The Synth for People Who Just Want to Play
You’re a musician, not a computer programmer. Whether you’re a keyboard player who wants to fire up a searing solo, a guitarist looking for that perfect atmospheric pad, a drummer wanting to trigger massive electronic textures, or a vocalist needing a lush harmonic bed, you shouldn’t have to learn “synth science” just to get a great sound. Meet ELEMENT One—the 8-voice virtual-analog synthesizer designed to feel like an instrument, not a science project.
ELEMENT One doesn't ask you to learn the rules. It dares you to play with sound.
Less programming. More performance. Total creative freedom.
For the Guitarist
Add "wall of sound" textures and vintage warm pads that sit perfectly behind your guitar tone.
For the Bassist
Double your melodic bass lines with deep, earth-shaking, and growling synth tones to add depth and dimension.
For the Drummer
Fire off punchy, rhythmic and syncopated arpeggios that lock into your tempo and drive your drumming.
For DJs
Use ELEMENT One as a live sound source to "remix" on the fly or add arpeggios or sound FX to your DJ set.
For the Vocalist
Create cinematic atmospheres and expressive leads that respond to your touch.
For Keyboardists
Add analogue-style vintage and contemporary sounds to the standard sound set of your stage piano or workstation.
ELEMENT One Videos
Play First. Tweak Later. (Or Never.)
- No “Menu Diving”: 17 dedicated knobs and a 4-axis joystick give you immediate control. If it sounds too bright, turn a knob. If you want more grit, move the stick.
- Ready for the Stage: With 300 professional sounds ready to go, you’ll find your vibe in seconds—not hours.
- Built for Real Musicians: The 37-key keyboard feels like a premium instrument, capturing every nuance of your performance from a gentle touch to an aggressive stab.
Explore and Find Sounds easily.
Every patch (sound) in ELEMENT One isn’t just given a name; it’s defined by up to three distinct category tags. This allows you to search for sounds based on how they function and how they feel. While the factory presets give you 300 world-class sounds out of the box, Custom Banks are where you build your own “Sonic Toolkit.”
- Organize by Project:Create a bank specifically for your band’s upcoming EP or a live tour setlist.
- The “Best Of” Folder:Save your favorite tweaked versions of factory sounds into your own bank so you never have to remember where that “one cool lead” was hidden.
Power Without the Headache
While ELEMENT One is easy to use, it isn’t “watered down.” Under the hood is a powerful 8-voice engine capable of everything from warm, vintage 70s tones to bold, modern cinematic swells.
- Happy Accidents Included: The built-in arpeggiator turns simple chords into bouncing rhythms and flowing patterns instantly.
- Lush Effects: Bathe your sounds in professional-grade reverb, delay, and chorus without needing external pedals.
- Road-Ready: Wrapped in a sturdy enclosure with a metal top plate, it’s light enough to carry to a gig but tough enough to survive the van.
- Grows With You: If you ever do want to dive deep, the MODALapp gives you a visual way to edit sounds on your computer or tablet.
Enjoy Peace of Mind with Our Extended 3-Year Warranty
At Modal, we stand behind the quality and reliability of our products. That’s why we’re proud to offer an extended 3-Year Warranty on all products purchased after May 8th, 2025—at no extra cost. Simply register your product within 60 days after purchase at modalelectronics.com/register-product/ to activate your coverage. It’s our way of showing confidence in our craftsmanship and commitment to your long-term satisfaction.
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.
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
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)
Free MODALapp for immersive sound programming sessions
The free MODALapp brings the comfort of screen-based editing on your computer or mobile device. Available as a standalone app for macOS, Windows, iOS, iPadOS or Android systems and in VST3 and AU plug-in formats, it is the perfect companion for synth enthusiasts looking to deep dive into all sound forming and performance parameters to create their own signature sounds and to backup and manage patches and sequences.
