"An improvised deep-dive into the harmonic chaos of the Montreal Assembly PURPLL.
While many know the PURPLL as a PLL-based dirt box, it hides a massive drone synth within its circuitry. In this session, I’m utilizing its internal pulse wave oscillator, utilizing the multiply and divide channels to stack overtones and subharmonics into a wall of sound.
The signal is shaped by the onboard filters and modulated via LFO before hitting the Universal Audio UAFX duo for spatial depth.
Chapters:
00:00 Intro
01:12 Performance
Gear Signal Chain:
• Source: Montreal Assembly PURPLL (Drone Mode)
• Reverb: UAFX Golden Reverberator (Vintage Reverb Emulator)
• Delay: UAFX Starlight Echo Station (Vintage Delay Emulator)
• DAW: Recorded live to stereo, mixed/mastered in Pro Tools.
"A vintage synth recreation of Talk Talk – Candy from the 1982 album The Party’s Over, performed using original classic hardware synthesizers and electronic drums.
This cover uses the legendary PPG Wave 2.2 synthesizer, Oberheim OB-Xa, Moog Source for bass, and Simmons SDS 8 electronic drums to capture the authentic early 1980s new wave sound of Talk Talk. From shimmering digital textures and warm analog pads to punchy synth bass and iconic electronic percussion, every part was recreated with real vintage instruments.
If you love classic synth pop, new wave, retro electronic music, analog synthesizers, and the unmistakable sound of early Talk Talk, this performance shows the work with the gear from the past.
Check the original track. Written by Mark Hollis."
"In this in-depth demo and review, we explore the GS MUSIC Bree 6 keyboard — a 6-voice VCO-based analog synthesizer with a fully analog signal path, built-in chorus, delay, arpeggiator, and sequencer. If you love that vintage-meets-modern sound, this one might surprise you.
From raw oscillator tones to lush stereo pads and punchy basses, I break down what makes this synth special — including its unique double/triple arpeggiator modes, MPE compatibility, and rich, characterful sound that sits somewhere between classic Roland-style synths and something entirely new.
If you’re into synths like the Roland Jupiter-8 or Roland Juno-106, this is one you’ll want to hear.
🔍 What’s Covered Sound demo (full track made entirely on the Bree 6) Oscillator section: saw, pulse, sub oscillator 24dB analog low-pass filter with resonance & key tracking Dual ADSR envelopes & fast modulation Voice modes: poly, mono, unison & stereo spread Built-in chorus & analog-style delay Unique arpeggiator (double & triple note modes) Sequencer workflow & performance features MPE support & expressive control
🎛️ This isn’t just another vintage clone. The Bree 6 blends:
Raw VCO tone with modern reliability Hands-on workflow (minimal menu diving) A distinct character that feels alive and immediate A surprising amount of depth for a single-oscillator synth 🎧 Who Is This For? Analog synth lovers Producers looking for fat, mix-ready tones Fans of classic Roland-style sound with modern features Anyone wanting a hands-on, inspiring instrument"
We’re proud to present the Bree6 Keyboard, our first synthesizer with an integrated keyboard, designed and produced in Argentina for the world. 💙
Built on a six-voice analog architecture, it delivers a powerful and expressive sound engine capable of everything from solid basses and leads to rich, evolving pads. Now expanded with a built-in sequencer and advanced arpeggiator, it becomes a complete performance and composition tool.
With its one-knob-per-function interface, semi-weighted keybed with velocity and aftertouch, and fully analog signal path, the Bree6 Keyboard is designed for immediate, hands-on control—no menu diving. Immediate Control. No Menu Diving.
The Bree6 Keyboard version is designed to deliver an immediate and intuitive hands-on experience, eliminating the need for deep menu navigation. Its interface follows a one-knob-per-function philosophy, providing direct access to all key parameters for fast and precise sound shaping.
"The Dirty Mirror takes these two behemoths of sonic perversion and adds an extra layer of nasty – using the core circuit of our Coma Reactor Eurorack module.
This three footswitch, 15 knob pedal looks complicated – but it’s not:
The BURN Channel (left side) is based on our Chemical Burn circuit, a nastier FY-6 variant.
The CHURN channel (right side) is based on a heavily modded Big Muff Pi.
There is a short delay circuit before the fuzz circuits.
Both the fuzz circuits can switch between the input sound, 100% wet delayed sound or a blend of wet and dry.
The fuzz circuits are then mixed in parallel into a high-headroom output section.
For added sickness, the delay time can be modified by an envelope follower or LFO.
Choose your filthy reflection – from straight dual parallel fuzz textures, to seasick vibrato to long slow quasi-chorus phasey apocalyptica.
The delay can be used on its own for slapback, chorus and vibrato effects.
Yes, it can get very noisy. No, you can’t do anything about it - so weep in pain and pleasure, and submit to the swarms of square waves that joyfully fill your room.""'Patience is the game' is a live improvised cinematic ambient performance on the Soma Terra synthesiser; a deep and evolving journey through dark, cinematic ambient soundscapes.
Cinematic ambient music, dark atmospheric soundscape, experimental synthesiser performance, Soma Terra improvisation, ambient drone music.
This is my 35th cinematic ambient exploration in the Sanctuary series.... This time it's played on the Soma Terra synth by @somasynths I keep coming back to this synth! Best experienced with headphones 🎧"
Here's to you my "No talking demo" of this FREE emulation of the Kawai K1 synthesizer developed by Nils Schneider, which brings back to life this iconic synthesizer!
The Kawai K1 is a famous japanese classic from 1988 and it was a massive success with both the critics and the public. The company managed to reportedly shift around 50,000 of them. There also was a rackmount version (K1r) and a tabletop option (K1m).
The key to its popularity was certainly down to its sound, which combined single-cycle additive waves with PCM samples. There was another reason though: in the late 80's this D-50-style sample synthesis was out of reach of most musicians, but then the Kawai K1 came along and it was much cheaper than the Roland D-50!
Now you can have it in your DAW with this amazing FREE software emulation!
"In this sketch, we demonstrate how a pair of Fractalists is working together in a timbral progression.
The left one is responsible for the bass sound, where, with each iteration, the waveform is unfolded, becoming more and more complex and rich in harmonics.
It is also modulated a bit with a built-in LFO patched into the WARP input to add some movement.
The right one produces a percussive part. The actual base frequency is very low, and with a standard oscillator, there will be no sound or only a rumble.
Here is a different story. As the generated waveform is very complex and contains a lot of harmonics, they become audible as rhythmic patterns.
With each iteration, this effect is more prominent. WARP is not modulated to have this specific pattern to be fixed, but if you were to change it, there are a lot of different patterns to look for. In future episodes, we will explore this in more detail.
Audio is intentionally captured raw, without any filters, VCAs, or effects."
Fractalist from Blukac is a unique digital oscillator that creates complex waveforms and rhythmic undulations using fractals, generating captivating sounds that evolve and grow into digital chaos. Start by selecting a core waveform, either triangle or trapezoidal, and expand its fractal dimension with the Iter control to create iterations on this shape, adding harmonics to the sound that bloom in digital bliss. Through all these fractal transformations, Fractalist's output maintains its periodicity, with a Frequency control that can be used to shift in octaves, semitones, or fine-tuned between notes. At low frequencies, Fractalist becomes an oddball rhythm machine, churning its mathematical movements in unique patterns according to the waveshape created through fractal expansion.
Select your desired degree of digital artifacting with the Alias switch, inviting or omitting the unique sounds of system failure as your harmonics grow beyond the bounds of Fractalist's digital structure, folding frequencies back on themselves for inharmonic results. The onboard Warp control can be used to further modulate the timbre of your sound, alongside dedicated inputs for frequency modulation and hard Sync. Finally, a saturating boost is available to add heat to the cold digital output, while a friendly adjustable LFO provides an onboard source for modulating Fractalist's bevy of CV inputs. With its unique synthesis engine and plentiful opportunities for creative patching in a broader Eurorack environment, Blukac's Fractalist is sure to expand your sound palette, and perhaps, your mind.
"This composition played live by Nick Klimenko on recently restored & tuned flagship of soviet synthesizers - Formanta EMS-01.
Its very hard to tune OSC sections & there are not so many fully working & tuned units in the world!
Thanks to / @ДмитрийБоровских-ш7п for midifying & tuning work!
Working unit sounding ultra mega magnificent!
FORMANTA EMS-01 is an electronical music instrument combining a polyphonic organ and a monophonic synthesizer. It is designed to perform music of all genres and to create various sound effects while recording soundtracks for movies and plays, or studio recording. The organ has a 5-octave keyboard, 6 preset sound timbres, frequency vibrato with adjustable vibrato delay, decay adjustment and a stereophaser (both for organ and synthesizer). The "vibrato delay" scheme is activated again only after all the previously pressed keys are released. In the "legato" mode the "vibrato delay" scheme is not activated.
The synthesizer has:
3-octave keyboard;
modulator, modulation voltage from which is applied to frequency modulator, width modulator, filter, and amplifier;
broad band oscillators 1 and 2 (with various waveforms);
mixer, designed for summation of signals from oscillators 1 and 2, noise generator, external source, and ring modulator;
filter, designed for dynamic and static changing of the spectrum of summarized signal from mixer output;
amplifier, designed for making the sound corresponding to various parameters of the envelope;
Visual division of the synthesizer panel into the above listed sections and their lay-out make it more easy to orientate oneself while setting the required timbre. Besides, the synthesizer is able to simultaneously control one more similar synthesizer through a special cable and connectors CONTR IN and CONTR OUT.
The instrument provides the opportunity of connecting stereo headphones; the volume in headphones doesn't change in case of changing the volume of the instrument from zero to maximum at all the outputs of the instrument with the foot pedal; thanks to this, preliminary control of timbre through the headphones before applying it to amplifiers is possible. By switching on PHASER into the channel of organ or synthesizer, it is possible to get stereo sound in the outputs STEREO L and STEREO P. In case PHASER is switched off, both channels will function in MONO mode."
"The Sequential Multitrak (released in 1985) is a six-voice analog synthesizer notable for combining true analog sound with early digital control.
Each voice has a CEM3394 synth-on-a-chip, offering a single oscillator, sub-oscillator, noise source, and resonant low-pass filter. It was one of the first affordable synths to feature a built-in sequencer and MIDI implementation, making it popular for both studio and live use.
The Multitrak’s panel and parameter editing system allowed deep sound design, though programming could be a bit tedious. Its warm, punchy tone and distinctive Sequential character make it a cult favorite among vintage synth enthusiasts today.
This one works like a charm and has that analog warmth you've been looking for in a polysynth."
"The AW noise maker is a non-idiomatic instrument made not to be controlled or understood in any manner. Based on poor signal-to-noise ratio transmissions and glitch aesthetics. The key to playing with this noisy device isn't to reach perfection in its operation or trying to predict the way it works to achieve similar results every time it is used. In fact, the machine is programmed to be unpredictable every time it is connected due to a carefully designed randomization mechanism that modify the conditions used by the device when it boots up. So, you never know exactly how it will sound or how the filters will work the next time you play with the AW noise maker.
Another funny thing about this device is the glitched display. A mess of pixels and line iterations once you start to push buttons and twist knobs there transforming the display into another source of chaos and uncertainty. That's the spirit behind this little gadget: to express the turmoil and instability that we are living in. Use this machine as a way to meditate above the noise... with the noise. AW noise maker will be available soon. Limited units. Register your interest for this gadget from hell here:
I can't get enough of these kind of gentle key patches on the Katla synthesizer! For this patch I used a similar approach to the previous one, using the self oscillating filter as a sound source. But this time I played with modulating the wave folder, which at times in the piece almost feels like an extra melody coming in. I also once again tuned one of the voices an octave higher than the other ones, for unpredictable octave jumps in the melody, I just love that so much on Katla! For the next patch I'll try a more distorted one, promise."
Drift DJ Industries Unveils Zero, a pocket-sized mixing, playback and recording device for djs and electronic musicians
CHICAGO, April 13, 2026. Drift DJ Industries announces Zero, a palm-sized, battery-powered, all-in-one audio mixing, performance and recording system. With its portability and instant-on playability, Zero’s standalone 2-deck DJ system empowers DJs to break outside of the booth and bring their sound to any space. Through it’s DAWless and hybrid DJ-oriented external device sync, audio signal mixing, deep routing configuration and built-in recorder, Zero collapses key functions into a single machine, reducing the amount of hardware required to craft any sound.
Zero: Portable DJ, DAWless, Mixing and Recording
Big-Rig DJ-Features in the Palm of Your Hand
Don’t be fooled by Zero’s small size. Its robust feature set includes DJ-quality time-stretching, dedicated headphone cues, filters and FX for each playback deck. With physical controls organized in a familiar-two channel DJ mixer layout, our device is perfect for DJs who want to forgo larger laptop and controller-based setups while retaining the tactile feedback not found on mobile apps. Leave the cables and power supplies at home. Never get a meeting invite in the middle of a mix.
Compact Machine with DAW-Like Powers Zero’s wildly-flexible signal routing UI lets users control every link in the signal path. Glue together any collection of music-making gear by routing signals from aux busses and the decks between the analog and USB I/O ports.
For example: Route audio from a Dirtywave M8 and a Roland S-1 into Zero’s analog input ports, and individually trim and EQ each device. Bus those signals together and send/return to a Hologram Chroma Console. Route that signal into the crossfader to mix the effected M8 and S-1 sound with the DJ decks. Add an OXI E-16 and map individual knobs to the M8 and S-1 bus’s post-fader, EQ controls and bi-modal filter cutoff (input control mapping is slated for post-launch release). Record several minutes of knob-tweaking as a .wav file to Zero's internal storage. Re-import that .wav file, add cuepoints and a beatgrid, and loop and layer it in with other inputs and DJ playback.
Built to Evolve Zero is a new hardware platform and a custom Linux distribution running front-end software from our own publicly-available open source SDK. It ships with the DJ playback, library, external sync, signal routing and recording features, and it includes on-device software management for easy install of future updates. Planned updates include control input mapping, video output for streamers, third-party library support (including rekordbox and Engine DJ) and accessibility features. It fits in a fanny pack, but Zero will develop new capabilities by the truckload.
"Passive bandpass filters are an obsession of mine, so it was just a question of time until AudioThing and me would make a plugin of the special subset called octave filters. Octaves is out on now: https://www.audiothing.net/effects/Oc...
My Music: http://hainbach.bandcamp.com"
"Hainbach’s Bandpass Filter
Octaves is our latest collaboration with Berlin-based composer and YouTuber Hainbach. It is a filter plugin designed to take apart the audio spectrum in spreads of octaves, allowing for unique and enchanting spectral sound design effects. Octaves gives you a retro-scientific approach to sound that echoes the timeless productions created in the BBC Radiophonic workshop or the WDR Studio für Elektronische Musik by the Avantgarde masters, and modern places like Willem Twee, Strøm, and Hainbach’s own laboratory.
Octaves is available for macOS, Windows, and Linux (VST2, VST3, AU, AAX, CLAP).
It’s also available on the App Store for iOS and iPadOS (AUv3 and Standalone).
"The Mask1EX desktop synthesizer is back, with new looks and new features! Mask1EX MK2 offers 14-voice polyphony with two Bitmask oscillators for each voice - Bitmask Synthesis is exclusive to all Kodamo's Mask synthesizers, it produces a wide range of unique tones by using a single number as parameter. Mask1EX MK2 also has built-in effects, a looper, an arpeggiator and much more."
"It is back, with a totally new design, more powerful than ever! The Mask1EX is a desktop synthesizer that you can use with your keyboard, DAW, sequencer or any other gear with MIDI. Like other Mask synths, it is based on our exclusive Bitmask synthesis technology which generates up to 512 different waveforms for oscillators. It offers 14-voice polyphony with two Bitmask oscillators per voice and 2x2 parts of multi-timbrality (two parts of single or dual layered voices). Each part comes with stereo effects to make the sound warm and rich, plus a master effect with delays and reverbs.
Like the Mask1 keyboard, the Mask1EX MK2 offers an incredible playing experience with its dynamic articulation system. Try the slurred, poly-mono and hybrid modes, they add a new dimension to keyboard playing, changing how the sound behaves as you play legato, staccato, neighbor notes or wider intervals.
Mask1EX MK2 is powered by USB-C and is extremely efficient with 1.5W of power consumption, which makes it easy to power by a battery, laptop or smartphone. USB supports class-compliant Audio and MIDI. We also included good old DIN MIDI ports for compatibility.
Mask1EX MK2 offers high-end features at a fair price, with balanced stereo outputs, 200 memory slots for your own sounds, 377 factory presets, full CC mapping of all synthesis parameters, customizable velocity and aftertouch curves, and a lot more.
Inspiration does not wait, so we optimized the Mask1EX MK2 to be extremely quick at startup, it starts in 0.5 seconds. Press ON and play! And it remembers the last sounds you used.
This Jade Vine limited edition gets you a stylish turquoise steel enclosure and a colorful front panel.
Your unit is fully assembled by hand in France, except for surface-mount electronics.
What's in the Box: Mask1EX MK2 synthesizer
Printed quick start guide (refer to MASK1's user manual for detailed operation) USB Power supply with EU, UK, US/CA/JP and AU/NZ plugs. If you have no matching plug for your country, you have to use your own power source. Any phone charger or device with USB port will work.
"The Roland MKS-7, also known as the "Super Quartet" is a vintage, multi-timbral rackmount synthesizer module from the '80s that packs a lot into one unit: combines sounds and architecture from the Juno-106 (for melody, chord, bass parts) with drum sounds from the Roland TR-707, all in a single 2U box.
Features four separate MIDI-controllable sections (Melody, Chord, Bass, Rhythm), allowing you to play drums, bass, pads, and leads simultaneously, making it a versatile, all-in-one vintage sound source for MIDI setups.
This unit has been fully tested and includes AC power cable."
The Sh*t Synth - Walkthrough video upload by CROW HILL XTRAS
Press release follows:
The Crow Hill Company turns to extensive and rare collection to turn out THE SH*T SYNTH as compendium of 48 circuit-, wave- and sample-bent instruments
EDINBURGH, UK: The Crow Hill Company is proud to turn to its own extensive and rare collection of hardware to turn out THE SH*T SYNTH — available as a compendium of 48 circuit-, wave- and sample-bent instruments inspired by some of the Edinburgh-based enterprise’s eclectic musical favourites (spanning the likes of Aphex Twin, Boards Of Canada, Joe Maus, Jon Brion, Laurie Spiegel, Radiohead, Throbbing Gristle, and Yazoo) to create something that they collectively ask: is it just shit or ‘the shit’? — as of April 7…
Whatever way anyone chooses to read into the titling of THE SH*T SYNTH as the latest entry into The Crow Hill’s ongoing ORIGINS series of sample-based virtual instrument plug-ins, one thing is for sure: it readily represents a broad selection of three categories of 16 workhorse instruments each, effectively wrapped up into a single plug-in designed to bring a cohesive approach to making music more edgy, lo-fi, retro, and — swimming against the technological tide of so-called progress — decidedly AI (Artificial Intelligence) slop-free. From pianos to strings, plucks, beeps, bass, and pads, the compendium that is THE SH*T SYNTH has been lovingly sculpted by the Edinburgh-based enterprise’s media composer and ‘samplist-in-residence’ Christian Henson to take the hassle out of making existing sounds less refined, catering to those looking for an entirely new bank of Mellotron-style sounds as well as synths that have been long forgotten — for good reason, too!
"The VC RES EQ is big, very big and the VBR (Variable Bandwidth Filter) makes it even bigger. But even then, it's not a combo that would appeal to the 'mainstream' eurorack audience. The 4U version joins both modules under one panel and is called 'SIEGFRIED', inspired by Wagner's dragonslayer in the classic Ring des Nibelungen epic 15 hour opera which ends in Ragnarok - the Apocalyptic end of the Gods. Now that's a much better setting! We need mist, heroes, dragons, Gods and something close to Mount Doom. Tolkien didn't like Wagner's work at all, in fact, he hated it. With this eurorack combo you can now create your own adventure, keep the ring for yourself and throw Frodo into Mount Doom.
This is one of my favorite videos so far and I just LOVE the sound of the VC RES EQ. The VBR is added to tame the harsh sounds that often come from the 'pet dragon', but if you play it with your fingertips, prepare for myths and legends.
As always, this video is not sponsored, but I am enjoying a small 'artist discount' from Random*Source because I make videos like this. Dear Serge, if you're watching this, THANK YOU for being Serge and thank you Random*Source for keeping the legend vibrant, alive and kicking."
"Nyquist Nightmare by Modular 4 the Masses
12hp Wacky FM Synthesizer designed to emulate the sounds of scanning radio frequencies and more!"
Modular for the Masses
Nyquist Nightmare
Audio Mangling Modulator/Demodulator
This module is a modulator/demodulator. The top four knobs interact with each other to take a signal and mangle it beyond all recognition, or if you're patient and lucky, let the signal come through mostly unchanged.
What is going on there? you ask. The input is used to frequency-modulate a VCO that can oscillate beyond anybody's hearing range. The resulting (possibly ultrasonic) signal frequency-modulates a second identical VCO. This leads to the kind of signal degradation you might expect from an AM radio transmission. Or a short wave signal fighting its way through a hurricane.
The rest of the knobs control filtering; high-pass to remove the truly ground-shaking rumbles the top for knobs can generate, and resonant low-pass to get the harsh high pitches out of the signal, and emphasize (for example) the frequency range of human speech, if you want to pass old movie dialogue through this.
Also included are a wet/dry control (while prototyping this module I would sometimes spend minutes looking for the perfect knob settings to allow a signal through just to realize the signal source had stopped playing), a CV input for the low-pass filter with an attenuator knob, and a effect volume knob.
Some fun things to try:
with zero input, try to get a modem sound!
connect a simple waveform and massage the top four knobs to fold the wave in surprising ways
David Lynch. Put David Lynch through this.
turn the resonance of the low-pass VCF up and use this as a VCO (not 1V/oct, I'm afraid
Turn both "Carrier" knobs all the way down, so the VCOs are stalled, and listen to the signal bash its way through
"I dive deep into the raw sounds and harmonic richness of the SED-CSM, a complete analog synth voice from Rides in the Storm. With its dual oscillators, sub-octave generator, ring modulator, and a dedicated noise source, this module provides a massive foundation for everything from earth-shaking bass to evolving drones.
SED-CSM has two LFOs which can go into audio-rate, reaching up to 6.6 kHz and a VCF equipped with a dedicated overdrive switch. The SED-CSM offers endless possibilities for aggressive textures and squelchy, acid-inspired leads.
Complementing this is the QSQ; an 8-channel performance sequencer and MIDI-to-CV interface that serves as the brain of the operation. I show how the QSQ’s 16 analog-style rotary encoders allow for intuitive, hands-on melodic creation. Leveraging features like Euclidean rhythms, per-step probability, and integrated LFO/envelope generation, the QSQ compliments SED-CSM’s raw oscillators.
Timeline: 00:00 Sound demo 00:48 Overview of SED-CSM 04:50 Making a gritty bassline 08:11 Dub-techno chords 10:56 Doombient drones 16:46 Percussive sounds and hihats 17:56 Use LFOs to add hihat ratchets 19:23 Metallic tones and wavefolding 24:41 QSQ sequencer overview 25:34 Adding probability to notes 29:34 Using a sequencer for modulation 30:48 Adjusting a track's playback speed 31:28 MODulation amount 32:23 Using nudge to vary melodies 33:37 QSQ as a MIDI to CV converter 35:22 Mapping velocity from keyboard 36:34 QSQ is a MIDI recorder 38:48 Wrapping up"
"The "pairing series" is back! In this one we explore the Zakal, a spring reverb / feedback device from Colossus Audio. We start by using the Metal Fetishist as a sound source but quickly flip the tables and use it as a sound processor instead, making Rythms with the feedback tones that come through its input from the Zakal.
The background noise you may hear comes from my microphone, not from the instruments. I will be more careful next time.
"Zakal is a resonant audio feedback instrument. It generates feedback using reverb springs, with the feedback signal shaped by a low-pass filter and a delay in the feedback path or simple feedback. Additionally, Zakal can function as a spring reverb effect, offering versatile sonic possibilities.
Zakal contains amplification and recovery circuits designed to generate audio feedback through its reverb springs.
A switch allows you to engage the LPF and Delay within the feedback path, enabling creative control over the frequencies fed back into the spring reverb, shaping unique resonant textures.
When used as a spring reverb effects unit, the POST EQ provides precise shaping of the wet signal, offering enhanced tonal flexibility.
At the end of the chain, a 3-band EQ provides additional shaping of the output, offering precise control over the final sound. When used as a spring reverb effects unit, the EQ enhances the wet signal for even greater tonal versatility.
ZAKAL does not include a power supply. It operates on a standard 9V DC (negative center, 2.1mm barrel plug) compatible with most guitar pedal power supplies. If you do not own one feel free to reach out, and I’ll help you find a suitable option."
