"In this video you'll find practical tipps and sound examples using the Kemmeskañ Eurorack module by TouellSkouarn.
More than just a mixer, the Kemmeskañ can be used as a soundscaping module. It has a Baxandall EQ that sounds really musical and gives the user the ability to change the sound drastically. It can be used in an Eurorack context or with external devices.
Content of this video:
00:00 Intro
00:34 Overview
01:06 Features
02:41 Bass with feedback modulation
04:41 Chords with feedback modulation
05:37 Panorama on the stereo channels
07:28 Feedback on kick and Skorn da Bask
11:43 FX - apply them!
14:59 Insert - more saturation and riding in the red zone
21:44 No Input Mixing
Thanks for watching!"
Kemmeskañ
Germanium Stereo Mixer (4 X mono, 2 X Stereo)
More than just a mixer, the Kemmeskañ can be used as a soundscaping module. It has an equaliser that sounds really musical and gives the user the ability to change the sound drastically. It can be used in an Eurorack context or with external devices.
Features:
4 X mono inputs (with dedicated send out, removing the signal from the Send Bus)
2 X stereo inputs
8 buffered outputs
Gain, Aux, Pan, Volume, Mute, Feedback
Aux send with stereo return
2X CV controlled feedback
3-band master EQ, cut and boost
Master send/return Balanced (6.35) and unbalanced (3.5) outputs
Intuitive Instruments improves Exquis MPE controller with firmware 2.2.0 update alongside Ableton Live, Bitwig Studio, and Cockos Reaper workflow-merging scripts
SAINT-CYPRIEN, FRANCE: Intuitive Instruments is proud to announce improvements to the award-winning Exquis MPE (MIDI Polyphonic Expression) controller with major updates coming courtesy of introducing firmware 2.2.0 alongside software scripts to merge its workflow with Ableton Live, Bitwig Studio, and Cockos Reaper DAWs (Digital Audio Workstations) — wholeheartedly representing several simultaneous steps towards the inspirational solutions for music lovers creator’s goal of ultimately making music-making seamless by turning the flagship instrument itself into the ultimate lightweight and compact creative hub — as of September 8…
Exquis enables seamless and natural interaction with all DAW software, MIDI synthesizers, and modular systems by becoming a direct extension of its user’s creativity as an expressive and intuitive MPE controller comprising a hexagonal matrix of 61 backlit soft silicon keys arranged as consecutive notes (semitones) horizontally and harmonious notes (thirds) vertically — from the lowest at the bottom to the highest at the top — that provide independent gestural control over four different dimensions: velocity (strike force), horizontal tilt (X axis — pitch bend), vertical tilt (Y axis — CC#74), and pressure (Z axis — channel pressure or polyphonic aftertouch). Alongside a namesake companion app — itself optionally offering an experience akin to traditional composition software — available on macOS and Windows with support for VST, VST3, and AUv3 audio plug-in formats, Intuitive Instruments’ flagship instrument is intended to provide musicians of all levels with a fun and intuitive way of creating melodies and progressions, fully exploiting sonic potential in the process of doing so — whether working with third-party software over the USB (Type-C) connection, third-party software or hardware synthesizers through the MIDI IN and OUT (minijack) connections, and modular synthesizers via CV (control voltage) with dedicated 0-5V (minijack) connections for GATE (V-Trigger), PITCH (V/Oct), and MOD (pressure or velocity). These top out a lightweight (600g) and compact — 36 mm (H) x 146 mm (W) x 317 mm (D) — desktop design that also incorporates four rotary/push encoders and a six-zone capacitive touch slider, plus a series of selection, undo/redo, and action buttons, providing precise and intuitive control collectively over any user’s sound while enhancing interaction with the app.
"This is one of the most unreal reverbs I have ever heard, and it can be used like a real life plugin: The Tank in Rangely, Colorado. Discovered in the 1970s and previously only available to people in the know, it was converted into a venue and recording studio in 2015. I was invited by The Tank Center for Sonic Arts to try out its fantastic resonances. But instead of traveling there, I could sit in my studio and access it comfortable via an AUX from Ableton, and record a full album. In this video I show you the process and what you have to keep in mind if you want to play with the Tank.
"The Mutant Drum Line lives on! When Hexinverter shut its doors in 2022, the future of those gloriously twisted Mutant modules looked bleak — but Erica Synths swooped in, reverse‑engineered every circuit, and gave the whole lineup a second life with modern muscle. 🥁 Mutant Bassdrum — pure 808 thump or fuzzed‑out speaker‑ripper thanks to batteryACID distortion. CV everything, stay clean or filthy. 🎯 Mutant Snare — twin bridged‑T oscillators + snappy noise + switchable HP/BP filter = crack, glitch, or full‑roar chaos. External audio input turns it into its own percussion synth. 💥 Mutant Rimshot — three oscillators, multimode VCF, and HI/LO/CLV voicing. Flip the range switch for deep FM clangs or classic 909 clicks. 👏 Mutant Clap — LFSR‑driven 909 clap that mutates into bleeps, broken textures, or lush analogue‑reverb tails. Dedicated NOISE out and Drive for extra crunch. ✨ Mutant Hihats — true analogue open/closed hats with per‑voice Drive, choke switch, resonant BPF, and external noise input. Classic shimmer to future grit. 🎚️ Drum Mixer Lite — six channels, LED metering, switchable AUX send, plus a vactrol compressor that glues (or crushes) your kit into one punchy monster. Hexinverter’s DNA, Erica Synths’ engineering — same mutant attitude, new‑school reliability. Ready to patch, perform, and terrify your neighbours. 🔊⚡️ #MutantDrums #EricaSynths #Hexinverter #Eurorack #ModularSynth #808 #909 #DrumMachine #SynthCommunity #GearHeads #BeatMaker #SoundDesign #ElectronicMusic #HardwareSynthesis #SynthLife #ModularMadness #StudioGear #AnalogDrums #VoltageControlled #AussieMusician #HappyMag #EngineeringTheSound #ETS
"@teenageengineering OP-1 field, @homebakeinstruments8214 wavestick, @KOMAelektronik Field Kit, and @KORG_INC SQ-1
A piece where gentle harmonies meet a melody that fades in and out, layered with fragments of radio static.
On the Field Kit, the AUX send is routed out to the NTS-3 and returned to INPUT 1.
The wavestick is sequenced by the SQ-1 and processed through the @ChaseBlissAudio MOOD MK II.
The main harmony comes from the OP-1 field; the other parts are from Kontakt."
All sounds in this demo come from the Redshift 6. The kick was sent out dry from the main output, while the other five parts — including the hi-hat, rumble, two LFO-bleep tracks, and a backing synth track — were routed through the auxiliary output. The aux output was fed into a Zoom Multistomp MS-100 pedal for delay and reverb.
With Redshift 6, multitimbrality is always at your fingertips. Its user interface is built from the ground up to enable a seamless workflow between mono- and multitimbral setups.
Under the hood, Redshift 6 is always multitimbral—there’s no need to switch to a specific multitimbral mode. A new multitimbral synth part can be activated with just the push of a button. Voice allocation, polyphony/paraphony, group settings, and other parameters are easily configured in the Parts view.
Multitimbrality allows Redshift 6 to function as multiple independent synthesizers. Each part can be polyphonic, paraphonic, or monophonic, and each can have its own unique character."
This looks more like an amp than a mixer. The built-in rhythm machine gets the post. This would be a fun item to show off in the studio. "Check out my new amp", then flick on the rhythm section, or route a sequence running on your other gear through it with the volume down, then say "I wonder what's on the radio", mute your main mixer and switch over to the Optonica, "Oh it's me!"
"The MX-1000 is an extremely rare product, it is a mixer, an analog reverb unit & a pre-programmed rhyrhm machine.
Warm-sounding reverb, deep sinking echoes, and saturation sounds unique to analog mixers. Rhythm machine sound like Roland CR-78. You can listen to these wonderful sounds on youtube.
Features : Inputs - 2ch Microphone - Phono - Aux Reverb / Echo effects Pre-programmed rhythm machine (Waltz, Rock, Cha Cha, Latin, Ballad, Mambo, Foxtrot & Waltz Rock)"
This is the first post to feature the MX-1000. Curios what the rhythm circuits are based on.
🇬🇧 Exquis - Ableton Live 12 Suite Remote Script
video upload by Intuitive Instruments
0:00 - Intro and installation
1:13 - Note Mode
1:36 - Settings (1)
2:13 - Settings (2) and favorite presets
2:34 - Devices and Tracks
3:17 - Session Mode
5:00 - Outro
🇬🇧 Exquis - Tutorials
Press release follows:
Exquis: expressive, MPE, intuitive, affordable, now optimised for Ableton Live
[Superbooth25] Intuitive Instruments, the French company behind the award‑winning Exquis ex‑pressive MPE keyboard, unveils a triple update that turns its flagship instrument into the ultimate, lightweight and compact creative hub for Ableton Live users
Unlike pad‑centric grid controllers optimised for finger‑drumming and loop triggering, Exquis responds like a real acoustic instrument: its 61 soft silicone keys, each with independent five‑dimension MPE control, provide the nuanced touch and emotional depth needed for flowing melodies and harmonically rich chords.
Exquis Remote‑Control Script for Ableton Live
The brand‑new Python‑based Remote Script integrates Exquis seamlessly into Live’s native controller family, delivering Launchpad‑style Session control and an instrument‑grade expressive touch—courtesy of its MPE twist—that makes playing melodies and chords feel effortlessly natural:
• Session view – create, launch and delete clips or scenes without touching the mouse.
• Track mastery – arm, select, mute and solo any track, and get immediate access to volume, pan and aux sends
• Expressive performance – chords, melodies and drum racks flow through all 61 soft silicone keys with independant and polyphonic 5 dimensions controls.
• Hands‑on transport & harmony – set Live’s tempo, root note and scale directly from Exquis.
• Per‑track note layouts – recall any of the keyboard’s eight onboard layouts (or your own customs) automatically when you change tracks — instantly reconfiguring Exquis into a specific instrument for every track, be it a bass, a percussive grid, or a soaring solo lead.
• One‑touch Favourites – call up Live racks or plugin presets in a heartbeat via Exquis’ exclusive favourites system.
• Device & mix control – tweak any parameter on any device and any track with using four push encoders and ten action buttons.
The script installs like any official Ableton controller template and requires Live 12.
In keeping with Intuitive Instruments’ drive for constant refinement, firmware v2.1 delivers two headline additions:
• Poly‑Hold Sustain – let chords ring out indefinitely while the onboard arpeggiator conti‑ nues to evolve.
• Developer Mode – an open MIDI API that exposes every hardware element—keys, en‑ coders, action buttons, RGB LEDs and even onboard memory—so developers can remap behaviours, write custom DAW scripts or integrate Exquis into bespoke performance setups.
The update also packs an array of stability improvements for an even smoother playing expe‑rience.
Exquis App v2 — New factory preset list and 1 500 Curated Presets
The companion software for macOS/Windows receives new factory preset list featuring hand‑picked, layout‑optimised patches for Surge XT, Vital and Decent Samplerand a vast sound‑library expansion bringing 1 250 new sounds tuned for Surge XT, Vital, Decent Sampler, Baby Audio Atom, Beatsurfing Random, Dawesome Abyss, Zyklus, Audiomodern Soun‑ dbox and Newfangled Audio Pendulate — now 1 500 presets in total.
Superbooth 2025 and Embodme.
Intuitive Instruments will attend the Superbooth 2025: booth O134, in the mezzanine of the main hall, side to Expressivee and Embodme.
April 8, 2025 – Cre8audio, proudly introduces Assembler, a synth-focused analog audio mixer designed to deliver unmatched vintage console sound with intuitive hands-on control. Developed in collaboration with the renowned Pittsburgh Modular Synthesizers, Assembler fuses the warmth of classic analog mixers with a modern workflow tailored for contemporary electronic artists, plus a few other fantastic sound sculpting tools.
Vintage Sound, Modern Control Inspired by the iconic consoles that defined decades of music production, Assembler brings the same sought-after warmth, character, and tonal shaping to today’s producers and performers. Featuring custom-designed Pittsburgh Modular analog circuitry, the mixer utilizes signal contouring and soft compression to unify the overall mix. This process emulates the beloved sonic characteristics of vintage recordings, offering a rich and cohesive sound.
Comprehensive Mixing Power With ten audio inputs split into three distinct channel types, Assembler seamlessly integrates into any live or studio setup. Key features include:
Powerful preamps with up to 20x gain boost for line-level signals, clarity enhancement, or saturation.
Vintage tape saturation style contouring and soft compression on all channels and auxes
Three assignable aux sends for external effects and sub-mixing.
"I can’t remember the last time I used this modded Korg KR-55b, so it was high time we moved it from the pull-out rack shelf. That made room for the Simmons SDS8, which is now on that shelf, below the SDS7. We got an “as-is” SDS6 sequencer a few years ago and it has finally been repaired and on its way back, so we’re getting prepared. And now the TAMA TSQ-1000 drum sequencer is up for sale at Christopher’s Boutique 489 on Reverb. Anyways, this KR-55b was modified by SD Machines with decay and pitch controls, external 5v clock input, as well as individual audio outputs. Those six outputs are patched to the six Ace Tone VM-80 inputs, which are overloading hard. The VM-80 mono output runs to the Mackie Onyx 1640 mixer, where the Paia 6740 spring reverb is added on an aux send."
"Here we have a Ring Mod Delay patch with Atlantix, Sealegs, Ring Mod 1U and Aux Mix 1U. With this combination, the feedback from the delay evolves through the ring modulator, causing the echoes to morph with each repeat. It can produce some wild results.
Patch notes:
• Dry Signal - Atlantix Out / Aux Mix CH1 / Main Out
• Delay Signal - Aux Mix Aux Out / Ring Mod X / Sealegs Delay (100% wet mix)/ Aux Mix CH2
• Use Aux Mix CH2 Aux Out to create the feedback loop
• Atlantix VCO B Sine out from MOD Y to Ring Mod Y
• VCO B's pitch can be static, track with VCO A or modulated (for example with Sample & Hold). This will effect the way the timbre of the delay."
"Played some more with the ALA Monsoon this time - a drone from Moog Mavis is recorded into Monsoon after some wavefolding, and then put through some heavy reverb. A heavily (self-)modulated Maths is opening the VCA channel.
The melody comes from ALA Beehive into the Void algorithm from TTA Zverb, while the aux out goes through ALA Benjolin (with the filter being modulated bei Benjolin's Rungler) and into pico DSP's delay.
The v/oct from ALA Steps quantized by Shakmat Bard Quartet, with the harmonies switched by RitS QUA through Noise Engineering Vice Verga.
I used the trigger input on the Beehive for the first time, with the ochd expander providing the triggers.
Remember - music is powerful.
This music is published under a Creative Commons license. You may use samples, cover, and transform parts or the entirety of it without my explicit consent, as long as you credit me and release your work under a Creative Commons license as well. Commercial use is allowed. But don't just reupload this untransformed.
Supercritical announces availability of Redshift 6 as self-styled Variable Character Synthesizer representing its inaugural desktop instrument
TAMPERE, FINLAND: having opened eyes and ears with show-stopping showcases at SUPERBOOTH24, May 16-18, FEZ-Berlin, Germany and Machina Bristronica, October 12-13, Bristol, UK, Supercritical is proud to announce availability of its inaugural desktop instrument in Redshift 6 — self styled as a 6 voice Variable Character Synthesizer that combines technology from the budget travels in time and space-offering Finnish synthesizer manufacturer’s previous Demon Core Oscillator and Neutron Flux Filter products, each of its six voices featuring a DCO (Digitally-Controlled Oscillator) that can create up to 16 analogue oscillators per voice with analogue waveforms generated under digital control — as of December 16…
Supercritical’s self-styled 6 voice Variable Character Synthesizer wording — which is subtly featured on the front panel of the desktop instrument itself by way of optical reinforcement — effectively encapsulates the Redshift 6 concept. Consequently, the analogue path of each of its DEMON CORE OSCILLATOR-based six voices is under strict digital control in terms of tuning, gain staging, filtering, and more. Moreover, Redshift 6 has a lush- and warm-sounding sweet spot that is inspired by classic analogue polysynths, but it also runs the full gamut from almost digitally sterile and clean to distorted behaviour and beyond.
Digging deeper, the filter core is an analogue 4-pole VARIABLE CHARACTER FILTER that is also digitally controlled to act like almost any classic vintage synthesizer filter and more besides. But in addition to the oscillators and filters, Redshift 6 has all the features expected of a modern synth — think modulators aplenty, flexible voice routing, (six-part) multitimbrality, MPE (MIDI Polyphonic Expression), and (bypassable) stereo DSP (Digital Signal Processing) effects.
Elsewhere, Redshift 6’s six voices can be configured in a variety of ways — choose between true six-voice polyphony, classic vintage poly dual layer mode with 3+3 voices, six individual voices (each with their own patch and physical output), or any combination thereof. Those six voices can each also operate as a paraphonic voice with up to 16-note paraphony. And as if that is not enough to whet any serious synthesist’s appetite, multiple filters can be chained by routing audio from one voice to another.
Supercritical spent time — time that was well spent, clearly — realising Redshift 6’s physical form factor as a modern, compact — 378 mm (W) x 254 mm (D) x 63 mm (H) — desktop device with a 2.7-inch TFT (Thin Film Transistor) IPS (In-Plane Switching) colour screen surrounded by eight endless clickable potentiometers. Thanks to quick navigation via the shortcut button grid, menu diving is kept to a minimum, while a selection of familiar synth controls — DCO, VCF (Voltage-Controlled Filter), and AMP (amplifier), to name but the basics — are featured throughout the front panel. Put it this way: assigning modulations is equally easy and speedy with the modulation grid providing access to modulation source parameters, and all the assigned modulations can be edited via the MOD MATRIX. Meanwhile, a MACRO mode with six user-assignable buttons is included.
It is fair to say that Redshift 6’s slimline back panel packs in a lot of features for interacting with the outside world, including MAIN OUT (L and R) fed by the DSP effects, AUX OUT 1 (L and R), and AUX OUT 2 (L and R) — all on 6.3 mm jacks, alongside a modern MIDI (Musical Instrument Digital Interface) implementation with DIN IN/OUT and USB-B connection — not forgetting, of course, the headphone output.
One of the major design considerations of Redshift 6 is to facilitate a versatile and capable analogue platform with a flexible UI (User Interface) for accommodating new engines, easily updatable via software. Since its oscillators can currently go from traditional twin oscillator to supersaw behaviours while living in perfect harmony with the multimode filter, as well as incorporating various different character profiles — and all this in user-friendly ways that are easily controllable and modulatable, the relatively diminutive desktop Redshift 6 is already punching above its weight. Weighing in at 3.5 kg in actual fact, an exciting future surely lies ahead for Supercritical’s inaugural desktop instrument.
Priced at £1,099 GBP (including VAT)/€1,259.00 EUR (including VAT)/$1,349.00 USD, Redshift 6 is available through Supercritical’s growing global network of distributors, as listed here: https://supercriticalsynthesizers.com/where-to-buy/"
"Introducing Stereo I/O 1U & Aux Mix 1U - two new audio mixing utilities for the 1U format.
Stereo I/O is a complete audio I/O module for Eurorack Systems. It connects to the audio jacks in our Performance & Palette cases to give you external line input, line output, and headphone output with cue feed. It also connects to our Stereo Line In Jacks & Stereo Line Out Jacks modules for use third-party rack systems.
Aux Mix is a 3-channel stereo mixer with a stereo Aux Bus. Each channel has precise level control and a mute switch, summing to the Main Mix outputs. Channels 1 & 2 have a separate Aux level control with a pre/post fader switch which feeds to a separate Aux output. This mixer lets you create a stereo FX send, experiment with feedback mixing, parallel processing and more."
"Hand-Built Buchla Easel by Constantin (Portabellabz)
This setup was meticulously hand-built by Constantin at Portabellabz, with all components in perfect working order.
Price: $8,000 USD (equal to my original investment). I’m open to reasonable offers. Location: Portland, OR. Local transactions are preferred, but I’m willing to ship if necessary.
Feel free to ask any questions—I’ll do my best to provide detailed answers.
Modifications and Features
208p Module (with Blue PCBs)
Flat red LEDs Tinijax connectors 1.2V/oct input On-off-on switch for CO CV Reverb mix CV input (replacing the rightmost pressure socket with a black banana socket) Dedicated LPG outputs (replacing panel signal out tinijax sockets) Infinite sustain functionality Noise generator (similar to the 208c; accessible via LPG2 when the routing switch is in the top position and the preamp is unpatched) Enclosure Features
Portabellabz ToolBox: Includes slew limiter Roland Klinkenberg Sequencer Aux Expander: Includes Mod Expander Custom Hard Case: Custom made by Road Cases USA Rare SAmodular Keyboard and Case
The 218 keyboard and case are from SAmodular, with specific modifications by Constantin to ensure peak functionality. Note that the keyboard is no longer in production, making this setup particularly unique and valuable.
This is a beautifully customized Buchla Easel, built and modified by one of the most respected names in the field. Don't miss this opportunity to own a one-of-a-kind instrument."
"Whether you look at Befaco Bandit as a creative EQ, see multiband processing potential or as a creative mini filter bank … there’s a lot of potential for creative and unique spectral results patching with it. I’ve had loads of fun creating cohesive unique sonic spectrums blending multiple sources, novel ambient FX spaces, spectrum specific FX sends and plenty of smart routing options along the way. I think the results speak for themselves, I hope that comes across in the video."
"Anyma Phi from Aodyo Instruments is quite wonderful little monophonic physical modeling synth, that can do much more than just physical modeling. You can use 3 oscillators that you can choose from a long list, ranging from different wave forms, resonators, 2-op FM, wavetables etc.
You can use audio input as an oscillator, either external input or in-built contact microphone. So, Anyma Phi is not just a synth, but audio effect unit, too. However you use it , there are lots of configuration parameters and options.
Those 3 oscillators are routed to main and aux bus, where you can apply 5 effects, pan them in stereo field, add reverb, which is then put out as stereo audio.
Recently, Aodyo has launched as software version of Anyma Phi, called Anyma V. It is identical to hardware unit, except that Anyma V is polyphonic. Anyma V is a by-product of Aodyo's biggest development project, namely Anyma Omega, which is larger sibling of Anyma Phi. As a backer I have been eagerly waiting its launch, which may happen at end of year."
"Quick impro to demo the Sound Master Stix Programma ST-305 (!) analog drum machine syncing the Roland Jupiter 4 arpeggiator. The Echolette SE251 provides echo/reverb.
The ST-305 is an 80s programmable analog drum machine. Very basic, no sound editing but you get 7 sounds, an accent track, dedicated volume faders and outputs for every instrument.
And the icing on the cake is it can be synced to external gear and/or sync other gear, which is a nice feature (you can use it slaved to a sequencer and in the same time slaving a synth, so it acts as a 'through').
I did not know this one till recently and it was a pleasant surprise."
"This is quite a rare tape echo manufactured by Dynacord. It seems to be one of the very last tape echo introduced by the brand (with the Echolette Echo 400). It shares many parts with the Echocord line of delays like motor, pinch roller, heads, oscillator board etc But this one used op amps instead of only transistors for amp stages (the Echocord Super 76 also already used one op amp for the output stage).
The unit has 2 heads which you can mix with the dedicated pot. Otherwise classic features like input volume, tone, echo send level, echo feedback and echo level. In the back the original DIN socket enabled output and aux input. In this case you only get the wet signal out of the delay, which is nice in a studio environment.
Unit was fully serviced and modded: - all electrolityc caps were replaced (except 3 bipolar ones ) - original 4x op amps were upgraded to better one (TL081) - original DIN socket was replaced by 2 jack sockets, one for the output and one for the aux input. Also a pot was added to attenuate the level for the aux input - unit was meticulously cleaned - heads were cleaned, demagnetized and aligned - unit was calibrated - tape is new
The unit is in perfect working order and in excellent cosmetic condition."
"Here is the follow up video I promised, briefly explaining and demonstrating the 'flute' patch I discovered recently. This simple patch involves an external input / preamp module with an envelope follower, an oscillator with timbre control / wave shaping and a vca. Adding a noise source as a secondary sound, opening it with a similar envelope, can really add to the illusion that its a flute. I am taking the envelope follower from the aux in, and patching that to amplitude and timbre of the complex oscillator. There is also a pulse generated every time I blow into the mic. The pulse tells a sequencer to advance, changing the note you hear every time you blow into the mic. Thank you for checking out my video! If you are interested, you can see me make improvised music live on twitch at"
