Patch anything into anything.

One monophonic modular synthesiser, in eight modules, with ten cables in its opening patch and eight factory patches.

A bass line in a box: sixteen steps, one oscillator, and a filter that sings when you ask it to.

One voice: two oscillators, a filter that sweeps from low-pass to notch to high-pass, and two envelopes.

A polyphonic synthesizer after the Juno-106, with its chorus.

Sixteen drum buttons, a pattern you click in while it runs, and sixteen patches that each load a whole kit.

Twenty-four partials set by level and phase, a large display, and rows of numbered keys.

Two oscillators a voice, a filter that switches between two and four poles, and an upper and a lower part, over fifty patches that each load the whole sound.

Twelve membrane pads, a parameter matrix and four sliders for the selected voice, with twenty-eight kits that each load the whole sound.

Eight voices of analogue-style oscillators, a resonant filter and an eight-bit digital path, all edited from one backlit screen.

Three oscillators, a mixer and a four-pole ladder filter, with every section boxed and titled on the panel, played from your keyboard as a VST3 and Audio Unit.

Eight voices of two oscillators each, a split and a dual mode, and an upper and a lower part, over fifty-four patches that each load the whole sound.

Six operators, thirty-two algorithms and four-rate envelopes, edited from a slider and a membrane panel, over fifty patches.

Three oscillators, two filters with a spacing control, and a touch surface with an X and a Y, over forty-two patches that each load the whole sound.

One control per function: two oscillators, a sub and noise, a resonant filter, an envelope each for the filter and the level, a glide and a sixteen-step sequencer, played from your keyboard as a VST3 and Audio Unit.

A touch-plate rack you can patch: five panels, forty-four live sockets and fifty-three controls, with eleven patches.

A pin matrix of sixteen by sixteen sockets, three oscillators, a ring modulator and a joystick, as a plug-in.

Five voices of two oscillators each, a hard sync, poly-mod and wheel-mod, and a filter envelope and an amplifier envelope of their own, with forty-nine patches.

Four encoders in four colours and one small screen, drawn over a single synth voice with nine patches.

Two oscillators, a high-pass and a low-pass filter each with a peak that screams, and a patch panel you can patch.

Eight voices of seven saws each, a filter with three types, a trance gate and three effects, played from your keyboard as a VST3 and Audio Unit.

Six voices of two oscillators with a shape and a hard sync, a sub, a resonant low-pass and high-pass, poly mod, one effect, an arpeggiator and a sequencer.

Two oscillators and a sub, two filters with four routings, a five-slot modulation matrix, three LFOs and twelve voices.

Three oscillators, a ring modulator and a spring reverb, every control a slider over a patch bay of live cables.

One oscillator with a sub and noise, a resonant filter, a key sequencer and an arpeggiator, played from your keyboard as a VST3 and Audio Unit.

Eight parts, thirty-two waves, a display with a data slider, and a fader or key for every control, played from your keyboard as a VST3 and Audio Unit.

Sixty-four waves on a table, one large knob to sweep them, and a resonant filter with envelopes of its own.

Two groups of four voices, a resonant filter with its own envelope, a chorus and a digital reverb and delay, played from your keyboard as a VST3 and Audio Unit.

Sixty-four waves in each of thirty-two tables, a knob to sweep them, and a resonant low-pass with envelopes of its own.

Four waves mixed around a square by a vector joystick, and a five-point vector envelope that moves the stick by itself, played from your keyboard as a VST3 and Audio Unit.

Four morph groups, two oscillators with wave lists and a filter that changes type, played from your keyboard as a VST3 and Audio Unit.

A floppy of twelve-bit samples, a start, a tune, a level and a decay for each, and a phone amplifier for the trigger.

Four trigger buttons, three sliders and a wooden case: the first of them, and the one every later machine answers to.

Three touch plates for the low, the middle and the high of a drum sound, with no buttons and no keyboard at all.

A spring reverb you can take apart: change the metal, stretch the spring, then pluck it.

A reverb you set up like a room: drag the walls, walk around in it, hear where you are.

Transformer, tape and tube warmth, in any order — turn each up until it sounds right.

A chorus with the wobble of old hardware: warm, wide, and never quite the same twice.

A compressor you can see: drag the waterline and watch the sound bob above it.

Six compressors in one — pick the character your track needs, from clean and invisible to glue.