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 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.
Product Hardware Specifications 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 frequency
Effects 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
