From the dawn of synths, through the iconic Yamaha DX7 and beyond, we’ve had amazing instruments which felt as if the musician needed a degree in physics and audio engineering in order to successfully program — power with complexity.
So we’ve then seen a number of instruments offering powerful sound engines but with less emphasis on menu diving and complex learning curves in order to get decent not-just-preset sounds which behave — interesting but predictable — particularly during live performance.
Enter Modal Electronics’ ELEMENT One, an 8-voice virtual analog synth which promises “Less programming. More performance. Total creative freedom”.
What’s quite interesting in the marketing is the different types of musician Modal is aiming the ELEMENT One at. Although a synth has potential for anyone, it’s quite unusual to see a keyboard aimed at guitarists, bassists, drummers, DJs and vocalists as well as keyboard players. The presence of an audio in suggests there may be ways of modifying external sounds directly, or alternatively using some kind of MIDI converter to augment sounds from another instrument and build on them in the One.
Play First, Tweak Later
The main thrust of this 37-key (3 octave) keyboard synth is to just start playing, and let the sound react to your playing style and nuances captured via velocity, aftertouch, the parameter stick, and other fairly simple buttons and dials.
Seventeen dedicated knobs and the 4-axis joystick offer immediate control of sounds, with the aim being the tweaking process becomes quite intuitive over a short period of time playing the instrument.
300 onboard sounds — yes, presets, but let’s be honest, even in a synth, sometimes that’s all you need. Perhaps with the tiniest of tweaking as you go along. Modded sounds can be saved, organised by project, for easy recall.
Other features include the arpeggiator, effects such as reverb, delay and chorus, and sturdy build quality.
There is a certain amount of menu diving potential, given the size of the instrument and the power it has under the hood, but it’s not mandatory — and there’s also an app which can make the whole process less troublesome than using the sharp but relatively small screen and associated controls.
Main Features
- 8-Voice Power: Play thick chords and complex layers without notes cutting out.
- Expressive Keys: 37 full-size keys with Aftertouch (the sound changes based on how hard you press after the initial hit).
- Total Control: 4-Axis X/Y joystick and 4 free assignable encoders for bending and warping sound in real-time.
- Plug & Play: Connects to your headphones, amp, or computer (USB-C) instantly.
- Massive Library: Access thousands of additional sounds for free via the COBALT8 library.
Find the best price for the ELEMENT One on Reverb
Specifications
Polyphony
- True 8 voice polyphonic
Oscillators
- 64 high-resolution virtual-analogue oscillators, up to 8 per voice
- Two independent and self-contained oscillator groups with sine, pulse, triangle, sawtooth waveforms, 40 different algorithms including: complex analogue synthesis techniques, built-in crossmodulation (SYNC, RM, and many more), PWM, smooth morphing between VA waves, bit crushing, filtered noise.
- Vintage Parameter and Extended Oscillator Drift
- Algorithms
- VA Sweep: Sweep through sine, triangle, saw, square, pulse (with pulse width) (A), ability to detune the oscillators (or snap to musical intervals) using spread (B)
- VA Crushed: Sweep through sine, triangle and saw shapes (A) with real-time control over bit crushing (B)
- Spread Saw: Spread mode with increased oscillator count, ability to blend between the fundamental and detuned oscillators (A) and more comprehensive spread (B) options (e.g oct up + detuned)
- Spread Square: Spread mode with increased oscillator count, ability to blend between the fundamental and detuned oscillators (A) and more comprehensive spread (B) options (e.g oct up + detuned)
- Spread Triangle: Spread mode with increased oscillator count, ability to blend between the fundamental and detuned oscillators (A) and more comprehensive spread (B)options (e.g oct up + detuned)
- PWM: Classic Pulse Width Modulation with width control (A) and ability to detune the oscillators using spread (B)
- PWM Dual: PWM mode where as the width control (A) changes, the pulse width increases in the first cycle of the wave and decreases in the second cycle. Oscillators can be detuned using the spread (B) control
- PWM Triangle / Square: Alternating triangle and square waves with control over the width of the triangle portion (A) and an asymmetry control (B) that allows every second cycle to have a different triangle width (inverse) to the first
- PWM Saw Eraser: Wave with both a saw and PWM portion, with control over the ratio between the two portions (A) and the width of the PWM portion (B) relative to parameter A
- PWM Triangle Pinch: Triangle wave with pulse width modulation (A) and an asymmetry control (B) which allows every second cycle of the wave to have a different width to the first (can be wider or narrower)
- Hard Sync Saw: Classic hard sync with un-quantised ratio (A) that can be blended with a sub oscillator (B) one octave below the fundamental
- Hard Sync Square: Classic hard sync with un-quantised ratio (A) that can be blended with a sub oscillator (B) one octave below the fundamental
- Hard Sync Triangle: Classic hard sync with un-quantised ratio (A) that can be blended with a sub oscillator (B) one octave below the fundamental
- Fractal Saw: Complex sync with un-quantised control over ratio (A) and and an asymmetry control (B) that allows every second cycle of the wave to have a different sync ratio to the first
- Fractal Square: Complex sync with un-quantised control over ratio (A) and and an asymmetry control (B) that allows every second cycle of the wave to have a different sync ratio to the first
- Fractal Triangle: Complex sync with un-quantised control over ratio (A) and and an asymmetry control (B) that allows every second cycle of the wave to have a different sync ratio to the first
- Reverse Saw: Periodically reverses the direction of the waveform and changes the playback rate (A), asymmetry control (B) changes the period length (I.e the switch point within a cycle)
- Reverse Square: Periodically reverses the direction of the waveform and changes the playback rate (A), asymmetry control (B) changes the period length (I.e the switch point within a cycle)
- Reverse Triangle: Periodically reverses the direction of the waveform and changes the playback rate (A), asymmetry control (B) changes the period length (I.e the switch point within a cycle)
- Window Amp Sync: Applies amplitude modulation to a sine wave using a hard synced waveform. Features an un-quantised sync ratio control (A) and the ability to morph between multiple window shapes (B)
- Metal Saw: Creates ring modulation/amplitude modulation like effects by syncing a waveform to two separate signals, one at the base rate and one at the sync rate. Features un-quantised control over sync rate (A) and ability to balance between the base wave and the modulated signal (B)
- Metal Square: Creates ring modulation/amplitude modulation like effects by syncing a waveform to two separate signals, one at the base rate and one at the sync rate. Features un-quantised control over sync rate (A) and ability to balance between the base wave and the modulated signal (B)
- Metal Triangle: Creates ring modulation/amplitude modulation like effects by syncing a waveform to two separate signals, one at the base rate and one at the sync rate. Features un-quantised control over sync rate (A) and ability to balance between the base wave and the modulated signal (B)
- Ring Mod Saw: Ring mod applied to two saw waves, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
- Ring Mod Square: Ring mod applied to two square waves, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
- Ring Mod Triangle: Ring mod applied to two triangle waves, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
- Ring Mod Triangle / Square: Ring mod applied to a triangle and a square wave, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
- Ring Mod Saw / Square: Ring mod applied to a saw and square wave, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
- Ring Mod Saw / Triangle: Ring mod applied to a saw and triangle wave, with quantised ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades between these ratios allowing precise control across the whole range
- Chaos Saw: Un-quantised ring modulation (A) combined with randomisation (B)
- Chaos Square: Un-quantised ring modulation (A) combined with randomisation (B)
- Chaos Triangle: Un-quantised ring modulation (A) combined with randomisation (B)
- Fold Triangle: Triangle wave-folding (A) with DC offset (B)
- Filtered Noise: Noise generator combined with a morphable filter with full control over Cutoff (A) and Morph (B)
- Firmware V2 – FM Saw:Square: Frequency Modulation using a Sawtooth as the carrier and a Square as the modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
- Firmware V2 – FM Square:Square: Frequency Modulation using a Square as both the carrier and modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
- Firmware V2 – FM Tri:Square: Frequency Modulation using a Triangle as the carrier and a Square as the modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
- Firmware V2 – Noise AM Saw: Sawtooth Wave amplitude modulated by a filtered noise source with full control over AM Depth (A) and Noise filter cutoff (B)
- Firmware V2 – Noise AM Square: Square Wave amplitude modulated by a filtered noise source with full control over AM Depth (A) and Noise filter cutoff (B)
- Firmware V2 – Noise AM Tri: Triangle Wave amplitude modulated by a filtered noise source with full control over AM Depth (A) and Noise filter cutoff (B)
Filter
- 31 resonant Filter types including morphable and static filters
- Cutoff Scaling with two distinctive modes
- Filter Types:
- 4-Pole Morphable Lowpass Ladder Filter
- Balanced 4-Pole Morphable Lowpass Ladder Filter
- Morphable Phasing Filter
- Morphable Notch Filter
- State Variable Filter with BP
- State Variable Filter with Notch
- 4 pole Lowpass Ladder (with drive)
- 3 pole Lowpass Ladder (with drive)
- 2 pole Lowpass Ladder (with drive)
- 1 pole Lowpass Ladder (with drive)
- 4 pole Highpass Ladder (with drive)
- 3 pole Highpass Ladder (with drive)
- 2 pole Highpass Ladder (with drive)
- 1 pole Highpass Ladder (with drive)
- 4 pole bandpass Ladder (12dB Lp /12dB Hp) (with drive)
- 2 pole Bandpass Ladder (6dB Lp / 6dB Hp) (with drive)
- 3 pole Bandpass Ladder (6dB Lp / 12dB Hp) (with drive)
- 3 pole Bandpass Ladder (12dB Lp / 6dB Hp) (with drive)
- 4 pole Bandpass Ladder (6dB Lp / 18dB Hp) (with drive)
- 4 pole Bandpass Ladder (18dB Lp / 6dB Hp) (with drive)
- Notch Ladder (with drive)
- Notch Ladder Alt (with drive)
- Lowpass Ladder with Notch (with drive)
- Lowpass Ladder with Notch Alt (with drive) – notch closes with resonance
- Lowpass Ladder with Notch and Resonance (with drive)
- Bandpass Ladder with Notch (with drive) – notch closes with resonance
- Bandpass Ladder with Notch and Resonance (with drive)
- Phaser Ladder (with drive)
- Highpass Ladder with Notch (with drive) – notch closes with resonance
- Highpass Ladder with Notch and Resonance (with drive)
- Peaking Filter (with drive)
Modulation
- Three dedicated envelope generators for AMP, MOD and FILTER that can be accessed independently or all three simultaneously, including negative (reverse) versions for MOD and FILTER ENVs
- Three audio-rate LFOs with tempo sync (two poly, one global) with seven different shapes
- Eight assignable modulation slots and four additional fixed modulation routings for common assignments with 12 modulation sources and 55 modulation destinations
Arpeggiator
- Built-In sophisticated programmable arpeggiator of 32 steps with rest capability with up to 2048 steps before repeating
FX
- Three incredibly powerful independent and user-configurable stereo FX engines for Chorus, Phaser, Flanger (Pos), Flanger (Neg), Tremolo, LoFi, Rotary, Stereo Delay, Ping-Pong Delay, X-Over Delay and Reverb that can be arranged in any order
User Memory
- Patch Category Tags System and unlimited Custom Banks
- 500 patch memories, all fully editable and ships with 300 factory programs
- 100 FX presets
Controls and Performance
- Premium 37-note full-size Keyboard with velocity and channel aftertouch
- 17 endless encoders, 11 buttons
- Four-axis joystick that can be assigned to a huge range of modulation destinations and virtually ‘locked’ when desired
- 4 assignable controller knobs with direct access to any sound parameter
- Multiple keyboard modes (Mono, Poly, Unison 2, Unison 4, Unison 8, Stack 2 and Stack 4)
- Glide/Portamento with both legato and staccato modes
Inputs and Outputs
- 2 x unbalanced 6.3 mm (1/4”) TS outputs (L/R)
- Stereo 6.3 mm (1/4”) stereo headphone output
- Stereo 3.5 mm (1/4”) input with ability to route incoming audio through the FX
- 6.3 mm (1/4”) sustain pedal jack
- 6.3 mm (1/4”) expression pedal jack
- 3.5 mm (1/4”) Analogue clock sync in and out (configured to the KORG / Teenage Engineering specification)
- MIDI DIN in and out
- Class-compliant MIDI over USB-C connection to host computer or tablet
Enclosure and Display
- Road-ready steel and Polycarbonate enclosure
- 1.54-inch large OLED display for instant visual feedback at all times of playing/editing
- Compatible with VESA mounts
Power
- Power: DC-9.0V – 1.5A centre-positive
Editor Software
- Free MODALapp software editor available for macOS, Windows, iOS and Android
- MODALapp can also be run within your Digital Audio Workstation (DAW), with VST3 and AU versions available
General
- Dimensions (L x W x H): 561 x 293 x 6.7 cm (22.2 x 11.6 x 2.6 inches)
- Weight: 4.5 kg (12.35 lbs)
