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Novation's flagship 16-voice polyphonic keyboard synthesizer was already one of the most capable hybrid synths on the market — now it's got more modulation, wider stereo, and effects that would make a vintage outboard rack feel genuinely insecure. Three New Oxford Oscillators per voice, dual analogue filters, and a bi-timbral engine that lets you run two completely independent patches at once: the Summit isn't trying to be everything to everyone. It just is.
A Hybrid Engine That Refuses to Pick a Side
The Novation Summit was built on one bold idea: merge digital precision with analog warmth and never sacrifice one for the other. At the core of every voice sits three FPGA-generated New Oxford Oscillators — easily capable of analog-style subtractive synthesis, FM synthesis, and wavetable synthesis. From there, each voice feeds into a true stereo analog signal path, complete with dual multimode filters, three stages of analog distortion, and analog VCAs. It's digital where it counts, analog where it matters.
Three New Oxford Oscillators Per Voice: FPGA-hosted oscillators generate analog-style waveforms at incredibly high resolution, while also supporting FM and wavetable synthesis — covering everything from warm, organic pads to sharp, metallic textures with a single instrument.
Dual Analog Multimode Filters: Each voice runs through two analog state-variable OTA filters with 12/24dB slopes and nine dual-filter combinations, giving you a wide tonal range that stays tactile and responsive under your hands.
43 Built-In Wavetables + Custom Wavetable Editor: The onboard Wavetable Editor features drawing tools, a Live Edit mode, and audio import — so you can sculpt your own oscillator shapes in real time, or load in a curated NASA sound library and Noisia exclusive content for extra inspiration.
Wider, Deeper, Stranger — The v2.0 Modulation Overhaul
Firmware v2.0 is the biggest update the Summit has ever received, and it shows. Novation went deep into the stereo field, modulation matrix, and creative unpredictability — giving producers and performers a more expansive toolkit without adding unnecessary complexity. New spread modes let you push voices out into the stereo field with precision, while new mod sources and destinations make the already impressive modulation engine feel almost limitless.
New Stereo Spread Modes + Per-Voice Panning: Updated stereo controls, including panning per voice and panning in the mod matrix, let you build soundscapes that feel genuinely wide and three-dimensional — from subtle movement to full, sweeping spatial effects.
Expanded Modulation Sources and Destinations: Noise as a mod source, additional LFO 3 and 4 parameters, and new mod destinations push experimental sound design further than ever. Animate Envelopes and Arpeggiator Chance add a welcome element of controlled unpredictability to live performance.
Bi-Timbral Engine for Splits, Layers, and Live Switching: Two completely independent patches can be split or layered across the 61-key semi-weighted keyboard, or switched between on the fly — effectively placing the power of two Peaks at your fingertips in a single instrument.
Effects and Performance Tools Built for the Studio and the Stage
The Summit has always had a solid onboard effects section — but v2.0 takes things considerably further. New effect types, additional modulation destinations within the FX chain, and a Lo-Fi delay mode bring tonal options that blur the line between polished production and deliberate vintage grit. Paired with per-part arpeggiation, 512-patch storage, and Ableton Live Lite included in the box, this is an instrument that's as ready for a live set as it is for a late-night sound design session.
New Effects: Flanger, Phlanger, Chorus Modes, and Lo-Fi Delay: Firmware v2.0 adds new tonalities across the board, with a Lo-Fi delay mode delivering extended delay times and reduced fidelity for that unmistakable antique warmth. Additional FX modulation destinations mean effects are now a core part of the sound design process, not just an afterthought.
Per-Part Effects and Arpeggiation: Each of the Summit's two parts gets its own independent reverb, chorus, delay, and distortion chain, plus a fully-featured arpeggiator with 33 patterns, adjustable gate time, and Arp Chance for introducing randomness in performance.
50 Knobs, 55 Buttons, and a Metal-and-Walnut Build: Summit expands on Peak's layout by bringing FM routing, LFOs 3 and 4, and arpeggiator parameters to the front panel — making deep sound design immediate and hands-on. The metal chassis with American walnut end cheeks means it's as good-looking as it sounds.
The Synthesizer That Keeps Getting Better
The Novation Summit is a rare instrument: one that was already exceptional at launch and has only grown more capable with age. With firmware v2.0 adding stereo depth, expanded modulation, and new effects, the Summit now offers a level of sound design flexibility that few polyphonic synthesizers can match at any price point. Whether you're designing sweeping cinematic textures or locking in tight performance patches for a live set, this is a 16-voice hybrid synthesizer that earns its place in the studio and on the stage.
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
1x 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
Frequently Asked Questions
The Summit is essentially a supercharged version of the Peak, doubling the voice count from 8 to 16 and adding a five-octave 61-key keyboard. It also brings additional front panel controls, bi-timbral functionality, new filter options, and an audio input, features not available on the Peak.
Yes. The Summit's FPGA-hosted New Oxford Oscillators support analog-style subtractive synthesis, wavetable synthesis, and FM synthesis within the same voice. An onboard Wavetable Editor also lets you draw custom waveforms and import your own audio.
Firmware v2.0 is Novation's largest-ever Summit update, adding new stereo spread modes, per-voice panning, Flanger and Planger effects, new Chorus Modes, a Lo-Fi delay mode, expanded modulation sources and destinations, Animate Envelopes, and Arpeggiator Chance.
Yes, the Summit supports both polyphonic aftertouch and channel aftertouch via the 61-key semi-weighted keybed, and both can be used as modulation sources within the mod matrix for expressive, per-note performance control.
Absolutely. The Summit's bi-timbral engine lets you split or layer two independent patches and switch between them on the fly, while the front-panel layout puts FM controls, LFOs, and arpeggiator parameters within easy reach. The Animate buttons, Arp Chance, and expanded modulation options in v2.0 make it especially well-suited to a dynamic, unpredictable live performance.
