Typhon Unofficial Assistant - Demo video upload by Voidcontrol MIDI
"Voidcontrol MIDI has released the Typhon Unofficial Assistant, a software controller and patch librarian for the Dreadbox Typhon.
It brings the Typhon's sound onto the screen, adds full DAW automation, and keeps a library of your patches on your computer. Because the Typhon shares its sound parameters over MIDI but not its patch storage or internal routing, this is an Assistant rather than a full editor: it focuses on live sound control and patch management.
Features:
Live control of every parameter the Typhon exposes over MIDI, laid out by section
One-click read of the current sound from the hardware
Full DAW automation with real automation lanes, not just MIDI learn
A 32-step sequencer that locks to DAW tempo or MIDI clock and plays the Typhon, with per-step gate, tie, velocity and gate length, plus global division, swing and probability
A lossless patch library with naming, categories, favorites, search, and single-file or full-bank import and export
Preset export to .typhonpr for use with Dreadbox's own Preset Manager
A standalone version for use without a DAW
Init and randomize
Resizable UI, 50 to 300 percent
Windows 10 and 11, as a VST3 plugin and a standalone app. Requires a MIDI connection to a Dreadbox Typhon on firmware 4.2 or later. Tested in Ableton, Bitwig, Cubase, Reaper, Studio One, and Waveform. A Mac version is under consideration.
"What happens if you take four identical timbres, make them exchange signals, and make each track change not itself, but its neighbor?
The idea behind this patch is a ring interaction between the tracks. This has nothing to do with ring modulation.
I created four identical saw waves. Each track has its own volume envelope length and melodic sequence length, so the notes and rhythms are constantly mixing. All four tracks are tuned to Just Intonation, which makes the resulting frequency relationships sound more stable and, at the same time, more pronounced than in equal temperament.
I connected the four tracks in a ring with modulation.
The volume envelope of each track reduces the MIDL parameter of the next one. The louder one voice becomes, the less energy its neighbor receives: it loses high harmonics and becomes less saturated, so even the filter resonance can no longer emphasize an individual harmonic as effectively.
All Modulation Envelopes operate in Envelope Follower mode. EF1 opens the filter of the neighboring track, EF2 changes the rate of the next volume envelope. Volume Envelope destination 2 increases release time of the previous voice.
Thus, one voice simultaneously affects the brightness, volume, rate of volume change, and decay time of another. In addition, the tracks modulate each other through FM synthesis: FM changes the spectrum, the spectrum affects the Envelope Followers, they change the parameters of the next and previous tracks — and the change returns to the system again.
This creates a closed system with multiple paths for energy transfer.
I became less interested in creating a beautiful sound and more interested in exploring its behavior: which actions amplify the dynamics, which suppress them.
Even more interesting is what happens when one voice is turned off. The feedback almost immediately collapses: the ring system requires all participants to be active, and turning one off breaks the chain of energy transfer.
You can recreate this system on your own hardware — I’d be very interested to see what you come up with.
The system from this video can be loaded into your own Kaleidoscope and explored yourself.
http://vadjuse.ru/kaleidoscope_en"
"In this video, I showcase the true power of the Neiro Audio N106 plugin. We are doing a direct comparison: Digital Emulation vs Real Analog Hardware Render! You will hear the huge difference when the digital preset is suddenly processed through the actual analog circuitry.
How does it work? The N106 is not just a standard VST. You compose your track using their high-quality digital emulation without any streaming latency. Once your MIDI and automations are locked in, the plugin sends your data directly to Neiro Studios. There, it is fed through a real physical Roland Juno-106 (specifically a hardware Kiwi 106 synth). The analog output is recorded using high-end RME Fireface UCX interfaces and automatically downloaded right back into your DAW as a WAV audio file. It's exactly like owning the real vintage analog synthesizer remotely.
To sit perfectly in a mix, I've also processed these sounds through external hardware-style reverb and delay.
🎧 Best experienced with studio monitors or high-quality headphones.
"Connect to a classic analog synthesizer revered for its lush, warm sounds. The Neiro N106 features a rich chorus effect that’s instantly recognizable from classic tracks like 'Jump' and 'Tom Sawyer'.
Connect directly to the Roland Juno-106 unit today."
"Please support my work on Patreon: / jayhosking A live synthesizer jam performed entirely on hardware.
I enjoyed having the Vongon Solarfaze and Polyphrase on the table for my last jam and left them there on a whim. That was the starting point. Next, I needed to run a synth through them, so I chose the Novation Circuit Monostation. I borrowed the CMS from a friend and had been looking to make some music with it; my opinion is that it's an extremely underrated synth that can do way more than people recognized at the time. And once I had its sequencer running and a bassline queued up, I could hear more of what was needed.
I also recently got a couple of Stylophones, because they are extremely affordable—the S-1 was something like $60 Canadian—and because I like the sound of them. Using the CMS's CV outputs, I sent a second set of sequences to the Gen X-2, which has CV input. I also took advantage of the Gen X-2's beautiful internal delay for cascading performances. The S-1 ended up my improv melody device for the last third of the song.
At this point, I needed reverb but didn't want to add multiple reverb boxes, so I added the Jellymix to act as stereo send to all the synths. For reverb, I chose the Swells, because I currently have it in a case with the Fieldtone Weaver and Qu-Bit Stardust, which can add a lot to a mix through stereo sample mangling. The Stardust is playing something that came from the CMS into Weaver; the Weaver is playing a snippet of my voice.
By this point, I could hear the full song, and it was just a matter of adding a couple of sequences and performing the whole thing. Pretty fun to see how wanting to explore a bit of hardware can lead to a finished song.
Performed and recorded live to a stereo output from the Jellymix, with EQ, compression, and limiting on the master.
"A few years ago I restored my childhood Amiga 500, and only recently found a way to use a soft synth, Aegis Sonix V2, with external MIDI control. I saw @magicalsynthadventure3216 video on the topic a while back, and on a whim decided to revisit the idea of using my Amiga as a synth. Thanks to an Amibay.com forum thread, I learned that it's pretty easy to get Aegis Sonix V2 to respond to incoming MIDI, and so I was off to the races. Enjoy!
"A delve into obscure software instruments on the Commodore Amiga. Here I look into both realtime & non-realtime varieties, covering a staggering array of synthesis types!
Additional attributions:
I forgot to give a shout out to uncle Brian! Sorry uncle Brian!
Endless Tunnel Animation: KRITRIMVAULT
Syndicate Intro: BullFrog Productions
Update: An interesting side note is that Sonix was released in 1987 with a beta in 1986. That's 10 years earlier than Dave Smith's Seer Systems Reality, which was released in 1997. Seer Systems Reality is often credited as the world's first soft synth. Curious if the distinction was between an editor/interface for the existing Amiga sound chip vs. a self contained software synthesizer.
I asked Google AI just to see what it would say. Here it is:
As one’s life winds its way through the corridors of infinite time and space, I find myself relocated and reset, so to speak, in a place many miles and many moons from the West Country—my former domain—in one of the shires just north of our splendid capital
And I find myself once again following my musical instincts down yet more labyrinthine sonic rabbit holes and through yet more labyrinthine electronic circuit boards
On this outing I decided to try my hand at live sound-on-sound improvisational looping, a method of composition I find particularly rewarding when using relatively unwieldy modular synthesiser systems. The act of looping provides a convenient way of setting down short compositions in real time, allowing simple melodic studies to be created, riddles, if you will, to be solved whilst sitting at the instrument’s console and engaging with the various dials and switches
The core device used on this recording is what I call the Concrete Box - an assortment of Eurorack modules I put together consisting of four loopers, two delays, two digital reverbs, two compressors and various mixers and utility units. Using this box of tricks I was able to run sounds around upon themselves, creating the pieces you hear on this album
Not all tracks were made this way, some took a more conventional path, namely those which made use of polyphonic keyboard synthesisers (the Ensoniq Fizmo, the Crumar DS2) where I simply recorded a few layers of sound one upon the other
And on one track I made use of a rather special device called the Tempera, alongside a regular acoustic piano. The device is able to take stereo recordings and resynthesise them using granular synthesis. You are then able to layer them and manipulate the sound in a great variety of ways. Practical applications of granular synthesis have been around since the mid 1990s, but it is only now, it seems, that dedicated hardware units are beginning to appear on the market, and they seem to be taking hold as an extremely interesting synthesis path
And so it is that these riddles I have been working on have been neatly packaged up for you in this second volume, itself a kind of evolution of the idea presented in the first of the series last year. And who knows where I will find myself in another year’s time - hopefully still diving down sonic rabbit holes and exploring labyrinthine electronic circuits
Synthesisers and recording equipment used on this album:
ARP 2500
Buchla 100
Buchla 200 (cloned)
Roland System 100
Crumar DS2
Ensoniq Fizmo
Tempera Granular System
Yamaha G1 Piano
Eurorack ‘Concrete Box’
Dynacord VRS23 Vertical Reverberation System
The various track titles depict the main instrument used on each track
Released August 7th 2026
Written, recorded and mixed by Benge (B.D.Edwards) at Memetune Studios, England
Design and video work by Benge, made at the Memetune Video Lab
(c)+(p) 2026 Memetune Recordings (Memesongs) all rights reserved"
"Gear featured in this patch:
Reliq hybrid control surface/sequencer/mixer
Erica Synths Black Wavetable VCO
Erica Synths PolyVCF (multi-mode filter)
[Knobula] Drum Farm percussion module"
"Reliq review & full demo: the hybrid control surface that's a 16x16 analog patch matrix, mixer, sequencer and two-way Ableton/Bitwig controller all in one box. Here's exactly how I use it in my rig.
Reliq calls itself a "hybrid control surface" because it's really four or more machines built into one unit: a 16-in/16-out analog audio & CV patch matrix, a mixer, a deep polyphonic sequencer with per-track LFOs and envelopes, and two-way DAW integration with Ableton Live and Bitwig. On top of that there's Song Mode, which lets you snapshot entire patch/matrix/sequencer states into blocks and chain them together for a full arrangement.
Rather than trying to cover every single feature (it's genuinely as deep as trying to demo all of Ableton or Logic in one video, and it keeps getting free updates - v1.8 just dropped), I'm showing you how I've actually used it to build the patch and track in this video, so you can see how the pieces fit together in a real-world workflow.
Timestamps: 0:00 What is Reliq? 2:46 How I'm approaching this review 3:24 Hardware tour - screen, encoders, joystick, I/O 6:11 The 16x16 patch matrix 9:28 The mixer 11:00 The sequencer (tracks, automation, ratchets, probability) 17:08 Chord mode deep dive 21:00 Clip follow-up modes 21:38 LFOs & envelopes (128 per track) 24:41 DAW control mode (Ableton/Bitwig integration) 28:50 Song mode - blocks & snapshots 33:26 Settings menu 35:09 Full Demo Performance with Description"
Note the above demos and following description are from March 5, 2025. I spotted the Elfin in Hainbach's A Hundred Suns, posted below. There appears to be two synths, an Elfin-08: 8-Voice Functional Prototype Synthesizer, and an Elfin-04 Polysynth.
"Introducing Elfin-04, Hideaway Studio's Compact New 4-Voice Polysynth...
I have been working round the clock for weeks now on my dinky little 8-bit 4-Voice (4 x [2osc+1sub+LFO]) VA Poly Expander with 1960's style transformer-mixed output voicing and finally No's.000 thru 010 are born to the world and receiving very positive feedback from their new owners...... this 4-voice polysynth measuring just 16x12x3cm has full real-time control over her 32 parameters via simple midi ccs and 16 built-in patches.
"Learn the fundamentals of MIDI connectivity with the OXI ONE sequencer! In this beginner-friendly tutorial, we cover how to connect and control multiple instruments — from setting MIDI channels on a Novation Peak, to daisy-chaining gear with MIDI THRU (Vermona Perfourmer), to syncing a drum machine like the Tonverk.
You'll learn:
- How MIDI channels work (16 per port, up to 96 with an OXI Split)
- How to wire up a basic MIDI chain
- The difference between full sequencing and simple sync (start/stop + tempo)
- When to use an OXI Split instead of long MIDI chains
Whether you're just starting out with hardware sequencing or building a bigger studio setup, this video will help you get your gear talking to each other."
00:00 Introduction
00:51 Connecting a synth via MIDI
02:33 Adding multiple instruments via MIDI
06:11 Syncing a drum machine
08:34 Final notes
"Here's a video of the recording of the B-side for my new single (links to all formats below). It was recorded on a Yamaha MT-50 four track tape recorder with a Casio CZ-1000 (bass, this is honestly the weirdest synth I own and I think this the only track I’ve released with it on bc it’s just so weird), Yamaha PSS-480 (lead, despite masquerading as toy this thing packs some serious heat) Yamaha DX21 (chord layer) and Roland TR505 (drums – this gets some stick from TR purists, but it has some really usable sounds and the sequencer is super nice). The track was sequenced with the frankly legendary Alesis MMT-8 (the only hardware MIDI sequencer I’ve ever enjoyed using). Synchronisation between tape and MIDI was achieved using a Yamaha YMC10 MIDI clock to tape-synch converter. Dub style delays used on the lead came from a RocLab DD3000 (pretty obscure unit, sounds nice if you tweak it just right); Reverb came from a Behringer DR600 (solid reverb pedal, even more solid price at ~£25) and chorus for the bass via a Boss CH-1 Super Chorus - my favourite chorus, to me it just sounds how chorus should sound (this one is a vintage ‘made in Japan’ model, so fully analogue compared to later digital CH-1 models, and just sounds super warm). It was mixed on MT-50 but also with a Peavey Unity Series 2000-16 (for submixes and sends etc.), this mixer has a flavour all of it’s own, certainly not high fidelity, but kinda gritty and warm… The track is out now for stream and download (links below), hope you folks dig the track 🙂"
"I built an entire techno track using the Reliq hybrid control surface — sequencing CV, gates, and MIDI together. This is a quick preview before my full in-depth Reliq review drops, made for anyone who just wants to see what it can actually do in a real track.
In this short hardware jam, the Reliq's Breakout Module handles every CV and gate connection to my Eurorack rack, while its onboard LFOs and envelopes replace modules I'd normally need patched in separately — freeing up rack space while adding an extra oscillator's worth of movement. MIDI runs straight to the Dreadbox Artemis alongside it, all synced from the same sequencer. You'll hear polyrhythmic drum sequencing too — kick and closed hi-hat running full bars, snare on the backbeat at a different rate, and a 4-step open hi-hat loop sitting on the offbeats.
This is a fast, feature-packed look at the Reliq's matrix routing, CV/gate output, MIDI output, LFOs, and envelopes all working together in one musical piece — not a full walkthrough (that's coming soon), just proof of what one box can do.
What's covered:
Reliq Breakout Module: CV + gate patching into Eurorack Onboard LFOs and envelopes standing in for extra modules Simultaneous CV and MIDI sequencing (Eurorack + Dreadbox Artemis) Polyrhythmic step sequencing across multiple tracks Building a full techno track hardware-only, no DAW"
"There are hardware enthusiasts, those who prefer a DAWless setup and then those who no longer need physical synths and do everything via software, and so on. Personally, I’m a staunch advocate of both worlds—hardware and software—and I believe the best results come from combining them. I am simply opposed to AI-generated music. It’s nothing personal against AI in general, which can be absolutely brilliant, but it’s just not my cup of tea when it comes to music. I also think that 100% digital is often a bit flat, soulless, but that's just my opinion.
What about you?
⏱️ Chapters
00:00 – Intro
00:14 – What happened since the last video? [embed below]
00:54 – New panels
01:17 – Fixing the noise problem
01:50 – Melon in live performances
02:03 – Firmware flashing infrastructure
02:32 – Updates to existing firmwares
03:08 – New firmwares
03:18 – Metal Hit
04:14 – RALPS
04:50 – Reese Bass
05:29 – Drums
06:26 – fxloperformer
07:29 – Final thoughts
"In this video, I’m taking a look at what has happened to melon since my last video. My 4HP Eurorack adaption of Hagiwo’s amazing RP2350-based MOD2 has grown quite a bit since then, with new panels, new firmware, community contributions, and improvements to the overall infrastructure.
"Tonight was something different: no prepared DJ set, no finished tracks — just the Ableton Move, Novation Circuit and a lot of improvisation.
I built loops, switched between both machines and tried to turn spontaneous ideas into a live electronic performance. Not everything was planned, not everything was perfect — but that is exactly what makes a hardware jam exciting.
Expect melodic moments, driving drums, changing grooves and a few chaotic experiments along the way."
"Can a real analog synthesizer cost less than $100? In this review, I take a hands-on look at the Stylophone Gen X-2, an affordable portable analog synth with a resonant filter, LFO, delay, sub oscillators, CV/Gate connectivity, and surprisingly powerful sound.
I'll unbox it, explore every feature, hear what it actually sounds like, connect it to my ASM Leviasynth via CV/Gate, and find out whether this tiny synth is just a toy - or a serious instrument that's worth adding to your studio.
If you're looking for an inexpensive synthesizer, a portable analog synth, or a fun hardware synth with real analog sound, you may be surprised by what this little Stylophone can do!"
0:00 Intro
0:34 Inexpensive Synth
2:05 Different Stylophone Synths
2:57 Stylophone Gen X-2
4:00 Unboxing and Controls
6:27 Installing Batteries
7:25 The Sound: Envelope
9:27 LFO
10:07 Filter
12:06 Sub Oscillators
12:35 Delay
14:34 Octave and Ribbon Strip
16:12 CV/Gate Input
19:29 Be David Bowie
"We're no longer pursuing what we've been calling "CHOMPI 1.5" at this time.
You may remember we made an announcement last year that we would be starting to manufacture CHOMPI ourselves going forward. The plan was to make a backwards-compatible CHOMPI that would have slightly different hardware from the original but the same processor, so that no matter what CHOMPI you bought you would have access to the same firmware.
Well, that turned out to be a pretty bad idea.
The main reason is that we started to bump into the limits of what that processor was capable of while making the new TEMPO firmware. The manufacturing process was also turning into a bit of a puzzle, and so we found ourselves in the position of essentially recreating an existing product that was already maxed out. It would have been time-consuming, expensive, and limiting for future ideas. It just didn’t make sense.
So that leaves us in the awkward spot we’re in now. Sorry.
Chelsea and Tobias are still working here and we’ll be continuing to support CHOMPI – we’re leaving the door open for what’s next – but at this specific moment we are not working on or planning any new CHOMPI products."
"We drive the length of "the 110" Harbor Freeway in Los Angles from its southern end in San Pedro near the Vincent Thomas Bridge to the "four level interchange" with US 101 just north of downtown LA. From the southern end to the interchange with I-10, the freeway is signed as Interstate 110; north if I-10, it is California Highway 110.
This one was a lot of fun and quite special for us at CatSynth, and we really enjoyed the drive, creating the disco-infused soundtrack, and sharing it with all of you!
The drive continues along the remaining segment of CA 110, the Arroyo Seco Parkway in an upcoming video.
Software Instruments: Arturia Clavinet V, Stage 73, Memory V, Pitch Shifter 910 Cherry Audio ESQ-1, Pro Soloist, Solovox BFD3 Drums (Ken Scott Billy Cobham kit) BLEASS Spectral Resonator EastWest Ministry of Rock, Ra, and Stormdrum 2 Dawesome Kult
Hardware Instruments: Vintage Minimoog Vintage Octave CAT Buchla 158 Red Panel module E350 Morphing Terrarium module Metasonix R54 module Stryomon Starlab module Kenton USB Solo mk2
#losangeles #highway #highwaydrive
0:00 Introduction 0:10 I-110 6:50 CA 110 8:05 To be continued"
"The folks at @synidotech asked me to help launch their latest MIDI controller, the TempoKey K32. It's unique in that it's not just a MIDI controller but also includes a synth engine. In this video, I take a look at a pre-release model."
Intro - 0:00
Unboxing & Overview - 1:26
Internal Synth Engine - 3:31
Using the Editor - 5:24
Direct Audio - 6:47
Using with Soft Synth - 8:15
Using the Arpeggiator - 10:08
Additional Features - 11:30
Using with Hardware Synth - 12:45
Final Thoughts - 14:24
And one from 2-Minute Warning:
The Key - 4-Minute Jam (TempoKEY K32 Play + Taiga + DFAM)
"This video is a little different for two reasons!
First, it's the first time I'm featuring an instrument kindly provided by a manufacturer. Synido sent me the TempoKEY K32 Play to explore in my own workflow and share my honest impressions.
They didn't ask for a scripted review, so I simply approached it the same way I approach every other instrument on this channel: by making music with it.
Secondly... this is exceptionally a 4-minute jam!
Think of it as two consecutive 2-minute performances before I take a short summer break. 😊
Rather than trying to showcase every feature of the K32 as a MIDI controller (Bluetooth MIDI, battery power, USB/MIDI connectivity, pads, knobs, etc.), I wanted to focus on what intrigued me the most: its built-in General MIDI sound engine.
For this performance, the Hapax sequences the entire setup. The Taiga handles the bass, the DFAM takes care of the analog drums (synchronized by the Hapax), while the K32 Play provides everything else: guitars, strings, bells, plucks, additional drum sounds… and occasionally runs through the Eventide H90 for a bit of extra space and texture.
As always, the musical performance itself was recorded in a single take. Mixing/mastering was done afterwards in Ableton Live, but the performance you hear is exactly as it happened.
A sincere thank you to Synido. Without their message, this musical experiment probably wouldn't have happened."
✅ PLAY THE MOMENT INSPIRATION HITS
Most MIDI keyboards need a computer and software to make a sound. K32 doesn't. Built-in sounds and speakers let you play instantly--couch,classroom, anywhere.
✅ 32 KEYS, MORE ROOM
25 keys feel cramped for chords and melody together. The K32's 32-key layout gives your hands space to play naturally.
✅ WIRELESS, GO ANYWHERE
BLE MIDI + Battery. Create from the couch, backstage, in class, or on a plane.
✅ GROWS WITH YOU
Connect another MIDI controller and use the K32 as a standalone sound module. Compact setup, maximum flexibility.
✅ INSTANT SOUND SWITCHING
Save favorite instruments to the KEY Sound buttons. Jump from piano to synth to bass with one press. No menu-diving.
✅ HANDS-ON CONTROL
8 assignable knobs, 8 drum pads, and a clear OLED display. Adjust, beat, and perform in real time—no mouse needed.
✅ FOR EVERY STAGE OF YOUR JOURNEY
From first beat to live performance, K32 adapts to your workflow. Start simple. Grow into it. Create without limits.
"Wireless sync couldn't be easier with the Missing Link!
In this video, we’ll show you exactly how to connect your Circuit Happy Missing Link to your computer wirelessly using Ableton Link which is a feature of both the Missing Link Junior and Missing Link ML:2m.
Whether you’re using the Missing Link Junior or the ML:2m, the setup process is quick, simple and completely wireless.
We’ll cover:
✅ Connecting over your existing Wi-Fi network
✅ Using the Missing Link’s built-in wireless hotspot
✅ Enabling Ableton Link in your DAW
✅ Syncing your modular, hardware synths and drum machines
✅ How the Missing Link converts Ableton Link into hardware clock signals
Best of all, there are:
✔ No drivers to install
✔ No complicated networking
✔ No MIDI interface required
✔ No USB sync cables
Just power on, connect and start making music.
Whether you’re producing with Ableton Live, jamming with hardware synths, building a modular Eurorack system or performing live, the Missing Link makes wireless synchronisation effortless.
⸻
Learn more about the Missing Link range:
👉 https://www.circuithappy.com"
