Novation’s
flagship two-part 16-voice 61-key polyphonic synthesiser
Summit’s
digital New Oxford Oscillators offer subtractive, FM and wavetable synthesis,
and feed into genuine analogue dual filters, distortion and VCAs. The
multitimbral engine enables merging and combining of two complete and
independent patches, while up to 16 simultaneous voices deliver enough harmonic
depth for even the richest of pads.
The best
sounding synthesiser Novation has ever made
Summit
doubles the power of Peak’s digital New Oxford Oscillators up to 16 voices and
two parts, and adds a wealth of new features and a premium-quality five-octave
keyboard. A synth much greater than the sum of its parts, it gives the serious
producer or performer everything they need to design and play stunning basses,
leads, arps, pads, effects and beyond.
Totally tactile
sound design
Summit
takes Peak’s architecture and workflow to new heights, with a swathe of extra
front panel controls for hands-on wrangling of FM, effects, LFOs and more; dual
filters with six LP/HP/BP combinations; audio input for processing external
sources with the onboard effects; and auxiliary audio outputs.
Analogue
where it matters
The true
stereo analogue signal path comprises dual analogue multimode filters, analogue
VCAs and three stages of analogue distortion – pre- and post-filter, and post-VCA.
With roots in the legendary OSCar, via Bass Station II, Summit’s analogue
credentials are truly impressive.
Two Peaks
in one synth – and then some:
The
16-voice, multitimbral engine combines two simultaneous patches. Split or stack
them for keyboard-divided or layered sounds, or switch the entire synth between
two separate and independently controlled setups, perhaps using one as an
effects processor for an external input source. Also, Summit can use all your
Peak patches
Our best
keyboard ever
Five-octave,
semi-weighted, velocity-sensitive keyboard with aftertouch – the same
premium-quality keybed as introduced with our SL MkIII controller keyboard.
New Oxford
educated
Digital New
Oxford Oscillators are capable of subtractive, FM and wavetable synthesis.
Waveforms are generated directly on the FPGA (Field Programmable Gate Array)
chip, using 24MHz bitstream processing; and adjustable drift and divergence
emulate the inherent and often desirable instability of analogue circuits.
True
analogue filters and distortion
The New
Oxford Oscillators output to true analogue filters, with origins in the classic
OSCar synth, and three stages of analogue distortion give you ample saturation
options.
Dual
filters
Summit’s
dual filter is switchable between six paired combinations of low-pass,
high-pass and band-pass modes at 12dB/octave, or any single mode at
24dB/octave, for a broad range of sonic possibilities.
Hands-on
sound design
Packed with
modulation sources for deep sound design – LFOs, envelopes, Animate buttons and
more. Extended controls see FM parameters, envelope loop switches and LFOs 3/4
moved from Peak’s menu system to the front panel, for easy programming and
tweaking.
Audio in
and auxiliary audio out
Hook up
external instruments for processing with Summit’s onboard effects, while using
it as a synth at the same time.
Powerful
effects
Onboard
reverb, chorus and delay effects are hosted on the FPGA. They’re also
controlled directly from the front panel, and available as modulation targets
in the dedicated FX Mod Matrix.
Synth
Engine
16 note
polyphony (dependent on voices used per note)
2-part-timbral
Layered,
Split, Dual Bi-Timbral Modes
5 Voice
Modes – Mono, MonoLG, Mono2, Poly, Poly2
Per Voice
3
oscillators
1 noise
generator with HP filter control
1 ring
modulator
2 LFOs
1 amp
envelope and 2 mod envelopes (ADHSR + looping)
1 filter
Waveforms
Include
Sine, tri,
sawtooth, square / pulse, plus 43 wavetables of 5 waveforms per row
Filter
1 state
variable OTA filter per voice
12/24dB
slope
Low-pass /
band-pass / high-pass / dual filter (separation of each 12dB filters)
dual
filter: LP > HP, LP > BP, HP > BP, LP + HP, LP + BP, HP + BP, LP + LP,
BP + BP, and HP + HP
Pre-filter
overdrive
Post-filter
distortion
Modulation
16
modulation slots per patch
2 sources
per destination per slot
Mod Sources
Direct
(depth)
Modulation
wheel
Aftertouch
(polyphonic and channel AT)
Expression
pedal 1
Expression
pedal 2
Keyboard
velocity
LFO1
positive
LFO1
bi-polar
LFO2
positive
LFO2
bi-polar
Amp
envelope
Mod
envelope 1
Mod
envelope 2
Animate 1
Animate 2
CV mod
input bi-polar
Bend Up
Bend Down
Mod
Destinations
Oscillator
1-3 frequency, v-sync level, shape amount and level
Noise
source level
Ring
modulator output level
Overall
synth output level
Filter
drive, distortion, cut-off frequency and resonance
LFO 1 and 2
frequency
Amp env /
mod env 1 / mod env 2 attack, decay and release
FM Osc 1
-> osc 2, osc 2 -> osc 3, osc 3 -> osc 1 and noise -> osc 1
Osc 3 ->
filter cutoff frequency
Noise ->
filter cutoff frequencyEffects
FX are per
part
Analogue
distortion
3 chorus
types
Delay with
16 types of delay sync, LP and HP damping, slew and stereo
FX Mod
Matrix Source
Direct
(depth)
Mod wheel
Aftertouch
Expression
pedal 1
Expression/breath
pedal 2
Velocity
Keyboard
LFO 1 +/-
LFO 2 +/-
LFO 3 +/-
LFO 4 +/-
Amp
envelope
Mod
envelope 1 & 2
Animate 1
& 2
CV +/-
Bendwheel
+/-
Bend up
Bend down
FX Mod
Matrix Destinations
Distortion
level
Chorus
level
Chorus rate
Chorus
depth
Chorus
feedback
Delay level
Delay time
Delay
feedback
Reverb
level
Reverb time
Reverb low
pass
Reverb high
pass
Misc.
FM controls
on front panel
Global LFO
3 & 4
Arpeggiator
with key latch – 33 patterns
Patch
storage – up to 512 on hardware (ships with 256 factory patches)
All knobs
(excl. volume), sliders and most buttons transmit and receive MIDI cc commands
for external control and mapping
Microtuning
with Scala table import and table tuning creation
Manual mode
Multi pot
mode: Relative, Pot pick-up, Snap
Product
Hardware Specifications
50 control
knobs
8 45mm
sliders
1 volume
knob
1 data
encoder knob
Rubberised
knob caps with spun metal discs
55 function
buttons
2 Animate
buttons plus hold button
OLED display
Kensington
Lock
Power
switch
IEC power
supply connector
USB socket
for system (MIDI comms only, no bus power)
MIDI In /
Out / Thru
2 1/4″
jack sockets for continuous or switched pedals
1 3.5mm
jack socket for CV in
2 1/4″
jack sockets for left and right outputs
2 1/4″
jack sockets for left and right auxiliary outputs
2 1/4″
jack sockets for left and right inputs
1/4″
jack socket for headphone output
Metal
chassis with American walnut wooden end cheeks
Metal magnetic inset end pieces
