Ecosystem render — racks, surface, and entry nodes as one coherent system.
AIP / Project 2075 · Six-State Alliance · Guardian
System Q
A unified, analog-first studio ecosystem. Plug in, track, mix—everyone in the room knows what’s happening, everyone controls their own world, and the system stays as clean or as colored as you want it.
01 — Philosophy
Real-life flow: you text your musician friends, they show up, and everyone plugs in a network cable. You rehearse the song. When it’s right, you hit record. You play it back immediately, make the changes you want, and you repeat until the mix matches the vision.
The key is coherence: the same setup you used to rehearse and record is the setup you use to play back and refine. Then you take the exact same endpoints to Venue and it translates to speakers. No re-wiring, no re-learning, no session-breaking handoffs.
No bad mixes.
02 — Hardware
The racks are the studio-grade analog core: preamplification, dynamics, EQ, harmonic stages, conversion, routing, monitoring, and summing. Visually they’re modern—think high-end LED computer case aesthetics—with internal lighting and touchscreen front panels.
Left rack is the channel and processing personality. Right rack is the monitoring/summing/output brain. Clean, colored, transformer, tube—dial the character you want, then route and monitor it without tearing the session apart.
The touchscreen faceplates are functional: they can act like display monitors for DAW views or any visual layer you want in the room, while also serving as the touch surface for parameter focus and control.
Audio stays anchored in the racks: analog in, conversion, then a networked digital distribution layer to the rest of the system. Think AA32×12 digital I/O into the ecosystem, and a 12×2 analog summing bus so what you hear is still analog processing. Cubes are the simpler path (more convenience, less of the full analog rack character).
The path is analog, but the system is digitally controlled—so you get instant recall. Instead of trying to re-dial an 1176 by hand (and hoping it lands the same), you recall the exact session state. The goal isn’t to replace every piece of outboard people love, but it can virtually cover the whole stack when you want a complete hardware workflow without needing a separate wall of gear.
03 — Modular I/O
The cubes are small, modular I/O nodes—floor, desktop, or rack-edge. For people who are less concerned about squeezing out the absolute finest analog quality and prefer simplicity, a cube is all they need. USB in, balanced analog out, headphone jack, done.
They talk to the central system and to each other. You can use one standalone or group them together. They’re the entry point into the ecosystem for anyone who just wants to plug in and play without thinking about the full rack.
04 — Software
The software is the DSP and control layer that mirrors the hardware exactly. The goal is one system where what you see on-screen is the same processing model that exists in the racks.
The channel strip is ordered and intentional: a 7-band harmonic processor first, then a frequency-controlled compressor/gate/limiter, then multiband EQ, then a transient processor, then saturation/exciter.
Editing is POL (polar) based: the mic pre and the compressor visually “close in” on the polar graph. The circle is the control surface. As you move the focus ring, the software targets a specific band and shows you what that band is doing. Larger circles represent lower frequencies; smaller circles represent higher frequencies. It’s a new way to edit sound visually, and it stays consistent across the strip so the same gestures apply everywhere.
Each stage uses POL (polar) editing: the mic pre and dynamics close in on the polar graph. Ring radius maps frequency (bigger = low, smaller = high).
Mic pre — input gain, HPF, phantom, phase and the polar focus view.
Harmonics — a unique 5-band harmonic processor (H1–H5) for controlled character.
Compressor — frequency-focused dynamics (with gate/limiter behavior in the same model).
EQ — band shaping that follows the same ring-driven frequency targeting.
Effects processor — transient designer + saturation/exciter as a single stage.
05 — Command
The controller is built so your hand never has to leave the surface. Touch any rack screen to bring a parameter into focus. The 6‑DOF parameter edit control (the “parameter edit” button/knob) selects the focused parameter by direction (up, down, left, right, top-left, top-right), then turns to dial the value.
Monitoring is full-console grade: three inputs with trims, three outputs with trims, three headphone feeds with trims, plus mute (press), dim with trim, talkback with trim, and fine trim on main output. A main touchscreen handles per-channel processing selection, master fader touch, transport, and automation.
The lower scribble strip supports voice input (press/hold solo), with tap gestures for mute/solo.
06 — Control
Pedal is what each musician carries. Your instrument plugs into it, and a network cable plugs into it. Plug in with your friends and you’re instantly part of the session.
Each pedal is your personal endpoint: IEM module (bring your own buds), talkback, playback, and recording. Anyone can play back a reference and everyone hears it. If you want to go wireless, it supports wireless mic and wireless guitar inputs. It can also feed a local speaker out (and future Bluetooth speaker support).
It also acts as your processor/amp. You assign “pedals” (effects/patches) to it, the display becomes your pedalboard, and the knobs are interactable—so you can build a full performance rig without a separate pile of hardware.
Same idea for vocals and microphones, and the same idea for keys: think MainStage-style rigs where you bring a controller, not a huge stack, and you recall sounds instantly.
Acoustic/baffle systems are for drums and triggers when you want isolation and control. On a digital stage, there’s no acoustic spill—so you don’t need baffles.
07 — Output
Venue is the live output and room translation layer. Everyone plugs their pedals (or laptops) into Venue, and Venue feeds the speakers with consistent routing and output management.
A reference microphone in the room (wireless) provides feedback so the system can assist with balancing and translation. Playback and final checks live here too: drop a reference, play back takes, and confirm the mix translates to the space without breaking the session.
Hardware chain from preamp to conversion. Dial in any character—clean, colored, or tube-saturated.
Show up, plug in, track. The system handles routing, clocking, and monitoring so you start making music immediately.
Every musician controls their own headphone mix. No amps, no extra rig—just the network and your ears.
Surface, software, and hardware present the same operating model. What you touch is what you hear.