MPE is becoming ever‑more prevalent, and plenty of desktop hardware synths are getting in on the action.
In the September 2025 issue, we rounded up some of the currently available options in the MPE controller market. They range from keyboard‑based units like the Expressive E Osmose and ROLI Seaboard 2 to more experimental offerings that can be considered instruments in their own right — Roger Linn Design’s LinnStrument and the Embodme Erae 2, for example. Whichever approach you decide to take, your controller of choice will need to be paired up with an MPE‑compatible instrument to fulfil its potential. As well as an abundance of software options, there’s now a healthy selection of hardware synths that boast MPE support, some of which have been built from the ground up to make the most of the protocol, and others which were already well‑established instruments that have gained new expressive capabilities through firmware updates.
ASM Hydrasynth Desktop
ASM Hydrasynth Desktop
Packing in the same wavetable engine as its keyboard‑equipped counterpart, ASM’s Hydrasynth Desktop offers all the power of the standard instrument in a compact, rackmountable desktop enclosure. Its three oscillators offer a choice of 219 waveforms — two of them feed the company’s renowned Mutant processors — and are joined by a pair of filters (one multi‑mode, one SEM‑style state‑variable) and no fewer than five LFOs and five envelopes. The instrument’s modulation matrix comprises 35 sources and 191 destinations, and its effects section houses a versatile collection of processors that range from EQs and distortion to reverbs and delays. A set of assignable macro controls make it possible to control up to eight parameters from a single encoder or button. As of firmware version 1.3 the Hydrasynth Desktop boasts full MPE support, allowing for individual pitch‑bend, timbre and pressure control over each of its voices. As the instrument already supported polyphonic aftertouch, switching to MPE mode will result in MPE pressure automatically being mapped to aftertouch, while a selection of MPE options (MPE‑X, MPE‑Y absolute, MPE‑Y relative) have been added to the instrument’s Modulation Sources menu.
£749 including VAT.
$779.
www.soundonsound.com/reviews/asm-hydrasynth
www.ashunsoundmachines.com/hydrasynth-desk
Black Corporation
Black Corporation Kijimi Mk2
There are a few MPE‑capable options to choose from in the Black Corporation range. First up is the Kijimi Mk2, an eight‑voice instrument which the company say was designed to be one of the most powerful polysynths ever built! Its oscillators continually morph through sine, triangle, sawtooth and pulse‑width waveforms, while its two envelopes offer some interesting features including a cycling trapezoidal mode similar to that of the EMS Synthi. The ISE‑NIN then offers the company’s take on the Roland Jupiter‑8, while the Deckard’s Dream draws inspiration from the much‑loved Yamaha CS‑80. Finally, there’s the Xerxes MkII, an eight‑voice polysynth that aims to combine the iconic sound of an Elka Synthex with modern expressive control. There are two digitally controlled analogue oscillators, a multi‑mode filter, white and pink noise generators, and an analogue BBD chorus effect with three operating modes. The Xerxes MkII boasts a comprehensive set of envelope and modulation controls, and also supports micro‑tuning.
From £4200 including VAT.
From $3499.
www.soundonsound.com/reviews/black-corporation-ise-nin
www.soundonsound.com/reviews/black-corporation-deckards-dream
Dreadbox Artemis / Nymphes
Dreadbox Artemis
The Artemis is the most recent addition to Dreadbox’s range, and combines the company’s signature analogue sound with a collection of digital stereo effects designed by DSP experts Sinevibes. It’s a six‑voice design that features a pair of waveshaping oscillators with hard sync and through‑zero FM, along with a resonant low‑/high‑pass filter, two ADSR envelopes, a pair of LFOs and an onboard sequencer and arpeggiator. As you might have guessed from its inclusion here, the Artemis offers MPE support straight out of the box. There’s also the Nymphes, another compact six‑voice polysynth that combines a single oscillator with low‑ and high‑pass filters, a pair of ADSR envelopes, one LFO per voice and a built‑in reverb. Despite its apparent simplicity, the Nymphes fully supports MPE and many of its parameters feature a polyphonic response.
Artemis £1089, Nymphes £449. Prices include VAT.
Artemis $1499, Nymphes $549.
www.soundonsound.com/reviews/dreadbox-artemis
www.soundonsound.com/reviews/dreadbox-nymphes
Erica Synths Steampipe
Erica Synths Steampipe
Designed in collaboration with Dutch plug‑in developers 112dB, Erica Synths’ Steampipe brings something a little different to the table. It’s a physical modelling synthesizer that has no oscillators, opting instead for an envelope and noise generator that have been designed to mimic the behaviour of wind and string instruments. It’s probably no surprise that it’s been optimised for use with wind‑based MIDI controllers, but it will also happily pair up with any MPE (or standard MIDI) controller. Precise control of the instrument’s physical modelling parameters means that it’s capable of producing organic emulations of acoustic instruments, but it goes well beyond their conventional pitch and dynamic ranges and, of course, can be pushed into far more experimental territory.
£977 including VAT.
$1289.
www.soundonsound.com/reviews/erica-synths-steampipe
www.ericasynths.lv/shop/synthesizers/steampipe/
Groove Synthesis 3rd Wave Desktop / 8M
Groove Synthesis 3rd Wave Desktop
Groove Synthesis were met with significant praise when they launched their PPG Wave‑inspired synth, and since its initial release its been treated to a series of updates and gained some powerful new features. It’s also now available in the form of the 3rd Wave Desktop, a module version that packs in all the power of the flagship synth, and with the exception of a handful of top‑panel controls, delivers exactly the same programming experience. Each of the instrument’s three oscillators can function as a wavetable (classic PPG and modern modes are provided) or an analogue‑modelled waveform, while filter duties fall to a Dave Rossum‑designed 2140 analogue low‑pass and an SEM‑style state‑variable option. As well as offering a generous 24 voices, the synth is four‑part multitimbral, with each of the four layers treated to their own independent modulation matrix. The more recent 3rd Wave 8M then offers a similar experience, but comes in at a lower cost thanks to a reduction in voice count (eight instead of 24), and a simplified front‑panel design that offers fewer physical controls. Much like their keyboard‑equipped sibling, both modules now fully support MPE.
3rd Wave Desktop £3449, 3rd Wave 8M £1779. Prices include VAT.
3rd Wave Desktop $3495, 3rd Wave 8M $1999.
www.soundonsound.com/reviews/groove-synthesis-3rd-wave-desktop
www.soundonsound.com/reviews/groove-synthesis-3rd-wave-8m
GS Music Bree6 / e7
GS Music Bree6
The Bree6 is the second synth to be launched by Argentina‑based GS Music, and manages to pack some serious functionality into a sleek, compact enclosure. It’s a six‑voice analogue polysynth, and features a single oscillator that includes sawtooth and pulse waveforms along with a modulatable pulse‑width modulation control; there’s also a square‑wave sub‑oscillator. Its filter employs a resonant four‑pole low‑pass design, and a pair of ADSR envelopes are joined by a single LFO, while some stereo effects are provided in the form of chorus and delay. Importantly, the Bree6 supports the use of MPE controllers, and GS Music say they have carefully tested its implementation with the Expressive E Osmose, Roger Linn Designs LinnStrument and moForte’s GeoShred software. MPE support is also present in the company’s debut release, the e7 — a larger seven‑voice polysynth that features a ladder‑type low‑pass filter.
Bree6 £989, e7 £1799. Prices include VAT.
Bree6 $999, e7 $1899.
www.soundonsound.com/reviews/gs-music-bree6
www.soundonsound.com/reviews/gs-music-e7
Melbourne Instruments Nina
Melbourne Instruments Nina
Melbourne Instruments’ Nina combines a trio of oscillators (two analogue and one digital wavetable) with a Moog‑inspired ladder filter, allowing it to cover a wide variety of classic sounds as well as stepping into more modern territory. It’s a 12‑voice instrument that boasts four‑part multitimbrality, and includes an innovative Morph function that makes it possible to blend seamlessly between entire patches. There are two ADSR envelopes and a powerful modulation matrix, and thanks to the motorised pots, the instrument offers instant recall of settings and is capable of displaying automation and modulation directly on the top‑panel controls in real time. The Nina has always been equipped with a powerful sequencer, but thanks to a series of firmware updates it now offers four independent, polyrhythmic, polyphonic tracks that benefit from per‑step automation. There’s a dedicated mode that offers full MPE control across the instrument’s multitimbral layers, and also adds a decay envelope for expressive sound control on MPE aftertouch and CC74. What’s more, Melbourne Instruments have teamed up with Expressive E and sound designer James Terris to create an exclusive MPE preset pack specifically for users pairing the Nina with an Osmose.
£3650 including VAT.
$3599.
www.soundonsound.com/reviews/melbourne-instruments-nina
www.melbourneinstruments.com/nina
Oberheim OB‑X8 Desktop / OB‑6
Oberheim OB‑X8 Desktop
Introduced in 2022, the OB‑X8 aims to deliver the ultimate Oberheim experience by bringing together three of the legendary designer’s renowned designs: the OB‑X, OB‑Xa and OB‑8. Key elements of each design, including the all‑important filters, were faithfully reproduced in order to capture the sound of the original instruments, and the new flagship synth also makes it possible to ‘mix and match’ elements to create sounds that weren’t obtainable on the originals. The newer OB‑X8 Desktop features an identical engine to its keyboard‑equipped counterpart, with its discrete VCOs, VCAs and filters complemented by knob‑per‑function panel design — despite the lack of a keyboard, the module retains the arpeggiator and keyboard split functions, keeping its abilities consistent with the OB‑X8 when connected to the user’s choice of controller. Although there was no support for MPE when the instrument launched, it has since been added with the free OS v2.0 update, making the OB‑X8 Desktop fully compatible with MPE controllers. The OB‑6 module, which was developed in a collaboration between Tom Oberheim and Dave Smith — and originally released under the DSI/Sequential brands — is now officially a part of the current Oberheim line‑up, too. The module features a broadly similar architecture and layout to the Sequential Prophet‑6 (more of which later), but employs a two‑pole state‑variable resonant filter based on the Oberheim SEM.
OB‑X8 £3109, OB‑6 £2249. Prices include VAT.
OB‑X8 $3499.99, OB‑6 $2399.99.
www.soundonsound.com/reviews/oberheim-ob-x8
Sequential Prophet‑6 / Trigon‑6 Desktop Modules
Sequential Prophet‑6 Desktop Module
There’s plenty to choose from in the Sequential line‑up, with the desktop module versions of the Prophet‑6 and more recent Trigon‑6 both boasting MPE support. As their names suggest, both are six‑voice instruments, with the former offering a modern take on the company’s vintage designs and the latter delivering the last synth designed by founder Dave Smith. The Prophet‑6 combines a pair of discrete VCOs with a two‑pole resonant high‑pass filter and a Prophet‑5‑inspired four‑pole resonant low‑pass filter.
Sequential Trigon‑6 Desktop Module
The Trigon‑6 then boasts a three‑oscillator design — with triangle, sawtooth, reverse sawtooth and variable‑width pulse waves — and features a switchable two‑/four‑pole resonant low‑pass ladder filter. If you’re after more voices, the Trigon‑6 is equipped with a Poly Chain feature that allows two units to behave as a single 12‑voice instrument. Both modules will happily respond to MPE controllers.
Prophet‑6 £2111, Trigon‑6 £2399. Prices include VAT.
Prophet‑6 $2299.99, Trigon‑6 $2499.99.
www.soundonsound.com/reviews/dave-smith-instruments-sequential-prophet-6
www.soundonsound.com/reviews/sequential-trigon-6
Supercritical Redshift 6
Supercritical Redshift 6
The Supercritical Redshift 6 has been treated to an array of new features since it launched in 2024 — with yet more already planned for introduction in 2026 — and as of October 2025 it supports MPE. There are no fewer than 16 analogue oscillators per voice, and thanks to a set of Character Profiles, the tuning, gain staging, filter, amp and envelope behaviour of each of the instrument’s six voices can be adjusted to deliver everything from clean, modern tones to “distorted misbehaviour and beyond”. The four‑pole, state‑variable analogue filter is equally versatile, and is said to be capable of emulating just about any classic vintage design. There are four envelopes and four LFOs, and a generous selection of DSP‑based reverb, delay and modulation effects.
£1099 including VAT.
$1349.
www.soundonsound.com/reviews/supercritical-synthesizers-redshift-6/
supercriticalsynthesizers.com/redshift6/
Synclavier Regen
Synclavier Regen
Synclavier say that the Regen brings together all of the sounds from their rich legacy, as well as introducing an array of modern synthesis types and expressive control. Its DSP engine offers additive, subtractive and FM synthesis as well as sampling, all of which can be mixed together (a patch can contain up to 12 partials) with the ability to assign crossfades to the likes of velocity, pressure, mod wheel and keyboard inputs. MPE and polyphonic aftertouch are both fully supported, and thanks to a comprehensive Modulators menu, it’s possible to adjust the response curves of the parameters that are linked to control inputs. There’s an onboard arpeggiator, and the instrument also comes loaded with a wealth of effects including chorus, reverb, vibrato, tremolo and bit‑crushing.
£2335 including VAT.
$2499.
www.soundonsound.com/reviews/synclavier-regen
www.synclavier.com/synclavier-regen/
Twisted Electrons TWISTfm
Twisted Electrons TWISTfm
Aimed at those looking to “push the boundaries of sonic creativity”, Twisted Electrons’ TWISTfm offers a combination of FM synthesis with analogue filtering and modern control. The instrument employs a pair of Yamaha OPL‑3 YMF262 FM chips, delivering eight voices that are each complemented by their own multi‑mode filter. A total of 15 filter modes cover low‑, high‑ and band‑pass behaviours along with phasing, notch and more, while Liquid and MS20 resonance modes provide both subtle and aggressive filter characters. There’s a built‑in 128‑step sequencer with MIDI sync and looping options, and as well as supporting MPE, the instrument is equipped with an onboard ribbon controller.
€979 including VAT.
$1199.
www.twistedelectrons.com/twistfm
UDO Audio Super 6 Desktop
UDO Audio Super 6 Desktop
The module version of UDO Audio’s Super 6 packs all of the features found in the keyboard version into a compact enclosure that can be used as a desktop instrument, rackmounted with the optional ear attachments, or held in place just about anywhere else thanks to a built‑in VESA mount. Despite its name, the instrument actually has 12 voices, but features a binaural mode that combines them into six ‘Super’ voices — left/right pairs of voices that are routed and processed separately by the synth’s true stereo signal path, allowing for everything from subtle stereo movement to more extreme creative effects. There are two FPGA‑based oscillators, a four‑pole low‑pass filter and simple high‑pass filter (which can be used together to mimic a band‑pass), two envelopes and two LFOs; there’s a powerful onboard sequencer and arpeggiator, too, along with built‑in high‑quality stereo chorus and delay effects. And of course, its inclusion here means that the Super 6 Desktop is capable of responding to MPE.
£1949 including VAT.
$2385.
www.soundonsound.com/reviews/udo-audio-super-6
www.udo-audio.com/super-6-desktop
Waldorf Iridium Desktop
Waldorf Iridium Desktop
Described as a “direct descendant of the PPG Wave”, the Waldorf Iridium Desktop makes the engine that powers their renowned Quantum synth available in a more compact form. Its three oscillators offer a choice of five modes: wavetable, virtual analogue, particle (sampling and granular), resonator and kernel, the last of which allows each oscillator to be divided into six oscillators. There are three filters per voice (12 or 24 dB/octave low‑, high‑ and band‑pass), six envelopes, six LFOs and a 40‑slot modulation matrix. Despite its complex nature, the synth promises an intuitive programming experience, with a wealth of physical controls joined by a powerful touchscreen system. MPE is supported via both DIN and USB MIDI inputs, and by default, a controller’s X, Y and Z axes are mapped to the pitch‑bend, modulation source and channel aftertouch parameters in the Iridium’s engine. Waldorf also offer the Iridium Core, a scaled‑back version of the instrument that features the same sound engine but with 12 voices and fewer physical controls.
Iridium Desktop £1699, Iridium Core £1355. Prices include VAT.
Iridium Desktop $3499, Iridium Core $2199.
www.soundonsound.com/reviews/waldorf-iridium-keyboard
www.soundonsound.com/reviews/waldorf-iridium-core
waldorfmusic.com/iridium-core/
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