Best Budget Synthesizers Under $250The world of plugins and software certainly has its advantages: price, convenience, and the fact you won’t need to free up any space on the desk. But sooner or later, most musicians get hungry for something hands-on.
Many sought-after synths reach well into four-figure price tags, but getting started with hardware instruments is remarkably affordable if you know where to look. Today, a vast number of synthesizers are available for less than $250, suiting all manner of workflows and styles.
One final note beforehand: if you’re willing to up your spend by around $50, you can get your hands on popular instruments like the Korg Monologue and Arturia Microfreak, as well as the Moog Mavis DIY kit and Sonicware’s roster of genre-specific Liven grooveboxes.
But if you’re on a strict budget, here are the best synths costing less than $250 and why they might be right for you:

Behringer Mini range: The cheapest hardware synths available
Korg Volca series: The best budget synth ecosystem
Teenage Engineering Pocket Operators: Affordable portable sequencer synths
Stylophone Gen X-2: A quirky monophonic synthesizer under $80
Blipblox After Dark: Explore synthesis for the first time
Behringer TD-3: The cheapest 303-style synth
Cre8audio East Beast and West Pest: An affordable entry to modular
Korg NTS-1 Digital mkII: Expandable DIY synth with custom wavetables and effects
Bastl Kastle range: Most affordable experimental synthesizers

Behringer Mini range: The cheapest hardware synths available
Image: Behringer
Price: $99 – $129 at Sweetwater
Love him or loathe him, Uli Behringer dominates the budget synth market – so much so, we could probably dedicate this entire list to his company’s products, many of which reinterpret existing instruments.
If you’re looking for maximum bang for your buck, the Behringer Mini range is a good place to start. These compact synths condense recognisable pieces of vintage gear into an ultra-portable format with a two-octave touch-sensitive keyboard.
Whether it’s the Minimoog Model D’s three-oscillator architecture, the phase distortion synthesis of the Casio CZ-1, Oberheim-style pads and brass, or the joystick-controlled vector synthesis of the Prophet VS, Behringer’s Mini range provides an inexpensive introduction to a variety of classic sounds.
Korg Volca series: The best budget synth ecosystem

Price: $129 – $179 at Sweetwater
When Korg launched the Volca line in 2013, few could have foreseen how enduring the format would become. These battery-powered units typically pack a built-in speaker, touch keyboard, MIDI input, sync connections, and a sequencer into a chassis around the size of a book.
The original Beats, Bass, and Keys models covered the basics required for simple hardware jams, but Korg has since used the format to explore more specialised instruments, including the acid-inspired Volca NuBass, the West Coast-influenced Volca Modular, and the six-operator Volca FM2.
Across the wider line, Korg has covered analogue and digital synthesis, sampling and percussion, and even the Volca Mix for connecting several instruments, making the range an excellent starting point for a tabletop performance rig.
Teenage Engineering Pocket Operators: Affordable portable sequencer synths

Price: $59 – $99 at Teenage Engineering
While Teenage Engineering holds somewhat of a reputation for premium price tags, the Pocket Operator series proves the Swedish company is capable of producing genuinely inexpensive instruments too.
These sequencer-based synths, drum machines, and samplers are smaller than a smartphone, with exposed circuit boards and animated LCD screens that look like some kind of musical calculator. Each one is centred around a grid of buttons, two parameter knobs, and a 16-step sequencer with parameter locking and punch-in effects. There’s also a built-in speaker for annoying fellow passengers on your commute.
Our recommendation? The PO-32 is a surprisingly capable drum synth that can import sounds created using Sonic Charge’s microTonic plugin. The PO-33, meanwhile, is a compact sampler and spiritual predecessor to the larger EP-133 K.O. II.
Stylophone Gen X-2: A quirky monophonic synthesizer under $80

Price: $77 at Thomann
Invented in 1967, the original Stylophone was closer to a toy than a fully fledged synthesizer, though it still managed to make an appearance on recordings by the likes of David Bowie, John Lennon, and Kraftwerk.
The lineup has expanded since the product’s 2007 relaunch, with the Gen X-2 standing as the most capable Stylophone yet. It retains the iconic stylus-operated keyboard, but adds considerably more control over the sound, including an attack/decay envelope, a resonant filter, pulse-width control, and an LFO.
Although the resulting instrument remains deliberately simple, its distinctive, buzzy character gives it an identity of its own – and one that can communicate with a wider setup than its appearance might suggest, thanks to CV and trigger connections.
Playtime Engineering Blipblox SK2: Explore synthesis for the first time
Blipblox SK2. Image: Playtime Engineering
Price: $219 at Sweetwater
Falling somewhere between Hasbro’s Bop It and a spaceship cockpit is Blipblox, an instrument developed as an approachable, child-friendly way to explore synthesis and sound design.
Don’t let its eccentric appearance fool you – it offers considerable sonic scope thanks to 16 oscillators, a multimode resonant filter, two envelope generators, two LFOs, and flexible modulation routing. More than 300 onboard melodies can be used to play your patch, as well as external MIDI input, and there’s a built-in drum machine and delay too.
Rather than creating specific patches, the Blipblox is designed for playful exploration – but if the colourful SK2 is a little too toy-like, Playtime Engineering also makes a blacked-out After Dark version.
Behringer TD-3: The cheapest 303-style synth
Behringer TD-3-MO. Image: Behringer
Price: $149 at Sweetwater, or $199 for the Modded Out version
With original TB-303s costing several thousand dollars and Roland’s Boutique TB-03 version sitting around $400, Behringer is the best bet for hardware acid basslines on a budget.
The TD-3 closely follows the original architecture, combining sawtooth and square oscillators with a resonant four-pole low-pass filter for convincingly squelchy timbres. However, Behringer has replaced the notoriously quirky sequencer with its own programming workflow, and added a Boss-inspired distortion along with modern connectivity.
For a wider pallette, Behringer also makes the TD-3-MO, which adds modifications inspired by decades of customised 303s including a sub-oscillator, adjustable slide time, a ‘Muffler’ filter control, and expanded patching.
Cre8audio East Beast and West Pest: An affordable entry to modular synthesis

Price: $249 each (East Beast and West Pest) at Sweetwater
Using ‘modular synthesis’ and ‘affordable’ in the same sentence often feels difficult to justify. Although many modules are relatively inexpensive individually, assembling even a basic playable system can quickly add up. Cre8audio offers two more affordable entry points inspired by contrasting synthesis paradigms.
The East Beast adopts the subtractive approach favoured by Bob Moog, using enveloped filters to shape harmonically rich waveforms like saws and squares for more traditional sounds. The West Pest, on the other hand, is inspired by the additive techniques pioneered by Don Buchla, using wavefolders to add harmonics to simple sine waves, and it’s geared more towards discovering unusual and unexpected sounds.
Both units are semi-modular, meaning they can be played without inserting a single cable – but once you’re ready, the 4×5 patchbays provide hours of exploration, as well as easy integration with a larger system when the modular addiction inevitably takes hold.
Korg NTS-1 Digital mkII: Expandable DIY synth with custom wavetables and effects

Price: $169 at Sweetwater
Korg kicked off its build-it-yourself Nu:Tekt line with the original NTS-1, a compact digital synthesizer kit that paired a programmable oscillator with a useful collection of built-in reverb, delay, and modulation effects.
The mkII version introduces an improved synth engine, an expanded 18-note multitouch keyboard, an 8-step sequencer, and advanced MIDI capabilities – though the original model remains worth considering if you’ve got less to spend.
What truly sets the NTS-1 apart from most other budget synths is its expandability. It supports Korg’s Logue SDK, allowing users to load custom wavetables and effects onto the instrument via the Librarian app. Thanks to a stereo input, these effects can be used to process external audio – so the NTS-1 will remain useful even after you acquire a more powerful synthesizer.
Bastl Kastle 2 range: Most affordable experimental synthesizers
Image: Bastl Instruments
Price: $194 each at Perfect Circuit
Bastl’s original Arduino-powered Kastle offered an intriguing, hackable approach to semi-modular synthesis. Its successors run on more powerful Raspberry Pi processors, but retain the pocket-sized format, nifty jumper-wire patching sockets, and a heavy dose of the weirdness that made the original so appealing in the first place.
The Kastle 2 Alchemist is the most conventional of the trio, albeit only by Bastl standards. Its monophonic four-oscillator ‘hybrid synthesis’ engine combines five morphable modes — Filter, FM, Supersaw, Hypersine, and Glitchnoise — with a customisable, patchable sequencer.
For experimental sampling, the Kastle 2 Wave Bard can turn user-loaded sounds into unpredictable rhythms, textures, and riffs. FX Wizard completes the set by processing external audio through an assortment of delay, modulation, and pitch-shifting effects that range from subtle and refined to unwieldy sonic transformation.
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Every guide on MusicTech is created by a producer, musician and tech enthusiast just like you. We understand what you’re looking for when searching for a new audio interface, and we want to ensure you purchase genuinely useful products for your craft. So you can guarantee that every product MusicTech recommends to you is a product we’d be happy to have in our studios.
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Authentic Soundware Space Age StringsSpace Age Strings features a small violin section of nine players recorded in a large studio using a selection of vintage and modern microphones, faithfully recreating the sound of classic studio recordings from the 1950s and '60s. Features: Small section size for an intimate studio sound. 12 of articulations including legato, pizzicato, marcato, spiccato, tremolo, trills, and more. 5 legato types with user-defined velocity zones, optional speed detection. Vintage romantic vibrato with dedicated espressivo intensity control. Retro pizzicato with lively performance repetition samples. Trills Arranger — play polyphonic trills and chord tremolos on a single MIDI channel, with three modes including diatonic chord trill support. Runs Arranger — play realistic, performance-sampled runs in any key, any scale type, from any note to any note, with control over duration, dynamics, and resolution. 5 microphone positions. Onboard tape, echo, tone, and limiter effects. Custom retro reverb IR. Flexible articulation switching via key switch or MIDI CC. Read More

A 3D Rasterizer For Embedded DevicesOnce upon a time, doing graphics on a microcontroller was challenging, to say nothing of the concept of going into three dimensions. But modern microcontrollers are far more powerful, and you might find yourself wanting to do all sorts of graphical wizardry with one. To that end, you might find Jet useful.
Created by [CubeCoders], Jet is a compact 3D rasterizer built for modern chips like the ESP32 and STM32. It’s dependency free, relatively tiny, and is written in C++17 with an eye towards working well on memory-limited platforms. It runs entirely in software, uses only integer arithmetic, and is built around 16-bit RGB565 color — intended to make it easy to use with parts like the ST7796, ILI9488, and other similar displays interfaced via SPI.
As a point of reference, on a ESP32-S3 Jet can render around 650 on-screen triangles (post-culling) at 60 frames per second on a 480×320 display, or 1300 triangles at 30 FPS. The developers note that 3D performance lands somewhere between the Sega 32X and Sega Saturn — not bad for a microcontroller you can buy for under $20. The Wipeout-like demo shows off the capabilities of Jet rather fantastically, we think.
You’d be foolish to expect your next microcontroller project to render Crysis. However, if you want some retro 3D graphics for your next ESP32-based build, you might just consider exploring what Jet can do for you.

Jay B Kicks Off US Tour "2026 tape: roots" in Los AngelesSouth Korean singer-songwriter and GOT7 leader Jay B kicked off the US leg of the "2026 tape: roots" Tour at the Wilshire Ebell Theatre in Los Angeles on September 13th. After last year's disastrous tour filled with visa-related delays and mismanagement, Jay B is making sure this tour is filled with better memories. 
The show started on a fun note with a witty commercial spoof for a fictional cologne called Smells Like Jay B. It’s always nice to see artists have fun and be creative with their art. The video spoofs continued through the night and served as brief intermission breaks. The video had everyone laughing and cheering; fans even asked him at the end of the night to start selling the cologne. 
The concert setlist had a little of everything; a mix of solo hits, unreleased music and GOT7 fan favorites. As a nod to the tour title, Jay B’s focused on showcasing his powerhouse vocals through his rooted blend of R&B and soul. His vocals are dynamic with an impressive range. He can hit high notes with control, especially on serenade ballads like “We” and “Dive into You.” His voice has a lot of character, easily showing off emotions of yearning and wistfulness. The last note of “Layback” seemed extra tough to perform as Jay B confessed he needed a breather and jokingly said he thought he was going to die after hitting the high notes. He sang live the entire show. He only relied on the backtrack sparingly, only when he wanted to show off his dance moves with his three backup dancers.

The Wilshire Ebell Theatre is a small theater, which made the night feel more intimate and personable. Jay B is a veteran performer and knows how to charm the crowd with his charismatic personality. As a result, the crowd was extra rowdy and would scream out to him any chance they got. Although Jay B is not fluent in English and would occasionally use a translator, he still played along with the fans and tried to answer as many questions as possible while joking around. During one of the talking segments, Jay B revealed he will officially be releasing “Sweetie” at the end of October along with another untitled song. 
The highlight of the night was the encore performance as Jay B let loose and amped up the crowd with dance moves and occasional shirt lifting. As he was vibing to the music and energy from the crowd, he jumped down from the stage and walked through every aisle, high-fiving fans and interacting with everyone. Jay B ended his set on a high note with a medley of GOT7 songs including “THURSDAY” and “Before the Full Moon Rises.” Fans cheered with thunderous applause and barking noises, leaving him smiling from ear to ear. 
The US leg of the "2026 tape: roots" Tour continues through September with stops San Francisco, Tacoma, New York, Dallas and Chicago. 

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UAD Luna 3.0: A major upgrade introducing Luna Play and new smart features
UAD has launched a major update to its award-winning DAW Luna (macOS and Windows). The update brings a slight name change, new workflows, and AI-powered smart features. Luna Pro becomes Luna Studio; Luna Free is still free, and UAD Spark subscribers now get more for their money. We’ll take a look at what’s new in [...]
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Image-Line & Antares reveal AutoTune Go AutoTune Go is available via the free tier of FL Cloud, making the iconic AutoTune sound available directly in FL Studio.

What’s the relationship between pitch and frequency? A beginner’s guide for music producersMusic producers build complex arrangements using synthesizers, found sounds, acoustic instruments, and vocals, often layering them on top of each other. Sometimes, the result is almost perfect. Other times, unwanted resonances build up and ring out.
Mindlessly isolating each frequency in a parametric EQ plugin to find the one causing the issue can drive even experienced mixing engineers mad. But between the extremes of cacophony and a lifeless mix lies a happy middle — and the path to it runs through understanding the relationship between pitch and frequency.
What is pitch?
Pitch isn’t a concept only singers should worry about: it’s a perceptual tool all musicians use to label notes across all octaves.
Each musical note is assigned a specific pitch. For example, the note A above middle C is commonly referred to as A4.
On a piano, each key is a semitone (or half step) away from the next. On a guitar, frets guide the player in a similar way. But when it comes to singing or playing instruments like the violin, we rely on hearing and muscle memory to land on the intended pitch.
This is what makes some arranging and mixing tasks more complex than others. For an arrangement to sound harmonious, all layers must be in tune relative to one another.
For example, it’s typical for a symphony orchestra to tune to the oboe playing a steady A4, since it produces a clear, stable tone that’s easy to match. In electronic music, it’s the producer’s job to maintain that same level of tuning awareness in the instrumentation.
Pitch deviations
The best way to measure how far a monophonic sound deviates from the pitch centre is with a tuner or pitch correction tool.
In tuning plugins, each semitone is divided into 100 cents. For instance, if you see +11ct when you click on a pitch in a plugin like Melodyne, it means the note is 11 cents sharp. It’s a barely noticeable deviation, and lowering the value to 0ct would tune that pitch to perfection. But there are multiple scenarios in which perfect pitch doesn’t work.
In a jazz band, an upright bass may naturally drift around the pitch centre. A string quartet may sound harmonious together, but clash with the synth layers added later in a production.
Most sound sources consist of multiple frequencies, which is what gives them their distinct timbre or sonic character. So, when making tuning decisions, we subconsciously prioritise the fundamental frequency, which is often the loudest perceived pitch.
But there is one sound source that generates a single frequency with each note you play: the sine wave, which lives in most additive, FM, and modular synthesizers. In other words, a sine wave produces only one audible pitch.
Here’s how a sine wave compares to other sound sources playing the same pitch.

What is frequency?
Frequency in music refers to the rate of vibration of a sound wave, measured in Hertz (Hz), which determines the perceived pitch of an instrument or voice.
Pitch is useful for describing musical notes at various registers. Frequency, on the other hand, is a numerical measurement, closer to mathematics than musical language.
Some frequencies correspond to a semitone, while others fall somewhere in between. Luckily, there are parametric EQ plugins like FabFilter’s Pro-Q 4 that display not only each audible frequency, but also their relationship to the nearest semitone in cents. This makes pinpointing resonances that feel out of tune easier.
Still, knowing the basics of the formula can be useful. For instance, a sine wave at 440 Hz corresponds to A4. The same pitch, an octave higher, appears at 880 Hz, while A3 sits at 220 Hz.
It’s the combination of multiple frequencies at different amplitudes that gives each sound its distinct timbre.
Let’s put it to the test. Here, we have a vocal sample from my BandLab Sounds pack, SIRMA Presents Ethereal Pop Vocals: a single syllable sung in C4. First, you’ll hear how it compares to a sine wave playing the same pitch. Listen to what happens when we isolate the fundamental frequency in the vocal sample using the Brickwall setting, which is a steep filter, in Pro-Q 3.

All of a sudden, it’s nearly impossible to distinguish the vocal from the sine wave.
This is why it’s important to respect the frequency content that makes up the timbre of a sound while producing music. With parametric EQ plugins, it’s easy to reduce or remove specific frequencies. But doing so may strip a sound of its character.
Harmonics / Overtones
When a sound lacks sonic character, producers often turn to saturation or distortion to introduce harmonic excitement. These effects generate additional frequencies by reshaping the waveform, which are commonly referred to as harmonics or overtones.
In physics, a harmonic is an exact multiple of the fundamental frequency, whereas an overtone can be any frequency above it. But musicians generally use these terms interchangeably.
Although it’s impossible to predict every overtone without a spectrum analyser, you can expect to find a specific series of harmonics for each pitch. These harmonics appear at fixed ratios, though their amplitudes vary depending on the source and its timbre.
For practice, let’s revisit the same vocal sample singing C4.
The fundamental frequency, also known as the first harmonic, is C4 at approximately 261 Hz.
The second harmonic is C5 at approx. 523 Hz.
The third harmonic is G5 at approx. 785 Hz.
The fourth harmonic is C6 at approx. 1046 Hz.

Because each harmonic is a multiple of the fundamental frequency, its intervallic relationship establishes musicality within a single pitch. The less crowded the overtones are, the purer the perceived pitch becomes. Too many inharmonic or dense overtones result in what we perceive as noise.
Rethinking your EQ decisions
Now that you understand the relationship between pitch and frequency, you can make smarter EQ decisions.
For example, certain harmonics in melodic instruments may sound atonal relative to the key your arrangement is in, especially when they dominate the fundamental frequency. In these cases, you can shape the layers in the instrumentation with this interaction in mind, or use EQ to tame problematic resonances.
But it’s essential to keep the risk of going overboard in mind. If you solo a vocal take and focus too closely on individual overtones, you’re likely to do more harm than good. Take breaks and regularly check each layer in the context of the full mix.
And remember: every time you make a sharp EQ cut, you shift the balance, giving more prominence to surrounding frequencies. Bypass the EQ to observe the effects of your changes at each step to maintain objectivity and avoid ear fatigue.
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Nopia is open now for pre-orders – and it might just give the Telepathic Orchid a run for its moneyNopia – the semi-modular MIDI chord generator and synthesizer that’s been teased since as far back as 2023 – is finally open for pre-orders.
First announced in May 2023 by Argentinian instrument designers Martin Grieco and Rocio Gal, Nopia has had niche synth nerds on the edge of their seat for literally years at this point. But the time has come for you to actually think about adding it to your gear collection…
Nopia revolves around the concept of tonal harmony, focusing on the relationship between chords, particularly the connection between the tonal centre (the home tone of the key) and the dominant (the fifth note in a key). The device features a single-octave chord builder keyboard with a 12-button “tonal selector”, allowing players to select a key centre and generate chords that follow the rules of tonal harmony.

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Nopia also features a multitimbral sound engine, which is a hybrid of sampled instruments and onboard virtual analogue synths. There’s also a five-step effects chain and multitouch strum plate for expressive gestures like strumming, chromatic movement and microtonal pitch bends.
After it was revealed to the world, Nopia quickly gained a huge amount of attention, garnering over seven million views on YouTube as of the time of writing.

Last we heard, Nopia was in the midst of an “exhaustive testing stage” back in December last year.
Now, after a hefty wait, Nopia is finally available to pre-order via Kickstarter. Early Bird deals are now sold through, and there’s one option available: Nopia MK1 – Kickstarter Standard, which lets you grab one for $699, a significant discount from its MSRP of $899. As of the time of writing, there’s only 50 units left, so you’ll have to act fast if you want to get your hands on one… So far, the project has received a whopping $1,412,000 of its mere $50,000 goal.
The creators say pre-orders will directly fund the first production batch of Nopia MK1, and orders are estimated to be fulfilled from May 2027. Those who pre-order will also receive exclusive behind-the-scenes looks at the manufacturing process, sound design sessions, and engineering updates as they become available.

“We’ve all heard music and felt something resonate inside us,” the Nopia Kickstarter page reads. “We didn’t have to understand the theory or the architecture behind it, we just felt it. Our ears already effortlessly know how to decode sounds into emotion.
“Nopia was born out of a single question: Can an instrument tap directly into this quiet miracle? Notes sounding together, and moving through time, build the language of harmony. Nopia is technology crafted to immerse you in that language in real-time.”
Learn more at Nopia.io, and secure your Nopia MK1 via the official Kickstarter page.
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Arturia’s MiniFreak gets a free 5.0 update: here’s everything you need to knowA 5.0 update has landed for Arturia’s MiniFreak synth and MiniFreak V software.
The update brings three major upgrades, including the ability to bring your own material into MiniFreak – a highly-requested enhancement. Users can now import their own samples and wavetables and shape them with the Freak engines, in software and on hardware. The update is entirely free to all existing software and hardware users.

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To import your own samples, simply drop a file into the engine, or use the “Import” button. MiniFreak V then very kindly “handles the conversion and trimming”. You can also import mono wavetables from your favourite libraries, including Pigments, and “twist them on the fly” with the Wavetable engine.
The update also delivers the new Factory Bank v5.0, with “exclusive” sample and wavetable content across 23 new presets, and users also now have full management of user content on the hardware MiniFreak, directly from MiniFreak V; this includes transferring samples, removing them, and performing a factory reset.
Find out more in the video below:

In 2022, MusicTech reviewed the Arturia MiniFreak and scored it a 9/10. In the review, we said, “The MiniFreak is a small instrument whose unassuming exterior hides a behemoth of a synthesiser. It’s tough to believe the richness and character you can coax from such a compact, almost cute, instrument.
“Thanks to its cleverly conceived panel layout and performance controls that keep every parameter within reach, playing with the MiniFreak is never frustrating. Being able to connect this excellent control panel with virtual instances of the same hardware adds a deep layer of icing atop an already mouth-watering cake.”
In other Arturia news, the brand also released a new bass synthesiser last month. Pure SUB offers an array of new tools that maintain the “drop-defining” bass quality, and focus on weight, impact, and motion.
To find out more and access the free 5.0 update, visit Arturia.
The post Arturia’s MiniFreak gets a free 5.0 update: here’s everything you need to know appeared first on MusicTech.

This FREE Korg Prophecy emulator lets you sound like The Prodigy
Developer Joe Landers has released Profligacy, a free and open-source emulation of the Korg Prophecy synthesizer for macOS and Windows. This one is definitely rough around the edges, but it is worth your attention if you’re into classic 90s synth sounds. Profligacy emulates the original Prophecy hardware at a low level and runs the instrument’s [...]
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Soundins releases OmniPass, a FREE phase alignment filter
Soundins has released OmniPass, a free all-pass filter plugin for phase alignment and sound design on macOS and Windows. An all-pass filter is a slightly unusual tool. I mean, for starters, it sounds weird. A filter that passes everything through. What’s the point? Unlike a conventional EQ, it keeps the response flat, so it does [...]
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Modartt launch Airteq Rather than recreating specific instruments, Airteq instead provides users with a collection of virtual pipes, allowing them to create their own custom instruments that offer a mixture of acoustic and electronic qualities.