9/29/25 SSL 1660 + FSFX 103 + STG + acVOKS + .com Q128 + Paia 6740 + MIDIVERB II + MP-4 + DDL-3

video upload by Cfpp0

Lyle visits the Lost Ant Cafe

video upload by suitandtieguy

"Monday night I went to a very tiny bar in Lostant IL called the Lost Ant Cafe for fried chicken because the third shift clerk at the Tonica Casey's had a long conversation with Squiche and I about a bunch of stuff on the way back from Knobcon and I asked her what local fried chicken she liked. This was the only place I can remember from the conversation, and it's about a quarter mile down the road from a legendary upper Illinois River valley supper club called The Bull's Head which has been closed for too long. If you don't understand the relationship with the upper Illinois River valley, Italian supper clubs, and fried chicken then I don't know what to say other than you need to touch grass.

I came back to the studio and did this with Lyle. I think it demonstrates how absolutely fried this thing can sound. EBM guys are gonna want to save their pennies for the heaviest (by weight) bass machine they've ever played.

There is a modest amount of distortion on this example, in addition to slow LFOs from each voice controlled by each voice's auxiliary VCAs whose level is set by the Active Attenuators generating a simple voltage offset (something it does if you plug nothing into it) then multiplied to all four voices with the Active Multiples. These LFOs are fed into the second control input of the Vanilla Filters.

Each voice is panned across the soundfield with the output mixer.

In this example I only tweak the gate time on Continuo, global filter frequency and envelope amount, and the amount of the LFO to the filters from the Active Attenuators on the right side of the synthesizer.

As usual with Lyle videos, no effects or mastering at all, simply normalised.

Audio Verité, just like The Drive To 1981. I think it sounds great."

muSonics Lyle vs Continuo - Too Short for Oktoberfest

video upload by suitandtieguy

"This is an eight stage sequence of dyads within a minor 7th chord from the Continuo. It's in E minor and gets modulated to the fourth a couple of times. It's not a composition, it's just a demo.

I really like demonstrating this instrument without any patch cables at all but decided to use each voice's sine LFO to slowly modulate their filters, attenuated by the Control Distributor and fed into the secondary control input of the Vanilla Filters so they're still getting pitch voltage from the sequencer and modulation from the Polyphonic Envelopes.

The curve ball I throw into this is taking the left pulse wave from voice one and sending it into the clock input of Transistor Logic's flip-flop. The data input is normaled to the negative output of the flip-flop so with this simple routing it becomes an octave divider, but since it's a logic module the output is 0-5V. This is fed into input two of the Vanilla Filter of voice one, and partway through I turn that knob up so you can hear it, bringing in a four note bass element."

muSonics Lyle: Deep Note

video upload by suitandtieguy

"Deep Note on Lyle, the first properly polyphonic modular synthesizer since the Oberheim Four Voice.

If you have a Moog One, the preset is TK-421 and yes I programmed it. (the very competent marketing department wouldn't let us tag authorship in the patch description.) Page McConnell, you're welcome!

This was a bit more rough-and-tumble than that preset, but might be cooler. It uses polyphonic glide AND envelopes, and I had to do this over and over again to set the voices up to start on the right notes and get the timbre where I wanted it. Amos had to update the firmware for the MIDI-CV modules so the glide time was long enough!

The envelopes are used on 3 of the voices to spread them an octave, a fifth, and a third. the upper voices start on G below middle C and the lower voices start on G above middle C.

I referred back to the score that was published back in 2018 and approximated the notes, but there just isn't enough oscillators to do the whole thing.

There are enough to make it sound good though.

I still used the new Sony camera but recorded it via SDI with one of my Ki Pro recorders because the audio inputs sound MUCH better and it records in Apple ProRes format which Digital Performer can handle without conversion. This is a really cool setup and is so easy to crank this stuff out with. Expect more."

The Finish Line

video upload by davidryle

"Having a little fun with the Q960 sequencers and the Moog Matriarch.

The Q960 pair are set up for index sequencing on the bass line. This is a fun way to mangle the bass line but keep it steady in time with the drum pattern. The gate duty was handed to the Dotcom Q172 quantizer for only sending gates when there is a change of pitch voltage. This helped to avoid the typical pulse rhythm.

The bass voice is a pair of Synthetic Sound Labs TZ-VC Oscillators in FM coupling. There is a third VCO from SSL for a sine wave sub-oscillator. These are mixed through the Corsynth C114 transistor drive mixer to the Oakley Voltage Controlled State Variable Filter in low pass mode. The signal is split and sent through the Modcan 73B stereo echo delay and also a dry signal is driven by a second Corsynth T-Mixer for added saturation.

The drum sounds are from the Delptronics LDB-2E and the TipTop SD808 snare. There is a Mutable Instruments Grids and the Moon Modular 563 trigger sequencer coupled to trigger the modules. The snare is sent through the MakeNoise Echophon delay and produces the raspy pulse voice heard throughout.

A hollow wood/metal block percussive sound is generated by a pair of Dotcom Q106's, a Mega Ohm Audio CdS LPG and an SSL Digital Delay. This is triggered by the STG Trigger Mini Store and reset by the Moon 554 Octal Clock Divider.

The IN-YER-FACE lead line is the Moog Matriarch through a T.C.Electronics D-Two delay unit.

Clock source was from Cubase through the STG Time Divider.

A pair of Dotcom Q962 Sequential Switches were used to route the various step gates from the lower Q960 Sequencer to the upper Q960. Routing and pitch values were pre-determined after hours of rehearsal to set up a particular scale or mode that determined what I should play on the Matriarch.

It should be noted that certain happenstance values of the sequence pattern produced passing tones that lead to the typical blues scale in C. I just had to go with it."

Experience the massive muSonics Four-Voice Vanilla Synth! #Knobcon

video upload by CatSynth TV

"Moot BooxLe demonstrates the massive new Four-Voice Vanilla Synthesizer from muSonics, which is making its debut at Knobcon 2025. This instrument is a beast, both in terms of size and sound - it is a polyphonic four-voice version of muSonics Vanilla Synthesizer, which gives us four independent analog subtractive synth voices to play simultaneously. They can be set to the same timbre, or set and modulated individually.

To find out more, please visit https://musonics.com

00:00 Introduction
00:10 Moot BooxLe demonstrates the Four-Voice Vanilla Synthesizer
04:30 Amanda of CatSynth takes a turn on the synth
05:51 Conclusion"

Meet You At The Top

video upload by davidryle

"A two part piece. Both are pitch voltage quantization controlled from the ACL Sinfonion. I switch presets through the first part from preset 1 - 4 and in the second half I leave it on preset 5.

The Sinfonion chord section is sending pitch quantization to the Doepfer A-111-4 quad VCO and A-105-4 quad SSI filter. The mixer is the Corsynth T-Mixer. The Empress reverb in Ambient Swell green mode is used.

The opening voice is Channel 2 of the Sinfonion and is sent to the Dotcom Q206 with the Dove D502 in BP mode P1, then an SSL Serge Resonant EQ and finally the Strymon Blue Sky.

A counter voice is the Channel 3 quantizer to a pair of Synthetic Sound Labs TZ-VC Oscillators to the Oakley VC-SVF in BP mode. The audio is routed through a Moon 517S high pass filter to roll of the lower mid tones. I used an instance of Relab Development's LX480 classic Lexicon reverb. This same voice is used for the main melodic part in the second section.

The Channel 1 of the Sinfonion is to the bass voice which is the Dotcom Q169 Oscillator++ and Grove Audio G294A ladder filter.

The Sinfonion arpeggiator part is to the STG oscillator duet and the Dove D501 2069 filter. The signal is sent through the Modcan 73B dual delay. In the first section this voice is solo, but in the second section I added in a duplicated run of the MosLab 901/904A through a different envelope which is timed a bit more sparse and sent through the second section of the 73B delay.

Most of my time was spent mixing levels and changing the timing of the SSL Hagiwo Geo-Gruvn euclidean sequencer. The clock timing was controlled by row 3 of the Moon 563 trigger seq. I used two different memory presets on the Geo-Gruvn for each section. These timings were used for the gate controls to the SSL Octal VCA, CV-8 Breakout and AD/AR Expander. The eight channel vca handled four of the voices. Very cool array of modules.

I also sent and effort to control the timing of the STG Voltage Mini Store's timing with row 2 of the 563. The right VMS is used for the Root control to the Sinfonion. The faster moving left VMS is to the arpeggiator of the Sinfonion.

The Sinfonion is using various cv's from the Q960 step sequencers to affect the chord spread and note selections. Also an LFO is used to affect the pre-transpose of the chord section.

A convoluted patch using the Lower West Side Studios CGS88 triple switch, the Dove D900 sequencer and three voltage sources to send control voltage to the transpose on the Sinfonion. I used the Moon 564 trigger stage 1 to turn this on and off by hand when needed.

The final clangorous opening and ending patch voice was the Mutable Instruments Rings through the Behringer Bode Frequency Shifter clone and the Encore Frequency Shifter, and on through the Tip Top Z-DSP signal processor running Halls of Valhalla reverb (Niflheim preset). It was also the midway noise rush background sound where the sections changed. These were added later in Cubase and triggered by hand.

The sections were performed at once live to Cubase and video edited in Final Cut Pro."

8/18/25 (feedback) Metasonix S-2000 + Paia 6740 + Alesis MIDIVERB II

video upload by Cfpp0

"The Metasonix S-2000 sounds like a pretty cheerful creature with both contour two and contour three engaged, but gets more angry when contour three is turned off. A lot of that raspiness is due to feedback. The S-2000 audio output is multiplied by the Synthesizers.com Q124, then a copy goes to the Mackie Onyx 1640, with spring reverb from the Paia 6740 and stereo reverb from the Alesis MIDIVERB II, which is what we hear in the video. Another copy of the S-2000 output is sent through the STG soundlabs Attenuators, to the Lower West Side Studios M830 Signal Distribution System (just to convert it to 3.5mm), into the audio input on the S-2000 so it hears itself hearing itself."

STG MuSonics Vanilla Voice (5U MU Dotcom Large Format!)

Note: links to listings are affiliate links for which the site may be compensated.

via this Reverb listing

You can find demos in previous posts here.

From the listing:

"If you have not been following the 5U scene, you may or may not know that Suit and Tie Guy's eurorack company, STG Soundlabs, was acquired in a private equity trade valued at 6 million $DOGE by America's oldest synthesizer company, MuSonics (makers of fine musical instruments). You may also not know that this new and revitalized MuSonics then set about completing the work that Tom Oberheim started and created the "Vanilla Synthesizer" -- the culmination of all of the circuit and synthesis ideas of the Oberheim Two Voice. This is the first version of that synthesizer.

If you want SEM type sounds, this is the best sounding SEM that it is possible to introduce into your studio in the year of our lord 2025. Arguably, it is the best sounding analog monophonic synthesizer that currently exists. Set aside that it obviously looks beautiful and amazing and ergonomic and that it invites you to play it; it simply sounds better than any other monosynth made in this millennium.

Including STG's unique backplane CV/Gate cables to pre-patch control signals between modules, making these modules something like an Oberheim SEM with Arp 2600 pre-patchability -- this thing is a true modern classic. :)"

CLICK FOR MORE »

“Liar, Liar, 960 Denier!” 😅

video upload by John L Rice

"I’ve been getting a bit burnt out doing endless video editing lately so when my friend David (Kindred Lost) made a nice cover/demo of his Moog 960 style sequencer doing the bass sequence from Tangerine Dream’s 'Rubycon' and said 'nothing but the 960 can do this' so I fired up my trusty Moon 569 sequencer to see if I could do it too! 🤓 David’s demo sound much more 'Moogy' that mine and is closer to the original TD track, I mainly just wanted to see if I could recreate similar patterns. Check out David's video 👌😎: • Franke and Ruby [posted here]

I used the following modules:
Moon Modular: 569 sequencer
Oakley: Slim VCO B (as VC clock)
Marienberg: Envelope Generator A, VC Sine Phase Oscillator
Noise Engineering: Cursus Iteritas Magnus VCO
STG Soundlabs: Post-Lawsuit Lowpass Filter
Synthetic Sound Labs: Tube VCA, Quad LFO
Synthesizers.com: Q125 Signal Processor

Also:
Allen & Heath: MixWizard 20S
Lexicon: MX400
Strymon: BigSky, Timeline"

A Towel For Ms Winters

video upload by davidryle

"Large format modular synthesizer recording live in the studio.
The opening noise burst is the Dove WTF in noise mode along with the Sputnik WCRS to an Oakley SVF in band pass mode to the Modcan 73B dual Delay and Z-DSP with Halls of Valhalla reverb. Modulation to the 73B is from the STG Voltage Mini Stores for delay cv.
Noise cacophony part is a pair of STG Soundlabs Oscillators to the Oakley Sound Systems Ring Modulator to a Grove Audio LPF and a MegaOhm Audio MA20 in highpass mode. The signal is sent to a tape echo then compressor.
The echo drone bass is the dotcom Q169 vco to a Moon 517S LPF. The echo delay is a stereo Lexicon MX200.
The lower bass tone is the Woven Spirits (MI Plaits) from Synthetic Sound Labs. Straight in, no filter or envelope. The chords are a pair of dotcom Q206 vcos and a pair of Q106 vcos for four part harmony. The cv source is the dual Matrix from SSL in dorian modes. A pair of dotcom Q171 and Q172 Quantizers were used with gates from the Geo-Gruvn to time the S&H pitch voltages. Toward the latter half of the piece I was playing the quantizers to change modes from augmented to diminished and back again. The audio signals are sent through a LWSS Yusynth panning mixer then a pair of filters. The Dove D502 in low pass four pole and the Frequency Central System X in 24dB low pass mode. They are sent to the Empress Reverb pedal in blue sparkle mode.
All gate timings were provided by the SSL Hagiwo Geo-Gruvn sequencer and the STG Time Divider. Additional divider s are the Moon 564, Moon 563 and STG Trigger Mini Store.
The theme here was the well known stories of the femme-fatale-gone-awry roles Shelly Winters played in many famous movies. She was drowned a few times and it became an urban legend of sorts. A great actress that rarely was rewarded with much favor but did finally reach a celebrated status."

Covalence

video upload by davidryle

"Large format 5U modular synthesizer with the Groove Synthesis 3rd Wave.
Two passes. The first was the modular synth, and the second was the played lines on the keyboard. All sounds except the melodic part was recorded in real time from the modular.
Two Matrix Algorithmic Composer modules from Synthetic Sound Labs were used for the moving lines throughout. These were fed to a pair of SSL/Ian Fritz Thru-Zero oscillators. The outputs were mixed straight and also split to an Encore Electronics Frequency Shifter, MOTM 440 Filter and heavily modulated 73B Modcan Dual Delay. Further processing with the Empress reverb and the Dove Audio D501 filter.
The bass notes were generated by the STG Soundlabs Voltage Mini Store to a pair of STG Oscillators and a Dove Audio WF. The filters included the MegaOhmAudio MA20 and the Frequency Central System X LPF.
A Q960 sent the arpeggio sweep voltage to an SSL VCO through a Behringer DD400 digital delay.
A Ring Modulator patch on the Q169 Qxcillator ++ from Synthesizers.com was directed through an Oakley Sound Diode Super Ladder filter then through an SSL Digital Delay.
The S&H sounding patch was not a sample & hold at all. It was a combination of a Q960, West Coast Random Source, MosLab 901/904A and a MegaOhmAudio CdS through an Oakley VC State Variable Filter."

An Update from muSonics via Their Electronic Newsletter

via muSonics

It's Independence Week and while I had intended for this to go out on the 4th itself, I put a bit more work into something special for you which delayed it a few days. I hope that's okay with you.

I wanted to give everyone a status update on how things were going over here and also offer a couple of specials to celebrate. Out of respect for the dozen or so people who have been patient and trusting of me I'm going to let you know how things are going and then share a few cool deals.

CLICK FOR MORE »

6/24-27/25 .com Q173 Gate Math + Metasonix D-2000 + ZI 6550-99 + TR-606 + (more in description)

video upload by Cfpp0

"6/24-27/25 Synthesizers.com Q173 Gate Math + Metasonix D-2000 + Zerosum Inertia 6550-99 + Roland TR-606 + STG muSonics Vanilla Envelope + MFB dual ADSR + Intellijel LPG + Birdkids Unicorn Boom + Peavey 1300 + CorSynth C102 VC LFO + Synthetic Sound Labs 1660 + Alesis MIDIVERB II + Ace Tone MP-4 + Oakley Modular ADSR/VCA + MXR 136 dual limiter

Sort of reminds me of 'Goodbye Horses' by Q Lazzarus. The Synthesizers.com Q173 Gate Math has been very underutilized, so it’s been moved, and this was the first time I used it on the Metasonix D-2000. ALM Pamela’s New Workout is driving the Q173, which is triggering the D-2000. The D-2000 mix output runs through the Intellijel Passive LPG, which is controlled by the MFB dual ADSR, which is driven by Pamela’s. A copy of the Intellijel LPG runs through the Peavey 1300 delay, panned left, with gates reverb from the Alesis MIDIVERB II. The bass drum is from the Birdkids Unicorn Boom, triggered by Pamela’s, and limited by the MXR 136. The high pitched 16th note claves that sound like crickets are from the DSP 808, modulated by the MFB dual ADSR. The snare is from the Roland TR-606, processed by the Ace Tone MP-4 spring reverb. The hi hat is also from the TR-606, processed by a reversed reverb from the MIDIVERB II. The synth line is the Synthetic Sound Labs 1660 audio out through two Zerosum Inertia 6550-99 oscillators through the STG muSonics Vanilla Envelope and the Oakley ADSR/VCA, with additional modulation from the CorSynth C102 VC LFO."

Discovering the Continuo Arpeggiator by muSonics | Cool Finds at Superbooth 2025

video upload by Jonathan Knightsnare

"I’m at Superbooth 2025 in Berlin, soaking in the best of what the synth and electronic music world has to offer—and I came across something seriously cool: the muSonics Continuo.

This isn’t a synth—it’s a standalone hardware arpeggiator and sequencer, and it's slick. Currently in public beta, the Continuo is available in 4MU American-format modules, and it brings a uniquely hands-on approach to sequencing and arpeggiation. It's built for real-time performance and experimentation, with firmware you can easily flash via USB—no special software required.

If you’re deep into modular or you want to sequence your gear with expressive control, this one’s worth watching.


🌀 About Superbooth:
Superbooth is the mecca of electronic music instruments—held yearly in Berlin, it’s where boutique gear meets global innovation. Whether you're into Eurorack, standalone boxes, or weird experimental tech, it's the place to be.

🎥 Filmed & Narrated by Knightsnare
🎶 Spotify
🔊 Free Sample Packs on Gumroad
📸 Instagram"

The Seventh of Four

video upload by davidryle

"A new project idea to use the synthesizers.com Q170 MIDI GATES module to affect broad changes to the composition within the modular system.

The Q170 has eight output jacks for sending 5V gate or trigger voltages to the modular system. I used my DAW (Cubase) to construct timings for various parts of the modular.

The first four outs were used as pulse gates for the Delptronics and TipTop drum modules. The Kick, Snare and Open and Closed HiHats.
The fifth out is to the Q169 vco's AMP input. That vco is used for the bass line so controlling the on-board vca will mute or enable the voice.
The sixth out was to enable the Dove D900 sequencer to run/stop. The sequencer is feeding pitch voltage to the Synthetic Sound Labs Woven Spirits (MI Plaits). This is the chord pad sound. I used the DAW to pulse the gate info when I wanted the sequencer to reset at certain parts.
The seventh out was to send a continuous gate to the STG Soundlabs Time Buffer. The Time Buffer is receiving a sync-bus 24 ppq clock and run signal. I have a panel access to these with jack inputs so I sent the 5V gate to the RUN input. This allowed me to use this to start and stop all sequencer motion from the DAW.
The eighth out is to a Lower West Side Studios triple switch. This switch is used to add an offset voltage to the Woven Spirits Harmonic control.
The other fun part was playing the LWSS triple attenuator. I had three parts run through the module. The pair of STG VMS sequences were percussive background parts switched in and out as needed. The third part was a pulse version of the pad sound.

The Matrix duet in the mid section was clocked from the STG Time Divider module. Both Matrix were set with very closely aligned slider settings but the "Z" sliders were offset for variety. They sent pitch voltage to the TZ-VCO's from SSL. The duet were sent through the STG Post Lawsuit Filter and an Empress reverb/delay pedal.

Other outboard effects were the Meris Hedra for the bass line and the EMX Grand Canyon for the steady pad sound."

4/22/25 Soundforce S-LD + SSL 1660 + GenRad 1564-A + BLM Gate Seq + DSP 808 + MIDIVERB II + PV 1300

video upload by Cfpp0

"4/22/25 ElectroComp EML 200 + Synthetic Sound Labs 1660 + Analog Craftsman acVOKs + STG muSonics Vanilla Envelope + General Radio 1564-A + Blue Lantern Gate Sequencer + Soundforce S-LD + DSP 808 + Alesis MIDIVERB II + Peavey 1300

Testing out a used Soundforce S-LD module we just got. You can hear the cowbell and the maraca (there’s a switch on the back to choose the Linn toms or percussion). The other percussion is from the DSP 808 module, which is a similar sampled sound module, but with pitch control and voltage controls. The synthy kick drum is the General Radio 1564-A processing the S-LD kick drum. Its VU meter looks like it’s out of sync, but it’s just slow and getting pinned hard. The two drones that build up are from two ElectroComp EML 200 synthesizers. The synth lines are Synthetic Sound Labs 1660 The Matrix Algorithmic Composer through the Analog Craftsman acVOKS filter into the STG muSonics Vanilla Envelope. The reverb is preset 10 on the Alesis MIDIVERB II."

muSonics Continuo - Chord Mode Demo

video upload by suitandtieguy

"I decided to record a short demo of chord mode on the Continuo development hardware. Controller is a Roland A-49 and the synthesiser is a Waldorf Iridium Core with one of my presets.

This is still in development but it's working well enough I can totally make music with it. I've never used an arpeggiator as fun as this and we don't even have external time control (stage advance from gate input and such) working yet.

If you wish to participate in the public beta program, check it out at musonics.com. If you've already bought in, I will be finishing your modules the first week of April."

Abandoned Prairie Town

video upload by davidryle

"A Vector Sequencer project running the large format modular.
The slow pace was the experiment basis and the Vector Sequencer really handles that perfectly. I also added the Jack Expander module to the Vector so I had four sequence lines this time to send to the modular.
The drone bass is a Mos-Lab clone of the Moog 901. No need for a sequencer there as it is a single pitch.
The opening sound is the pair of Matrix modules. This sound effect is heard again at the closing passage.
The opening slow pad note sequence is the STG vco's and G294A filter through a Strymon Blue Sky pedal.
The swell pattern is two Q206's to the Q150 filter. The stereo signal is routed through a Lexicon MX200 for pitch shift and chorus.
The distant ghostly piano sounding sequence is two lines from the Vector to a pair of TZ vco's and the Yusynth Arp 4072 filter. The final effect chain is the Stasis Leak delay module and the Z-DSP signal processor.
The flutter sounding noise is the Dove WTF to a Tau Pipe phaser and an Oakly SVF in high pass mode.
The wind effects were the West Coast Noise Source to the MOTM 440 filter and the Q110 noise module to the Dove D502 filter in band pass mode."

Switchback Descent

video upload by davidryle

"The great Vector Sequencer from Five12. I am using it for a pair of simple 16 step sequences to the 5U modular by way of CV and Gate.

The clock is derived from the Moon Modular 553 Midi to Clock module. I used the 1/96th division and a start gate to tap the sync24 feature in the Vector. I do have an STG bus but the sync bus cable wouldn't reach out of the cabinet to the Vector. The other clock pulses are from the STG Time Divider.

The first patch is run to a pair of Q206 VCO's and the Q150 filter and then on to the Echo Fix tape delay. Stereo panning was from the Q158 VCA++ and a Mega Ohm LFO. The Ian Fritz Hypster by Synthetic Sound Labs is a modulation source for the decay stage of the STG Envelop Generator.

The bass line patch is a pair of STG Oscillators to a pair of Mega Ohm MA20's in low and high pass series. The SSL Tube VCA is used to add some drive. The Frequency Central Stasis Leak stereo chorus finishes the patch chain.

The third patch is a drone pad line from the Dove D900 sequencer to the WTF Oscillator and the Oakley SVF in Notch mode. The slow center frequency modulation from a second Mega Ohm LFO does a nice job of combing through the upper mids of the complex waveforms out of the WTF. The last part of the patch is through the Empress Reverb in green ghost mode.

The Vector is the first edition mk1 but still has quite the feature set. I was using a modulation lane for transpose to the pair of pitch sequences. This same transpose sequence was replicated on the Q960 with a second Q960 as a divider. The pitch voltages for the WTF were combined in the unity mixer of the STG Active Multiples module. I did use the Q171 Quantixer Bank for precision stepping from the Q960.

All sounds captured at once in a single take to Cubase 12. Video edited in Final Cut Pro.

Special thanks to Ron Sunsinger for the loan of the Vector and Adam Fritsche for the Stasis Leak module."