analog signal path · hardware synthesis · no plugins
Solid State Logic desktop mixer. Two SuperAnalogue channel strips with EQ and dynamics. Main outs routed to Clarett inputs 1/2. The center of the signal path.
8 analog inputs, Thunderbolt/USB-C. Ins and outs fully routed through the patchbay. The bridge between hardware and computer — and now, the web.
8 MIDI ins, 8 MIDI outs — 128 MIDI channels. The nerve center of the hardware MIDI network. Every synth and drum machine routes through this.
The DAW end of the hybrid. Arrangement, MIDI sequencing, editing, automation, final mix and export — and where tape comes back to be mixed.
Main monitoring reference for tracking, overdubbing and working with the Portastudio.
24-in, 2-row. All audio and MIDI routed through a centralized patchbay. Normalled for standard chains, repatchable on the fly. No cable crawling.
Versatile polysynth with deep preset library. Pads, leads, electric pianos. Routed to SSL SiX / Clarett inputs 3/4.
MIDI Port 4True analog oscillators, 4 voices. The hands-on synth — every knob is a parameter. Warm, immediate, alive.
MIDI Port 7Clone of the Roland VP-330. Lush analog strings and choir, built-in vocoder. Routed to Clarett inputs 5/6.
MIDI Port 5Miniature reissue of the legendary MS-20. Dual oscillators, resonant filters that scream, and a patch panel for modular routing. Aggressive, raw, alive. The filter alone is worth the price of admission.
Four independent analog voices with built-in sequencer. Raw, lo-fi character. Each voice tunable independently — good for detuned unison or 4-part sequences.
Half-rack sound module. Massive library of 90s/2000s sounds — orchestral, pads, world instruments. Routed to Clarett inputs 7/8.
MIDI Port 3Analog recreation of the TR-808. Kicks that move air. Stereo output through patchbay.
MIDI Port 2Classic digital drum machine. 233 sounds, swing control, multiple outputs. A workhorse.
MIDI Port 690s flagship drum machine. Expressive, velocity-sensitive pads. Deep sound library with expansion cards. A classic.
MIDI Port 1Battery-powered, standalone DJ system with 7" touchscreen. Wi-Fi streaming, SSD storage, dual-deck. No laptop needed — the entire DJ rig in one portable unit.
Burgundy finish with circular fret markers. Humbuckers, mahogany body, the weight and sustain that only a Les Paul delivers.
Two single coils, the bridge pickup's growl and the neck pickup's weight. The low end of most arrangements starts here.
Burgundy finish. Czechoslovak-made, Cold War era guitar. Rare, distinctive, full of character. The kind of instrument with a history you can feel.
BOSS recreation of the legendary RE-201. Tape-style echo with spring reverb. The sound of dub, shoegaze, and atmosphere.
Waza Craft reissue of the DC-2. Four buttons, no knobs — each mode a different chorus character. Subtle, dimensional, lush.
Tube screamer lineage with more controls. Fat, warm overdrive that pushes an amp or stacks with other drives.
Original vintage Ibanez flanger. Through-zero flanging, jet sweeps, metallic shimmer. The real thing, not a reissue.
Two DD-7 delays. Stereo ping-pong, analog mode, reverse, modulated — with two you can chain them for complex delay textures or run parallel for wide stereo spreading.
Full multi-effects processor. Amp models, effects chains, looper — Swiss army knife of the pedalboard.
80s rack reverb. Warm, distinctive character. Routed through patchbay for any source.
Hardware spring reverb unit. The kind of character that no plugin replicates. Physical springs, real resonance.
The last and best cassette four-track. Six channel strips with sweepable-mid EQ, four mic preamps, two effect sends, dual tape speed and dbx. Three jobs here: real tape saturation on the patchbay, six extra analog channels when the interface runs out, and a sketchpad that needs no computer. The RE-202 models tape echo — this is tape. Runs Maxell XL-II high-bias Type II, the formulation the manual is calibrated for. Its four TAPE OUTPUTS feed Clarett inputs 1–4, so a whole cassette returns as four separate tracks rather than a stereo bounce. How it works and how it's used →
Raw, dark drum samples. Black metal and underground aesthetics. When the RD-8 is too clean.
Oeksound's spectral processor. Tames harsh resonances in real-time — the mix engineer's secret weapon.
Patch editor for the Roland R8. Full parameter control without menu diving. Makes hardware patch management bearable.
Note-level audio editing. Pitch correction, timing, formant shifting. Surgical when needed, transparent when done right.
| Source | Destination | MIDI Port |
|---|---|---|
| SSL SiX Main Out | Clarett Inputs 1/2 | — |
| Juno DS L/R | SSL SiX / Clarett 3/4 | 4 |
| VC340 L/R | Clarett Inputs 5/6 | 5 |
| JV-1010 L/R | Clarett Inputs 7/8 | 3 |
| RD-8 L/R | Patchbay → SSL SiX | 2 |
| SR-16 L/R | Patchbay → SSL SiX | 6 |
| Korg Minilogue | Patchbay → SSL SiX | 7 |
| Logic Stems (Clarett outs) | 424 mkIII Inputs → cassette | — |
| 424 TAPE OUT 1–4 (RCA, −10 dBV) | Clarett Inputs 1–4 → Logic | — |
| 424 Line Out L/R | Patchbay → SSL SiX | — |
| Yamaha R1000 | Patchbay (aux return) | — |
| Fostex 3510 | Patchbay (aux return) | — |