Percussa micro super signal processor

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Our own Marsha Vdovin is working the NAMM floor, too, and her radar is leading her straight to some really nice gems. I had to pull two of these out, as they’re big surprises and look tasty indeed. And who would have thought a filter and a Theremin would be news?

Well, these are drool-worthy, nonetheless.

Waldorf’s mystery knob is the filter control from a big filter in a box.

That’s right, Waldorf is introducing a 2-pole filter. And one heck of a 2-pole filter it is:

  • Filter with cutoff and resonance, but also a Drive setting, Rectify, and switchable between low-pass, band-pass, and high-pass
  • LFO with Depth and Speed
  • LFO set to Fast, Slow, and (hilariously) Gemütlich (kinda hard to translate, actually easy-going and slower than slow)
  • Envelope controls: Attack/Decay/Hold, threshold, a source (hard to tell what that does), and trigger.

And it takes CV for envelope, cutoff, and gate, with jack plugs for input and output.

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Then there’s Moog, who are introducing, as rumored, a new Theremin. And this isn’t just any Theremin: it’s a Theremin that can assist you in keeping things in tune, all whilst looking like a space-age egg from Woody Allen’s Sleeper.

It’s a Theremin with presets. Crazy presets.

It’s a digital instrument with Theremin-style controls. (Readers who speculated, you guessed right.) It’ll upset purists, perhaps, but this is rather cool: it’s based on the unique-sounding Animoog sound engine.

The synth is digital, but the input is analog: classic heterodyning style, then digitized as control signal for the engine. Onboard MIDI, CV output (presumably pre-digitization, in fact), and USB. But that engine gives you more different ways to play.

Yes, there’s a display, scale and root controls, a Presets knob, plus built-in delay. There’s a built-in speaker and headphone jack, as well, for convenience.

Price: US$299 estimated is what we heard on the floor.

Moog introducing a new Theremin is huge news – historic news. After all, it was Bob Moog’s love affair with the Theremin that drove him to synthesis in the first place. It was always a favorite instrument. And if the Theremin drove Bob Moog’s path and evolution, it has guided a whole lot of the last century of electronic music, too – through Dr. Moog and many other artists and inventors, too. I’m fortunate to be spending this week with Andrey Smirnov, keeper of some of the Russian side of that legacy. I hope to catch up with the latest chapter of the Theremin story in North Carolina afterwards. And that’ll take some time, so I have no problem avoiding doing it on a crowded trade floor.

More photos:

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waldorf2pole

Photos by Marsha Vdovin.