FilterCult
FilterCult is a powerful, creative signal filtering and sound coloration tool. This multi-device effects processor is composed by a set of modeled analogue gears and digital devices, arranged inside a rack-mount cabinet and accessible through a simple and easy to use interface.
At its heart, FilterCult consists in an accurate simulation of the infamous and iconic transistor ladder analogue filter, meticulously preserving its original circuit topology, behaviour and quirks. Moreover, the addition of circuit-bending modifications and the possibility to use supplementary nonlinear electronic components sensibly expand its sound sculpting possibilities.
As a master effect or as a single channel insert processor, FilterCult is always the right choice in any music production scenario, producing from smooth and gentle analogue filtering up to extremely aggressive colorations of any audio material.
The Good, The Bad, The Nasty
Playing the leading role in FilterCult is the FLT-TL22 device, an accurate modeling simulation of a transistor ladder analogue filter. In order to make this analogue filtering unit well-suited for a wide range of use cases, a meticulous preservation of the original circuit design and physical properties was just the beginning.
A series of experimental circuit-bents and improvements have been added, including a device-level feedback path (with the possibility to delay the feedback signal), extra pre-filter and post-filter nonlinear components (using transistor-based or tube-based technologies), a poles selector (by connecting different nodes of the analogue circuit to the main device output), a high-pass path and much more.
Moreover, FilterCult rack hosts additional devices. The PRM-EM44 unit is an easy to use input signal router, output signal mixer.
Controlling the analogue filter cutoff and emphasis (resonance) parameters, the MOD-XG01 unit is a multi-source modulation device, integrating an envelope generator, a multi-waveform LFO with tempo-sync and a noise generator.
This extended features set makes FilterCult perfectly suited for use in channel strips or as a master effect processor, filtering the incoming audio with its gentle analogue touch, drive and presence. Or, by rising up the internal nonlinear components operation, feedback paths, self-oscillation and modulation amounts, FilterCult is capable of deep and wild signal alterations, bringing powerful electric-esque, bassline-ish colorations – specially on rhythmic, percussive material like drums.
FilterCult is a complete, extended replica of one of the most great sounding and versatile analogue filters available – with a very lightweight CPU footprint and a simple, intuitive interface.
Features

Accurate physical modeling simulation achieved by the adoption of the Advanced Component Simulation (ACS) approach
Full 64-bit processing accuracy for every single aspect of the simulation
An all-in-one complete setup : transistor ladder analogue filter + modulation unit + signal router
Featuring FLT-TL22 Advanced Transistor Ladder Analogue Filter

Accurate modeling of a transistor ladder analogue filter using the topology-preserving transform method
Providing supplementary, creative circuit-bents of the original filter architecture
Including multi-node circuit output for different filter response (4-pole, 3-pole, 2-pole, 1-pole)
Experimental high-pass mode output
Extended cutoff frequency range (from 20 Hz up to 20 kHz) and self-oscillation (also in 1-pole mode)
Voltage regulator circuit (auto stabilizer safety switch) providing full filter stability also when using extreme settings for the nonlinear components, parameters modulation, device-level feedback and component-level feedback
Analogue modeled transistor-based and tube-based saturation and overdrive circuits with separate load controls for pre-filter and post-filter stages
Device-level feedback path with the possibility to delay the feedback signal (up to 10 ms)
Separate modulation for cutoff, emphasis parameters and channel polarity inversion switch

Featuring MOD-XG01 Multimode Modulator

Accurate input signal detection (envelope follower) with sensitivity control (from 5 ms up to 2 sec)
Multi-waveform LFO generator with separate frequency (from 0.05 Hz up to 300 Hz), tempo-sync and phase-reset controls
Envelope generator with attack and decay time controls (from 1 ms up to 10 sec)
Noise generator

Featuring PRM-EM44 Embedded Preamp / Mixer

Multi-mode input signal router with gain control (from -inf dB up to +6 dB)
Final mixer section, with blend (dry / wet) and main volume (from -inf dB up to +6 dB) controls

Including more than 20, multi-scenario factory presets
Support for sample rates from 44.1 kHz up to 192 kHz
Available in multi-size GUI resolutions

KickBeat
KickBeat is a powerful, compact and easy to use hybrid electronic bass drum generator / synthesizer.
At its heart KickBeat makes use of genuine 16-bit integer precision digital synthesis techniques (widely used on late-90s hardware devices) together with an analogue modeled, transistor-based saturation circuit.
With also a built-in digital reverberation DSP algorithm, KickBeat has the full potential to produce deep, wide, earth-shaking electronic drum kicks for EDM, Techno, Trance, Ambient music and far beyond.
The SnapLab Collection
The SnapLab lineup is a collection of carefully designed, useful and compact multi-genre virtual instruments, sound generators and effects processors.
Each one of the virtual devices in this lineup is specifically intended to have a very peculiar focus and scope, a simple, easy to use interface and it is meant to be available at a fair and affordable price.
Much more than simple gadgets and gizmos – just collect ’em all !
Features

Accurate physical modeling simulation achieved by the adoption of the Advanced Component Simulation (ACS) approach
Full 64-bit processing accuracy for every single aspect of the simulation
A complete, self-contained, hybrid digital-analogue electronic drum kick generator device
Two independent (Bass / Snap) digital synthesis layers featuring late-90s, genuine 16-bit integer precision algorithms
Analogue modeled transistor-based saturation circuit with load control
Built-in digital reverberation DSP algorithm
Including 40+ ready-to-use factory presets collection covering multi-genre styles
MIDI automation
Support for sample rates from 44.1 kHz up to 192 kHz
Available in multi-size GUI resolutions

ModFlorus
ModFlorus is a versatile, combined stereo chorus / flanger processor unit, an essential tool to bring out space and width to any audio track or sound source.
ModFlorus can operate in two modes – as a stereo chorus or stereo flanger effect – its knobs and parameters range will automatically adapt depending on the mode selected.
In addition to its modulated delay section, ModFlorus includes also an analogue modeled saturation circuit to push and emphasize its action – all within a clear, easy to use interface.
The SnapLab Collection
The SnapLab lineup is a collection of carefully designed, useful and compact multi-genre virtual instruments, sound generators and effects processors.
Each one of the virtual devices in this lineup is specifically intended to have a very peculiar focus and scope, a simple, easy to use interface and it is meant to be available at a fair and affordable price.
Much more than simple gadgets and gizmos – just collect ’em all !
Features

Accurate physical modeling simulation achieved by the adoption of the Advanced Component Simulation (ACS) approach
Full 64-bit processing accuracy for every single aspect of the simulation
A multimode, combined hybrid digital-analogue stereo chorus / flanger processor unit
Internal multimode mono / stereo signal routing
Master output blending control
Including a ready-to-use factory presets collection
MIDI automation
Support for sample rates from 44.1 kHz up to 192 kHz
Available in multi-size GUI resolutions

ShineVerb
ShineVerb is a creative tool specially designed for reverberation, spatialization and sound coloration purposes. This multi-device effects processor is composed by a set of modeled analogue gears and digital devices, arranged inside a rack-mount cabinet and accessible through a simple and easy to use interface.
In order to provide an extended degree of expressiveness and versatility for any sound design scenario, in addition to its beautiful resonator-based digital reverberation core, ShineVerb also includes a stereo image enhancer, an analogue preamplifier and a final, hybrid amplifier for further sound colorations.
Be free to design anything from small chambers up to endless, distorted echoes. With just a click of a button and a twist of a knob, ShineVerb will put all its magic and glow into any music production.
More Than Just An Echo
Playing the leading role in ShineVerb is the REEVERB XT device, a digital reverberation unit with an extended set of controls. It also features a special panorama enhancer engine, to finely adjust the stereo image width of the processed sound.
Moreover, to unleash all the potential of its reverberation unit, ShineVerb also includes a set of additional devices in its signal processing chain.
Available at pre-processing stage, the PRE-AF24 unit is an analogue preamplifier featuring an input signal router, an analogue overdrive circuit and a multi-mode (low-pass or high-pass) analogue filter.
On the post-processing side, the MIX-DF42 unit is a hybrid amplifier made of two digital low-pass and high-pass filters, an analogue saturation circuit and a final mixer section.
More than a simple reverberation unit, ShineVerb is a complete, powerful tool with a simple, intuitive interface.
Features

Accurate modeling of analogue gears and digital devices, achieved by the adoption of the Advanced Component Simulation (ACS) approach
Full 64-bit processing accuracy for every single aspect of the simulation
An all-in-one complete setup : analogue preamplifier + digital reverb unit + hybrid amplifier
Featuring PRE-AF24 Analogue Multichannel Router / Preamp

Multi-mode input signal router with gain control (from -inf dB up to +6 dB)
Analogue modeled overdrive circuit with gain control (from +0 dB up to +18 dB)
Analogue modeled (topology-preserving transform) multi-mode filter (1-pole low-pass or high-pass)

Featuring REEVERB XT Advanced Digital Resonator Reverb

A beautiful, resonator-based reverb engine with an extended set of controls
Pre-delay engine (up to 2 seconds)
Panorama enhancer engine, to finely adjust the stereo image width of the processed sound

Featuring MIX-DF42 Multisource Mixer / Amplifier

Multi-mode (bypass / normal / inverted) digital filter block (2-pole low-pass and 2-pole high-pass)
Analogue modeled saturation circuit with gain control (from +0 dB up to +15 dB)
Final mixer section, with blend (dry / wet) and main volume (from -inf dB up to +6 dB) controls

Including more than 30, multi-scenario factory presets
Support for sample rates from 44.1 kHz up to 192 kHz
Available in multi-size GUI resolutions

WindChant
WindChant is a procedural audio simulation of the fluid dynamics underlying the natural wind action.
Naturally born for music, live events, film, tv and entertainment productions, WindChant is based on a complex and powerful stochastic engine – it does not use samples at all, sound and fluid dynamics are actually real-time generated.
The whole procedural audio engine can be manually controlled, or fully automated, or both : with WindChant, generating a realistic, organic, evolving natural soundscape is as easy as pressing a single note key.
The SnapLab Collection
The SnapLab lineup is a collection of carefully designed, useful and compact multi-genre virtual instruments, sound generators and effects processors.
Each one of the virtual devices in this lineup is specifically intended to have a very peculiar focus and scope, a simple, easy to use interface and it is meant to be available at a fair and affordable price.
Much more than simple gadgets and gizmos – just collect ’em all !
Features

Accurate procedural audio simulation achieved by the adoption of the Advanced Component Simulation (ACS) approach
Full 64-bit processing accuracy for every single aspect of the simulation
Multi-layered (wind blow, trees and foliage) simulation of the fluid dynamics underlying the natural wind action
Featuring a complex and powerful stochastic engine : sound and fluid dynamics are actually real-time generated
The whole simulation can be manually controlled and / or fully automated
Easy to use, expressly made for music, live events, film, tv and entertainment productions
Ultra-immersive audio engine with panorama control
Including a ready-to-use factory presets collection
MIDI automation
Support for sample rates from 44.1 kHz up to 192 kHz
Available in multi-size GUI resolutions

Woodcraft
Woodcraft Kits is a special sound design toolkit for ResonHeart. This library features a collection of presets, each affecting only a specific section of the whole tone generator. Multiple presets can be loaded and combined together, making the sound design process much simpler and immediate on this original acoustic instrument.
Zerobox
ZeroBox is an accurate analogue modeling simulation of a legendary, iconic, sequencer-driven bassline synthesizer that defined an era.
In addition to a meticulous replica of both the signal path and the physics of each of the electronic components found inside the original device (oscillator, filters, envelopes, etc.), an extended set of features, improvements and circuit-bents have been added, bringing the whole synthesis engine a step ahead.
Last but not least, a redesigned sequencer front-end and the inclusion of a full set of modulation, analogue saturation and multi-type distortion effects units make ZeroBox an expressive, powerful, self-contained tool for use in any electronic music scenario.
That Silver Voodoo Box
ZeroBox mimics not just the behaviour and physics of all the electronic components and the signal path, but also the miriad of quirks and idiosyncrasies found on the original hardware.
From the peculiarly shaped analogue oscillator’s waveforms to the iconic 4-pole diode ladder analogue filter, from the biased envelope generators to the so-called gimmick circuit, everything is faithfully preserved in ZeroBox – including the uncommon interlinks and interactions between the different components.
The embedded digitally controlled sequencer is also modeled preserving the same vintage back-end logic and sub-pulse clock divisions of the original gear, while having the full benefit of a refreshed front-end with many easily accessible function improvements (triplets, shuffle, etc…).
ZeroBox can be used in conjunction with its embedded sequencer as well as with external sequencers, or as a single-oscillator monophonic solo synthesizer with a very bold sound and an incredibly deep low-end.
In addition to the main bassline synthesizer, a total of six insert effects and two master effects are provided, all accessible from the single-view rack interface. It is possible to choose between a chorus unit, a flanger unit, an analogue modeled vacuum tube distortion unit, an analogue modeled transistor-based distortion unit, a digital foldback distortion unit, a creative bitcrusher unit, a digital delay unit and a resonator-based reverb unit.
Features

Physical modeling simulation of real analogue hardware, achieved by the adoption of the Advanced Component Simulation (ACS) approach – oscillators, filters, envelopes (,…) are built preserving their original architecture, featuring all the micro-instabilities and imperfections of the analogue technology
Full 64-bit processing accuracy for every single aspect of the simulation
An all-in-one complete setup : monophonic analogue bassline synthesizer + embedded analogue sequencer + analogue and digital insert/master effects
Full preservation of all quirks found on the original device :

The legendary gimmick circuit and its signal paths
The analogue filter limited self-oscillation
The peculiar behaviour of the accent and slide functions
The internal signal polarity inversion

An aliasing-free analogue modeled oscillator proving the same capacitors’ charging/discharging responses as found on the original analogue circuits, featuring sawtooth and square waveforms with blending (morphing) control
A separate control for the oscillator waveshaping (from naive to analogue supersaw / pulse width modulation)
A legendary 4-pole resonant, analogue low pass diode ladder filter (modeled by the adoption of the topology-preserving transform / zero-delay feedback approach) proving all the original quirks, non-linearities, frequency responses (also at extreme modulation scenarios), analogue clipping
Two analogue envelope generators (MEG / VEG) proving the same capacitors’ charging/discharging responses as found on the original analogue circuits
Analogue components age selector. Choose the virtual age of the components used inside ZeroBox and, as a consequence, its resulting overall instability
An extended operative range (compared to the original) for several knobs and internal components
Built-in circuit-bents as found in different hardware clones and also never seen before, experimental ones (while 100% preserving all the original functions)
An exclusive low-frequency-oscillator (LFO) with frequency (from 0.05 Hz up to 20 Hz) and destination amount controls, affecting the oscillator waveform blending, waveshaping and filter cutoff frequency
Adjustable highpass filter cutoff frequency
Adjustable filter envelope (MEG) minimum decay time
Adjustable slide time control
A VCA envelope (VEG) smoother control
Polarity inverter control, useful to achieve different sound flavours when using an asymmetric (biased) distortion unit
Three ways of control, for both studio and / or live scenarios :

Sequencer Off : individual notes are MIDI triggered directly by the DAW
Sequencer (Pitched) : the internal sequencer (8 scenes / patterns per preset) is MIDI triggered and tuned
Sequencer (KeyTrig) : each of the 8 sequencer scenes / patterns (per preset) are assigned to different MIDI keys

A multi-mode (PTC / KTG) embedded digitally controlled clock generator and sequencer, featuring the same internal pulse timing and behaviour of the original one, with :

Mode selector (normal / triplet)
Beat pulse divider selector
Tempo / external controls
Swing amount control
Step gate control
Step pitch control
Step octave selector
Step slide control
Step accent control
Steps number (from 1 up to 16) selector

A multi-scene loader engine with 8 scenes per preset
Including an insert effect slot with the possibility to choose :

CHOR-S unit (rack), an expressive stereo chorus effect
FLANG-R unit (rack), an expressive stereo flanger effect
X-TREME unit (rack), an accurately modeled, ground-shaking tube distortion effect
SOLIDA unit (rack), an accurately modeled, rock-solid transistor distortion effect
PHEEBEE unit (rack), an expressive digital foldback distortion effect
CRUSH-R unit (rack), a creative digital bitcrusher effect

Including a master effect slot with the possibility to choose :

D-LAY unit (rack), a tempo-synced stereo delay effect
REEVERB unit (rack), a resonator-based electronic reverb effect

Including 130+ ready-to-use factory presets collection covering multi-genre styles
Multi-color synth panel (silver grey or acid yellow)
MIDI automation
Support for sample rates from 44.1 kHz up to 192 kHz
Available in multi-size GUI resolutions

ResonHeart
ResonHeart is the physical modeling simulation of a never seen before, experimental, aerophone-based acoustic instrument.
Characterized by a complex modal-based architecture, this original machine has expressly been built to mimic the sound of different families of acoustic instruments – like winds, membranes, chromatic percussions, ethnic lutes and whistles, glasses, cymbals and crashes, vocal ensembles and choirs, or even an entire orchestral strings section – as well as to produce very unconventional, organic tones, evolving textures and expressive motion pads.
Working on the principles of fluid dynamics and designed to potentially be a real-world replicable machine, every single component inside ResonHeart has been modeled after existing hardware – commercially available devices like air pumps, pneumatic valves and metal resonators. Also the surrounding room acoustics has been carefully modeled, simulating a wide range of spatial environments, from small chambers to big concert halls, to stone-walled cathedrals and beyond.
Moreover, ResonHeart features a clean and intuitive interface, making the sound designing process just simple and effective.
The Imitation Game
Built as a virtual instrument through the use of physical modeling techniques (ACS), ResonHeart has to be considered as a natural born acoustic machine made of clockwork components, air pumps, motors, pneumatic valves and complex resonator blocks (one per voice). Each resonator block consists of a set of sixteen universal Helmholtz resonators (which can be individually triggered and tuned) arranged in a characteristic modal-synthesis disposal. This particular design makes ResonHeart genuinely capable to imitate the peculiar sound of a wide range of acoustic systems, including rigid-body or membrane-based percussions and cymbals – one of the hardest things to simulate using physical modeling.
With no electronic components involved in its sound generation process, ResonHeart is a real mechanical synthesizer, an articulated acoustic instrument which can also mimic the tones and flavors of other acoustic instruments – and its extended set of mechanical automations and modulation units will also provide manifold, evolving dynamics to the final sound.
Also, ResonHeart’s simplified interface makes the sound designing process seamless, since all the controls and parameters are always in plain sight, arranged on its single-view panel.
Trig the main pump motor, provide energy to the air turbulence and modify the cross-sectional area of the ducts. Change the internal volume and the embouchures aperture for each of the Helmholtz resonators and take control of every nuance of your tone by assigning different modulations for each of the pneumatic valves.
Finally, place each of the resonator blocks inside an accurately modeled hall space and be prepared to reach expressive performances, organic and evocative sounds that will go far beyond what ordinary electronic or acoustic instruments can do.
Features

Physical modeling simulation of a complex acoustic sound generator machine, achieved by the adoption of the Advanced Component Simulation (ACS) approach
Full 64-bit processing accuracy for every single aspect of the simulation
A 100% original aerophone-based mechanical acoustic instrument, featuring an articulated modal architecture and capable of mimicking other acoustic instruments’ tones and flavours
Entirely made of mechanical components (resonators, motors, valves) which have been modeled after existing, commercially available parts

Air pump motors with dedicated automations and retrig control
Venturi valves
Swing motors and valves (from 0.1 Hz up to 20 Hz)
Pneumatic solenoid valves (with a 3-ms aperture, 2-ms disclosure timing)

Air turbulence dispersion control
A complex resonator block (one per voice) made of sixteen universal Helmholtz resonators, each with independent tuning (internal volume) and pressure (embouchure) controls

A dedicated modulation for resonators’ tuning, featuring Swing, Contour, Velocity and Pitch Follower controls
A dedicated modulation for resonators’ pressure, featuring Swing, Contour, Velocity and Pitch Follower controls

Operates as a monophonic or polyphonic (4-voices) instrument
True polyphony, achieved by simulating separate, fully-independent mechanical sound generators
Separate controls for global tuning, voices detune (spread), pitch bending (amount) and portamento
An accurate room / hall simulation (resonator-based)
A spatial displacement engine, arranging the instrument’s four voices/blocks inside the room space
Including a 130+ ready-to-use factory presets collection, covering different styles and genres, including deep and solid basses, real-world cymbals and crashes, membranes and percussions, woodwinds, plucked strings, ethnic bells and whistles, organic motion pads, symphonic strings and choirs sections, evolving soundscapes, psychoacoustic sound effects and more
MIDI automation
Support for sample rates from 44.1 kHz up to 192 kHz
Available in multi-size GUI resolutions

SnareClack
SnareClack is a powerful, compact and easy to use hybrid electronic snare drum generator / synthesizer.
At its heart SnareClack makes use of genuine 16-bit integer precision digital synthesis techniques (widely used on late-90s hardware devices) together with a modeled DAC (Digital to Analogue Converter) circuit with saturation control.
Finally, a built-in stereo expander circuit makes SnareClack a self-contained device capable of producing snappy, large, electronic drum snares for EDM, Techno, Trance, Ambient music and far beyond.
The SnapLab Collection
The SnapLab lineup is a collection of carefully designed, useful and compact multi-genre virtual instruments, sound generators and effects processors.
Each one of the virtual devices in this lineup is specifically intended to have a very peculiar focus and scope, a simple, easy to use interface and it is meant to be available at a fair and affordable price.
Much more than simple gadgets and gizmos – just collect ’em all !
Features

Accurate physical modeling simulation achieved by the adoption of the Advanced Component Simulation (ACS) approach
Full 64-bit processing accuracy for every single aspect of the simulation
A complete, self-contained, hybrid digital-analogue electronic drum snare generator device
Two independent (Tonal / Noise) digital synthesis layers featuring late-90s, genuine 16-bit integer precision algorithms
Modeled DAC (Digital to Analogue Converter) circuit with saturation control
Built-in stereo expander circuit
Including 50+ ready-to-use factory presets collection covering multi-genre styles
MIDI automation
Support for sample rates from 44.1 kHz up to 192 kHz
Available in multi-size GUI resolutions

LittleOne
LittleOne is a faithful software emulation of one of the most legendary and appreciated hardware analog synthesizers, compact in design but also extremely powerful and expressive.
In addition to an accurate re-creation of the original signal path, every single component inside LittleOne (oscillators, filter, envelopes, etc.) prove the same original architecture, frequency response and operative range of its analogue hardware counterpart, producing a deep, rich and warm sound.
Add to the equation a full rack with a 16-step analogue sequencer, a 16-step trancegate effect, two insert/master effects slots and the result is a complete, true-analogue-sounding setup within the comfort of a modern digital studio.
Nobody’s Perfect
Perfection is not of this world. In nature, due to its inherent complexity (and beauty), everything is unpredictable, seemingly – for us – out of control. This makes things so special.
This is true for everything, also for musical instruments. Based on analog electronics components, an analog synthesizer brings within itself all the imperfections of this technology.
This is why it sounds so warm and rich.
LittleOne synthesizer is entirely built upon this concept. The adoption of the Advanced Component Simulation (ACS) approach ensures that every component inside LittleOne is simulated preserving its original analogue hardware architecture and physical properties – including its own micro-imperfections and unique, time-varying instabilities. This means that – playing the same note twice – LittleOne will never produce exactly the same sound, not in a million years or more. Just as nature teaches us.
In addition, it is also possible to modify the electrical tolerances for each of the analogue components used inside the synthesizer. Choosing stable components will mimic a modern manufacturing process, while choosing unstable components will take you back in time, and everything inside LittleOne will behave as it was manufactured in the 1970s, making it even bolder and meaner.
This high-end approach assures brilliance, genuineness and depth to the sound.
Features

Physical modeling simulation of real analogue hardware, achieved by the adoption of the Advanced Component Simulation (ACS) approach – oscillators, filters, envelopes (,…) are built preserving their original architecture, featuring all the micro-instabilities and imperfections of the analogue technology
Full 64-bit processing accuracy for every single aspect of the simulation
An all-in-one complete setup : analogue synthesizer + analogue sequencer + trancegate effect + insert/master effects
Two aliasing-free analogue modeled oscillators proving the same capacitors’ charging/discharging responses as found on the original analogue circuits, featuring a continuous waveform selection mode (morphing) between triangle, sawtooth, square, pulse (including pulse width modulation)
A legendary 4-pole resonant, analogue low pass ladder filter (modeled by the adoption of the topology-preserving transform / zero-delay feedback approach) proving all the original non-linearities, frequency responses (also at extreme modulation scenarios), self-oscillation, soft-clipping and overload control
Two 4-stage (ADSR) envelope generators proving the same capacitors’ charging/discharging responses as found on the original analogue circuits
Extended modulation possibilities, including a white noise generator, a sample-and-hold source and a multi-waveform low-frequency-oscillator (LFO) featuring the original frequency range (from 0.2 Hz up to 500 Hz), allowing for advanced frequency modulation designs
True analogue polyphony. In addition to a classic monophonic mode, polyphony (4-voices) is achieved by simulating four fully-independent synthesis systems (devices) separately, as expected in the original hardware specification extension. Each of the four independent voices (devices) can also be tuned/detuned separately for an even more deep and rich polyphonic sound
Analogue components selector. Choose what kind of components to use inside LittleOne : select ultra-stable components, phase-locked oscillators (like in most recent analogue synthesizers) or select aged, much more unstable components and disable the phase-lock of the main oscillators
Accede all the advanced features like the alternative modulation sources/destinations, set the velocity to control the filter cutoff, extend the pitch bend range, select the MIDI input channel and much more – all from the operating system led display
Including XSQ16A unit (rack), a monophonic 16-step analogue sequencer
Including GAT3D unit (rack), a 16-step trancegate effect
Including two insert/master effects slots with the possibility to choose :

X-TREME unit (rack), an accurately modeled, ground-shaking tube distortion effect
FLANG-R unit (rack), an expressive stereo flanger effect
CHOR-S unit (rack), an expressive stereo chorus effect
D-LAY unit (rack), a tempo-synced stereo delay effect
REEVERB unit (rack), a resonator-based electronic reverb effect

Including a huge 400+ ready-to-use factory presets collection covering all styles, from vintage analogue leads and basses to frequency modulation sequences, contemporary cutting-edge electronic motion pads, trance stabs, complex psychoacoustic constructions, percussive and special sound effects. All the original Little Phatty factory patches (Stage Edition and Tribute Edition) are also included
Additional presets/patches available as commercial expansions
MIDI automation, with CC# mapping following the original Little Phatty MIDI CC# specs
Support for sample rates from 44.1 kHz up to 192 kHz
Available in multi-size GUI resolutions