"If you’re a fan of iOptigan, we’ve again partnered with Stefan Stenzel, this time to bring you the official Optigan Plugin for your desktop DAW environment!"
Features
Contains all 40 original discs and three prototype discs
Fifteen discs include multiple revisions
Can sync perfectly to DAW
Flex option for setting pitch independent from tempo
Chord detection to trigger chord buttons
Computer keyboard modes for chord and effect buttons
MIDI in and out for scale tones, chord and effect buttons
Panoptigon compatible
Upside-down disc loading
Spring reverb emulation
Optical metronome
The Optigan Plugin is now available! Click here to go grab it!"
Speak
Speak is a polyphonic Max for Live instrument that turns typed words into speech in the style of a 1980s Speak & Spell. It encodes each word into coarse chip-style LPC frames and decodes them live in eight voices. MIDI notes set the pitch, so any word can be played as a melody or a chord. It speaks six languages (English, German, French, Italian, Spanish and Japanese), and it can freeze a vowel, stutter at any point in a word and apply a 10-point modulation curve. Vibrato has several shapes and a fade-in, and there are controls for tract size, tilt and intonation.
SpeakKeys
SpeakKeys uses the same voice engine, but each of 48 MIDI keys has its own word and its own pitch instead of speaking one word chromatically. You type a word and a semitone pitch for each key, and a note shows the note that plays it and the note that sounds, so you can program little songs and play them from a keyboard or a clip. The keys are laid out in four banks of 12 and are saved with presets. A pair of mappable Select Key and Select Pitch controls lets you edit all 48 pitches from a few Push encoders. It shares the language, vibrato, global pitch and tone controls with Speak.
Max for Cats crafts Software Instruments, Effects, MIDI devices, Sound Design and Samples for Ableton Live.
Three different apps based on celestial mechanics. Above is RedtailWorks ORRERY Generative Modular posted just today. No additional details are provided.
Directly below is Recluse Studios' Orrery from about two months ago. You can find Kepler's Orrery in previous posts here dating back to 2007. As always, dig and explore.
"Orrery is a generative music environment where wires carry theory, not audio. You don't write every note — you set the rules, and the machine obeys them forever. Gravity becomes a tonal center. A wormhole becomes a canon machine. A supernova becomes structure.
This is the celestial canvas playing a real piece: three minutes born from a single brief — start in A minor, move to E phrygian, end in D lydian. Bells, soft pads, percussion. No supernovas. One wormhole. All sounds generated in-engine.
Orrery is deterministic by contract: the same file, the same seeds, the same performance — every time, on your machine, offline. No black box, no cloud, no subscription. The composer stays the composer. The machine does the paperwork.
This is the celestial canvas playing ouroboros — the first demo, and the one that shows what the clock really is. A single voice walks D, F, A, C, E while the tempo itself orbits: 40 bpm, up to 280, and back down, forever. Because the clock's own rate is fed back into the clock. The snake eats its tail.
3. Orrery - Canon in Em
This is Orrery's celestial canvas playing Canon in Em — a strict three-voice canon in E minor, doing exactly what the docs always promised. One theme, eight bars, an original line. It enters, and two wormholes swallow every two-bar phrase and return it unchanged, on time: the same melody at +2 bars, and at +4 bars, forever. Pachelbel's ground, translated — i, v, VI, III, iv, i, iv, v — in natural minor, where the dominant stays minor and the cadence stays modal. 80 bpm. Four minutes. No scenes, no supernovas, no shortcuts: the form is the canon.
4. Orrery - Undertow
One static texture, three rhythms braiding against a bar.
The piece: a Glass-style additive ladder climbs D5→D6, a tresillo thumps on the grid, and a 2-in-7 euclid pattern laps at the beat but never quite lands — the one voice that refuses the bar. The polyrhythm is the entire form. In the middle section the ladder learns to breathe — ties, rests, an accented held apex — before the machine returns, unchanged.
GRAVITY IS A CHORD.
WORMHOLES ARE CANON MACHINES.
You drop bodies into a sky and wire their ports together. A clock keeps time. A key holds the tonality. A progression walks the changes, a voice-leader smooths them, and a gravity well bends everything nearby toward its centre. Wire a body's output into another's input and the second one starts listening.
Beads sit on the wires and do the arithmetic — scale, offset, clamp, curve, lag — so a die roll can drive a filter sweep and a slow contour can nudge a whole section. The machine has no opinions. It has a clock.
"Dr.Øne is a fun to play drone machine with 4 independent voices that can rotate, or instantly transpose, to get you someplace fresh and exciting. Instantly, you're taken somewhere new and musical, gently, or even abruptly. It's half concrete, half metal, all luscious tones.
Or, you can just play it.
The voices barely interact, but feed through an all-new spring reverb algorithm and delay, which then feed a micro-cassette that you can freeze, rewind, and half-speed all at the push of a button. You'll find millions of sounds driving into the effects. This will quickly be a center for inspiration, as you discover new paths to strange sounds and chords.
Or, you can just play it.
You can map this to your favorite hardware controller (like a Novation Launch Control XL) and sit back and make chords out of sounds, progressions out of tones. Tying it to hardware is revealing. Suddenly it becomes an instrument that doesn't exist. Don't think for a second that you can save this game and resume, because you cannot. Just like life, there is no going back, only forward.
Or, you can just play it.
Throb button gives you spikes of the voices at their shape-- from sine to pulse and everywhere in between-- that you can use to bounce off the walls, or climb them, if that's your thing.
Melt your past. Forge your future. Make something new without boundaries. Or, you can just play it.
Half of Dr.Øne is concrete. Musique concrète began when people cut, slowed, reversed and looped recorded sound until it stopped being a recording and became an instrument. Dr.Øne is the other half: four voices that hold a chord forever, then rotate or instantly transpose to take you somewhere fresh. Play it by hand, with a hardware controller or the mouse, and don’t be surprised when it’s three hours later.
"Imagine being able to sequence different effects blocks as you wish. Imagine being able to send to a delay only on steps 5 and 9. Imagine being able to slew between effects slowly. Imagine if these effects blocks had LFO's for parameters to modulate them automatically. Imagine if you could choose from 34 effects blocks of different types. Imagine if you could quickly randomize everything to spit out a new sound. Imagine if you could change opamps, diodes, capacitors, and component age without a screwdriver and popping open something vintage.
Imagine no more!
Here's OCTAL. An 8-block sequence-able effects rack that lets you lightly touch or completely mangle your audio input into something fresh. An effects playground, if you will. Chain things in any order, then re-order them freely, just to hear how it sounds. Cascade blocks into each other, stacking sounds that build and grow. Or simply hit the EZ button and let it choose for you. Then sequence all that for certain steps only. Assign LFO's to automatically swell, dip, crunch, or delay sounds so that its just how you like it. Or, do that all at once, times 8.
"Imagine sending audio to a delay only on steps 5 and 9. Imagine slewing a filter between steps. OCTAL is eight effect boxes in series with a 16-step sequencer underneath: pick what's in each box, then program which boxes switch on at each step and where their knobs sit. Every box is its own little pedal, with its own paint, lettering, and wear.
TED-8 is the Oberheim TEO-5 as a plugin, built from thousands of measurements of a real unit. Every knob, every curve and every effect was recorded, compared and tuned until the plugin and the hardware sounded the same side by side. Then we gave it three more voices, a Poly Unison mode that stacks up to 6 voices on each of 8 notes (48 voices at once), a full modulation matrix and a cable to the real thing, so TED-8 works on its own in your DAW or as the editor and librarian for the TEO-5 on your desk.
HOW WE MODELED IT
TED-8 How we modeled it
We started with a TEO-5 on the bench and a lot of patience. One note at a time, one knob step at a time, we recorded what the unit actually does: how far the filter moves per step, how the envelopes curve, how fast each LFO setting runs, how each effect colors the sound. TED-8 follows those recordings rather than a datasheet, so a patch you dial in feels and responds the way it does on the hardware.
The little imperfections came along too. Each voice sits a few cents apart and a touch louder or softer than its neighbour, the way the voices of the unit do, so chords breathe instead of sounding cloned.
"FAC Gravity AUv3 Plugin is a frequency shifter for creating Barberpole and Shepard style glissandos, spectral illusions, stereo rotation, chorusing, phasing, evolving echoes, infinite cosmic spaces, and all the combinations you’ll make.
0:00 Introduction
0:39 Presentation
1:39 Preset Demo: Shifted Space
1:57 Preset Demo: Ramping Tape Riser
2:15 Preset Demo: Synce Wobble Bass
2:30 Preset Demo: Frequency Shifter
2:49 Preset Demo: Synced Break II
3:09 Outro
"FAC Gravity AUv3 Plugin is a frequency shifter for creating Barberpole and Shepard style glissandos, spectral illusions, stereo rotation, chorusing, phasing, evolving echoes, infinite cosmic spaces, and all the combinations you’ll make.
• Dual Frequency Shifting, or Mono Shifting with Quadrature Stereo Widening
• Organic Spiral Loop, from gentle feedback to pure analog self-oscillation
• Integrated delay, diffusion blur, and independent low/high filtering
"Pine DSP have announced the availability of Blox Rack, a modular effects rack plugin in the "500-series" mould, that adds a horizontal panel for EQ, modulation and other fine details.
Blox Rack's six effects – EQ, Comp, Chorus, Reverb, Delay, Exciter – are also available individually as separate plugins to load and run in a DAW for license holders of Blox Rack.
Mixing with a rack of plugins is a mostly great workflow, but when it comes to EQ, the vertical format can't offer you a speedy way to edit bands precisely or a view of the frequency spectrum running through it. That's why we added a pop-out horizontal panel to the top of Blox Rack – it acts as a context-sensitive view, helping you stay in the moment for EQ, modulation and precision ducking.
"Flock by SignalFunctionSet — generative granular synthesis in VCV Rack. 🐦🎛️
Inspired by bird murmurations, Flock creates evolving sonic textures, shifting pitches, and intricate patterns for generative ambient music and experimental sound design.
Explore the possibilities of organic, ever-changing modular synthesis.
NOODLERACK featured in the Molten Music Monthly June 2026 above is now available for the iPad with a different feature set. Note the thumbnail above is not it. Click play and it should start with NOODLERACK. If not jump to the nine minute mark.
Details follow:
"NOODLERACK is a modular synthesizer where users add modules and patch audio, pitch, gates and modulation with cables. The iPad app includes a standalone rack for offline use and a native AUv3 instrument for compatible hosts such as GarageBand.
Standalone supports MIDI, saved patches, Files export/import and WAV recording. The native AUv3 instrument includes 31 module types, host MIDI and clock, 16 automation macros and rack state saved with the host project. Standalone and AUv3 have separate module sets and patch formats.
"A synthesis concept like no other. For macOS and Windows.
▶ Try it free for 9 days: https://www.blinksonic.com/holodrift/ ▶ Buy HOLODRIFT — €119 launch price with code L4UNCH, until October 30, 2026/ — Draft timbral scenarios with a wave-crossfading engine. Play a whole family of frequency-domain effects, live. On any sound.
A granular sampler. A spectral effects suite. One instrument.
EIGHT SLOTS. EIGHT MATERIALS. Each slot is a full granular engine. Load samples, loop slices, recordings, live input — or browse 1,360 sounds mapped by timbre, and fill all eight slots with a single lasso.
YOUR SOUND BECOMES A SCORE. HOLODRIFT listens to everything it plays, breaks it into partials and rebuilds it in real time. In WAVE mode, every partial becomes a wavetable: the sampler excites, the harmonics sing.
"In this video Christian walks us through his latest incatative invention made in collaboration with the entire Crow Hill team. Forest Harps is made up of a rare find coupled with medieval ingredients and his own very special and grotesque approach to sound design. If you're looking for a harp that isn't a harp, a classical guitar that isn't a classical guitar and some fully controllable shifts in darkness of tone for your next score, song or soundtrack it would be worth checking out"
Press release follows:
The Crow Hill Company continues investigating its Origins series of virtual instrument plug-in collectibles with FOREST HARPS incantatory invention
EDINBURGH, UK: The Crow Hill Company is delighted to continue investigating its Origins series of virtual instrument plug-in collectables with the release of its intriguing-sounding FOREST HARPS — being billed as an incantatory invention collectively crafted by the Edinburgh-based enterprise, effectively comprising a harp made from elk horn, conch shell, animal ribs, and fishing wire brought together with medieval psaltries fed through a slowly rotating Leslie cabinet to create a forest floor of plucks, textures, and atmospheres as a rare and grotesque approach to sound design — as of October 20…
"Baikonur 4 is a cinematic virtual instrument built from deep-sampled recordings of the Soma Lyra-8 — an analog synthesizer known for its unpredictable, organic character. Available now as VST3/AU.
Baikonur 4 features multiple mic positions, a built-in arpeggiator, and a full effects chain — covering everything from dark atmospheric drones to percussive textures and alien tonalities. Designed for film, game, and horror scoring"
Baikonur 4 is a sample-based synthesizer built from the sound of the SOMA Lyra-8™, a celebrated analog drone instrument. Rather than model it, Baikonur 4 captures its character through multi-channel recording and lets you reshape it with modulation, filtering and effects.
What makes the instrument distinctive is how each sound was recorded: every source was captured through four separate “mic” channels, each with its own tone, which you blend to taste on the main page.
Main — The direct signal, run through analog EQ, analog saturation and transformers for weight and color. Room — The signal sent through a Fender Princeton Reverb amplifier and then a Universal Audio OX amp top box with the “Room” control fully raised — the source of the channel’s name. Cab L / Cab R — Two different speaker-cabinet impulse responses, each captured in a different room and without the amplifier used on the Room channel — adding width and a sense of space.
"The Korg MS2000 and MS2000R are classic virtual-analog synthesizers from the early 2000s, known for their distinctive digital character, hands-on controls, vocoder and motion sequencing. The MS2000R is the rack version of the keyboard model.
This open-source project emulates the original hardware at a low level, running the original H8S/2350 firmware and DSP56362 code rather than recreating the synth engine from scratch. It includes a standalone application with the full front panel, plus VST3 and Audio Unit plugin versions.
In this video I’m using the standalone version and playing all 10 factory demo songs in sequence.
No talking — just the demos.
00:00 - Demo Song 1
00:48 - Demo Song 2
02:56 - Demo Song 3
04:30 - Demo Song 4
06:19 - Demo Song 5
07:33 - Demo Song 6
08:57 - Demo Song 7
09:39 - Demo Song 8
11:14 - Demo Song 9
12:32 - Demo Song 10
Makes me think of a new generation Synth Edit based soft synths. For those of you concerned about them, and M-VAVE, taking over site, don't. I'll be filtering out noise as usual. Note supporting member posts are always welcome as a thank you for supporting the site, so you will see demos coming in that route. That said, posts like this one are mainly for informative purposes only, and to give you a perspective on the topic.
Video description:
"Can you 'Vibe Code' a VST? Of course you can :)
Like many of us in this space, I’ve been looking into what “AI” can and can’t do and more specifically how it can help me with Audio/Video and App Creation. Google Flow recently added the ability to 'Vibe Code' your own VST Plugins and I’ve made a half decent FX Plugin…Nothing that will change the Music World, damn, there’s enough of that going on, but it’s quite a cool little Project."
And another project I came across based on the UI of the Moog Messenger but with a different engine.
Vibe Coding VST3 Synth Based off Moog Messenger Preset Editor Layout
Sound test. UI inspired by the Moog Messenger preset editor. Working Windows VST3 and standalone synthesizer with its own sound engine. I used the Moog Messengers preset editor layout and functionality as a foundation for this synth. This does not edit presets on the Moog Messenger and it's not a skin for the preset editor. This is it's own synth.
Developed native synth with JUCE and C++ with GPT Codex. Tested both the standalone app and VST3 inside FL Studio.
The synth currently features two original synthesis algorithms:
⚙️ Mandible = interacting phase-modulated oscillators and asymmetric wavefolding for biting, metallic basses and aggressive textures.
⚙️ Gullet = harmonically rich synthesis shaped by moving resonances and distortion for throaty, vowel-like growls and smoother bass tones.
Added oscillator shaping and sync, multiple filter modes, envelopes, two LFOs, modulation routing, internal feedback, glide, duophonic playing, MIDI-synced pitch and mod wheels, an arpeggiator, a basic step sequencer, and preset saving. The factory bank now includes 17 presets, with ten dedicated bass patches. This is an independent project, unaffiliated with Moog, and isn’t intended to emulate the Messenger’s sound.
More synthesis algorithms are planned for later, including ideas for fractured waveforms, interacting detuned sources, and feedback driven textures. For now, this demonstration explores what Mandible and Gullet can already do as of now.
Built through experimentation, listening, testing, and one working feature at a time. Work in progress."
"Tides is a new virtual instrument for building your own playable loops, pads, sweeps and impacts. Here's the trailer, then a full walkthrough.
Stack up to six sounds from the Tides library, shape each one with built-in effects, and play the result across your keyboard.
The Tides library includes 50+ deep-sampled instruments, including the Budapest Scoring Orchestra and Choir, 350+ loops, textures and foley recorded from nature, and 100+ presets and sequences by Phritz and Alexander Panos.
Tides launches with Black Friday pricing, 50% off: $49 (RRP $99).
Get Tides: https://lunacy.audio/products/tides?u...
Chapters:00:00 Introduction to Tides 00:22 What Is Tides? 00:53 Exploring Sounds & Presets 01:42 Picking Sounds – The Sound Browser 02:22 Building Your Arrangement 03:05 Editing, Trimming & Duplicating Sounds 03:36 Pitch, Time Stretching & Envelopes 04:10 Sound Shaping & Global Controls 05:00 Looping & Reversing 05:46 Effects – Reverb, Delay & More 06:46 Exploring Presets 07:18 Generating New Arrangements 07:46 Final Playback & Outro"
