The CS-80 is a beautiful breathing performance instrument: the voice architecture, clever musical assignments and knob-per-function interface are brilliant, and not to forget it sounds beautiful as well.

Its large amount of controls may intimidate, but after diving in you will realize it can be as immediate as programming a Juno: performing while shaping the sound. And in the age of poly aftertouch, it's very rewarding to have 7 faders dedicated to aftertouch assignment.

Just minutes after playing a CS-80 VST for the first time, we realized this remarkable synth architecture deserved its own dedicated MIDI controller. When using the PM-80, you can switch off your computer screen and completely immerse yourself in the instrument for hours.

FADERS

• The faders feature a 30 mm travel, just like the original CS-80.

• The lower row uses faders rather than the iconic inverted-polarity organ-style levers. Those vintage-style levers are nearly impossible to source, would increase cost and size, and would make the PM-80 less suitable as a general-purpose MIDI controller.

• No detents: While some controls might benefit from center or stepped detents (e.g. sub-osc waveform, octave feet selectors), adding mechanical detents would significantly raise production costs and reduce the PM-80’s flexibility as a universal controller.

• We picked fewer colors for the vinyl fadercaps (leaving out black and white and replacing these with grey), but mostly stay close to the functional color coding of the CS-80.

OMITTED FEATURES

• We choose not to include the full keyboard control section in the current design (left of the CS-80’s keyboard - portamento speed etc) in order to stick to a compact 75-slider arrangement. But based on recent feedback, we'll be making adjustments in the coming design phase to be able to include the Sustain and Portamento fader.

ADDED FEATURES

• The waveform section includes a triangle oscillator toggle. The original CS-80 didn’t offer this, but several VSTs do. Adding it also makes the layout more consistent with subtractive synth architectures of other VSTs that you may want to map to the PM-80.

• We added a filter envelope invert switch inspired by Cherry Audio’s GX-80.

• We added a sustain (latch) toggle. We discovered that the CS-80 architecture makes an amazing ambient drone machine when you explore sounds while adjusting the 75 fader with both hands. Playing the ribbon control while sustaining a chord is an interesting application as well. You can set it up to apply traditional sustain or sostenuto.

• We added two effects faders labeled Reverb and Delay, though users can remap them to effects such as Tremolo or Chorus.

• We added a pan spread fader, which allows users to increase the stereo spread between Layer 1 and Layer 2. This pan fader wasn't a feature on the CS-80 but is a feature of most CS-80 VSTs and creates beautiful stereo width.

• We added one switch (top-right corner) which can be used to send one additional CC (momentary switch or toggle, visual feedback on the adjacent LED) or send out alternative CCs for all controls while holding down the switch.

FACEPLATE

• The CS-80’s filters use an unusual envelope with Initial Level and Attack Level but no Sustain. We added a small diagram to the faceplate for clarity. (On the original, the IL and AL fader have opposite polarity — we prefer mapping them with matching orientation to make the envelope setup feel more intuitive.)

• Minimal labeling: We intentionally omitted labels like “long–short” so users can choose their own control orientations when mapping the controls, and to keep a clean multi-functional interface.

RIBBON CONTROLLER

• The original CS-80 ribbon is 49 cm long; the PM-80 features a 30 cm ribbon.

• Ribbon material: The CS-80 used a textile/felt surface. We’re currently evaluating materials and are leaning toward a plastic surface in line with most modern ribbon controllers as textile is difficult to keep clean.

• MIDI implementation: the unit will output the ribbon value as MIDI pitchbend in 14 bit. We are aware that the CS-80 has an expressive implementation where your finger-down position is seen as zero, and you can move up one octave or move down multiple octaves. We are planning to implement this behavior.

• Multiply the price of a well known plastic 8-fader MIDI-controller by 10 and plug them into a monstrous USB-hub. The result is: 80 faders plus loads of plastic, while spending a similar amount. We think the PM-80 is a more elegant solution.

• The ribbon controller is an expensive part but adds incredible extra value. Some stand-alone ribbon controllers may cost you 50% of a PM-80 already.

• The faders themselves are expensive parts. When you multiply that cost by 75, the total adds up quickly. This is likely why no other table-top MIDI controller offers this many faders.

• Long-term value: The PM-80 is a long-term investment. It works as a universal controller for a wide range of VSTs, so you can use it across countless setups for years to come.

• The PM-80 is built as a professional, high-end product using premium components and high-quality production techniques.

• Crafted in small batches: This is a niche, speciality device — not a mass-produced product. Without large-scale production, the unit cost naturally remains higher.

• No plastic; the durable metal enclosure and its screenprinted faceplate is beautifully produced by a company that manufactures for many premium audio- and synthesizer brands.

• Ever looked at the price tag of a CS-80 plus a freelance specialized maintenance technician? That's what we call costly. ;)

• They turn the PM-80 into a true long-term investment. With magnetic labels, you can easily adapt the controller to different VSTs for years to come. Many VSTs use only half of the available faders so you’ll rarely run out of controls.

• Smart visual design: your VST's toggle switch functions are indicated in a white rectangle. Allowing you to use faders as toggles.

• Built-in storage: you can store multiple sets of magnetic overlays directly on the bottom of the PM-80. The rubber feet are taller than the magnets, leaving plenty of room to keep everything neatly in place and always within reach. This way you won't lose them in a dusty drawer - like so many gear accessoires.