"Brand new from DMT Audio is Tapped! A versatile delay with 16-taps and 3 output buses, along with CV-controlled delay time, multiplier and spread controls!
A few patches showcasing the different sounds and textures that you get with Tapped in combination with other modules.
Tapped is the latest effect to join the DMT Audio collection, although it's actually the first effect I started working on in 2023! Originally to be based on the ultra-rare Buchla 288 Time Domain Processor, recreating the looping section was getting too complicated, so I eventually stripped it out, and expanded on the tap side. This module has 16-steps, 3-buses to send each tap to, CV-controllable delay time and multiplier/spread controls for messing it all up!
Inputs, Outputs & Controls
Gain Sliders - Controls the volume of each tap. 100% is full, 0% is completely off.
Bus Selection Switches - Determines which of the individual BUS outputs to send the tapped signal to.
"Thanks to @getjervis for showing up in the proper tie."
Every Bit Analog
Microvolt 3901 is a component level emulation of the Pittsburgh Modular Microvolt 3900 plus a collection of classic Pittsburgh Modular Eurorack modules from throughout our history, together in one fully patchable instrument. The original instrument and Eurorack modules have been meticulously modeled at a component level to capture the warm sound and unique quirks of the original machines. Patch cables route audio and cv (control voltage) signals between modules to create unique, polyphonic sounds. Play it standalone or use it as a VST, AU, AUv3(iOS) plugin.
"Get an overview of Massive XL and explore new ways to create, shape, and perform with sound."
"Step into a synth that hits hard fast, then keeps opening up.
Massive XL builds on its iconic heritage to guide you to your own distinctive sound with grit, weight, and character.
Break out of fixed signal chains. Route oscillators, noise, filters, inserts, phase modulation, and feedback into unexpected combinations and effects. Explore hundreds of wavetables, reshape them with ten oscillator modes, and build evolving sounds with expressive modulation, open routing, and powerful effects.
Massive XL intro pricing:
Update for Massive X customers: $49
Crossgrade from Massive: $79
New customers: $99"
Press release follows:
NATIVE INSTRUMENTS UNVEILS MASSIVE XL, A NEW FLAGSHIP SYNTH DESIGNED TO HELP PRODUCERS REACH ORIGINAL SOUNDS FASTER Building on Massive’s Iconic Sound, Massive XL Combines Deep Sound Design, Faster Workflow, A New Preset Generator, And Powerful Tools in A Reimagined Synthesizer.
BERLIN, Germany (October 27, 2026) – Native Instruments today announced Massive XL, the latest generation of its flagship synthesizer platform and successor to Massive X. Designed for producers who demand both sonic depth and creative speed, Massive XL combines the character, flexibility, and modulation power that made Massive an industry standard with a redesigned workflow that helps users move from inspiration to original sounds faster.
New tools including Preset Generator, Mutator, Morpher, and Animator make it easier to discover, shape, and personalize sounds while preserving the deep synthesis engine and open routing architecture that Massive users have relied on for years.
"Maybe it's just me, but modular effects are becoming serious competition for outboard gear and VST plugins. RYK Modular has released Side FX this week, and I think it's brilliant. They basically let you pick four roles (pitch, delay, texture and reverb) and place them in a four slot algorithm in any order. However, you can only use one role once, so no complex stack of delays. But that's OK, because instead of using four separate modules you can use one. And while it shouldn't be able to compete with four separate modules, I think it does.
When I made this video, I ran into some gainstaging issues, which is not an issue, but a common challenge in Eurorack. This affects using HOT modules which go full 10V on the output, like raw VCO's. It's easy to solve with a VCA before the input, but I wanted to show you what happens when you stack a hot source into a huge pile of delay and reverb. I am sure it happens to many of us one day, and it should better NOT happen when you're playing a live gig. On the other hand, going too HOT can also make monster sounds and I'll be making a few. If you do, why not add some more distortion :)!
In the final session I used #VHIKK X again, which allows you to set the output level. This kind of proves the 'problem' is in the chain, not in a module. I also used the MESSOR limiter from Cosmotronic to secure the final output before it goes to my DAW. Even then, using FX on high feedback settings can still tickle the digital brick wall INSIDE the module, your case or your AD converter.
Regardless, SIDE FX is a beauty and I am proud to highly recommend it."
"When I posted my first Plexiphon video, I got a few comments like ‘how about Bruxa x Plexiphon’, or better, ‘how about two Bruxae x Plexiphon’. I think I can answer that now. Bruxa is a dominating module. This simply means, whatever you patch up, Bruxa is going to demand all attention. New to modular? Bruxa is a Bruxa is a delay/filter using a crappy karaoke toy chip. Sorry, it’s the ‘lo-fi delay’ that reached a cult status in the legendary Soma Lyra-8 Orga(ni)smic Synthesizer. And then there’s the PoliMaths vs Maths discussion. Maybe they should have called it the PolyFunction, because it’s not Maths. It’s more like a ‘polyphonic function sequencer’, where a function is nothing more than a rise and fall. A slope or envelope depending on the Coast you’re on. It’s an attack/decay shape to sculpt a sound. In this patch, I am using Echophon – the echo – as a clock, using the clock divider output. It’s a cool example of working with limitations. There’s no clock module in this case, but any ‘repeat’ that ticks is a clock. So today it’s not a tape delay, it’s just sending blips to PoliMaths’ activation IN. PoliMaths is like an eight channel sample and hold. When a trigger comes in, the module ‘activates’ by reading all knob positions (sampling) and holding them until the next activation. The channel index will decide which of the eight channels is affected. Depending on the SPAN mode/color, the channel will either be addressable (white), rotating (yellow) or fire all (cyan blue). If you’ve updated your PM, there’s a purple mode too (binary logic). In this patch, the eight envelopes are distributed to various effect modules like Bruxa, more Bruxa and Plexiphon. Depending on knob settings (and especially ABSORB) Bruxa can make percussive sounds with its crappy chip. So what can we do with it? We can make a drum machine that nobody else has. The patch itself is turning my effects units into an improvised lo-fi CMOS drum machine and Plexiphon is adding a bit of reverb. Even on full strength it can’t compete with the two Bruxae. There’s an intermezzo where I’ll patch a long loop between Echophon, Mimeophon, Bruxa 1, Bruxa 2, Plexiphon and QPAS. In plain English, it’s making a long FX chain, but the end of chain is also the beginning. A snake biting its own tail. It’s like taking ugly feedback noise, and then try to sculpt it into something that faintly sounds like music – or a score from an 80’s horror sci-fi B movie with lots of sax and violins. I was expecting something like throwing a mentos in a bottle of Coca Cola, but it didn’t happen. Instead, a nice abstract feedback patch emerged. It turned out to be pretty civilized. In this video I discovered that feedback patching with digital modules is very different from using analog modules. A well designed digital effect doesn’t explode, it stays clear from crashing into digital brick wall and self destruct. In fact, digital feedback patching is more like continuous sound on sound dubbing. If you’re into chaotic feedback patching, you’ll benefit from adding at least one analog module, like a Serge wavefolder, waveshaper, filter or resonant EQ – or any other brand. Just make sure it’s using real analog components and real voltage instead of coded error handlers, limiters, exceptions and guardrails. In the analog domain, chaos is only bound to the rules of Mother Nature. The ‘crappy drum machine’ patch is decorated by a second take with Error Instruments x This Is Not Rocketscience Kharper. I am running it through dual Bruxae and Plexiphon, where the PP gets modulation from Bruxa’s mysteriously labeled CV outputs. They basically contain CV related to Bruxa’s internal chip rumble. Nothing special, but super cool as a mod-source."
"Here's FUM from NANO Modules which is a Eurorack Multi FX module with a simple, easy to use interface and powerful unique design for combining and performing with multiple FX running at the same time. There's DJ style filtering, noise and texture generators, pitch shifting, two delay flavours, chorus, flanger, reverb ... all the good stuff and there's on board modulation LFOs and stepped random too! As usual loads of examples and techniques, all in the timing index below skip around and enjoy the video."
Six stereo effects, direct control. Delay, Reverb, Pitch, Chorus/Flanger, Texture and a Color filter. Each on a single bipolar control, where the centre is off and each direction opens a different character. An internal Motion modulator animates them all while you play and everything is under CV.
Key features
- Delay: Ping-pong repeats, clock-syncable, with three time ranges. Feedback runs clean one way, or distorted the other.
- Reverb: A natural Hall one way; Gated the other.
- Pitch: an octave up into shimmer, or an octave down for weight.
"On Saturday, October 3rd, at 3 pm, Tom Erbe will be at Perfect Circuit in Burbank, California, talking about all things Plexiphon and soundhack. The event is free!
The Make Noise Soundhack Plexiphon is a stereo, modeless spatial texturizer which allows for continuously morphing between reverberations and multi-tap echoes, the widest range of possible results being neither reverb nor echo, and all results highlighting and amplifying character previously hidden in the source material being processed.
The Plexus control simultaneously modulates the number of feedback paths in the algorithm, and their entanglement together. The Size of the paths determines the temporal relation between them, operating like a 'delay time,' or a 'room size,' at either extreme of Plexus.
Diffuse and Color offer softening/sharpening/darkening/brightening effects over time.
Couple and Skew are stereo operations: Couple determines to what degree the left and right sides are isolated or intermingled (from 'dual mono' to fully interlaced stereo), while Skew offers simultaneous inverse or tandem control of the left and right paths on the Plexus, Size, and Color parameters.
The Send gate input (normalled high, or patchable) determines whether and when the input signal will be fed into the Plexus.
An envelope follower is provided at the CV output for re-integration of the Plexus into its own controls or elsewhere in the voltage controlled system.
Plexiphon is built from entirely new code by Tom Erbe, specifically for Make Noise’s newest digital hardware.
00:00 Intro
00:56 Macro control for Eurorack gestures
02:45 Controlling feedback patches
03:56 Control knobless modules
04:52 Controlling the Bitbox
05:31 Consolidating control / making drones
06:24 Performing live
"As we'd expect from Joranalogue, they take inspiration from classic, seemingly simple functions and turn them into musical and technically impressive devices. Flow 3 is a compact filter that builds upon on the idea of an auto wah, it's a filter with 'auto dynamics'. There's on board modulation, that can modulate itself or your modular system, stave variable filter outputs, CV over everything and an easy to play with layout in 6HP."
Update: Press release follows:
Joranalogue Audio Design announces availability of Flow 3 auto-dynamic filter module for Eurorack that sounds bigger than it looks
STEKENE, BELGIUM: having made its impressive-sounding debut during a showcase at SUPERBOOTH26, May 7-9, FEZ-Berlin, Germany, high-quality Eurorack music synthesiser modules-maker Joranalogue Audio Design is proud to announce availability of Flow 3 — an auto-dynamic filter that sounds bigger than it looks, thanks to the novel variation on the classic state variable filter topology that lies behind its compact 6 HP panel — as of August 25…
Firstly, Flow 3’s core integrator saturation of its simultaneous — low-pass (LP2), attenuates frequencies above the filter frequency (or cutoff) at -12 dB/octave and self-oscillates at a phase of 180°; bandpass (BP2), selects a band of frequencies around the filter frequency (but below and above that the attenuation slope is -6 dB) and self-oscillates at a phase of 90°; and high-pass (HP2), attenuates frequencies below the filter frequency at -12 dB/octave and self-oscillates at a phase of 0° — outputs provide for a sound that is clean yet distinctive.
RESONANCE response is exceptionally smooth — it, too, can easily reach self-oscillation (at higher feedback levels), the temperature compensation and exact calibration effectively transforming Flow 3 into a reliable quadrature sine/cosine VCO (Voltage-Controlled Oscillator) with tight pitch tracking.
The ace up Flow 3’s sleeve, however, lies in its auto-dynamic nature — helpfully highlighted by the non-erasable AUTO DYNAMIC FILTER graphic positioned across that compact, clean-cut 6 HP panel. After all, it is a filter that can modulate itself, achieved by a combined DECAY generator/envelope follower circuit controlling the filter frequency over an adjustable range; either fire decay envelopes from external triggers, or flip it to AUTO mode to follow along with the incoming signal’s amplitude envelope (or both, simultaneously).
Saying all that, then, creating heavy-hitting analogue kick drum sounds becomes a breeze, but, with a bit of patching, Flow 3 can even be used as a spectrum splitter (or crossover), cleanly separating the full audio range into low and high portions, for dual-band signal processing — perfectly possible thanks to the Linkwitz-Riley filter response at minimum resonance.
Ultimately, users of Flow 3 can clearly get carried away as the Eurorack module concerned creatively takes the old auto-filter concept to new voltage-controlled heights, hearing for themselves exactly what the fuss was all about at that impressive-sounding SUPERBOOTH26 showcase!
Coming complete with a 16-to-10-pin Eurorack power cable, two black M3 x 6 mm hex screws, two black nylon washers, and a hex key, Flow 3 is available as a 6 HP module — measuring 128.5 mm (H) x 30 mm (W) x 52 mm (D) with a +12 V: 45 mA/-12 V: 45 mA maximum current draw, reverse polarity (MOSFET) power protection, 100 kΩ impedance inputs and 0 Ω (compensated) impedance outputs — through Joranalogue Audio Design’s growing global network of authorised dealers at a MSRP (Manufacturer’s Suggested Retail Price) of €215.00 EUR or $225.00 USD.
[You can find additional demos by Starsky Carr, BoBeats, and Molten Music Technology further below.]
Pittsburgh Modular Lifeforms SV-2 Lifeforms SV-2 from Pittsburgh Modular is a duophonic analog semi-modular keyboard synthesizer that honors classic East Coast subtractive architecture while packing a punch of flavorful twists afforded by modern technology. A full-blown revamp of the SV-1, it features updates to nearly every aspect of the instrument: new oscillator core, classic PGH filters updated with new character modes and overdrive stages, new spring reverb, new response curves and range modes on the ADSR envelopes, a custom 37-key keyboard with pitch-bend and mod wheels, and a redesigned interface with eighty-four patch points along the top. Moreover, a 24hp Eurorack expansion bay with three power headers sits alongside them, so external modules of your choosing can be dropped into the signal path at any point.
"We're excited to share something we've been working on: Nodes, a modular FX plugin that just launched in early access.
Here's what makes it different: instead of being locked into a single effect chain, you get 55 nodes and counting—24 modulation sources and 29 effects—that you can wire together however you want. Sound design on steroids. We've also baked in our Eurorack LFO Lowstepper and mutable instruments modules, so the creative possibilities are basically endless.
The best part? It's a one-time purchase ($50 right now, down from $100). No subscriptions, no hidden costs. The price holds until version 1.0, when we're adding Linux support and more.
We built this for sound designers and producers who love tweaking, but the macro system makes it live-performance-friendly too. And because we're an active developer team that actually listens to community feedback, this thing is only going to get better.
It's CPU-efficient, works on Mac and PC now (Linux coming at 1.0), and honestly—you can build anything with it.
Grab it here: https://okaysynthesizer.com/nodes"
This demo takes Freqlux into a synth-based setup, using its tri-pitch engine to create movement, harmony, and new layers of sound beyond the usual pedalboard world.
NeonGlow was never made for one instrument.
It was made for ideas."
Pitch shifting, reimagined.
Freqlux is not just another pitch pedal. It is a creative engine built for players who hear more than one idea at a time. With three fully independent pitch voices and deep real-time control, Freqlux turns complex harmony concepts into playable reality.
Three Voices. Unlimited Directions.
At the core of Freqlux are three completely independent pitch engines. Each voice can run a different mode, interval, and behavior. Unlike traditional mono or standard poly pitch pedals, Freqlux lets you stack, blend, and sculpt three pitch ideas at once.
Each voice can be assigned to one of the following modes:
Poly Mode
Flawless polyphonic pitch shifting that preserves chord structure and articulation. Big chords stay intact. Fast passages stay clean.
Key Mode
Set a key and scale, and Freqlux generates musically intelligent harmonies that move with you. Classic harmony tones with modern precision.
early tests with Buchla Lightning + Max; once again, using a Buchla controller as a way of testing different parametric linkages / interaction strategies for what i hope will eventually become a standalone instrument. in this case, lightning is sending several position-related CCs to Max, which is running several simultaneous [gen~] patches. these patches were originally developed for several daisy-based modules i designed, namely:
2x Impulse Generator (a pulsar synthesis-based oscillator and nonlinear distortion feedback device)
1x Retention Mechanism (a granular sampler / multitap delay / pitch shifter)
1x Temporal Drag Processor (a multitap delay / resonator)
i only recently acquired the Lightning; here, i'm using it with the rings from a Buchla 222e Multidimensional Kinesthetic Input Port. the use here is quite basic, relying mostly on the Lightning "Ear's to MAX" factory configuration. no doubt i'll keep exploring more unusual ways to use it in the future
"The Djupviks Elektronik Grief Manual is a Neuron-based wavedestroyer, CV generator and chaos source. This is the full functionality walkthrough, covering every control and how the three internal circuits relate. A separate patch video is coming soon.
Grief Manual is a limited run of just 50 copies, each bundled with a vinyl LP. The module and the record share a theme of grief and loss. Unlike most Djupviks modules it ships pre-built rather than as a DIY kit, in the same spirit as the Bunker bundles.
At its core is a Neuron circuit based on Andrew Fitch's Non-Linear Circuits design, used here with Andrew's blessing. Around it Jonas has built a digital noise circuit related to the one in Mörser, a chaos and LFO circuit of his own design, and a square oscillator that doubles as a modulation source.
Everything interacts with everything else, so patching into it means intervening in a system that is already in motion.
Disclosure: Jonas sent me this module to keep. As always, my assessment of it is my own and entirely honest.
00:00 - Intro
01:35 - Sense
03:06 - Feedback
04:55 - Noise
06:06 - Clock
07:49 - Oscillator
09:40 - Feeding a VCO
11:53 - CV in
13:28 - Amp
13:55 - FInal thoughts"
"This is a quick demo of the new Catalyst Audio Electroserf MiG Thruster vacuum tube noise generator module showing some of the sonic textures that it can produce.
The output of the Thruster goes to the MiG VCA module and then directly to the digital recorder with no external effects or modifications to the sound, other than a bit of resonance "crunch" added by the VCA near the end of the video.
The Catalyst Audio Electroserf modules are now available to purchase at quality synthesizer retailers."
"To demonstrate the character of the Glowing Orb stereo state variable filter a series of filter sweeps were recorded. The audio passed from the Glowing Orb, through a SideCar VCA, Instruo Cuir output module and then to a Sound Devices MixPre 6 field recorder. No additional audio processing has been carried out apart from level adjustment."
"Glowing Orb is a new vintage-voiced, Stereo State Variable Filter from WORNG Electronics. It takes the SSI2140 filter core (based on the SSM2040 filter which gives the Prophet 5 Rev 2 its big and beefy sound) and configures it in a -12dB/oct SVF circuit based on the Oberheim SEM design, combining characteristics of two of the best loved, best sounding vintage filters in a unique combination. Of course a module from WORNG Electronics has to include 21st century features like stereo operation, volt per octave tracking and a gain compensated drive circuit which enables an extraordinarily wide tonal palette.
At 10hp, Glowing Orb is perfect for any sized system large or small, and packs in just the controls you need to keep things compact while still being incredibly usable, with space around the controls designed for human fingers.
The module features stereo input, with normalling for mono to stereo operation if only the left input is patched. The stereo output switches between sweepable Low Pass/Notch/High Pass, and Band Pass filter slopes, on a single output pair to simplify patching.
"Heiner Kruse interviews Eric Schlappi, who is famous for his distortion and FM synthesis modules. He also talks a little bit about his polyphonic prototype and his new album.
00:00-01:34 Introduction
02:30-07:45 Three Body, FM & Ratios
07:45-09:17 100 Grit
09:17-12:52 Subtle Differences regarding Distortion, also in Three Body, plus Crossmodulation, The „magic“ Feedback path
12:52-13:50 Prototype: Standalone digital polysynth based in Three Body
13:50-15:15 Running into John Chowning
15:15-15:45 Micromoog audio rate filter frequency modulation
15:45-16.15 John Chowning 2018 on FM synthesis
16:15-17:00 Eric Schlappi’s album
17:05-17:39 Outro
"**OUT JUNE 15TH - MORE INFO HERE & DEALERS: https://www.befaco.org/random8 ** 🙌 HELLO M8! Please meet the module I've been making with Befaco! 🟠 RANDOM8 is a random voltage generator designed bring a whole modular to life, in the smallest possible space. You get 8 independent random voltage generators, with dedicated per-channel looping buttons and attenuators, in just 8HP(!) It's what I've wished I could have in my live modular for a long time - a stupid amount of per-step modulation in a small space, yet you can control the looping instantly.
RANDOM8 is previewing at the Superbooth 2026 show in Berlin May 7-9 2026, and in dealer hands for sale on June 15th. Visit Befaco's tent at Z180 to give it a squiggle!
There is a limited batch to start with and more will follow. Thank you, M8s."
Xaoc Devices proudly debuts two new products at Superbooth 26: Skopje 1988 Dual Quantizer and Budapeszt 1972 Exploratory Stereophonic Spectral Lattice Network. Here is some information on the modules.
On the surface, Skopje is a seemingly simple compact (6HP) dual quantizer with two independent channels. However, some clever features coupled with high-precision A/D and D/A converters make it a complex (though extremely easy to use) compositional tool suitable for all kinds of musical outcomes. The user interface is similar to Zadar with frontpanel labels clearly indicating the features available for adjustment. No menu diving as the small OLED display is only used for selecting banks and scales. Each channel is able to quantize its input to a different scale from a different bank (up to 100 banks each containing up to a 100 scales - if you're deranged enough to need as many... ;-). Skopje stores its data on a regular microSD card. The module supports its own very simple scale format (a straghtforward TXT file you prepare on your computer), as well as any of the abundant SCALA files you throw at it. You can mix and match different scale format files in one bank. Various tuning systems and description formats supported. Microtonality galore! Our own scale programming system additionaly includes a few clever features, e.g., various voltage limiting settings. But there's more.
Got a lovely sounding VCO, but with volt/octave tracking leaving something to be desired? Skopje to the rescue - you can quickly calibrate any of its channels to fit your VCO like a glove for precise tracking! Other notable features include: glide, scale switching via triggers or CV (great as a performance/compositional tool with your own scales/note combinations), and transposition (including unquantized for vibrato).
Skopje is in production and will be available in June 2026.
PS Yes, this is a game of life screen saver on Skopje in one of the photos :-)
MAIN FEATURES: - dual quantizer with precision A/D & D/A converters - highly customizable - compatible with microtonal scales - OLED display for ease of use - up to 100 banks, each with up to 100 scales - VCO calibration feature - data stored on microSD card - SCALA file support - 6HP
Budapeszt is a stereo dual spectral processor built around the interference of resonant structures. It features two independently tunable comb-type filters with six distinct modes. Each filter has its own set of controls, with two separate triangle LFO's providing internal modulation (with free and synced operation, and an envelope follower mode on top). The real magic happens in the interference between two stereo filters though. The overlap of two resonant structures weaves a spectral lattice: a complex grid of peaks and voids. The final geometry of that lattice is determined by the relationship between the channels rather than by either one in isolation. To encourage experimentation and for even more sonic flexibility, multiple feedback paths are available, including cross-coupled feedback between the filters. There's also a feedback phase inversion switch for each filter.
Filter modes include delay-based, phase-based, and filterbank-based approaches to shaping the frequency domain. The first mode draws on a signal model inherited from Xaoc Devices Samarkanda, enabling artifact-free pitch behavior across the full frequency range. The remaining modes distribute resonant energy in ways ranging from the mathematically orderly to the perversely irregular. That being said, more familiar results, like flanging and chorus, are also easily attainable - delivered by Budapeszt with unusual precision.
Budapeszt is equally at ease processing oscillator waveforms and complex samples. It eagerly responds to short triggers with percussive transients whose character depends entirely on what the two channels are doing to each other. The interaction between the two channels is the instrument. Two channels agree, and the result is color. Two channels disagree, and the result is stormy weather. The space between agreement and disagreement is where Budapeszt lives.
