"MESS combines a powerful multi-track step sequencer with effects brimming with Polyend character – from classic modulation, delay or reverb to experimental effects never before seen in pedal form. With four fully customizable effect tracks, craft ambient soundcapes, intricate glitch sequences or even a familiar four effect chain – all moving in sync.
4 Effect Tracks Combine four effects for every preset to create your own unique multi-effect. No limits are placed on what effect each track contains. Run a reverb into a delay or a spectralizer into two bitcrushers and create vibrant tones, suitable for any instrument.
125 Stereo Effects Want a specralized micro-looping effect with randomized repeats? A time-shifting chorus into a reverb that slowly gets darker over time or simply a traditional modulation, delay, and Reverb chain? With over 120 effects to assign to the four tracks, MESS opens the door to the unexpected.
Why Sequence? MESS has the sequencer power expected from a Polyend instrument. Control per-track speed and length to create polyrhythmic or polymetric sequences or use chance options to easily create complex generative effects that never sound the same twice. Instantly add movement and musicality to any effect. Reverbs bloom, delays evolve rhythmically, and modulations shift in sync with your tempo.
Follow-up to this post. Two new videos and the official press release below.
"With SpaceBlender, you can quickly and easily turn any sound into a massive musical ambience. In this example you’ll hear three simple sources and three SpaceBlender presets – without any other plugins or automation."
"In this video, we add SpaceBlender to a variety of sources — cello, guitar, vocals, drums, and more —and use different presets to showcase the plug-in’s power and versatility.
Get SpaceBlender FREE through May 22, 2025. Only at www.soundtoys.com.
BURLINGTON, VT – Renowned pro audio effects creator Soundtoys proudly announces the release of SpaceBlender, an experimental reverb that lets you create unreal and imaginary spaces – shapes, textures,and tones otherwise impossible in the real world. Inspired by the pioneers of ambient music, with their extensive use of layered tape loops and delays, SpaceBlender is designed to create massive waves of lush, organic, and evolving spatial effects.
SpaceBlender is available now at soundtoys.com for free – a $99 value – through May 22. Sign up to claim this offer.
Whether enhancing a track’s sense of space or creating dynamic, evolving effects, SpaceBlender is a fun and intuitive tool for sound designers, musicians, and producers looking for creative yet easy-to-use spatial processing.
“We’ve been exploring new ways to build an algorithmic reverb – something with the creative flexibility of convolution and the richness, depth, and soul of classic hardware devices,” said Ken Bogdanowicz, CEO and founder of Soundtoys.
“SpaceBlender is the first product of this research, and we’ve tried to make it easy to play with ‘space’ in a fun and musical way. We’re excited to hear what people create with it.”
Key features of SpaceBlender include:
● Interactive control – move between gate, reverse, decay, and bloom reverb shapes and everything in-between, in real time.
● Visualizer – see your sound move through the reverb shape as you adjust its sonic envelope.
● Simple control of spectral evolution; reverbs can get darker or brighter over time. ● Deeply embedded modulation creates rich, constantly moving ambient effects.
● Smoothly change the reverb texture from dense and lush to sparse and grainy.
● Extreme range from super short 100-millisecond nonlinear effects to absurdly long 60-second meditations.
The free SpaceBlender offer is valid only at soundtoys.com through May 22, 2025. SpaceBlender will be available for purchase from authorized resellers worldwide on May 23. Learn about Soundtoys’ system requirements and host compatibility.
"Gem PK4900 (1980 Strings/Brass/Poly-Mono Synthesizer) Made in Italy by GEM (General Electro Music) based in Mondaino in the first hills close to Rimini. Also know as GEM Polytron & Monotron Synthesizer. Distribuited by CSD Consolidated Sales Division - Saludecio.
Gem WS2 drum pattern play by Patterning Ipad app
Gem WX2 bassline play by Harmony Bloom app"
"An introduction to the ethereal music of Hans Otte, via a modular interpretation of two parts (2 and 7) from his Book of Sounds (1979-82).
Also contains several ideas for generative/aleatory sequencing in a modular system: in particular, decoupling pitch and gate, combining a multi-channel sample player (Disting EX) with a sequencer that has per-step gate outputs (0-Ctrl), and using a series of probabilistic gates (Missed Opportunities) to distribute/alternate pitch variations.
0:00 Introduction 1:41 First patch (Book of Sounds, part 7) 6:28 Second patch (Book of Sounds, part 2)
For those new to Hans Otte’s music, I would recommend his own rendition of The Book of Sounds:
A special thank you to Silvia Otte, for generously providing the photographs of her late father.
'Le Sacrifice: Introduction' from Stravinsky’s Rite of Spring, played by the Philadelphia Symphony Orchestra, conducted by Leopold Stokowski (78rpm record, His Master's Voice, 1939): https://archive.org/details/78_first-...
Processed through a bandpass filter, with frequency boost around 3mHZ, and combined with filtered white noise, etc. to create the vintage radio effect
Sources: Amy C. Beal, American Experimental Music in West Germany from the Zero Hour to Reunification (University of California Press, 2006) – in particular, for the reference to Otte’s wartime experience. Ingo Ahmels, Hans Otte: Klang Der Klänge (Schott Musik International, 2006)
Modules used: Expert Sleepers' Disting EX and Disting Mk4 QuBit Bloom Dnipro's Metamorph Cutelab’s Missed Opportunities Tesseract’s Sweet Sixteen Faderbank Tesseract’s Step Fader II ALM's Pamela's New Workout ALM’s MFX Doepfer’s Sequential Switch (A-151) Low Gain Electronic’s Shortbus Intellijel’s Quad VCA Behringer Neutron Make Noise’s 0-Ctrl"
"Feedback. Some avoid it at all costs. Others find the most haunting, electrifying sounds hidden within the noise. In this video, we explore how controlled feedback can be transformed from an unwanted screech into a powerful musical tool. Using the Audrey II synthesizer, we’ll show you how to capture, shape, and unleash feedback to create everything from eerie soundscapes to rich, sustained tones. Perfect for musicians and sound designers looking to push the boundaries of their craft—discover how feedback can add a whole new dimension to your music."
"Audrey II is a horrorscape synthesizer designed for fearless exploration of feedback. Unpredictable yet compelling, it transforms chaotic sound into immersive soundscapes. From deep, haunting drones to screeching, otherworldly tones, Audrey II is a sonic beast like no other.
FEEDBACK SYNTHESIS?
What is feedback, really? It’s that magical moment when sound loops on itself, evolving into something wild. With Audrey II, we’re taking feedback to the next level using Karplus-Strong synthesis—a fancy term for turning short bursts of noise into rich, self-sustaining tones. Think digital strings, but way cooler.
DIGITAL WITCHCRAFT
Some say analog is the only way to get that sound… We were surprised too when we heard the first burst of noise coming through our headphones. That warmth, the grit, the unpredictability—it was all there. But here’s the twist: Audrey II is 100% digital, running on the almighty Daisy Seed platform.
Built from the ground up to emulate analog chaos, digital bits power every nuance of Audrey II’s feedback, distortion, and reverb-drenched echoes. It’s pure digital magic that doesn’t just imitate analog—it embraces and amplifies it. What you hear isn’t just a close approximation; it’s a whole new breed of sound that pushes digital synthesis into uncharted territory.
PRISTINE SOUND
Powered by the Daisy Seed microcontroller, Audrey II delivers 96kHz / 24-bit audio with the speed of an ARM Cortex-M7 at 480MHz. Equipped with 64MB of SDRAM, it handles complex feedback, drones, and effects seamlessly, pushing digital synthesis into rich, analog-like territory.
"There’s a tintinnabuli option hidden in Disting EX’s 'chord engine' algorithm, and it’s led me down the Arvo Part rabbit hole. Here are some ideas on how his unique and beautiful approach to music might be implemented in a modular system.
0:00 Fur Alina 2:31 Arvo Part-inspired piece
This latter piece is inspired by Part’s 'My Heart is in the Highlands' (2000). My favorite version is on this stunning album of guitar renditions of Arvo Part: https://gunterherbig.bandcamp.com/alb...
NOTE: Although Arvo Part has never called himself a minimalist, and not all music critics embrace the term “Holy Minimalism,” I’m including him in this series on the basis of his return to tonality and to simple processes.
TECHNICAL NOTES FOR DISTING EX USERS: For tintinnabuli, set the 'Chord Engine' parameters as follows: 7: operation mode: chord 8: harmony mode: SATB 19: Cantus firmus: alto (but here, it’s set to bass; experiment!) 20: Position: select your T-voice (closest or second closest note; above or below)
NOTE: You might be wondering what Disting Mk4 is doing in this patch! It is set to 'Euro to Buchla Converter' (updated version), to convert Bloom’s 0-5V output to the 0-10V needed for Step Fader’s cv inputs. I just realized how useful this algo is for scaling cv!
OTHER IDEAS FOR IMPLEMENTING TINTINNABULI IN YOUR MODULAR PATCHES: 1. For the M-voice, choose a 'pitch center' that is NOT the root of the T-voice triad 2. Try a different scale or chord 3. Try a lower or higher T-voices ('2nd position, superior/inferior' – or -2/+2) 4. Transpose your T-voice up or down an octave 5. Introduce a second M-voice, transposed up an octave and a third 6. Try a different sequencing of T- and M-voice (e.g., a rest in between them; or have the M-voice precede the T-voice, as in Variationen zur gesundung von Arinuschka) 7. Assign a different timbre to each voice
READING I’ve found these books particularly useful: Paul Hillier, Arvo Part (1997) Leopold Brauneiss and Saale Kareda, ed., Arvo Part in Conversation (2012) Andrew Shenton, ed., Cambridge Companion to Arvo Part (2012)"
"I’ve been playing Ann Southam’s exquisite pieces on the piano for a few months, and have been discovering lots of ideas in them that could be applied to a modular system.
This video is also a tribute to a composer who should be a household name like Steve Reich, Philip Glass, and Terry Riley.
0:00 Introduction
1:07 Rivers 1st set
4:22 Rivers 2nd set
7:18 Rivers 3rd set
Previous video in this series: [posted here]
Earlier video on polychords on the Subharmonicon: [posted here]
A great starting point for those curious about Southam is Christina Petrowska-Quilico’s recording – amazingly, the only recording – of Rivers:
"Well, in my head this was going be five minutes long and be kind of a quick demo of an ambient technique I figured out for making a Bloom-ish generative ambient setup but with "modern" apps in AUM. Bloom is an app by Brian Eno—well, two apps, really—that has various generative modes that you can interact with or just have them play on their own. And in an online discussion group I'm in someone was bummed that Bloom is "just" a standalone app and not AUv3 or Interapp Audio. So I thought about it for a bit and came up with a way to make something Bloom-ish.
So the original thought was five minutes or so of generative music that I could talk over and explain my methods. But I just couldn't "ruin" it by talking over the music, it was too jarring. So right off the bat it was twice as long as I'd originally intended. And then I set it going again, this time with a tiny bit of shimmered piano, and didn't talk over it again, so it kind of ended up four times as long as I'd wanted LOL. So please accept my apologies, and I'll see if I can organize it into chapters to make it easy to navigate.
Basically I'm using iSEM as my synth, driven by Harmony Bloom, and then going into Weeping Wall for a cascade of echoes and then into Eos 2 for some (as usual) incredibly lush reverb. And a Pianoteq Steinway going into BLEASS Shimmer in the second piece. Many more details in the video.
Featuring Harmony Bloom with Arturia iSEM Aqeela Adam Music Weeping Wall Eos 2 Modartt Pianoteq BLEASS Shimmer and AUM and honorable mention to Audio Symmetric Zoa
Labyrinth | Moog Demo Library
video uploads by Moog Music
User videos:
Playlist (use the player controls to skip around):
1. Perfect Circuit: Moog Semi-Modular Comparison 2024: Labyrinth, Mother-32, & More (feat. Sarah Belle Reid)
2. Sarah Belle Reid: Moog Labyrinth Semi-Modular Synth: Overview + Explorations
3. Loopop: Moog Labyrinth // A Synth that’s a Generative Idea Machine // 13 patch ideas, review & tutorial
4. mylarmelodies: Moog Labyrinth Demo: Explanation & Generative Techno Jams
5. Reverb: Exploring Generative Synthesis with the Moog Labyrinth
6. Jorb: Moog Labyrinth // Generative Synthesis At It's Best
7. SUTURE SOUND: A ton of Moog Labyrinth sounds (no talking)
8. Bonedo Synthesizers: MOOG Labyrinth Sound Demo (no talking) - Preset Sheets
9. Limbic Bits: MOOG Labyrinth Sound Demo (no talking): 6 Improvisations on the Labyrinth
10. Starsky Carr: Moog Labyrinth // 3 Minute Manual + Full Review & Demo
AN UNEXPECTED PATH FORWARD
Labyrinth introduces a classic West Coast sound into the Mother Ecosystem experience rich analog synthesizer history in both surprising and recognizable sonic textures. Two generative sequencers bring to life sounds that bloom over time, letting you control their evolution and scale, then play them off of each other for striking polymetric melodies.
With parallel analog signal paths, this adventurous instrument shines when adding color to the steady backdrop of a drum pattern or bassline.
GENERATIVE SEQUENCER
The beating heart of Labyrinth is a robust dual sequencer, which uses chance calculations to generate two unique eight-step paths which twist and curve around one another.
SONIC WANDERING
A parallel voice processing path with a voltage-controlled blending allows you to morph sounds over time.
VOLTAGE-CONTROLLED WAVEFOLDER
A fresh interpretation of the Moog sound via a voltage-controlled wavefolder. Two oscillators drive duophonic melodic counterpoints, metallic FM tones, and analog synthetic drums.
Moog's semi-modular lineup expands to include the Labyrinth, a generative synthesizer that brings you two parallel sequencers, two oscillators, and endless possibilities. Based around a core sine VCO and a triangle Mod VCO, these sound sources have independent level controls, as well as a Ring Mod and Noise level control that all feed a saturating mixer that can add a touch or grit. From the mixer, we have the switchable option to go into a voltage controllable wave folder then into a classic Moog filter, the opposite with our filter going into the wave folder, or have both of these run in parallel.
The heart of the Labyrinth is the sequencer section. A dual 8-step sequencer gives you interactive quantized melodies that can affect various parameters, based on the labeled trimmers. These sequencers send out both notes CV and triggers and with a Trig Mix you can get rhythmic interplay that is quite satisfying. Each sequencer has a Length settings and a Bit Shift when adjusts the position of activated steps. The Bit Flip and Corrupt parameters present gives you more randomness and serendipity allowing you to create evolving patterns.
As with all of their semi-modular synths, Moog gives you access to 32 patch point patchbay with 12 outputs and 20 inputs. This gives you the option to self-patch and integrate it into your existing Eurorack ecosystem. Moog's Labyrinth is the perfect expansion to your existing system or a great starting point as an entry to modular synthesis, especially for those who are looking to get expressive rhythmic patterns quickly.
LABYRINTH FEATURES
- Parallel generative analog synthesizer
- Two oscillators, a sine-based and triangle-based
- Switchable wave folder to filter, filter to wave folder, or parallel processing
- Diode-transistor hybrid wavefolder with smooth Fold and Bias control
- Morphable Low pass to Band pass 2-pole filter
- Adjustable decay time for both decay envelopes
- Blend Sequence 1 and Sequence 2 triggers for complex rhythms
- Each sequencers has options to adjust length, per-step adjustments, adjustable randomness (Corrupt), and shifting the pattern on-the-fly
"Harmony Bloom, revolutionizes music creation with polyrhythmic MIDI generation and stunning visuals. Compatible with Windows and MacOS, it offers unmatched creative freedom for musicians and producers. An essential tool for innovative musical exploration.
"Harmony Bloom, revolutionizes music creation with polyrhythmic MIDI generation and stunning visuals. Compatible with Windows and MacOS, it offers unmatched creative freedom for musicians and producers. An essential tool for innovative musical exploration.
"Harmony Bloom, crafted by Mario Nieto, is a groundbreaking MIDI generator that seamlessly integrates polyrhythmic patterns with stunning visuals. Compatible with Windows and MacOS as a VST3, AU plugin, and standalone app, it revolutionizes musical creativity by enabling MIDI data transmission to compatible devices, enhanced by its visual experience.
Distinct from typical MIDI generators, Harmony Bloom offers unique functionalities. The standalone version’s ability to generate audio, with five selectable sounds, broadens its usability. It features a comprehensive control set for musical creation, including a Scale Selector with 57 options for melodic consistency, and various offset controls for sequence customization.
The software’s visual component, the Sequencer Visualizer, displays intricate patterns of notes, enhancing the creative process. Key features like MIDI Capture and Export simplify the integration of sequences into digital audio workstations, making Harmony Bloom a valuable tool for music production.
Its adaptability is a core strength, with features like ‘Use Input Notes’ and ‘Root Mode’ ensuring dynamic musical responses and coherence. ‘Global Randomization’ allows for exploratory creativity, offering a blend of technical control and artistic freedom.
Harmony Bloom emphasizes user experience, providing easy installation, intuitive preset management, and up to three activations per purchase. This focus on accessibility and flexibility makes it an ideal choice for musicians, producers, and composers eager to explore new musical dimensions.
In essence, Harmony Bloom is not just a MIDI generator but a comprehensive tool for musical exploration and creation. Its combination of polyrhythmic generation, visual feedback, and detailed musical control positions it as a standout instrument for creative and professional applications."
The sample names are notated in the video when used. There are also additional samples included in the sample pack that weren't used in the video. There are 22 synth samples totaling 13.7MB.
This video is not sponsored and all featured gear was purchased at full price.
If you enjoyed this video and want to see similar content in the future, please like and subscribe.
Intro: 00:00 Chromatic Sampling... What is it?: 0:48 Why Bother?: 2:40 Tips and Tricks: 7:18 Sampling Examples: 9:52
The following synths were sampled in this video: Moog Grandmother Arturia MiniFreak Korg MS-2000 DSI Mopho Vermona Perfourmer MSW MSW-810"
"Your possibilities to compose on a Modular Synth are directly related to the sequencer you're using. So picking the 'right' sequencer for your work is an important task. Your biggest challenge would be to compose or arrange a full song with beats, bass, lead and maybe even chords. I thought it would be fun to use Kraftwerk's 1976 Trans-Europe Express as a 'benchmark', but it turned out a big challenge. It has a simple rhythm (no problem), a super simple bass, a lead and the characteristic 'note ladder' that jumps 5 semitones each 1/2 note. This takes 128 regular steps and sequencers ususally stop at 16, 32 or 64 (if you're lucky). Clock divisions could take care of that. But the song transposes to a different key when the 'note stairs' plays and you'll need a powerful sequencer to transpose all voices to a new key and then turn back. Ground Control and Westlicht Performer couldn't pull it off. I had zero knowledge of NerdSeq at the beginning of this video, but it turned out to be the only sequencer I know of that can do a full song. It's an incredible sequencer/tracker, but it also has a 100+ page manual.
Sequencers roughly come in three flavors: linear, cartesian and arbitrary. The most useful sequencers can do drums, strict patterns and generative parts. I've included Five12 Vector and Eloquencer in my overview, but I have no experience with them. My 'findings' in this video are biased by my own music and workflow and I double-checked the manuals of modules I don't know. It's possible I overlooked some features. I am aware Vector can do drums, but I felt you'd need a dedicated drum pattern editor to qualify as a drum sequencer.
00:00 Song Structure 00:22 Trans-Europe Express (TEE) - Ground Control 01:45 TEE - Westlicht Performer 02:48 TEE - XOR NerdSEQ 04:54 Separation of rhythm and melody - Metron & Bloom 07:30 Linear, Cartesian and Arbitrary sequencing 08:22 Generative Sequencing - NerdSEQ 09:44 Generative Sequencing - Bloom 10:42 Generative Sequencing - Westlicht Performer 11:25 Generatice Sequencing - Rene MK2 13:17 Arbitrary Sequencing - Frap Tools USTA 14:54 Melodicer short 15:18 Metropolis Family short 16:31 Scorecards"
"Donald Jordan explores the Arturia MiniFreak to see if it's a good synth for more classic style synth sounds.
All synth sounds and music in this video were created using the MiniFreak. The synth audio was recorded direct and zero post processing or external effects were used."
"Thanks for watching! #modular #eurorack #instruo Made this patch while testing a new single-case configuration of my system. Here are the modules I'm using starting from the top left: - Expert Sleepers ES-9 - Instruō/ Divkid øchd - Plum Audio OCP - ALM Pam's New Workout with Dusty Clouds alternate black panel - Malekko Varigate 8+ - Qu-bit Tone - Qu-bit Bloom the bottom left: - Instruō lìon - Instruō arbhar - Instruō Lúbadh - Instruō cruïnn - Instruō Cš-l - Passive Mult 1U row just has 2 USB powers for the external (in this case red) lights, and another light that I am not using in this patch, as well as 2 Mosaic Buffed Mults. The rest are various black blank panels.
Perks of being a member include Patch from scratch videos, behind-the-scenes, HD pictures of gear and such, unreleased music, sample packs, and many more :)"
