The catalogue

Salo 3310 — Full-Rate GSM Codec

The everyday voice of 90s GSM: the watery, half-swallowed, faintly robotic sound of a mobile call, and the workhorse of the whole Salo line.

Issued without charge — the archive’s study copy.

Salo 8210 — TDMA Buzz

The flagship, and the most recognizable artifact of the era: the "da-da-da—dun-dun-dun" interference a GSM handset induced into nearby speakers and guitar pickups.

Salo 5110 — Frame Erasure / Dropped Call

The dying call: the robotic freeze, the underwater warble, then silence, as the network loses frames.

Salo 6150 — Adaptive Rate (AMR)

One knob labelled in signal bars.

Salo 8110 — Comfort Noise (DTX)

The eerie one.

Salo 2110 — POTS Telephone

The landline anchor and the oldest voice in the house — narrowband, companded, with dial tone in its bones.

Salo 3210 — Monophonic Ringer

The pre-polyphonic ringtone: a single tinny voice picking out a melody through a piezo buzzer — the sound of a phone in 1994.

Salo 3510 — Polyphonic Ringtone

The next generation — a handful of cheap FM voices playing a MIDI-style ringtone through a slightly-better-but-still-tiny speaker.

Salo 5610 — Dial-Up Modem

The sound of getting online: the dial, the carrier tones, and the scrambled training screech of a 56k handshake.

Salo 6210 — Vocoder

The classic robot voice, from the house that owned the codecs.

Salo 6310 — Speakerphone

The half-duplex speakerphone: the pumping echo-canceller and the voice-switching that clips whoever's quieter when both people talk at once.

Salo 2170 — Answering Machine

"You have one new message." Microcassette or early-digital voicemail grunge — narrowband, companded, and worn.

Tekura 4400 — Quantization Analyzer

The bench standard for characterizing bit-depth error, reborn as the archive's cleanest destruction tool.

Tekura 2200 — Signal Decimator

The sample-rate side of destruction, with the honesty an instrument demands: it lets you choose clean band-limited decimation or the aliased kind, deliberately.

Tekura 1601 — Jitter Reference

An instrument for injecting clock jitter in measured amounts — as an effect, a subtle, frequency-dependent smear and shimmer that most tools can't make.

Tekura 3100 — Perceptual Codec

The lab's generic perceptual coder, with the masking model exposed on the panel — a measurement framing of the "lossy compression" sound, tunable from transparent to obviously crushed.

Tekura 1050 — Reconstruction Filter

A converter's output stage on its own: choose how the samples become sound.

Tekura 5150 — DAT Reference

The clinical companion to Yumeo's consumer DAT: 16-bit that is almost, but not quite, clean.

Tekura 6100 — Spectrum Analyzer

The real-time spectrum bench, turned into a spectral processor.

Tekura 6200 — Correlation Analyzer

The goniometer and phase meter, plus the stereo tools that measurement implies.

Tekura 4200 — Distortion Analyzer

A THD reference that adds exactly the harmonics you dial — measured distortion as a precise, clean harmonic generator.

Tekura 1200 — Noise Reference

The lab's calibrated source: white, pink, and band-limited noise at exact levels, plus test tones and correct dither.

Tekura 1100 — Response Analyzer

The swept-sine rig that measures a system's impulse response — and then lets you play through it.

Yumeo MD-1 — MiniDisc (ATRAC)

The flagship, and the sound of a generation's first "perfect" digital recorder: the gentle transient-softening and stereo-narrowing of ATRAC.

Yumeo DAT-7 — DAT Deck

The consumer DAT deck — pro-adjacent 16-bit, but voiced for the living room, and distinct from Tekura's laboratory reference.

Yumeo CD-9 — CD Skip / Error Concealment

A failing compact disc: the interpolation, the brief digital silences, and above all the stutter as the disc gives up.

Yumeo MP-3 — Perceptual Coder

The specific sound of a low-bitrate MP3 from the file-sharing era: swirling cymbals, joint-stereo collapse, and pre-echo.

Yumeo RV-1 — PureDigital Reverb

The reverb baked into a consumer deck's DSP chip: short, metallic, sparse — the unglamorous "grit era" of digital reverb, and a lovely lo-fi space.

Yumeo HF-1 — Sampler Filter

The onboard filter character of a consumer digital instrument — either smooth analog warmth or the zippering of an early digital IIR, your choice.

Yumeo KM-1 — Karaoke Machine

The living-room karaoke deck: pull the lead vocal out of a record, drench a microphone in splashy reverb, and shift the key to fit your range.

Yumeo GX-1 — PC Sound Card

The DOS-game sound card: OPL FM synthesis and a gritty 8-bit sample DAC.

Yumeo GC-16 — Game Console

The 16-bit console chip: FM-plus-sample voices with the specific bit-depth, rate, and built-in echo of the era's game hardware.

Yumeo PT-1 — Home Computer (Tracker)

The demoscene machine: 8-bit sample playback resampled hard off its root, four voices, and the buzzy click of a mismatched loop point.

Halvyn R-8000 — Digital Reverb

The unit that started Orrery — the reverb Iver Sandholm rebuilt board by board.

Halvyn G-6000 — Gate Reverb

The iconic truncated-tail sound — the dense burst that stops dead — plus its reverse.

Halvyn D-4000 — Digital Delay

Clean-ish repeats that degrade in steps — the digital counterpart to tape, where each pass loses resolution in quantized increments rather than a smooth rolloff.

Halvyn P-3000 — Pitch Shifter

Warbly, formant-broken hardware pitch shifting — great for detune, thick doubles, and deliberate breakage; not a clean modern shifter, on purpose.

Halvyn T-2000 — Time Compressor

Early time-stretching pushed past its limits — the smeared, underwater, spectral-glass texture, and a freeze that becomes a drone engine.

Halvyn A-1200 — Auto Retune

The late-90s robotic pitch-snap — the "Cher effect" — as an effect rather than a corrector, with retune time all the way down to zero.

Halvyn R-9000 — Digital Reverb (flagship)

The top of the range — the reverb that made Halvyn's name, denser and deeper than the R-8000, with the parameter set engineers guarded like recipes.

Halvyn C-5000 — Chorus / Ensemble

The lush multi-voice widener of the era — the shimmering ensemble on countless 90s mixes.

Halvyn E-7000 — Digital EQ

The studio's digital equalizer, coefficient artifacts and all — the slightly brittle, slightly glassy sound of early digital filtering that engineers either loved or fought.

Halvyn X-2500 — Exciter

The presence-and-air box — the psychoacoustic enhancer that made things sit forward.

Halvyn H-3200 — Harmonizer

Intelligent, diatonic pitch harmony — the multi-voice harmonizer that built chords from a single line and defined a certain 90s lead sound.