"noiz virus reads the real genomes of 42 viruses and plays them or warps your audio input.
noiz virus reads the real genomes of 42 viruses and plays them. (Number 42 isn’t even a virus.) Every three letters (a codon) make an amino acid, and every amino acid becomes a note in the virus’s own scale. STOP codons are rests, and the start codon AUG plays accented.
Each virus has its own look, scale, sound, rhythm and effects. You can mutate them as they play, save the strains you like, and use the genome to chop up your live input with softcut. Grid and arc are supported, and it follows MIDI clock.
Requirements
norns (or norns shield)
optional: varibright 128 grid (vertical or portrait)
optional: arc (4 rings)
optional: something plugged into the norns input, for the sample side"
00:00 Intro
00:29 Best Under $400: Waldorf Protein
05:39 Best Under $600: Arturia MiniFreak 37
10:40 Best Under $800: Sequential FourM
16:22 Best Under $850: ASM Hydrasynth Desktop
23:03 Best Under $900: Korg multi/poly
30:03 So which one do you buy?
31:51 What I'd actually buy
"Okay - I'm going to stop posting these soon! Two more after this and then I will consider the demos done. And if I don't play a single show of this band (or Agalon Monstynoh music) I will get back to my other three bands plus marimba and acoustic guitar and piano solo (open mic fare)."
"Hi! I’m a solo developer working on Retro Song Bird - a music player for your Game Boy games.
Plug in any Game Boy or Game Boy Color cartridge and the music starts playing, just like a cassette or CD. In addition to music playback, Retro Song Bird can back-up and write ROMs and save files, can be used as a USB webcam with a Game Boy Camera, and can even wake you up every day as your alarm.
I’m excited to get Retro Song Bird in the hands of musicians and chiptune artists. For the first time ever, they can plug a physical cartridge in and get stereo line-out as well as USB Audio with each of the Game Boys four instruments broken out as separate tracks. Using MIDI, they can control playback, track selection, and even tempo so they can beat match two cartridges and perform a DJ set. Here’s a video of me, a non-musician, remixing the chorus of Tetris with the drums of everyone’s favorite Japan-exclusive fish finder, Bandai Pocket Sonar: [video below]
"Skiff 2.5 is out: free, open-source firmware that turns the M-VAVE FM-1 into a six-track groovebox, and M-VAVE's SMK-37 Pro keyboard too. With 2.5, Skiff is nearly feature complete. This video builds one lo-fi song from a new project, press by press, and shows every new feature on the way: two cores and 16 voices, FREE TAKE (play first, keep it after), STRUM, a pad and a pluck made from scratch and saved with their sends, the true-stereo delay with PAN reaching it, FX › DELAY and FX › REVERB, NOTES: DELETE, FILTR, a song you can follow and start from any entry, KEEP SENDS, CLEAR SONG and CLEAR TRACKS, HOME's new views, LARGE keeping the names, 2.2's voices against 2.5's, REMOTE's knobs, and the same Skiff on the SMK-37 Pro, each combination as it is printed.
How it was made: Skiff's screens and sound are Skiff 2.5.1's own code, the firmware's source run on a computer, so the sound and the screens line up to the frame. Every key, button and knob shown is a press performed in the firmware, step by step; the takes are scripted to play like hands, a slip included. The sounds are factory sounds, apart from the three made in the video: TAPE PAD, RAIN PLUCK and DUSTY KIT. REMOTE's CCs are sent from a computer, as a controller would send them. The sound is the firmware's own, only levelled for YouTube. The FM-1 is drawn in 3D and the SMK-37 Pro flat, their screens Skiff's own display.
▶ Get Skiff (free, GPL-3.0): https://github.com/illuminus5/skiff
▶ From 2.2: every FM-1 moves to MENU › SYSTEM › CPU 2 CORES once (16 voices); songs keep a mono delay; undo keeps 6 levels.
"I've just released Guru-600 1.0, a free, open-source firmware (GPL-3.0) that turns the M-VAVE FM-1 into a Prophet-600 emulator. It is built on Felucca by Leo Kuroshita, and it has been tested on a real FM-1 and is fully working.
What it brings:
- a P600 sound engine built like the original: two oscillators per voice with sync, a 24 dB filter with its own envelope, Poly-Mod, LFO, unison, six voices
- 255 sounds: the Prophet-600's 100 factory programs under their real names, 100 free sounds from the Prophet-600 community and 55 made for Guru-600
- MORPH (gradually turn one sound into another) and MUTATE (a variation of a sound in one gesture)
- everything from Felucca: four tracks, thirteen other engines, 64-step sequencer, arpeggiator, songs, and two insert effects per track
- a web editor in 7 languages, with a panel inspired by the Prophet-600, tooltips and a complete backup of the FM-1
- a Mac app (Apple silicon) that runs the whole Guru-600 without the device
- a user guide (PDF) in 7 languages; older and newer FM-1 units supported
"Drone jam with a lot of flanging and feedback. The Erica Synths Perkons makes the drones and noise. Further I used an analog Dynacord TAM-19 and Roland SBF-325 Flanger. There was also an Art Dual Limiter to tame the TAM-19 feedback, a BBE 382i Sonic Maximizer, a Rocktron Prophesy 2 preamp and all was mixed with the Boss KM-60.
Direct recording with DAW mastering."
"In this video, Enrica and Roland from Making Sound Machines play a melodic house track, performing live with the built-in polyphonic arpeggiator.
Plinky 12 sends a MIDI clock signal to the Elektron Syntakt, synchronizing the tempo between both devices. Syntakt is a fantastic hybrid digital-analogue drum machine and provides the beats you hear in this clip. All synth sounds are produced with Plinky 12's internal synth engine.
Plinky 12's internal sequencer advances through a harmonic progression, while Enrica performs on the touch surface, editing the polyphonic arpeggio. First she extends the length of the loop, leading to great polyrhythmic shifts over the 4/4 house beat.
As the track progresses, Enrica taps the surface to add or delete notes in the arp pattern.
Roland operates a second Plinky 12, the Blocks panel to the left. It is configured to send MIDI messages from an XY surface to Plinky 12 Chords. This allows him to change the sound parameters remotely while Enrica performs on Chords at the same time.
This track was composed for a live set at Club Synth, an event our friends Stijn and Priscilla from This is Not Rocket Science are hosting and organizing quarterly at Ruigoord near Amsterdam. Thank you for inviting us and putting in the hard work to create such a lovely event!
"Syntherapy session. I bought Vangelis 'Spiral' album when it came out and I was 14. There's no way I'd imagine having fun playing my own version of 'Dervish' (nothing serious, just for fun) on an EMU modular clone 49 years later!!! Can't of course beat Vangelis version of 'Dervish'."
"These will not be sold on my normal site, they are available to purchase directly from The Arp Foundation Store, Ensuring all proceeds to directly to them. - https://alanrpearlmanfoundation.org/p...
I would like to give special thanks to Korg for donating the 2600 vst licences for James & I to carry out the programming of this bank!
STARPATH VOL.1 – 200 Sounds. One Cause. Endless Inspiration!
Scott McAuley & James Dyson are incredibly excited to announce the release of STARPATH VOL.1 – an exclusive, custom-designed sound bank featuring 200 carefully crafted sounds, created to inspire your next musical journey.
Packed with an extensive collection of sounds, STARPATH VOL.1 brings together everything from deep, powerful Basses, atmospheric Pads and expressive Leads, to evolving Arps, driving Sequences, cinematic Strings and so much more. Whether you're looking to spark a new idea, add something special to your productions or discover your next signature sound, there's plenty here to explore.
The demo showcases just a selection of what's included, with 50 sounds demonstrated to give you a taste of the collection. But that's just the beginning – the full STARPATH VOL.1 bank contains 200 exclusive sounds, ready for you to drop straight into your next big production.
But this release is about more than just music.
100% of all proceeds from sales of STARPATH VOL.1 will go directly to The ARP Foundation, a non-profit organisation. This means every purchase helps support a cause that matters, while giving you access to a completely custom collection of sounds.
We're incredibly proud to bring this project to life and grateful to everyone who chooses to support it.
ARP Foundation Releases Starpath Vol. 1 for the KORG ARP2600 VST
Scott McAuley Sounds and James Dyson created 200 patches for the software synthesizer, with all proceeds supporting the Foundation’s archives and ARPs for All program.
Kingston, NY, November 10, 2026 —The Alan R. Pearlman Foundation announces Starpath Vol. 1, a collection of 200 original patches for the KORG ARP2600 VST. Created by Scott McAuley Sounds and James Dyson, the sound bank will be sold exclusively through the Foundation for $39.99. All proceeds benefit the Foundation’s work to preserve Alan R. Pearlman’s legacy and expand public access to his instruments.
The original ARP 2600 laid out its signal path on the front panel so players could see how its modules worked together and use patch cables to change those connections. Starpath Vol. 1 gives musicians 200 ways into that same architecture in KORG’s software instrument. Each preset can go straight into a session or serve as a starting point for tracing a signal path and reshaping the sound.
The collection spans basses, leads, pads, keys, arpeggios, sequences, and strings, with sounds for electronic dance music, film scoring, and other productions. Most patches are programmed for polyphonic aftertouch, so players using a compatible controller can shape individual notes by varying the pressure on each key. The bank takes advantage of KORG’s software recreation, which offers up to 16 voices of polyphony.
The Foundation will receive 100% of the proceeds to support its archiving work and ARPs for All, a program that gives musicians hands-on access to rare vintage ARP synthesizers.
After receiving some holiday foley from our friends at Focusrite, check out how Kody uses FLpad and FL Studio to turn them into a track. If Ableton Live is your DAW of choice, take a look at how CALC creates a track with the same sample pack using Novation Launchpad Pro. If you want to download the pack yourself, visit https://novationmusic.com/articles/fl....
If you want to see how these holiday found sounds were recorded, check out:
We mic’d up a Christmas cracker and made it into a snare | Here's how it sounds
After receiving some holiday foley from our friends at Focusrite, check out how CALC uses Launchpad Pro and Ableton Live to turn them in to a track. If FL Studio is your DAW of choice, take a look at how Kody creates a track with the same sample pack using Novation FLpad. If you want to download the pack yourself, visit https://novationmusic.com/articles/fl..."
"Meet the Deftaudio Eurorack MIDI-BLE Interface, a compact 4HP MIDI hub that connects your computer, hardware synthesizers, and wireless MIDI controllers into one unified setup.
Three MIDI connections, one module
USB MIDI 3×3
Connect directly to your computer or iPad. Class-compliant operation means no special drivers are required.
2x TRS MIDI ports
Connect your favorite hardware synthesizers, sequencers, and controllers. Each port can be configured for TRS MIDI Type A or Type B.
Bluetooth LE MIDI
Connect wirelessly to iPhone, iPad, Mac, Android, and Linux BLE-MIDI applications. Play from your tablet or controller without running another cable.
Smart MIDI routing
Two operating modes let you configure how your equipment communicates:
Green mode: Direct USB-to-TRS routing with a shared wireless and USB MIDI connection.
Red mode: Merges the two TRS MIDI ports so connected hardware can share MIDI data.
"Ambient music where repeating phrases overlap with reverberant synthesizer performances.
This piece was created with the Prophet-10, OP-1 field, and reface CS.
On the Prophet-10, a slightly modulated synth pad is performed and processed through the blueSky with reverb.
On the OP-1 field, a phrase is played using the built-in ENDLESS sequencer. The MOOD MKII is used to occasionally shift the pitch, while the MICROCOSM adds the MICRO LOOP effect and reverb.
On the reface CS, a single-note phrase is performed using the FM oscillator. The output is processed through the NIGHTSKY with reverb and filtering.
The piece begins with the OP-1 field phrase. The reface CS is then layered over it, followed by a low synth pad from the Prophet-10.
π΅ [Gear Used in This Video]
Synthesizers Sequential Prophet-10 Teenage Engineering OP-1 field Yamaha reface CS
Schmidt-Synthesizer waves Auf Wiedersehen to striking Schmidt with The Final Series in numbered all-black limited-edition livery
LANGENAU, GERMANY: Schmidt-Synthesizer, Powered by e:m:c (electronic music components), is proud to announce availability of The Final Series of its impressive Schmidt Eightvoice Analog Synthesizer in numbered all-black limited-edition livery — lovingly devised by go-to industrial designer Axel Hartmann as an appropriately named series limited to 20 units, each featuring a gold plaque bearing the corresponding serial number alongside crediting its creators by name as the ultimate goodbye gesture to one of the most striking analogue instruments ever conceived, subsequently set to cease production after 15 years — as of November 10…
It is fair to say that the response to the Schmidt Eightvoice Analog Synthesizer was overwhelming following its introduction at Musikmesse 2012 in Frankfurt, Germany. After all, it had been many years since an analogue synthesizer of its immensity — let alone a polyphonic one featuring so much in the way of hands-on control — had been available. As such, it also turned heads when (ad)venturing across the pond for a repeat performance at The 2013 NAMM Show in Anaheim, CA, USA. Ultimately, the decision was made to bravely build an initial production run of 25 units, although, as it happened, this was far from the end of the story… the rest, as they say, is history.
Having decided that the Schmidt Eightvoice Analog Synthesizer should be entirely manufactured in Germany, regardless of running the risk of incurring high production costs by building it in a distinctly non-compromising ‘old school’ way — without specialised components and using a through-hole construction method to ensure straightforward repairs in the long term, in other words, a great success story subsequently transpired.
The Schmidt Eightvoice Analog Synthesizer boasts some truly unique features — for example, creating colder, wavetable-like sounds courtesy of its chain of five ring modulators, fed by six pulse waves, each with different pulse-widths — that have never before been implemented in an analogue synthesizer let alone an analogue programmable polysynth. Indeed, its striking sonic personality is forged from a sound generation engine featuring almost everything that subtractive synthesis has to offer, such as an oscillator section providing functions for shaping seriously complex sounds that are unlikely to have made an appearance in the analogue domain thus far, a powerful filter section akin to a fully-programmable modular synthesizer system, and modulation routings exceeding anyone’s wildest dreams. Dual and true multitimbral modes; sophisticated glide/portamento capabilities; and several realtime modifiers, fully programmable per preset all add to its appeal. And it looks as amazing as it sounds, its spacious front panel design — helpfully hinged to aid accessing an array of tactile controls — even extends as far as to include a large LCD (Liquid Crystal Display) with changeable colour background and associated multi-colour LEDs (Light Emitting Diodes).
It is also fair to say that the hundred or so discerning individuals fortunate enough to own a beautifully-built, beautiful-sounding Schmidt Eightvoice Analog Synthesizer so far as a substantial five-figure-priced instrument of proven pedigree will also have taken pleasure in reading its in-depth user manual’s introductory wording (with its tongue not entirely out of its cheek): In an ideal world, Schmidt is the synthesizer you have always been dreaming of. Well, anyway, this is the synthesizer Mr Stefan Smith… err, Schmidt — the creator of Schmidt — has always dreamed of. And — again, in an ideal world — you and Mr Schmidt are sharing the same dream (in terms of synthesizers, of course). Rest assured, we know that synthesizer players like you tend to have really wild dreams. Sometimes you even get up late at night to tweak some controls, don’t you? See, this is how well we know you!
Yet technological developments and rising costs associated with manufacturing complex devices worldwide have culminated in the way that Schmidt-Synthesizer beautifully builds its striking Schmidt Eightvoice Analog Synthesizer being no longer viable in the long run, sadly. So what better way for its creators to wave Auf Wiedersehen to the impressive instrument that has served them so well for so long than by introducing The Final Series in an all-black limited-edition livery lovingly devised by Axel Hartmann — himself famed for being the go-to industrial designer in the music industry for over 30 years — as an appropriately named series limited to 20 units, each featuring a gold plaque bearing the corresponding serial number alongside crediting its instigators by name — specifically, CREATED BY STEFAN SCHMIDT, INDUSTRIAL DESIGN BY AXEL HARTMANN, and MANUFACTURED BY e.m.c. STEFAN HUND — as the ultimate goodbye gesture.
After all, Axel Hartmann was responsible for the Schmidt Eightvoice Analog Synthesizer’s distinctive design in the first place, readily recalling, “We chose the highest-quality synthesizer keybed available from the Fatar catalogue. Indeed, it is comparatively high, which was not a problem since we needed to provide a lot of space within the case to accommodate the amply-dimensioned voice boards. Also, a Minimoog-like hinged panel would be nice, as would lots of wood. Since the Schmidt Eightvoice Analog Synthesizer is a powerful instrument in all respects, we would not even attempt to hide this with the design, which was generous in all respects, relying on the contrast between lavishly-built real wood elements and an anthracite-coloured control surface that would be familiar from the established analogue synthesizer world. Since Stefan Schmidt had already set all the positions of the control elements on the panel before we started, this resulted in extremely matter-of-fact product graphics that take up its specified horizontal and vertical planes for the knobs and buttons. Indeed, its modules are delineated by simple lines and clearly labelled. Everything that lights up can continuously fade through all the rainbow colours, a notable feature that is used by most users.”
All are still present and correct in The Final Series units, of course. Credited with product management at Schmidt-Synthesizer, Axel Fischer ends proceedings on a high note: “I think this special edition is a fitting conclusion to this wonderful project that we started many years ago.” And when those 20 units — and the last of the so-called Classic versions of the striking Schmidt Eightvoice Analog Synthesizer — are gone… So long, farewell, Auf Wiedersehen, good night somehow springs to mind, musically. Thereafter, those still dreaming of owning a Schmidt Eightvoice Analog Synthesizer — The Final Series or otherwise — could consider satisfying their sonic yearnings with Schmidt-Synthesizer’s just-released Schmidt Vi virtual instrument plug-in since it is — to all intents and purposes — a Schmidt Eightvoice Analog Synthesizer in software, allowing anyone to appreciate authentic and sophisticated sounds, as well as integrate them into the digital music production realm, all at a comparatively pocket-friendly price. Perhaps they, too, will get up late at night — to tweak some Schmidt Vi controls!
Priced at €18,900.00 EUR (including VAT), The Final Series of the Schmidt Eightvoice Analog Synthesizer in numbered all-black limited-edition livery — lovingly devised by go-to industrial designer Axel Hartmann as an appropriately named series limited to 20 units — are available to order directly from the new Schmidt-Synthesizer website (https://www.schmidt-synthesizer.com), where the last remaining units of its so-called Classic Schmidt Eightvoice Analog Synthesizer are also still available, priced at €17,900.00 EUR (including VAT).
"One archive find. Two grooves. A handheld tracker built for making music.
Follow a complete jazz phrase from TrackWerk’s Source Sampler into a laid-back hip-hop arrangement and a rolling drum & bass flip. Hear the original bass and harmony breathe while newly programmed drums give the same passage two different rhythmic roles.
The film follows search, preview, IN/OUT, WAV import and phrase audition, then visits the synth controls, categorized presets, FX rack, Punch banks, Drumlab and internal resampling. The two arrangements play through TrackWerk’s native engine. The workflow is edited for clarity; the gentle, pitch-preserving 85-to-86 BPM sample preparation was done outside the app. Studio browsing is separate from the continuous musical playback.
TrackWerk 0.9 beta is free and open source. The illustrated English guide covers supported Android handhelds, Trimui Brick with KNULLI, Miyoo Mini and Miyoo Mini Plus with Onion OS. The normal Mini is offline; Mini Plus uses the separate online build. See device notes for tested behavior and remaining checks.
CHAPTERS 00:00 Archive to instrument 00:27 Keep the musical phrase 00:40 The hip-hop groove 00:56 Studio presets and FX 01:18 Drumlab and double time 01:36 Ghost notes and another engine 01:52 Performance tools and resampling 02:04 Save the take
Anukari 1.1 Brings Strings, Tubes, Breath, and Over 1,000 New Sounds to the 3D Physics Synthesizer
The first major update since launch is built almost entirely from user requests, and it's free for every existing owner
PRESCOTT, Ariz., Nov. 10, 2026 -- Anukari, the synthesizer that makes sound from a real-time 3D physics simulation, today released version 1.1, its first major update since leaving beta in June. Where Anukari 1.0 let musicians build instruments from masses, springs, and mallets, 1.1 adds resonating strings, bars, plates, membranes, tubes, bells, a mouthpiece that lets players blow into their creations like a wind instrument, more than 1,000 new factory presets, and dozens of other additions. The update is free for everyone who already owns Anukari.
Almost everything in the release started as a request from someone playing Anukari. Resonators were the most-asked-for feature by far.
“After 1.0, I read every message people sent me, and the same ideas kept coming up,” says Evan Mezeske, Anukari’s founder and creator. “Version 1.1 is basically that list. Resonators were at the top of it, but nearly every feature in this release exists because a user asked for it.”
Resonators are virtual objects that ring like real ones do: a string that can be plucked or bowed, a metal bar, a plate, a drum membrane, a tube, a bell. Each one can be struck, rubbed, or blown, and each can be wired into the mass-and-spring contraptions Anukari users were already building. So, a bouncing weight can drum on a plate, or a swinging structure can vibrate a string.
“The palette of sounds in Anukari just got dramatically bigger,” says Mezeske. “Between the resonators and the mouthpiece, there are so many kinds of sounds and crazy ideas you can explore now that simply weren’t possible before. And because resonators connect to the mass-spring systems people already know how to build, it isn’t additive, it’s multiplicative. Every old idea suddenly has a hundred new versions.”
The new mouthpiece exciter brings breath into the picture, letting players drive tubes and other resonators with air, the way a player’s breath drives a clarinet or a trumpet. New spring types let objects collide and bounce off one another or hold rigid shapes, which opens the door to things like wind chimes, rattles, and clattering machines. The bow, mallet, and plectrum all gained new, much richer physical models as well.
Mezeske’s own favorite addition is the Modulosphere, a sphere that can float through the scene and change whatever it touches. “Anukari has this whole 3D space, and the Modulosphere is the perfect expression of that,” he says. “It’s a way of shaping sound that only makes sense in three dimensions. It really takes advantage of Anukari’s virtual 3D world in a unique way.”
Big ideas in Anukari can mean big structures, and building them by hand can be painstaking. Version 1.1 adds tools that generate whole shapes and duplicate pieces in patterns. It also lets musicians bring their own AI assistant. Anukari has no AI built in, but anyone who already uses an AI assistant on their computer, such as Claude or ChatGPT, can now connect it to Anukari, describe the contraption they have in mind, let the assistant build it, and then see and hear the result in a fraction of the time.
“Some of the most fun things to make in Anukari are huge and complicated, and that can be incredibly involved,” Mezeske says. “If you already use an AI assistant, you can now point it at Anukari, describe whatever you’ve dreamt up, and hear how it sounds much sooner. There’s no AI inside Anukari; it just gives your assistant the controls. It’s a tool for exploring crazy ideas faster. And if you’re not a fan of AI, I completely respect that. You don’t need to use it. The new pattern duplication is super powerful on its own.”
To show off the new possibilities, 1.1 ships with more than 1,000 new factory presets across four new banks, including a collection of orchestral instruments built entirely from physics, along with a redesigned preset browser with search, filters, and favorites to make them easy to find. Playing has improved too, with legato and glide, editable envelope and velocity curves, and steady, incremental reductions in CPU use.
Since 1.0, Anukari has also arrived on Linux, fully supported alongside macOS and Windows, and gained gravity and turbulence controls that let structures fall, sway, and drift.
Anukari 1.1 is available now from anukari.com as a VST3, AU, AAX, and LV2 plugin, and as a standalone app for macOS, Windows, and Linux. It is a free update for all existing owners. To celebrate the release alongside Black Friday, Anukari is 50% off through December 4. The free 7-day demo has also been reopened for everyone, including people who already used up their trial on an earlier version, so anyone curious about what’s changed can try it again.
Unlike a standard CV mixer, a precision adder is designed specifically for pitch, so when you combine multiple melodic signals, your sequence stays accurate. Precision adders use extremely high-quality components in their signal path so that voltages at the inputs are reproduced with great accuracy.
In this patch, we're using Quantus Pax to combine two pitch sequences. The first sequence plays our melody, while the second acts as a transposition sequence. As the second sequence changes, the entire melody shifts up and down in pitch while staying perfectly in tune.
Precision adders aren't just limited to combining sequences…
Here, we'll patch a slow LFO into another input on Quantus Pax. With just a small amount of attenuation, the LFO creates a subtle vibrato, adding movement and expression to the voice without changing the melody itself.
Whether you're transposing melodies, combining multiple sequences, or adding expressive pitch modulation, a precision adder is a great tool whenever you’re striving for an accurate pitch.
"KCRW & Eternal Research present Rite of the Oracle. This one of a kind event is headlined by renowned singer-songwriter Zola Jesus in a rare solo performance on piano and voice. Co-headliner, Fierra Ex Machina will premiere Rite of the Oracle, a story of ancient and modern visionary women who meet across space and time, told through immersive, multidisciplinary modern dance, and live scored by the ensemble with bespoke electro-acoustic instruments. The evening opens with a solo performance by the enchanting harpist, Nailah Hunter.
Renowned darkwave and experimental electronic artist Zola Jesus headlines the evening with an intimate fusion of solo piano orchestrations, haunting operatic vocals, and raw, cathartic energy. Known for exploring the boundaries of human emotion, dark textures, and cinematic soundscapes, her live performance anchors a night dedicated to the transcendent and unseen, and embodies the spirit of women connecting through their voices across time.
Fierra Ex Machina performs live alongside an immersive multidisciplinary dance piece created by musician Alexandra Fierra and choreographer Lauren Auyeung. A synesthetic retelling of ancient prophetic visions through live-scored music, movement, and film, Rite of the Oracle invites the audience into a visceral conversation with the unseen and unheard made vividly audible and visibl
e.
Driving the sonic landscape is The Demon Box—Eternal Research’s flagship instrument, serving as the primary electronic catalyst by capturing ambient electromagnetic fields and translating this invisible energy into live audio and driving modular synthesis. Operating in dialogue with this central hardware is a suite of custom-built, handcrafted instruments—including the polyphonic Demon Harp, the melismatic Demon Viola, and the ghostly Demon Bells forged from repurposed artillery shells. Combined with motion-reactive live projection and audio-reactive lighting, the performance amplifies the timeless conversation between ear and instrument, the aether and ourselves.
Opening the ceremony is Los Angeles-based composer, vocalist, harpist, and multi-instrumentalist Nailah Hunter. Blending ethereal harp arpeggios, lush ambient synthesis, and mystical world-building, Hunter’s soothing yet uncanny compositions set an enchanting, contemplative foundation for the evening.
Following 4 sold out performances in Los Angeles, New York City (2x), and San Francisco, Rite of the Oracle is Eternal Research’s most dynamic show yet, melding impassioned voices with cutting-edge transmedia and instrumentation to offer the key to the Oracle of Delphi’s origin: the powers of embodied vision. Stay in touch with the latest Eternal Research events and instruments by following @eternalresearchmusic on Instagram or visiting eternalresearch.com."
"noiz virus reads the real genomes of 42 viruses and plays them or warps your audio input.
