PlayFader PlayMates - TD-3-MO (Massive Attack - Teardrop & a 303)

video upload by Play All Day

"A one-take jam using a TD-3-MO (a supercharged TB-303) to play along to Massive Attack's Teardrop. Dedicated to the brave people of the Global Sumud Flotilla 2025 ✌️🇵🇸

I wanted to show how expressively you can play a 303 with PlayFader. And I feel like I've just unlocked a secret door... I can't even image how I'd sequence this using a xox sequencer, let alone inside a DAW.

BUT, although I didn't in this case, you can always record the MIDI output of PlayFader into your DAW so you can go back and edit, tweak and fine tune... if that's your kind of workflow.

Not mine, sorry. I just want to play music, that's why PlayFader exists.

No Fun FX used btw, not even transpose, I'm simply just playing, recording, improvising and overdubbing live. Jumping between the dual buffers in each channel, while also switching performance quantisation modes to mix between Auto (ratchets) and Single (which is basically... no ratchets : ] ) to create more variety and dynamics.

Channel A of PlayFader controls pitch and gate CV.
Channel B controls Slide and Filter Cutoff CV at the same time. While the gate out is engaging the Accent.
I chose the Behringer TD-3-MO precisely because of its numerous CV inputs, but you can absolutely do this over MIDI on any other 303, or in your DAW using a 303 VST. More to come with this combo for sure...

I hope you try this and enjoy it as much as I did.

Less work.
More flow.

Play All Day."

https://goplayallday.com/

Jomox Resonator Neuronium SN 56 w/ Original Box

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

via this Reverb listing

"I got this unique synthesizer new, directly from Jürgen Michaelis (Jomox) in 2019 - Serial No. 58. I‘ve only used it a few times, because I haven’t had the time to dive fully into its features.

I still think it has a lot of potential:

- Fully analog signal path

- 6 neurons, which are like voices, combining an oscillator, a resonant filter, envelopes and a special mini-sequencer (see below)

- Each neuron has its own output and also the stereo mix, and can be triggered separately (via round robin notes, or different MIDI channels) or in unison

- Neurons can feedback into each other and themselves, FM each other and “genetically modify“ each other (see below)

- At the same time, neurons can play notes, via MIDI, with the relationships between them still in place - so as if the six voices of a polysynth were all connected to each other

- Each neuron has a mini byte sequencer, which can be used to sequence the filter cutoff, or the steps can be interpreted as a sample, or waveform of the oscillator!

- The sequences of each neuron can also interact with each other, combining in different defined ways to create new, evolved sequences as they run

- There are two external audio inputs, which can be used as the exciter of two of the neurons instead of the oscillator, so you can process external stereo sound as part of the craziness

- You can play it as a 6-voice polysynth if you want!

Perfect condition, comes with original box and individual power supplies for 100-120V and 220-240V."

CLICK FOR MORE »

CME Introduces WIDI K.O.II - Wireless Bluetooth MIDI Adapter for Teenage Engineering EP-Series

Press release follows:

CME Launches WIDI K.O.II — Wireless Bluetooth MIDI Adapter for Teenage Engineering EP-Series

Marseille, September 25, 2025 — CME, a global innovator in MIDI connectivity, today announces the launch of WIDI K.O.II, a Bluetooth MIDI adapter custom-designed for teenage engineering’s EP-133 (K.O.II) and EP-1320 (medieval).

With WIDI K.O.II, musicians can finally experience fully wireless, cable-free MIDI with ultra-low 3ms latency, Bluetooth 5 connectivity, and CME’s exclusive Smart Connectivity Algorithms (SCA) — delivering professional-grade performance for both studio and stage.

WIDI K.O.II acts as a virtual MIDI cable, letting artists connect instruments, controllers, DAWs, and devices completely wirelessly — with the reliability of a cable.

Whether pairing a Bluetooth MIDI controller directly to the K.O.II, syncing with a DAW, or running multi-device group setups, WIDI K.O.II removes the clutter of cables without compromising speed or stability.

In short:
Technology: Bluetooth 5, Adaptive Frequency Hopping
Latency: approx. 3ms (WIDI-to-WIDI)
Range: about 20m / 65ft (without obstructions)
Power: via MIDI TRS port (no external power required)
Compatibility: TE K.O. II & medieval

Pre-Order Information:
Opens: September 25, 2025 via CME’s website.
Special Price: US$ 39.99 (future MSRP/MAP: US$ 59.99).
Shipping: Begins November 1, 2025.

About WIDI K.O.II
“We at Teenage Engineering are super happy that CME chose to make this super-useful accessory for the K.O.II EP-series. I’ve known the team behind CME for 16 years, so it was about time this happened. The EP-series WIDI will open up lots of fun use-cases in the studio as well as on the campsite.”
— David Eriksson, Head of Hardware, teenage engineering

Custom-Built for EP-Series
Engineered exclusively by CME for teenage engineering’s K.O.II (EP-133) and medieval (EP-1320), WIDI K.O.II integrates seamlessly with TRS MIDI ports for a perfect form-and-function fit.

Wireless MIDI Freedom
Cut the cables and play anywhere with ultra-low 3ms latency, adaptive frequency hopping, and a reliable 20m / 65ft range. No batteries, computers, or extra power required.

Plug, Pair & Play
Powered directly by your TE device’s TRS MIDI OUT, with automatic pairing — no batteries or external power required.

Smart Connectivity Algorithms (SCA)
Minimizes interference, ensures stable connections, and outperforms conventional Bluetooth MIDI solutions.

Cross-Platform Compatibility
Wirelessly connect with Bluetooth MIDI controllers, mobile devices (iOS, Android), computers (macOS, Windows, Linux, ChromeOS) and TE’s Field lineup (including OP-1 Field and OP-Z).

Advanced Group Mode
Create Bluetooth MIDI groups of up to five devices for easy splits, merges, and sync. Manage everything through the free WIDI App for iOS/Android.

Trusted by the MIDI Community
As a proud board member of the MIDI Association, CME follows a community-centered “Crowd Creation” approach — involving real musicians and producers from day one in shaping each product.

Additional details: https://www.cme-pro.com/widi-koii/

Introducing the Sequential Fourm

video upload by Sequential

Update: the first user videos added below. Note: this post is pinned on top, see below for new posts going up throughout the day.]

"Fourm 4-voice analog synth with polyphonic aftertouch

Fourm is a compact analog synthesizer that invites you to play, shape, and perform with unprecedented expression. With its legendary Sequential tone, hands-on modulation, and uniquely responsive Tactive™ keybed, Fourm is a creative partner helping to bring your musical ideas to life.

Synth sounds and drums exclusively by Fourm. Composed by Peter Dyer."

https://sequential.com

See the dealers on the right of the site for availabily.

User videos:



Playlist:

1. The new Sequential Fourm in 60 seconds! #analogsynth #synth - Available at Signal Sounds
2. Sequential FOURM -- J3PO demo & overview
3. Sequential Fourm Analog Synth INHALT Demo & Discussion
4. Sequential FOURM Review — Classic synth sounds in a small package! - BoBeats
5. Introducing the Sequential Fourm Synth | First Look & Demo - Gear4music Synths & Tech
6. Sequential Fourm: Poly aftertouch, stacked waves, expressive arps – First look and sound demo - MusicRadar Tech
7. Sequential Fourm Performances & Overview - Sweetwater Soundcheck
8. SEQUENTIAL FOURM: the synth we’ve ALL been waiting for? - Projet Home Studio

Press release and pics follow:


Sequential Introduces Fourm: A Four-Voice Analog Synth with Polyphonic Aftertouch

A New Fourm of Expression

San Francisco, CA — September 23, 2025 — Sequential has announced the release of its most affordable, synthesizer to date. Fourm is a compact, 100% analog instrument that redefines expressive electronic performance. With its warm, organic tone, hands-on modulation routing, and a uniquely responsive polyphonic aftertouch keyboard, Fourm is ready to bring your musical ideas to life.

At its core, Fourm delivers four analog voices of genuine Sequential sound, derived from the legendary Prophet-5 — complete with dual oscillators, a classic 4-pole lowpass filter, and envelope curves modeled after the 1978 original. The result is unmistakable Sequential warmth and punch, now with overdriven feedback for a performance-ready edge.

For the first time in 40 years, Sequential has returned to polyphonic aftertouch. The team developed the new Tactive™ slim-keys poly AT keybed to work in concert with Fourm’s analog synthesis engine. Every element was co-designed and precisely calibrated to unlock new levels of expression, enabling a deeper connection to our signature sound that no off-the-shelf keybed could deliver. The result is a more expressive bond between player and instrument, energizing new modes of creativity.

“Wowww holy smokes: this thing sounds and feels amazing,” said Bryn Bliska, (keyboards for Chappell Roan, Maggie Rogers, Jacob Collier). “The polyphonic aftertouch is seriously so fun… Sequential nailed it.”

“We’re so excited to bring this innovative all-analog keyboard into the world,” said David Gibbons, Sequential CEO. “At a price-point that most people expect to pay for a monophonic synth, we think this product will invite legions of musicians who have longed for the magic of polyphonic analog sounds to start their journey of discovery with Sequential.”

Notably inspired by the Pro~One, Fourm’s top-panel modulation matrix puts deep sound design at your fingertips—no menu diving required. Modulation sources and destinations are clearly labeled, connections are made with a button press, and color-coded indicators make even complex routings easy to manage.

With its compact footprint, professional-grade build, and a sound engine rooted in Sequential’s most iconic instruments, Fourm is a powerful new voice in analog synthesis.

About Sequential
Sequential has been at the forefront of synthesizer innovation since 1974, creating instruments that inspire musicians and shape the sound of modern music. With a legacy built on the iconic Prophet synthesizers, Sequential continues to push the boundaries of sound design with cutting-edge technology and exceptional craftsmanship.

CLICK FOR MORE »

Album with Make Noise only - Fracture #10 Live Performance

video upload by Anton Anru

"🎆 Fractures is the result of a series of experiments with the Make Noise modular trio: 0-Coast, Strega, and 0-Ctrl. This combination of instruments is perfectly suited for generative ambient music, where hypnotic repetition merges with expression and dynamic movement.
💽 I recorded a 10-track album using only three Make Noise devices and VST effects.
All tracks were recorded live in a single take, with no additional editing. Each piece is built around a sequenced pattern and a complex patch that evolves continuously, shaped manually in real time.

The album is available on all streaming platforms.
➕ SoundCloud: / fractures
➕ Bandcamp: https://anru.bandcamp.com/album/fract...

The album explores a wide emotional range — from brighter, more uplifting moments to darker, more noise-driven textures — offering a diverse sonic journey shaped by the raw, living nature of modular synthesis.

📒 I also have patches for Make Noise and other synthesizers: https://antonanru.sellfy.store/

🎛 Lately, I’ve been more interested in working with simpler forms rather than complex arrangements in DAW. Semi-modular synths are perfect for this approach. In this case, the arrangement is the patch itself. If it’s well thought out, you can easily play a full track in a specific genre—like ambient or techno—using just that one patch."

Album with Make Noise only - Fracture #08 Live Performance

video upload by Anton Anru

"🎆 Fractures is the result of a series of experiments with the Make Noise modular trio: 0-Coast, Strega, and 0-Ctrl. This combination of instruments is perfectly suited for generative ambient music, where hypnotic repetition merges with expression and dynamic movement.

💽 I recorded a 10-track album using only three Make Noise devices and VST effects. All tracks were recorded live in a single take, with no additional editing. Each piece is built around a sequenced pattern and a complex patch that evolves continuously, shaped manually in real time.

The album is available on all streaming platforms.
➕ SoundCloud: / fractures
➕ Bandcamp:



The album explores a wide emotional range — from brighter, more uplifting moments to darker, more noise-driven textures — offering a diverse sonic journey shaped by the raw, living nature of modular synthesis.

📒 I also have patches for Make Noise and other synthesizers: https://antonanru.sellfy.store/

🎛 Lately, I’ve been more interested in working with simpler forms rather than complex arrangements in DAW. Semi-modular synths are perfect for this approach. In this case, the arrangement is the patch itself. If it’s well thought out, you can easily play a full track in a specific genre—like ambient or techno—using just that one patch.

📝 I’m curious to hear your thoughts—does this kind of format immerse you in a certain mood or evoke a specific emotion? Or does the sound feel too experimental and harder to connect with?
I’d really appreciate any feedback. Enjoy listening!"

Kanawha Music and Art: Long Division 2 & Filternator - #Knobcon

video upload by CatSynth TV

"We check out the new modules from West-Virginia-based Kanawha Music and Art. Long Division 2 is a classic polyphonic divide-down voice reminiscent of the electronic organs and string machines of the 1960s and 1970s. The Filternator is a filter module based on the resonators found in 1940s Hammond organs.

To find out more, please visit http://kanawhamusic.com/
For more about Knobcon, please visit https://knobcon.com

0:00 Introduction
0:10 Long Division 2
2:45 Filternator
3:55 Conclusion

Please consider supporting this channel to help us bring you more synthesizer tutorials and other content.

Merch: https://shop.catsynth.com
Patreon: / catsynth
Ko-Fi: https://ko-fi.com/catsynth"

Filternator

video uploads by Kanawha Music

Playlist:

1. "Filternator" module introduction

A no-talking introduction to our new module. Is it a Filter? Is it a Resonator? Yes...with a difference.

2. Filternator Stereo demo- no talking

Using two Filternator modules in parallel for stereo and the cool sounds you can make.

3. Filternator Drum & Guitar

What happens when you run a drum machine or a guitar through this module? Let's find out.

Filternator

"Is it a filter? Is it a resonator? Is it a filter bank? Yes- the new Filternator module is all of the above…with a difference. When developing the module and hearing how it treated signals, it was obviously filtering, but with high resonant peaks that were stronger than the incoming signal, at which point it was resonating up a storm. So what to call it? It’s resonating as much as it’s filtering, so we called it the Filternator!

It’s simplicity itself to use: plug your audio in the input, and the output goes to whatever you like down your signal chain. Use the wet/dry mix knob to control the amount of “filternated” signal you’d like to hear. Then comes the fun part: chose a mode, and start messing around with the switches. There’s a choice of three switches for the capacitors, and three switches for the coils used in the circuit. They can be used in any combination to set the filter frequencies and resonant peaks. If you like, automate the mix control with an external CV source. The one thing you don’t do is power it up…except for the external control voltage for the wet/dry mix, it’s completely passive! But unlike other passive filters, this design doesn’t drag down your signal level with resistors in the circuit, because there aren’t any. By using inductors instead, the signal doesn’t get attenuated as it does in a standard passive filter. Instead, it will actually boost signal levels as it nears the resonance peak.

Talk about skiff friendly, not only does it not take any power, but it’s nice and slim, just 12mm deep behind the (nice and thick aluminum) faceplate."
Long Division 2

video uploads by Kanawha Music

Playlist:

1. Long Division version II introduction

Introducing Long Division version II...in addition to the unlimited polyphony, we now have a choice of square or pulse waves, a Gate Out, illumination for the tuning trimmers, and more.

2. Long Division II with modules- Demo (no talking)

In addition to the Master Tune and Tone CV inputs, Long Division II has a Gate Out which can be used to trigger envelopes, etc. This video demonstrates some of the possibilities.

3. LD II Stereo Demo- No talking

A demonstration of Long Division II with the Stereo Mixer/Break Out helper module.

Long Division 2

"In addition to the complete features of the original Long Division module… 12 independent and free running oscillators, one for each note of the scale
Built in vibrato with speed and depth controls
Choice or organ or piano sustain
Tone Control
Variable release time
Tone and tuning CV inputs
100% analog tone generation
Plug and play operation
All 61 notes available all the time!
Long Division II also offers:
A choice of square or narrow pulse waves, great for those string machine sounds!
A Gate Out jack, to trigger envelopes on any note coming on
Internal illumination for the tuning trimmers, and
An optional stereo output!"

Album with Make Noise only - Fracture #07 Live Performance

video upload by Anton Anru

"🎆 Fractures is the result of a series of experiments with the Make Noise modular trio: 0-Coast, Strega, and 0-Ctrl. This combination of instruments is perfectly suited for generative ambient music, where hypnotic repetition merges with expression and dynamic movement.

💽 I recorded a 10-track album using only three Make Noise devices and VST effects.
All tracks were recorded live in a single take, with no additional editing. Each piece is built around a sequenced pattern and a complex patch that evolves continuously, shaped manually in real time.

The album is available on all streaming platforms.
➕ SoundCloud: / fractures
➕ Bandcamp: https://anru.bandcamp.com/album/fract...

The album explores a wide emotional range — from brighter, more uplifting moments to darker, more noise-driven textures — offering a diverse sonic journey shaped by the raw, living nature of modular synthesis.

📒 I also have patches for Make Noise and other synthesizers: https://antonanru.sellfy.store/

🎛 Lately, I’ve been more interested in working with simpler forms rather than complex arrangements in DAW. Semi-modular synths are perfect for this approach. In this case, the arrangement is the patch itself. If it’s well thought out, you can easily play a full track in a specific genre—like ambient or techno—using just that one patch.

📝 I’m curious to hear your thoughts—does this kind of format immerse you in a certain mood or evoke a specific emotion? Or does the sound feel too experimental and harder to connect with?
I’d really appreciate any feedback. Enjoy listening!"

Tone Science Module No.10 The Final Patch (DiN:TS10)

"Now available as a double CD with an 8-page booklet & download

Tone Science sub-label, from DiN records, concludes it’s exploration of the world of modular synth music.

Since the first volume in the Tone Science series was released in 2018, seventy-two musicians in total have joined in with this celebration of the musical possibilities of modular synthesis. These artists have been from a huge range of backgrounds but have all shared the unifying purpose of showcasing the incredible variety of sonic possibilities these instruments can offer.

Tone Science sub-label, from DiN records, concludes its exploration of the world of modular synth music.

Since the first volume in the Tone Science series was released in 2018, seventy-two musicians in total have joined in with this celebration of the musical possibilities of modular synthesis. These artists have been from a huge range of backgrounds but have all shared the unifying purpose of showcasing the incredible variety of sonic possibilities these instruments can offer.

The intervening seven years have seen the modular synth world expanding at an exponential rate and whilst one wouldn’t go so far as to say these synths are mainstream, they are certainly far more prevalent than in the past. It’s especially gratifying to see so many musicians now either play solo sets with them or to include them in their onstage arsenal.

Thus we come to this, the final instalment in the Tone Science series. Nothing lasts forever and certainly stopping at this nice round number of ten seems like a good way to not only end the series but to release the Final Patch, a real celebration of what has gone before and perhaps to hint at what is possible for the future. A beautifully packaged double CD featuring twenty artists who have appeared on previous iterations of the series, it really is a who’s who of modular synth musicians. The release is accompanied by an eight-page booklet with an essay by Neil Mason and some final words from the guiding force behind the whole project, Ian Boddy, label boss at DiN. And as Boddy so succinctly puts it in his liner notes, “for me, despite the technological nature of the equipment, the emotional quality of the music is the single most important factor”. The Final Patch certainly delivers on that ethos.

CLICK FOR MORE »

Album with Make Noise only - Fracture #06 Live Performance

video upload by Anton Anru

"🎆 Fractures is the result of a series of experiments with the Make Noise modular trio: 0-Coast, Strega, and 0-Ctrl. This combination of instruments is perfectly suited for generative ambient music, where hypnotic repetition merges with expression and dynamic movement.

💽 I recorded a 10-track album using only three Make Noise devices and VST effects.
All tracks were recorded live in a single take, with no additional editing. Each piece is built around a sequenced pattern and a complex patch that evolves continuously, shaped manually in real time.

The album is available on all streaming platforms.
➕ SoundCloud: / fractures
➕ Bandcamp: https://anru.bandcamp.com/album/fract...

The album explores a wide emotional range — from brighter, more uplifting moments to darker, more noise-driven textures — offering a diverse sonic journey shaped by the raw, living nature of modular synthesis.

📒 I also have patches for Make Noise and other synthesizers: https://antonanru.sellfy.store/

🎛 Lately, I’ve been more interested in working with simpler forms rather than complex arrangements in DAW. Semi-modular synths are perfect for this approach. In this case, the arrangement is the patch itself. If it’s well thought out, you can easily play a full track in a specific genre—like ambient or techno—using just that one patch.

📝 I’m curious to hear your thoughts—does this kind of format immerse you in a certain mood or evoke a specific emotion? Or does the sound feel too experimental and harder to connect with?
I’d really appreciate any feedback. Enjoy listening!"

Album with Make Noise only - Fracture #05 Live Performance

video upload by Anton Anru

"🎆 Fractures is the result of a series of experiments with the Make Noise modular trio: 0-Coast, Strega, and 0-Ctrl. This combination of instruments is perfectly suited for generative ambient music, where hypnotic repetition merges with expression and dynamic movement.
💽 I recorded a 10-track album using only three Make Noise devices and VST effects.
All tracks were recorded live in a single take, with no additional editing. Each piece is built around a sequenced pattern and a complex patch that evolves continuously, shaped manually in real time.

The album is available on all streaming platforms.
➕ SoundCloud: / fractures
➕ Bandcamp: https://anru.bandcamp.com/album/fract...

The album explores a wide emotional range — from brighter, more uplifting moments to darker, more noise-driven textures — offering a diverse sonic journey shaped by the raw, living nature of modular synthesis.

📒 I also have patches for Make Noise and other synthesizers: https://antonanru.sellfy.store/

🎛 Lately, I’ve been more interested in working with simpler forms rather than complex arrangements in DAW. Semi-modular synths are perfect for this approach. In this case, the arrangement is the patch itself. If it’s well thought out, you can easily play a full track in a specific genre—like ambient or techno—using just that one patch.

📝 I’m curious to hear your thoughts—does this kind of format immerse you in a certain mood or evoke a specific emotion? Or does the sound feel too experimental and harder to connect with?
I’d really appreciate any feedback. Enjoy listening!"

Weston Precision Audio - Pro2021 & Fractal Audio VP4

video uploads by Tumeni Knobs

"I recently finished building the Weston Precision Audio Pro2021 from the Synthcube.com kit. It was an amazing experience to build an entire synth from a giant box of parts, and I had a ton of fun. This synth is a clone of the venerable Sequential Pro One from the early 80s and it sounds incredible. It may seem limited but it offers tons of sound design capabilities, and it's certainly a lot of fun to play. Like with most synths, once you add reverb and delay you can't really go wrong.

This is just an informal, not very well prepared noodle on it. The Pro2021 has midi and CV control options on the back panel, and here I'm using my modular rack to drive the clock which drives the arpeggiator rate. The audio outs are going into the modular's mixer, and effects are from the Strymon Starlab and Veno-Echo. This particular patch is highlighting the oscillator sync feature, which I love the sound of. The internal LFO is modulating the pitch of Osc 1 and Osc 2 is set to triangle wave. Sounds big and fat and crisp and clean all at the same time. Cheers!"

Fractal Audio VP4... with a Synthesizer. Is it any good?

video upload by Tumeni Knobs

"Oddly, when researching the VP4, I couldn't find any demos of it being used with a synth, so I bought it anyway to see if it would be a good match. And yes, most emphatically yes, it is! It was immediately apparent they would go well together - and having only played around with the VP4 for a couple of hours, I thought this video might help others decide if it could work for them.

Obviously, the VP4 does so much more than Drive, Chorus, Delay and Reverb, but those are bread-n-butter effects, so I stuck with those for this quick sound demo. I've since messed around with other effects in the VP4, and found all kinds of great sounds.

The synth is a Weston Precision Audio Pro2021 - a clone of the legendary Sequential Pro One. I built this from a DIY kit I bought from SynthCube.com. It's a simple mono-synth, with no built in effects, and it really does sound excellent - and even more so with a little effects (or a lot of effects). It's filter is super resonant and easily gets squelchy, but that enables some of the greatest sounds when you play with the cutoff knob. ;-)

The recording is direct mono out from the synth into the VP4, stereo out from the VP4 to the iRig Pro Duo that's connected to my old iPhone 12. I opened the audio file in Presonus StudioOne to see if it needed some EQ or compression or normalizing, but I decided to leave it completely raw. I made no changes to the audio whatsoever.

So, I am completely sold on the VP4. I have a load of other effects pedals, including the Eventide H90, and this thing is amazing. The quality of the effects and the build are absolutely top notch, and the user interface is so easy to use right out of the box. It's way way way easier to mess with than the H90...

Cheers!"

Valley Of The Shadows/Origin Unknown (Circuit Tracks Version)

video upload by Guinan

"'We need Jungle I'm afraid'.....this weeks track is the highly influential jungle track 'Valley Of The Shadows' by Origin Unknown released first in 1993."

"Funnily enough I had this CD for years and didn't have a sampler! (I couldn't lay my hands on it for the video but had a copy in my 'archive'). It was a lot of fun to assemble this very simple track from the ingredients and only a small amount of artistic licence was required to fit it into the Tracks.

As you can hear there are no drum machine samples in this...the 'Drum' section is used entirely to play back samples and loops. The samples were edited and time stretched to work in the track at 160Bpm. The arpeggiated section was prepared as 3 samples (2 of which had the extra pitch shifted repeat of the arpeggio).

Synth 1 - single oscillator sine wave with a touch of distortion to fatten it up
Synth 2 - detuned sine waves on 2 oscillators with heavy phaser effects applied.

Drum 2 - '31 seconds' NASA sample from FM Disk 1, 'Long Dark Tunnel' sample from Youtube.
Drum 3 - 'Think' loop from FM CD, with occasional 2nd variation and chopped 2nd half of loop.
Drum 4 - time stretched and pitch shifted arpeggiated loops from FM CD.

Almost entirely based on sounds from a CD free with the first issue of the magazine, Future Music. It also features a sample from a BBC TV documentary about near-death experiences. Countless tracks from the next few years were based on this one CD as bedroom producers hungrily reused the samples creatively.

(I found it here too - enjoy!
https://archive.org/details/the-futur... )

If you've ever heard it, the '31 Seconds' and 'I felt like I was in a long dark tunnel' samples are especially memorable with the deep sub bass.

This was all programmed and played on a single Circuit Tracks. No additional synths or effects were used."

The guide here tells you step-by-step how to recreate this track. Thanks ‪@newbreakscom5050‬:

CLICK FOR MORE »

RITM-2 Synthesizer (1982) - 1 OSC Clone Moog Prodigy

video upload by LFOstore

"According to information that is actively circulating and being replicated on the Internet, the RITM-2 synthesizer was created in 1982 by Viktor Anatolyevich Nikulin, an engineer at the Kirov Musical Instruments Factory, at the request of a musician friend.

The device was well-received by the company's management, and in 1984, it was put into mass production, which continued for 10 years. During this time, the instrument's design underwent three further improvements. It was the only Soviet synthesizer where all components and controls were housed on a single printed circuit board.

Functionally, it consists of one tone generator, a noise generator, a sound signal mixer (triangle, saw, rectangle, noise), a low-pass filter, two full-format envelope generators (attack, decay, sustain, aftertouch), and a low-frequency modulation generator. It is a portable keyboard instrument weighing approximately 9 kg, housed in a plywood case with a lid.

The front panel had two versions: black and white. The main feature of the instrument, which determined its character, long life, and fame in the professional environment, was its unique and harsh sound.

The production capabilities of the enterprise were quite modest, and only about three thousand instruments were produced over the course of 10 years. RITM-2 was produced exclusively on orders from the administrations of houses and palaces of culture, as well as from leading communist enterprises that had their own musical groups.

During the Soviet period, it was impossible to purchase a rare instrument on the open market, and the RITM-2 was not widely known among musicians who were not affiliated with amateur groups. It was not until after 1993, when the Soviet government's support for amateur music, along with the cultural palaces and the Soviet government itself, ceased to exist, that the RITM-2 synthesizer began to find its way into the hands of professional musicians both in Russia and abroad.

The electronic musical synthesizer Rhythm-2 is a single-voice
keyboard instrument designed for solo, ensemble, orchestral performance of musical works of various genres, as well as for educational purposes and obtaining new sound effects. It can be used both in pop orchestras and at home in conjunction with an amplifier-acoustic device having an input sensitivity of no worse than 0.775. It is possible to use a low-frequency amplifier of a radio receiver, TV, tape recorder. The sound quality of the synthesizer will depend on the quality of the amplifier-acoustic device used.
On the Rhythm-2 synthesizer, it is possible to imitate the sound of classical musical instruments (keyboard, string, reed, percussion) with a certain degree of authenticity and create original sound effects (wind noise, the sound of a passing train, the sound of a sea wave, a shot and the whistle of a bullet).

The synthesizer can be used to play melodies with randomly changing pitch or timbre."

Echolocator vs the Zen delay (lots of talk)

video upload by Richard DeHove

"Primarily this is a discussion about the various merits and abilities of each delay and how they compare."

"Although this video runs almost half an hour it feels like I was still skating on the surface. I avoided what I thought were completely obvious things or multiple sound comparisons of particular details. Even so a few areas I never got to include winding the delays all the way down and looking at various flanging and chorus effects, and maybe this deserves its own video? Likewise the Echolocator never got to its dirty mode or the alternate filter placement (although I do have no-talk videos which cover these). Nor did I play with the time parameters, long fripperish things, or drums. Ah well, so many wondrous sounds are waiting in the ether eager to be released. I'm trying.

And of course I never get to any conclusion about which delay is 'best' but surely you didn't think that was ever going to happen? Instead we only get to that forum advice favorite of 'use both'.

0:00 Basic specs
0:38 Alternative delays
1:57 Strymon Timeline
2:58 Ergonomics
4:30 More specs
4:58 Delay time
5:49 MIDI
7:05 - Audio begins! --
9:04 Both playing
9:44 Zen as a crunchy filter
12:00 Echolocator basic twiddle
13:10 Echolocator modulation
15:24 Echolocator pitch shift
17:04 Echolocator freeze
18:45 Noise tones test
22:00 Pure tone test
27:25 Cats or dogs?


Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/"

How do you feel about modifying vintage synths?

video upload by Soundgas

"How do you feel about modifying vintage synths?

Just got my EMS Synthi AKS back from a thorough overhaul and with a stack of mods added (it’d already had some historic and less than pretty ones installed).

People often ask whether modifying a synth like this affects value. While there’s no denying it can feel sacrilegious when you’re talking about an exceptionally well preserved example, I am 100% for anything that means old gear will get used more.

One of the worst things you can do with old gear is put it on a shelf and not use it. We regularly get contacted by collectors (or people who no longer use their now valuable vintage synths) expecting top prices for their precious instruments which come ‘serviced’ and ‘working perfectly - last time I used it’. A little digging usually reveals this to have been a decade or more ago and the service work is ancient history.

So if modding that classic synth means you’ll play it more and enjoy it, that to me is a no brainer.

I understand that this puts us at odds with many vintage synth collectors, but the majority of our customers - who want to use them (shock horror) for making music - seem to agree.

What do you think? Modify old gear or not?"

Make Noise Shared System | Atonal Drone

video upload by Akihiko Matsumoto

"Make Noise Modular Synth Sample Pack: https://akihikomatsumoto.sellfy.store...

Inside the pack:
498 DPO Bass Loops
81 0-Coast Bass Loops
36 XPO Bass Loops
100 Spectraphon Bass Loops
4 Bongo Loops
137 FX Loops
45 Acid Multi 303 Loops

CLICK FOR MORE »

Sinewave Feedback FM | Make Noise Shared System

video upload by Akihiko Matsumoto

"Make Noise Modular Synth (Sample Pack) https://akihikomatsumoto.sellfy.store...

Inside the pack:

CLICK FOR MORE »

CG-Products XR 22VCO, Delay 1022, Peak + Hold, sound.report (Short explanation + 15 Min sounds only)

video upload by The Green Man(TGM) + sound.report by Heiner Kruse

https://www.cg-products.de/module/

XR22 VCO FT
VCO with Ring Modulation Input and FSK (Frequency Shift Keying)

Amplitude Modulation (AM) Input
Ring modulation
CV controllable sine/triangle volume
Advanced waveform generation by AM
Rgb-LED for optical control
FSK (Frequency Shift Keying)
Pulse and ramp generation
Switching between two different frequency CVs
Advanced waveform generation by FSK
LFO-, Bass-, High- Mode
Switchable Sync-Mode (from Rev.6)

The XR22 VCO FT is a VCO with amplitude modulation option – which can be used for volume control, or ring modulation of the oscillator’s sine/triangle output. The AM-input signal is added to a DC-voltage adjustable by knob ‘Gain’ (between ca. +/-5V) and the sum voltage is being internally multiplied with the sinewave/trianglewave The result is an oscillator amplitude depending on the ‘Gain’-DC plus AM-input signal. The applied AM-input signal can be mixed to the VCO output signal (modulated or unmodulated) too – a kind of ‘dry/wet’ control with the mix provided on the sine/triangle output. With no AM-input, the XR22 VCO FT behaves like a normal sinewave/triangle VCO, then its volume is controlled by knob ‘Gain’. Whereas with the knob ‘Gain’ in center position, the oscillator tone is becoming almost muted, and the input signal on ‘AM in’ controls the amplitude of the wave completely; thus the VCO can be used as a ring modulator.

The FSK (frequency shift keying) option provides two internally switchable different oscillator frequencies F1 and F2; each controllable by the two big-sized knobs (and their respective fine-tuning knobs and CV inputs). Switching between F1 and F2 can be done manually or by a logic signal (e.g. a gate signal) applied on input ‘FSK in‘. Further, it is possible to use the XR22 VCO FT‘s squarewave output for FSK switching. This will result in ramp or sawtooth (on the sine/triangle output) and pulse (on the squarewave output) waveforms. The falling and rising edges of the of the sine/triangle signal and the duty-cycle of the squarewave output are independently adjustable, and/or controllable via CVs of F1 and F2.

Furthermore, there is a switch for linking F1 to F2. In this case, the ratio between F1 and F2 is remaining the same, independently from the frequency, and ensuring properly 1V/oct. CV tracking.

A switch allowes to enable ‘sync mode’: An applied trigger will restart the wave always at the same point, useful for synced LFO applications and more.

For optical control, the XR22VCO FT has a full-color LED for AM visualization and a 2-color LED for FSK control.

CLICK FOR MORE »

Says (Version)/Nils Frahm - Circuit Tracks Version.

video upload by Guinan

"I was lucky enough to see Nils Frahm on his latest tour and this is my favourite of his compositions. Whilst listening to the track build on his stack of vintage synths and keyboards (notably a Roland Juno for the main arpeggio) it occurred to me (perhaps over-ambitiously) to have an attempt at seeing how this would sound on the Circuit Tracks.

The track may be familiar to some from the 'Ad Astra' movie soundtrack (might be the best thing about the movie?!). • Says - Nils Frahm Scene Part 2 | Ad Astra ... [below]

This time the limit was definitely not the Circuit hardware but more my own musical ability. Without a score, (and discovering that many of the versions online seem to be semi-improvised) I was left with slowing down the track until I could identify individual notes and program them in in step time….add to that the fact that the track has enormous amounts of tape echo which he manipulates in real-time.

I came to the conclusion that at best I could try and create my own ‘version’ inspired by his original. This should be viewed as a reinterpretation and not a strict cover (and I did put a rhythm track on it too). I’ve since found other Youtubers playing versions of these but they mainly go for very simple arpeggios and I was aiming to try and capture some of the complexity of the other ‘layers’ played.

Imagine this composition then as the simplified version Nils might create for his first Café Del Mar set armed only with a Circuit Tracks…..and after someone had removed his ability to play the piano ;)
I hope some of you like it…I loved attempting this electronica classic and hope you enjoy the end result.

Everything you hear is just the Circuit Tracks. No extra synths or effects."

Says - Nils Frahm Scene Part 2 | Ad Astra (1080p)

video upload by Favorite Scenes