"TEIA Synthesizers DriftLog is a dual-channel random voltage generator that transforms chaos into playable modulation. Generate, loop, lock and sculpt evolving CV with controllable slope, shape, probability and clock-synced randomness!"
0:00 Intro
0:30 Waves A and B
0:45 Clock and range switch
1:43 Shift button
1:58 Probability
2:18 Swing
2:41 Level
3:01 Offset B
3:31 Slope
3:52 Slope switch
4:09 Shape knob and switch
5:39 Loop, start and length
6:16 Reset
6:49 Lock
7:23 Logic A and B
7:57 Save
8:16 First patch
9:45 Second patch
10:50 Third patch"
"The DriftLog from Teia Synthesizers is a dual-channel random voltage generator designed to generate, capture, and reshape random voltages in real time. he two channels—A and B—produce independent voltages, but share a set of shaping controls, namely Slope for morphing between stepped and smooth voltages and Shape for sculpting the curvature of the voltages. There's also a 3-position switch that changes the range of the Shape control from Arc to Peak, Exponential rise to exponential fall, and Bezier ease in to ease out. Each channel can be switched into Loop mode, which allows it to record and replay a selectable portion of its random history using dedicated Start and Length controls.
"The great NO BPM hired me to make a demo to explain their Mute Performer system - Mute Performer is arguably the most feature-complete muting system in Eurorack, as it can mute AND mix triggers, audio (clicklessly) and CV, and it can send MIDI to mute external devices too. And you can have up to 72 channels, and you can CLOCK the mutes, so they happen on the beat (or at the start of bars...). And it has scenes, so you can prepare and recall mute groups. And it has several ways of muting and cueing mutes. It's quite a thing."
CHAPTERS:
00:00 What it is and can do
02:21 Clocked Mutes!
03:10 Cueing Mutes
05:00 Mixing Signals
07:10 Mute Scenes
10:13 Solo Mutes
The Mute Performer takes the humble mute function into new and exciting territory.
8 channels of Mutes can be cued, locked, inverted, switched, mixed, stereo-paired, expanded, and arranged into scenes. Scenes can be saved, loaded, banked, clocked, triggered and modulated.
The Mute Performer also supports MIDI, which can be transmitted using a provided 5-pin MIDI Type A to 3.5mm cable.
This allows you to connect external MIDI devices to the Mute Performer, enabling performative control of mutes both inside and out your case.
The Mute Performer alone has 8 channels, but can be expanded up to 72 channels with the Mute Expanders.
Description: Late 2025 Walker Farrell from MakeNoise started an international music challenge for musicians to participate in, submit your own Graphic Score, then at the draw of a hat, you would be assigned someone else's score to interpret and create music from. I am always interested in music challenges and the more off-beat the better.
Late December 2025 names were drawn at random, Walker constructed a collection of MakeNoise modular synthesis cards to generate random numbers to set who gets what score. I was allocated a topographical map from Bruce Magill that contained some text notes and penciled in graphics. Bruce had a musical concept in mind for this score but did say "Notes for this graphic score are only a suggestion. You can disregard them and interpret this score in any way you like, if you wish. ... Don't overthink." So I did have free reign to interpret the score as I wished, so I could let my imagination run wild. In my younger years I did a lot of wilderness hiking so was and still am, quite familiar with topographic maps, so for me this was the perfect score, something I could relate to and understood. As a side note, there is no right answer for interpreting a graphic score, so understanding is not an essential ingredient, however a vivid imagination is. It is a bit like laying on the grass and looking up at the clouds -- what do you see beyond back scattered light from suspended vapours in the sky.
"Here's a fun one and something stupidly simple, really easy to use, small, affordable but way more useful than you might think. It's the Low Fat VCF from AJH Synth, which is a 2HP non resonant (it's supppppeeeer smooth) high pass filter.
I think my favourite thing is using it to pair with low pass filters and to make a variable width band pass filter. It's also nice as a simple "clean up the mix" tool, as a pseudo spectral sidechain, multiband ducking style device or just for performance sweeping low end out of things."
"The Low Fat filter packs a switchable 6dB and 12dB slope High Pass Voltage controlled Filter into a miniscule 2HP of rack space, with a very low power consumption of less than 12mA per rail.
Sometimes there is just too much bottom end in a patch and it swamps everything else, by feeding it through the Low Fat Filter we can remove some of this bottom end to balance things up.
It also makes a great companion to the MiniMod Transistor Ladder Filter and can be placed before or after this in a patch to create a Band Pass filter with a variable passband and a choice of a softly rolling 6dB slope or a stronger 12 dB slope.
It's a great way to populate one of those frustrating gaps in your eurorack modular case with something that is deceptively usefuI.
In Depth
The LOW FAT is a new 2hp Eurorack module by AJH Synth, it's a High Pass filter, with frequency control by either manual pot, and/or external CV with attenuator. It's intended to compliment other filters, particularly low pass VCF modules, in practical tasks such as removing excessive low frequencies, for example when the bass is swamping a mix. It can be switched between 6dB (1 pole) response and 12dB (2 pole) response.
By patching a CV signal to the FCV input it can be voltage-controlled and used musically as with any other VCF. When used in conjunction with a LP filter it forms a fully customisable band pass filter, allowing the range of passbands to be cherry-picked. Feeding in a 1V/Oct pitch CV and setting the FCV pot to a suitable level allows it to track an incoming pitch CV, so the amount of High Pass filtering remains constant as the pitch of the incoming VCOs traverse up and down the frequency range. This can be particularly useful in creating percussive sounds, such as snares and hats, but also on sequenced bass lines. Since it is only 2HP it's a great way to occupy one of those frustrating gaps in your eurorack modular case with something that is deceptively useful, and adds another dimension to the classic bass monster that is the Transistor Ladder Filter."
"Today we talk to modular synth pioneer Suzanne Ciani and MIT Spatial Sound Lab researcher Kamran V. Suzanne and Kamran both love quadraphonic sound, and they have a new quad release coming out on June 4th called Ciani/Orkest. They are on a mission to make quadraphonic music accessible to both musicians and to listeners, and in this interview, Kamran will explain how, you, with no special equipment, can listen to their new album in quad. We'll also get into how analog synthesizers actually work, the early history of Buchla synths versus Moog synths, why Suzanne thinks keyboards diminish the potential of synths, and how Suzanne designed some of the most recognizable sounds of the 1980s. Suzanne Ciani is a Grammy Award nominated composer, electronic musician, and neoclassical recording artist who has released over 20 solo albums, including Seven Waves and The Velocity of Love. Her work has been featured in Hollywood films, video games, and countless commercials. She was inducted into the first class of keyboard magazine's Hall of Fame, alongside Bob Moog, Don Buchla, and Dave Smith. And she was the subject of the feature documentary, A Life in Waves. Kamran V is an arts technologist and MIT Spatial Sound Lab researcher, and he's a National Endowment for the Arts grant recipient. He's worked at Interscope Records, produced immersive music releases for Nine Inch Nails, Sting, and Beck, and he ran the music tech fest, Moogfest. He's also on the board of Dub Lab.
Cited Media:
Music & Albums: Suzanne Ciani - Ciani/Orkest (2025)Suzanne Ciani - Live Quadraphonic (2016)Suzanne Ciani - The Velocity of Love (1986)Suzanne Ciani - Seven Waves (1982)Wendy Carlos - Switched-On Bach (1968)Stevie Wonder - Talking Book (1972)The Rentals Film & TV: 3-2-1 Contact, PBS (1980–1988)Brett Whitcomb - A Life in Waves (2017)Suzanne Ciani on David Letterman (1980) Events & Festivals: MoogfestAES ConventionAmsterdam Dance EventNAMM Tools & Plugins: Kamran V - QUARK Plugin (free) Record Labels & Archives: Finders Keepers Records
Chapters:
0:00 Intro 5:45 Meet the Guests 6:28 Sound Design & Commercials 13:45 High Art vs Low Culture 19:03 Ciani Orkest 24:42 Moog vs Buchla 26:36 How Modular Synths Work 36:15 Quadrophonic Sound 45:13 The QUARK Plugin 50:24 Seven Waves"
"CPM DS-2 ANALOG DRONE SYNTH
The FILTER FM patch works by moving Drone 1’s cutoff around at audio rate.
Start by turning down Drone 1 so we can just hear Drone 2.
Pitch Link is switched on, and the pitch is set to the middle. This means any changes to the pitch in Drone 1 will also be matched in Drone 2.
The output is set to a saw wave, and we’ve got the LFO linked to pitch, with the LFO depth turned up just slightly. This means the pitch will drift around a little bit.
Resonance is turned down and the cutoff is all the way open. This means we just get the raw output from Drone 2. Turn its volume all the way up, but plug in a patch cable — we’ll need this later.
Over on Drone 1, the pitch is set to 9 o’clock. We also have a saw wave selected, but the routing switch for the LFO is set to X-Wave. This stops it from affecting the pitch.
We’ve got the cutoff set to 12 o’clock and the resonance at 3, giving us quite a big resonant peak.
Now, when we plug the output of Drone 2 into the cutoff of Drone 1, the filter is going to get moved around at audio rate.
For a more extreme sound, try turning up the pitch LFO on Drone 2.
Also, add a bit of reverb.
WANT MORE PATCHES?
Download the new Stylophone CPM Patchbook 2.0: https://bit.ly/4nTh36w"
"Introducing bassline engine: integrated, stereo-linked 303-style sequencing for zetaSID. Two modules on bass, two on percussion, some external FX in the chain.
What's in the patch:
two zetaSIDs linked via phybus carry the stereo bassline
patterns are switched live from the user interface. Sync To Measure stays active, so every pattern change lands cleanly on the next bar. The zetaSIDs stay step-locked across the polychain throughout
the joystick is spliced into LFO1 for hands-on modulation in real time
the fader is spliced into filter cutoff and forwarded to all zetaSIDs: live SID filter sweeps, no menus
two more zetaSIDs run the drums, triggered by gates from the modular, no MIDI used
What's new in firmware v1.5:
zetaSID bassline engine: 303-style 16-step sequencer, eight patterns per channel, per-step note / octave / gate / slide / accent / one freely assignable parameter, two LFOs and an additional envelope with curvature
three new input sockets per module: SEQ STEP, SEQ RESET, SEQ PATTERN. Splice them through phybus and your modular drives the sequencer directly with clocks, sequence reset triggers and pattern select CVs
pair two zetaSIDs over phybus for a true stereo bassline patch that stays step-locked
non-bassline feature: individual instrument attenuation for drum engine
non-bassline feature: 180° screen rotation support (mount your zetas upside-down, if you want :-))
Future Sound Systems ENV1 CFG Percussion Demo
video upload by Future Sound Systems
Additional demos below.
"What happens if we pair an ENV1 Cyclical Function Generator module with our FIL4 Timbral Sculptor, the super-flexible Westlicht Performer sequencer and a slinky Eventide Space reverb? Watch this video and find out - it's a ton of fun.
2:17 - a basic kick
4:13 - using the Loop input
5:30 - extra modulation from the CFG
6:22 - modulating the modulation
7:48 - wavefolding the kick
8:54 - more sequencing
"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."
Thephonoloop announces availability of outlines VI, beautifully blending raw acoustic gestures with tape loops and modular-processed tonal experiments
KATOWICE, POLAND: Thephonoloop is proud to announce availability of outlines as its latest NKS (Native Kontrol Standard) ready VI (virtual instrument) for Native Instruments’ Kontakt Player free sample player — beautifully blending raw acoustic gestures with tape loops and modular-processed tonal experiments to spark musical momentum as the sample-based instruments with character-producing Polish two-person team’s approach to a collection of tonal variations designed to be combined and explored, each preset being an outline of a musical idea ready to be expanded and reshaped into something larger — as of March 12…
"A sequencer patch using PRECISION VOLTAGES and CHANCE DELAY modules for probability-based transposing of steps. Also featuring sound from a single VCO and the SONIC XV filter & wave folder.
Video & Performance by @DreamsOfWires
PATCH BREAKDOWN: A Doepfer Mini Sequencer is playing a simple 5-step sequence. The clock is from the DUAL LFO + VCA module, which is also triggering an DH-ADSR envelope generator (connected to audio VCA), and the SAMPLE HOLD & SLEW module.
Because the sequencer gates aren't being used to trigger the envelope generator, I can use them elsewhere, and on the Mini Sequencer they can be turned off per step, so instead I am sending these gates to the PRECISION VOLTAGES (Gate A). This means that whenever a gate signal is received, Precision Voltages will activate, shifting the pitch of connected VCOs by the selected amount.
To add variety to this, I am first running the gates through the CHANCE DELAY, with which I can adjust the chance/probability of the gates being passed through to the Precision Voltages, or ignored. This means that the transposed notes will only randomly occur, based on the position of the 'Chance' pot, here at 50%.
Precision Voltages is dual channel (A & B), but I'm using the combined A + B output, so that any semitone or octave changes that I make to channel B will be combined with those on channel A, which is the only channel being switched on or off by the incoming gates. This means I can transpose the whole sequence by the same selected semitone and octave values (here plus or minus 5 semitones) and still have the selected sequencer notes randomly transposing by the same interval.
As for the sound - just a single triangle wave into the SONIC XV Diode Ladder Filter, manually adding the wave folder to create a much more interesting timbre, and with the clocked SAMPLE HOLD & SLEW module randomly modulating the filter frequency, via the DUAL LFO\s built-in VCA, which is slowly modulating the level of the Sample and Hold from strong to nothing.
Mixed on a @solidstatelogic BigSix with @vermonagear DSR-3 Dual/Stereo (real) Spring Reverb. Both cases powered by the Konstant Lab StrongPWR, with small case using a Polyend Anywhere USB PSU, powered by the USB output of the StrongPWR. Clear acrylic Eurorack case by CASA Modular, Japan."
It’s the first song I ever played with a band back in high school, so getting this sound right has always mattered to me. The OB-X8 gets you very close straight away, but the details are what make it sit like the record.
During the guitar solo section I brought in portamento to match that glide you hear in the original, then switched it off for the keys solo so it snaps back to that tight, punchy feel.
That balance between accuracy and playability is exactly how I approach all my sound packs. They’re built to work in a real band setting, not just in isolation.
If you’re playing covers regularly, having these sounds ready to go changes everything.
Narfsounds packs for Montage, MODX, Kronos, Nautilus, Fantom, Nord Stage, and Gig Performer:
https://narfsounds.com"
0:00 The most powerful synthesizer on the market
0:22 3D Wavetable synthesis
0:50 Resynthesis
1:40 Granular synthesis
2:18 Vocoder
2:53 Additive synthesis
3:36 Supersaw / Hypersaw
4:21 FM synthesis
5:01 Samples
5:33 Subtractive 7 Analog
6:12 Physical modeling
6:39 Waveshaping
7:02 PWM
7:32 Phase Distorion
Icarus is the most powerful synthesizer on the market. The award-winning audio engine offers a huge sonic range, true high-end sound quality, and the ability to create sounds that are impossible with other synths. The exceptionally versatile audio engine is capable of creating all important synthesizer sounds in high-end quality. Icarus is capable of over 30 (!) different synthesis methods, which can be combined:
3D Wavetables
3D Wavetable Synthesis cn create sounds impossible with other synthesizers and opens up a new level of dynamic expression. Classic wavetable synthesis only allows you to cross-fade waveforms. We have extended it with an extra 'morph dimension'. You can use 54 morph modes to further shape and modulate the sound. The morph modes are not limited to traditional waveshaping methods. We have also included a wide range of innovative and exclusive modes that are not available from other companies. This results in a wide range of unique sounds that cannot be produced by other synthesizers.
Resynthesis
Icarus comes with the most powerful and advanced re-synthesis engine on the market. Unlike competing products, it always delivers good results. With Icarus, anyone can create amazing sounds quickly and easily. Icarus' innovative resynthesis can rebuild sounds with a single mouse click! Just click this button, select a wav file, and Icarus will automatically create a patch that sounds like the original. You can further shape your sound with morphing, time-stretching, filters, effects, or any other module.
"The Frequency Shifter (red) is a powerful and experimental analogue processor. This standalone design springs from my Quadrature Sine and its Frequency Shifter Expander modular designs – all wrapped up with circuitry & features to allow it to fit snugly into more regular studio processing roles.It will transform your audio streams in otherworldly ways – clangorous, tonal, phased, stereofication and swoosh.
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.
"Introducing our first new model of 2026,the SYNTHE 'A' Plus.
As well as the additional features found on our standard SYNTHE 'A' such as
Audio/Low frequency and variable CV depth for all oscillators
Variable sync depth for oscillator 2
Gate and calibrated 1 volt/octave interface for all oscillators and filter
Variable cv depth for filter with CV unslew
Trapezoid short-normal-long times with output inversion
CV control of Osc 1,2 & 3 shape,filter response and reverb mix via matrix column M
Features our custom designed 16×16 analogue switch matrix with direct switch data entry.99 patch memories.
Built into a road worthy Explorer hard case.Black,green or orange
The plus version has the following additions.
Oscillator 1 sine output can be switched to sub 1 oct square and ramp output to sub 2 octave square.
Oscillator 3 pulse output can be switched to a ramp output or random voltage with noise as its source.
Triangle output can be switched to a square output or sample & hold with the envelope shaper as source.
Meter column can be routed to input ch 1 or 2 for variable inversion.
Ch 1 has variable slew.
Output channel 2 cv invert for stereo effects.
Note: links to listings are affiliate links for which the site may be compensated.
video upload by NOISEBUG
"This week we are restocking the full line of Tangible Waves, the small but mighty modular format equally powerful to its much larger counterparts.
Some incredibly unique modules exist within the Tangible Waves universe, such as the the Drone38- a bank of 18 oscillators designed for swarms, drones and lush soundscapes.
We designed a mini system around the DRONE38, which is now available on our Reverb shop - https://reverb.com/item/94056769-tang...
Look out for more mini-modular systems and video spotlights in the very near future. For more info on the most affordable way to experience modular, contact Noisebug.
"A small but powerful drone system of Tangible Waves modules, including:
POWER - the most simple base of an AE modular system. Contains the voltage regulation (5V) for the power supply of the modules, two stereo In/out-sockets (3.5mm minijack) for audio out and general in/out like CV, gate, a stereo headphone amplifier
DRONE38 - a sound generator with 18 oscillators in total, organized in six groups of three oscillators each. 12 of them can be switched between sawtooth and triangle waves, 6 are fixed sawtooth oscillators. The oscillators are not meant to be controlled by CVs, but only set static with a knob. By mixing them, very dense drones and clusters can be created.
DRONX - a special mixer designed especially for the DRONE38 module; it has 6 input channels with sound processing capabilities: a tone control with bass and treble control, a distortion, and finally a dual delay with different algorithms.
2VCA - contains two separate voltage controlled amplifiers; the classic module to shape the volume of a sound that is fed to IN by a control voltage, e.g. from an ENV to the CV input. DC/CV or audio operation modes, an additional knob per VCA for attenuation.
SVFILTER - offers control of cutoff frequency, resonance and CV attenuation; two signal inputs for different signal levels control the "drive" of the module. This filter has a significant self resonance and also a very quick response to cutofffrequency changes. LP, BP, and HP output.
LFO (2x) - generates modulation voltages mostly below the audio range. PWM modulation for the Pulse out, two frequency ranges (SLOW / FAST), three separate output signals: Square (even duty cycle), TRIANGLE/Sawtooth (switchable), Pulse
NOISE - two types of noise with A output generating analog noise (a fluctuating voltage between about 1-4V) and D output generating digital noise, (a random changing 0V / 5V). The RATE knob controls the color of the noise, which goes from almost white noise to a rather harsh and digital sound.
2S&H - "freezes" the input voltage with a trigger input. Typically used for random CV patterns if a noise signal is fed to the input and triggered e.g. by an LFO.
2ATT/CV - simple level attenuation for any kind of signal. Voltage mode switch gives manually controllable CV on the outputs, the INV outputs provide the inverted value of the input.
System is pre-built into a 1x16 Bamboo case and includes switchable 9V PSU, 2 packs of patchwire, and 1 pack of colored knobs."
"Inspired by the legendary Buchla Music Easel. Built by a guy who lives in a wooden cabin in the mountains! Here's his website () It's not really modular or patchable but there are some switches which are based on some of this guy's favourite patches on the Music Easel.
Features
2 Oscillators: First the Mod-Osc is a triangle-wave just a bit sinefolded. Second the Complex-Osc is a sine-wave with a powerful Wavefolder. Mod-Osc can modulate the
Complex-Osc and switch between FM & AM with depth for both. Both Oscillators can be Hard sync for FM synthesis. The Mod-Osc Pitch is bipolar & can go really low to act like an LFO. The Complex Pitch is unipolar. Both have Finetune for AM and not-synced FM harmonic research or perfectly tuning them together.
• 1 LFO Can be sine-wave or random sample&hold. Can act to the pitch of each oscillators & as the clock master for the sequencer.
•2 Lowpass gate One for the Mod Osc & second one for the Complex osc.
2 Lowpass filter One for the mod Osc & second one for the Complex osc.
• 1 Attack Applied to both Osc.
4 Step sequencer Can be set to each Osc & to the Wavefolder. Can run up or up&down. All step can be switched off.
• 2 Channel mixer One channel per oscillators.
• 1 Reverb With mix & time.
•1 Touch sensitive keyboard 13 keys with octave switch up & down which can act on each oscillators.
• 3 Touch plates With their own adjustable pitch.
• 1 Arpeggiator In order mode. Can be sustained, even on several switched octaves. Can be sync to the sequencer or have his own clock"
"2nd video with the Arturia Minifreak hybrid (digital/analog) synth, with a OneSynthOnly jam (after the first video where I used 5 instances of the Minifreak in multi-track: • Cinefreak 📽️ (Arturia Minifreak // Conduct... 😉)
The jam starts with me recording in step mode a sequence.
Then the sequence is being played with me tweaking some parameters like adding delay, fading-in the second oscillator (superwave), modulating the analog filter etc.
In the second half of the video, I switched to the mode where I can transpose in real-time the sequence recorded (i.e. you can no longer play over the sequence, when you press on a key, it transposes the whole sequence to this key). What is really cool is that Arturia added the Scale feature which I really love, thus making it possible to transpose within a defined scale like on the Keystep Pro! 🤩"
00:00 Opening Titles
00:17 Introduction
01:27 Switched On 80s
12:54 Little Black Boxes
17:29 Commercial Break
19:58 Patching Today
29:19 Synthesiser Club
31:59 Video Lab
36:07 Outro
SWITCHED ON 80s - This third series takes an in-depth look into six classic 80s synthesisers, selected because of their interesting and unique attributes
LITTLE BLACK BOXES - A further look at some classic rack mount studio gear of the 80s and 90s
COMMERCIAL BREAK - Some shameless Memetune shilling
PATCHING TODAY - A deep-dive into vintage modular systems and how to set up a patch on them, starting from scratch, this time using Cybersynthesis techniques to bring an element of surprise to the patches
SYNTHESISER CLUB - A short musical demonstration of a synthesiser classic or three, concentrating on 'families' of synths
VIDEO LAB - A look at old video equipment and how to create experimental visuals, concentrating on a specific device in each episode
The MemeTune Programme Credits:
Everything in this video was created by B D Edwards (Benge)
All music, design, writing, filming and production completed at Memetune Studios, UK, 2025"
