MATRIXSYNTH: Search results for Let's Play Synths

Showing posts sorted by relevance for query Let's Play Synths. Sort by date Show all posts
Showing posts sorted by relevance for query Let's Play Synths. Sort by date Show all posts

Tuesday, October 01, 2013

Future Retro Announces Release of New Mondovox Product


"The Mondovox provides new ways to play, control, and breathe new life into MIDI sound modules. The Mondovox allows you to play up to 16 monophonic synthesizers polyphonically, in ways you would expect to find in features-laden polysynths, and also expanding upon those ideas for many new and exciting possibilities such as three new detune modes for creating truly massive sounds.

Although it's designed to play multiple monosynths (such as our popular XS semi-modular synthesizer), the Mondovox can be used with any monophonic, polyphonic, multitimbral or single voice, analog, digital, virtual synthesizers or samplers.... it doesn't matter, as long as it has MIDI.

With the plethora of inexpensive monophonic synthesizers being manufactured at this time, we believe the Mondovox is the ideal solution to expand their capabilities to include new polyphonic possibilities.

We are now taking pre-orders, and expect the first orders to begin shipping in as soon as 1 week.

List price is $300 USD.

Each unit comes with a universal power supply that can operate at 100~240V mains voltages, and includes an assortment of power plugs for various countries.

For more information, please vist the Mondovox product page at:
http://www.future-retro.com/mondovoxoverview.html"

Additional details and specs for the archives:

"The Modovox takes polyphonic MIDI data and translates it to so that each voice is on its own MIDI channel.

There are nine different polyphonic modes of operation:

UNISON: Stack up to 16 voices to play in unison for one big sound. Unlike traditional polysynths that only allow you to play a single note while in unison mode, the Mondovox allows you to play up to 16 notes simultaneously, creating huge unison chords. Obviously, this will depend on the available voices in the sound module you are controlling. While digital and virtual analog synths usually provide high voice counts to support these unison chords, controlling analog monosynths in this way will activate their auto-glide portamento circuitry.

UNISON DETUNE: Three Unison Detune modes -- detune down, detune up/down, and detune up -- allow you to play up to 16 notes in unison, as well as detune all voices to varying degrees simply by moving the pitch bender. Once you discover this feature, you will wonder how you ever made music without it. As you increase the pitch bender value, small amounts of detune will create "true chorus" effects, unlike traditional cyclic DSP chorusing effects. Increase the pitch bender more to discover that you can make any sound module take on that "super saw"-like quality, although obviously you're not limited to just sawtooth waveforms. Increase the pitch bender even more and sounds take on buzzing swarm effects, and finally as you move into extreme settings, a dark side reveals itself, producing eerie dissonant sound effects perfect for any scary movie. Releasing the pitch bender retains the degree of detuning so you're free to concentrate on playing and tweaking your sounds. Moving the pitch bender in the negative range will then clear the detune setting, bringing all voices back into perfect unison.

Just like in Unison mode, you can play up to 16 of these detuned unison voices polyphonically, so long as your sound module supports that many voices. By the way, that's 256 voices, for those wondering. Let's just say you haven't experienced "phat" until you've tried the Mondovox!

Another interesting fact about these detune modes is that you can detune the voices, then select a different polyphonic mode in the Mondovox and it will remember the detuning for each voice. This capability creates a wonderfully simplistic way to get boring "perfectly tuned" digital synths out of their static element and into new experimental territory.

UNISON POLY: In this mode, playing a single note will cause all active voices to play in unison. Playing a second note will reassign half the voices to the new note value, and playing additional notes will further allocate the available voices as evenly as possible between the number of notes currently being played. Unison Poly mode allows the overall weight of a musical part to remain fairly consistent when alternating between playing single notes and chords.

DON'T PANIC: If you are an intergalactic traveller you probably already know what this mode is for. However for those of you who aren't, it's simply a means for you to stay calm if the sound module you are controlling is not be able to comprehend the large amounts of MIDI data the Mondovox is capable of producing. In other words, it sends an "All Notes Off" MIDI message to clear voices should they become latched. Selecting the proper processor routing mode (mentioned later), will usually elliminate the need for such panic.

POLY RANDOM: Poly Random mode allows notes played to be randomly sent to 1 of up to 16 voices, adding more variation from one note to the next when similar sounds are played. You may also assign different sounds to each MIDI channel within a sound module, and this mode will then randomly play those different sounds at the current pitch.

POLY CHASE: This mode plays one available voice after another sequentially. Sometimes this is referred to as "round robin." Poly Chase ensures that if you play a single note repeatedly, that it will sound slightly different with each new key press. In addition, the Mondovox lets you use this mode as a psuedo sequencer, allowing you to play different sounds sequentially on different MIDI channels. You can set the loop point from 1 to 16 steps by the number of voices you define. The Mondovox will reset to begin playing voice 1 each time you select this mode.

POLY FIRST: Poly First mode always plays voice 1 first, and as more notes are played simultaneously, voices 2, 3, 4, etc. will sound. Repeatedly playing and releasing a single note will allow voice 1 to play only. This feature allows the voices played to be more predictable with repeatable results.

CHORD MEM: While in Poly First mode, you can play and hold up to 16 notes, and switch to the Chord Memory selection to latch the chord into memory. You can then play that same chord by playing a single note on your MIDI controller. The root of the latched chord will be the first note you played while in Poly First mode. Not only can you play chords with single keys, you can play up to 16 transpositions of this chord by playing up to 16 keys. Of course this will be limited by the number of available voices in the sound module you are controlling.

DEFINE VOICES: When in Define Voices mode, you can enter the number of voices to be enabled by simply tapping a key on your MIDI controller once for each voice. The number of voices defined will remain in memory even when the unit is turned off.

DEFINE ROUTING: This mode determines how MIDI is handled by each of the four internal MIDI processors. Routing 1 allows each of the four processors to play all 16 MIDI channels -- useful when controlling a multitimbral sound module and you only need to use a single MIDI output. However, you could connect up to 16 multitimbral sound modules to play giant stacks of up to 256 voices at once using all available MIDI Out ports. Routing 2 assigns each processor to handle four MIDI channels in sequential order, allowing faster MIDI timing than the Routing 1 option while still maintaining easy routing when using lower voice counts. Routing 3 assigns each processor to handle every fourth MIDI channel, provideing the fastest MIDI timing, as four notes can be sent over MIDI simultaneously. The routing selection is stored in memory even when power is turned off.

The Mondovox will detect the MIDI channel of the first note it receives after being powered on, and it will automatically set the incoming MIDI channel to that value.

A universal DC power supply is provided with each unit, that can operate anywhere in the world.

Each Mondovox is handmade in the USA using only the finest components, with a great deal of attention going into every unit. A rugged all-steel chassis makes this unit nearly indestructible, and the unique finishing technique used on the brushed stainless steel front panels is truly an industry first.

Although simple in its design with only a single control, the Future Retro Mondovox offers an amazing range of possibilities!
A must-have piece for any MIDI user."

Saturday, May 09, 2026

WHAT IS THIS? – Superbooth 2026


video upload by Let's Play Synths

"Cyma Forma just announced the 'RND' - a four voice synthesizer with a single button created with the French artist Bambounou. for 125 €, it has even MIDI output to control some external synths and is the ideal 'idea machine'"

Friday, April 11, 2014

Let's Play with Cassini: Sound Design & Commentary


Published on Apr 11, 2014 Tim Webb·73 videos

iTunes: CASSINI Synth for iPad - iceWorks, Inc.

"Cassini is one of my favorite synths on iOS for its ludicrous amount of modulation envelopes. I like to turn to it when I need a pad synth patch, and today I need a dark rich pad! If you enjoy these Let's Play videos please consider sponsoring them on Patreon: http://www.patreon.com/user?u=107612

Be sure to visit http://discchord.com for this and other music app news!"

Thursday, January 25, 2018

Roland Introduces GO:KEYS - Red Battery Powered Portable Preset Keyboard w/ Looping Capabilities

Let's you start creating cool music with the GO:KEYS.

Published on Jan 25, 2018 RolandChannel

"We placed a Roland GO:KEYS at a curious location and invited some people to try its LOOP MIX FUNCTION. Most of them had never played before. All music heard on tis video was made by people trying the LOOP MIX function of the GO:KEYS.

Even if you’re playing a keyboard for the first time, the Loop Mix function lets you start creating cool music right away. Unlike other keyboards that have accompaniment features that require chord basics, Loop Mix is a fresh approach that even beginners can enjoy. By triggering loop phrases using single keys, anyone can create polished songs in real time. Drums, bass, and other instruments are easy to add to the mix, and the performance pads let you manipulate sounds like a DJ by adjusting pitch, filtering, and more.

Compact, portable, and battery-powered, GO:KEYS can be played wherever you get the urge. A world of music is waiting for you—start the journey with GO:KEYS!"


Jam Along with Your Favorite Online Music Streamed from Your Smartphone

GO:KEYS is a fun, easy-to-use keyboard that lets you play along with your favorite music—streamed wirelessly through its powerful onboard speakers. Just connect your smartphone via Bluetooth®, pick a song, and play along! And with sound quality that beats most standalone Bluetooth speakers, GO:KEYS is great for just listening to music too.

GO:KEYS uses your smartphone to access free online musical content, so you’ll never run out of songs to play along with. You can also work with dedicated apps that teach you how to play the latest songs or classical pieces, or get vocal with some karaoke. And when you’re ready to start creating your own music, the built-in Loop Mix function lets you jam with over 500 pro-quality onboard sounds. Compact, portable, and battery-powered, GO:KEYS can be played wherever you get the urge. A world of music is waiting for you—start the journey with GO:KEYS!

Standard Features

Onboard high-quality Bluetooth speakers for wireless smartphone connection
Compact and lightweight for playing anywhere, at home or outdoors
Fully wireless operation with battery power and Bluetooth connectivity
Over 500 pro-quality sounds: pianos, synths, strings, bass, brass, and more
Loop Mix function lets you build songs by simply playing notes on the keyboard
Manipulate the sounds of your loops with intuitive one-touch control
Bluetooth MIDI support for music production apps on your smartphone or tablet
Built-in song recorder with USB backup
Play anytime with built-in speakers or headphones
Compatible with ScratchX for creating interactive stories, games, and animations

Play along with your favorite songs

GO:KEYS is a fun, easy-to-use keyboard that lets you play along with your favorite music—streamed wirelessly through its powerful onboard speakers."

Thursday, April 28, 2022

Synthstrom Audible Deluge 4.0 Adds Wavetable Synth, Euclidean Sequencing, MPE & Polyphonic Aftertouch & More


DELUGE WAVETABLE SYNTHESIS video upload by Ollie Loops

"In this video, we explore the new WAVETABLE SYNTHESIS features added to Deluge in firmware 4.0 . These features enable users to load wavetable audio files into an oscillator and modulation position of the waveform. This means much more dynamic and evolving sounds are possible on Deluge.

Firmware 4.0 adds a host of other great features to Deluge. It's so great when a manufacturer continues to support a device by adding new and exciting features via firmware."

Wavetable Synthesis (4.0) // Synthstrom Deluge Tutorial

video upload by Ron Cavagnaro

Intro 0:00
Setting up a new synth 0:23
Assigning a Knob To Lfo2 Rate 1:54
Changing Wavetable File 2:35
Making a Pattern 3:00
Changing Wavetable File 3:49
Changing Lfo2 type 4:19
P-locking Notes To Wavetable Position 5:20
Loading Osc2 Wavetable 6:10
Extended Wavetable Drone Demo 9:26

Generative Sequencer Tools - Playback, Row Length, Euclidean (4.0) // Synthstrom Deluge Tutorial

video upload by Ron Cavagnaro

Intro 0:00
Playback Mode 0:32
Row Length 1:23
Playback Mode and Row Length 3:15
Reset Row Length 3:53
Conditional and Iterative Notes 4:39
Euclidean Sequencing 6:19
Nudging Notes In a Kit Row 8:43
Playback Direction Per Kit Row 10:18
Resampling, Slicing 11:09
Kit Row Length and Ping Pong 12:14
Resampling and slicing again 13:20
Resampling and slicing again 15:03
Resampling and slicing again 16:46
Comparing the results 18:20

Synthstrom Deluge & MPE - 4 0 Firmware Update

video upload by Too Mere

"Demonstrating the MPE functionality and making a tune with the Linnstrument to control and edit MPE on the Synthstrom Deluge."

-------

Details on the 4.0 update via the Synthstrom Audible forum:

"We're very excited today to announce the arrival of our huge 4.0 software update.

Instructional videos and downloads links are at the bottom of this spiel.

Highlights include:

Wavetable synthesis, and improved single-cycle waveform playback.
Support for MIDI Polyphonic Expression (MPE), and similarly MIDI polyphonic aftertouch. The Deluge can receive MPE from external MIDI controllers that support it, it can record this data, and the internal Deluge synths can respond to it. And this MPE data may also be output again to an external synth.
Euclidean sequencing - per row of a clip on the Deluge. This also means that now individual rows within a clip may be set to different lengths.
Sequences can be set to play in reverse, or to ping-pong.
Synths, kits and songs may be put into folders, and the user can browse these when saving and loading.
MIDI input devices (and to a limited extent output devices) may be differentiated and treated separately, so that two devices sending on the same MIDI channel won’t be confused.
Improved handling of regular MIDI pitch bend and channel pressure. Adjustable MIDI pitch bend ranges.
Sharing presets along with their audio files, with other Deluge users, is now easier.
MPE SUPPORT
This massive release makes the Deluge the first standalone hardware sequencer to offer comprehensive MPE (MIDI Polyphonic Expression) support, allowing you to record, edit and transmit expressive MPE with compatible devices. You can also use external MPE devices to get expressive with the Deluge’s internal synth/sample engine. Tip: combine with the Deluge’s multisample support to bring expression to everything!

EUCLIDEAN SEQUENCING & INDIVIDUAL ROW LENGTH
Euclidean note entry brings an entire new method of beat and melody creation to the Deluge. Coupled with the ability to now make any row within a kit, any length, this infinitely broadens the scope for new rhythmic variations and ever-evolving melodies.

You can set the length of a row, dial in how many steps you would like to play on that row (automatically divided ‘musically’), and then move those notes horizontally - this becomes not just a new way to make innovative rhythms, but an incredibly versatile performance tool.

PLAY-DIRECTIONS
If being able to set the length of a row wasn’t enough, you can now tell the Deluge what direction (forward, reverse or ping-pong) to play-back those particular notes and not only that, you can have each and every row playing a different direction. Warning: fun.

POLYPHONIC AFTERTOUCH, IMPROVED “MONO” EXPRESSION
In bringing MPE to the Deluge, we at the same time introduced support for good ol’ MIDI polyphonic aftertouch, plus you can now record both pitch bend and channel pressure (aka monophonic aftertouch) into synth, MIDI and CV clips. And, this data now stays with the clip even when you change presets or switch between clip type (e.g. from MIDI to synth etc.).

Previously, synth clips could only record pitch bend, not channel pressure, and CV clips couldn’t record either.

ADJUSTABLE BEND RANGE
The Deluge is no longer stuck with a 1-octave bend range. Now, there’s a global setting under DEFAults -> BEND to set the default bend range. This should default to 12 semitones (1 octave) for all existing users, it will default to the more normal 2 semitones for new users. Anyway, you can go ahead and change it.

WAVETABLE SYNTHESIS, AND IMPROVED SINGLE-CYCLE WAVEFORM PLAYBACK.
How about an entirely new form of synthesis? The Deluge will now support Wavetable files, Ringmod on the Deluge is also totally compatible with Wavetable, you may even put a separate wavetable in each of the two oscillators, with each of their wavetable-positions affecting the resulting sound.

The Deluge has always supported the playback of single-cycle waveforms by loading them as samples. But now, a technically superior option is for these to be played as a wavetable, as the wavetable engine is more fit for this purpose: it is more CPU-efficient, and will produce higher quality sound with less aliasing, particularly with high notes. It also allows the use of ringmod and oscillator sync. The wavetable-position parameter is not available when playing single-cycle waveforms, as there are not multiple cycles to interpolate between.

PRESET & SONG FOLDERS
Our users jumped for joy when we announced this new addition. You can now separate your 1 million presets and songs into folders to make navigation easier!

DIFFERENTIATING MIDI INPUT DEVICES
Now, the Deluge will differentiate between MIDI coming from different hosted USB devices, and MIDI into the input DIN port, and from a connected computer which is hosting the Deluge.

Let’s say you have the Deluge hosting say a Keystep via USB (and that’s through a USB hub), and you’ve actually learned all 16 channels from that Keystep to different synths on the Deluge. Well, then you could connect another USB MIDI device to your hub, and learn those 16 MIDI channels to yet another 16 synths on the Deluge. And whatever MIDI device is plugged into the Deluge’s DIN input will have its 16 channels treated as independent yet again.

IMPROVED MODULATION MATRIX
Lastly, we’ve also improved our modulation matrix! - The feature where the modulation-depth of a source-param pair (or “patch cable”) can itself be modulated by another modulation source – well, previously the Deluge could only handle doing this for one such patch-cable per synth. This limitation has now been removed, and you can do it for as many patch-cables as you want, subject to other existing limitations.

HAVE FUN!"

Monday, April 20, 2026

Introducing Plinky 12 Blocks, Chords and Toadstep


video upload by Making Sound Machines

Additional videos below.

"We are super excited to introduce 3 new instruments today! Plinky 12 is a family of expressive polyphonic touch synthesizers. The three instruments are built around a shared synth engine. Designed by mmalex, it evokes the unmistakable melancholic sounds of the original Plinky. https://plinky12.com

Each instrument is designed in collaboration with a different synth maker, lending each panel a distinct playability and unique character.

Plinky 12 Chords is a harmonic inspiration machine. It lets you improvise melodies and chords, with expressive control over voicings, progressions, and immediate musical play. Created by Making Sound Machines, Chords is the panel for finding beautiful harmonic movement quickly.

Plinky 12 Toadstep is a 4-track step sequencer built for super funky riffs, experimental self-generative melodies, and good ol' Acid. Created by Toadstool Tech, the designer behind the Ectocore Eurorack module, Toadstep is fun, immediate and easy to jam with!

Plinky 12 Blocks is an open panel built for experimentation, with monome-grid compatibility, Plinky style touch synthesis, and a browser-based coding environment just a click away. While it comes with a fully playable design out of the gate, creator mmalex invites you to build your own adventure with this panel. If you can imagine it, you can make it!

In this video, Enrica and Roland from Making Sound Machines explore the three new Plinky 12 instruments: Blocks, Chords and Toadstep from left to right.

The track builds on a repeating loop created with the built-in sequencer on Plinky 12 Toadstep. The short sequence uses rhythmic step repeats, track step length and animated synth parameters to create an ostinato that keeps sonically evolving over the length of the track.

As the piece continues, Roland plays a progression of harmonies from the rainbow chord palette on Plinky 12 Chords, before launching a sequence that reharmonizes the loop heard from Toadstep. Enrica joins in playing sparkling arpeggios with her fingertips on Plinky 12 Blocks, the surface with the sunset colour-fade print.

As the track progresses, Roland plays a melodic line on Chords, then Enrica takes over with a melody on blocks. The Plinky 12 polyphonic play surface reads both play position and pressure of the touch. It enables bends and glides on the horizontal axis, while allowing for discrete arps in the vertical direction.

They end the piece with a tempo transition showcasing the septuplet feature on the internal sequencer."

Saturday, May 09, 2026

Is 720 LEDs over-engineered? - Superbooth 2026


video upload by Let's Play Synths

See the announcement post here.

"The Afour fits in a folder, has 35 voices, 720 LEDs, polyphonic aftertouch and an LFO for every knob and keys that measure magnetic fields. Get more info on https://www.apaeron.com for all the craziness that this thing offers 🥳"

A Buchla for $ 999? - Superbooth 2026


video upload by Let's Play Synths

"The new Ziggy is out! Or rather, it has been announced on May 5th and will be available later this year. It's a monophonic synth that can be powered by 5V USB C with 1A, has enough connectors to integrate it with other Buchlas and it sounds WILD."

Friday, February 20, 2026

EMS Universal Sequencer Playlist


video uploads by analogia pl

A few of these have been featured on the site before. You can use the player controls to skip around.

Playlist:

1. EMS Synthi with Universal Sequencer and RSF Kobol #emssynthi #rsfkobol #rolandph830
It’s a tune done on the Synthi and EMS Universal Sequencer with some help from RSF Kobol processed by Roland PH-830 phaser.
2. 2 x EMS Universal Sequencer with Roland MC-202 #emssynthi #emsuniversalsequencer #mc202
Universal Sequencer is playing a sequence on the Synthi and the 202 - that’s why it’s called “universal” as both sequence and real time layers have CV/gate outputs. No effects other than spring reverb on the Synthi.

Sunday, November 02, 2025

EMS Universal Sequencer driving Roland MC-202 and SH-101


video upload by analogia pl

"One 'layer' of Universal Sequencer sequences the MC-202 and the other 'layer' is used to play the SH-101 live.

I don’t know what it is with EMS, but each time you get to play one of their quirky and unusual designs, you get a new kind of feeling — as if these sometimes bulky and obsolete electronics are very much alive.

Let’s be frank: there are a million simpler ways to play an SH-101 or an MC-202. But somehow, using the Universal Sequencer makes those classic synths feel completely different."

EMS Universal Sequencer externally triggered

video upload by analogia pl

"Let’s get nerdier. Someone asked if the Universal Sequencer can be triggered from the outside world. Of course it can! What I did here was a recording a sequence into the Uniseq that would play the MC-202, switched trigger to external, then recorded a sequence into the SH-101 and use gate out from 101 to externally trigger in of the Uniseq. It works like a charm."

Wednesday, January 15, 2014

New MOOG SUB 37 Paraphonic Polyphonic Synth Coming to NAMM?

Click the pic for the full size shot.

Some discussion on The MATRIXSYNTH Lounge and MATRIXSYNTH Facebook.

Update: [see Update4 below] for those not familiar with Paraphonic synths, a definition via wikipedia followed by a couple of notes:

Sunday, March 04, 2018

Does the Behringer Model D Stack Up Against the Original?

Behringer D - Let's Talk Synths - With Mr CowFood

Published on Mar 3, 2018 Marshal Arnold

Discussion starts at 6:29, below is a comparison.

"Behringer D - Let's Talk Synths - With Mr CowFood

Now that the Behringer D is available and I have had a chance to play around with it I wanted to invite back Mr CowFood to discuss this new release from Behringer. The Behringer D, or "Boog" as it's being referred to by many online is a clone of the famous Moog MiniMoog Model D. Mr CowFood and I chat about some of the differences between this clone and the MiniMoog Reissue of which the Boog is based on. There was some discussion also about the High-Pass Filter, apparently there have been some complaints about it so I setup a quick test and all is well with the unit I own. We also chat briefly about the teaser photo from the Midas Team in the UK, possibly getting ready t teardown a Roland Jupiter 8."

Behringer D Vs MiniMoog Model D - THE REMATCH - Technical Video

Published on Mar 4, 2018

You can find the previous video mentioned along with a Roland SE-02 vs. Minimoog comparison here.

"Behringer D Vs MiniMoog Model D - THE REMATCH - Technical Video

Following the first “Shootout” video I made between a MiniMoog Model D and a Behringer D or “Boog” as it's being called online I have taken some feedback from the community and with the suggestions made I have spent an entire evening doing a much more technical comparison of these synthesizers. NOTE this video will probably be very boring for some viewers, my apologies, I do not know how to spice up a video like this, but if you are curious how these 2 synths stack up on a deeper level and have about an hour to burn then give it a spin! In this video I will be covering the following

1- Comparing individual oscillator wave forms one by one (1, 2 and 3).
2- Comparing oscillators with stacked wave forms
3- Some low-pass filter sweeps with varying amounts of resonance
4- Tested the Overdrive circuit
5- Tested the high-pass filer on the Behringer D – (is not a feature on the MiniMoog, but I had questions about it)"

Saturday, April 28, 2007

Interview with Hexfix93 of VAC

The following is an interview I just wrapped up with hexfix93 of Velvet Acid Christ. As you know, this site is about the gear, namely synths, and the gear that helps drive and enhance synths, but ultimately the focus is on synths.

I was chatting a bit with hexfix93 and asked him if he would be interested in a slightly different take on an interview, one focused on synths and their impact to his world. We all have our story regarding how our obsession with synths first started, how we see and approach synths and what they mean to us. I thought it would be interesting to hear his story. The following is the interview.

Before it begins, I want to thank hexfix93 for taking the time out for this. We all have a different approach and a different story when it comes to our synths. This is his. For more of his music check out VAC and don't miss Toxic Coma. Cheers, matrix.


1. What was your first synthesizer, how old were you when you picked it up, and why did you pick it up?

"It was some kind of old yamaha cheap thing. i got it for my atari st, so when i played games like leisure suit larry that the music wouldn't come from the wimpy fm built in sound, but a general midi synth instead. it really didn't sound all that great. i wasn’t really a keyboard player at this point.

The first synth i got as a keyboard player was a roland w30 sampler workstation. And we made like 3 records with that keyboard. i remember gary slaughter an x vac member, spilled orange vodka drink on it. and i had to take it apart and clean every part of it by hand slowly, it took weeks. it was a pure nightmare.

Friday, December 21, 2018

Let's Play with Zero Input Mixing


Published on Dec 21, 2018 Tim Webb

"Apps like Audiobus and AUM have made effects apps a mainstay of iOS music production for years. Let's make some fun textures for our granular synths, using just effects apps and no input!

If you've enjoyed this series please consider supporting it by becoming a Patreon: https://www.patreon.com/discchord If you'd prefer to help on a monthly basis, instead of per video, there is a monthly Patreon campaign: https://www.patreon.com/discchord_com (Patrons of both campaigns get the same benefits, including Ad Free viewing on the site!)

Be sure to visit http://discchord.com for the latest music app news!"

Saturday, March 19, 2022

[diy] LIL' MONO SYNTH - A proper introduction


video upload by planeteatrr

"You can find more information on this little oddball over here: https://modwiggler.com/forum/viewtopi...

All the files for having the circuitboard and the frontpanel produced will be made available soon. If you can solder you can easily build this on one sunday. Complete production costs for one unit are around 70€/$ or less. I will add a link to the production files in some weeks.

Cheers
Sebastian"



Additional details:

"Since a year or so I fantasize about developing a series of small analog synthesizers, that will fit in guitar pedal or other types of enclosures, with frontpanels made of FR-4 pcb material. The synthesizer I am about to describe is basically the archetype and prototype for the more advanced synths. The next one will be based around Electric Druids VCDCO and TAPLFO chips and another one will include the famous CEM3340 vco ic paired up with a vcf that is a weird mixture between a Wasp vcf and an Oberheim Sem vcf.

But let's have a look on the first one of these synths. The main goal for me was that it can fit into a small aluminium die cast enclosure, without the need to use smt componentes or small 1/8 watt resistors. This meant I needed to have a low parts count. The result is that I used the most basic circuits for each individual function and merge them together into one circuit. I really did not expect much from it, but I am actually very suprised that the output of this progress is much more versatile and interesting (but with a nice and big "oddness-factor") than I thought.

Though I took my HEF4046 (The IC needs to be a Philips/NXP or Motorola, TI ICs will track very poorly, those HEF/MC ICs are obsolete as through hole parts but they are available in hugh quantities at e.g. ebay) vco design and built all the other stuff around it. I decided to take the most simple vca design I know which is the infamous single diode "vca", that is often used in lunetta-type synths. I was suprised that it is actually working with sawtooth waves aswell. It gets a bit weird and distorted when the envelopes fade in or fade out, but I really like the sound of it. Since my vco design has a sawtooth output that is one octave higher than the squarewave output, the squarewave output can be used as suboscillator. Both waveforms are mixed together and send in to the vca, which comes before the vcf. The vcf should actually have been a twin-t notch filter, but I left out the highpass part and it became a (sort of bridged T) low pass filter, which has quite some similarity to tim escobedos q&d vcf. This thing sounds dirty but when you use the right values for the components it can be tamed and can sound quite creamy at high resonant settings. For the envelope generator I actually planned to use a 555 timer ic, but that would have had to many components. Though I decided to build the most simple envelope generator that just contains a comparator at the input and a buffer at the output. It's not perfect, but it works just fine. There is no modulation for the vcf beside the envelope modulation, but this alone sounds quite nice (there will be a jack for cv).

There are some downsides to this simple circuit:
* The "vca" is not a real vca and distorts the signal (which I actually like)
* The "vca" has a little bit of signal bleedthrough, which is completly gone when using the env mod
* The vco is not very precise, but works solid over 2 to 3 octaves or even 4 octaves (you need to live with some tuning error, somehow it depends alot on the used cv-interface, actually the cv inputs needs to be buffered :roll:)
* The envelope generator is not that good but if you are aware of its sweetspots it can do a good enough job
* There is an overall oddness to some controls, but it works much better than I expected
* It has no midi connection (only cv inputs)

The pros are:
* The gerber files will be available for free
* It will be very small for a fully functioning, east coast style analog synth. It is literally half the size of a korg volca device
* It has a suboscillator
* The output is actually quite powerful and it "sounds big"
* It sounds unique and quite versatile
* It can be hooked to other (semi)-modular devices.
* You can play it polyphonic when using several of those synths and a multichannel midi2cv interface
* Built cost will be under 50€($)
* I developed the synth in 5 evening sessions or so ;)

There are some issues in the initial schematics, but I will update them soon...

Gerber files will be uploaded in spring/summer and I will most likely sell some pcbs and frontpanels."

Monday, April 12, 2021

[diy] LIL' MONO SYNTH meets a (weird) sequencer...


video by planeteatrr

"Just some sounds from my new analog diy synthesizer. It is a odd but lovely little device. Maybe the most interesting thing about it is the fact that I will make the gerber files and all other necessary documents available so people can build one of those little weirdos themselves...

Sorry for the annoying sequence of notes. I will make a better video soon :)

I made that midi sequencer patch in Pure Data and used the Arturia Microfreak as a midi2cv interface...

More information here: https://www.muffwiggler.com/forum/vie...​"



"Since a year or so I fantasize about developing a series of small analog synthesizers, that will fit in guitar pedal or other types of enclosures, with frontpanels made of FR-4 pcb material. The synthesizer I am about to describe is basically the archetype and prototype for the more advanced synths. The next one will be based around Electric Druids VCDCO and TAPLFO chips and another one will include the famous CEM3340 vco ic paired up with a vcf that is a weird mixture between a Wasp vcf and an Oberheim Sem vcf.

But let's have a look on the first one of these synths. The main goal for me was that it can fit into a small aluminium die cast enclosure, without the need to use smt componentes or small 1/8 watt resistors. This meant I needed to have a low parts count. The result is that I used the most basic circuits for each individual function and merge them together into one circuit. I really did not expect much from it, but I am actually very suprised that the output of this progress is much more versatile and interesting (but with a nice and big "oddness-factor") than I thought.

Saturday, July 19, 2025

Cheerful Electronics OPL Studio - First Contact


video upload by j bowman

"🎵 Welcome to Cheerful Electronics OPL Studio - First Contact! 🎛️ In this sound design experiment, we dive deep into the world of FM synthesis using the powerful OPL Studio, exploring retro sounds inspired by classic OPL3 chips. Whether you're a fan of chip music, vintage FM synths, or curious about pushing the limits of sound design, this video is your perfect starting point.

Get ready for rich, textured tones and quirky sonic explorations as we showcase the raw potential of OPL Studio. This first contact session covers live tweaking, patch creation, and modulation — perfect for anyone diving into retro synth workflows or looking for viral FM synthesis content.

If you're into chiptune, retro game soundtracks, or nostalgic hardware-driven music, you'll feel right at home. Watch now and get inspired to experiment with your own OPL3-based synths and plugins!"



via Cheerful Electronics

OPL Studio is the ultimate OPL2 / OPL3 synthesizer! It gives you almost limitless control over what you can do with the OPL3 synthesizer chip.

Features of OPL Studio

OPL Studio has a long list of features. To name a bunch of them:

Integrated patch editor to edit predefined instruments and create your own
Load and save instrument banks from popular formats such as *.BNK, *.SB, *.O3, ect.

Patch linking to layer up to 4 instrument patches for even more complex sounds
Polyphonic sequence editor to create up to 32 drum and 32 melody sequences
Quad sequencer to live play up to four sequences

Composer module that lets you create complete songs from your sequences
Midi channel mixer

Monday, September 05, 2016

MATRIXSYNTH Review and Overview of the Novation UltraNova


Hi everyone, you might remember, back in July I posted some pics of my newly acquired UltraNova, and mentioned that review posts would eventually follow. Well, I’m happy to tell you the first post is here. The UltraNova is one powerful synth, so to make the overall review a bit more consumable, it will be broken up over time. This first section includes an Overview, the Oscillators, and the Mixer sections. When new sections go up, I will be sure to let you know via a new post.

As with most of my reviews, I will say this one goes pretty deep into the synth engine and all editable parameters. If you are the type of person that likes to dissect and explore all of the available parameters on a synth, then this post is for you. I will touch on what each parameter does and will call out any interesting features and limitations as I do so. There are some pretty special parameters on the UltraNova that give you control beyond most other synths. Hopefully this review will give you some insight into what makes the UltraNova special.

Overview & Quick Comparison to Previous Nova Synths

The Novation UltraNova, released back in 2010, is a 20 voice virtual analog & wavetable synth with three oscillators, two ring modulators and one noise source per voice. The UltraNova also features two audio ins that can be assigned to the oscillator section and/or a 12-band vocoder. It’s worth noting that the Novation Nova from 1999 featured a 40-band vocoder, while the Supernova II from 2000 featured a 42-band vocoder. The UltraNova is a monotimbral synth while the 12 voice Nova was six part multitimbral and the Supernova II (24, 36, or 48 voice) was eight part multitimbral. The UltraNova supports up to 5 simultaneous effects per patch. The Nova supported 42 simultaneous effects, while the Supernova II supported up to 56. The Supernova II also supported FM synthesis while the Nova and UltraNova omit it.

The UltraNova, however, is the first Nova synth to feature wavetable synthesis. An interesting side note is that all of the oscillators on the UltraNova are actually stored as wavetables, including the standard waveforms. According to Novation, “The wavetables in the Supernova series are all calculated. The wavetables in the UltraNova, even the standard analogue waves are wavetable oscillators. This change in oscillator generation was first used on the A-Station and K-Station and subsequently in the KS series, X-Station and Xio.” This allows the UltraNova to have some advanced tricks when it comes to the oscillator section, which will be covered in detail below.

I asked Novation about the lack of FM synthesis and they told me, “FM would have been a lovely addition to the UltraNova, but it would have been asking too much of the DSP to be able to run everything the UltraNova can do and also add in FM. The wavetables were a really good way to introduce a new (to Novation) type of synthesis that is able to cater for some of the synth sounds that FM is known for and also to be able to create lush evolving pads.”

The UltraNova features two routable filters per voice with a total of 14 filter types to chose from including 6dB (no resonance), 12dB, 18dB, and 24dB with Lowpass, Bandpass and Hi-pass modes. The Nova and Supernova II lacked a 6dB mode.

As for hardware, although the UltraNova may have fewer knobs per function than its predecessors, it is extremely well laid out and super intuitive to use. Along with both keyboard velocity and aftertouch, the UltraNova has touch sensitive knobs. They literally respond to touch and can be assigned to various parameters. Worth noting, velocity is configurable, however, aftertouch is not. I found the aftertouch to be good, but it does require a little extra force than I prefer; it’s good for not accidentally triggering it, but not so good for subtle, natural performance.

Please note the above comparisons with the Nova and Supernova II were only for quick reference. The UltraNova of course is its own synth with a few tricks up its sleeves that are lacking in the original Nova line, including a level of control over the synth engine often only found in the modular realm. It sounds incredible, and for the price, currently only $599 new, it is an extremely flexible and powerful synth. You get the current top-of-the-line Novation Nova synth engine with new wavetables and more. The UltraNova is both a performance oriented synth as well as a synth programmers dream. It can be configured for easy access to specific parameters for a live situation, or you can dig as deep as you want with a clearly well thought out interface.

That said, let’s dig in.

The following review and overview will essentially go over the signal flow of the UltraNova followed by performance controls including the arpeggiator and the hardware interface. I’ll go into a little detail on what each feature can and cannot do in an attempt to give you a detailed idea of what the synth is capable of. Because my reviews tend to be a bit on the longer side, I will be posting the sections in chunks over time to make it easier on you to consume and for me to compose.

First we start with…

Monday, May 06, 2013

Artists & ARTURIA # 22 - Vince Clarke meets MiniBrute

Published on May 6, 2013 Arturiaweb·87 videos

"Check out our exclusive interview with synth legend Vince Clarke at his studio in New-York, talking about MiniBrute, his relation to synths and his up-coming projects."

Minibrutes on eBay

Update: and the press release:

"Synthpop Svengali Vince Clarke cherishes compact and bijou MiniBrute

“They’re French, but MiniBrute is in English! The MiniBrute features on my new electronic dance music record; I’m using it a lot for basses at the moment, and also for odd squeaky sounds.”
- Vince Clarke, 2013 (Erasure)

GRENOBLE, FRANCE: music software and hardware company Arturia is proud to announce that legendary synthpop Svengali Vince Clarke — musical mastermind behind one of the most successful songwriting duos of all time — has added a MiniBrute Analog Synthesizer to the stunning synth collection currently residing at his Brooklyn-based studio...

Depeche Mode, Yazoo, The Assembly, and Erasure all have two things in common: one, they were founded by Vince Clarke; two, they have all enjoyed catchy Clarke-penned, synth-driven Top Ten hits in the UK and beyond. In a noteworthy career spanning four decades and countless millions of records sold, Clarke has had more hit singles than most of us have had hot dinners, clocking up no fewer than 17 Top Ten entries in the UK with Erasure alone. And let’s not forget five consecutive chart-topping albums — not bad going in the increasingly disposable world of pop, be it synth-driven or otherwise.

Clearly, Clarke knows a thing or two about songwriting, as attested to by being honoured with 2009’s Ivor Novello Award for Outstanding Song Collection by BASCA (British Academy of Songwriters, Composers, and Authors). Of course, Clarke can comfortably find his way around a fair number of synths, too, as attested to by the well-earned songwriting success-funded collection of analogue classics currently residing at his NYC studio, recently relocated from a custom-built cabin in rural Maine to inner-city Brooklyn. But this is no millionaire’s museum piece, but rather a unique personal workspace, where each and every awe-inspiring instrument within regularly earns its keep on a variety of musical projects, with Clarke becoming something of a sought-after remixer of late, as well as collaborating with former Depeche Mode bandmate Martin Gore for the first time in 30-odd years as techno-inspired two-piece VCMG.

Yes, Vince Clarke certainly knows a great-sounding synth when he hears one, which is exactly why an Arturia MiniBrute Analog Synthesizer has made the transatlantic crossing to join him in his Brooklyn basement studio: “When I first tried the MiniBrute, the first thing that struck me was the fact that it’s small, so I thought, ‘Excellent! It will fit in my studio!’ The fact that it has MIDI and CV and Gate is pretty cool.”

While Clarke’s trademark British sense of humour shines forth for all to witness from the outset of this investigative pairing, there’s no denying the compact and bijou nature of the musical beast in question. Yet the Musikmesse International Press Award-winning MiniBrute manages to pack a lot of punch into its diminutive 390 x 325 x 70 mm frame. Setting a new standard for what a hardware monosynth should be, its 100 percent analogue audio signal path features an Oscillator Mixer (Sub, Sawtooth, Square, Triangle, White Noise, Audio In) and classic Steiner-Parker Multimode Filter (LP, BP, HP, Notch) approved by Nyle Steiner himself, together with additional analogue innovations: Metalizer (adds complex harmonics to the triangle waveform); Ultrasaw (adds a lively and bright ensemble effect to the Sawtooth waveform); and Brute FactorTM (adds anything from subtle overdrive to wreaking full-blown intermodulation havoc). These flexible features help the MiniBrute make its own distinctive musical mark alongside legendary analogue monosynths like the Minimoog, Sequential Circuits Pro-One, Korg MS-20, and ARP Odyssey — all of which Clarke, coincidentally, owns!

And all of which resonates deeply with this most musical Englishman in New York: “I really like the filter; you can put the resonance on full and get all those Kraftwerky-type sounds. It sounds like a synth with a Decimator or something like that on it! But whatever it does, or however it does it, I think you can get some very vicious sounds. The Brute Factor... that’s brutal!”

One thing’s for sure: present-day developments like the MiniBrute are helping to ensure that hardware synths are likely to remain Clarke’s calling card for the foreseeable future. “I personally think it’s great that all this hardware stuff’s coming out now; it’s what I grew up with,” he says. “I think there’s nothing that can compare to having a hands-on synth with knobs, dials, and sliders. For me, making sounds with a synth is also physical; I can use two hands and don’t have to pre-think or work it all out. So I think this resurgence in physical synths is a really cool thing.”

Never one for resting on his laurels, Clarke recently spread his wings with a couple of low-key DJ dates in Texas. Here, too, the MiniBrute might well be sharing the musical limelight with him in the not too distant future: “Rather than just play records, I’d like to incorporate some of the technology that I have into the shows as well. I could take along a sequencer or a synthesizer and actually mix it into the stuff that I’m playing.”

Compact and bijou... but packing a pure analogue punch wherever it may roam, MiniBrute is the revolutionary new analogue synthesizer from Arturia. Available now from a dealer near you..."

Thursday, April 25, 2019

Arturia Announces V Collection 7 w/ EMS SYNTHI & Casio CZ-101 Based Synth Engines


Published on Apr 25, 2019 Arturia

Update: mini press release added below.
Update2: User videos added below.

"24 timeless instruments lovingly recreated in #software, and modernized with contemporary features. This is the most comprehensive anthology of classic #synth and #keyboards ever made. This is decades of passionate research, modelling, and development. This is your chance to take your place in music history."

Playlist:
Arturia announces | V Collection 7
Arturia announces | Synthi V
Arturia announces | CZ V
Arturia announces | Mellotron V
Arturia announces | B3 V 2
Tutorials | Synthi V - Episode 1: Overview
Tutorials | CZ V - Episode 1 : Overview
Tutorials | Mellotron V - Episode 1: Overview


New Synths in V Collection 7

Synthi V
BRITISH SILVER MACHINE

Synthi V completely captures the spirit of the unique analog synth that burst out of ‘70s London to inspire the entire emerging electronic music world—and it has new superpowers to inspire your world today.

Synthi V brings you all the experimental excitement of EMS’ legendary 3-oscillator analog synths—now infused with thoroughly modern enhancements. Venture beyond unusual lead and bass sounds to create soundscapes and sci-fi effects ranging from beautiful to bizarre and everything in between.

The British-born EMS family of synths—featuring the sonically identical Synthi AKS and VCS3—were among the first to distill modular synthesizer functionality into a more portable form. Where most competitive designs like the Minimoog sacrificed flexibility to size and simplicity, EMS retained a modular heart through the genius of one of the first matrix patchbays to grace a synth. That additional versatility led to more experimentation outside of melodic norms and into the more electronic realms of psychedelia and sci-fi effects. Cue Pink Floyd’s “On the Run” from “The Dark Side of the Moon” LP.

Synthi V is the perfect evolution of the synth that turned a lot of heads. Now you can use it to turn some heads of your own.

Main Features
A component-level model of the EMS Synthi AKS
3 oscillators with waveform mix, noise generator, 18 dB/oct resonant filter, output section with spring reverb modelling
Modular architecture, allowing to route signals in unexpected ways
Ring Modulator, loopable Envelope Shaper, 2 axis Joystick and Sample and Hold modules for advanced modulations
Original keyboard sequencer module with sync to DAW tempo
2 matrix behavior modes: modern and vintage for cross-talk simulation
5 assignable voltage functions to create multi-point envelopes and LFOs synced to DAW tempo
Advanced joystick automation module for modulating parameters in a 2D space
Matrix pin amounts modulations possibilities (with 4 independent groups)
10 effects, Reverb Phaser, Flanger, Chorus, Overdrive, Delay, ...
Up to 4 voices of polyphony
Over 250 factory presets


CZ V
PHASE DISTORTION CULT CLASSIC
The budget synth that became a legend in its own right. The instrument that brought the digital synth revolution to the masses is now at your command.

A simpler kind of powerful digital synthesis

Released in 1984, the CZ-101 was Casio’s answer to the wildly popular Yamaha DX7. It was significantly less expensive and infinitely easier to program than its rival. Instead of frequency modulation, Casio’s phase distortion (PD) used various user-selected waveforms to modulate the timing of simple carrier waves at the cycle level in order to create more complex wave shapes. This simplified form of digital synthesis made it comparatively easy to perfect a wide variety of timbres spanning warm pads, natural percussion, buzzy digitalia, sci-fi effects and even analog synths. While PD could sound similar to FM, it also had a unique sonic signature all its own.

The CZ sound helped propel artists like Salt-N-Pepa, Was (Not Was), and Vince Clarke into the spotlight. Let’s add your name to the list.

Classic Casio Phase Distorsion
+ cutting-edge Arturia modeling
= infinite sonic possibilities for you

Imagine a virtual instrument that realistically models every nuance of the CZ-101—and with four times the polyphony and zillions more presets. What if it gave you an intuitive graphic interface that unlocked of all the hidden jewels in this unique digital synth? And what if it now had additional envelopes, filters, LFOs, effects, and extensive beat-sync-to-host parameters? Oh, and what if you could interconnect all that via a new super-flexible modulation matrix? We’ve faithfully reproduced the instrument that brought ‘80s pop to new heights.

Yeah... we did that!

Main Features
Two synthesis lines and independent noise source
All CZ-101/CZ-1000 original parameters
8 original waveform and custom waveform editor
Original CZ SysEx import
CZ, DADSR and Multi-Segments envelopes (syncable and loopable) to control pitch, DCW and amplitude
2 Modulation envelopes
4 assignable macros
Advanced modulation matrix
A Sample and Hold module, 2 LFOs with 6 waveforms, 3 sources combinators and an Arpeggiator
4 FXs slots that can be routed in serie or per synthesis line
A synthesis line state viewer for real-time feedback
Emulation of the original CZ DAC
32 voices of polyphony
Up to 8 voices of unison with unison detune
Over 400 factory presets

Update: and the mini press release:

"Arturia have announced the arrival of the latest edition of V Collection : their flagship anthology of reimagined historic synths and keyboards.

Containing 24 premier software instruments and thousands of preset sounds, V Collection 7 is the must-have reference for musicians, producers, sound designers, and keyboard fans.

Legendary keyboards reinvented
In V Collection 7, Arturia have used cutting-edge modelling techniques to create the most accurate software versions of dozens of time-honored instruments. Their exclusive True Analog Emulation® (TAE) and advanced physical modelling put these legendary instruments at your fingertips as software. Over 100 years of music history are now yours to explore, and use to shape the sound of the future.

Launch offer
To celebrate its release, and only for a limited time, V Collection will be available for an incredible price. Whether you are new to Arturia products, want to upgrade from a previous version of V Collection , or own any other Arturia products, you will have access to an exclusive deal that will put the very best synth and keyboard recreations ever made at your fingertips.

Intro offer from $399/399€, ends June 10th.
Street price $499/499€

NEW INSTRUMENTS

MELLOTRON V
LEGENDARY TAPE KEYBOARD
The original instrument redefined what keyboard players could do, unlocking the doors to orchestral and choral sounds at the touch of a key. Arturia’s reinvented versions not only features all original Mellotron tapes, but also lets you import and play your own samples with authentic tape emulation.

SYNTHI V
BRITISH SILVER MACHINE
The quirky British “silver machine” that put a new spin on modular synthesis, reborn in software with exciting new tricks up its sleeve. Advanced component modelling let Arturia model even its wild, unpredictable nature, with advanced modulation and powerful effects added to the mix.

CZ V
PHASE DISTORTION CULT CLASSIC
The budget synth that became a legend in its own right. The instrument that brought the digital synth revolution to the masses is now at your command. Easy to program phase distortion synthesis with custom editor, huge modulation potential and awesome effects.

EXCITING UPDATES
ANALOG LAB 4
INSPIRE, CREATE, COMBINE, AND PERFORM
A treasure trove of amazing synth and keyboard sounds with effects, easy to browse, fun to control, with a new built-in live mode. Your go-to choice for inspiration and performances.

B-3 V 2
THE MOST POPULAR ORGAN REBORN
Our recreation of Hammond’s legendary organ has received a total sound engine overhaul, making it the most authentic, vibrant electric organ virtual instrument ever.

SYNTHOPEDIA
CUTTING EDGE PRESETS
Over 800 brand new, modern sounds created for legacy V Collection instruments. The hottest synths and chart-topping keys are yours to explore.

Arturia have created a series of promotional videos and tutorials to whet your appetite, and get you familiar with the exciting new instruments. Each software instrument also features an in-app tutorial mode, too! Just another one of the fantastic new features in V Collection 7.

To discover more about Arturia V Collection 7 , the stories behind the vintage instrument recreations, and to start your free trial, visit the Arturia website."
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