Peak sounds warm and rich with filthy, biting overdrive. It's an eight-voice desktop polyphonic synthesiser with three New Oxford Oscillators for each voice. The synth has a resonant multi-mode analogue filter for each voice, and three distortion points in an analogue signal chain.
Peak’s design consultant was none other than Chris Huggett, the man behind Bass Station, Supernova, OSCar and many more legendary synths. Peak has its origin in the Bass Station II analogue monosynth, and Peak’s oscillators sound completely analogue by being high-quality NCOs (Numerically-Controlled Oscillators), but gain the flexibility of the digital domain with 60 digital wavetables.
Broaden out your electronic music, draw in new influences and take artistic risks. The modulation system puts the most frequently used assignments right at your fingertips in the main controls. More elaborate movements and secondary ‘via’ assignments are made just a few menu button presses away.
The Wavetable Editor unleashes the power of the wavetable oscillators. It features drawing tools and a Live Edit mode, so you can draw your own oscillator shapes and preview them in real time. Audio import lets you load in your own audio to be used as the oscillator waveform. Included is a curated selection of space-themed audio from the NASA sound library, plus exclusive content from production giants Noisia.
You can plug Peak into your Mac or PC via USB and start playing. It also has MIDI I/O on five-pin DIN ports, so you can connect your other MIDI gear. Oh, and did we mention it connects to modular systems via a CV modulation input? Where does Peak fit in your set-up?
Two ways to create waveforms
Analogue-sounding NCOs (Numerically-Controlled Oscillators) and 60 digital wavetables.
A colossal amount of distortion
Three distortion points for each voice – pre-filter, post-filter and global – in an analogue signal chain.
Peak is capable of receiving polyphonic aftertouch, which puts expression right at your fingertips.
The three New Oxford Oscillators for each voice can become a linear FM source using either the analogue-sounding NCOs (Numerically-Controlled Oscillators) or digital wavetables. They are also able to cross-modulate in a recursive loop.
Huge modulation system
16-slot modulation matrix and 16 direct assignments controlled from the front panel, cleverly arranged for intuitive patch design and sound editing. Three ADSR envelopes and two LFOs for each voice.
Easily switch modulations
Two animate buttons give live performers instant one-touch transformation of patches.
Mind-blowing sounds on-board
Reverb, delay and chorus at your disposal, and there’s also an arpeggiator.
Connect to hardware and software
Connect and sync to your music software and MIDI-compatible hardware. CV modulation input used to slot together modular systems.
Store unlimited sounds
Keep as many patches as you like on your Mac or PC using the Components software.