A Buchla for $ 999? - Superbooth 2026

video upload by Let's Play Synths

"The new Ziggy is out! Or rather, it has been announced on May 5th and will be available later this year. It's a monophonic synth that can be powered by 5V USB C with 1A, has enough connectors to integrate it with other Buchlas and it sounds WILD."

WHAT IS THIS? – Superbooth 2026

video upload by Let's Play Synths

"Cyma Forma just announced the 'RND' - a four voice synthesizer with a single button created with the French artist Bambounou. for 125 €, it has even MIDI output to control some external synths and is the ideal 'idea machine'"

Is 720 LEDs over-engineered? - Superbooth 2026

video upload by Let's Play Synths

See the announcement post here.

"The Afour fits in a folder, has 35 voices, 720 LEDs, polyphonic aftertouch and an LFO for every knob and keys that measure magnetic fields. Get more info on https://www.apaeron.com for all the craziness that this thing offers 🥳"

Introducing Plinky 12 Blocks, Chords and Toadstep

video upload by Making Sound Machines

Additional videos below.

"We are super excited to introduce 3 new instruments today! Plinky 12 is a family of expressive polyphonic touch synthesizers. The three instruments are built around a shared synth engine. Designed by mmalex, it evokes the unmistakable melancholic sounds of the original Plinky. https://plinky12.com

Each instrument is designed in collaboration with a different synth maker, lending each panel a distinct playability and unique character.

Plinky 12 Chords is a harmonic inspiration machine. It lets you improvise melodies and chords, with expressive control over voicings, progressions, and immediate musical play. Created by Making Sound Machines, Chords is the panel for finding beautiful harmonic movement quickly.

Plinky 12 Toadstep is a 4-track step sequencer built for super funky riffs, experimental self-generative melodies, and good ol' Acid. Created by Toadstool Tech, the designer behind the Ectocore Eurorack module, Toadstep is fun, immediate and easy to jam with!

Plinky 12 Blocks is an open panel built for experimentation, with monome-grid compatibility, Plinky style touch synthesis, and a browser-based coding environment just a click away. While it comes with a fully playable design out of the gate, creator mmalex invites you to build your own adventure with this panel. If you can imagine it, you can make it!

In this video, Enrica and Roland from Making Sound Machines explore the three new Plinky 12 instruments: Blocks, Chords and Toadstep from left to right.

The track builds on a repeating loop created with the built-in sequencer on Plinky 12 Toadstep. The short sequence uses rhythmic step repeats, track step length and animated synth parameters to create an ostinato that keeps sonically evolving over the length of the track.

As the piece continues, Roland plays a progression of harmonies from the rainbow chord palette on Plinky 12 Chords, before launching a sequence that reharmonizes the loop heard from Toadstep. Enrica joins in playing sparkling arpeggios with her fingertips on Plinky 12 Blocks, the surface with the sunset colour-fade print.

As the track progresses, Roland plays a melodic line on Chords, then Enrica takes over with a melody on blocks. The Plinky 12 polyphonic play surface reads both play position and pressure of the touch. It enables bends and glides on the horizontal axis, while allowing for discrete arps in the vertical direction.

They end the piece with a tempo transition showcasing the septuplet feature on the internal sequencer."

CLICK FOR MORE »

EMS Universal Sequencer Playlist

video uploads by analogia pl

A few of these have been featured on the site before. You can use the player controls to skip around.

Playlist:

1. EMS Synthi with Universal Sequencer and RSF Kobol #emssynthi #rsfkobol #rolandph830

It’s a tune done on the Synthi and EMS Universal Sequencer with some help from RSF Kobol processed by Roland PH-830 phaser.

2. 2 x EMS Universal Sequencer with Roland MC-202 #emssynthi #emsuniversalsequencer #mc202

Universal Sequencer is playing a sequence on the Synthi and the 202 - that’s why it’s called “universal” as both sequence and real time layers have CV/gate outputs. No effects other than spring reverb on the Synthi.

CLICK FOR MORE »

Matt Barber - 80's in 80 seconds

video upload by Matt Barber - Sounds from The Sandbox

"Just thought I would try a little something fun...the title says it all. 0 to 80's in 80 seconds. Enjoy. Certified AI free and no traces of softsynths!

Drums - Oberheim DX Stretch, Korg DDD-1 - just a snare on 2 and 4 with mostly just the reverb return from a Roland SDE-330 non-lin setting, Roland TR8S - some perc and a ghost snare from the 707 kit.

Oberheim OB-8

Korg DW-8000

Bass - Roland D-50 patch also triggering a Roland JX8P and Korg Polysix to fatten and double it

Ensoniq ESQ - A nice PPG Wave patch from a sound cartridge I have for it.

Sequential Rev 2 also triggering a bell patch on the Yamaha TG33

Yamaha DX7iiD - nice dual patch one a rhodes type and the other a tine from the many banks on the Hypersynth card to finish it off and play out on."

Matt Barber - 80's in 80 seconds - Episode 2

video upload by Matt Barber - Sounds from The Sandbox

"80's in 80 Seconds Episode 2 has landed! The first one was a bit fun so let's keep the theme going. This one starts off with a nice "groove" and builds with some synths spanning the decade. If you listen past the 80 seconds the Arp Odyssey briefly shows off its duo-phonic capabilities with a few 2 note chords that almost have a vocoder like effect with the phaser on it just after the 2 minute mark.
The following instruments were used and recorded as a 2 track with no editing or overdubs with each part being played into a pair of Arturia Keystep Pro sequencers. As always, AI free and made with real ingredients. Thanks for watching!

Oberheim DX Stretch - main drums
Korg DDD-1 - perc
Roland TR8-S - additional high hats, rim shot, crash
Berhinger - Model D - Bass
Roland Jupiter 4 - Arp
Korg PolySix - Synth Brass Pad 1
Roland Jupiter 6 - Synth layer 2
Yamaha DX7II - Bell 1
Roland D-50 - Bell 2
Arp Solina - Strings
Arp Odyssey Mkii 2810 - Lead"

Matt Barber - 80's in 80 seconds - Episode 3

video upload by Matt Barber - Sounds from The Sandbox

"80's in 80 seconds episode 3 is here to start of the New Year! I thought something "new" should be in 'order' after the busy holiday period. Several familiar sounds in this one that can most likely been dialed in on many synths of the era but this one builds with the hardware listed below. All natural...Certified AI and VST free. Thanks for listening!

Drums -
Korg DDD-1 to start with the first hi-hat
Oberhiem DX Stretch - Main kick, beat kick, snare, additional hi-hat, clap, and rim shot
Roland TR-8S - a little kick for attack, snare ghost notes, and high hat movement

Pad 1 - Oberheim OB-8

BASS - Berhinger Pro 1 and Poly D played with the arpeggio on on the Keystep Pro

Pad 2 - Roland D50 layered with Roland JX-8P and Korg DW8000

Bell - DX 7 ....of course it is!

ARP Chords - Roland Jupiter 4."

EMS Universal Sequencer driving Roland MC-202 and SH-101

video upload by analogia pl

"One 'layer' of Universal Sequencer sequences the MC-202 and the other 'layer' is used to play the SH-101 live.

I don’t know what it is with EMS, but each time you get to play one of their quirky and unusual designs, you get a new kind of feeling — as if these sometimes bulky and obsolete electronics are very much alive.

Let’s be frank: there are a million simpler ways to play an SH-101 or an MC-202. But somehow, using the Universal Sequencer makes those classic synths feel completely different."

EMS Universal Sequencer externally triggered

video upload by analogia pl

"Let’s get nerdier. Someone asked if the Universal Sequencer can be triggered from the outside world. Of course it can! What I did here was a recording a sequence into the Uniseq that would play the MC-202, switched trigger to external, then recorded a sequence into the SH-101 and use gate out from 101 to externally trigger in of the Uniseq. It works like a charm."

Cheerful Electronics OPL Studio - First Contact

video upload by j bowman

"🎵 Welcome to Cheerful Electronics OPL Studio - First Contact! 🎛️ In this sound design experiment, we dive deep into the world of FM synthesis using the powerful OPL Studio, exploring retro sounds inspired by classic OPL3 chips. Whether you're a fan of chip music, vintage FM synths, or curious about pushing the limits of sound design, this video is your perfect starting point.

Get ready for rich, textured tones and quirky sonic explorations as we showcase the raw potential of OPL Studio. This first contact session covers live tweaking, patch creation, and modulation — perfect for anyone diving into retro synth workflows or looking for viral FM synthesis content.

If you're into chiptune, retro game soundtracks, or nostalgic hardware-driven music, you'll feel right at home. Watch now and get inspired to experiment with your own OPL3-based synths and plugins!"



via Cheerful Electronics

OPL Studio is the ultimate OPL2 / OPL3 synthesizer! It gives you almost limitless control over what you can do with the OPL3 synthesizer chip.

Features of OPL Studio

OPL Studio has a long list of features. To name a bunch of them:

Integrated patch editor to edit predefined instruments and create your own
Load and save instrument banks from popular formats such as *.BNK, *.SB, *.O3, ect.

Patch linking to layer up to 4 instrument patches for even more complex sounds
Polyphonic sequence editor to create up to 32 drum and 32 melody sequences
Quad sequencer to live play up to four sequences

Composer module that lets you create complete songs from your sequences
Midi channel mixer

CLICK FOR MORE »

Bad Gear - The END of Volcas

video upload by AudioPilz

"Welcome to Bad Gear, the show about the world’s most-hated audio tools. Volcas are awesome: the original meme synths that kicked off an ongoing trend of miniaturization in music technology and turned countless promising musicians into irredeemable gear addicts.

However, everything must come to an end, so today we are going to talk about Volca Sample New Generation. You might be surprised that my original Volca Sampler - although prominently featured on this channel - never actually received the Bad Gear treatment, that this is the very last member of the existing Volca family to be reviewed here and let’s discuss why I don’t think there’s ever going to be another Volca as we know it.

Volca Sample is not a sampler

Bad Gear - The END of Volcas

Chapters:
00:00 Intro tune
01:02 Overview Korg Wolca 2
01:57 How to play tonal stuff
02:12 UI, Workflow
02:49 Reverb Effect, Analog Isolator
03:12 Sequencer (Step Jump, Active Step, Motion Seq)
04:00 Sample Import, Computer Integration
04:27 What else??? (Connectivity, Pricing,...)
04:50 Hate
05:15 Jam 1 ( Lo-fi House )
06:11 Jam 2 ( Drum'n'Bass )
07:16 Finale ( Proto Bass Music )
07:46 Verdict"

Playing EVERYTHING on ARTURIA ASTROLAB

video upload by Woody Piano Shack

"Demo of every sound engine in the ARTURIA ASTROLAB STAGE KEYBOARD, featuring the sounds of ANALOG LAB and V-COLLECTION. Let's play the acoustic instruments, GRAND PIANO, RHODES, WURLI, HAMMOND and vintage analog and digital synths, featuring MINIMOOG, JUNO, JUPITER, PROPHET, EMULATOR, FAIRLIGHT and more!"

MORE WOODY PIANO SHACK
► https://woodypianoshack.com

2006's TimewARP 2600 Gets an Update

TimewARP 2600 - Main Walkthrough video upload by AIR Music Tech

"This isn’t just another synth; it’s a bridge to classic synth royalty, bringing the legendary sounds of the ARP 2600 into the modern era with unmatched authenticity and advanced features.

The ARP 2600, a favorite among many legends like Joe Zawinul, Depeche Mode, Roger Manning Jr., and Pete Townsend. The ARP 2600 bridged the gap between modular and non-modular synths with its ingenious normalized patch design.

First created in 2006 and now updated, the TimewARP 2600 carries that legacy forward, delivering the warm, authentic sound that once revolutionized synth-based music.

Key Features:
● 3 VCOs - All capable of generating audio band and Low Frequency (LF) signals.
● 1 Low-Pass Resonant Filter - Supports variable-depth self-oscillation and audio band and LF control modulation.
● 1 Sample & Hold - Driven by either an internal, external, or MIDI Beat Clock. Can also be used as an LFO source.
● 1 Ring Modulator.
● 1 Noise Generator - Adjustable from white to red noise.
● 2 Envelope Generators - 1 ADSR, 1 AR.
● 1 Envelope Follower.
● 1 VCA - 2 audio inputs, 1 linear control input, 1 exponential control input. Also has initial gain control.
● 4 plug multiple modules.
● Stereo Reverb.
● Output Pan.
● Electronic Switch.
● Lag Processor - LF filtering from 1.2 to 1200Hz.
● 2 Inverter Modules - both with attenuable inputs.
● Preamp In - mono or stereo.
● Virtual ARP 3620 Keyboard.
● Variable-rate portamento, octave switch, pitch bend, LFO controls including delayed sine wave vibrato depth and speed.
● LFO Outputs - Including square, triangle, and sine waves.
● External LFO-In - Allows keyboard voltages to be modulated by any signal present on the TimewARP 2600.
● Interval Latch Switch - Will latch a two note interval for use as single key play.
● 2 Upper Voice Outputs.
● Multiple or Single Trigger Mode - Provides for single or multiple gates for slurred notes.
● Keyboard Repeat Mode - Provides auto repeat or repeat on key-press synchronized to keyboard LFO and MIDI Beat Clock.
● Square wave is syncable to MIDI Clock.

Formats
macOS: AU, VST, VST3, AAX. Windows: VST, VST3, AAX."

https://www.airmusictech.com/virtual-instruments/timewarp-2600/

TimewARP 2600 - Air Music Tech | No Talking | ‪@AIRmusictech‬

video upload by DKS SYNTH LAB

Timeline
0:00 Intro
0:10 Odyssey & Omni Interfaced
2:29 Arp Omni-2 Polyphonic
3:44 Record Ready Bass
4:36 FM Sequential
4:59 ARP Electronic Piano
5:31 Logan's Run Brass
6:20 SLO Clav 1
7:10 Concert Hall Omni
8:19 Warm Polyphonic 2600
9:10 Ozzy VS 2600

TimewARP 2600 - Authentic Recreation of an Absolute Classic Synth - Let's Check it Out

video upload by The Sound Test Room

Midicake Arp and The One Finger Jam (no talk)

video upload by Richard DeHove

"Something's wrong if you're making music but not having fun. It should all be fun. But writing good, coherent, interesting and long patterns is difficult (for me) and often liable not to be much fun. The usual path is to make a good 16-step pattern, copy it, add some variations, and bump to 32 steps. Then what about little fills and other bits? Now you're talking about "song mode" and other mathematical duties.

So the idea here was: Let's use the Arp to create long patterns, then hit record on the DB-01 and just feed in the result. I did try that and it worked a treat. But as an alternative you can just manually "play" the entire thing on the Arp - which is what I did here.

It took a bit of practice to get the timing right and I wouldn't want to be playing the entire "song" to a live audience with one finger unless there were a few other things running to cover in case of a mistake. Of course in the studio no one can hear you scream after five errors in a row.

Live-playing the DB-01s like this you lose various programmable goodness like the pitch envelopes, filter mod and accents; but on the flipside you can use portamento on the sequence (although I didn't here) and can use the Arp to set and vary the gate lengths. For example the top DB-01 is playing the high blippy theme on the Arp channel 3 and the longer three-note bass prod on channel 4. It can seemingly produce two sounds almost simultaneously because channel 3 has a short gate and high octave, while channel 4 has a long gate and low octave.

When you think about it that is pretty amazing work for an arpeggiator! It's like instant program change on a synth with no programs.

In this piece all the music is coming from the two DB-01s, with a drum track added afterwards in the DAW. I chopped it up a little to make a 90-second jam (instead of the 8-minute director's cut) but it is essentially live-played. There are no DAW effects, no extra layers or EQ.

After all this intricate fun it seems to me that calling the Midicake Arp an "arp" is monstrously understated. I see it more like your synths are big dumb blue-ribbon bovines standing around in a field and the Arp is a supercharged border collie begging to chase them through a Marine bootcamp obstacle course. Make those machines sweat! They cost enough.

Lots of downloads for supporters on Patreon: / richarddehove
Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/"

Osmose // The 7 Stages of Ownership

video upload by Starsky Carr

"Don't be scared - The Osmose isn't like other synths... but its nothing to be afraid of! In fact it feels like we're entering a new more enlightened era. One where we can show more emotions... let's not call it a woke synth though, I could get in all sorts of trouble ;) Would it wear a pink cowboy hat if going to watch barbie? who knows - but it does display A LOT of emotion and dynamics.

Just for fun I've swapped the 7 stages of grief to the 7 stages of enlightenment - because you do go through a process as you play with it. I haven't whitewashed over the negatives either as its all part of the journey. The software can be a b*tch at first, and its so frustrating that a few tweaks to the manual would've saved me a day or so of headscratching.

Overall though... phwoar!!

There are free patches and samples and stuff to buy here: https://starskycarr.com

0:00 1 Shock - overview of the hardware
2:11 2 Realisation - whats MPE and how does it work
12:22 3 Conceptualisation - how to use it & controlling the sensitivity
15:21 4 Understanding - getting to grips with the Haken Editor
24:58 5 Rejection - some minor issues and some bigger ones
32:29 6 Acceptance - integrating into your studio
33:12 7 Enlightenment - Sunny Uplands of Synthershire"

Dreadbox Nymphes unboxing! Music from my first jam with Digitakt. #synthesizer #dreadbox #nymphes

video upload by Hanjo Synth

"Welcome to my unboxing of the Dreadbox Nymphes Polyphonic synthesizer! This is an exciting release from Dreadbox, known for their high-quality analog synths and effects pedals.

Let's take a look at what's inside the box. As we open it up, we're greeted with the sleek and stylish design of the Nymphes. The synth has a beautiful metal enclosure and its sturdy construction makes it feel like a premium instrument right out of the box.

Moving on to the accessories, we have the MIDI to Din adapter, the USB cable for powering the synth and a quick start guide. The USB cable is a convenient design choice, allowing you to power the Nymphes directly from your computer or USB power supply.

Now, let's get the Nymphes hooked up and see what it can do! As we power it on, we're greeted with a warm and inviting sound. The Nymphes is a 6-voice polyphonic synth with one oscillator a sub oscillator and 2 LFOs, making it capable of creating rich and dynamic sounds with ease. The controls are not the most intuitive but they are all available with a few button combos allowing you you to quickly dial in the perfect sound for your music.

Overall, the Dreadbox Nymphes Polyphonic synthesizer is a fantastic addition to any musician's setup looking for a Polysynth. Its high-quality build, versatile sound, and hands on controls make it a joy to play and experiment with. I'm excited to dive deeper into what this synth can do, and I hope you are too!"

PWM Malevolent: A selection of raw sounds (no talk, no FX)

video upload by Richard DeHove

"Who likes grinding, grating, howling, scraping, buzzing, screaming, inharmonious detuned filth? I'll tell you: The harder, cooler more experimental edge of the synth world - and that's you :D So here they are from the PWM Malevolent and all completely raw. No pesky effects to mask the horror and wash away imperfections. Why experience 'pleasant, lush or smooth' when you can have 'random, resonant and cross-modulated' ?
Experience the vicarious fun of ugly, dirty noodling on one of the world's most ugly synths! Yes, the Malevolent is ugly, and not even catwalk-weird-ugly, just plain ugly. From its bug-guts-green color scheme, messy layout and annoyingly small filter, resonance and drive knobs, ugly. But ugly is as ugly makes, so see how easily the controls can tip from one sound into something completely different. Then add some careless CV patching in utter disregard of pitch.
And as fun as it is to tweak it'd be a brave (or spiteful) soul who'd play this live without a beefy limiter or some other device to catch the inevitable volume peaks, piercing resonances and unexpected low-end swells. It is not a tame lion. In the video I tried to keep the volume under control and have made only minor overall volume adjustments to individual sound clips in the DAW. But there are absolutely no effects, EQ or post-processing.
I might replace all the knobs - but the layout will still be awful :/ But what about that sound?!

0:00 Formant insect
0:48 Box of dirt
1:18 Zappy McZap
1:40 Space Cow
3:00 Tuned toad
3:27 Allsorts
4:39 Wobbler
5:08 My ears!
5:36 Android vomit
6:10 Tuna
6:33 Drummer Boy
7:20 Noise plonks
7:50 Paint scraper
8:54 FM digestion
9:50 Noise flavors
10:37 Bulldozer
11:12 Dying modem
11:50 Annoying clanks
12:37 Bag of cats
13:27 Oof
13:55 Let's get seasick

Lots of downloads for supporters on Patreon: https://www.patreon.com/richarddehove
Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/"

Making synths play themselves [Generative Ambient Tutorial - Sequential Pro 3]

video upload by Jameson Nathan Jones

"Tired of playing synths yourself? Why not teach them to play themselves so you have more time to explain to your significant other why you bought them. Let's learn some generative ambient patch techniques on the Sequential Pro 3! Settle in, grab a Yoo-hoo - it's a deep one.

**Download this patch for FREE**
https://bit.ly/PRO3_SkylarPatch

0:00 - patch preview
0:14 - intro and why the Pro 3 is great for this
1:46 - starting from scratch
3:12 - A key principle of generative patches
7:14 - setting up a paraphonic sequence
9:47 - fun with pulse width
11:10 - making a better sequence
12:09 - much better
13:06 - modulating wavetables
14:04 - why the Pro3 usually sounds to aggressive
15:17 - bringing in the noize...
18:34 - panning as a destination
19:32 - accidental tip for creating more interesting patch ideas
22:02 - adding internal effects
23:55 - oh wait here's some reverrrb
24:41 - being very thrilled with myself
26:00- State Variable filter to put it over the top
29:00 - finishing touches
30:30 - OMGood GRAVY that's heavenly
32:34 - Download the Patch for FREE"

Synthstrom Audible Deluge 4.0 Adds Wavetable Synth, Euclidean Sequencing, MPE & Polyphonic Aftertouch & More

DELUGE WAVETABLE SYNTHESIS video upload by Ollie Loops

"In this video, we explore the new WAVETABLE SYNTHESIS features added to Deluge in firmware 4.0 . These features enable users to load wavetable audio files into an oscillator and modulation position of the waveform. This means much more dynamic and evolving sounds are possible on Deluge.

Firmware 4.0 adds a host of other great features to Deluge. It's so great when a manufacturer continues to support a device by adding new and exciting features via firmware."

Wavetable Synthesis (4.0) // Synthstrom Deluge Tutorial

video upload by Ron Cavagnaro

Intro 0:00
Setting up a new synth 0:23
Assigning a Knob To Lfo2 Rate 1:54
Changing Wavetable File 2:35
Making a Pattern 3:00
Changing Wavetable File 3:49
Changing Lfo2 type 4:19
P-locking Notes To Wavetable Position 5:20
Loading Osc2 Wavetable 6:10
Extended Wavetable Drone Demo 9:26

Generative Sequencer Tools - Playback, Row Length, Euclidean (4.0) // Synthstrom Deluge Tutorial

video upload by Ron Cavagnaro

Intro 0:00
Playback Mode 0:32
Row Length 1:23
Playback Mode and Row Length 3:15
Reset Row Length 3:53
Conditional and Iterative Notes 4:39
Euclidean Sequencing 6:19
Nudging Notes In a Kit Row 8:43
Playback Direction Per Kit Row 10:18
Resampling, Slicing 11:09
Kit Row Length and Ping Pong 12:14
Resampling and slicing again 13:20
Resampling and slicing again 15:03
Resampling and slicing again 16:46
Comparing the results 18:20

Synthstrom Deluge & MPE - 4 0 Firmware Update

video upload by Too Mere

"Demonstrating the MPE functionality and making a tune with the Linnstrument to control and edit MPE on the Synthstrom Deluge."

-------

Details on the 4.0 update via the Synthstrom Audible forum:

"We're very excited today to announce the arrival of our huge 4.0 software update.

Instructional videos and downloads links are at the bottom of this spiel.

Highlights include:

Wavetable synthesis, and improved single-cycle waveform playback.
Support for MIDI Polyphonic Expression (MPE), and similarly MIDI polyphonic aftertouch. The Deluge can receive MPE from external MIDI controllers that support it, it can record this data, and the internal Deluge synths can respond to it. And this MPE data may also be output again to an external synth.
Euclidean sequencing - per row of a clip on the Deluge. This also means that now individual rows within a clip may be set to different lengths.
Sequences can be set to play in reverse, or to ping-pong.
Synths, kits and songs may be put into folders, and the user can browse these when saving and loading.
MIDI input devices (and to a limited extent output devices) may be differentiated and treated separately, so that two devices sending on the same MIDI channel won’t be confused.
Improved handling of regular MIDI pitch bend and channel pressure. Adjustable MIDI pitch bend ranges.
Sharing presets along with their audio files, with other Deluge users, is now easier.
MPE SUPPORT
This massive release makes the Deluge the first standalone hardware sequencer to offer comprehensive MPE (MIDI Polyphonic Expression) support, allowing you to record, edit and transmit expressive MPE with compatible devices. You can also use external MPE devices to get expressive with the Deluge’s internal synth/sample engine. Tip: combine with the Deluge’s multisample support to bring expression to everything!

EUCLIDEAN SEQUENCING & INDIVIDUAL ROW LENGTH
Euclidean note entry brings an entire new method of beat and melody creation to the Deluge. Coupled with the ability to now make any row within a kit, any length, this infinitely broadens the scope for new rhythmic variations and ever-evolving melodies.

You can set the length of a row, dial in how many steps you would like to play on that row (automatically divided ‘musically’), and then move those notes horizontally - this becomes not just a new way to make innovative rhythms, but an incredibly versatile performance tool.

PLAY-DIRECTIONS
If being able to set the length of a row wasn’t enough, you can now tell the Deluge what direction (forward, reverse or ping-pong) to play-back those particular notes and not only that, you can have each and every row playing a different direction. Warning: fun.

POLYPHONIC AFTERTOUCH, IMPROVED “MONO” EXPRESSION
In bringing MPE to the Deluge, we at the same time introduced support for good ol’ MIDI polyphonic aftertouch, plus you can now record both pitch bend and channel pressure (aka monophonic aftertouch) into synth, MIDI and CV clips. And, this data now stays with the clip even when you change presets or switch between clip type (e.g. from MIDI to synth etc.).

Previously, synth clips could only record pitch bend, not channel pressure, and CV clips couldn’t record either.

ADJUSTABLE BEND RANGE
The Deluge is no longer stuck with a 1-octave bend range. Now, there’s a global setting under DEFAults -> BEND to set the default bend range. This should default to 12 semitones (1 octave) for all existing users, it will default to the more normal 2 semitones for new users. Anyway, you can go ahead and change it.

WAVETABLE SYNTHESIS, AND IMPROVED SINGLE-CYCLE WAVEFORM PLAYBACK.
How about an entirely new form of synthesis? The Deluge will now support Wavetable files, Ringmod on the Deluge is also totally compatible with Wavetable, you may even put a separate wavetable in each of the two oscillators, with each of their wavetable-positions affecting the resulting sound.

The Deluge has always supported the playback of single-cycle waveforms by loading them as samples. But now, a technically superior option is for these to be played as a wavetable, as the wavetable engine is more fit for this purpose: it is more CPU-efficient, and will produce higher quality sound with less aliasing, particularly with high notes. It also allows the use of ringmod and oscillator sync. The wavetable-position parameter is not available when playing single-cycle waveforms, as there are not multiple cycles to interpolate between.

PRESET & SONG FOLDERS
Our users jumped for joy when we announced this new addition. You can now separate your 1 million presets and songs into folders to make navigation easier!

DIFFERENTIATING MIDI INPUT DEVICES
Now, the Deluge will differentiate between MIDI coming from different hosted USB devices, and MIDI into the input DIN port, and from a connected computer which is hosting the Deluge.

Let’s say you have the Deluge hosting say a Keystep via USB (and that’s through a USB hub), and you’ve actually learned all 16 channels from that Keystep to different synths on the Deluge. Well, then you could connect another USB MIDI device to your hub, and learn those 16 MIDI channels to yet another 16 synths on the Deluge. And whatever MIDI device is plugged into the Deluge’s DIN input will have its 16 channels treated as independent yet again.

IMPROVED MODULATION MATRIX
Lastly, we’ve also improved our modulation matrix! - The feature where the modulation-depth of a source-param pair (or “patch cable”) can itself be modulated by another modulation source – well, previously the Deluge could only handle doing this for one such patch-cable per synth. This limitation has now been removed, and you can do it for as many patch-cables as you want, subject to other existing limitations.

HAVE FUN!"

[diy] LIL' MONO SYNTH - A proper introduction

video upload by planeteatrr

"You can find more information on this little oddball over here: https://modwiggler.com/forum/viewtopi...

All the files for having the circuitboard and the frontpanel produced will be made available soon. If you can solder you can easily build this on one sunday. Complete production costs for one unit are around 70€/$ or less. I will add a link to the production files in some weeks.

Cheers
Sebastian"

Additional details:

"Since a year or so I fantasize about developing a series of small analog synthesizers, that will fit in guitar pedal or other types of enclosures, with frontpanels made of FR-4 pcb material. The synthesizer I am about to describe is basically the archetype and prototype for the more advanced synths. The next one will be based around Electric Druids VCDCO and TAPLFO chips and another one will include the famous CEM3340 vco ic paired up with a vcf that is a weird mixture between a Wasp vcf and an Oberheim Sem vcf.

But let's have a look on the first one of these synths. The main goal for me was that it can fit into a small aluminium die cast enclosure, without the need to use smt componentes or small 1/8 watt resistors. This meant I needed to have a low parts count. The result is that I used the most basic circuits for each individual function and merge them together into one circuit. I really did not expect much from it, but I am actually very suprised that the output of this progress is much more versatile and interesting (but with a nice and big "oddness-factor") than I thought.

Though I took my HEF4046 (The IC needs to be a Philips/NXP or Motorola, TI ICs will track very poorly, those HEF/MC ICs are obsolete as through hole parts but they are available in hugh quantities at e.g. ebay) vco design and built all the other stuff around it. I decided to take the most simple vca design I know which is the infamous single diode "vca", that is often used in lunetta-type synths. I was suprised that it is actually working with sawtooth waves aswell. It gets a bit weird and distorted when the envelopes fade in or fade out, but I really like the sound of it. Since my vco design has a sawtooth output that is one octave higher than the squarewave output, the squarewave output can be used as suboscillator. Both waveforms are mixed together and send in to the vca, which comes before the vcf. The vcf should actually have been a twin-t notch filter, but I left out the highpass part and it became a (sort of bridged T) low pass filter, which has quite some similarity to tim escobedos q&d vcf. This thing sounds dirty but when you use the right values for the components it can be tamed and can sound quite creamy at high resonant settings. For the envelope generator I actually planned to use a 555 timer ic, but that would have had to many components. Though I decided to build the most simple envelope generator that just contains a comparator at the input and a buffer at the output. It's not perfect, but it works just fine. There is no modulation for the vcf beside the envelope modulation, but this alone sounds quite nice (there will be a jack for cv).

There are some downsides to this simple circuit:
* The "vca" is not a real vca and distorts the signal (which I actually like)
* The "vca" has a little bit of signal bleedthrough, which is completly gone when using the env mod
* The vco is not very precise, but works solid over 2 to 3 octaves or even 4 octaves (you need to live with some tuning error, somehow it depends alot on the used cv-interface, actually the cv inputs needs to be buffered :roll:)
* The envelope generator is not that good but if you are aware of its sweetspots it can do a good enough job
* There is an overall oddness to some controls, but it works much better than I expected
* It has no midi connection (only cv inputs)

The pros are:
* The gerber files will be available for free
* It will be very small for a fully functioning, east coast style analog synth. It is literally half the size of a korg volca device
* It has a suboscillator
* The output is actually quite powerful and it "sounds big"
* It sounds unique and quite versatile
* It can be hooked to other (semi)-modular devices.
* You can play it polyphonic when using several of those synths and a multichannel midi2cv interface
* Built cost will be under 50€($)
* I developed the synth in 5 evening sessions or so ;)

There are some issues in the initial schematics, but I will update them soon...

Gerber files will be uploaded in spring/summer and I will most likely sell some pcbs and frontpanels."

New Superbooth Berlin 2021 Presentation Videos

You can use the controls on the bottom left or upper right of the player to skip around.

Playlist:
1. Joranalogue - SUPERBOOTH21 Gesprächskonzert (lecture concert)

The Belgium Eurorack synth maker Joranalogue presented not one, but three new modules at SUPERBOOTH21: Orbit 3, Enhance 2 and Step 8.

During their Gesprächskonzert at Fuchsbau they not only talked about these new modules, but Alter Fritz also performed a live session with a Joranalogue based Eurorack system.

Driven by an unrelenting passion for analogue circuits, Joranalogue Audio Design offers an expanding series of high-quality Eurorack music synthesizer modules. They're continually introducing new approaches and techniques to the Eurorack platform, making waves in the waters of analogue synthesis. All products are designed and made in Belgium, guided by experiences in both modern hardware engineering and vintage synthesizer servicing.

This year, the Joranalogue crew finally returns to Berlin to present its latest developments. Join designer Joran van Gremberghe and artist Frits Jacobs (Alter Fritz) for a whirlwind ride through the exciting world of these black and silver modules!

2. u-he Wiretap - SUPERBOOTH21 Gesprächskonzert (lecture concert) @SUPERBOOTH21

For this Gesprächskonzert Urs Heckmann, founder of Berlin based company u-he, teamed up with Sebastian Hübert for their performance and presentation at Fuchsbau during SUPERBOOTH21. The former one-man show u-he is now a tightly knit team of employees, active associates and 3rd-party contractors – with ambitious plans.

Famous for very accurate and widely appreciated software synthesizers and effects, u-he showed their first eurorack module at a previous edition of Superbooth – the CVilisation. At SUPERBOOTH21 it was time for another announcement. They took the chance to present their latest development with a Gesprächskonzert, of which you can find the video documentation below.
The module is named Wiretap and it played a major role in creating rhythm during their performance.

Wiretap is a double gate extractor for v/oct signals. It will generate a gate when the voltage goes high, when it goes low, when it's steady, when it moves, when it's higher than the other one and when it's lower. And you can set the gate length and get additional envelope outputs.

3. Bitwig - SUPERBOOTH21 Gesprächskonzert (lecture concert)

Berlin based DAW-makers Bitwig played a Gesprächskonzert on Thursday of SUPERBOOTH21. With the idea of - Less is More - Dave Linnebank showcased Bitwig and its possibilities, concentrating on simple ideas and how to creatively make them more complex. In other words: In this performance Dave starts with some short phrases, and then uses Bitwig Studio to extend them into musical passages. These will then become performance-ready clips by adding Bitwig's Operators for some fuzzy logic, getting the computer to make compositional choices while Dave is busy playing new lines on top.

Dave Linnenbank is a musician, technologist, and teacher. Over the past 20 years, he has crafted musical tools for pop and jazz artists, Broadway musicals, and desktop electronic musicians everywhere. Dave is part of Team Bitwig in Berlin, regularly making YouTube tutorials and more.

4. Verbos Electronics Complete Systems – SUPERBOOTH21 Gesprächskonzert (lecture concert)

During his Gesprächskonzert at SUPERBOOTH21 Mark Verbos is introducing the audience to the newly designed Verbos Electronics System Configurations: Designer Configuration, Performer Configuration, Producer Configuration.

Mark Verbos explains the intended use of each configuration as well as the philosophy behind not only the module selection but also module arrangement. He also plays some examples with all three system to give a musical reference to the explanation of the ideas behind each system. This Gesprächskonzert is a great opportunity to watch and hear all three configurations right next to each other – where else would that be possible? Enjoy the video!

5. Modor DR-2 - SUPERBOOTH21 Gesprächskonzert (lecture concert)

Modor introduced its powerful DR-2 drum machine at SUPERBOOTH21 with a short explanation by Marcel from Modor Music about its most deviant possibilities. This six-channel drum machine is completely digital – a discipline that Modor shines in. The DR- drum synthesizer features a sequencer with 128 steps and a very tidy user interface.

It positively surprised many people when it was introduced, because it is unusual and brings something new to the table. Luckily the DR-2 is not a copy of a classic, but uses modern digital synthesis to create drum sounds. A drum model can be assigned to each of the six channels. You can also assign the same model to several or all channels. The models include: Three bass drum models, three snare models, three cymbal models, claps, two tom models and miscellaneous, the latter divided into three subcategories: rimshot, rattle and cowbell.

This Gesprächskonzert was a very welcome opportunity to hear this rare drum machine in action. Enjoy the video!

6. Polyend Tracker - SUPERBOOTH21 Gesprächskonzert (lecture concert)

Sobutane presents his upcoming album Future Cake using two Trackers and one Medusa durng this Gesprächskonzert at SUPERBOOTH21.

After working with the Yamaha RM1x sequencer for 13 years Sobutane discovered the Tracker by Polyend. Originally bought just for drum parts, it revealed itself to be a great live-oriented tool, making him compose music outside his trusty RM1x for the first time in his life. Although the idea of a tracker is not particularly new, the Tracker still feels fresh and inspirational to many musicians. The Tracker brought Sobutane ideas and a new approach to composing his music, so he bought a second one and a Medusa, also made by Polyend. That was the starting point for the creation of the music you hear in his Gesprächskonzert for Polyend. Enjoy!

7. Ploytec Boom Kick - SUPERBOOTH21 Gesprächskonzert (lecture concert)

This Gesprächskonzert was unusually opened with a steel-guitar performance by DobBroMan, showing the Ploytec Boom Kick (Guitar Pedal).

Ploytec always valued the opportunity of Gesprächskonzerte at Superbooth and so they took the chance to do another one in 2021 this time for a rather unusual product – a guitar pedal that generates a kick drum in sync with the tapped in tempo. Additionally it sends a MIDI clock to other gear. This is useful for simple backing of what the guitarist is playing. The addition of a bass drum completes the otherwise solo guitar and with the MIDI tempo output, other instruments can play in sync – whether these are additional drum machines or synthesizers or whatever.

And there is one special thing to note about the bass drum sound – there are no samples saved to this machine. The drum sound is generated through synthesis and it has a huge range of possible sounds, suitable for pretty much all music genres.

And if you haven’t heard the Superbooth blues yet, watch until the end!

8. LPZW & Tubbutec - SUPERBOOTH21 Gesprächskonzert (lecture concert)

Kai and Tobi (aka LPZW & Tubbutec) probably could have sold every second SUPERBOOTH21 guest a 6mod6, that's how well their first joint product was received. At Fuchsbau the Berlin based manufacturers presented the result of their collaboration: a highly modified homage to the 606.

They were accompanied by an opening performance from Cem Oral a.k.a. Jammin’ Unit in which he used the new module intensively, giving a good idea about what the module sounds like in a musical context.

After the performance Kai and Tobi walked the audience through every sound engine of the module and showed their modifications of the original 606 circuits. Not only with the Gesprächskonzert, they convinced a lot of people that they created a great sounding and very versatile 606 inspired drum module.

Now the wait begins, the first batch of the 6mod6 still has to be built. Let's hope that the chip shortage does not delay the production too much.

9. Erica Synths PĒRKONS - SUPERBOOTH21 Gesprächskonzert (lecture concert)

Erica Synths team of engineers and musicians have been working hard to bring surprise us all with a new instrument that no one expected and everyone wanted. Erica Synths had their booth completely dedicated to their latest product the PĒRKONS HD-01 drum machine.

PĒRKONS features four sonically versatile hybrid voices (digital sound engine + analogue multimode filter with overdrive) and a sequencer with simultaneous control over all four percussion tracks, an internal analogue BBD FX send, parameter automation and much more. This is a modern drum machine with a serious vintage look.

For their Gesprächskonzert they brought not one, but two of these machines and finally explained it and showed what it is capable of. For everyone’s surprise, the demo started with a drone set – yes, it can also do drones. And for the final concert part of this presentation, no other than Kodek entered the stage. Sounds fun? Enjoy the video!

10. Nonlinear Labs C15 – SUPERBOOTH21 Gesprächskonzert (lecture concert)

Stephan Schmitt, the founder of Nonlinear Labs, plays some improvisations on the C15 and shows the enormous tonal possibilities of this instrument and its ability to be played very expressively – with up to four expression pedals and the two large ribbon controllers. The C15 is a puristic and distinct digital synthesizer. Its sounds are generated by elementary algorithms and feedback structures. This opens up new fields for sound design and gives musicians an expressively playable and dynamical behavior, similar to acoustic instruments. The C15 is an instrument that has to be played by hand to unfold its full potential. After the performance Stephan explains what features are new and which special features of the C15 he used.

This isn’t the first Gesprächskonzert by Nonlinear Labs, so be sure to check out the previous editions for more information about this unique instrument.

11. Haken Audio & La Voix du Luthier – SUPERBOOTH21 Gesprächskonzert (lecture concert)

Haken Audio and La Voix du Luthier have been presenting together at Superbooth for several years now, showing how well these two companies and their products fit together. This Gesprächskonzert features a Haken Continuum, the all-new Continuum Eurorack Module and the large Pyramid Resonator.
Watch Edmund Eagan passionately talk about his products and enjoy the demonstration and performance of the Continuum Fingerboard by Rob Schwimmer.

The almighty synthesis engine behind all these sounds is the Eagan Matrix, that now is also featured in the Eurorack module. This is a huge opportunity for sound designers and artists to expand their sound palette with very expressive and unique sounds.

12. UDO Audio Super 6 Desktop - SUPERBOOTH21 Gesprächskonzert (lecture concert)

UDO Audio brought the world one of the most interesting poly-synths of the recent years. Very rarely a company achieves such a success with their first ever product – but the Super 6 made it. Now UDO Audio showed the desktop version of this incredible synth. Great looks, ergonomics and the sound of the original Super 6 make this machine a very interesting option for many musicians and studios on the hunt for a capable poly-synth.

In this video George gives a little insight into the development of the company in general and his view on the past two years, since he presented the Super 6 to the world at SUPERBOOTH19.

Ambient jam with the Sequential Take 5

video upload by Jay Hosking

"A live ambient track performed entirely on the Sequential Take 5, using only the on-board effects.

The Sequential Take 5 is not revolutionary in any particular way: it's a five-voice, subtractive, analog polysynth with on-board effects. But no matter how I look at it, the Take 5 is clearly the current best first choice if you're looking to buy a versatile analog synth that can do it all. It's got fantastic build quality, good keybed with full-sized keys and aftertouch, and on-board effects that sound better to my ears than others in its range. Its oscillators and filter are good, and its bass response is stronger than most polysynths I've played with. The mod matrix is simple to use but has plenty of depth. One of the effects is a high-pass filter, which allows you to carve out the midrange for your pad work. The filter drive doesn't offer much, but the separate distortion adds a lot. The layout is intuitive, workflow is fast, and you can get to making patches with very little effort.

I've got synths I like more for bass, pads, and leads, but I've got no one synth that can do all of them this well. This was a pad patch I made with some vibrato, "vintage" fluctuations in tuning and envelopes, the bucket-brigade-style delay, long reverb, and a nice slow set of envelopes on the filter and amp. I started playing and this song came out, a good example of how the sounds can inspire.

If you've got a bunch of synths already, you probably don't need this one. (I mean, let's be honest that we don't need any of them.) But if you're looking for that one synth that can play a lot of roles really well, the Take 5 would be the one I'd recommend.

Thanks for listening."