Ambient jam | NDLR, Artemis, Deckard's Dream, Peak, Prophet Rev2, Polymoon, Slöer

video upload by Jay Hosking

"Please support my work on Patreon: / jayhosking
A song performed live on the table with four great polysynths.

It felt like the right time of year to get a bunch of nice synths on the table and just explore. To that end, I connected the Dreadbox Artemis (bass), Sequential Prophet Rev2 (square arp motif), Novation Peak (pad), and Black Corporation Deckard's Dream (melodic motif) to the Conductive Labs NDLR and just had fun. The Artemis and Peak have pretty great built-in effects, but the Deckard's and Rev2 needed some help, so I added the Meris Polymoon to the Rev2 and the Walrus Slöer to the Deckard's.

This was my first time using the new hardware iteration of the NDLR — to be transparent, Conductive Labs sent it over for free — but it was a real step up in terms of the quality of the encoders. And it had been a couple of years since I had played with the Peak, but Novation had offered to send it over to explore, so I said yes to that as well. I previously had a Peak and had missed its effects (especially reverb) and filter.

Once the NDLR is connected and routed to the right MIDI channels, the musical exploration process is extremely fast. I will admit that I usually produce a certain kind of result with the NDLR, and I don't always want that kind of song. But as a palate cleanser, as a way to tap into very fast inspiration, I love putting it on the table and just getting musical results.

Overall, a nice way to end a good year. Thanks for listening.

Performed and recorded live, with EQ, compression, and limiting on the master.

https://jayhosking.bandcamp.com"

Secrets to Steve Porcaro’s Sound: The CS-80 & More

video upload by Anthony Marinelli Music

"In this episode, I hang with Steve Porcaro for an up-close, hands-on look at the secrets behind his sound, with Toto and much more! Discover the musical thinking that shaped some of the most iconic synthesizer moments in pop history.
You’ll watch Steve perform on the legendary Yamaha CS-80, and demonstrate exactly why its polyphonic aftertouch changed everything. He shows how touch, phrasing, and pressure become part of the music itself, then recreates the iconic Africa brass sound, breaking down how it was programmed and performing it right before our eyes. We also pause to honor David L. Abell and Clark Spangler, two essential figures in synthesizer history whose whose work helped bring instruments like the CS-80 into the spotlight
Along the way, Steve shares stories from working with David Paich and David Foster, and how his collaborations shaped their sound. You’ll also see a beautiful portamento and glissando demonstration tied to "After the Love Has Gone" by Earth, Wind & Fire and 'Serious Music' by Hall & Oates, revealing how Steve approached expressive movement on the keyboard.
Steve then breaks open his 'go-to' CS-80 panel settings and shows how he used them on 'Rosanna' and 'Mama' by Toto, offering a rare look at the real-world musical decisions behind those songs.
Finally, Steve and I talk about the true secret sauce behind so many signature songs from the ’80s and ’90s, from Toto and beyond—the attention to detail, musical sensitivity, and collaboration between specialists, all working selflessly in service of a great song.
This is a rare, in-the-room masterclass with one of the great musical minds of our time."

Fors Introduces Junior 4-bit Wavetable Synth 【 VST + AU + CLAP 】

video upload by Fors

"Get Junior: https://fors.fm/junior

VST3 + CLAP + AUv2 for macOS, Windows & Linux

Junior is a 4-bit wavetable synthesizer based on the soundchip of our favorite vintage handheld video game console, bringing the raw and primitive tones of the original into present day.

All sounds in this video are 100% made with Junior without effects."

Junior – Walkthrough

video upload by Fors

"Junior is a 4-bit wavetable synthesizer based on the soundchip of our favorite vintage handheld video game console, bringing the raw and primitive tones of the original into present day.

Not only is Junior the perfect lo-bit playground but also a completely unapologetic synthesizer with a unique palette that holds a very special place in many of our hearts. Perhaps it can find its way into yours too.

Based on the limitations and characteristics of the Nintendo Game Boy™ soundchip, Junior emits raw and harmonically rich 4-bit values that will cut through anything. From 0 to 15, there is nothing more and nothing less.

The tone generator in Junior plays back a custom wave buffer of 32 4-bit values which gets transformed by different sound shaping controls. Paired with a 7-bit LFSR noise generator, they form the perfect lo-bit palette.

Junior has four flexible modulators inspired by modulation sequencers often used in trackers (LSDj, Defmon, M8 ..) called Tables. The 16-step modulation table in Junior can be configured as an LFO, envelope, arpeggiator, MIDI input mapper and more.

While Junior simulates the Game Boy™ sound, it's not a strict emulation by design. It expands upon the original capabilities with a modern feature-set and control while staying true to the original. The balance between accuracy and fun is just right.

CLICK FOR MORE »

A new Minimoog VST controller: SFC-mini V4 Intro

video upload by mylarmelodies

"The SoundForce SFC-mini V4 is a new dedicated physical hardware controller for Minimoog-style VST plugins. This video introduces the device and how it works, what's new in this model, the special bonus features that work with the Arturia Mini V4 plugin, and much more.

This video serves as an official intro to the SFC-mini V4, and was funded by SoundForce. Based in the Netherlands, SoundForce have been in business for more than 10 years making controllers and eurorack modules."

CHAPTERS:
00:00 - Why Does this Exist?
02:23 - Minimoog: From Bass to Pad
04:39 - Whats new in V4?
06:59 - Build and Feel
07:25 - How does the integration work in a DAW
08:02 - Mini V4 Smoothing Catchup
08:55 - Mini V4 Jump & Pick-up Catchup Modes
09:43 - Hopping between plugin instances
10:28 - How do you set up a Plugin?
10:52 - UA Minimoog
11:34 - Dump (Manual Control)
11:56 - UA Minimoog Play
14:01 - Extra Control at the Bottom
14:54 - Changing Presets (Mini V4)
15:46 - User 1 & 2 Mapping
16:41 - Mapping Another Plugin (MS-20)

Press release follows:


SoundForce is introducing the SFC-Mini V4, a high-end, dedicated MIDI controller designed for the world’s leading Minimoog software emulations. Featuring more than 65 hands-on controls arranged in an authentic Minimoog-style layout, it delivers a true analog-inspired workflow for modern producers. Representing over a decade of SoundForce MIDI-controller innovation, the SFC-Mini V4 is the most advanced and accurate Minimoog-focused controller yet.

Build quality
The SFC-Mini V4 is assembled in the Netherlands using high-quality components sourced from Europe and Asia. Its case is built entirely from powder-coated sheet metal. Both sides are fitted with elegant 8 mm walnut wood panels for a vintage-inspired look.

Backed by over ten years of MIDI-hardware expertise, the SFC-Mini V4 is part of SoundForce’s newest generation of controllers. Its pots, sliders, and switches were chosen after extensive research and experimentation to deliver outstanding tactile response, long-lasting performance, and rock-solid reliability during assembly.

Plugin support:
Because the SFC-Mini V4 outputs standard MIDI CC messages, it can be paired with any software or hardware that supports MIDI CC mapping. However, since each plugin has its own UI and MIDI implementation, the firmware provides dedicated plugin modes to ensure proper integration. The SFC-Mini V4 has specific plugin modes supporting the following plugins:

Arturia Mini V4 (incl 2-way)
Arturia Mini V3/iMini
GForce Minimonsta 2
Cherry Audio Miniverse
UA Minimoog
Softube Model 72
NI Monark
Synpase Audio The Legend HZ
Plugiator Minimax

2-way communication:
Two-way communication means the SoundForce controller and a supported plugin can talk to each other in both directions, instead of the controller only sending MIDI data one-way. At this point, this feature is supported with the Arturia Mini V4.

In practice, that creates a far more “hardware-like” experience when using software synths. Change a preset, load a new instance on another track, move a parameter with your mouse and the controller automatically syncs its LED switches, and ingest the pot data in memory. When the received pot data from the plugin differs from the actual pot position on the controller, 3 options similar to Ableton take over modes can be chosen from: jump, pick-up and smoothing.

For more technical details: consult the manual.

Where to buy:

EU: SoundForce store

UK: Signal Sounds

US Perfect Circuit

F*ck With Sound ships Break On Through and Bring It On Eurorack Modules

Press release follows:

F*ck With Sound ships Break On Through and Bring It On, debuting dedicated DACS Audio brand with extraordinary Eurorack modules living up to noteworthy name

GATESHEAD, TYNE AND WEAR, UK: having opened ears in October when debuting during the Bristol, UK-hosted Machina Bristronica 2025 event showcasing electronic music culture and technology, dedicated DACS Audio brand F*ck With Sound is proud to ship Break On Through and Bring It On — opening an absorbing new chapter in the award-winning high-performance, well-engineered product producer’s four-decade-spanning design and manufacturing history with a FET distortion unit (based on an extension of what was originally a microphone level limiter) and a ring modulator boasting a super-smooth sound, really low breakthrough, and switchable WEIGHT and EDGE controls (which will both be familiar to users of DACS Audio’s legacy FwS FREQue, much-lauded as a 2U rack-mount, two-channel ring modulator outboard effect), respectively, representing extraordinary Eurorack modules living up to the newly-launched brand’s noteworthy name — as of December 15…

As a FET distortion unit based on an extension of what was originally a microphone limiter, the basic circuit behind F*ck With Sound’s Break On Through module has been used — and abused! — by producers for years, more recently emulated as a plug-in, before being effectively adapted to join the ranks of the ever-expanding Eurorack marketplace. Maintains DACS Audio Managing Director Dr Douglas Doherty: “After reading about Soundtoys’ Devil-Loc plug-in, I was intrigued. We were looking for a distortion unit to go in a mic pre under development. I had heard about Tchad Blake’s work with the original Shure Level-Loc — particularly on drums, and this seemed like a bit of serendipity that had to be acted upon! The perfect fit. In the end, we didn’t proceed with the mic pre, but it was clear that this would be ideal for modular system users.”

Bringing Break On Through to market as a 14HP-sized Eurorack module — based on a classic analogue microphone limiter design that was, according to legend, hijacked by an electronics-savvy record producer, and used on numerous records for ‘breaking through’ with drums and percussion, particularly — was easier said than done, however. “As always, there were many hurdles,” admits Dr Douglas Doherty, before continuing: “The original circuit was for microphones, so it had to be upped for line level; it was single voltage rail, so had to be adapted for dual voltage rail; the interaction of the threshold and input gain needed some tweaking; and we wanted to adjust the release. After a few prototypes, we arrived at the current unit, which is very responsive and versatile. Control-wise, it has an input gain [IN GAIN] and a threshold setting, which we call BREAK; as well as the manual BREAK control, there is also a CV input [IN] to modulate the threshold. There is a variable RELEASE control that can produce some very interesting results, depending on the nature of the input. On the output, we also have gain [OUT GAIN], and a CV input [IN] to modulate the output level [GAIN MOD].”

Musically speaking, the end result “…is a brick wall limiter that can — by upping the input level — be pushed into distortion,” describes Dr Douglas Doherty, justifiably proud of the fact that F*ck With Sound successfully upgraded and updated the circuit concerned to produce a colouring block with a vast pallet. “With dynamic material such as drums, it can be set for only peaks to distort — the rest remaining clean. That quality was commented upon by a couple of distortion aficionados atMachina Bristronica.” Break On Through features — hitherto unmentioned — worth highlighting here include: LED indication for distortion; solid metal sleeve jacks for longevity and stability; and custom DACS Audio aluminium knobs.

CLICK FOR MORE »

Analogue Solutions Ample Desktop Monophonic Synthesizer

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

via this Reverb listing

"Mint condition...... And heck if a lot of fun and sounds awesome.

comes with all accessories (matrix pins/cables/power)

In perfect condition, everything works like it should. 2 to3 day shipping...

Ample combines the best elements of several of our recent products.

The sound elements of Fusebox
Jack patch points of Concussor Eurorack
Patch pin matrix of Vostok
Echo from Dr Strangelove
Sequencer and CV touch pads of Generator
It shares all this yet still has its own sound!"

Ample can be as complex or as simple as you want it to be

We have given this synth a large and diverse number of controls, that along side the patch sockets, will give even the best and experienced synthesist endless possibilities.

We have presented the controls in a user friendly and familiar synth layout that, together with this manual and other resources, enable even the new guy to get great sounds.

SYNTH – PERCUSSION – AUDIO PROCESSOR

Ample is a compact analogue synthesizer. Analogue - as in really analogue. Aside from the MIDI chip (which has to be digital), everything else is totally analogue using real transistors and op-amps. There are no CPU stabilised and quantised circuits, no DCOs, no digital LFOs and no digital EGs, as found on other so called analogue synths. The circuitry is based on designs dating back to the mid-1970s. So Ample has a genuine old sound.

CLICK FOR MORE »

Divergent Waves Sycamore & Oak Review

video upload by Molten Music Technology

"Sycamore is a two-channel melody maker that borrows from both the Turing Machine and an unfinished Mutable Instruments project to produce alarmingly engaging music. You can choose a scale and push notes about, add and remove notes, range up octaves, 'mutate' single notes or 'seed' entirely new ones. Oak provides some gate outputs and a load of extra control over the Sycamore. It's an absolute delight of a module. I'm using it in a very mellow way in this video but it can be anything you want."

This appears to be the first post to feature Oak.

"Oak is an expander to Sycamore which adds some useful features to the original module. Trigger outputs on every step, every note change, and at the start of each loop allow for creative patches that stay in time with the melody. Scale shuffle, previously only accessible via a long press on Sycamore, expands Sycamore with interesting patch-programmable quantization options.

The loop can be reset back to the first step after a trigger input or button press.

Sycamore’s four main parameters that control the loop - Shift, Quantize, Length, and Range - may also be locked at the press of a button."

Unique! Signed "Wingie" by Meng Qi (Discontinued V1) w/ Original Box

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


via this Reverb listing

"Meng Qi Wingie V1- Portable Resonator Synthesizer

Mint in Box. Unit was signed by Meng Qi himself on the back panel (see pictures). V1 has been Discontinued.

Wingie is the little sibling of the Wing Pinger. The portable resonator synthesizer can be supplied with power and new firmwares via USB
connection. The built-in microphone and two headphone outputs invite you to experiment outside the studio. Comes with USB cable, and stickers In Box (will ship inside a second slightly larger box).

Description

Wingie is a handheld stereo resonator with built-in microphones that also doubles as a development board. Its dual onboard microphones allow you to interact and enrich vocals as well as the sonic environment around
you. If you sing to it, Wingie responds with marvelously complex harmonies. Or play it as a percussive instrument and create acoustic
feedback with your speakers. Wingie is small enough you can simply take it along with you and resonate with the world. However you
decide to use it, Wingie can deliver a lush stereo image by just locating the sweet spots. It’s all right there in your hands.

Wingie is equipped with a stereo line input to work with the rest of your arsenal. Plus dual headphone outputs for sharing or creating feedback loops. Whatever equipment you have now, Wingie can give you a whole new
way of hearing it.

There’s a USB-Type C jack for power and convenient data transfer. Wingie can also run on a power bank. To make sure you always have the most up-to-date capabilities, the USB serial chip can be readily updated. Additionally you can use the chip for alternate firmware or your own development projects.

Wingie is really whatever you wish to make of it. Use it as a portable instrument. Or work with other instruments—acoustic or electronic—for aural exploration. All this in an undeniably cute little package that’s called Wingie because it sings with whatever is in the air around you."

CLICK FOR MORE »

LinnStrument 200 Bumpy Surface

video upload by Sound Workshop

"our Bumpy #LinnStrument Surface makes it easier to play by feel instead of by sight. We’ve shipped over 150 surfaces for LinnStrument 128, and preorders are now open for LinnStrumenf 200. Shipping in Feb 2026. Order before Dec 8 for a 15% discount.

Http://www.soundwork.shop/linnstrument"

"One BLACK aftermarket silicone surface for LinnStrument 128. LinnStrument not included.

This surface makes it easier to play LinnStrument by feel instead of by sight. Each row is shaped like a long speedbump, which has three benefits:

Guides fingers to stay on target during long pitch slides

Provides confident tactile feedback when shifting a finger up/down between rows or hitting a double stop

Allows more intentional Y expression by feeling for the front, back, or crest of the bump

The grooves are centered over the top of the notes, instead of on the boundaries. The way the finger can feel when it's on target.

The root note bumps or dots have been removed to make alternate tunings easier.


This surface is great for playing LinnStrument with eyes closed or playing with two hands.

International Customers: prices listed do not include import taxes or fees. Please note that you may need to pay an additional custom when importing.

Black Surface Back Side Cosmetic Issue (Oct 22, 2025): the remaining 8 black surfaces have unintended paint application on the back side. After installation this is not visible to the user, and it has no functional impact. Some examples are shown here. We apologize for the suboptimal appearance. The price has been reduced %10 for the remaining stock. Thank you."

Roland Chorus Space Echo RE-501 test with Sequential OB-6 [NO TALKING] [with explanatory subs]

video upload by Freedom of Movement

"Roland Chorus Space Echo RE-501 test with Sequential OB-6

🟢 TURN ON CC FOR SUBTITLES EXPLAINING WHAT I'M DOING IN THE VIDEO 🟢

I picked up this RE-501 yesterday and was disappointed when I got it to the studio & turned it on as the tape echo wasn’t really working properly. The tape was jamming & squeaky & there was tons of wow & flutter & distortion - not in a good way either

But! After a thorough clean of the rollers & heads and letting the motor run for a bit it now sounds like this!

Pretty, pretty good

I’m using both A & B outputs so the chorus, delay & reverb are stereo panned. It’ll sound a bit weird in headphones but on speakers it sounds awesome

Gotta say that the 501 sounds vastly superior to the 301 I had until recently. The reverb especially is a marked improvement but in general - aside from the styling perhaps - it’s a step up

I still think the unit needs a proper service: new felts, a new pinch roller … maybe even a new motor … and new tape of course

But for now it’s got just a nice amount of wow & flutter and noise. Sounds good right?

The sequence is coming from the Sequential OB-6. Starts off plain then I introduce some time-synced LFO; bandpass filter, sample & hold/random, clocked to 8th notes"

Using Stuff Wrong: Patching with Mimetic Digitwolis

video upload by Noise Engineering

0:14 Setting up steps
0:28 Sample and Hold
1:40 Clock Division and Generation
2:55 Random Pitch Generator

In this walkthrough, we’re “using stuff wrong” in the best way possible, taking Mimetic Digitwolis far beyond sequencing. Today we explore three creative patches that didn’t make the manual, but absolutely deserve a place in your rack.

You’ll learn how to turn MD2 into:
• A sample and hold, using external CV and triggers
• A clock divider or MIDI-to-analog clock converter
• A random pitch generator, inspired by classic Source of Uncertainty tricks

We’ll walk through setup, mappings, and patching step-by-step, with screen views and module closeups.

Whether you’re using MD2 as your main sequencer or as a multifunction utility, these techniques open up a new world of modulation, randomness, and timing tricks.

More MD2 resources:
• Generative sequencing
• Configuration & workflow
• MIDI integration
• Firmware updates
Check out all these Mimetic Digitwolis videos here:"

Oberheim DSX Digital Polyphonic Sequencer SN A42406

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

via this Reverb listing

"In the dark ages of synthesis, before midi, the questions of sequencing and programming had yet to be answered. A feature folks wanted to have but had yet to be invented. Leave it to the big brains at Oberheim to come to our rescue!

The DSX was released as part of the proprietary Oberheim Parallel Buss system. This allowed users to connect the OB-8, DMX drum machine, and the DSX allowing for easy control and syncing of synths. In addition to controlling these synths, the DSX features 8 CV and Gate outputs to control up to 8 more other analog synthesizers!

The DSX records in realtime the notes and patch changes you create while playing your OB-synth. It can hold up to 6,000 notes! The DSX can store up to 10 different sequences/songs. Each sequence can have 10 polyphonic tracks for multiple OB-synths and DMXs. Patch info including splits and doubles can be stored too. Quantizing, looping, editing, transposing, and sequence merging are a few more features. If you've got any of these classic (pre-MIDI) Oberheim analog OB-synths lying around, the DSX is an easy way to directly control them in a classic way, and without any need for MIDI retro-fits or interfaces."

CLICK FOR MORE »

Dieter Doepfer explains the 3D Joystick

video upload by Doepfer Musikelektronik GmbH

"Dieter Doepfer explains the 3D Joystick"

The A-174-4 made its first appearance on the site back in 2020. The following are some pics and details via https://doepfer.de/a1744.htm.



"Module A-174-4 generates several control voltages and a gate signal controlled by a spring-loaded X/Y cross potentiometer (so-called joy stick). The control voltages for X and Y are controlled by the X and Y position of the joystick in the usual way. The third control voltage Z is controlled by the rotation of the spring-loaded joystick knob. The gate signal is generated by a button at the center/top of the joystick knob. As an additional feature four control voltages are generated that are assigned to the quadrants of the Cartesian coordinate system. These quadrant voltages are derived from the X and Y voltages by means of a special algorithm.

For each joystick function the non-inverted signal (X, Y, Z) as well as the inverted signal (-X, -Y, -Z) is available. The generic joystick control voltages are bipolar and range from typ. -5V (lowest position) via 0V (center position) to typ. +5V (highest position). By means of the Offset controls OX, OY and OZ a variable voltage of up to 5V can be added to the generic voltages. That way it's possible that the X, Y and Z outputs become pure positive (0...+10V instead of -5V...+5V). That's necessary if e.g. VCAs have to be controlled, because VCAs require a pure positive control voltage. The offset voltages can be adjusted by means of three small potentiometers. When the control in question is fully CCW no offset is added and the "pure" control voltages X, -X, Y, -Y, Z and -Z without offset are generated. As soon as the offset control in question is moved clockwise up to +5V are added to the voltage in question. The offset voltages are also added to the inverting outputs. With max. offset the range of an inverted output becomes also pure positive (+10V...0V instead of +5V...-5V). These six voltages are output at the sockets "X+OX", "-X+OX", "Y+OY", "-Y+OY", "Z+OZ" and "-Z+OZ". Each of these outputs is equipped with a dual color LED (red/yellow) that displays the present voltage and allows to distinguish between positive (red) and negative (yellow) voltages.

CLICK FOR MORE »

Rob Papen DelGrain - Creative Granular Delay

video upload by Rob Papen

Press release follows:

Rob Papen announces availability of DelGrain as creative granular delay, extending effect plug-in product line with yet more out-of-the-box thinking

ECHT, THE NETHERLANDS: virtual instrument and effect plug-in developer Rob Papen Inspiration Soundware is proud to announce availability of DelGrain — duly thinking out of the box to extend its effect plug-in product line as a creative granular delay featuring fanciful routings, a distortion feature, and FILTER, while also featuring the same DISRUPT spherical slider shared by its DelSane (stereo delay demonstrating ‘Dr. Jekyll and Mr. Hyde’ behaviour) and LowSane (‘lo-fi’ sound sculpting-specialising effect) software siblings, aimed at experimental artists, mixers, and producers — as of November 28…

It is fair to say that DelGrain has a lot in common with its DelSane software sibling, the main difference obviously being that — as its name implies — it offers a delay that plays back audio in a granular or grainy way. With that in mind, then, the granular change to the audio can be placed ahead of the delay, inside the delay, or parallel to the delay. But better still, the size of the ‘grains’ can be adjusted (GRAIN SIZE) — even in a tempo-based way, the length of the ‘grains’ (GRAIN LEN) can be be tempo-based as well, while the GRAIN SEMI tune feature has a 12-semitone range, both up and down; by being tempo-based, the granular delay itself is ideally suited to rhythmic usage on drums and percussion loops.

Reveals Rob Papen himself — both in his capacity as a virtual instrument and effect plug-in developer par excellence and also as his namesake company’s Managing Director: “DelGrain can produce some sweet-sounding delays with swirly granular sound, but its real power lies in its special sounds — not only on drums and percussion, but also on vocals, for instance. Its DISRUPT sphere with the tempo-based SPRING BACK feature allows you to change DelGrain’s parameters dynamically, and there is also a tempo-based LAZY MODE…” — meaning that the movement of that DISRUPT spherical slider can be automated in different directions, allowing users to also create new types of creative modulation sounds.

Speaking of creative sounds, Rob Papen saw fit to add a FILTER featuring a high-pass and low-pass combination, a band-pass filter, and a vocal/vowel filter that can be placed after the delay/granular combination at different spots. But before the audio even enters the granular delay, an added distortion module makes the sound options even more exciting.

Evidently excited by his namesake company’s latest creation, Rob Papen takes pride in rattling off several more exciting-sounding features that floats his creative boat by adding, “There is a self-explanatory DRY/WET MIX dial and an FX MIX dial that can mix between the ‘granular delay’ and ‘tape delay’ sounds — by the way, the ‘delay’ inside DelGrain is based on a tape delay algorithm; an AUDIO FOLLOWER input is available for side-chain control, and it can also be used to control the DISRUPT sphere; there are four different modulation slots for those who want to control DelGrain via MIDI; and last, but by no means least, DelGrain comes with the BANK MANAGER and many presets — perfect as a starting point.”

Put it this way: while it is understandable that some might take the idea of another delay plug-in promising to be different to so many others already out there with a GRAIN of salt — pun intended, it would be surely seriously remiss of Rob Papen not to assure them that DelGrain definitely delivers on that well-worn claim!

DelGrain is available — as a 64-bit AAX-, AU-, VST-, and VST3-compatible virtual instrument plug-in for Mac (OS X 10.15 or higher, ARM processor compatible) and as a 64-bit VST- and VST3-compatible virtual instrument plug-in for PC (Windows 7 or higher) with 64-bit AAX compatibility available for PT 12 or higher (PC) — at an attractive price of only €35.00 EUR/$35.00 USD from authorised Rob Papen dealers worldwide or as a download directly from Rob Papen for that same price via its dedicated webpage, which also features more in-depth information, here: https://www.robpapen.com/DelGrain.html

DelGrain is included in eXplorer-10 (https://www.robpapen.com/explorer-10.html), the latest version of Rob Papen’s all-encompassing bundle, at no additional cost; existing owners only have to download the latest installer and run it to add WirePluck to their Rob Papen virtual instrument and effect plug-in collection.

Meet Waldorf's New Protein Wavetable Synthesizer

video uploads by WaldorfMusicChannel

Check with dealers on the right on availability and price.

Playlist:

1. Waldorf Protein Trailer
2. Waldorf Protein Sounddemo
3. Protein - Deep Dive - Tutorial with CTO Rolf Wöhrmann

User Videos:



Playlist:

1. New Wavetable Synth: WALDORF PROTEIN - Sound Demo (no talking) - Limbic Bits
2. Waldorf Protein Demo (no talking) - New Wavetable Synth from Waldorf! - Bonedo Synthesizers
3. Waldorf Protein - Sounds, walkthrough and sound design - Martin Stürtzer



Protein is an affordable and compact 8 voice polyphonic Wavetable synthesizer based on the original Microwave 1 ASIC oscillators combined with modern features of Iridium heritage like the sophisticated arpeggiator, step sequencer, chord mode, effects and more. Protein links back to the very beginnings of Waldorfs instrument makings but interprets the original ideas in a contemporary and surprising way.

With handy dimensions of 252 × 170 × 48 mm (including controls) and a weight of 0.9 kg, the Protein is a true powerhouse packed into a compact and portable new form factor that stands as the first statement of a new upcoming product line.

Specifications

Oscillators
• Two oscillators based on unique Waldorf Microwave ASIC chip.
• Internally running with 250 kHz sampling rate to match original ASIC sampling rate.
• Modeling of digital-to-analog converters for each voice (DAC).
• Unique digital noise generator based on ASIC technology.

Wavetables
• All original wavetables of Microwave 1 based on the original coding and bit-identical to original.
• Including algorithmic and speech wavetables.
• Beautiful recreation of 8-bit quantization and aliasing.
• Full waveform catalogue of original Microwave.

Filter
• Faithful modeling of CEM analogue filters.
• Adjustable de-calibration of cutoff and resonance to model detuned hardware.
• Cutoff and resonance modulations.
• Additional „Dirty“ types: Noise, crackle, click, geiger and bursts.

Modulation
• 3 Envelopes
• 2 LFOs with tempo sync and sample & hold
• 8 slot modulation matrix
• Poly-aftertouch capable
• MPE modulation sources.

Effects
• Two effect slots
• Reverb, Delay, Chorus, Phaser, Flanger, Drive, EQ, Compressor, Tremolo

Voices
• 8 voice polyphony
• 4 timbral layers
• Stacked, round robin and MIDI-split layer-modes.
• Mono & Legato modes

Performance features
• Advanced Arpeggiator
• Step-sequencer with up to 32 steps
• Chord & Scale modes
• MPE Compatible
• MIDI CC Learn

Patches
• Over 150 factory patches
• Capacity of 250 patch memory slots
• Category filter for patch list
• Import- and export of patches via MIDI Sysex

Connections
• Stereo Audio Out with 6.35 mm jacks with optional mono and TRS stereo connections
• Headphones mini TRS output
• DIN MIDI IN & Out, mini-TRS Type A (two adapters to DIN MIDI sockets included)
• USB Type C for power supply and USB MIDI connection
• Firmware updates via USB

Overall
• Sturdy metal front plate on a colorful plastic case
• Dimensions: 252 mm wide by 170 mm depth by 48 mm height (including controls)
• Weight: 0.9 kg
• Power Supply via USB (not in the box)

What’s In the Box?
• Waldorf Protein Synthesizer
• Two MIDI adapters: mini TRS to DIN sockets
• USB C to C cable
• Printed Quick Start Guide

Analogue Solutions Maximus 8-Voice Polysynth

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

via this Reverb listing

"This is the big boy 8-voice Maximus. It's in superb condition and includes everything it would if you purchased it new. Analogue Solutions makes the most 70's sounding synths in the modern era IMO. Raw, present, fat, but with all the modern accoutrement (modern MIDI, connectivity, etc). I have owned all the legendary vintage big boy polys at some point or another and the Maximus is on another level. Most would agree the 8-voice Oberheim is (EVS) is one of the greatest vintage polys of all time. The Maximus is essentially the modern equivalent but with a dedicated sequencer per voice, more global controls, built in delay per voice, and a superior mixer section. This is unit 15, but serial #22 by special request. I suspect no one will ever build an analog synth like this again as it's a labor of love and costly.

I recommend local pick-up here in Vegas, but I have the original crate it shipped in from England. These rarely come up for sale, especially Stateside, and now with tariffs the way they are you're gonna get hammered buying a high ticket import like this. If you were considering a Maximus, here's your chance.

Hand assembled by Tom in the UK."

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ARTURIA Introduces AstroLab 37 | Avant-garde stage keyboard

video uploads by Arturia

Check with dealers on the right for availability and pricing.

"Imagine a compact keyboard uniting the most iconic sounds in a single instrument. Engineered for liftoff, AstroLab 37 redefines what a compact performance keyboard can be, combining an unrivalled sound palette, intuitive controls, and a seamless studio-to-stage workflow – play and create beyond limits."

Playlist:

1. AstroLab 37 | Avant-garde stage keyboard | ARTURIA
2. Overview | AstroLab 37
3. Is the Arturia AstroLab 37 the Best Compact Stage Keyboard? - Reverb (available here)
4. Arturia Astrolab 37 vs 61/88 // and a cheat to give it more hands-on control // Review, tutorial - loopop
5. Arturia AstroLab 37 Review – After 6 Weeks of Real Use - Sineway
6. Arturia Astrolab 37 Review - Molten Music Technology
7. Is this the Ultimate Portable Performance Synth? Arturia AstroLab 37 Review & Demo - Starsky Carr

"Arturia releases AstroLab 37, a compact stage keyboard that brings the full power of the AstroLab ecosystem into a portable, performance-ready format.

Completing the AstroLab line-up, it delivers the same deep sound engines, streamlined workflow, and studio-to-stage continuity as the 61- and 88-key models - now in a 37-key, road-ready design that makes it the ultimate creative companion on the move.

_Ignite your inspiration
Engineered for liftoff, AstroLab 37 redefines what a compact performance keyboard can be. Combining an unrivalled sound palette with intuitive controls and a seamless studio-to-stage experience - perform with confidence and limitless sonic freedom.

Featuring a 37-key slim keybed with aftertouch, a vocoder, and powerful creative tools, turn any idea into fast-moving solos, dynamic leads, and unforgettable hooks."



AstroLab 37 packs the power of the AstroLab range into a compact format.

Engineered for liftoff, AstroLab 37 redefines what a compact performance keyboard can be. Combining an unrivaled sound palette with intuitive controls and a seamless studio-to-stage experience, it empowers musicians to perform with confidence and limitless sonic freedom.

Built on 25 years of innovation, it frees keyboardists from constraints with 11 advanced sound engines, seamless workflow, and a playing experience that’s intuitive, expressive, and fearless.

This isn’t just a new keyboard. It’s a new era.

Ignite your inspiration.

Instantly access a universe of reference synths, classic keyboards, acoustic instruments, and cinematic hybrids - all deeply customizable via onboard controls. The 37 slim-key slim keyboard with aftertouch, vocoder, and performance modes turns ideas into fast-moving solos, dynamic leads, and unforgettable hooks.

Own the stage.

Purpose-built for live: rugged, responsive, and completely standalone. Power up, pick a sound, shape it in real-time and deliver pure musical expression wherever you play - ultra-low latency.

Compact by design.

From studios and stages to bedrooms and DJ booths, AstroLab 37 adapts to every space. Road-ready construction, expressive keys, and instant sound recall make it the ultimate creative companion on the move.

Made to explore.

Edit your presets on-the-fly or dive deeper with Analog Lab on desktop or AstroLab Connect on mobile. Seamlessly transition between studio and stage and let your creativity flow uninterrupted, exactly the way you want it.

AstroLab 37 is a versatile, lightweight companion for musicians who move between studio, stage, and multi-instrument setups — ideal as a second keyboard for band members, a flexible live instrument, or a portable tool for producers on the go.

● 44 instruments, 11 sound engines, 1.800+ presets
● 37 slim keys with aftertouch
● 10 instant-access preset buttons
● 4 macro knobs with LED feedback
● 4 FX knobs, including dedicated Delay & Reverb
● Vocoder-ready mono input
● Color screen + navigation encoder for fast browsing
● Software ecosystem: Analog Lab Pro + AstroLab Connect
● Extensive connectivity: MIDI I/O, USB-C, USB-A host, balanced
mono I/O, mic input, Bluetooth audio, WiFi, pedal input

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A Recipe For Chaotic Beauty | Modular Classroom | Episode 04

video upload by Cinematic Laboratory

"This series is a bit more advanced than usual, but this does not mean 'difficult', it means 'low level'. I will revisit Rob Hordijk's Benjolin and Blippoo Box again, not to recreate them, but to understand its components a bit more so they can be used elsewhere. We'll build a Twin Peak filter with Blades and Blinds (or any duo filter with a polarizer), a Comparator with Maths - which can make amazing new sounds using any two VCO's, I'll revisit the Rungler with Marbles and finally I've been looking for ways to detect equality between two voltages so we can generate a trigger or gate. I am not aware of any comparator that has an '=' output, but I figured out a way to approximate it with Maths.

I've been using ChatGPT as a research tool and it came up with the Twin Peak recipe after scrutinizing documentation on the web. But it also claimed that using Maths for equality detection would not work, because EOC is documented to be 'end of full cycle'. We already figured out in Episode 01 of this series, that EOC is always ON, and off when a RISE is in progress. This is needed to do quadrature functions, bla bla bla, but the point is that AI can be misinformed. Regardless, AI has reached a point where you can actually discuss patches and ChatGPT knows a LOT of modules, options, techniques and alternatives. So how do I know so much? I don't. It's co-creation.

Even though this episode features a lot of chaos, I tried to find the cool textures that make the Blippoo Box so entertaining, and figure out why the Benjolin is so untameable (may I say annoying?)

00:00 Introduction
00:51 Blippoo Box emulation for the Meng-Qi Wingie 2
05:02 Patching a Twin Peak filter with Blades and Blinds
08:03 Patching a Comparator with Maths
12:34 Patching a Rungler with Marbles and any VCO
14:43 Blippoo Box S&H and equality detection with Maths
18:45 Final Thoughs and a dual Benjolin / Marbles (multi-track) Jam."

SugarBytes Introduces Transfigure - Sonic Manipulator

video uploads by Sugar Bytes

"Transfigure is your creative partner in sound. With just a few clicks, it turns any track into a living, breathing sonic landscape full of depth, motion, and emotion. Its clean, intuitive interface makes complex processes feel effortless. Whether you’re refining details or creating entirely new textures, Transfigure gives you the freedom to shape sound your way. The central XY pad allows for simultaneous parameter control and expressive automation, perfect for performative sound design and evolving texture.

Runs on macOS & Windows (AU, VST2, VST3, AAX, Standalone)"

2nd video timestamps:

00:00:00 Overview
00:09:02 The Modulators
00:32:09 The Sound Processors
01:08:58 The Effects

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Microsound Magic - B00GA, HAINBACH's new Instrument with @audiothing

video upload by HAINBACH and AudioThing

"This was a long time in the making - B00GA, my new VST/AU/CLAP instrument with AudioThing is finally here! When I discoverd the HP 8006A, nicknamed "B00GA" in 2019, I was amazed by the precision funk it oozed. Making it a plugin was on my mind since 2020, but only now AudioThing and me found and approach that would make it worth as a virtual instrument. We turned it into a microsound sampler, that sequences tiny sounds and noises within the wonderful HP interface. This opens up new textures and sonic worlds to explore. We hope B00GA brings you joy!"

00:00 Intro Tune
01:33 Dry Rhythms Demo
02:43 Textured Rhythms Demo
04:09 Experimental Demo
06:05 MIDI Keys Demo
07:45 Tutorial
13:02 How To Make Banks
13:59 Hainpack Integration
20:31 Pricing and Platforms
21:29 Why Handles?

GET B00GA: https://www.audiothing.net/instrument...
AND iOS: https://apps.apple.com/us/app/b00ga-m...

"B00GA is a studio and live instrument designed to create experimental rhythms and tonal textures. Inspired by a rare piece of lab equipment, the Hewlett-Packard Word Generator 8006A, it offers an excitingly different way to sequence clicks, pulses, and noise.

Use it to create tight grooves, off-kilter beats, and forever shifting micro-sound patterns. Speed them up into rich drones and tonal structures. It comes with a suite of five vintage-flavored effects that allow for unique radiophonic effects. From brain-dance to the dance floor to advanced sound design, let’s B00GA!"