MATRIXSYNTH: Wednesday, April 7, 2021

Wednesday, April 07, 2021

KEITH EMERSON'S NEW MODULAR MOOG - Handmade Miniatures 1/6 scale

video by Ronaldo Lopes Teixeira ROLT

See the miniature label below for more.

The Birth of Agonizer Synthesizer | From Sketch to GUI | haQ attaQ

video by Jakob Haq

"Here is the first part in the Agonizer Synth App Development Docutorial series! Ever wondered what the absolute first version of Agonizer synthesizer looked like? Well now you get to see it. Have you ever wondered why my bass synth isn't named after my show? Start the video and find out.


Grendel DC-2 Drone Commander 2 demo

video by EA78751

"Grendel DC-2 is new for 2021, we've fused the DC-2e main module and expander into a 35 HP single module. Now comes in both silver and black brushed anodized aluminum. This is an all analog synth voice module with 2 VCOs, multiple LFOs, two VCFs, low pass gate envelope, CV-gate control, and lots of patchable functions."

Korg Kronos Dual MS-20 Space Drones EXi Modular Synthesizer Rik Marston

video by Rik Marston Official

"Korg Kronos "Dual MS-20 Space Drones"
Synthesizer Demo by Rik Marston
**No Talking!** ***Watch in HD!!*** **Turn it UP!!!***

Korg Kronos MS-20 EXi preset tweaked beyond recognition.
DUAL MS-20 EXi's stacked to create DEEP SPACE DRONES.
Korg did a great job recreating the MS-20 & POLY SIX engines
inside the Korg Kronos. Very GROOVY! I love it's ease of use!
I have a chondrite meteorite I found on the Korg Kronos, it is
sending you **Positive Cosmic Energies!** because YOU ROCK!"

Rik's Links:
Ahnyxian Sound Design:

Sequential Featured Artist - KAELA

You can find an interview with KAELA on Sequential's website here.

"LA-based Kaela, (Kaela Sinclair) serves us experimental pop music layered with nostalgic, soul-searching, heartfelt vocals. Seasoned by years of traveling the world as a musician, she writes and produces works rooted in enduring vulnerability and jaded tenderness. From her childhood in Florida she made her way to music college in Texas where she studied jazz and classical piano and voice. She eventually moved to Los Angeles to pursue music. In 2016 Kaela joined the French electronic band M83 and has since recorded with them (see DSVII, 2019). She has toured with other artists such as Troye Sivan or Blackbear, as well. If you know her latest song 'Spiral' you know her uniquely memorable voice and that the vibe lingers long."

You can find Sequential's Spotlight series here.

Sculpting a Drone with the Serge Resonant EQ

video by poorness studios

"I was messing around with the Random*Source Serge Resonant EQ and realized how amazing it is at sculpting drones. The patch is pretty simple. There's a digital VCO lightly FM'ing an analog VCO and both signals are mixed before going into the Resonant EQ. After the EQ, the signal path goes to the Chronoblob delay, then the Phonogene, and finally into Typhoon (in Oliverb mode)."

MATTHS - Studio Broadcast 1

video by MATTHS

"#MATTHS​ aka #MattHodson​ experiments in the studio.

Just pure, un-rehearsed experimentation in the world of music production. Join me live when this happens and get involved with the decision making.

A live #performance​ from my own personal #music​ #studio​.

I recommend listening with headphones or quality speakers for the best sonic experience."


Synthstrom Deluge lambo pursuit var

video by tblv9300

"some pursuit tracks from the deluge recorded dry"

YAMAHA DX7 II FM Synthesizer (1987) The Ring - 80s Synthwave

video by RetroSound

"(c)2007-21 by RetroSound
supported by UVI:

all synthesizer sounds: YAMAHA DX7 II FM Synthesizer with E board (1987)
drums: LinnDrum and Emu Samples
recording: multi-track
fx: reverb and delay

The video is made by me too in 'Woodhenge'. The german Stonehenge.

RetroSound synthesizer demo videos since january 2007.
Everything is free. If you like my work, you can also support me with the purchase of my merchandise (shirts, bags, mugs, stickers) or one of my music albums. Thank you!

RetroSound Merch Shop:
RetroSound Home:​"

Intro to "Spiral" Draft (Vangelis Cover) - Roland System-500, Audiothingies Doctor A, OB-6, Lyra-8

video by thesrabbit

"This started off as an exercise on how to do auto-panning within a Eurorack system, without having any mixer modules with pan controls or CV panning inputs. I thought about what sort of musical piece would be a good way to test out my explorations, and the answer is "Spiral" by Vangelis, of course! The intro is probably my favorite synth piece of all time. The breakdown of the patch used here for the main sequence is as follows, from left to right:

Roland System-500 512 Dual VCO:
One oscillator sawtooth and pulse wave out, range set to 16' (should have done 32'). PWM is applied via an LFO.

Roland System-500 521 Dual VCF:
Oscillator sawtooth and pulse coming into the filter's mixer, level of the pulse wave is 100%, and the level of the sawtooth is about 50%
Cutoff set low to start with, resonance about half-way up. The cutoff inputs are fed from the outputs of an envelope generator and an LFO. Playing with the levels of these inputs in real time along with the resonance knob is critical to capturing the vibe of the original sequence and delivers that pulsating sound.

Roland System-500 505 Dual VCF:
Output of the 521 is going to the input of the first filter in the 505. I'm only using this module for its built-in VCA. The cutoff is open all the way. This does add some extra brightness to the sound, but my other VCA's are all used up in this patch. Once the signal runs through the 505's VCA output, it is effectively a complete single synth voice, ready to be recorded or routed to a mixer, etc.

Buffered Multiple:
The first mult input is the output of an envelope generator from the Dreadbox Ataxia. One of the mult's outputs is routed to one of the 521's cutoff inputs and another one of the mult's outputs is routed to the 505's VCA level input. The second mult input is the output of the 505's VCA. Two outputs of the second mult are routed to the inputs of each VCA in a Doepfer Dual VCA module on the far right. Using a buffered mult means that the outputs have exact copies of the input signal. Having 2 identical copies of the single synth voice is critical to the auto-panning process.

Dreadbox Utopia:
The triangle LFO of the Utopia is routed to both the pulse width input of the 512 oscillator and to one of the cutoff inputs on the 521 VCF. The rate of this LFO is pretty slow. This slow modulation of the pulse width and filter is another critical component to recreating the vibe of the original sound.

Dreadbox Ataxia:
Mod 1 is setup as a standard ADSR envelope. Its output is split and sent to one of the 521's cutoff inputs and the 505's VCA level input. This is already mentioned above in the "Buffered Multiple" section. Attack is 0, the decay is set to around 40% and sustain and release are probably no more than 10%. This envelope is triggered by the gate of incoming notes from the sequencer.
Mod 2 is setup as a fairly slow LFO, with a wave shape that's somewhere between a triangle and a sawtooth. Its output is split into 2 with a passive mult and routed to the "rise" and "fall" inputs of the Make Noise Function module.

Make Noise Function:
This is setup to basically function as a slow triangle-ish LFO with a positive and negative output. The positive output is routed to the CV input of VCA 1 of the Doepfer Dual VCA module, and the negative output is routed to the CV input of VCA 2. Cycle mode is enabled and the "rise" and "fall" parameters are continuously manipulated in real-time via the output of an LFO from the Dreadbox Ataxia. The net effect of this is that audio doesn't simply sweep from left to right at a steady even pace. The panning speed changes in accordance with the signal coming from the Dreadbox Ataxia's LFO. This variable panning speed in conjunction with external stereo delay creates a nice swirling spacey effect.

Doepfer Dual VCA:
Each VCA's input is an exact copy of the output of the 505's VCA (the complete synth voice). The CV input levels on each VCA are maxed out and the gain control is maxed on the second VCA. The positive output of the Make Noise Function is routed to VCA 1's CV input and the negative output is routed to VCA 2's CV input. As the positive output of the Make Noise Function increases (moves up and away from zero), what this does is effectively pull the level of VCA 2's output down (by applying negative voltage) while simultaneously pushing the level of VCA 1's output up. As the positive and negative output from the Make Noise Function approaches 0, the level of VCA 1 drops and the level of VCA 2 increases (as the pullback applied to the maxed out gain level of VCA 2 diminishes). This is the final piece of the auto-panning puzzle. The output of VCA 1 is then connected to an input on a desktop mixer that's panned hard left and the output of VCA 2 is connected to an input on the same mixer that's panned hard right."

Strega's Filter

video by MAKEN0ISE

"Let's explore the filter circuit in Strega!​"

Buchla 246 Self Patching

video by Todd Barton

"Gosh! I love the Buchla 246 Sequential Voltage Source for so many reasons...and here is today's patch programmability tip! And...this beauty was built by Adam Scramstad, check him out on Instagram @adam_scramstad
My Patreon:​"

5 Patching Ideas with the VCV Spectra

video by Omri Cohen

00:00​ - Introduction
00:40​ - As a vocoder
06:04​ - As an 'advanced' filter
11:22​ - Feedback loops
17:17​ - Band outs
21:58​ - Env outs

You can find additional resources from Omri Cohen at or buy him a coffee at

Low Frequency Expander using MPE to control OB-6 Part 3: pitch, velocity and aftertouch

video by Steve Hunt

"The Yorick Tech Low Frequency Expander is being used here with MPE (Midi Polyphonic Expression) to control the aftertouch section of the synth, then the pitch bend and then the filter cutoff. MPE allows each of the synth's 6 voices to have its aftertouch, pitch and filter cutoff (or PWM) controlled independently, i.e. POLYPHONICALLY!

The OB6 can assign aftertouch (coming from the LFE via MPE) to the pitch of its VCO(s), loudness, LFO depth, filter cutoff or filter mode. In the first demo here, it is controlling VCO1's frequency, and as the VCOs are synced to VCO2, this gives the characteristic sync sound. The LFE is also multiplying each of its 6 envelopes by velocity, so each voice gets a different amount of sync envelope depending on each note's velocity.

The second part of this demo uses MPE to control the pitch bend of each of the synth's 6 voices. I'm using it here with 6 LFOs to generate vibrato, again multiplied by polyphonic velocity to give vibrato with each note having slightly different vibrato rates and depths controlled by its velocity.

The third part of the demo uses the MPE 'Y-channel' which the synth can assign to filter cutoff or PWM. Here it is being used to control filter cutoff, again with velocity affecting each of the LFE's 6 sawtooth LFOs so that each note can have different LFO depth.

This will all do the same with a Prophet 6.

This is an excerpt of a song of mine called 'Did we do the right thing?'

There's still a lot of work for me to do to be able to release this to LFE customers so this is just a taster of things to come for the LFE!"

See the Yorick Tech label below for more.

Ambient | Game Boy, Make Noise Strega & Roland AIRA DEMORA

video by Akihiko Matsumoto

Synth1: Make Noise Strega
Synth2: Nintendo Game Boy
Synth3: Nintendo Game Boy
DJ Mixer: Roland AIRA Demora
Analog Clock to Gameboy: Roland AIRA Demora
Master Comp/Limitter: iZotope Ozone9

SUIKO SAMURAI - featuring the Suiko ST-70 pocket synth

video by Adam Kent-Isaac

"Surf rock with a weird, vintage Japanese synthesizer called a SUIKO ST-70. There are several different versions of the Suiko synthesizer, some are more advanced and have more functions, this is the smallest version that they made. I don't have a clue what any of the buttons mean, all the labels are Japanese. I had to figure it out through trial and error. I still can't really say I understand how to use it to its full ability."

Found the above searching for demos for the following listing.

via this auction

Oberheim OB-MX Rack Synth SN MX001436

via this auction

"Excellent Oberheim OB-MX Rack Synth, 2 voices. Excellent shape, studio use only."

Yamaha Reface CS SN 01069 w/ Original Box

via this auction

Dave Smith Evolver Stereo Analog Digital Mono Synth Effects Processor SN 03783

via this auction

Note the scuff over the small e in the bottom image not visibl in the others. Check with the seller if this concerns you before bidding.

Moog Matriarch Analog Paraphonic Monophonic Synthesizer

via this auction

Dave Smith Instruments Poly Evolver PE edition

via this auction

Access Virus TI

via this auction

Some rust and corrosion on the back. Note the screws and S/PDIF connectors.

Synthstrom Deluge Synthesizer Live Acid/Trance Jam No. 136

video by CasualErrør CasualErrør

Anyone recognize the little halo cat playing bongos?


video by UncertainMusicCorps

"A duet between MI Marbles and the Stochastic Inspiration Generator (​). Two quite different approaches to achieve generative outcomes.

Marbles pairs with Plaits. SIG controls Disting EX Wavetable oscillator. SWN does drone duties"

The Stochastic Inspiration Generator was first posted here with a blue face panel by Omsonic Lab. This one appears to be re-branded under Stochastic Instruments, which technically makes this the first Stochastic Instruments post.

Info on the module:

"Each event the Stochastic Inspiration Generator creates has its pitch, octave, duration, onset, offset, portamento and ratchet set by probability controls. You can exert as much or as little control over what the next event will be as you wish. This could be very simple (e.g. raise C, E, G and 1/16 to 100% and you have a random arpeggiator kicking out constant 1/16 ) or something much more interesting…

The Inspiration Generator leverages tonal harmony by exploiting its statistical hierarchy of pitches: some notes turn up a lot, some not so much, some not at all. Being ‘in’ C Major means having lots of Cs, quite a lot of Gs and Es, a few Fs, some Ds, As and Bs, but no C#s, D#s, F#s, G#s, A#s. Set the note probabilities accordingly and Stochastic will spontaneously jam in C Major. Shift the probabilities, and you morph the tonality, key or mode they define into new tonal landscapes.

It knows all the musical parameters that shape a line: you can probablise the overall octave range over which it improvises (‘register’) and the octave offsets of each note. Bass notes define harmony and inversion, so you can imply a change of C Root to C 1st Inversion by initially dropping only the Cs by 2 octaves and then swapping to drop only the Es, all in live performance. You can even set the likelihood that melodies will be stepwise or more angular. It also knows about rhythm: you can set the likelihood that each subsequent note will be any value from an 8 bar drone to constant 1/16 pulses. And Stochastic can loop: if it suddenly strikes melody gold, hit Loop, define your loop length, release, and it will loop the phrase until you suspend loop. Hit Loop again to return to the saved loop, or hold to overwrite a new one."

M-Tron Pro - Twenty Tapebanks (No Talking)

video by GForce Software

"M-Tron Pro comes with nearly 200 Tapebanks as standard but we thought we'd ask the super talented Alex Ball to do a no-talking, run-through of 20.

That leaves something like another 180 tapebanks to discover at your leisure."

Patch n Tweak
Switched On Make Synthesizer Evolution Vintage Synthesizers Creating Sound Fundlementals of Synthesizer Programming Kraftwerk

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