NOT SAMPLED. REWIRED.

A rare Soviet drum machine. Rebuilt for your DAW.

LELE UDS-16 rebuilds the Lell UDS circuit in real time: analog tone, clocked CMOS noise and resonant click, finished with tape saturation and gated reverb. No samples. Every hit lives.

Get LELE UDS-16 — ~~$38~~ $19

Launch offer — 50% off the regular price.

REAL-TIME SYNTHESIS · CIRCUIT-INFORMED ENGINE · TAPE SATURATION · GATED REVERB · UP TO 4× OVERSAMPLING

Don’t read about rare. Hear it.

Start with the raw circuit. Then let the tape bend it and the room cut short.

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Audio demos coming with release build

THE ORIGINAL MACHINE

Built in Moscow. Nearly lost. Back in your DAW.

A machine most producers will never touch. A sound they will not mistake for anything else.

Surviving units are scarce, revisions differ, and decades of component aging have made every remaining machine its own individual object.

LELE UDS-16 brings that architecture out of the repair shop and into the session.

The original Lell UDS emerged from Moscow’s SAM factory during the final years of the Soviet hardware era. It was a two-channel electronic percussion instrument built around tone, noise, envelopes, sensitivity and snap — a practical, pad-driven machine with an unusually raw hybrid voice.

Its tone came from analog oscillator circuitry. Its noise came from clocked CMOS logic. Its envelopes, filters and nonlinear output stages turned those simple ingredients into kicks, toms, snares, metallic hits and strange electronic percussion.

THE CIRCUIT, NOT A RECORDING

Not sampled. Reconstructed.

LELE UDS-16 does not replay recordings of an old box. Each hit is generated in real time by a signal path informed by the original hardware topology: trigger conditioning feeds independent tone, noise and click paths; a pitch envelope drives a free-running triangle oscillator; a clocked shift register creates the raw noise source; resonant filtering shapes its timbre; nonlinear VCAs control the envelopes; and the final stage adds the compression, edge and recovery of aging analog electronics.

Turn a control and the circuit changes. Strike harder and the response changes. Repeat the same note and the waveform is already somewhere else.

FREE-RUNNING VCOCLOCKED 18-BIT NOISERESONANT CLICK PATHNONLINEAR VCA STAGESCOMPONENT VARIATIONREAL-TIME GENERATION

Launch Price — ~~$38~~ $19

ORIGINAL CORE. MODERN FINISHERS.

Keep the circuit honest. Or make it beautifully wrong.

The reconstructed percussion engine stands on its own. Tape and Gated Reverb sit after it as independent creative stages — modern extensions, not part of the original hardware. Switch them off to hear the raw circuit. Switch them on to turn a single synthesized hit into a finished record sound.

TAPE

Age it. Bend it. Break it.

Send the raw UDS circuit through an integrated tape stage built for percussion. Add a little density to glue the transient and body together. Push harder for flattened peaks, harmonic bite and drums that feel printed rather than generated.

DRIVEMove from subtle thickness to scorched, compressed saturation.

WOWSlow pitch movement and mechanical instability — barely audible for life, or pushed until tuned drums begin to melt.

TONEDarken sharp noise, soften the click, or expose the upper bite of the saturated signal.

Fresh circuitry in. Forty years of imaginary wear out.

GATED REVERB

The room opens. Then it disappears.

Give the hit a space larger than its decay — then close the door before the tail can behave. Tight synthetic rooms, explosive eighties-style snares, industrial impacts and impossible ambience without another plugin in the chain.

SIZESet the perceived scale and density of the reverb body.

HOLDDecide how long the gate remains open before the space is cut away.

MIXBlend anything from a trace of dimension to a full gated detonation.

All of the impact. None of the polite decay.

What people use it for

ENDLESS CREATIVITY

Sub & 808 kicks

The free-running triangle tone with a deep pitch envelope — round sub weight that never lands on the exact same phase twice.

Industrial percussion

Push the resonant click and the clocked noise into metallic, mechanical hits that sound machined rather than sampled.

Gated 80s snares

Feed the click and noise into the gated reverb: explosive, room-sized snap that slams the door before the tail can behave.

Corroded hats & metal

High-rate shift-register noise shaped by the tone control — from papery ticks to bright, brittle metallic air.

Rubber toms & pitched hits

Ride the pitch envelope on the triangle oscillator for melodic, bending toms and rubbery electronic impacts.

Tape-damaged textures

Push Drive and Wow on the tape stage for lo-fi, wobbling, printed-to-tape character on any single hit.

FAQ

Reviews

“Your customer review goes here — swap in a real quote once LELE UDS-16 is out. This is placeholder copy, not a real testimonial.”

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LAUNCH OFFER — 50% OFF

The machine collectors hunt. The sound your tracks don’t already have.

Tracks built from the same packs end up sounding like everyone else’s. LELE UDS-16 gives your drums something no download can — the living character of a rare Soviet machine. Use it clean. Print it to tape. Cut the room in half. Build a kick nobody can identify and a snare nobody else has.

$38$19−50%

Launch offer — 50% off the regular price.

Get LELE UDS-16 — $19

One plugin. No samples. No museum glass.

macOS · Windows · VST3 / AU / Standalone · 64-bit