Novation Circuit Tracks Firmware Hack

It finally happened! Circuit Tracks Hacked! video upload by Guinan

"Thread is here,
/ circuithacks_is_out_now_unofficial_custom

Official Github,
https://github.com/Ghillermo/CIRCUITS..."

via Redit:

"NEW UPDATE: Beta1 is finishing internal testing and will be released soon. You can update with the upload tool. Thanks everybody for their input. I tried to include most of your requests (and some of my own) when it was possible, some of them I did my own take, trying to satisfy similar goals into a single approach. Now we have a couple new effects, you can save synth engine's patches, customize your macro Knobs from the device, pattern link, scene repeat, copy and re-arrange stuff inside or between packs... Check GitHub for a full list. All stock functions remain the same. Message me, submit a request on the GitHub or reply to this thread for fixes, new features or clarifications. A demo will maybe come, after a rest. If anyone wants to share theirs, be my guest."

Features for the archives, via Github:

CLICK FOR MORE »

Why doesn't Digital Feedback Blow Up Like Analog?

video upload by Cinematic Laboratory

"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."

Sequential Fourm - Chaos - The Song!

video upload by kgbirmingham media

"I just recently purchased a Sequential Fourm and I wanted to create a “Song” using only Fourm Presets. So, I laid down six tracks, using six Fourm Presets. I ran the Fourm through a TC Electronic Plethora (Chorus, Delay, Reverb) and played around with the Filter, Noise, ARP and Amp Envelope.
This is the final 'Song' from a 'Making Of' type video. I put 'Song' into quotes, because it is rather cacophonous. Anyway, I like the variations of tone, structure and noises!
Enjoy!
For the Techies
There’s not much to say about the tech. I recorded the narration directly into my DAW - Fender Studio Pro 8. I used an AKG 414B microphone running through an ART TransX Preamp into an Allen&Heath ZEDi10 Interface/Mixer. I recorded six tracks all created on the Sequential Fourm using Factory Presets.
The signal chain is fairly straightforward: Fourm, into TC Electronic Plethora X3 (stereo output), into a pair of SSL SixChannels, into a Drawmer MQ-2 EQ/Compressor/Saturator, into a Lindell 77X Compressor and into an Allen&Heath ZEDi10 Interface/Mixer and recorded in stereo directly into my DAW (Fender Studio Pro).
Processing was limited to Waves L1 Limiter, Beyerdynamic Headphone Lab and UADx Manley Variable Mu Compressor. No Reverb. No Delay. Do Effects in the DAW
Everything was recorded through an Allen&Heath ZEDi10 and into Fender Studio Pro 8.
Video:
Fujifilm X-T3 camera with Fujifilm 10-24mm lens and iPhone 17. And, OBS studio for the screen shot. The final video was edited in DaVinci Resolve.
Recording and monitoring was through an Allen&Heath ZEDi10 with Beyerdynamic DT990 Pro and Beyerdynamic Headphone Lab.
©2026 kgbirmingham media"

Sequential Fourm - He bought the Sequential Fourm, for the wrong reasons, and you may want to too!

video upload by kgbirmingham media

Don't miss the videos below. Also see Sequential Fourm - The Non Prophet Presets by kgbirmingham media.

"I traded in my Roland MC-707 for a Sequential Fourm. And, I did it for all the wrong reasons!
This video is different than my usual music videos. I needed a synth that was simple to use, could be a Polyphonic Aftertouch Controller for my ASM Hydrasynth and horror of all horror had MiniKeys.
So, this is why I bought the Sequential Fourm and why you may want to too!
Enjoy!
For the Techies
There’s not much to say about the tech. I recorded the narration directly into a Zoom R4 and transferred it to my DAW - Fender Studio Pro 8.
The background music is five tracks all created on the Sequential Fourm using Factory Presets.
The signal chain is fairly straightforward: MC-707, into a pair of SSL SixChannels, into a Drawmer MQ-2 EQ/Compressor/Saturator, into a Lindell 77X Compressor and into an Allen&Heath ZEDi10 Interface/Mixer.
Processing was limited to Waves L1 Limiter, Beyerdynamic Headphone Lab and UADx Manley Variable Mu Compressor. No Reverb. No Delay. Do Effects at All.
Everything was recorded through an Allen&Heath ZEDi10 and into Fender Studio Pro 8.
Video:
Fujifilm X-T3 camera with Fujifilm 10-24mm lens and an iPhone SE and iPhone 17.
The final video was edited in DaVinci Resolve.
Recording and monitoring was through an Allen&Heath ZEDi10 with Beyerdynamic DT990 Pro and Beyerdynamic Headphone Lab.
©2026 kgbirmingham media"

Sequential Fourm - For All The Wrong Reasons - The Song!

video upload by kgbirmingham media

"Sequential Fourm – For All The Wrong Reasons – The Song!
When I shot my Sequential Fourm video 'For All The Wrong Reasons' I created a background music track using only the Sequential Fourm for that video.
It is short, but I like it, so I put it together with some video on a misty day from Marie Curtis Park.
Enjoy!
For the Techies
The background music is five tracks all created on the Sequential Fourm using Factory Presets:
1 - A New Legend, 44 - Ryan Reverse, 69 - Sin Cussion, 72 - PluckyArp, 42 - Mini Prophet
The signal chain is fairly straightforward: MC-707, into a pair of SSL SixChannels, into a Drawmer MQ-2 EQ/Compressor/Saturator, into a Lindell 77X Compressor and into an Allen&Heath ZEDi10 Interface/Mixer.
Processing was limited to a: Waves L1 Limiter, Beyerdynamic Headphone Lab and UADx Manley Variable Mu Compressor. No Reverb. No Delay. Do Effects at All.
Everything was recorded through an Allen&Heath ZEDi10 and into Fender Studio Pro 8.
Video: iPhone 17.
The final video was edited in DaVinci Resolve.
Recording and monitoring was through an Allen&Heath ZEDi10 with Beyerdynamic DT990 Pro and Beyerdynamic Headphone Lab.
©2026 kgbirmingham media"

Sequential Fourm Creating Chaos

video upload by kgbirmingham media

"Sequential Fourm – Creating Chaos
This is a 'Making Of' type video. I just recently purchased a Sequential Fourm and I wanted to create a 'Song' using only Fourm Presets. So, I created six tracks, using six Fourm Presets. I ran the Fourm through a TC Electronic Plethora (Chorus, Delay, Reverb) and played around with the Filter, Noise, ARP and Amp Envelope.
I put “Song” into quotes, because it is rather cacophonous. Anyway, I like the variations of tone, structure and noises!
Enjoy!
For the Techies
There’s not much to say about the tech. I recorded the narration directly into my DAW - Fender Studio Pro 8. I used an AKG 414B microphone running through an ART TransX Preamp into an Allen&Heath ZEDi10 Interface/Mixer.
I recorded six tracks all created on the Sequential Fourm using Factory Presets.
The signal chain is fairly straightforward: Fourm, into TC Electronic Plethora X3 (stereo output), into a pair of SSL SixChannels, into a Drawmer MQ-2 EQ/Compressor/Saturator, into a Lindell 77X Compressor and into an Allen&Heath ZEDi10 Interface/Mixer and recorded in stereo directly into my DAW (Fender Studio Pro).
Processing was limited to Waves L1 Limiter, Beyerdynamic Headphone Lab and UADx Manley Variable Mu Compressor. No Reverb. No Delay. Do Effects in the DAW
Everything was recorded through an Allen&Heath ZEDi10 and into Fender Studio Pro 8.
Video:
Fujifilm X-T3 camera with Fujifilm 10-24mm lens and iPhone 17. And, OBS studio for the screen shot.
The final video was edited in DaVinci Resolve.
Recording and monitoring was through an Allen&Heath ZEDi10 with Beyerdynamic DT990 Pro and Beyerdynamic Headphone Lab.
©2026 kgbirmingham media"

A first look at the NEW Q210 Complex Noise module

video upload by George B.

"I purchased this module because I wanted the metallic noise that works well as a cymbal. It also has white and pink noise, though the pink noise is very different than what I'm used to. That's a good thing, having another version. The chaos sound is very interesting and adjustable. The Grainy section can alter the chaos sound wildly but also accepts external sounds. My only wish here is they did not include any CV control over that section. There is a random gate feature I will look into in another video.
Overall I like the module as it has a number of sounds I don't currently have which should be inspiring. On the random gate subject, have a look at this video where I created random gates using noise, the sample and hold, and the Q156 comparator."

SynthCube gets a mention.

Additional Q210 posts

Followup on the Q210 from Synthesizers.com

video upload by George B.

"After the last video I got deeper into the Random Gates portion of the Q210. I found I could tame it using a second "gate" like the Q128 Switcher or any VCA. Running the Random Gate from the Q210 into one of these external gates and clocking it with the sequencer I can get random gates that hit right on the beat."

A. G. Cook presents SuperStarSaw | Native Instruments

video upload by Native Instruments

"Presented by A. G. Cook, SuperStarSaw pushes stacked saw synthesis to its extremes. Create huge supersaws, impossible glides, blissed-out harmonies, and controlled chaos from a single playable instrument – without the need for endless layering and automation."

Playlist:

1. A. G. Cook presents SuperStarSaw | Native Instruments
2. Discover SuperStarSaw with A. G. Cook | Native Instruments
3. SuperStarSaw synth walkthrough | Native Instruments



Native Instruments and A. G. Cook turn his signature supersaw into a custom instrument you can play

The PC Music founder and 2025 BRIT Producer of the Year brings the stacked saw sound known for Charli xcx, and Caroline Polachek to a single synthesizer — built from his own patches

Berlin, July 16, 2026: Native Instruments has today launched SuperStarSaw, a synthesizer co-created with GRAMMY-winning A. G. Cook, British producer, PC Music founder, and one of the key architects of contemporary pop's defining sonic palette.

Supersaws, multiple sawtooth waves layered and slightly detuned against each other, are responsible for some of modern pop's most immediately recognisable textures: the wide, lush, harmonically dense quality running through Cook's work with Charli xcx, Beyoncé, Caroline Polachek, and Oklou. Building them has always meant painstaking multi-instance layering, a process Cook had refined over years of his own production work, and which became the starting point for what followed. The instrument grew out of a two-year collaboration with Native Instruments' design team, who worked directly from Cook's patches and production sessions to turn one of modern pop's most coveted sounds into something you can actually play.

CLICK FOR MORE »

Ping orchestra Eurorack and Plinky +

video upload by Meska (Meska)

"quick sound with euroack systeme and plinky +

Sound , in order of appearence:
wmd c4rbon pinged
essaim to vca fm by warp
MI éléments
MI warp with internal oscilator and noise to gotharman tuul phaser to lpg open by chaos cv.
bass ping : ikary to tube overdrive
Erica synth resonant FB ping to typhoon
plinky lpg arpegiator
arp mélodie : dual nlc fm op phase modulated by noise to gotharman's tuul for granular and centaur gate for manual vca (stereo)
all this mixed with jumble heng to polydactil versio and bib for effect

Thank you for watching. My name is Meska of the statik collective . I've been making mostly 'dark and expérimental' music for more than ten years now, i'v learn so much online, now it's time for me to share my knoledge, my exploration and this channel is a place to talk about the tools, sound design and techniques to make music with. You can stream my albums and EPs at https://statikwave.bandcamp.com/. If you'd like to support the channel​ consider buying music from bandcamp ;) Contact/booking: meskastatik@gmail.com"

Hikari Instruments - Duos

Note: links to listings are affiliate links for which the site may be compensated.

via this Reverb listing

Additional NOISEBUG Listings

"The Hikari Instruments Duos is a stereo chaos synthesizer equipped with a low-pass gate. Its chaotic circuitry, composed of shift registers and multi-feedback, creates a diverse range of sonic images in stereo, from walls of sound like a blinding blizzard to clusters of pulses reminiscent of a runaway mother computer, and even the ethereal conversations between newly born microorganisms.
Equipped with versatile CV I/O for modular synthesizers, it allows you to create new ecosystems with further feedback, or hijack other synthesizers using the chaotic CV/CLOCK OUT.

Ships with 9V power supply"

CLICK FOR MORE »

Exploring the Hexinverter / Erica Synths Mindphaser | Drone Sound Study

video upload by synthetic theory

"Yesterday was Drone Day and technically I'm one day late, because I didn't finish the post-processing in time. But anyway: this felt like the right moment to share something a little different.



I'm currently expanding my rack and learning how to operate a few new modules properly. One of them is the Hexinverter / Erica Synths Mindphaser. At first, I honestly wasn't completely convinced. I tried it, struggled to find the right tones, packed it back into the box and was already planning to send it back.



But then I gave it one more evening.



Instead of judging it too quickly, I tried to understand how it actually works. I slowed down, explored the interaction between the oscillators, the modulation paths, the waveshaping, and the strange areas between tone and chaos. And then the potential suddenly became clear.



Some modules simply need more attention. They have a learning curve and they don't always reveal themselves immediately. But once you reach that point of understanding, they can turn out to be real powerhouses.



So this is not one of my usual performance videos. It's more of a slow exploration: a drone-focused sound study with the Mindphaser at the center, sometimes shaped by effects, filtering, gates, and modulation.

CLICK FOR MORE »

Genius or Insanity ... The Synth That Nearly Broke My Brain!! Kaleidoscope Review and Demo

video upload by Starsky Carr

0:00 intro
1:05 the interface
5:00 Envelopes… they drive the sequencer
7:55 Sequencer Patterns and Lengths
9:33 A note on Modulation
11:10 Quantisation, MIDI, BPM, voice modes
12:06 MIDI Control
13:22 Load/Save
14:10 Genius or Insanity?

"In this deep-dive demo and review, I break down what this mad-looking, semi-modular digital synth actually does — and more importantly, how to use it musically. Combining additive + subtractive synthesis, generative sequencing, and BPM-linked envelope timing, this thing is capable of everything from controlled melodic patterns to chaotic, evolving textures.

If you’ve ever wondered how far modern digital synthesis can go — this is it.

Rather than just listing features, this video explains the concept behind Kaleidoscope — how its AD envelope “period” drives sequencing, how voices interact, and how you can build complex evolving patches from simple ideas.

🔥 What You’ll Learn
How Kaleidoscope’s generative sequencer actually works
The role of AD envelope periods in rhythm + timing
Creating evolving patches using voice interaction + end-of-cycle triggers
Using additive, subtractive & wavefolding synthesis together
How modulation, quantisation, and patterns shape musical output

🎛️ Key Takeaways
This isn’t a typical synth. It’s closer to a self-evolving modular system in a box, where:

Timing is musical, not arbitrary
Events trigger other events
Chaos can still stay in key

As mentioned in the video, this is not beginner gear — but if you like to go deep, it’s incredibly rewarding"

Introducing Luna: A Lunetta style groovebox & eurorack synth module

video upload by mylarmelodies

Check with dealers on the right on pricing and availability.

"This is your official introduction to the Neutral Labs Luna - a new lunetta-style “groovebox” desktop & eurorack compatible synth. It’s patch programmable, letting you both create tones and rhythms from 5 oscillators (2 with step sequencers inside), logic and pattern generators, all at the same time. Three 'LPG's take the raw tones and let you gate and filter them. 13 effects in 2 blocks effect and shape sounds further.

Enormous thanks to Martin at Neutral Labs for commissioning me to make a vid of this. The world needs more shift registers. Note: I used my own red Tiptop Audio Stackcables in the video, but the desktop module comes with 12 braided patch cables."

Neutral Labs Luna – the first serious Lunetta synthesizer

video upload by nyppy

"Available as a DIY kit or assembled desktop synth or 42 HP Eurorack module.

Video by the amazing ‪ / ginko.ltd

#synthesizer #eurorack #diy"

Update:

What's a Lunetta synthesizer and why should you care? // LUNA from Neutral Labs

video upload by DivKid

"Join us for an exploration of what Lunetta Synthesizers are, what the new Luna from Neutral Labs is and why you should care.

The short answer is that it’s an interesting series of raw digital building blocks from a sonic sculptor (Stanley Lunetta) with lots of modern quality of life features that allow you to approach timbre as rhythm, rhythm as timbre then round that out with low pass gates and FX.

More info at https://neutral-labs.com"

*TIMING INDEX // CHAPTERS*

INTRO
00:00 Hello & previews
02:13 What is a Lunetta synthesizer?
02:54 What is Luna?
04:07 Luna feature run down
06:14 How this video is a bit different

PATCHES & SOUNDS
07:05 Comb filter drones for dark industrial soundtracks
07:55 Hypnotic drones & dual oscillator lead lines
11:20 Bouncing bass & low end swells
11:55 New rhythms from AND & XOR logic
16:05 Fireside crackles & sputtering motorbike engines
16:35 Characterful lo fi LPGs & FX for modular synth voices
19:04 Ambient gritty echoes for happy synth blips
19:29 Shift register rhythms - gate delayed musical canons for your rhythms
23:25 Metallic bass hits & interactive rhythms
23:56 Modulation ‘hooks’ from binary counter clock dividing
26:39 Experimental expressive noise wrangling
27:05 Binary counter sub octaves & external modulation of filter FX
29:12 Alien critters clashing into ambient space
29:48 Monstrous sounds from multiplexing
33:13 Metallic synthesis & bell like tones & swells
33:49 Metallic synthesis for cymbals + dynamic LPG modulation



"Logic, Unbound. Meet Luna. The first serious Lunetta synthesizer.

Look beyond clean waveforms and predictable polyphony. Luna will take you back to a time when digital didn’t mean perfect. It meant raw. Inspired by the subterranean DIY culture of the 70s and 80s, Luna is a love letter to the Lunetta machines of old: Living, breathing organisms built from CMOS logic chips. But where those machines were fragile experiments, Luna is a weaponized instrument of sonic confusion.

The Nervous System Exposed. True to the Neutral Labs philosophy, we don’t believe in hiding the magic behind an opaque face plate. Luna features exposed CMOS inputs and outputs right on the front panel. You're not just patching cables, you are rewiring the brain of the synthesizer itself. Combine signals, bend logic, and physically intervene in the computation to create sounds that shouldn't exist.

Rhythm is Timbre. Timbre is Rhythm. In the world of Luna, there is no difference between a sequencer and an oscillator. The same digital pulse that drives a bass line can be accelerated into a screeching lead or folded into a metallic drone.

5 oscillators provide the raw material. A chaotic array of logic blocks (XOR, NOT, AND, shift registers, counters, multiplexer) will chew up those signals and spit out complex, evolving mathematical noise.

Taming the Digital Mess. Raw logic can be harsh. To turn this binary chaos into music, Luna feeds its digital soul through 3 organic low-pass gates. These analog circuits impart a natural decay and percussive punch to the madness, transforming mathematical errors into bongos, plucks, and thumping basslines.

Drench it in Atmosphere. Once you’ve constructed your signal, destroy it again. Luna comes equipped with a suite of effects — distortion, delay, reverb, chorus, bitcrusher, phaser and more — to smear your logic into a wash of ambient bliss or gritty industrial texture.

5 oscillators
logic gates (2 XOR, 2 NOT, 2 AND)
5 logic blocks (5-step ring counter,4-bit binary counter, 2 shift registers, 4-channel multiplexer)
3 touchpads that generate logic signals
3 channels for audio manipulation (low-pass gates with adjustable decay and switchable trigger mode, gain, tilt EQ)
13 audio effects that can be freely assigned to 2 effect slots running in series (drive, delay, reverb, 6 filter types, bitcrusher, phaser, chorus, comb filter)
CV control for effects and 2 oscillators
MIDI control over 2 oscillators, all 3 low-pass gates, and 3 logic outputs (MIDI TRS A socket)
2 sequencers with up to 64 steps, syncable to clock or MIDI
audio output is headphone compatible
available as a desktop synth or 42 HP Eurorack module (desktop version comes with a 12-pack of black/gold braided patch cables)
See more videos and photos on Instagram.

Note: For sustainability reasons, the desktop version does not come with a USB power supply, just a USB-A to USB-C cable. You will need a 5V supply, such as a phone charger, power bank or laptop.

Note: The desktop version has a Eurorack power header and can be placed into a Eurorack. The desktop case however has 5V USB power and no Eurorack rails, you cannot use it as a 42 HP rack without modifications."

First Steps with OXI One MKII / EP. 6: Random Generator

video upload by OXI Instruments

First Steps with OXI One series

"In Episode 6 , we explore one of the most powerful creative tools inside the sequencer: Random Generator.
Random doesn’t mean chaos.

It means inspiration.

In this video, I’ll show you how to generate unexpected yet deeply musical patterns in MONO, POLY, and CHORD modes — and how to control every parameter so the results always stay intentional.

We’ll cover:
• How to access Random Generator
• Understanding Bias, Scale, Range, Rand, V&G, Ties, and Density
• Using Humanize, Order, Pitch, and Flip creatively
• Turning raw randomness into refined musical ideas
The goal is simple: give you a spark.

This is Episode 6 of First Steps with OXI One MKII series — a structured deep dive into mastering your sequencer from foundation to advanced workflow.
If you’re building a hardware-centered studio like I am, this one will unlock serious creative momentum.

CLICK FOR MORE »

Våld Labs Tresse: a multiengine synthesizer based on Plaits, for desktop.

video upload by Våld Labs

This one was sent my way via Meska who had the following to say: "It's 'basicaly' a standalone MI Plait with 3voice and extended oscilator models."

Video description follows:

"Tresse — 3-voice polyphonic desktop synth, 38 engines

Hey all,

Been working on this for a while and it's finally at a point where I want to share it.

*Tresse* is a standalone polyphonic synthesizer built around Mutable Instruments' Plaits DSP code, running on an ESP32-S3 with a custom PCB. Three voices of polyphony, 38 synthesis engines, USB, DIN/TRS and Bluetooth MIDI, and perhaps Ableton Link and our upcoming stack (VMB) Våld Modular Bus, expected to ship this summer, and which will a new wireless comms protocol with negligible latency, auto discovery and machine mesh capabilities (to be released soon).
Also enough knobs and encoders to actually play the thing without menu-diving, and a battery for when you're bored outside of your studio.

*The core idea:* take the full Plaits engine library — all 24 algorithms — and make it polyphonic in a self-contained hardware instrument. Then keep going and add 14 more custom engines on top.
There are hundreds of options similar to this in modular systems and i thought why not bring all these god-level creative tools to bedroom, desktop producers who don't have the money or the space (or will) to mingle in the modular space, and bring them one contained box with all they need.

What's inside

*ESP32-S3* doing all the DSP across both cores (voices 0+1 on Core 1, voice 2 on Core 0, parallel render)
**PCM5102A DAC**, 24-bit output, 32kHz sample rate
*4 pots + 4 rotary encoders* through CD74HC4067 mux and MCP23017 I2C expander
*OLED display* (128×64) for patch info, engine select, preset browsing
*USB MIDI + BLE MIDI* — works with everything, no adapter needed for wireless
Custom PCB, all through-hole friendly

38 engines

The first 24 are straight from Plaits — East Coast, Phase Distortion, all three DX7 variants, Terrain, String/Chords, Chiptune, Wavetable, Speech, Swarm, Particle, the Rings modes, the three drum engines, etc.

Then 14 custom engines built from scratch:

*Karplus-Strong* — proper physical string modeling with excitation morphing (noise → impulse → tonal)
*ByteBeat* — 8 classic formulas with pitch-tracked rate, gets wild
*CZ Phase Distortion* — Casio CZ-style, three distortion shapes
*Supersaw* — up to 7 detuned saws with PWM, the obvious one but it needed to exist
*Formant* — vowel synthesis with 3 bandpass resonators, gender shift control
*2-Op FM* — clean FM with 13 ratios and operator feedback
*Wavefolder* — sine/tri/saw/square source into a proper folder with bias
*Noise Drums* — SVF-based with pitch envelope, covers kicks through metallic hits
*Modal Resonator* — 8 tuned bandpass partials, morphs from harmonic → bell → bar inharmonicity, with a bowed excitation mode
*Sympathetic Strings* — 3 coupled Karplus delay lines with controllable coupling and interval ratios
*Comb Resonator* — 4 parallel comb filters with spread control
*Drawbars* — organ-style additive with 8 Hammond-ratio partials
*Complex Oscillator* — FM into wavefolder, Buchla-adjacent territory
*Grain Noise* — granular noise with smoothing, good for textures and pads

Controls

Three parameter layers accessible via toggle buttons:

*Normal* — Timbre, Morph, Harmonics, Color on pots; Attack, Decay, FM, LFO Depth on encoders
*MOD* — Fold, Detune, Ring Mod, Chorus on pots; LFO destination/shape/speed/sync on encoders
*SHIFT* — Filter Cutoff/Reso/Env/Type on pots; Portamento, Octave, Vibrato depth/speed on encoders

Hold both buttons → engine select overlay. Double-tap MOD → system menu (randomizer, MIDI config, play mode). Double-tap SHIFT → preset browser across three banks (own patches, generated, branches).

Play modes: Poly, Mono, and chord modes (Major, Minor, 7th, Sus4, Power, Octave).

The randomizer is one of my favorite things — it generates random patches with procedural names (stuff like "Velvet Moth" or "Iron Shard"), you scroll through them with the encoder, and save the ones you like to a generated preset bank. 512 slots each for generated and branch presets, 128 for your own.

What it sounds like

Honestly covers a lot of ground. The Plaits engines already span everything from classic analog to FM to physical modeling to noise, and the custom engines fill in some gaps I wanted — proper supersaw, real Karplus-Strong, the modal/sympathetic stuff for metallic and evolving tones, and the ByteBeat engine for when you want to go full chaos. The global FX chain (filter, wavefolder, ring mod, chorus) ties everything together.

The project should be available from April 2026, in kit or assembled units! Price to be discolsed once i have the final FINAL prototype, but shouldn't hurt the wallet.

This is a *Våld Labs* project from Lisbon Portugal. Much more to come.

Would love to hear what people think, and happy to answer questions about the build or the DSP. Be aware that this is a pretty advenced prototype, but still a prototype"

https://valdlabs.com

Note they also have the Consequencer pictured left but no additional info aside from the following on it yet.

"A portable, desktop-first sequencer with modular DNA — built for the art of shaping chaos."

CubuSynth also has a Consequencer announced back in 2024, but they appear to be unrelated.

The "Easel" Spirit in 3U - A West Coast Eurorack Deep Dive

video upload by Sean Graves

The following is in via Sean Graves, who had the following to say:

"The piece, 'The 'Easel' Spirit in 3U: Rebuilding a Buchla Soul in Eurorack,' documents my five-year journey to replicate the specific workflow and 'soul' of the Buchla Music Easel using a curated Eurorack system."

"This post explores the creative power of 5-step sequencing (the 'migrating downbeat'), the 'origami' of wavefolding via the Verbos Complex Oscillator, and the organic harmonic dampening of vactrol-based Low Pass Gates. It’s a technical yet accessible look at why the West Coast workflow remains the 'holy grail' for performance - based synthesis."

The full write-up follows, with a demonstration of the system in the video above.

The “Easel” Spirit in 3U: Rebuilding a Buchla Soul in Eurorack

The Buchla Music Easel is legendary. It isn’t just a synthesizer. It’s a self-contained performance ecosystem. For many of us, the “Easel” workflow is the holy grail of synthesis. However, instead of chasing original hardware, I’ve spent the past five years rebuilding its specific soul within the Eurorack format. Because everyone deserves a hobby, right?

The Chef vs. The Sculptor
Most East Coast synthesizers work like a sculptor. You start with a massive block of harmonic noise (Sawtooth or Square waves) and carve it away with a filter. The Buchla workflow is different. It’s like being a chef in your own Hell’s Kitchen. You start with basic, “bland” ingredients (sine waves) and spice them up with Frequency Modulation (FM), Amplitude Modulation (AM), your choice, and then fold until the sound sizzles.

My current rig recreates this spirit by focusing on three pillars: Uncertainty, Complex Oscillation, and the iconic Sequential Voltage Source.

Part One: The Modulators (The Brain)
In a true Easel style setup, the Tokyo Tape Music Center 5-Step Sequencer acts as the brain. While most modern sequencers favor 4-8-16-32 steps, the 5-step limitation is actually a creative superpower.

CLICK FOR MORE »

Frap Tools MAGNOLIA – 8-voice analog thru-zero FM synthesizer – OUT NOW

video upload by Frap Tools

Check with dealers on the right for price and availability.

"Magnolia is an eight-voice analog through-zero linear FM synthesizer. Besides the classic analog polysynth sounds, its design allows programming some less conventional timbres closer to the world of modular synthesizers, and especially of the so-called “complex oscillators.”

Magnolia allows to bring modular synthesis techniques in the world of analog polysynths, with all the known advantages of the latter: polyphony, immediacy of use, powerful sound, and those little unpredictable details generally known as “analog warmth.”

Magnolia is a highly playable instrument thanks to its expressive Fatar keyboard with polyphonic aftertouch and encourages sound exploration through its large and relaxing front panel.

CLICK FOR MORE »

The Elmyra2 has never sounded like THIS before (version 2.4 update!)

video upload by Oscillator Sink

See the announcement post from earlier today here.

"The Elmyra2 continues to be one of my favourite, weird little drone synths, and over the last two and half years it has got better and better with each new update. Version 2.4 is arguably the best and most important update yet, not only for the huge number of sonic, creative and quality of life improvements, but it opens up an entirely new sound-world for the Elmyra for you to explore.

Transparency notice: the Elmyra 2 was kindly provided to me by Neutral Labs (back in 2023) for free for the purposes of making videos on it. No editorial oversight has been provided to Neutral Labs and no other payment has been received. As always I'm only interested in featuring instruments that I'm genuinely excited about on the channel.

Chapters:
00:00 Intro
01:16 UX Improvements
02:50 General Sound Improvements
03:20 New Improved Default Filter Model
06:11 Improved Shortcuts
07:46 New "CHRM" Shortcuts
08:58 Voice Stacking
10:38 LFO Motion Recording
12:46 Short Envelopes
15:56 New Mod Mode: Oscillator Sync
18:03 New Reverb
22:29 Comb Filter Mode (physical modelling vibes!)
27:01 A little moment of sonic chaos
28:21 Voice Following Comb Filter
31:04 Final Thoughts"

Generative Patches: Behringer Edge+Crave+Spice Live Jam Demo

video upload by Anton Anru

"🟪🟧🟥 ECS Generative is a collection of 25 patches (+Crave patterns) for the semi-modular system by Behringer: EDGE + CRAVE + SPICE.
This genre of sound design is highly popular within modular culture, and the Behringer synths offer an excellent feature set to explore it.
Controlled chaos and randomness, probability, non-repetitiveness, tempo shifts, pattern uniqueness, the alternation of short and long sounds, unexpected changes, silence and density, harmonic and FX-like tones, and glitchy bursts throughout sequences — all of these elements are part of the soundset.

📦 Get these patches: https://antonanru.sellfy.store/p/ecs-...

CLICK FOR MORE »

Generative chaos

video upload by Meska (Meska)

"Semi generative patch :

Voices , are sampled radio on the casset player to typhoon
'bell' is element
Bass is 2fm op, one FM the other mixed with noise to vacium tube drive and feeebback to centaur gate for filtering
Noise is parralelle procesing of the bass voice to resonanant FB to ikarie
Voice 1 is Carbon as oscilator with noise to centaur gate vca
Voice 2 is warp internal oscilator with noise wavefolde to an LPG
The generative part is prodiuce by Zadar and Juniper , respectivly creating VCA/VFC modulation and quantizing voltage



Thank you for watching.
My name is Meska of the statik collective . I've been making mostly 'dark and expérimental' music for more than ten years now, i'v learn so much online, now it's time for me to share my knoledge, my exploration and this channel is a place to talk about the tools, sound design and techniques to make music with.

You can stream my albums and EPs at https://statikwave.bandcamp.com/

If you'd like to support the channel​ consider buying music from bandcamp ;)
Contact/booking: meskastatik@gmail.com"

Colin Benders - Reunion - #Eurorack Jamsession & an Analysis by BRiES

Sep 5, 2016 video upload by Colin Benders

"Ever since I came back home I've been pushing out tracks non stop. finally got something of a workflow going it seems. Not looking forward to editing it all later but thats another story.

-
2020 Edit:
Still haven't released this track lol. I have been plenty active since I have recorded this track though!"

BHSTS / REUNION by Colin Benders / compositional analysis

video upload by BRiES

0:00 the track
17:33 the analysis

On the larger system:

ER101 & 102 Microtonal Experiment | Modular Mayhem with Colin Benders

video upload by Colin Benders

"Last weekend I was asked to do a full ambient show with no drums, so I got creative with some patch ideas and stumbled upon a feature I had never used before... let's see how deep we can go with this! expect lots of polyphony and wild sequences, things can get crazy today...!

Go ahead and have some fun with the 'Prignalia' stems: https://linktr.ee/colinbenders
You can upload version over there if you want to! _________________________________
Sole but far-from-lonely emperor of a monster 243-module rack, genre-unbound sound explorer, modular mad scientist to the bone, call him whatever you like it’s a fact: Dutch wave-tumbler Colin Benders defies the conventions of so easily tag-slapped electronics as much as his music confronts gravity itself. Untamed and unshackled from today’s main line of tepid production behaviourism, striving in an artistic lane truly his own, Benders has completely veered off the grand street's accepted modus operandi to operate his gear and imagination in utterly innovative fashion.

Having garnered a more than solid experience of the first-hand musician-to-listener experience, Benders keeps on cutting new trails for live electronics, away from drowsy standards and mimetic attitudes. Instead, the Dutch performer pledges to rethink our whole consumption and digestive process of music through lengthy, free-jazz-like momentums to lose your mind and body to. The knowledge and time spent perfecting his craft both apart and before his online audience shines through these patched-up symphonies of boisterous sine-waves, all-engulfing lo-end swells and hair-raising crescendos that have already conquered the likes of Dekmantel, Awakenings, ADE and Berghain. #modularsynth #colinbenders"

IT’S ALIVE!!! My monstersynth is done!

video upload by Colin Benders

"Its done!!! The synth is up and running! after 3 weeks of chaos and many more of evading the task, I finally have the layout I always wanted... time for a quick recap! I'll take you through the steps of how I approached the eurorack design of my monstersynth in this final vlog entry of my build series.

if you're interested in the layout and have a look at the guts of this gargantuan thing, follow these links!

https://www.modulargrid.net/e/racks/v...

https://www.modulargrid.net/e/racks/v..."

Rhythmical & Atmospheric Arturia Pigments Ambient IDM Sounds

video upload by Anton Anru

"🔊 Noise Canvas is a collection of 50 presets for Arturia Pigments. It includes: 21 Rhythmical Timbres, 6 Arps, 10 Synths, 7 Pads, 2 Keys, 2 Strings, 1 Seq, and 1 Pluck. Each patch delivers lo-fi, noise-driven textures designed to command attention—gritty and characterful. Beyond the rhythmic core, this collection includes a selection of deeply immersive, evolving pad textures.

📦 Get these sounds: https://antonanru.sellfy.store/p/pigm...
👤 The author of the soundset is usefull.
Minifreak and Pigments presets can be imported into Arturia Analog Lab V.
If you like these sounds but don’t have Minifreak or Pigments and only own the Analog Lab V plugin, you can still purchase these sets and load them into Analog Lab V.

🎧 How it sounds
Lo-fi noise synth sounds with analog warmth and digital edge
Textured, rhythm-centric patches that pulse, crackle, and evolve
Distorted, saturated tones ranging from subtle grit to full-on chaos
Attention-grabbing presence—perfect for leads and hooks

CLICK FOR MORE »