PolyFreq Introduces Phonon Plug-In Debut as Precision Granular Laboratory for Sonic Alchemy

video upload by PolyFreq

Press release follows:

PolyFreq pitches availability of Phonon plug-in debut as precision granular laboratory for sonic alchemy

BRISTOL, UK: boutique musical tools-maker PolyFreq is proud to announce availability of Phonon as its debut plug-in — pitched as a precision laboratory for sonic alchemy, built around a high-quality sample granulation engine with root note detection, four keyboard follow modes, and legato giving it real versatility as a playable instrument — as of May 5…

Acting as a musical synthesiser first and foremost, Phonon is designed for very intentional, controllable reconstruction of one source, leaning into synchronous granular or ‘graintable’ synthesis. Sub-sample grain scheduling and separate grain rate and density controls open new vistas of repeatable, controllable timbre and tempo across macro and micro parameter ranges. Reality dictates that where other granular synths default to randomisation or multiple sources, Phonon provides users with complete control over every grain — from classic textural clouds to malleable ‘grainwave’ synthesis. Indeed, it is equal parts laboratory and playground.

“Phonon’s development was inspired by the great creativity of early granular work from composers such as Wishart and Roads, and the deep listening of Oliveros, with a desire to make this wild, creative territory more accessible to electronic music production and sound design, without stripping away what makes it strange and inspirational.” So says PolyFreq founder Nick Mariette by way of an illuminating introduction. It aims for ease of use, with a simple drag-and-drop workflow for modulation, and most features are immediately visible, with minimal menus or hidden options. And a flexible array of audio-rate modulation sources provide huge scope for patches that respond and evolve, including LFOs (Low Frequency Oscillators), envelopes, sample metadata, sequencers, MIDI (Musical Instrument Digital Interface) control data, and various noise flavours.

Features additionally worthy of the edited highlights treatment here include Phonon’s granular engine — eight voices of polyphony with up to 256 grains per voice and sub-sample precision that bridges the gap between classic textures and sharp ‘graintable’ synthesis; effects — shape sounds with a character-driven signal chain, from saturating drive to resonant filtering, as well as a utility reverb for glue or depth; presets — easily capture, export, evolve, and share sonic creations with sample embedding and eight-way snapshots; and drag-and-drop workflow in a resizeable interface for easy enjoyment as a standalone instrument or for plug-in-based DAW (Digital Audio Workstation) production.

Phonon’s uses are almost endless — think time stretching; pitch shifting; sample mangling; sound design; classic textural, granular clouds; synchronous, tuned granular tone creation; creating a synth from any sample; rhythmic grain generation, synced to host; beat retiming and timbre distortion; and more besides. Back to Nick Mariette: “Phonon is intended for reshaping beats and designing synth leads as much as for losing time in ethereal granular atmospheres; I hope it will connect people to listening differently, discovering the sounds within sounds.”

Anyone attending SUPERBOOTH26, May 7-9, FEZ-Berlin, Germany is hereby encouraged to swing by Booth H116 there, where PolyFreq will be showcasing Phonon to the musical masses assembled and Nick Mariette himself will be on hand to personally provide a warm welcome with an open invitation to discover those sounds within sounds. Spanning chaotic clouds to precise synthesis, controllable sonic alchemy is there for the taking so why not take this hands-on opportunity to discover and delight in vibrating matter differently with Phonon!

Phonon is available to buy as a standalone or VST3 plug-in for macOS (10.13 or later) and Windows (10 or later) at a 33% launch discount — duly rising thereafter to its full price of $89.00 USD (excluding tax)/€76.00 EUR (including tax)/£68.00 GBP (including tax) — directly from PolyFreq here: https://www.polyfreq.com/products

For more in-depth information, please visit the PolyFreq products webpage here: https://www.polyfreq.com/products

MadeOnEarth - LedRover Analog Stereo Distortion Pedal

MadeOnEarth - LedRover vs Dfam video upload by Isak Eliyahu

Press release follows:


LEDROVER: ANALOG STEREO DISTORTION

The LedRover is a 100% analog stereo diode-based distortion effect from MOE. It originated from our quest for the ultimate distortion effect for the TB-303, finalized after a year of experiments with various components including diodes,

LEDs, germanium, and custom potentiometers. The inspiration for the circuit came from a famous filter resonance design that we discovered uses diodes in the feedback loop, which creates a round sound with a distortion tone that can be aggressive while remaining musical and preserving the character of the original signal. Based on this, we designed two distortion modes for the LedRover using different diode placements. Following extensive calibration for synthesizers and drum machines, we have ensured the effect is suitable for a wide range of applications—from kicks and snares to cymbals, bass, and leads—offering everything from delicate warmth to extreme distortion.

The integrated Tilt filter was born from our understanding that filtering before overdrive is essential for emphasizing frequencies pleasant to the ear. Unlike standard Tilt filters that typically offer a 6dB/Octave slope, we designed the LedRover with a steeper 15dB/Octave slope for both low and high frequency ranges. This ensures the signal enters the distortion with high saturation, allowing the circuit to mangle the sound even further. We selected the reference point for the filter through trial and error across a variety of gear to emphasize mid-range frequencies rather than just extreme highs, providing a flattering response for the distortion circuit.

Additionally, we added an x10 Boost button to push instruments with weak outputs hard into the Tilt filter. This creates distortion right at the entrance of the filter, which can be controlled delicately with the input knob; as you attenuate the input volume, the action of the filter becomes significantly more pronounced, while higher values create a unique op-amp saturation that works in perfect synergy with the diode overdrive. We build the LedRover to the highest standards of reliability and feel, housed in a custom aluminum box with resilient UV-printing and custom potentiometers.

Feature List:

100% Analog Stereo Diode-Based Colorful Distortion Circuit.

Dual Distortion Modes: Two distinct distortion characters.

Custom 15dB/Octave Tilt Filter.

x10 Boost Switch: Push weak instrument signals and overdrive the Tilt filter op-amps for additional colorful harmonics.

Two-Mode VU Meter: Visual monitoring of the wet and dry signals.

Dedicated Input and Output Controls.

Buffered Bypass.

High Standard Build Quality: Custom aluminum box with resilient UV-printing and custom potentiometers.

Compact Form Factor: W: 12cm (4.7") x D: 10cm (3.9") x H: 5.5cm (2.2").

We are very excited to officially debut the LedRover and our beloved Analog Chorus 60 at Superbooth in Berlin, Booth B048. We will have a demo station equipped with two sets of headphones, but you are also welcome to connect your own.

www.moe-shop.net

GCS Model 8 - A New Tape Machine DAW

video upload by Gulf Coast Synthesis

"I've been working for months perfecting a new DAW that captures the exact workflow and sound of analog tape. Every aspect of the tape path is emulated using data I captured from my own tape machines. You can play with the tape as its recording to record warbles, draw defects, age the tape as you play it, varispeed record, and essentially any other function that's possible on a reel to reel.

I'm gearing up to release it in the next couple weeks but am happy to send out codes for people to try it out: https://www.gulfcoastsynthesis.com/beta

It allows 8, 16, and 24 tracks and various tape types like cassette, 1/4", 1/2" and 1".

Its also available on iPad:
You can try it via the link below:
https://testflight.apple.com/join/Q76..."

CLICK FOR MORE »

Chase Bliss Introduces Big Time – Analog/Digital Delay

video upload by chase bliss

"Big Time revisits the mixed-up circuitry of rackmount echoes from the early 80s, where advanced analog engineering was used to prop up crude digital systems. What would happen if that hybrid circuitry were pushed to its extremes? Big Time is our answer, stuffed with misbiased modulations, saturating loops, and sequenced echoes.

Time to live large."

https://www.chasebliss.com/big-time-blog

And a user video with the Vermona Perfourmer by Matt Lowery:

Chase Bliss: Big Time

video upload by Matt Lowery

"The Chase Bliss Big Time is here, and today we'll spend some time throwing a bunch of synthesizers at it and seeing how it sounds. We'll also talk about the fundamental concepts, controls, and identity of the newest addition to the Automatone family. Timecode is below- skip around!"

00:00 Intro/Tascam Jam
03:46 Tone and Dynamics
10:00 Delay Line Controls
19:41 CV/Expression Control; Modular
22:10 Big Time Generates Clock!
28:04 Drum Machine Sound Sample
33:55 Easel Outro Jam

The Pedal That Thinks It’s a Synth | PURPLL Drone Improvisation

video upload by Andre Bregegere

"An improvised deep-dive into the harmonic chaos of the Montreal Assembly PURPLL."

The Pedal That Thinks It’s a Synth | MTL PURPLL | Drone Improvisation

video upload by Andre Bregegere

"An improvised deep-dive into the harmonic chaos of the Montreal Assembly PURPLL.

While many know the PURPLL as a PLL-based dirt box, it hides a massive drone synth within its circuitry. In this session, I’m utilizing its internal pulse wave oscillator, utilizing the multiply and divide channels to stack overtones and subharmonics into a wall of sound.

The signal is shaped by the onboard filters and modulated via LFO before hitting the Universal Audio UAFX duo for spatial depth.

Chapters:
00:00 Intro
01:12 Performance

Gear Signal Chain:
• Source: Montreal Assembly PURPLL (Drone Mode)
• Reverb: UAFX Golden Reverberator (Vintage Reverb Emulator)
• Delay: UAFX Starlight Echo Station (Vintage Delay Emulator)
• DAW: Recorded live to stereo, mixed/mastered in Pro Tools.

Key PURPLL Features used:
• Pulse Wave Oscillator
• Frequency Multiplication & Division
• Integrated Hi-pass & Lo-pass Filters
• Internal LFO Modulation"

"The PURPLL is a phase-locked loop (PLL) type pedal. It can be used as a fuzzed out harmonizer, drone synth and more."

CLICK FOR MORE »

VONGON ROSETONES: Beautiful, Polyphonic Resonances

video upload by keinseier

"I love discovering new and inspiring tones. Tones that surprise me - preferably not by layering tons of effects, but achieved much simpler.
Enter the Vongon Rosetones, a polyphonic resonator.
What's happening here: it's hooked up to the Tonverk via MIDI and audio, and MIDI CC's are being changed with the patterns from the Tonverk. In the first part, the percussion from the Tonverk is fed into it as the impulse to excite the resonators, while I play the Replay as a midi keyboard to define the pitches.
In the middle part, the audio from the replay is the input to the Rosetones, which resonates sympatically to the chords. In the third part, it's back to drums exciting the resonators and MIDI control of the pitches. Lots more to be discovered.
And of course, the Rosetones looks beautiful as well."


video upload by Vongon

"rosetones creates a polyphonic synth voice that follows your playing. it listens to your notes and routes them through sympathetic resonators, creating blooming harmonic textures and evolving chords

more info @ vongon.com"

"rosetones creates a polyphonic synth voice that follows your playing. it listens to your notes and routes them through sympathetic resonators, creating blooming harmonic textures and evolving chords at the center of rosetones is a 12-voice chromatic resonator bank that continuously analyzes the input signal and routes detected pitches into tuned delay lines. each pitch class excites a resonator that can sustain, swell, and interact with feedback to create dynamic harmonic movement"

Animal Factory Dirty Mirror × Korg Monologue // Fuzz Synth Jam (No Talking)

video upload by Animal Factory Amplification

"Use headphones for this one! Animal Factory Dirty Mirror dual parallel fuzz pedal running a Korg Monologue analog synth — no talking, no post-processing, just raw tone. This was recorded in one take to bring out how the Dirty Mirror becomes an instrument in itself.

A love letter to shoegaze, noise, and harsh textures, the Dirty Mirror pairs a modified Shin-Ei Superfuzz (the "Burn" channel) with a heavily modded Big Muff Pi (the "Churn" channel), plus a pre-fuzz delay modulated by an internal LFO and envelope follower. Hand-built in Mumbai by Animal Factory Amplification and debuted at Superbooth 2025.

Here it's sculpting the Korg Monologue's aggressive analog voice into fuzzscapes, drones, seasick vibrato, and pitch-shifted square-wave chaos. Recorded dry — no EQ, no reverb, nothing but the pedal and the synth. Drums from an MFB Tanzmaus (not processed)

🎛 SIGNAL CHAIN
Korg Monologue → Animal Factory Dirty Mirror → interface"

Animal Factory Dirty Mirror Fuzz on MFB Tanzmaus | Dual Distortion Delay Jam

video upload by Animal Factory Amplification

"Use headphones or speakers with good bass! Dual fuzz chaos meets beat-driven synthesis! Watch the Animal Factory Dirty Mirror transform the MFB Tanzmaus drum machine with creative distortion and delay manipulation. This is pure experimentation—no tutorial, just sonic exploration.

Gear featured:
Animal Factory Dirty Mirror Dual Fuzz Pedal
MFB Tanzmaus Drum Machine

Not just a shoegaze and noise rock machine - the Dirty Mirror is the perfect fuzz for musicians exploring wall-of-fuzz sounds, experimental synthesis, drum machine effects processing, and unconventional gear combinations."

"The Dirty Mirror takes these two behemoths of sonic perversion and adds an extra layer of nasty – using the core circuit of our Coma Reactor Eurorack module.

This three footswitch, 15 knob pedal looks complicated – but it’s not:

The BURN Channel (left side) is based on our Chemical Burn circuit, a nastier FY-6 variant.

The CHURN channel (right side) is based on a heavily modded Big Muff Pi.

There is a short delay circuit before the fuzz circuits.

Both the fuzz circuits can switch between the input sound, 100% wet delayed sound or a blend of wet and dry.

The fuzz circuits are then mixed in parallel into a high-headroom output section.

For added sickness, the delay time can be modified by an envelope follower or LFO.

Choose your filthy reflection – from straight dual parallel fuzz textures, to seasick vibrato to long slow quasi-chorus phasey apocalyptica.

The delay can be used on its own for slapback, chorus and vibrato effects.

Yes, it can get very noisy.
No, you can’t do anything about it - so weep in pain and pleasure, and submit to the swarms of square waves that joyfully fill your room."

LIQUID SKY d-vices Introduces the SMUDGETIZER PRO

video uploads by liquid sky artistcollective & liquid sky d-vices

Update: videos added above.


Details:

"LIQUID SKY d-vices SMUDGETIZER PRO
2 bit bitcrusher desktop multi FX
at this year’s SynthFest France,
the Liquid Sky artistcollective from Santana dada Serra, Portugal
launches the first chapter of a new experimental desktop multi fx series
built in the beloved zen delay format.

all units are handcrafted in Santana dada Serra and designed to connect worlds:
cv / gate inputs meet midi clock–syncable modulations - engineered for maximum audio wreckage.

this is not about polite breadnbutter effects:
our d-vices are sonic troublemakers for bad ass artists, noiseheads and
experimental sound labs.

the series begins with the SMUDGETIZER PRO 2bit bitcrusher —
a beautifully destructive stereo machine with integrated lfos,
ready to bend, fkk up, break, and reassemble your sound into something floor-shakingly new and evil.

developed by Thilo Goldschmitz,
it works with pretty much anything you throw at it:
guitars, bass, drums and drum machines, synths, voices,
worldreceivers and of course… noise.

starting today, the pedal is available for PREORDER at:
https://liquidskyeurope.com/products/liquid-sky-d-vices-smudgetizer-pro-pedal

a eurorack version is coming too: 40 hp wide.
yes, we know that’s a lot of rack space.
yes, it’s intentionally big. we love instruments you can actually play.
no, we’re not making a smaller version.
and yes, we’re friends… but you don’t have to remind us every five minutes that it’s a lot of rack space.
<3 :)

the eurorack edition will be available in autumn.

price for the pedal: 299 eur plus vat plus shipping."

CLICK FOR MORE »

Playing with Parting - Old Blood Noise Endeavors & Emily Hopkins

video upload by Molten Music Technology

"Running a simple bass line through the stunning Parting glitch/ambient machine and exploring the sounds. It's a very touchy feely pedal that's wasted on guitarists and really should be a Eurorack module. Full review coming soon from a synth perspective.
I bought this pedal myself."



"Parting is a box of pleasant surprises. Moments of chance will give bursts of a glitch delay that can smear into a reverb, modulated by tremolo or vibrato, filtered, and, most importantly, dissolved into lofi aliasing or stretched out reverse. All of this may jump around in halves and octaves of itself - it’s up to you and Parting, together.
Controls

Dissolve has two functions. Below noon, it reduces sample rate, creating an increasingly degraded version of the signal. Above noon, it reverses the signal, and repeatedly cuts the reverse clock in half as the knob is turned, creating an increasingly long and degraded reverse.

Rate sets the rate of the modulation LFO, which is also the frequency of triggers for moments of chance.

Depth sets the depth of the LFO.

Shape sets the LFO shape: Sine, Square, Reverse Saw, Saw, Random Sine, Random Square, Envelope

Chance allows random bits of signal to enter the delay/reverb buffer during an LFO cycle.

Smear adds diffusion and feedback to the delay lines, turning them into a lush reverb as the knob is turned up.

Glitch creates various clock subdivisions.

Time sets the timing of the delay/reverb, as well as the reverse.

Filter sets the cutoff point of the post-dissolve filter.

Mix sets the blend of dry and wet signal.

Aux switch for tap tempo, half speed, or preset switching.

Soft-touch On/Off footswitch with relay switching for minimal switch noise"

CLICK FOR MORE »

Passive Bandpass Filters Are GOATED | AudioThing Octaves

video upload by HAINBACH and AudioThing

"Passive bandpass filters are an obsession of mine, so it was just a question of time until AudioThing and me would make a plugin of the special subset called octave filters. Octaves is out on now: https://www.audiothing.net/effects/Oc...

My Music: http://hainbach.bandcamp.com"

"Hainbach’s Bandpass Filter

Octaves is our latest collaboration with Berlin-based composer and YouTuber Hainbach. It is a filter plugin designed to take apart the audio spectrum in spreads of octaves, allowing for unique and enchanting spectral sound design effects. Octaves gives you a retro-scientific approach to sound that echoes the timeless productions created in the BBC Radiophonic workshop or the WDR Studio für Elektronische Musik by the Avantgarde masters, and modern places like Willem Twee, Strøm, and Hainbach’s own laboratory.

Octaves is available for macOS, Windows, and Linux (VST2, VST3, AU, AAX, CLAP).
It’s also available on the App Store for iOS and iPadOS (AUv3 and Standalone).

CLICK FOR MORE »

Making Rythms from Feedback with the Zakal from Colossus Audio and the Metal Fetishist

video upload by Body Synths

"The "pairing series" is back! In this one we explore the Zakal, a spring reverb / feedback device from Colossus Audio. We start by using the Metal Fetishist as a sound source but quickly flip the tables and use it as a sound processor instead, making Rythms with the feedback tones that come through its input from the Zakal.

The background noise you may hear comes from my microphone, not from the instruments. I will be more careful next time.

https://bodysynths.com/ | https://www.colossusaudio.com/"

"Zakal is a resonant audio feedback instrument. It generates feedback using reverb springs, with the feedback signal shaped by a low-pass filter and a delay in the feedback path or simple feedback. Additionally, Zakal can function as a spring reverb effect, offering versatile sonic possibilities.

Zakal contains amplification and recovery circuits designed to generate audio feedback through its reverb springs.

A switch allows you to engage the LPF and Delay within the feedback path, enabling creative control over the frequencies fed back into the spring reverb, shaping unique resonant textures.

When used as a spring reverb effects unit, the POST EQ provides precise shaping of the wet signal, offering enhanced tonal flexibility.

At the end of the chain, a 3-band EQ provides additional shaping of the output, offering precise control over the final sound. When used as a spring reverb effects unit, the EQ enhances the wet signal for even greater tonal versatility.

ZAKAL does not include a power supply. It operates on a standard 9V DC (negative center, 2.1mm barrel plug) compatible with most guitar pedal power supplies. If you do not own one feel free to reach out, and I’ll help you find a suitable option."

Exploring unique FX with synthesisers, modular & more // TRAILS from Poly Effects [PEDALS & PATCHES]

video upload by DivKid

"Join us for an exploration of TRAILS as part of our Pedals & Patches series of videos, exploring pedal FX with modular gear, synthesizers, around the studio and with some other instruments too. Pedals aren't just for guitarists, so lets get creative with them!

Trails offers 7 FX that make your sounds sustain and grow, there's resonators (think Rings) with sympathetic strings, bell like chord generation, live and frozen buffer granular processing, a unique distortion like nothing I've used before, micro loopers, pitch shifting delays, vinyl record emulating delays and more!"

CLICK FOR MORE »

REVNET algorithmic reverb

video upload by sonicLAB

"sonicLAB REVNET is an algorithmic reverb with uncompromising sonic quality."

"WHY ANOTHER REVERB ?

There are already hundreds of reverb plugins on the market. The question is, why do you need another one?

Because sonicLAB offers a unique approach to defining control and modulation across multi-scale elements—from sound processors to MIDI event generators—delivering uncompromising sonic quality.

We are happy to introduce REVNet, a complex algorithmic reverberation and spatial sound design instrument. Rather than simply emulating traditional plates or rooms, REVNet is designed to create unique reverberations. By combining dynamic feedback topologies, stochastic modulation, and pitch-tracked harmonic resonance, REVNet operates as much as a synthesizer as it does a spatial effect.

REVNet is for uncompromising sound design. Crucially, unlike static reverb algorithms, REVNet allows you to manipulate its internal reflection network on the fly."

Introducing BLEASS Peaks: The Playable Polyphonic Filter Is Here (MIDI Performance Revolution)

video upload by BLEASS

"Meet BLEASS Peaks, a new generation audio filter that turns traditional filtering into a fully playable performance instrument.

➡️ In Internal mode, you can shape the sound using up to 32 resonant peaks/notches.
➡️ In MIDI mode, the plug-in becomes a playable polyphonic filter, where MIDI notes control the filter frequency. You can run up to 8 filter voices at the same time.

This lets you play filter movement using MIDI notes or chords, shaping drum loops and synths in real time. You can create evolving filter patterns, rhythmic effects, and perform filtering like a musical instrument.

🎨 Additional tools include 5 FX slots (distortion, delay, compression, bitcrush, and filters), plus LFOs, envelopes, and macros.

Discover its full features right now: http://bleass.com/peaks/"

BLEASS Peaks unites classic audio filtering with the spontaneous spirit of performance to deliver an entirely new class of creative filtering effects.

The plugin is built around BLEASS’ advanced multi-peak polyphonic filter design. When set to Internal control mode, this creates a single bell-filter curve containing up to 32 resonant peaks/notches. Details of the filter curve, such as the quantity, root frequency, and spread of the peaks/notches, are set parametrically, making it easy to shape the filter’s response and bring it to life via the plugin’s synth-style modulation sources.

BLEASS Peaks truly comes into its own when operating in MIDI mode. In this configuration, the filter’s root frequency is controlled via MIDI coming from live-played notes or a recorded track. Better still, BLEASS Peaks can generate up to eight such filters simultaneously, making this a true polyphonic filter.

MIDI control makes the filter fully playable and performable, opening up a whole new constellation of original and compelling filtering effects. Drum loops can be tuned to follow chord progressions, rhythmic harmonic pulses can be added to pads, arpeggios can be brought to life with complex frequency-shifting chorus effects… the creative possibilities are endless.

Additional colour and detail can be added to Peaks’ filtering via a set of five assignable Effects slots. These allow you to enhance the filtered sound with distortions, dynamics processors, delay, and even conventional low- and high-pass filters.

As with the filter itself, Peaks’ effects can be brought to life by the plugin’s various modulation sources, with each modulator mappable to up to four destination parameters. There are three LFOs, three envelopes triggered by the incoming audio plus a fourth triggered via MIDI, and four Macro controls. Alongside these internal modulators, the plugin also recognises various realtime MIDI CC and MPE sources.

Used as a conventional single-voice filter, BLEASS Peaks is at the top of its game, allowing easy-yet-deep control over the spectrum of your audio, and offering many ways to inject life and movement into the effect. Enabling MIDI control makes that advanced filter behave as a playable instrument, unshackling you from the limitations of conventional filtering and giving you direct hands-on control over the effect.

However you choose to use it, BLEASS Peaks is a uniquely creative, intuitive and fun tool for shaping, colouring, and injecting originality into your music.

spectral pressure chamber - a thermo-dynamic simulation as a multi band compressor - au/vst for mac

video upload by copenhagennoiselab

"This is the first demo of the Spectral Pressure Chamber - a multi band compressor, that uses a thermo dynamic simulation as the analysis layer. A spectral analysis of the incoming audio splits it into energy for three chambers. The energy leaks. The chambers get over saturized with pressure. The stiffness of the walls decreases. The entropy increases.

While being able to work like a regular multiband compressor, it doesn't always act in the same controlled way. Sometimes it is sweet, sometimes it is full of artifacts. And it is insanely relaxing to watch the simulation visualized in the plugin in realtime.

It will be available at unusable.ai sometime in mid-april."

Lese TEURI

video upload by DATABROTH

"Read my full review here: https://www.databroth.com/blog/teuri-...

00:00 Pads
01:03 Kicks
03:24 Noise


video uploads by Lese Audio Technologies

Teuri is for Distortion Morphing.

Teuri’s “Cellular Distortion” system puts multiple distortion models at different points on an XY pad and lets you live in the tension between them. Drag through the grid and blend through textures that were never meant to coexist. ragged fuzz bleeding into clinical overdrive, soft saturation collapsing into bitcrush.

No snapping, no quantizing, just continuous, organic layers of deterioration.

Since the different models can produce sound at different levels, Teuri internally handles these differences to give you a smooth morphing experience.

Highlights
Model Selection

Teuri comes with a broad palette of distortion characters; from analog circuit models to experimental processes that have no hardware counterpart.

Whether you’re reaching for the warmth of a pushed tube stage, the grind of a germanium fuzz distortion, or something that treats your audio less like a signal and more like a material to be torn apart, Teuri’s model selection is built to cover the full range of what distortion can mean.

Distortion Cells

Different distortion models are added on an XY pad, and the internal “Positional Blending” system handles smooth blending between them, regardless of model. The “blender” also attempts to balance between the gain differences that the models have in real-time.

Modulate More

Teuri has a modulation system, similar to the one in Glow and Smear. Offering up to four modulators which can be optionally synchronized to the DAW’s BPM & retriggered by the DAW’s playback state.

https://lese.io/plugin/teuri

JMT SYNTH / SRV-1b

video upload by beatsville store

https://beatsville.jp



A desktop spring reverb unit featuring a built-in miniature spring.

You can use its high-quality, authentic spring to achieve a beautiful, classic reverb—or you can dive headfirst into the lush, vibrant resonance of a wildly oscillating spring, letting yourself drift and drown in its saturated wetness. It gets absolutely drenched.

And while nobody explicitly told you to shake it, smack it around, or slam it against the table... well, naturally, you’re going to do it. After all, there’s a real spring inside that actually shakes! It’s the thrill of the authentic.

Mix the clean-boosted signal (GAIN) with the spring-reverb-processed signal (REVERB), then adjust the overall output volume using the LEVEL control.

When the switch is in the down position, the signal bypasses the effect, passing directly from IN to OUT. The LED illuminates when the effect is active.

*Powered by a DC 9V power adapter (center-negative / Tip = -); sold separately.

Introducing the Temecula DSP DEEP/4

video uploads by TemeculaDSP

via Temecula DSP

DEEP/4 is a painstaking recreation of one of the most powerful multi-effects processors ever built. Every algorithm has been rebuilt at the instruction level from the original 24-bit DSP hardware, preserving the exact digital character of the algorithms that made these units legendary in studios worldwide.

All 43 original algorithms, mathematically verified against the original DSP architecture. No guesswork.

Features

Four Independent Effects Engines

The DEEP/4 is a powerhouse multi-effects processor featuring 43 fully programmable, high-fidelity algorithms including reverbs, chorus, flanging, delays, distortion, and pitch shifting. Operate it as a single massive effects system, a pair of stereo processors, or four entirely independent units. Its advanced routing matrix supports true serial, parallel, and feedback configurations to sculpt complex effect topologies that conventional units simply can't touch.
Flexible Multi-Unit Routing

Run all four units in series for massive effect chains, split them into parallel paths for layered textures, or use feedback routing to create evolving, self-modulating soundscapes. DEEP/4 provides independent routing control for each pair (A/B and C/D) plus a main bus link — supporting serial, parallel, and two feedback configurations with adjustable feedback amount. Use it as a single 4-unit processor, two independent stereo pairs, or four standalone effects.
43 Algorithms Across 7 Categories

From lush reverbs and complex multi-tap delays to pitch shifters, dynamics processors, and guitar amp simulations — every algorithm from the original hardware is here, rebuilt at the instruction level and fully programmable.

CLICK FOR MORE »

Frequency Guillotine, a randomizable 16 band filterbank plugin. Prophet 12 #audioplugin #filterbank

video upload by copenhagennoiselab

"A short demo of an upcoming filterbank for mac and pc (au and vst3). A simple patch from the prophet12 is being processed by the filterbank. Utilizing random, synced random, random slew, etc for creating movement of band levels as well as panning.

Coming soon from Unusable.Ai studios."

entropy encoder - a low bitrate mp3 emulator - 1st Preview - Moog Muse - Clair de Lune

video upload by copenhagennoiselab

"Debussy’s Clair de Lune… played on a Moog Muse… then politely fed into Entropy Encoder (unusable.ai) until it started hallucinating.

This is a pre-release preview with automation-heavy settings and sequenced randomization firing at different musical divisions, so the “codec decay” breathes and glitches in time. Expect swish, birdies, smear, framey wobble, and the occasional moment where reality briefly loses its license.

🎛️ Source: Moog Muse
🧪 FX: Entropy Encoder (pre-release preview)
🌀 Automation + synced random at multiple time divisions

#moogmuse #synthesizer #debussy #clairdelune #sounddesign #audioplugin #glitch #lofi #experimental #unusableai"