Zero-input mixer. DIY noise artist's playground.
A digital no-input mixer: four channels, two effect returns that are full mixer channels in their own right, db-cell running as the board's own noise floor, and a live patch bay — everything you hear starts as the board's own hiss going round a feedback loop until it finds a mode. CASCADE feeds each channel into the next, wrapping channel four back to channel one; CHEAP/SOLID decides how hard the shared power rail sags and lets every channel modulate every other one through it.
ZEROBOY plugin GUI
Four mixer channels, each with seven selectable circuit topologies and Mackie-style 3-band EQ, plus a CASCADE that feeds straight into the next channel — channel four wraps back to channel one
Reverb and delay aren't send effects — they're two more full mixer channels with their own gain, EQ, and aux sends, already wired into a two-node feedback loop with each other
The Redshift 6 handles all the synth duties at the same time, using its incredibly powerful Demon Core Oscillators and multitimbrality.
The multitimbral patch has five parts:
Part 1: Supersaw Pad
Part 2: Main Lead
Part 3: Stereo Unison Bass
Part 4: SQR Wave Melody
Part 5: Paraphonic Pad
The parts are sequenced from the DAW, and the audio is recorded using the Redshift 6’s individual outputs.
The bassline is recorded dry from AUX 1, while all other synth parts are recorded from the Main Out through the Redshift 6’s internal FX.
There are no external FX on the synth parts."
"This is the first proper track I've made with the Supercritical Redshift 6, and I wanted to take it apart properly. The chord stab you hear at the start is three notes coming out of a single analog voice, which is the thing I still find hard to believe.
The Redshift is multitimbral, so I used it as three instruments at once: a pad chord stab, an arp, and a three layer lead. Each one goes out of its own stereo output. The two aux outs are always dry, meaning they skip the internal FX section entirely, so the arp runs into a Chroma Console and the pad into a Microcosm. The lead keeps the synth's own delay.
Everything else melodic is sampled from the Redshift into the Digitakt II, which is also doing all the sequencing. Around 16 layers in total, so apart from the drums this is one synth.
I also skipped Overbridge this time and recorded four stems straight into a Zoom LiveTrak, which meant committing to the mix as I went. That's why the bass is split across two tracks.
Chapters:
0:00 Intro
0:25 The chords - one voice, three notes
3:52 The arp - and what the Chroma Console does to it
4:46 Chrome Console overview
7:36 The lead - supersaw, macros, and four voices
10:57 I almost gave up on this track
12:41 Some of the Digitakt II layers
15:57 Digitakt trick: a trance click on a 909 kick"
"Today I wanted to take a bit of time to explain my deep love for the Dirtywave M8 Tracker while going over the patch notes for the new OS that was released last week. The new OS brings a slew of upgrades to the device in both sound and presentation. Let's check it out and make some tunes."
"An ambient piece created with endless cassette tape, norns shield, and OP-1 field.
Gear used:
YAMAHA CMX100II
norns shield
@teenageengineering OP-1 field
@ChaseBlissAudio LOST + FOUND & MOOD MK II
@strymon blueSky
On the CMX100II, synth sequence phrases are pre-recorded onto two tracks, a sustained synth tone is recorded onto one track, and delayed percussion sounds are recorded onto another track.
The sequence phrases are sent from the MONITOR Out through the MOOD MK II. The remaining two tracks are routed from the AUX through the blueSky for reverb, then output from the Master Out.
On the norns shield, a recorded piano performance is played back with granular processing using graintopia, then processed through LOST+FOUND with delay and reverb.
On the OP-1 field, sampled bamboo flute sounds are performed. The built-in delay and reverb effects are applied."
"Here's the second (more conventional) part of the previous jam, featuring a fully restored Linndrum for a client along with a Publison Infernal Machine reissue, hand-built by my friend Valentin :)
You can watch the first jam here: • Publison Infernal Machine + LinnDrum / Jam 1 [posted here]
In addition to copy/pasting the same description, I’ll also add a few details about the process!
The Infernal Machine itself is in the racks. In this video you only see the remote, with a few occasional close-ups when I tweak it. The LinnDrum is raw ; I’m just using the left main output straight into the console (a BiAmp Model 42). From there I send the signal into DSP A (mono), pan it slightly to the left, then route that channel via a second aux into DSP B (stereo).
DSPs are mixed back into the console. A hint of U-He SATIN, Pro-Q, and Pro-L on the master… and there you go :)
LINNDRUM - This one came with a fun issue: the snare would trigger the side stick, and the toms would trigger the congas. Apart from various CMOS quirks of that kind, I rebuilt all sliders/faders (volume + pan), the trigger buttons and replaced the pots with custom clones made by my friend Manfred from VintageSynth&Co. I also swapped the audio caps for polypropylene ones and rebuilt the power supply. During the process, the CPU card failed so I had to debug the sequencer - turned out to be a bad address latch and a dead bus gate (no idea what caused that). All in all, a serious overhaul!
INFERNAL MACHINE - A very special device. The IM90 was originally designed by French engineer Philippe Petitdemange between 1983 and 1984, with development continuing until the final DSP update in 1989. Publison devices are infamous for their opacity: components were often stripped of references, making repairs impossible. No schematics were ever published or even formally documented, which made the Infernal Machine both exceptionally rare and subject to extreme prices (I’ve seen one listed around 20k€!!!)
Following Philippe’s assassination in 2019, much of the design knowledge risked being lost. Jonathan Prager was designated as the official Publison legacy/maintenance technician and undertook the task of redrawing schematics based on the original archives he bought to preserve these machines. Meanwhile, Valentin, a French expatriate living in Japan, independently carried out his own reverse-engineering and successfully built a true 1:1 clone. His version (named the Celestial Machine) fits the strictest definition of a clone: an exact replica running the original code, featuring a beautifully recreated remote controller and using NOS components throughout ; except for a new OLED display (co-designed with Bob Grieb of TaunTek).
This special Publison-badged unit was sent to me for testing and demonstration to original Publison co-founder D. Dean - more info soon maybe :)
By the way! If you’re curious, I wrote my master’s thesis on Publison, it was published in French (deal with it lmao) : https://www.ens-louis-lumiere.fr/wp-c..."
"Union Audio is releasing a brand new mixer soon. Come check it out at Superbooth 2026!
Fully Analog, 6 mono/stereo channels
Perfect for live perfomance
Both Eurorack compatible & standalone
Beautiful resonant master filter (HP/LP) with drive, aux send and CV control
Channels can be individually routed through filter
Master compressor with special features
2x mono aux send and 2x stereo return
Master insert
Level, aux, pan CV
Tilt EQ
Cue & Mute system
And as expected: incredible summing and overal sound.
Release date tbh !"
"I've been sitting with this piece for a good few weeks.
It was originally recorded on holiday as audio in a forest in France but I wanted to capture the patch in video form too. The original audio take has more magic than this version to me (perhaps it was the time and place) but the core is still there in this take.
Atrium is using a sub-selection of 31EDO notes with 5 clusters forming the harmonic basis and freqs is also mapped to notes to give another 5 subset of offset chords based on the clusters.
These subsets are controlled by a sustain lower limit control to give an easy access performance control.
The voice is mostly exploring simple use of the Form synth and the overtones/multiphonics give several other harmonies to explore.
Initially the LFO is muted but creeps in mapped to voicing to add movement.
There is some additional reverb from a TX-6 mixer but other than that its all Atrium.
I find this patch incredibly meditative and love journeying through the consonant world it inhabits. Atrium is capable of so much more sonically but this is a place that feels safe and content and I keep returning.
The patch is shared in the Atrium Discord for those interested to try it out."
"Running a simple bass line through the stunning Parting glitch/ambient machine and exploring the sounds. It's a very touchy feely pedal that's wasted on guitarists and really should be a Eurorack module. Full review coming soon from a synth perspective.
I bought this pedal myself."
"Parting is a box of pleasant surprises. Moments of chance will give bursts of a glitch delay that can smear into a reverb, modulated by tremolo or vibrato, filtered, and, most importantly, dissolved into lofi aliasing or stretched out reverse. All of this may jump around in halves and octaves of itself - it’s up to you and Parting, together. Controls
Dissolve has two functions. Below noon, it reduces sample rate, creating an increasingly degraded version of the signal. Above noon, it reverses the signal, and repeatedly cuts the reverse clock in half as the knob is turned, creating an increasingly long and degraded reverse.
Rate sets the rate of the modulation LFO, which is also the frequency of triggers for moments of chance.
Depth sets the depth of the LFO.
Shape sets the LFO shape: Sine, Square, Reverse Saw, Saw, Random Sine, Random Square, Envelope
Chance allows random bits of signal to enter the delay/reverb buffer during an LFO cycle.
Smear adds diffusion and feedback to the delay lines, turning them into a lush reverb as the knob is turned up.
Glitch creates various clock subdivisions.
Time sets the timing of the delay/reverb, as well as the reverse.
Filter sets the cutoff point of the post-dissolve filter.
Mix sets the blend of dry and wet signal.
Aux switch for tap tempo, half speed, or preset switching.
Soft-touch On/Off footswitch with relay switching for minimal switch noise"
"Passive bandpass filters are an obsession of mine, so it was just a question of time until AudioThing and me would make a plugin of the special subset called octave filters. Octaves is out on now: https://www.audiothing.net/effects/Oc...
My Music: http://hainbach.bandcamp.com"
"Hainbach’s Bandpass Filter
Octaves is our latest collaboration with Berlin-based composer and YouTuber Hainbach. It is a filter plugin designed to take apart the audio spectrum in spreads of octaves, allowing for unique and enchanting spectral sound design effects. Octaves gives you a retro-scientific approach to sound that echoes the timeless productions created in the BBC Radiophonic workshop or the WDR Studio für Elektronische Musik by the Avantgarde masters, and modern places like Willem Twee, Strøm, and Hainbach’s own laboratory.
Octaves is available for macOS, Windows, and Linux (VST2, VST3, AU, AAX, CLAP).
It’s also available on the App Store for iOS and iPadOS (AUv3 and Standalone).
"Serge Modular made the legendary VCFQ stereo. While having three inputs and six outputs, the AGC (Auto Gain Correction) and Notch out had to go. In normal operations, it's a true VCFQ which you can use in both mono and stereo patches. The AUX input can have dramatic results when self patched as feedback. I'll be using the VHIKK X in this video as the primary source, a source that doesn't need an extra filter to sound good. In fact, this creates the challenge of which module dominates which. In general, it's always the module that cuts the other one's frequency range. Finally, I'll use my mono VCFQ and the ST-VCFQ to process the X's L/R channels independently. Now the fun begins :)."
A piece created with @teenageengineering OP-1 field, @KOMAelektronik Field Kit, norns shield, NTS-1, and Ambient Engine. It is minimal ambient built from dreamy synth tones, distortion, and fragmented chorus textures.
On the OP-1 field, a 44 step phrase runs in a loop using the ENDLESS sequencer. The output is connected to. @strymon blueSky with reverb applied.
On the norns shield, Graintopia is launched and an electric piano sound from the CP-88 is recorded with phaser applied and processed with granular synthesis. The output runs through @ChaseBlissAudio LOSSY with EQ and reverb. In the outro, packet loss effect is used to create a lo fi texture while the sound fades out.
In the Field Kit, radio tuner audio is sent to the @KORG_INC NTS-1 where delay, chorus, and reverb are applied. The return signal is sent again to an AUX channel to create feedback and distortion.
In Ambient Engine, two voice samples are loaded and played with randomized playback ranges. Filter, MicroLoop, delay, and reverb are adjusted during playback."
"The Frequency Shifter (red) is a powerful and experimental analogue processor. This standalone design springs from my Quadrature Sine and its Frequency Shifter Expander modular designs – all wrapped up with circuitry & features to allow it to fit snugly into more regular studio processing roles.It will transform your audio streams in otherworldly ways – clangorous, tonal, phased, stereofication and swoosh.
"Jellymix is a versatile performance mixer with a small footprint - perfect for desktop jams with grooveboxes, synths, guitars, modular and more.
Key features:
• 5 x Stereo Line Level Inputs plus 2 x additional EXT Inputs
• 2 x Stereo Aux Sends with PRE/OFF/POST Switch
• Gain control, TILT EQ, HPF, and clickless Mutes per channel
• High Impedance (HI-Z) switch for instruments (guitar, bass, etc.)
• Filter Section - SVF with separate LO-CUT and HI-CUT controls
• Headphone Out with MAIN / MUTED monitoring"
This appears to be the first post to feature the HOT ED-42.
"This is a little jam with very rare polish drum synthesizer HOT ED-42. Couple of takes (with Roland Tr6s and Moog Dfam)
Hot Ed has 4 mono trigger IN/OUT (gate or audio) + 2 mono audio IN channel.
All 4 channels sounds the same and has the same parameters (sensitive, decya, sweep, VCO, volume, panorama).
2 audio channels has Treble/Bass/Effect/Volume/Panorama
There is no NOISE knobs (for snare and hihats)
There is one AUX (for 2 audio channels).
4 mysterious knobs on front of the machine (i have no idea what they do)
** Polish**
bardzo rzadki perkusyjny syntezator HOT ED-42
Posiada 4 wejścia wyjścia Gate/Audio które wzbudzają VCO (nie brzmią perkusyjnie, bardziej basowo, melodyjnie - brak NOISE do snarów lub hihatów)
2 wejscią audio (audio może być z zewnątrz lub mogą wychodzić OUTami z ed42)
1 wejście AUX.
1 wyjście stereo(lub mono)
4 gałki na froncie, z przodu instrumentu - nie mam pojęcia co robią)
to chyba pierwszy filmik tego syntezatora na YT. Więc niech leci w świat.
zawsze możesz mnie wesprzeć :
https://patronite.pl/greenjesus"
Our range of 3U professional MIDI controlled analogue modules continues to expand with four new products. These are all in an advanced development stage and the order of release will be according to interest and demand. For further information please use the contact form.
With many 3U modules now using MIDI they may be directly connected with internal cables or brought out to panel connectors. Maximum flexibility for connector types, position in case, and routing is provided by Molex KK 0.1" headers on the pcbs.
"I'm a sucker for anything with lots of cross modulation. The Iguanamente has that in spades, plus it's got a unique delay built into the audio path that makes for even more craziness.
They say: 'Iguanamente is a chaotic oscillator designed to provide a Eurorack modular synthesizer with a unique and creative sound source that is suitable for percussion, noise, leads, basses, drones, and everything in between.'
Sounds about right.
This is pretty much all just the module. There is some reverb there for space, but that's it.
00:00 Intro
00:20 Main out
06:00 Main + Aux
19:43 Sequence"
This is the first post to feature the Iguanamente!
The Iguanamente from System Lizard is a chaotic dual oscillator built around a cross modulating oscillator and delay network. Thanks to a keen and comprehensive array of timbre and modulation controls, Iguanamente readily stretches across musical terrain, wagging its reptilian tail between percussion, texture, and melodic applications alike. At the top of the panel, Coarse frequency control sets the fundamental frequency of the system, with dedicated 1V/octave and FM inputs for adjusting frequency via CV. The Radius control manipulates the spread of auxiliary oscillators, allowing for a wide range of inharmonic and harmonic timbral expansion. Shape controls the waveshape of all oscillators, hard clipping into a square wave to the left of center and wavefolding to the right.
These oscillators are then processed through a delay network, with controls for Feedback, delay time or Frequency, and a Mix control. At the bottom of the module, cross modulation controls and CV inputs for oscillator frequency modulation, oscillator amplitude modulation, and delay time allow you to introduce nonlinear modulations into Iguanamente, sparking unique and chaotic changes in timbre. At the top right corner of the module, independent outputs for the Main and Auxiliary oscillators offer independent post processing potential or serve as a pseudo-stereo output. If you're looking for a flexible oscillator with unique character and a taste for chaos, Iguanamente from System Lizard is a righteously fun reptile for any rack.
IGUANAMENTE FEATURES
Chaotic oscillator
Dual oscillator design with integrated delays
Coarse frequency control
FM input and attenuverter control, knob acts as fine pitch control when no FM source connected
Radius control adjusts auxiliary oscillator frequency spread
Shape control clips oscillators into square wave to left, wavefolds to right
Delay for main and aux oscillators with combined Feedback, Frequency, and Mix controls
Cross modulation controls for FM, Delay time, and AM introduces chaotic modulation
Main and Auxiliary outputs
"Dubreq released the Stylosette last year but I'm just now getting around to buying one. I'm not sure why it took me so long but here's a quick overview of the Sytlosette Keys and what it can do.
The Stylosette is the latest addition to our Pocket-sized Analog synthesizer range. It’s a monophonic mini analog synth that looks like a cassette and comes in a cool retro cassette storage case for batteries, clips, a screwdriver and cables, which are all included. It also has a built-in speaker, aux out, and an expansion port.
Use the crocodile clips provided to trigger sounds using conductive objects such as fruits, vegetables, or spoons! The Stylosette has a 13-key touch-sensitive keyboard and is played by sliding your finger along the touch-sensitive metal surface, so no need for a Stylus.
Each segment on the synthesizer keyboard plays a different note, so you can create rich, dynamic music with delay effects, vibrato, and a three-octave range.
Change the speed, depth, and delay with the screwdriver accessory to customize your sound. Even connect to another Stylosette. Buzz, twist, and warp every note in the palm of your hand – anywhere.
It’s an excellent gift for both musicians and beginners alike. All you need to do is insert batteries, turn it on, touch the keypad, and make some noise!
0:00 Intro
1:30 Hands on / Delay
9:54 Glitch Knob
14:23 Modulation
18:35 Dissolve
25:28 I get lost
29:44 TR-1000 / drum machine demo
34:25 Matriarch / ambient demo
"Parting is a box of pleasant surprises. Moments of chance will give bursts of a glitch delay that can smear into a reverb, modulated by tremolo or vibrato, filtered, and, most importantly, dissolved into lofi aliasing or stretched out reverse. All of this may jump around in halves and octaves of itself - it’s up to you and Parting, together. Controls
Dissolve has two functions. Below noon, it reduces sample rate, creating an increasingly degraded version of the signal. Above noon, it reverses the signal, and repeatedly cuts the reverse clock in half as the knob is turned, creating an increasingly long and degraded reverse.
Rate sets the rate of the modulation LFO, which is also the frequency of triggers for moments of chance.
Depth sets the depth of the LFO.
Shape sets the LFO shape: Sine, Square, Reverse Saw, Saw, Random Sine, Random Square, Envelope
Chance allows random bits of signal to enter the delay/reverb buffer during an LFO cycle.
Smear adds diffusion and feedback to the delay lines, turning them into a lush reverb as the knob is turned up.
Glitch creates various clock subdivisions.
Time sets the timing of the delay/reverb, as well as the reverse.
Filter sets the cutoff point of the post-dissolve filter.
Mix sets the blend of dry and wet signal.
Aux switch for tap tempo, half speed, or preset switching.
Soft-touch On/Off footswitch with relay switching for minimal switch noise"
"Keep up with the news
https://stylophone.com/stylophone-voice/
Record sounds from the world around you. Bend the audio with multiple effects and turn it into music. From quick melodies to wild sound experiments, the VOICE makes creating music fast, fun, and completely hands-on—wherever you are.
Intro: Capture and play your own samples using 3 voices and shape your sound with 12 built-in effects.
• Capture and play your own samples
• Shape your sound with 12 built-in effects
• Sample anything directly via mic or aux input
• Built-in sequencer and 4 pattern memory slots
• Add rhythm with integrated drum sounds
• Take it anywhere — runs on 3× AA batteries
• Play across a two-octave stylus keyboard with transpose
• Multiple listening options with built-in speaker or headphone output
• Connect to other gear using sync in/out"
STYLOPHONE VOICE - PORTABLE SAMPLER
SAMPLE THE WORLD
Meet the Stylophone VOICE, the latest edition to our Pocket Range Series. Record sounds using the Stylophone VOICE from the world around you and then bend the audio with multiple effects and turn it into music. It’s really simple to capture and play your own samples using three different voices, which you can then shape with 12 built-in effects. Create quick melodies and wild sound experiments. The VOICE makes creating music fast, fun, and completely hands-on.
Get creative wherever you are!"
