GENE 616 is an all analog, stereo polyrhythmic drum machine with two independent CV / Trigger sequencers.
The upper sequencer controls the Bass Drum Generator and Oscillator 1, a Synth Drum voice with a unique architecture which can produce almost any frequency, multiple waveforms, sweet and soft or totally untamed and unhinged, and is CV controllable over a wide range of pitches, timbres and decay times.
The lower sequencer controls the Snare Drum Generator and Oscillator 2, which is the same type of Synth Drum voice but with slightly extended high frequencies.
inMusic's NAMM 2027 experience invites creators, developers and music makers to explore fully operational products, experience live performances, and discover new possibilities for hardware customization
ANAHEIM, Calif. - November 5, 2026 - Today, inMusic Brands has announced it will bring one of its most ambitious showcases yet to the 2027 NAMM Show, presenting 22 new, fully operational and feature-complete products alongside performances, artist appearances, panels and a new hands-on experience: The inMusic Creator Lab.
THE INMUSIC CREATOR LAB
Located in Room 204 at the Anaheim Convention Center, the Creator Lab introduces another dimension to inMusic's NAMM presence. Visiting creators and developers will have the opportunity to engage directly with new products and explore what can happen when finished instruments are opened to further creativity.
"These products don't need to be modified. They're complete instruments designed to stand on their own. But for creators who want to take them somewhere new, we want to make that possible. Openness doesn't require incompleteness," said Jack O'Donnell, CEO of inMusic Brands.
The sun was setting and this was the last take, so you can barely see anything, but the Rucci 16-step CV sequencer is driving and modulating the two Pasco Scientific 9301 dual function generators, as well as the Heathkit ID-4101. The Heathkit is panned left, the left 9301 is panned right, and the right 9301 is panned center. There is some spring reverb from the Yamaha EM-100 mixer and some delay from the Alesis MIDIVERB II."
"Hi Adventurers! - Here I created some vintage Space Opera tones with the stunning new Waldorf CREMA - not sure if the ensemble/divide down strings, OR the amazingly controllable SHIMMER REVERB is my favourite feature, but I love the thing!"
"✅Electroacoustic Piezo feedback modification✅ A user of our instrument the Stereo Field recommended I glue knobs onto the Piezos I was using for this method to give a bit more weight to them and quick spinning ability. A really nice idea. I’ll try my best to explain what is happening here again. Piezos are placed face down (a small solder dot on the (-) metal disc to complete the surface connection to the exposed dual stereo preamp circuits. The Piezos are acting as three different elements in this scenario. 1. An element in an “oscillator” 2. An acoustic pickup. 3. A tiny speaker element. These three things change based on where they are touching in the circuits and how the gains are set. In person you can hear them physically feeding back and vibrating against the surface of the Stereo Field. So then you have mechanical feedback simultaneously to circuit feedback. (Internal AND external). Added to that you can get speaker feedback involved and there you have THREE different types of feedback happening. Next I’ll send some instruments through it and maybe try this with modular for a chaotic electro-acoustics CV source. https://www.landscape.fm/stereofield"
Back with another 128 Patches for the fantastic Oberheim OB-X8, this Video demonstrates Patches 33 to 64. While Vol 1 covered some Classic Sounds, Vol 2 is more about Synthesis and leaning into new Shapes and Textures. I've since created my own Multi-FX Plugin (GEOSpace) which has EQ, Chorus, Phaser, Flanger, Delay and Reverb and have created 128 Presets to go with all 128 OB-X8 Patches, just add as an Insert to your Host/DAW and select the same names. That's it.
You can find GEOSpace at the following, these 128 FX Presets will be included with Obsession Vol 2 only.
In terms of Sounds, I've concentrated a lot on Pads and Strings and unusual tones, going further with Page 2 Functions and as always, all 128 are demonstrated over 4 Videos. When the 4th is Live, they will be released. V2 Firmware for the OB-X8 needs to be installed.
"Oberheim Matrix 12 by Gforce - Presets Preview
'The most ambitious analogue synthesiser Oberheim ever made'
Over 570 patches, including 380+ new patches and 190+ original Matrix-12 and Xpander patches.
Created in collaboration with Oberheim and Marcus Ryle, one of the original designers, who worked alongside the team throughout, GForce modelled the oscillators, filter, and envelope shapes against the hardware.
Get the Product here: https://www.gforcesoftware.com/produc..."
Sounds
00:00 Intro
00:05 AR
00:08 Danger
02:04 Silent Heights
02:38 Deep Water
03:13 Cosmic Drops
03:30 Cosmic Energy
04:11 Flying Rhythm
05:33 Metallic Colors
06:09 Reso Filter
06:21 Agressive OSC´s
07:29 Ambient Vibes
07:42 Cosmic Lights
09:00 Cosmic Flow
10:00 TranceNation
10:30 Kronos
12:22 Dancing Noise
13:35 BASS
13:40 ResoNation
15:00 Escape from New York
16:00 Hard Bass
17:03 Hard Sync
17:13 Classic Bass
17:47 80´s Bass
18:20 Dance Bass
18:45 Hypnotic Bass
19:19 AcidNation
19:38 SH Modulation
20:28 Lost in Time
21:25 Loveparade
22:00 HITS
22:25 KEYS
22:30 Legends
23:39 Radioactivity
24:17 Crystal Lake
24:40 Dreamy Pads
25:06 Memories
25:45 Deep Thoughts
26:51 Oceans
27:44 Deep House
28:04 China 1984
28:52 LEADS
29:06 Electric Lead
29:25 Digital Mellow
29:53 Phased Modulators
31:00 Falling
31:35 Laser
32:18 Underwater Lights
32:39 PADS
32:52 Stratosphere
33:51 Analog Brass
34:10 Vergangenheit
34:49 Old Lake House
35:45 Romantique
36:17 Flying Melodies
37:12 TEXTURES
37:31 Danger Zone
"Talk Talk (1982) | Vintage Synthesizer Cover | Oberheim OB-Xa & Simmons SDS-8
A tribute to the unmistakable sound of the early 1980s!
This is my cover version of the song Talk Talk by Talk Talk, originally released in 1982 as a single from the band's debut album The Party's Over.
For this version, I wanted to capture the raw energy, distinctive synthesizer sounds and unmistakable electronic atmosphere of the original recording while staying true to the spirit of the early 80s.
To achieve an authentic vintage sound, I used original hardware synthesizers and drum machines, including:
🎹 Oberheim OB-Xa (1980) – One of the legendary analog polyphonic synthesizers of the early 80s, famous for its powerful oscillators, rich analog character and distinctive sound.
🥁 Simmons SDS-8 Electronic Drum System – The iconic hexagonal-pad electronic drum system, bringing that unmistakable early electronic drum character and punchy 80s percussion to the performance.
🎹 E-MU Emulator II for the Yamaha CP-80 piano sounds
No attempt was made to recreate the song using modern software alone. The focus was on the character, warmth and personality of real vintage analog and electronic instruments.
'Talk Talk' was written by Mark Hollis and Ed Hollis and produced by Colin Thurston. Released in 1982, it became one of the defining tracks of the band's early synth-pop and New Wave period. It appeared on their debut album The Party's Over.
The song combines driving rhythms, atmospheric keyboards and the distinctive vocal and musical attitude that made Talk Talk such a unique band in the British New Wave scene.
This version is my personal musical tribute to an unforgettable era of electronic music.
If you love 1980s music, vintage synthesizers, analog sounds, New Wave, Synth-Pop and classic electronic drums, I hope you enjoy this performance!"
This is a short edit of the demo song I made for an old in-depth tutorial of the MMT-8 and HR-16 I once had on my channel.
Gear used:
Alesis MMT-8 sequencer and HR-16 drum machine.
Crumar BIT01 Poly
Roland Alpha Juno 2 Bass
I think I also used a D-50 and a piano sound from either a Proteus or Emax."
"Another draft created using two splendid 1980s synthesizers from Yamaha—one digital, the other analog: the DX7 and the CS15d (the latter dating back to 1979, to be precise). Despite their apparent differences in terms of both appearance and sound, they complement each other perfectly."
"What happens when a synth manufacturer opens up its hardware to the community? In the case of AtoVProject’s Faderpunk, something rather exciting!
Faderpunk was already a remarkably flexible MIDI and CV controller, but with the introduction of community-developed apps, it’s becoming an even more powerful tool for modular synthesis, generative sequencing and live performance.
In this video, I explore the new community app ecosystem, show you how to install third-party apps, and dive into some fantastic musical examples.
We’ll explore FP-Grids for generative drum rhythms, TB3PO for acid-inspired sequencing, TechnoKick and TechnoHihat for instant techno grooves, Sift for evolving melodic sequences, and Heat Pump for rhythmic sidechain modulation. I’ll also demonstrate how Automator can record your fader movements and turn them into evolving modulation.
Along the way, we’ll build some musical patches, experiment with sound design, and discover a few unexpected tricks — including using Heat Pump to bring rhythmic movement to the Forge TME Vhikk X.
For me, this is a great example of what happens when developers embrace their communities and give musicians the freedom to experiment and create. And the best part? There’s plenty more to come.
CHAPTERS
00:00 Introduction - Faderpunk keeps evolving
01:16 How to install community apps
03:29 FP-Grids - Generative drum sequencing
05:12 TB3PO - Acid sequencing
07:05 TB3PO - Accents for modulation
08:34 Automator - Recording modulation gestures
09:37 TB3PO - Percussion sequencing
11:00 TechnoKick and TechnoHihat - Instant techno grooves
14:11 Sift - Generative melodic sequencing
16:47 Heat Pump - Sidechain envelopes and creative modulation
20:09 Final thoughts and what’s next
It’s a living modulation ecosystem that you can shape, build, and customize to your will Faderpunk is all about customization. You can run apps that use one or more of the channels: LFOs, CV-to-MIDI converters, MIDI-to-CV bridges, random generators, Turing machines, quantizers, sequencers, envelopes, rhythm generators, and so much more.
Modulate anything Faderpunk is a great companion for your Eurorack and semi-modular synthesizers as it speaks all their languages. Explore lots of modulation options for your empty jacks and get inspired by combining MIDI and modular capabilities.
Whether you need modulation sources, sequencers, or automation tools, Faderpunk puts everything at your fingertips with hands-on, intuitive control.
Make it yours, truly Using the web-based configurator you can easily add and remove apps via drag & drop. Just connect Faderpunk to your computer and go to https://faderpunk.io.
Need an app that doesn’t exist yet? Create it yourself! Faderpunk comes with a developer-friendly API, making it easy to build your own apps.
Why limit yourself to six voices when you can have eight? Introducing our brand new Analog Polyphonic Synthesizer the Behringer Polyeight. An 8-Voice that sparkles with the sound of the 80s. Join Bartek as he jams through the presets of this exciting new addition to our Synth lineup."
Behringer's Polyeight is an eight-voice analog synthesizer that re-creates the era-defining sound of the Polysix. The 2044 low pass filter gave that sound its character and sits at the center of the Polyeight's pure analog signal path. Positive or negative envelope control shapes the filter to create sounds from tight plucks to long blooms. Eight discrete VCOs can be played in dense polyphony for rich harmonies or locked in unison for powerful leads and basslines. Chorus, phaser, and ensemble effects are integrated into the signal path to provide rich textures for strings and pads. Program complex voicings into chord memory and trigger them from a single note. For players chasing the classic Polysix sound, the Behringer Polyeight delivers with more voices and powerful performance features.
Polyeight Features
Eight-voice analog polyphonic synthesizer based on the Polysix Pure analog signal path with discrete VCOs, VCF, and VCA Each VCO features saw, square, and pulse width waveforms Classic 2044 low pass filter with resonance and positive or negative envelope control Unison, double, and poly modes for eight-VCO leads, four-voice doubled patches, or eight-voice chords Sub-oscillator one or two octaves below the main VCO Chorus, phaser, and ensemble BBD effects Pulse width modulation with a dedicated LFO Multi-waveform LFO for pitch, filter cutoff, and amplitude MS-20-inspired global noise generator Eight-slot modulation matrix Chord memory triggers stored voicings from a single key Polyphonic portamento Arpeggiator with up, down, and up-down modes and external tempo control 256 program memories with compare and match for front-panel controls 49 semi-weighted full-size keys with velocity and aftertouch Product Details
Polyphony: 8 voices (unison, double, and poly modes) Keys: 49 Memory: 256 user programs Display: LCD with encoder MIDI: 5-pin DIN in, out, and thru USB: USB 2.0 type B, class-compliant MIDI Main output: 1/4" TRS, balanced mono Headphone output: 1/4" TRS Sustain pedal input: 1/4" TS Expression pedal input: 1/4" TS Chord memory footswitch input: 1/4" TS Arpeggio sync input: 1/4" TRS (tip: clock, ring: start/stop) VCF fcM input: 1/4", -5V to +5V Power: internal switch-mode power supply, IEC Dimensions: 4.7" x 32.4" x 10.2" / 120 x 825 x 260 mm Weight: 16.5 lb / 7.5 kg
This one is in via Jeff who had the following to say:
"I've been spending time with the Erica Synths Pērkons and wrote up what I learned and made it into a free guide. It started as personal notes and grew into something that might help other owners.
It includes a clickable practice grid for the MOD menu, a settings menu map, and a song sheet that saves in your browser for noting the master section settings the machine doesn't store.
It covers sound design, the sequencer, audio routing and effects pedals, modulation, saving kits and patterns, banks, sync and MIDI. It includes diagrams, a map of the settings menu, the MIDI CC chart, and a clickable practice grid for the modulation menu. It's free with no sign up."
"The Schmidt-Vi plugin is a virtual recreation of our legendary Schmidt Eight Voice Polyphonic Synthesizer.
Available starting November 10 in our shop and at Waldorf Music."
"Exploring GROND by TJB Audio, a sample-based impact design environment for VCV Rack 2.
GROND allows you to combine, layer, and transform samples into complex cinematic sound events. Featuring sample banks, randomisation, timing and alignment controls, Doppler processing, Disperser, distortion, spectral delay, and multiband processing, it offers plenty of possibilities for experimental sound design.
No more sudden parameter jumps when turning the knobs. Scale Mode is now enabled by default, making parameter adjustments much smoother.
🎹 Redesigned Scaler & Chorder
Explore 21 scales and 63 chord types, assign different chords to individual notes within a scale, and even use these features with your external MIDI keyboard.
✨ Polyphonic Aftertouch
Bring more expression to your performances with compatible MIDI controllers.
🔥 New 16-Step Arpeggiator Modulation Sequence
Add rhythmic movement to your sounds with a dedicated modulation sequence synchronized to the arpeggiator.
🔊 More Modulation, More Sound-Shaping Possibilities
The modulation matrix now offers 12 slots, with new destinations for delay, reverb, envelope sustain, and more.
We've also updated the filter response and soft clipping algorithm.
