TECH SPECS & QUALITY • Format: 24-bit / 48kHz • Headroom: Raw analog signal (-6 dB to -7 dB True Peak) • 100% RAW: Zero plugins, EQ, or compression — pure hardware voice • Signal Path: PreSonus XMAX Preamps & high-end Sommer Cable The Spirit LLX Silent II • Editing: Zero-Crossing cuts (preserved transients for one-shots; natural loop boundaries with smooth fade-outs/ins)
LICENSE 100% Royalty-Free for commercial and non-commercial music productions, tracks, remixes, and live performances. (No reselling/redistribution as standalone samples or AI model training). credits released August 6, 2026"
"The M8 Tracker is one of my favorite machines for chilling a programming tunes. It's so gamified that it's instantly addictive to make music. Today we work on a Dub Techno track, maybe we can even finish it."
As one’s life winds its way through the corridors of infinite time and space, I find myself relocated and reset, so to speak, in a place many miles and many moons from the West Country—my former domain—in one of the shires just north of our splendid capital
And I find myself once again following my musical instincts down yet more labyrinthine sonic rabbit holes and through yet more labyrinthine electronic circuit boards
On this outing I decided to try my hand at live sound-on-sound improvisational looping, a method of composition I find particularly rewarding when using relatively unwieldy modular synthesiser systems. The act of looping provides a convenient way of setting down short compositions in real time, allowing simple melodic studies to be created, riddles, if you will, to be solved whilst sitting at the instrument’s console and engaging with the various dials and switches
The core device used on this recording is what I call the Concrete Box - an assortment of Eurorack modules I put together consisting of four loopers, two delays, two digital reverbs, two compressors and various mixers and utility units. Using this box of tricks I was able to run sounds around upon themselves, creating the pieces you hear on this album
Not all tracks were made this way, some took a more conventional path, namely those which made use of polyphonic keyboard synthesisers (the Ensoniq Fizmo, the Crumar DS2) where I simply recorded a few layers of sound one upon the other
And on one track I made use of a rather special device called the Tempera, alongside a regular acoustic piano. The device is able to take stereo recordings and resynthesise them using granular synthesis. You are then able to layer them and manipulate the sound in a great variety of ways. Practical applications of granular synthesis have been around since the mid 1990s, but it is only now, it seems, that dedicated hardware units are beginning to appear on the market, and they seem to be taking hold as an extremely interesting synthesis path
And so it is that these riddles I have been working on have been neatly packaged up for you in this second volume, itself a kind of evolution of the idea presented in the first of the series last year. And who knows where I will find myself in another year’s time - hopefully still diving down sonic rabbit holes and exploring labyrinthine electronic circuits
Synthesisers and recording equipment used on this album:
ARP 2500
Buchla 100
Buchla 200 (cloned)
Roland System 100
Crumar DS2
Ensoniq Fizmo
Tempera Granular System
Yamaha G1 Piano
Eurorack ‘Concrete Box’
Dynacord VRS23 Vertical Reverberation System
The various track titles depict the main instrument used on each track
Released August 7th 2026
Written, recorded and mixed by Benge (B.D.Edwards) at Memetune Studios, England
Design and video work by Benge, made at the Memetune Video Lab
(c)+(p) 2026 Memetune Recordings (Memesongs) all rights reserved"
This is a series of live noiz and video noiz performances. A continuation of improvisational noiz sessions during the persistence of The Human Plague and now war.
"This is the highly sought-after Patch Panel CV version (not the MIDI version, although midi connection is easily obtained through any cv to midi converter), making it ideal for Eurorack, modular, and vintage CV/Gate systems while retaining the unmistakable Oberheim SEM sound."
"The elusive Oberheim OB-1. One of the RAREST synthesizers in existence. According to my research, ONLY 250-500 units were ever made!
I am sure if you are looking at this ad you know what it is. This is an extremely rare opportunity to get your hands on one, especially one in this condition! It is a museum grade, and in exceptional condition. It comes in its vintage carrying chest (we will box the chest, to protect it)."
"SIDE PANELS UPGRADED TO REAL WOOD!!! This gem’s side panels (end-caps) have been replaced by a pair of beautiful (Made in America) CUSTOM-BUILT SOLID MAHOGANY WOODEN PANELS!
This transformation makes it look 10 times better and protects it from shocks/damages, and it also makes it much more stable when placed on its side.
"This time, I'm introducing a new instrument to the setup: the Waldorf Protein, used here for the CHORDS 🎹
The rest of the setup is made of a Roland JU-06A for the BASS, a Roland TR-6S for the DRUMS (no samples used, only ACB analog behavior engine with mainly the TR-808 model) and, for some additional percussion, the only analog instrument in the setup: the good Moog DFAM 🤩
Everything is sequenced by the Squarp Hapax, with quite a few things happening behind the scenes as usual. MIDI LFOs are used to modulate some parameters of the TR-6S, while automation takes care of changing parameters on the JU-06A during the performance.
This time I also decided to use the Hapax's physical MIDI ports rather than relying on USB MIDI: MIDI A : Roland TR-6S MIDI B : Roland JU-06A MIDI D (TRS) : Waldorf PROTEIN
And then there's the DFAM... which, as usual, refuses to speak MIDI. 😄 Since the DFAM doesn't have a MIDI input, I sent very short Gate pulses from the Hapax (Track 11) to simulate an audio clock, allowing its internal sequencer to advance in sync with the rest of the setup.
So, quite a lot going on behind what hopefully sounds like a relatively simple piece of music!
Another little experiment in making several machines behave together without making the whole thing look like a NASA control room 😄
As always, the performance itself was recorded in a single take. I do the mixing and mastering afterwards in Ableton Live."
"Today I'm taking a look at the Lüm from Walrus Audio - a granular texture engine that is part grain engine, part reverb, part tripped out mega multi-headed dotted delay type situation. It's a wild pedal that fills the silence between notes with tons of flair. Hang out while I give it a look with the OP-1 Field. Let me know what you think in the comments!"
