It will blow your ass off.  The D-2000 is an all-new "1950s" design, based on our previous drum-sound simulation circuits. Unlike the previous D-1000, everything in the D-2000 has been tweaked and maximized and pushed. It is NOT intended for fast-and-dirty bland, conventional backing tracks, it is for the mad experimenter and the risk-taker and the experienced studio musician who wants extreme analog.

Each of the three tuneable drums ("PITCHED DRUM") is made from a vacuum tube ringing bandpass filter, and can be tuned to sound from below 20 Hz to over 2 kHz using a "vactrol" photoresistor. They are also tunable with external control voltages (varying 0-5v), allowing complex patterns to be built up with external CV or pulse sources. Resonance of each PITCHED DRUM circuit is set by front-panel controls. Each circuit also has a "Drive" control, allowing the pulse input to be varied from complete shutoff (silence) to full sounding to overdrive. The PITCHED DRUM circuits are very similar to the RK4 module.

The two "cymbal" sound channels ("GATED NOISE") are based on an extremely primitive circuit, with white noise gated by a pentode tube. The "cymbal" attack and decay are knob-variable and the decay time is also CV variable, controlled by a slow-response "vactrol" photoresistor. Each GATED NOISE channel also has a treble rolloff tone control.

The D-2000 is the most primitive electronic drum machine on the market, bar none.

A "Link" switch connects the trigger inputs of the second GATED NOISE and first PITCHED DRUM channels, so they sound together. This allows simulation of a "snare" drum - a really strange one.

Recessed buttons may be used to manually trigger each channel, in parallel with any trigger input pulses.

All five channel outputs mix to a single tube preamp that allows for severe overdriving via the mix-level controls. (D-2000s starting with s/n 55 have a "TORTURE" knob instead of the previous CV input. This control allows mis-biasing the output tube stage. The distortion is either minimal or brutal--more like the previous D-1000. But with less background noise.)

Because there are now far better trigger sequencers available on the modular-synth market than we can make, we chose to equip this rackmount device with no sequencer. Instead there is an 8HP space for a Eurorack sequencer or trigger generator. A power cable provides +12v and -5v and should power any trigger or gate generator that will fit in 8HP (most only need +12v power). We recommend either the Delptronics Triggerman or the early version of the ALM Pamela's Workout, both have been tested and are known to work very well. Trigger sequencers and generators from other modular synth equipment may also be used. The D-2000 trigger inputs will accept any pulse source: 0 to +5v, 0 to +10v, 0 to +15v, it doesn't matter. You can also run strong audio signals into the trigger inputs, they will mix with the noise in the GATED NOISE channels and convert the PITCHED DRUM channels into tunable bandpass filters. Try that with a digital sampled drumbox.

Ample inputs and outputs: mix output (with overdriveable tube preamp), separate outputs for each drum sound channel, external trigger inputs for each drum sound channel, and CV inputs for each drum sound channel. Use any pulse generator to drive the trigger inputs. Very short pulses are recommended for the pitched-drum triggers, and longer pulses for the cymbal triggers. The Triggerman and the Pamela's Workout are both capable of producing different pulse lengths on their separate outputs. They have very different user interfaces, so choose the one you prefer.


Larger photo

With sequencers: Delptronics Triggerman, early ALM Pamela's Workout

It's rude and immoral and "vintageish". It's not completely dead-silent and distortionless, and cannot be made so. No, it does not sound like a TR-606. The owner's manual is full of warnings for the idiots who often purchase our products, and claim they're "broken" when they're working perfectly. If you're one of those idiots, buy a nice Machinedrum or something and go away. We do not want you as a customer. Our products are for people with guts and raw talent in reserve, not for bar bands and chronic masturbators.

Specifications: Inputs and outputs 1/8" jacks, except main mix output on 1/4" jack. 3U high rackmount enclosure, protrudes behind panel less than 1.5" (not including Euro sequencer if one is installed) and tubes protrude above panel less than 1.75". Weight (minus AC adapter) approx 5 lbs (3.7 kg). Power: 12 volts DC only, 2 amps.  Power inlet: 2.1mm or 2.5mm coaxial jack. The D-2000 includes a "universal" AC-DC switching power supply accepting 100v to 240v mains, that may be used anywhere on earth, provided the correct AC power plug is attached (we can only supply North American power cords, adapters are available anyplace where travel supplies are sold). Tubes used: 2 x 6CB6/6CF6, 3 x 5U8 or 5GH8, 1 x 3AU6.


D-2000 demo on Soundcloud, driven from Triggerman sequencer

D-2000 with assorted CV modulations -- second part feeds gated noise channel through a pitched channel for filtering

Five minutes with the D-2000 by Ethan Persoff

Videos by Big City Music:

D-2000 driven by multichannel MIDI-CV

D-2000 driven by Tiptop Circadian Rhythms

We took our 20+ years of experience in vacuum-tube electronic music, and used it to make the most exciting instrument in the history of Metasonix. The S-2000 is not merely a new repackaging of old designs. It is a revolution, and a game changer. 

The S-2000 was made to be as easy to use as possible. Just plug in power, plug in an amplifier, wait 30 seconds for the real new-old-stock vacuum tubes to warm up, and start playing it. The built-in 400mm ribbon controller is instantly responsive, and needs no special treatment. No trimpots, no fiddling with MIDI interfaces or fighting with fistfuls of cables. The misery has been engineered out.

The simplicity might fool you. The S-2000 has enough controls and enough flexibility to keep the musician busy for years of sonic exploration. It contains:

  • two all-tube oscillator/filter “operators”, with resonance variable from flat response to deep oscillation. Waveshape  is variable from clean sine wave to a distinctive distorted square/pulse wave. Resonate both for FM sound effects.
  • an all-tube VCA.
  • three contour generators:
    • C1 attack-release type feeds the VCA
    • C2 attack-decay type feeds the operator-two sweep and optionally the VCA, and may be set to retrigger automatically.
    • C3 is the same as C2, but feeds the operator-one CV input.
  • Plus a built-in and highly-sensitive ribbon controller, which triggers C1-C3 when the ribbon is touched. Two modes are available, continuous open for pitch bending (theremin-style), and single-touch for discrete held pitches. The ribbon gives more than 3 octaves of pitch range, and by adjusting the tuning controls, pitches from less than 10 Hz to more than 3 kHz are available.

By setting the two operators properly, it's possible to get a range of classic synthesizer sounds. By setting them a little differently, you get sounds no one has ever heard before. 

The S-2000 is made for use anywhere. It weighs only 1.25 kg (less than 3 pounds). Use it standalone, or mount in a standard 19" EIA rack (it's 3U high and protrudes behind the panel only 1 inch, or 25 mm). It runs from a standard 12v DC adapter (one is included that can work on any mains power source on earth).

It's built like a proverbial tank. The front panel is a massive anodized aluminum slab with legends deeply engraved and paint-filled, and the electronics are protected by a tough, fully-shielded metal rear enclosure. The tubes are very commonplace types, easily available from almost any vacuum-tube distributor. Metasonix offers a full set of replacement tubes, pre-tested and known good, via its distributors, at a very reasonable extra charge.

The input connection for the SpectraSymbol ribbon is accessible, so that any size SpectraSymbol ribbon controller may be plugged in and used – right up to their 1-meter length. Need more resolution? No problem.

External inputs and output are available. CV and gate outputs from the ribbon are accessible from front-panel jacks at all times. The CV-gate inputs can be used by switching the CV/gate selector switch (CV can be varied from 1.5v to 7v for more than 3 octaves of range, tunable with the front-panel tuning knobs, gate is 0-10v). The audio input feeds into operator one, so that both operators can be used as bandpass filters in series.

(Note, as of 2017 production S-2000s will have color coded knobs, with red for audio functions and blue for CV and other functions.)

It's hand-made, in California, by real people.



Video, by 7numan7, using sequencer

S-2000 played manually with drum-machine backing


Sample:processing guitar

Sample:processing drums

Ever wondered what would happen if you deliberately destroyed your tube amp? Now you can blow it up, every day, all day long. Without actually damaging anything.

The F-1 pedal uses a unique vacuum-tube pentode circuit to do something special: it simulates the extreme distortion, parasitic oscillations, and other unique sounds that come from a tube guitar amp that is beingoverdriven to flaming destruction. 

There's only one knob to adjust, and it only needs one knob. 

“Complex Distortion” varies the plate loading on the two pentodes to give asymmetrical distortion, and it varies the feedback effects—all on one knob. Typical of the things that happen when the EL34s in a Marshall or similar amplifier are driven to the point of meltdown, and the power and output transformers threaten to go open-circuit. You can almost smell the smoke pouring out.

A vast cornucopia of sound effects, from mild vacuum-tube warmth to berserk torturous screaming violence, is just a knob-turn away. 

It's hand-made, in California, by real people. It uses real new-old-stock American vacuum tubes (replacements are quite easy to obtain). And there's nothing else even vaguely like the F-1, in any form.


No one else can do it.