"Trix is a software recreation of a Japanese rhythm machine from 1973, built through hands-on analysis of an original unit and its analog circuitry.
Trix uses no samples. Every sound is generated in real time by models based on the original electronic circuits, from the resonant drum voices to the metallic percussion and noise-based sounds.
Features
• 100% synthesized
• Built-in rhythm patterns and sequencer
• Step sequencer and pattern editor
• Individual controls
• Master Tone and Over Drive
• Internal / Host / MIDI clock
• macOS AUv2 / VST3
• Windows VST3
Available for macOS (AUv2 / VST3) and Windows (VST3).
"Raw Filtopia running a sequence, clocked via MIDI with custom stepping. Here is a tight sequence with XMOD and several LFO modulations happening at once."
"Update on the Lifeforms SV-1 Mini. We sharpened our pencils and did all the math. Retail will be $599. That is $200 less than the original SV-1! Production SHOULD be finished by mid December and they SHOULD be shipping to buyers mid-January. All great news. So I want feedback on preorders. Should we take preorders? When should they start? The first run will be 300 units. Thought?"
"We will have production test units the middle of September. They will have the production panels and case. And that is what would be demoed for the preorders."
matrix note: note what Bob Moog says after 5:18. Many of you might know that Herb Deutsch suggested the keyboard as the main interface for the Moog synthesizer, while Morton Subotnic had an influence on Don Buchla in the development of the synthesizer as a repacement for working with tape for new sound creation and manipulation. Don Buchla did not want to limit the interface to a 12 note keyboard. Buchla has become synonymous with atonal music, and not viewing the purpose of a synthesizer as an instrument meant to synthesize known instruments, but rather as a sonic easel, hence the Buchla Music Easel. Moog in general is credited with the direction of keyboard based synthesis. It's fascinating hearing Bob Moog essentially say otherwise. This interview is from 2003, before internet discussions between East and West coast synthesis took off.
Video description:
"Please donate to the Bob Moog Foundation to help make presentations like this possible: https://bit.ly/ContributeBMF
We are excited to share this never-before-seen 2003 interview with Bob Moog! Here, Bob shares his original inspirations and insightful speculation on the future of electronic music. He also gives a brief demonstration of the then-newly released Minimoog Voyager.
The interview was hosted by Frank Serafine (April 6th, 1953 – September 12th, 2018), a lauded American motion picture sound designer, sound editor, and composer.
Many thanks to Harold LaRue of haroldlaruemastering.com for editing the audio for us. He did a masterful job of editing out so much background noise from NAMM including vacuuming, someone playing a keyboard in the background, and so much more.
We lost Bob Moog on August 21st, 2005, and are proud to commemorate him and his legacy today on the 20th anniversary of the Bob Moog Foundation.
Help us carry Bob's legacy forward, inspiring future generations at the intersection of science, music, history, and innovation. Support our work by doing one (or all) of the following:
"I am very excited to announce that after 20 years, @KeySolutionsSounds is back! TRAVELER is an incredible Virtual Instrument with a multitude of modulation options and extremely straight forward to navigate. and it sounds absolutely huge!!
It has been an absolute pleasure creating 60 of the factory sounds for this amazing VST, It is lush, fat, versatile and very unique! this one really is not to be missed!
"This is how it all began, but I would not be here without the help and support of my friends. Thanks to all that have made this a reality. I can not wait to release TRAVELER to the world."
"The Sparkling riser is a brand new kind of audio FX
This effect is achieved by stacking 12 lines of 'micro-delays' lasting a few milliseconds (6 lines per audio channel) The delayed sound is mixed back into the original sound, creating a comb filter.
Each delay line has a feedback loop, and the delay time is modulated by several LFOs. In addition to the LFOs, we have 12 VCAs (1 per delay line) whose levels are synchronized to the phases of each LFO.
But when the effect is on the "infinite rise" mode, as soon as we apply randomization to the LFO phases, something very strange happens:
'phantom notes' appear. We could compare this effect to concentric waves colliding to create a splash—a “spark” that, in our example, generates notes based on the frequencies and harmonic content of the sound. This 'spark' gives the effect its name: 'Sparkling Riser.'
This effect is directly inspired by a project we're working on with electronics genius Yves Usson."
This track is made on a vintage ARP 2500 modular system from 1970. A series of looper modules made by 2hp were used to construct the music in real time
The ARP 2500 was known as the concert grand of synths. This is because it is so magnificent in every way possible
You can watch the original performance here:
• Summersend - ARP2500 [posted here]
This video pays homage to one of my favourite science fiction illustrators Syd Mead, who was responsible for many amazing designs, including some of the world building in Blade Runner and Tron. I have tried to bring them to life by putting them through the Memetune VideoLab...enjoy!"
"Updated version of Divine CMOS. Wonderful module for harmonically rich sounds or use as a complex CV patter and gate generator. Thought the LEDs were superbright purple but turned out to be a mild light blue."
"This module has been thru a few cycles. The original idea for the design is from an article in Electronotes EN#98 by Lester Ludwig, spectacularly titled ‘A Square-wave Frequency-division Sub-octave Cross-product Module, it’s relationship with Lie algebra, and other related processes’ or more simply known as The Cross Product Module.
The frequencies of two VCO signals are separately divided by /2, /4, /8 & /16 ratios. The corresponding divisions are ANDed together and the results, along with all the raw divided frequencies are mixed together in various ways. You end up with a very harmonically thick, animated sound.
I did a full bloat CMOS (Ludwig’s design was TTL) version for a 4U panel back in 2008 or so, but changed the AND gates to XOR gates for a more ring-modulated effect. Then a minimal, slimmed down eurorack version, called Divine CMOS. This just used the XOR’d signal and outputted a signal determined by the pots.
After some requests for an expanded version, I re-visited the design.
"Not the most exciting name, I simply wanted a 4HP sawtooth VCO to sit next to the Spectrum Shaper.
It is based on the Utility VCO in Electronotes EN67, which was based on designs by R. Tenny (Electronic Design 11/10/75), J.L. Brice (Wireless World (6/76) and others.
It tracks very nicely, turn the CV pot to max for 1V/oct, ranges from approx 10Hz to over 100kHz and supplies 10Vp-p sawtooth and square waves.
The Sync is the hardest of hard syncs around. I left out the capacitor usually used to turn sync signals into a pulse, so if you feed a gate or slow CV signal into Sync the VCO simply stops, think of it is a bonus VCA. Of course, if you use an audio rate sync signal, it works as normal.
It is a pretty easy build. not many parts. Do not mix up the BCM847 and BCM857 dual transistors, see the build notes for where to install a 1k tempco."
"Roland TR-505 drum machine review tutorial and sound demos. This drum machine gets some hate from TR purists (often referred to as 'a good doorstop') but honestly I think this is a really solid little drum machine with that classic Roland TR / Boss DR sound and a really nice to use srquencer. It has also been used by a plethora of great artists including: Aphex Twin, Vince Clarke, Tame Impala, Thom Yorke, Derrick May, Blood Orange, and Venetian Snares and probably many others! See chapters below if you want to skip straight to the tutorial or sound demos.
Chapters:
00:00 - background info and review
08:55 - I/0
10:20 - basic sounds (link to sample pack in description) tutorial part 1
11:01 - changing the level of the sounds
11:59 - MIDI settings
13:00 - setting tempo
13:39 - play mode (track / pattern play)
13:57 - pattern play - selecting and playing saved patterns
17:07 - track play - selecting and playing saved tracks
18:28 - programming your own patterns
23:35 - Sound demo 1 all drums from 505, with some mixing / effects (this is a track from my upcoming album)
25:33 - Sound demo 2 ll drums from 505, with some mixing / effects (this is my track Basic Microwaving, links below)
27:17 - sound demo 3 raw drum sounds, no effects, playing through the preset patterns
29:01 - sound demo 4 raw drum sounds, no effects, playing through one of the preset songs
ako - Basic Microwaving (vaporwave / synthpop / jazz)
"This time, I'm keeping the same setup as my previous jam... [below] with one new member joining the party: the Moog Minitaur. 🎸
But the real star of this experiment is probably the Squarp Hapax.
I've been pushing its sequencing capabilities a little further this time, using a combination of its MIDI effects, automation and LFO modulation to make the different parts evolve throughout the performance.
I'm using several of the Hapax MIDI effects, including Euclid, Harmony, Random and Swing, as well as LFOs to continuously modulate MIDI parameters (using CC).
And I also wanted to explore the FILL feature a bit further.
For example, I use a Fill to create a drum break, while simultaneously triggering an LFO that sends CC messages to the TR-6S, increasing the level of its internal reverb during the break.
So the Hapax isn't simply telling the synths which notes to play anymore... it's also changing their behaviour while the music is happening. Quite a lot is happening behind the scenes, even if hopefully it doesn't sound like a Hapax having a nervous breakdown. 😄
The performance was recorded in a single take. I mixed and mastered the individual tracks afterwards in Ableton Live, but the actual performance wasn't edited or fixed."
176▶️ 808 (Waldorf Protein // Roland JU06A // TR 6S // Moog DFAM // Squarp Hapax)
video upload by 2-Minute Warning
"With its controller, and exceedingly rare cartridges, this Prophet VS is a very clean example of a pretty hard to come by synthesizer. It was recently given a clean bill of health by one of our in house techs, and it sounds excellent."
"This very good condition TR909 is the real deal. It's got hundreds of genres under it's belt, and it can't wait to be a staple in your signature sound. It's working well and it's sounding great."
"There's a drum machine from 1983 that was intended to sound like a real drum similar to the Linndum — rolls, flams, off-the-beat feel. But the real story is bolted to its side, and most people have never seen one.
The Oberheim Stretch DX is the machine almost nobody talks about — the expansion that turned a 6-voice box into something else entirely. Here's how it happened, and what it can still do.
⏱️ CHAPTERS
00:00 — The drum machine that didn't want to be a machine
00:38 — Oberheim DMX: the little brother that came first
01:20 — 18 sounds, EPROM cards & the idea that predicted sample packs
02:00 — Inside the DX: sequences, quantize & the swing mode
02:40 — Rear-panel tuning & individual outputs (why 6 voices matters)
03:10 — The Stretch DX: the bolt-on nobody expected
03:40 — Installing a Stretch: soldering irons & ribbon cables
04:00 — Why the DX & Stretch DX faded — and what they left behind
04:20 — Let's make some beats
🎛️ Gear in this video: Oberheim DX, Oberheim Stretch DX"
"Welcome to Bad Gear, the show about the world’s most-hated audio tools. No, there is no episode about the Korg Electribe ER-1 out there yet - I had to look it up myself - and yes, the snares totally sound like sh*t!"
"I've had the Mask 2 EX MK2 for a few weeks now and am very pleased with how it Sounds and most of all, the Price! I paid just short of £400 from Juno Records, which for today, isn't bad for a Polyphonic Synth.
The Mask 1 Keyboard has been out for some years now and while there was a Desktop released (EX Mk1) this version now seems like a complete Product.
In the Video I go over the controls, however one aspect of their Mask 1 Family is that you can only Edit from the front panel using a Data Entry Knob, so with the help of Gemini and Claude, I built a web based Editor and Librarian, which I demonstrate in the Video.
It should work with the MK1, but not sure about Keyboard as I don't have one, but it's essentially the handling of Factory Patches and User Patches that are different, so should work.
The Editor will be released for Free on Sunday August 23rd on my next Live Stream, where I will be covering the Mask 1 EX MK2, answering your questions and making some Patches Live."
"In this video, I explore the Beetlecrab Vector, vector synthesis and why this unusual synth is so interesting for industrial music and sound design. From the Prophet VS and Korg Wavestation to Trent Reznor, Skinny Puppy, and Front 242, we’ll look at the history of Vector Synthesis and see what makes the Vector such a different way to create sounds. If you’re into synthesizers, industrial music, experimental sound design and weird synths...this one’s for you!"
"Bliss 3.20 is out for macOS, Windows, Linux and iPadOS. The crusher gains five vintage sampler DAC models (SP-1200, MPC60, Emulator II, LinnDrum and Mirage) that alias with the pitch like the real hardware. Sampling gets round robins, silence trimming with a recording threshold, and program range capture that renders a whole bank of plugin programs in one pass. Zones can now be grouped and linked so one edit updates the whole set, with per-zone CC ranges and CC choke for realistic hi-hat control."
Trix uses no samples. Every sound is generated in real time by models based on the original electronic circuits, from the resonant drum voices to the metallic percussion and noise-based sounds.
