-synced event generator, Discrete Map handles voltage as both sculptor and sculpted—one continuous gesture, mapped discretely.

But perhaps the real potential emerges with the A / B / C Expander, which grants CV control over each threshold group and introduces a powerful sequential switch. By assigning stages into A, B, or C groups, and routing those groups to corresponding gates or switch states, users gain access to percussive sequencing, real-time pulse width modulation, and dynamic mixing behaviors. The expander also allows random or deliberate modulation of gate group thresholds, opening the door to rhythmic interplay between groups—or instantaneous structural shifts mid-performance. Multiple expanders can be chained for extended control, and when paired with Discrete Map’s already high-resolution behavior, the system becomes a tool for navigating time and tone at a granular yet fluid level.

Discrete Map is expected to be available for orders soon—so keep your eyes peeled!

^^^ Take me back to the top! ^^^

Novation: Launch Control XL MK3 + White Launchkeys

×

The Launch Control XL MK3, meanwhile, shifts focus from keys to complete command over your mix, arrangements, and MIDI environment. Featuring eight long-throw faders, 24 endless encoders, and 16 assignable buttons—all backed by dedicated transport controls and a, of course, a Topo Chico level of crisp OLED screen—it’s designed to keep everything at your fingertips. With the addition of a five-pin MIDI output, the XL MK3 functions just as easily in a DAW-less hardware setup as it does in software environments. Custom Modes let users tailor the layout to suit specific workflows, making it equally capable as a control center for mixing, modulation, or live tweaking. Altogether, it rounds out the Novation lineup with a precision instrument for those who prefer to shape sound by hand, not by mouse.

Novation’s Launchkey 49 MK4 white edition takes the established form of the MIDI keyboard controller and refines it into a powerful, expressive instrument tailored for both studio production and live performance. With 49 semi-weighted keys, 16 velocity-sensitive pads equipped with polyphonic aftertouch, eight endless encoders, and nine faders, the Launchkey 49 provides deep hands-on control over DAWs and MIDI hardware alike. It integrates tightly with Ableton Live but also speaks fluently with a wide array of software and gear, thanks to five-pin MIDI connectivity and a vivid OLED display that keeps you informed without interrupting your creative flow. Add in Scale, Chord, and Arpeggiator modes, and it becomes a self-contained composition and performance hub that adapts to the moment.

For musicians who need portability without sacrificing control, Novation’s Launchkey Mini 37 MK4, also in a white colorway, delivers a surprisingly full feature set in a compact footprint. It offers three octaves of synth-action mini keys, 16 responsive pads with aftertouch, 16 assignable encoders, and the same bright OLED feedback found across the Launchkey range. Despite its size, it retains the full creative toolkit—Scale, Chord, and Arpeggiator modes are all present and ready to shape spontaneous ideas into structured musical statements. With a five-pin MIDI output and robust DAW integration, the Launchkey Mini 37 is well-equipped for mobile setups, desktop synth rigs, or compact stage configurations.

These are all available to order now!

^^^ Take me back to the top! ^^^

Novation Bass Station II Swifty Edition

×

The acclaimed Bass Station II also returned for Superbooth 2025, now dressed in a snazzy new skin as a limited "Swifty Edition". This collaboration celebrates the influential designer Ian "Swifty" Swift, whose keen visual designs supplied a vibrant aesthetic for UK music and club culture. In addition to the fun and fresh new look, which includes a full makeover of panel graphics, text, and colors, the Swifty edition comes equipped with the latest firmware. This includes the mind-melting patch-per-key AFX mode, as well as paraphonic support. Finally, a new suite of artist packs are available to explore on the machine from Legowelt, Pecq, and Maria Chiara Argirò.

^^^ Take me back to the top! ^^^

OhmForce Bohm

OhmForce’s Bohm is a modular Eurorack solution that reimagines the kick drum voice through a flexible, model-based engine built into an 18HP main module. At the heart of the system is a microSD-based model loader, offering nine distinct kick circuits—from two- and four-operator FM engines to physical modeling and sampler-based architectures—each curated as a distinct OIFF file. Whether it’s classic analog-style thump or aggressive wavetable complexity for hard techno, each model offers a unique kick sound, with the ability to swap models on the fly during live performance without interrupting playback. The module also supports custom wavetables, sample loading, and firmware updates via both USB and SD card.

Once a model is loaded, users can shape their kicks with extensive real-time controls, such as pitch, length, sustain, attack, and color—all of which behave uniquely depending on the selected model. A powerful Randomize parameter and Function encoder allow for quick sonic exploration, either manually or through CV in producer or performer modes. Each parameter is CV-controllable, with attenuverters for the most crucial controls, allowing the Bohm System to integrate deeply into complex modulation environments. The stereo output—rare for kick modules—is not just a convenience but a necessity, given that many of the transient engines used are stereo by design.

Two expanders take the Bohm System even further. The Bohm:Groove module adds a secondary kick voice driven by clock divisions, perfect for building polyrhythmic grooves with adjustable tap dynamics, length, FX, and timbre—all with CV control. Meanwhile, Bohm:Performer is a live performance processor that brings sidechain ducking, stereo filtering, beat rolling, and slip effects into the fold, along with stereo mix inputs and master-level effect routing. The Bohm System isn’t just a kick drum module but rather a comprehensive, stereo-capable rhythm workstation engineered for studio precision and live playability.

^^^ Take me back to the top! ^^^

OXI One MKII / Pipe MKII / Split 2

Just in time for Superbooth, the hard working team over at OXI Instruments has released the second iteration of their beloved sequencer, the OXI One MKII. The original OXI One left a lasting impression on the world of electronic music production and performance, offering four independent sequencers with an ever-expanding list of sequencer types and functions alongside flexible connectivity to support virtually any hardware or hybrid set-up. Focusing the efforts of their small but dedicated development team on an uncompromising approach to empowering user workflows, OXI Instruments has set the standard for what a modern hardware sequencer can be. The MKII version goes above and beyond as expected, smashing through their own high standard to provide a production and performance tool that readily conforms to even the most daring of musical dreams.

If you're familiar with the original OXI One, the MKII version can be summed up fairly simply–It features more of what made the OXI One a crucial creative tool for countless musicians, and provides an improved workflow to minimize the time between inspiration and performance. If you aren't familiar with the original, now is the best time to get acquainted with what can easily become a lifelong instrument across nearly any sonic endeavor. Whether you're controlling MIDI instruments, a wall of modular madness, an expansive DAW project, or all three simultaneously, the OXI One MKII provides near-limitless potential to help you achieve any arrangement on stage or in the studio.

Along with the OXI One MKII, its classically crucial comrades have also returned in MKII versions, providing helpful breakout boxes for both modular and MIDI connections. Pipe MKII provides a tidy solution for distributing the One MKII's many CV and gate signals around your rack, connecting to the sequencer via an included HDMI cable. Split 2 is a compact breakout box for TRS and 5-PIN MIDI connections, making it easy to control a fleet of hardware devices from a single desktop sequencer. With OXI's firm commitment to listening to its user base and continued efforts in supporting their devices with new refinements and features, we can't wait to see what's in store for the MKII version. For now, the OXI One MKII is already primed as easily one of the best hardware sequencers in the modern market, bringing innovative control to empower your creativity in any set-up.

^^^ Take me back to the top! ^^^

Patching Panda Patterns

Patching Panda’s Patterns module delivers a four-channel sequencer that strikes a careful balance between intentional design and creative volatility. At its heart is a 4x4 grid—simple in layout, yet remarkably expressive—offering up to 64 steps per channel and full independence across all four tracks. The interface is immediate, lending itself as much to composed arrangements as to spontaneous exploration. Essential controls for gate length, swing, probability, randomization, and clock division are all present, allowing for rhythms that can lock in tightly or unravel with delightful unpredictability.

^^^ Take me back to the top! ^^^

Polyend MESS Multi-Effect Pedal

^^^ Take me back to the top! ^^^

PPG 1002 Reissue

PPG’s 1002, one of the rarest analog synthesizers in popular electronic music history, has returned in a strictly limited reissue of just 102 units—in a refactored desktop module/console layout. Originally designed by Wolfgang Palm and considered one of the last fully analog PPG synthesizers before the company shifted into digital innovation with the 360 and Wave series, the 1002 is a foundational piece of synthesizer lineage. Now, using Palm’s original handwritten schematics, the 1002 has been meticulously reconstructed to exacting standards, offering both a faithful revival of its iconic circuitry and a symbol of PPG’s renewed commitment to precision, exclusivity, and ecological awareness.

Unlike the original keyboard iteration, the reissue arrives in a console-style housing, consistent with the early 1002’s design, and contains the same signal path that made it so influential. At the heart of the 1002 are two analog oscillators with mixable triangle-to-saw waveforms, transpose switches, and an additional square and sub-oscillator available on oscillator two, which can also be synchronized. A switchable ring modulator or noise generator feeds into a 24dB low-pass filter with resonance, followed by a voltage-controlled amplifier. Control is shaped further by two straightforward envelope generators and a routable LFO offering pulse and triangle waveforms, with assignable modulators that emulate modular-style routing flexibility across the signal chain.

Connect effortlessly via both CV and MIDI inputs, and the unit is powered by an external precision low-noise supply, ensuring stability while preserving the analog warmth for which the original was known. While many recreations aim to modernize, the PPG 1002’s reissue remains firmly rooted in its analog legacy, presenting an opportunity for both new artists and longtime collectors to explore a pivotal piece of synthesizer history. The price—approximately 10,000EUR—is no joke, and will no doubt put it out of reach for many. But for those looking for an interesting collector's piece, or a new piece of PPG history, it will likely prove an attractive offer. It is expected to be available in September 2025.

^^^ Take me back to the top! ^^^

Qu-Bit Bloom V2 Sequencer

Qu-Bit created something truly unique with the original Bloom back in 2019. Its fractal architecture made it a go-to for the braver synthesists among us—those ready to embrace algorithmically-driven chance to produce evolving, evocative melodies and textures.

^^^ Take me back to the top! ^^^

Rides in the Storm Stormnest

×

Rides in the Storm unveil their first ever Eurorack case at Superbooth 25, Stormnest. A powered, 2-tier 66HP Aluminum case, capable of outputting 1A @ +12V, 1A @ -12V, and 500mA @ +5V. Stormnest comes prebuilt with M3-ready threads, and contains 20 available power sockets for any Eurorack module your heart desires. This case also includes a Mini-USB power source, along with the always-appriciated on/off switch.

Stormnest will also be pairable with Stormbag, a dedicated laptop bag-style carrying case with shoulder strap and handle. Additionally, Stormnest will be mountable on its adjustable stand, giving you access to six different heights for whatever situation suits you best. Rides in the Storm have been hard at work building out their modular library, and we’re excited to see they’ve developed the perfect companion for that library, Stormnest.

Stormnest is expected to be available soon.

^^^ Take me back to the top! ^^^

Rodec Sherman Ministyler

Legendary designers of modular DJ and studio desks Rodec are unveiling a new 100-series format module for their uniquely flexible audio command stations, called the Ministyler. This familiar looking unit reclaims the signal sculpting magic of the original Sherman Restyler, a desktop filter with onboard modulation and the characteristically screaming saturation capabilities Sherman filterbanks are known for. Condensing the essential aspects of the original design into a 100-series format meant to drop into the 500 or 100-series slots like those on Rodec's ingenious MX Modular rack, the Ministyler brings analog sound mangling back to the masses, in a form factor perfect for the demands of performing musicians.

×

Onboard the Ministyler, your signal is first treated to a rich and raucous distortion and drive, complete with make-up gain control and a blend knob for mixing between the processed and dry signals. From here, the signal is fed into a luxuriously juicy and resonant filter with distinct Sherman character. Switch between 12 and 24dB slopes, and adjust frequency and resonance within a wide range for maximum timbral shaping. Independent filter type mix controls have been boiled down to a smooth sweep between low pass, band pass, and high pass, enabling a seamless gesture for creating dynamic sculptures in sound. Most importantly of all, the synth-influenced modulation capabilities allow you to morph sounds well into space, with an integrated envelope follower modulation source and direct CV control. The FM circuit allows frequency modulation from the input signal, creating unique fluctuations in timbre that respond organically to signal amplitude.

Sure to satisfy live performers with its hands-on controls and dutifully-designed sweet spots, the Ministyler will undoubtedly be a welcome addition to the modern landscape of DJ and electronic music performance set-ups, harkening back to a classic sound in order to communicate the music of the future. Especially within Rodec's formidable case options, studio producers should keep an ear out for the Ministyler as well, as it offers an intuitive approach to signal saturation and sculpting that performs wonderfully even without invoking its infamous wild side. Ministyler is scheduled to release later in the summer this year, so watch out for more updates!

^^^ Take me back to the top! ^^^

RYK Modular Timeslice

RYK Modular’s Time Slice is a quad-channel Eurorack audio looper built for those eager to take creative liberties with time itself. Each of the four independent channels comes equipped with its own generously sized rolling buffer, allowing for simultaneous looping, delay, and signal manipulation. Whether you're capturing fleeting ideas or stretching a moment into an eternity, Time Slice creates a playground of temporal experimentation with the kind of immediacy that invites constant hands-on engagement.

At the heart of Time Slice is a suite of tools designed to reshape audio beyond recognition or gently massage it into subtle new forms. Each channel includes classic pitch shifters that harken back to vintage gear, along with three distinct filter types for tone sculpting on the fly. Buffers can double as delay lines, enabling cyclic effects and layering possibilities. The unique retrospective loop mode ensures that even missed moments can be recalled—ideal for performance scenarios where timing doesn’t always align with inspiration.

Connectivity is comprehensive, with enough CV and gate inputs to cross-patch until the cables blur into abstraction. MIDI and clock sync keep the module locked in with the rest of your setup, while the interface is geared toward immediacy, featuring tactile Track and Function buttons and a conspicuous red circle display that pulses with personality. Time Slice doesn’t just loop sound—it reframes it, offering modular artists a fresh, performance-friendly approach to audio memory and mutation.

Time Slice isn't available for orders quite yet—the release is anticipated for this fall. We're quite excited to get our hands on it!

^^^ Take me back to the top! ^^^

Schlappi Engineering Boundary Layer + VCV Modules

×

Schlappi Engineering’s Boundary Layer is a triple-channel modulation system built around the concept of a cycling slew generator, but its design stretches far beyond traditional function generators. Each channel offers independently controllable rise and fall times, CV inputs with switchable routing, loop modes, and end-of-cycle outputs—providing a flexible toolset for shaping control voltages, envelopes, LFOs, and audio-rate signals. Whether used as oscillators, envelope followers, or modulation sources, the channels are designed for intricate patching and dynamic interaction.

At the core of Boundary Layer’s creative power is a system of shared controls—like global trigger, slew, and CV inputs—that allow you to sculpt motion across all three channels simultaneously. The unique BOUND input brings conditional behavior into play, acting as a logic gate, CV threshold, or modulation interrupter depending on how it's patched. Combined with the MAX, MID, and MIN outputs, which perform real-time comparisons between the three channels, Boundary Layer becomes a powerful voltage logic processor capable of complex signal shaping, morphing control, and reactive modulation environments.

To complement their hardware offerings, Schlappi Engineering is also releasing official VCV Rack ports of three of their modules: the Nibbler, BTFLD, and BTMX. These software versions faithfully recreate the structure and behavior of their physical counterparts, bringing Schlappi’s signature approach to logic processing, modulation, and mixing into the virtual modular environment. Whether used to prototype patch ideas or build out full-scale systems in-the-box, these VCV modules offer a direct, accessible way to experience the distinct functionality and design philosophy that defines the Schlappi lineup.

^^^ Take me back to the top! ^^^

Shakmat's New Modules

Shakmat’s new trilogy—Ballista Blast, Lancer’s Lash, and Bishop’s Miscellany mk2—delivers the kind of musical muscle and modular intelligence that make you reconsider what one rack can really do. The Ballista Blast, a 12HP hybrid synth voice, is particularly compelling. It doesn’t just toggle between subtractive, wavetable, and FM synthesis—it reimagines them as stages in a tightly integrated engine. The Classic voice merges saw and square waves through two analog filter flavors (acidic or bubbly), while the Wavetable mode offers a curated library of spectral oddities, all processed through the same analog signal path. The FM engine, perhaps the most curious, condenses four operators into a set of macro controls, wrapping chaos in just enough order to sculpt with confidence. Add in assignable modulation from envelope, random, or velocity inputs—and 100 SD-stored presets—and you’ve got a synth voice that feels as deep as it is playable. The optional Expander makes things even more tactile, with additional CV access to time decay, envelope shape, and more, all assignable in typical Shakmat style.

If Ballista Blast is the voice, Lancer’s Lash is the punctuation—sharp, expressive, and undeniably punchy. This isn’t a generic noise burst passed off as a snare; it's a dedicated snare synthesis module complete with pitch, decay, color, and timbre controls, plus loadable snare models via a crisp onboard screen. The Decay knob cleverly doubles as an effect manipulator, allowing for dramatic morphing and snapback textures mid-patch. There’s a physicality to its sound that recalls the iconic x0x drum machines, but with modern control and definition. And while it fits the percussive bill on paper, it also lends itself well to offbeat use—layered clicky transients, stuttering textures, or even tuned percussion, depending on how far you're willing to push its parameters. In fact, it's not all about x0x snares—it also offers several other modes of operation. At Superbooth, Shakmat showed an elaborate analog-style engine, a physical modeling model, an FM model, and even a granular-focused model. The exact feature set for the initial release is not finalized, but rest assured that Lancer's Lash will offer a tremendous level of sound-sculpting depth.

×

The real glue here is the Bishop’s Miscellany mk2, a generative sequencer that turns intention into elegant probability. Evolved far beyond its original CV/gate roots, the mk2 adds glide, ratcheting, pitch modulation, and modifiable gate lengths—all recordable and recallable, encouraging live performance just as much as structured composition. Its real trick lies in the (re)gen engine: a set of algorithms that lets you morph, mutate, or entirely regenerate patterns with logic that feels closer to musical intuition than math. Throw in song mode via SD card, a sleek tracker-style interface, and Select Bus integration, and you’ve got a central brain that doesn’t just follow your patch—it plays along with it. In the ever-expanding modular universe, Shakmat isn’t just making tools; they’re shaping instruments that invite dialogue.

^^^ Take me back to the top! ^^^

Soundforce Voice 84

Years of work from Soundforce have culminated to bring together the Voice 84, a colossal 84HP Juno-style synthesizer. Packed with Soundforce modules, housed within a sleek sheet metal powered case.

×

The Voice 84 features five of Soundforce’s powerful, fullsized juno-inspired modules. The flow of the Voice 84 is set up in an intuitive left-to-right style, starting with the DCO on the left, ending with the CHORUS 6 on the right. It features two side-by-side DCOs, giving you access to some truly dense sound potential. Each DCO features a Saw, Pulse, Sub1, Sub2 and Noise outputs, with their own fader on the mixer section, and dedicated outputs for each sound source. Having access to two DCOs make the tuning and modulation capabilities on the module especially powerful, as each one can be modulated independently from the other.

Next is the VCF / VCA 6, a powerful mixer / filter / VCA combo, with two convenient individual inputs. This, in combination with the mixer section, makes it especially useful in the Voice 84 context. Additionally, the HPF and two and four-pole filter modes give you a lot of flexibility when shaping the tone of your voice. Next up is the MOD 6, a versatile envelope generator / LFO module, capable of running both its EG and LFO simultaneously. The MOD 6 gives you a dedicated fader for Attack, Decay, Sustain and Release, along with a ton of extra output options that can run in tandem with the ADSR. The LFO section includes several interesting features, like Juno-style delay triggered by the Trig input with a fade-in option, CV inputs for rate/ratio, and assignable input for delay, waveform, or output amplitude.

And last but certainly not least, the CHORUS 6 is a beautiful sounding, CV controllable BBD chorus with extreme flexibility. It includes the classic Mode I, Mode II, and Mode I+II chorus sounds, with an additional Manual mode, which allows you to freely modulate Depth, Rate, Shape, Wet/Dry Mix, and more.

Soundforce have dedicated a lot of energy to making quality Juno-inspired Eurorack modules worthy of the original’s legacy, and seeing how it has all come together in the Voice 84, it’s safe to say their efforts were not in vain.

If you're eyeing those lovely walnut side panels but don't need the premium voice supplied with Voice 84, Soundforce is also planning to sell these cases independently of the modules. The cases come just like they do in the Voice 84 but without modules, so they offer the same high-quality design and integrated power for whatever system you're after. Choose from angled or flat side panels to choose your own ergonomic adventure. As some of the highest build quality in the modular realm and with plenty of manufacturing expertise from their popular MIDI controllers, the Soundforce Case will likely provide a great case option for any small system.

^^^ Take me back to the top! ^^^

SynthUX Academy Spotykach

Educators and synthesizer designers Synthux Academy have rolled into Superbooth 2025, and let's just say that the instrument they've brought with them will leave looping enthusiasts reeling.

Designed in collaboration with Vlad Litvinenko, Spotykach is a standalone looping device, inspired by analog tape music, built with all the conveniences of a digital platform. Two virtual "tape" decks allow you to capture two separate loops at a time, with different modes skewing more towards traditional tape behaviors or modern digital slicing methods. In any case, loops can be captured freely or synced via external clock sources if desired, with different routing modes to support mono, stereo, or a TBD experimental routing. While Spotykach doesn't feature an onboard microphone or anything, its stereo inputs are capable of supporting both line-level and Eurorack-level signals.

×

You can directly interact with Spotykach's loops via twelve touch pads, but there are also seven control voltage inputs available for interacting with modular synthesizers. Spotykach also produces its own CV signals on two outputs, which may be self-patched within the device itself for generative interactions or incorporated into external synthesizer patches. There are also a handful of onboard effects for extended processing, as well as two sequencers to bring more life and interest to your loops.

Spotykach will be officially released in October 2025, but Synthux is running a special, limited pre-release campaign right now—delivering units this summer and allowing direct user feedback on the final instrument's firmware and functionality.

^^^ Take me back to the top! ^^^

Syntonie Détail + Tetrade

Syntonie’s Detail is a dedicated video filter module built for those working in analog video synthesis, offering nuanced control over how textures are sharpened or softened with Composite or Component signals. Drawing on the design of classic video detailers, Detail uses a flexible lowpass/highpass filtering system to either enhance or blur the incoming image—without compromising signal stability. Unlike many glitch-based tools, Detail outputs a fully spec-compliant video signal, making it stable enough for professional workflows even when pushed to extremes. Its performance, however, depends on receiving a proper input signal, meaning devices like glitch units or VCRs need to be stabilized beforehand, perhaps by using the Stable module.

Syntonie also showed their new module, Tetrad. Oscillators don't just produce patterns: they are the patterns, shaping the very structure of video feedback, modulation, and visual tone. Syntonie's Tetrad picks up this tradition and stretches it across the screen in two axes at once. As a dual 4-bit video oscillator, it offers both horizontal and vertical outputs in triangle, saw, and square flavors. These shapes can be patched directly into your system for raw raster action, or fed through your other signal manipulators and keyers to produce geometric terrains that shimmer, pulse, and crawl across CRTs. And with CV control over frequency on both axes—complete with attenuverters—it doesn’t take much to coax the Tetrad into wild territories of syncopated motion and audio-reactive chaos.

×

But waveforms alone don’t make a system expressive. It's how they evolve and interrelate that turns them into instruments. That’s where the Tetrad Expander steps in, adding reset inputs for both horizontal and vertical cycles to bring even greater control over timing and synchronization. More than just a utility module, the Expander also provides ramp outputs on both axes—perfect for feeding into modulation chains or creating smooth gradient effects. Perhaps most interesting are the six mixed outputs: triangle and saw waveforms get treated to min, average, and max combinations, providing a kind of pseudo-modulation or self-patching that creates new rhythmic patterns without needing additional sources. It’s like having a little logic section built into the output stage.

Together, Tetrad and its Expander are foundational tools for generating structure, tension, and depth. In a typical modular video system, these modules can serve as a rhythmic backbone, a shape engine, or a visual LFO with teeth. The dual-path design encourages 2D thinking and while 4-bit resolution might sound primitive on paper, in practice it delivers a distinct, pixel-rich texture that feels at once vintage and raw, yet entirely modern in its possibilities.

^^^ Take me back to the top! ^^^

Teenage Engineering Field Series in Black

The folks over at Teenage Engineering are known for their sense of style, so it only makes sense that they’d treat the moodier among us to a new sleek black colorway for their iconic Field series of devices.

The TX-6 Field Mixer, CM-15 Field Condenser Microphone, and the TP-7 Digital Tape Recorder are all getting aesthetic overhauls for the ages, and in this writer's opinion, they might even look better than the originals.

The new black Field line is expected to be a limited release—they're not up for orders yet, but we expect they'll be available soon.

^^^ Take me back to the top! ^^^

Tesseract Modular Smith

Tesseract Modular’s latest creative Eurorack module is here: Smith, an eight-input, eight-output precision buffered matrix for processing audio or CV. While Smith is certainly capable of basic signal routing, its strength lies in its ability to scramble and remake your routing, allowing you to instantly move between completely different configurations to create all new movements within a patch. Its 8x8 matrix grid creates “scenes” which can be programmed and reprogrammed, with 16 million different routing possibilites within a single scene. These Scenes can be saved and recalled in an instant, and modulated (or triggered) from one to another, meaning the internal logic of a patch can be instantly remade with the smallest nudge. Smith can store eight scenes per bank, and eight banks all together, for a total number of 64 different customizable scenes.

While certainly a mind-bending creative tool, Smith is also an excellent solution for recalling patches. Utilizing it as your central hub for patching gives you preset-esque recall with the touch of a button. Whether you’re working with Gates, Pitch CV, audio, or anything in between, Smith from Tesseract Modular is sure to be a creative swiss army knife for anyone brave enough to get absolutely Smith-pilled.

^^^ Take me back to the top! ^^^

Tiptop Audio Buchla 230t + 248t MARF

Tiptop Audio has been diligently working on their expanding line of Buchla 200t Eurorack modules. Aiming to recreate Don Buchla's iconic 200 Series modules in today's predominant modular format, they've been nothing short of a success.

For 2025, Tiptop is finally unveiling one of the most anticipated additions to the lineup: the 248t Multiple Arbitrary Function Generator, or MARF for short. Like many of the other Buchla modules of its time, few Model 248s were ever made (and fewer still survived to the present day). But that hasn't stopped the MARF from achieving a sort of mythical status among modular enthusiasts.

×

Upon first glance, the MARF appears to be some sort of elaborate sequencer—and in many respects, that would be correct. But reducing this module to a step sequencer that moves between one static voltage and the next would be a tremendous disservice to its capabilities! With the MARF, it's not simply about the voltages produced from one stage to the next, but how it moves between them. Stages can be sloped or stepped, quantized or continuous, cycle between specific subsets of stages, as well as start/stop/sustain upon receiving an external pulse. This means that the MARF can be your sequencer, your ADSR envelope generator, an extension of your keyboard controller, or practically any other programmed control voltage application that you can imagine.

The 248t has also been supercharged with some modern appointments to make itself a bit more viable in the current day and age. One big quality-of-life improvement is preset capabilities—the original Model 248 had volatile memory, meaning that any programming that was done would be lost if power was turned off.

But perhaps most notably, the 248t is compatible with Tiptop Audio's ART protocol—a control system conceived to streamline oscillator tuning and facilitate polyphonic capabilities. In addition to their growing range of dedicated ART modules, ART was also included in the design of the 259t Complex Waveform Generator as an alternative to traditional pitch control voltages. So it makes total sense that, in addition to the previously released and ART-capable 264t Quad Sample and Hold, ART would gain a presence within the 200t line on both sides of the patching equation.

×

In addition to the MARF, Tiptop has also announced the impending availability of the Model 230t Triple Envelope Follower. This module is a handy utility that listens to audio signals and derives smooth control voltages from their amplitude. Sensitivity and Decay Time controls allow you to set the generated CVs' responsiveness to changes in the input signal, and the option to generate sustained or transient pulses based on the source signal affords truly dynamic patching possibilities.

In the context of traditional Buchla systems, where audio and control signals were separated into different cable formats, the original Model 230 was an indispensable tool in bridging the gap between two otherwise independent elements of a patch. Though the same limitations aren't at play in the 200t series, which only uses 3.5mm jacks like most Eurorack modules, the 230t is still a worthwhile addition to the lineup. If you're seeking the authentic experience, the Model 230t deserves a spot in your 200t system.

^^^ Take me back to the top! ^^^

Tiptop Audio New ART / Polyphonic Modules

In addition to their work on the Buchla 200t series, Tiptop Audio has been hard at work expanding their line of ART Polyphonic Eurorack modules. Now that the first handful of modules have been released, including several equipped with their Polytip polyphonic patch cable connections, Tiptop is now filling in the gaps to provide missing functionality and round out the line to fully embrace their vision of a true polyphonic modular synthesizer.

Returning from last year's Superbooth, Triax-8 is a behemoth analog oscillator module, packing eight dual-oscillator voices behind one panel. Compared to the discrete ATX1 analog VCO modules and the digital PPG Wave-inspired VORTEX 6, Triax-8 is the definitive analog polyphonic module for the ART and Polytip system. And because it utilizes two oscillators on each voice, with tuning and waveform level controls, it's capable of many of the core polysynth sounds that provided a distinct richness to classic instruments like the Prophet-5, OB-X, and more.

Speaking of legendary vintage synthesizers, MULTIPASS brings another flavor of filtering to the ART and Polytip world—recreating the Oberheim-style filters made famous by the SEM and OB-X synthesizers. Unlike the existing OCTOPASS module, which was purely a lowpass filter, MULTIPASS incorporates different filter responses like bandpass and highpass as well. When paired with Triax-8, you're instantly transported back to the late 1970s—but with all the patching power and voice individuality that Tiptop's polyphonic system can provide.

×

OCTOLFO brings some much-needed modulation capabilities into the Polytip domain. It's a highly malleable eight-channel LFO module, with each channel configurable to provide different waveforms, modulation rates, trigger behaviors, and more. OCTOLFO can be everything from a cyclical modulator to a one-shot complex envelope generator or even a sample & hold. And like many other Polytip-equipped modules, it still features a number of traditional 3.5mm patch points—ensuring that you can integrate it with your existing modules, whether or not you're diving into the ART ecosystem.

Finally, while not equipped with Polytip or ART connections itself, the new Resonator module is one that can still find a home in polyphonic patches. Based on the analog resonator filters heard in Moog's vintage Polymoog, Tiptop's version offers more extensive tuning and voltage control possibilities. So even if patched in after summing down polyphonic voices before an output module, Resonator can emphasize and interact with certain notes and frequencies to bring a magic shine to chords and swirling textures. And of course, outside of the polyphonic context, it's a great companion for processing drum loops, samples, and other complex sounds.

Triax-8 is seemingly next in the queue for release, while the other new Tiptop polyphonic modules are expected to be available shortly after in the coming months.

^^^ Take me back to the top! ^^^

Tubbutec Brainstep Controller + More

At last year's superbooth, Tubbutec showed off their vastly capable Brain Step Sequencer, which combines multitrack sequencing, MIDI-CV interfacing, and a lo-fi sample player to provide a feature-packed central controller for rigs large and small. Alongside this powerful modular mind, Tubbutec also teased their Brainstep Controller, an expander module which provides hands-on control over a number of Brainstep's deep feature-set. This year the Brainstep Controller is officially in production and on the expo floor, bringing a whole lot of performance oriented sequencer fun to Eurorack rigs everywhere.

The Brainstep itself, derived in part from the mind-bending MC2oh2 groovebox modification Tubbutec developed for the Roland MC202, is a four-track feast of modular control. In addition to providing three lanes of CV for each independent track including pitch and two assignable CV outputs for gate, envelopes, or other modulations, Brainstep also offers a deep song mode arranger, realtime MIDI to CV interface with arpeggiator, and so much more. With the controller in tow, you're given finger-ready access to immediate changes over crucial parameters without having to dance around the less-immediate interface on the main module.

The Brainstep Controller's intuitive, layered interface gives you per-track mixing of the modulation sources sent to assignable CV outputs, as well as direct controls for LFO and envelope settings. Glide and accent controls can also be adjusted on the fly, providing comprehensive control for articulation on stage or in the studio. Connected via TRS MIDI, the controller also includes an integrated MIDI merger which allows you to keep an external keyboard or other MIDI controller connected to Brainstep at the Controller's MIDI input. With its intuitive design and realtime visual feedback offering huge benefits for improvisation and live control, it's likely anyone looking to perform live with the Brainstep will enjoy the added convenience of the Brainstep Controller.

Alongside their Eurorack offerings, Tubbutec is showing off some new synthesizer upgrades and modifications. On the mod side of things, they have a new MIDI retrofit and upgrade for the classic Yamaha CS-10, -15, and -30, as well as a universal MIDI interface for synths with keyboard matrices. They've also unveiled a line of standalone controllers for a handful of vintage synths, bringing even more knob-per-function excellence to multiple beloved instruments.

^^^ Take me back to the top! ^^^

U-he Cen2rion

Scanning mixers offer a way to rethink how signals are blended—moving beyond static summing into something more dynamic, performable, and precise. Cen2rion, a Eurorack module from u-he, is a 6-channel scanning mixer with two independent output channels. Each of these has its own Aux output and two key controls: Select and Width. These allow users to sweep smoothly across the six inputs per channel, focusing on a single source or spreading across several at once. This allows for wonderful blends of music of control voltage, gives you combinations that you wouldn’t ordinarily find.

×

Each output path functions independently, offering true dual-channel operation. Channel A may be scanning across one selection of sources with a narrow focus, Channel B can be simultaneously sweeping more broadly, capturing different combinations. Switches let you adjust the behavior from link to dual to split, giving you flexible routing options; for Channel B, you also have the option to flip the Select knob to inverse (moving from inputs 6–1, as opposed tother way round). The Width control sets how many signals are being blended together at once, while Select determines which part of the input array is currently active—essentially allowing for a crossfade that’s not limited to just two points, but can move anywhere across the six inputs.

Each channel uses a row of six LEDs that to indicate which inputs are currently active, making it easy to follow what’s happening in real time. The dedicated Aux outputs for both A and B provide additional routing possibilities, whether for parallel processing, external effects chains, or simply as monitoring paths. As scanning mixers go, Cen2rion aims to provide a clean, hands-on interface for shaping complex blends and transitions with control and clarity.

^^^ Take me back to the top! ^^^

UDO Super 8 Voice Add-On + RBN-1 and RBN-1-C

UDO has been on a trend of refining and upgrading their various Super synthesizers, and Superbooth 2025 proves no exception. Having recently unveiled the upgraded Super 6 ST49, their attention now turns to enhancing their Super 8.

×

The Super 8 Plus is a voice card add-on for Super 8, bringing the instrument up to the same voice count as their flagship Super Gemini. Installation is as easy as removing a few screws, inserting the voice cards into designated slots inside the instrument, and then putting it back together again. Once that's done, you're matching the Super Gemini in sonic power, but still with the same sleek form factor of the Super 8. This affords you more flexibility in building bi-timbral patches or having extra voices spill over in expansive pads.

×

In addition, UDO is showing off one of their recently released products: the RBN-1 Performance Ribbon Controller. This general-purpose controller can link up with any synthesizer or device that has an expression pedal input, affording smooth gliding control over parameters. In the context of UDO products, it features a nifty concept called Intelligent Pitch Expression, which affects only actively held notes—leaving decaying elements untouched for layered expressivity. There's also a Eurorack companion module called RBN-1-C, converting the ribbon into two channels of loopable control voltages that can control any element of your modular rig.

Both UDO ribbon products are available for pre-order now, while voice card expansions for the Super 8 are expected to begin shipping within the next month.

^^^ Take me back to the top! ^^^

Vaski Embedded Duo + Phase Changer

Vaski’s upcoming Duo module brings a distinctly nostalgic character to Eurorack with its crunchy, unmistakable Amiga-style sample playback. True to its name, Duo offers two output channels, each capable of handling its own sample—meaning you can trigger two separate sounds or configure it as a duophonic voice. Samples can be loaded directly from Amiga MOD files via SD card, or from standard WAV and SF2 formats, giving users a range of sonic sources without needing to convert legacy material. For those working with external gear, a built-in MIDI input ensures Duo can slot cleanly into hybrid setups.

Alongside Duo, Vaski introduces Phase Changer, a dual oscillator module designed with versatility and immediacy in mind. The module features five distinct waveforms and can operate as a single oscillator with a built-in VCA, as a 2-oscillator voice, or as two independent voices. With integrated ring modulation and envelope generators, Phase Changer encourages sound shaping from the ground up. It also includes a built-in quantizer for pitch stability, MIDI input for seamless external control, and the ability to quickly recall previously dialed-in sounds—making it just as suited to performance as it is to experimentation.

Together, Duo and Phase Changer offer a tightly focused but creatively potent expansion to the Vaski lineup. Whether it’s Duo’s textured sample playback or Phase Changer’s oscillatory depth, both modules highlight MIDI integration, real-time performance features, and multiple voice configurations as key strengths. They are expected to be available in September 2025, and we personally cannot wait to get our cables into the likes of these Vaski bits.

^^^ Take me back to the top! ^^^

Velectronic New Modules

A-VCMX from Velectronic is at its core a 4-channel VCA, but in practice, it is a complex modulation generation and shaping hub with an emphasis on intuitive interaction. Each channel provides offset, gain, and progression controls, which can be modulated independently on each of the four channels. Each channel provides an integrated envelope follower, the Attack, Decay, and Delay of which can be modulated per-channel. This feature alone makes A-VCMX an extremely deep and expressive module not only within a sound design context, but also in performance environments. In that vein, the A-VCMX includes per-channel mutes, and monitoring, which are unfortunately rare features for a VCA. A-VCMX can also seamlessly group channels together for easily creating and managing polyphonic patches, and in combination with the built-in envelope followers, these features make A-VCMX an extremely powerful polyphonic companion.

A-VCMX has yet another trick up its sleeve: configurable signal zone outputs which let you chain events and states for more complex, dynamic movement. Voltage zones can be defined for any input or output, and a trigger or gate can be generated based on the selected behavior. This feature especially puts this module in a league of its own, particularly when combined with its other modulation capabilities. It’s nearly impossible to reinvent the wheel in 2025, but Velectronic have arguably come through with a VCA that reaches new heights of functionality, the A-VCMX.

The EXO from Velectronic is a high quality 4-channel Eurorack output interface with a ton of features for keeping your signal clean and degradation-free. It delivers fully analog, optically-coupled, isolated XLR outputs, ensuring your external gear is completely separated. EXO provides three ground lift modes, each of which can be independently engaged on each output: GND - direct connection, LIFT- ground disconnected, and FLOAT- capacitor-coupled ground. These can be extremely useful in a variety of applications, ensuring your system is protected. Incoming signals can also be mixed and summed together for flexible routing on-the-fly, and the per-channel LED VU meters give you access to monitoring at a glance, making EXO’s summing capabilities that much more useful.

And to round it all off, EXO provides a completely flat, linear frequency response across the whole audio spectrum, all the way from 10 Hz to 30 kHz. So far, Velectronic have produced some wildly high quality Eurorack modules, and EXO attempts to tackle an all too often forgotten utility, and as far as we can tell, they have once again delivered on that promise of quality.

^^^ Take me back to the top! ^^^

Venus Instruments Veno Orbit

While Venus Instruments may be a newer name to the modular scene, their latest module Veno Orbit has us wondering where they’ve been all our lives. The Veno Orbit is a two-reel, multi-layered looper and sampler which can store multiple layers per reel, and multiple overdubs per layer. This is especially interesting given its ability to intuitively crossfade between these layers, making it much deeper and more exciting than your average sampler. Each side of the module is mirrored to the other, giving you two fully-featured reels for sampling madness. It features an intuitive circular display with LEDs that clearly demonstrates the Start, End and Playhead positions of the sample. This is extremely useful considering the Veno Orbit offers a ton of features for editing samples, such as Start, Length, Pitch, Direction, and Crossfade Length. The Crossfade functionality is particularly interesting, as Veno Orbit allows you to crossfade between the four layers of each reel—which is of course CV controllable—making it a particularly experiment-friendly piece of gear.

It also features several Playhead Modes, such as Latch, Momentary, (which only plays when Play button/CV input is engaged) and 1 Shot, which can function polyphonically. Veno Orbit also features a number of gate inputs, such as Play, Record and Reverse, which, when paired with the different Playhead Modes, make this sampler a rhythmic powerhouse, especially considering it has built in Attack and Release envelopes. On top of that, it also provides a EOC out, which outputs a Gate at the end of a sample loop.

It seems that one of the most intriguing aspects of the Veno Orbit is the fact that there are no secondary functions, and no menus to dive through. What you see is what you get, and there’s quite a lot to see on the front panel. While there are certainly a lot of sampler modules on the market, the Veno Orbit from Venus Instruments is shaping up to be something truly special.

^^^ Take me back to the top! ^^^

Verbos Electronics Voltage Multistage 16

Verbos Electronics is at Superbooth 2025 showing off their newly elongated version of the Voltage Multistage, a wildly deep and capable multifunction CV generator for Eurorack. Like the original, the new Voltage Multistage 16 provides a row of stages with two sliders per stage, which can be used to adjust CV signals for two lanes of sequenced voltage. On each stage, a switch selects between slides and gates, providing a straightforward yet highly flexible tool for generating a wide range of CV functions. While these stages can clock along as a simple two track sequencer, they can also be used to generate multistage complex envelopes, unique LFOs, and more when paired with other modules and functions.

Things get more interesting when utilizing the global CV inputs, which can be used to address the internal clock and derive more variation between stages. For example, the top row outputs CV to the first track and follows the switch's slide and gate settings, while the second output always outputs its value while a stage is selected. This allows you to patch CV B into the time control, effectively setting independent time lengths for each stage. Using the strobe and analog inputs, individual stages can be selected and addressed via CV, allowing you to quickly jump around a complex control signal, or patch together gestures that dance around variations on a central theme.

While the most obvious enhancement from the original is in the Voltage Multistage 16's greatly increased stage count, doubling the original eight stages to a full sixteen, it also gains gate inputs for each stage. Also, the ref. output still sends a decay envelope the length of each stage, perfect for onboard envelopes while controlling a voice, but now will fire off while using the analog address input, allowing for more functionality when working off the grid. Put together, these new additions make the Voltage Multistage 16 an incredibly competent universal CV controller within any system, enabling a vast space of complex patching techniques to explore.

Appearing at Superbooth in the same slim case that we first met Verbos's Sawtooth Stack standalone voice housed in, it's easy to see how a desktop Voltage Multistage 16 could complement a Eurorack system as a powerful central controller. Resting easily in front of a system with its many faders within fingertip reach, the Voltage Multistage 16 can easily become a central point of control for an entire patch, whether specifically addressing CVs as discrete representations of composed musical ideas, or patching together a complex network of interdependent functions with the VM16 as the central conductor. In any case, the coming of more Voltage Multistage mayhem is sure to inspire West Coast Eurorack fanatics in 2025, offering a decadent cherry atop an already fantastic year of releases for the patch-programmable-inclined.

Voltage Multistage 16 isn't yet available—but keep your eyes peeled for updates.

^^^ Take me back to the top! ^^^

Vermona drumDING

×

Between their flagship DRM1 and various percussion-oriented Eurorack modules and Lancet instruments, Vermona has garnered a reputation for producing punchy, characterful drum synthesizers. Up to this point, you could argue that despite making some killer drum synthesizers, they've never created a true drum machine, in the sense that, for example, the DRM1 has always lacked an onboard sequencer. But here at Superbooth 2025, that's all about to change.

Vermona's drumDING is an interesting take on the compact drum machine concept. Rather than featuring simple, discrete circuits limited to emulating specific portions of a "drum kit," the drumDING features a single-voice, open-ended sound module up top. You can blend between different oscillator-based drum sounds for thumpy kicks and toms, pinged filters for higher blips and zaps, and noisy bits for cymbals and metallic elements.

You might be thinking: "Just one drum voice?" The magic of drumDING is that the sequencer is tied together with an onboard sampler, allowing you to capture different sounds at an instant. From there, of course, you can layer and build your own fun battery of drum sounds with fun and intuitive sequencing. drumDING is sure to be a hit with folks who want a sleek combo of hands-on scrum synthesis with fast sampling.

drumDING isn't available just yet, but we're eager to find out more about it in the coming months.

^^^ Take me back to the top! ^^^

VoicAs Deskpressor

Dynamics processing can often walk a fine line between transparency and character—dissatisfied with having to choose, the Deskpressor from Voicas offers both. Designed as a desktop compressor tailored specifically for performance, Deskpressor includes a full set of tactile controls: Threshold, Attack, Ratio, Release, and Blend, giving an immediacy that you can only expect from hardware devices and a should that moves from transparent to present. Included low and high EQ controls along with a Sidechain Filter, gives further flexibility and versatility for sonic sculpting.

A unique Mojo control, a knob that adds a variable amount of harmonic content ranging from subtle saturation to a more pronounced drive can bring your sound to life in new ways. This one control allows it to operate not just as a utility for dynamic range control, but as a creative tone-shaping tool in its own right. Whether used for vocals, synths, or full mixes, Mojo gives the performer the ability to infuse their signal with warmth or grit, depending on the setting. A Make-Up gain control ensures that level can be matched after compression, preserving the intended presence of the sound in a live mix.

The Deskpressor includes a digital screen that provides real-time feedback about control positions, making it easier to fine-tune during a set. Preset storage is also available, allowing users to save and recall settings for different songs or performance contexts. All of this makes the Deskpressor a compact but capable solution for performers seeking both hands-on control and sonic versatility at the compression stage.

^^^ Take me back to the top! ^^^

Weston HV1 Hybrid Oscillator

Weston Precision Audio has refreshed the look of their high quality Eurorack modules, clarifying panel graphics with clearly defined sections that make their rich and versatile sound capabilities that much easier to explore. Along with these cosmetic updates to their current line, a new oscillator has emerged which blends a rich analog core with flexible digital tools, a wavetable oscillator with digital phase shifting. The HV1 Hybrid Oscillator features a vast sound palette thanks to its chimeric design, along with convenient features that should please both studio and stage musicians alike.

^^^ Take me back to the top! ^^^

WMD Skorpion + PM Channels MKII

×

WMD’s Skorpion has emerged as a signal sculpting powerhouse that's designed around a novel method of wavefolding, featuring an 8-stage analog wavefolder driven by a powerful vector core, with control thresholds and target voltages shaping how incoming signals are folded and reanimated into harmonically rich textures. The module’s UI was developed for tactile exploration, with a bevy of sliders begging to be touched and twiddled, supported by a spring-action switch that dynamically toggles control layers. Each threshold activates reversals in the output, producing dense harmonic content based on the Slope, Fold, and Shift parameters. Internal modulation sources, such as the Macro Envelope and threshold-specific LFOs, offer robust animation possibilities, pushing simple inputs into highly expressive sonic territory.

At the core of Skorpion’s modulation engine lies a suite of controls designed for depth and precision. Slope and Shape interact with 1V/OCT tracking to influence harmonic generation across pitch, while the SYM switch determines symmetry in modulation application. The Target system directs wavefolding behavior to either the 5V, the sliders, or the Clip making it possible to overlay alternate signals and create complex interleaved sound. Further nuance is available through controls like Target Order, which defines a unique upward and downward activation sequence across thresholds, and Halt if Tar=0, which introduces resting states based on slider positioning. Sync modes enable the vector core to lock onto the zero-crossings of the input waveform, adding phase coherence or slurred motion. For those seeking classic folding behavior, Equalize THold disables slider control and modulation, reverting the thresholds to equal spacing.

Skorpion’s I/O offers extensive CV modulation pathways and a broad palette of output signals. From rectified audio at ABS(IN) to mid-side stereo processing via the WIDE output mode, the module provides both traditional and experimental sonic options. Other outputs like DIFF, DAC, and COUNT/ allow users to extract control voltages based on vector core behavior supporting deep integration into complex patches. Modulation can be fine-tuned through Macro Setup mode, where sliders define the rate and depth of modulation sources such as envelopes and LFOs across Fold, Slope, Shift, and Shape. With production limited to a single run, WMD’s Skorpion offers a new pathway to sonic tomfoolery, auditory annihilation, and just plain fun.

We're happy to report that Skorpion is up for preorders now!

But that's not all—WMD is also showing their new PM Channels MKII: a channel expander for their tremendously successful Performance Mixer MKII. It adds a ton of potential to the already fantastic mixer—and we're pleased to say that it is, as of the time of writing, in stock and ready to ship.

^^^ Take me back to the top! ^^^

XAOC Devices Oradea + Arad

In the modern landscape of modular synthesis, with fixed-architecture, full voice modules, elaborate sampling engines, and all other sorts of less-modular innovations for modular formats, it can be easy to forget the basics of good system design. For example, one axiomatic virtue of truly patch-programmable environments states that four of anything is probably good. Unsurprisingly, this is especially true with four already-very-good things.

Veteran Eurorack designers XAOC Devices are no strangers to these core tenets of modular success, having only just recently released the impressive Samarkanda, a feature-rich quartet of delays useful for everything from dedicated dub effects on stage to experimental studio practices. Following up on this rule-of-four just in time for Superbooth, XAOC welcomes another quad-centric device to their line-up: the Oradea Quadruple Voltage-Controlled Analog Resonator.

Each of the resonant filters in Oradea offers identical operation, with a no-frills approach that rests comfortably on the sheer quality of the tools provided, both in sound character and utility. Its tuning range comprehensively describes the scope of human hearing, and offers precise volt-per-octave voltage control. Likewise, each of the four bands can be adjusted within a wide range of resonant depths, including very high values that produce long tails when each band is excited by their independent trigger inputs. These inputs don't simply pass your trigger through to control the filter directly, but rather excite internally generated, precision triggers to ensure uniform and reliable operation in any patch.

Thanks to Oradea's independent outputs for each band alongside a summed output, you can use the resonator bank to independently route bands to separate external processors, perfect for precise studio signal processing, unique multiband effects, and more. Resonance compensation keeps pings and processing from reaching distortion at any level, while an integrated VCA for each band enables direct adjustment of the amplitude for each band via CV or knob control. Additionally, a phase switch is onboard, useful for shaping the polarity of each band's response. Bring along Ordea's expander module Arad, and you'll be treated to additional functionalities including independent inputs per channel, as well as muting and manual triggering controls.

Whether you're sculpting a sound into new and strange shapes or polyphonically pinging your way to musical discovery, Oradea offers a high-quality tool for any modular system that is at once deep and versatile. Following that rule of four, Oradea derives complexity not from a laundry list of features and button combinations, but instead with premium analog circuits designed to enable a modular approach to achieving a vast range of creative endeavors.

I'll take four.

^^^ Take me back to the top! ^^^

XOR NerdSEQ FW 3.0 - Video Synthesizer, ART Expander

The NerdSEQ may be over seven years old at this point, but XOR Electronics keeps managing to make it even better year after year! For Superbooth 2025, XOR is presenting Firmware V3.0, which brings video synthesizer capabilities to the beloved tracker-style sequencer.

When paired with the More Video-IO expander module (which has already been available for a few years now), NerdSEQ firmware V3.0 can run a variety of shader programs to bring a visual element to your tracker compositions. The firmware comes with a generous amount of pre-loaded shaders, but you can easily add your own shaders or any cool ones that you find online. And of course, the video synthesizer is fully integrated into the NerdSEQ's tracker workflow, making use of abundant internal modulators or responding to control voltages, MIDI messages, and I2C commands—however you're using your NerdSEQ, the video synthesizer is ready to seamlessly join into your projects.

In addition to the sweet new visual capabilities, XOR Electronics is also showing off their new expander module that brings ART functionality to the NerdSEQ. ART is, of course, the patchable pitch control protocol introduced by Tiptop Audio two years ago at Superbooth 2023. You can think of ART as a similar data stream to MIDI, but operating at a higher transmission speed and capable of traveling over a standard 3.5mm patch cable like any other Eurorack signal. To our knowledge, this is the first official ART product from a maker other than Tiptop Audio, so it's exciting to see this concept adopted by others!

As it pertains to the NerdSEQ, the ART Expander additionally requires the Multi-IO Expander to be used. Once connected, each ART output can produce up to six polyphonic notes from one NerdSEQ track. So, with two outputs on one expander and up to two expanders connected to one NerdSEQ, it's the perfect platform to connect with Tiptop's (and any future modules that may come to exist) ART-compatible modules.

^^^ Take me back to the top! ^^^

That's All for Now

That's it for now! Superbooth 2025 was full of exciting, innovative new inventions by some of the greatest minds in electronic music. Regrettably, we couldn't cover them all; but even so, we believe that the density of this article is evidence that there's a tremendous amount of creativity in our community. And, moreover, there's a rich, loud, detailed, and music-filled future ahead of us.

^^^ Take me back to the top! ^^^