For nearly 40 years, MPCs have shaped the sound and culture of modern music production. MPC Sample carries this legacy forward by making the art of sampling more accessible and approachable than ever before. Inspired by the legendary MPC60 and MPC3000, this portable sampler, sequencer, and effects processor puts the iconic workflow of vintage MPCs into a compact, modern format with features that empower limitless creativity.
Legendary MPC pads, a full-color display, and simple creative controls encourage hands-on sampling, looping, and beatmaking right out of the box. For immediate idea generation, this standalone hardware comes with over 100 kits, inspiring pad and knobs effects, and an intuitive chopping workflow.
MPC Sample is equipped with all the storage and connectivity options creatives need. A rechargeable lithium-ion battery, microSD card storage, an onboard sequencer, an internal microphone, a built-in speaker, and USB-C connection make it easy and convenient to record, edit, and play back audio on the go—no computer or DAW required."
Grad school and family responsibilities made it really difficult for me to put any time toward making music, so I ended up selling all my gear. After that, I tried to make a few tracks on the computer in my free time, but it was never any fun and I couldn't finish anything. I decided that music production just wasn't the right thing to be focusing on at this point in my life.
Of course, the desire never left. I spent two hours commuting every day on the train, which I usually filled with reading or listening to music. Recently, I decided I would try to make some music during those two hours. I downloaded Koala Sampler on my phone and gave it a shot. This is what I came up with.
This track uses all stock samples and the built-in Quokka synthesizer. The video is a lie. I recorded it in real time, but I ended up just exporting the stems so I could add some effects and chop some patterns around. You'll notice some drum pads aren't triggering when they should be based on the audio. Sorry.
I hope you enjoy this track. It felt really good to finally finish something."
"midiphy proudly presents: zetaSID for eurorack, an expandable powerful SID voice covering a wide range of tones and textures, from classic chiptune staples to sounds you might not expect from a SID chip. The legendary sound engine that defined the Commodore 64 era and shaped the childhood memories of a whole generation of musicians turns out to have plenty left to say. What started as three humble oscillators in a home computer back in 1982 still has a unique character that nothing else quite captures. And zetaSID is here to make sure that sound keeps finding its way into music for years to come.
Here are some selected audio demos, some of them use external FX, some are dry, directly recorded from the bare metal.
"A compact show for you this month but still full of exciting happenings and quirky bits of gear. I'll have a full report on Synth East next week all being well and do come along to the Live Stream on Sunday night at 8pm."
Index - 0:00
Intro - 0:12
Synth East - 0:31
Look Mum No Computer Eurovision 2026 - 5:55
FlatSix Modular Shroud of Turing - 9:35
Musical Beings Tembo - 11:10
GRM Tools Atelier - 14:29
Eventide Music Mouse - 16:35
NOMN FOAM - 18:12
Gooey Audio Next - 20:03
Safari Audio Superkeys Cubby - 21:!5
Cherry Audio SH-MAX - 22:28
Waldorf Protein - 24:13
Infinite Digits Ezeptocore - 25:32
Otter Mods - 26:50
Tembra Modules - 28:49
York Modular - 30:24
Sonic RetroCast - 33:15
Synth South West - 35:03
Synth Picnic - 37:46
Coming up - 39:53
[Funny side note: I just saw that episode of Myth Busters with the truck plowing through cars, just yesterday.]
"Welcome to Bad Gear, the show about the world’s most-hated audio tools. There are a few learnings to be taken from years of ploughing through music production gear like an 80s rock band shopping in a liquor store: don’t believe the hype, everything has been done before and never trust a stylish instrument sold with the promise to give you all you need in a compact form factor without compromising sound quality and usability.
Today we are going to talk about Dirtywave M8. This hardware tracker and mini DAW comes with more red flags than the average dating app experience like a cult-like following, a Game Boy-inspired workflow and believe me - I tried my best to hate it.
"This listing is for a vintage 1980's Ensoniq ESQ-1 Analog/Digital Polyphonic Synthesizer Workstation that comes with an Ensoniq Sequencer Expander Cartridge and power cord. This synthesizer is in good physical and working condition. The winning bidder will receive exactly what is pictured.
The Ensoniq ESQ-1 is a 61-key, velocity sensitive, eight-note polyphonic and multitimbral synthesizer released by Ensoniq in 1985. It was marketed as a "digital wave synthesizer" but is actually an early music workstation. Although its voice generation is typically subtrative in much the same fashion as most analog synthesizer that preceded it, its oscillators are neither voltage nor digitally controlled, but true digital oscillators, provided by a custom Ensoniq wavetable chip. The signal path includes analog resonant low-pass filters and an analog amplifier.
"My Kickstarter MicroRack modular synthesizer arrived yesterday and I’m still learning how it works, but I got a nice little jam going with the @audio.computer Beat Friend and @microrack-modular-synth synth. The MicroRack filter is surprisingly gnarly! The MIDI sync stuff is reasonably flexible, the little 4-step sequencers are fun (and I need like 4 more to chain together...) and overall MicroRack stuff is cool and very powerful for how tiny it is. This is a REALLY basic synced groove with some filter and oscillator tweaking to show what it can do.
One drawback with trying to film something like this is that the devices are SUPER tiny and autofocus likes my hands. Hope you enjoy these lovely closeups of my wrists.
The following is in via Sean Graves, who had the following to say:
"The piece, 'The 'Easel' Spirit in 3U: Rebuilding a Buchla Soul in Eurorack,' documents my five-year journey to replicate the specific workflow and 'soul' of the Buchla Music Easel using a curated Eurorack system."
"This post explores the creative power of 5-step sequencing (the 'migrating downbeat'), the 'origami' of wavefolding via the Verbos Complex Oscillator, and the organic harmonic dampening of vactrol-based Low Pass Gates. It’s a technical yet accessible look at why the West Coast workflow remains the 'holy grail' for performance - based synthesis."
The full write-up follows, with a demonstration of the system in the video above.
The “Easel” Spirit in 3U: Rebuilding a Buchla Soul in Eurorack
The Buchla Music Easel is legendary. It isn’t just a synthesizer. It’s a self-contained performance ecosystem. For many of us, the “Easel” workflow is the holy grail of synthesis. However, instead of chasing original hardware, I’ve spent the past five years rebuilding its specific soul within the Eurorack format. Because everyone deserves a hobby, right?
The Chef vs. The Sculptor Most East Coast synthesizers work like a sculptor. You start with a massive block of harmonic noise (Sawtooth or Square waves) and carve it away with a filter. The Buchla workflow is different. It’s like being a chef in your own Hell’s Kitchen. You start with basic, “bland” ingredients (sine waves) and spice them up with Frequency Modulation (FM), Amplitude Modulation (AM), your choice, and then fold until the sound sizzles.
My current rig recreates this spirit by focusing on three pillars: Uncertainty, Complex Oscillation, and the iconic Sequential Voltage Source.
Part One: The Modulators (The Brain) In a true Easel style setup, the Tokyo Tape Music Center 5-Step Sequencer acts as the brain. While most modern sequencers favor 4-8-16-32 steps, the 5-step limitation is actually a creative superpower.
THE FLAGSHIP OF ALL STANDALONES MPC XL has everything you need for pro-level music making. It features ultra-responsive MPCe pads, a dedicated step sequencer, touch-sensitive Q-Links with OLED displays, a next-gen 8-core processor, 16 GB RAM, hands-on performance controls, advanced sequencing tools, deep I/O connectivity, and so much more. Integrated with MPC3 OS, this system supports up to 32 plugin instruments, 16 audio tracks, and 256 voices, making it a studio-grade workhorse.
A COMPLETE STUDIO CENTERPIECE The flagship of all standalone music production systems, MPC XL is an all-in-one studio hub. Produce your entire album, drive your external hardware, and command your setup from one powerful instrument—no computer required.
POWERFUL PROCESSING Powered by a new Gen 2 8-core processor with 16GB of RAM, MPC XL delivers four times the performance of previous MPCs. Load multiple plugin instruments, run complex sessions, and navigate your projects without interruption.
CREATIVE CONTROL AT YOUR FINGERTIPS MPCe pads with 3D-sensing technology brings a new level of expression to beatmaking and production. Each pad features four distinct quadrants, enabling advanced X/Y control, sound morphing, looping, layering, and modulation for the most dynamic playing experience.
KORG Introduces KAOSS PAD V: A Touch Evolution for Modern Performance and Production
MELVILLE, NY - Korg announces the new KAOSS PAD V, a reimagined evolution of its expressive touch-based effects platform, designed for the way musicians, producers, performers, and content creators work today. Building on the iconic KAOSS approach, the new unit arrives as a powerful real-time sound manipulation tool for vocalists, instrumentalists, producers, and performers delivering an advanced dual-touch control surface with expanded effects and sampling on stage, in the studio, and in streaming environments today by reacting instantly to gestures, shaping sound through intuitive touch interaction, and integrating seamlessly into contemporary setups. The KAOSS PAD V centers on a redesigned touch interface capable of responding to two simultaneous gestures, allowing users to control paired parameters at once and create evolving textures, layered movement, and dynamic transitions in real time. Filter and delay, pitch and reverb, modulation and feedback, and many other combinations become fluid, tactile musical expressions rather than static settings, helping performances feel more alive and interactive. Connectivity and integration play a key role in this new generation. KAOSS PAD V supports MIC, LINE, and USB inputs simultaneously, enabling vocals, instruments, and computer audio to blend into a unified performance system. A balanced microphone preamp ensures clean vocal input, while a dedicated high-impedance input allows electric guitars and basses to connect directly without added hardware. An integrated USB audio interface streamlines recording, processing, and streaming, making it equally suited to DAW workflows, livestream setups, and headphone monitoring. A newly designed power circuit and refined audio path support low-noise, stable operation whether used in performance venues, studios, or creative spaces anywhere music is made.
Vocal creativity takes a significant step forward with the new Voice FX engine, providing harmonies, vocoder-style layers, pitch-morphed tonal shaping, and expressive textures applied in real time. The platform even allows users to control external MIDI equipment with their voice, opening distinctive performance possibilities that extend beyond traditional effects processing. Guitarists and bassists also gain a powerful new performance partner. With direct connection via the dedicated high-impedance input, KAOSS PAD V offers fingertip-controlled ambient swells, rhythmic modulation, time-based glitch elements, atmospheric reverbs, and other expressive textures, all shaped by movement across the pad rather than menu navigation or fixed parameter adjustment.
Sampling and looping are built directly into the creative workflow. Users can capture up to eight bars depending on tempo, overdub layers as they perform, keep precise loop positioning during playback, and keep performances rhythmically grounded through BPM-synced Step Hold operation. Multiple playback and slicing options support creative rearrangement, making KAOSS PAD V a capable tool for remixing, live improvisation, and evolving pattern creation. Honoring its lineage while expanding its scope, KAOSS PAD V provides access to a curated range of classic KAOSS effects alongside refreshed modern processing, from filters, delays, reverbs, and modulation to advanced voice shaping and contemporary textures. Users can further refine their sound using onboard editing tools, tailoring parameters, creating customized variations, saving personal presets directly to the device, and even adjusting pad-LED color and program behavior to suit their workflow. With 300 total programs available - 200 factory presets and 100 user location - plus support for external SD or SDHC cards, the platform balances immediacy with depth.
Compact, robust, and designed for real-time expression, KAOSS PAD V measures 210 mm wide by 226 mm deep by 49 mm high and weighs approximately 1.3 kg (excluding power supply). It includes RCA line input and output connections, balanced/unbalanced MIC/GUITAR input, headphone output, MIDI In/Out, USB connectivity, and ships with an AC adapter and Quick Start Guide. Operating stability from 0 to +40°C ensures reliability across environments. With KAOSS PAD V, Korg advances the KAOSS concept into a new era, keeping the immediacy and visual interaction that made the series a staple while deepening control, expanding sonic capability, and aligning the platform with today’s creative demands. For more information, please visit NAMM Booth #6802 or online at www.korg.com.
"I was skeptical when @melbourneinstruments sent me Roto-Control for Logic Pro. I've owned plenty of MIDI controllers that ended up collecting dust. But after using this for the past month, I actually reach for it.
What makes it different? Eight fully motorized control knobs with haptic feedback that adapt to whatever you're focused on in Logic Pro. You don't just see parameters change on screen - you FEEL them. End stops on a filter cutoff, notches on discrete values, center indents for faders, pans, and more.
In this review, I walk through the Logic Pro integration, the haptic feedback system, and what it's actually like to use day-to-day. I also cover the real limitations - manual plugin mapping and limited storage - that you need to know before buying."
Press release follows:
Melbourne Instruments announces advanced Logic Pro integration for ROTO-CONTROL motorised software and hardware MIDI controller
MELBOURNE, VIC, AUSTRALIA: Melbourne Instruments is proud to announce availability of advanced Logic Pro integration for its ROTO-CONTROL motorised software and hardware MIDI controller — creatively expanding upon its successful integration with Ableton Live and Bitwig Studio, demand for integration with Apple’s popular professional DAW (Digital Audio Workstation) for Mac having been strong since said controller launched to widespread critical acclaim a year ago — as of January 15, 2026…
ROTO-CONTROL readily packs eight touch-sensitive motorised knobs — brushless drone motors with Melbourne Instruments’ patented ultra-high-resolution contactless optical sensors offering a lifetime rating in excess of 50 million cycles that equates to 500 times more than conventional pots, precisely — alongside nine high-resolution IPS (In-Plane Switching) LCDs (Liquid Crystal Displays) and 16 backlit RGB (Red, Green, Blue) LED (Light-Emitting Diode) buttons into its classy, compact — 341mm/13.4” (W) x 112mm/4.4” (D) x 44mm/1.7” (H) — form factor to duly deliver haptic feedback and instant parameter recall, communicating with the outside world via MIDI (Musical Instrument Digital Interface) over USB (Universal Serial Bus) and 5-pin MIDI DIN (Deutsches Institut für Normung) IN/OUT/THRU connections. Constructed out of ABS (Acrylonitrile Butadiene Styrene) and metal, it robustly weighs in at only 715g/1.58lb, making it the perfect portable production partner for encouraging artists to use sound and music in new and exciting ways — wherever their journey might end up taking them, both creatively and geographically. Get this, though: ROTO-CONTROL now introduces a fully-tactile, motorised workflow to Logic Pro, delivering fast, hands-on control of tracks, plug-ins, Smart Controls, and automation — all thanks to a new firmware update.
MIX mode mirrors Logic Pro’s session track names, colours, and order automatically, while providing high-resolution control of volume, pan, sends, and automation alongside instant access to track selection, paging, mute/solo/arm switching, and dedicated TRACK FOCUS.
Fast, powerful plug-in control comes courtesy of PLUGIN mode, allowing users to browse and select Logic Pro instrument and effect plug-ins instantly from ROTO-CONTROL using simple touch-and-learn mapping for any parameter, with up to eight pages of controls per plug-in stored directly on the device ready for any projects, plus bypass/select controls — all mappings being saved on ROTO-CONTROL and usable across all Logic Pro projects on any computer.
Cutting-edge control continues with Logic Pro’s Smart Controls being automatically mapped to ROTO-CONTROL, controlling up to 16 Smart Control parameters instantly — perfect for working with instruments, macros, and MIDI effects, available in both PLUGIN mode and the dedicated SMART mode itself.
And as if all that was not enough to be getting on with, ROTO-CONTROL can be used to customise labels, colours, haptics, and steps for each control, while integrated transport — play, stop, record, cycle, auto-punch, and playhead — controls are all accessible from any mode.
It is fair to say, then, that Logic Pro users owe it to themselves — and, ultimately, their sound and music — to consider making some space in their creative and physical world for ROTO-CONTROL. After all, motorised and morphing controls, instant recall, and intuitive hardware are only the beginning of their journeying.
ROTO-CONTROL is available to buy at its new North American price of $399.00 USD (excluding tax) in the USA and Canada, while its RRP (Recommended Retail Price) in Australia of $619.00 AU (including GST) and MSRP (Manufacturer’s Suggested Retail Price) in the EU of €372.35 EUR (excluding VAT), MSRP in Japan/Asia of $469.00 USD, and MSRP in the UK of £389.00 GBP remains unchanged — all via Melbourne Instruments’ growing global network of dealers here: https://www.melbourneinstruments.com/dealers [check with dealers on the right here on MATRIXSYNTH]
CALGARY, Alberta – January 13, 2025 – iConnectivity today announces the highly anticipated follow-up to the industry-standard PlayAUDIO1U, the new PlayAUDIO2U. Building on a reputation of made-to-tour live performance solutions, the PlayAUDIO2U sets a new benchmark for professional touring rigs with a powerful 24 balanced XLR output configuration and four pristine, ultra-low noise microphone preamps. The PlayAUDIO2U interface maintains and improves upon iConnectivity's famous redundancy failover protection for touring musicians, production companies, and any live event where failure is not an option.
The PlayAUDIO2U introduces not only an expanded output count of 24 panel-reinforced XLR outs but also integrates versatile new concepts into iConnectivity's PlayAUDIO range. Four pristine, studio-quality inputs are perfect for injecting vocals, guitars, synths, and other instruments for live processing—all while enjoying iConnectivity's famous redundancy protection.
iConnectivity has always been known for robust MIDI integration. The PlayAUDIO2U is the first of iConnectivity's interfaces to feature built-in MIDI control via integrated control buttons on the front panel of the interface, allowing convenient, hands-on control of your performance.
The physical build of the PlayAUDIO2U might be its most revolutionary innovation, combining extensive inputs, outputs, and extreme MIDI connectivity into one rugged 2U rackable enclosure. All I/O ports are specially reinforced to withstand the rigors of daily touring—designed to be plugged directly into stage boxes and house sound systems every day. You can say goodbye to complex, fragile setups. Now building a reliable touring rig is as simple as installing a single PlayAUDIO2U in a rack.
"The Novation MiniNova is a powerful, compact synthesizer known for its surprisingly deep sound engine—the same one found in the larger UltraNova. It is particularly famous for its vocal processing and "Animate" performance buttons.
Here is a breakdown of its key features in English:
Core Sound Engine Powerful Synth Engine: A versatile engine capable of up to 18-note polyphony and 5 effects per patch.
Oscillators: Features 3 oscillators per voice, including classic analog waveforms, 36 wavetables, and 20 digital waveforms.
Filters: 14 different filter types, including low-pass, high-pass, and band-pass, with various slope settings.
Modulation: 20 modulation slots to link synth modules together, plus 3 LFOs and 6 envelope generators.
Vocal Processing (VocalTune & Vocoder) VocalTune: Includes a built-in pitch correction effect to achieve that "auto-tuned" vocal sound.
12-band Vocoder: Comes with a dedicated gooseneck microphone to create classic robotic voice effects.
Voice Processor: You can also run external instruments through its filters and effects via the audio input.
Performance Controls Animate Buttons: 8 backlit "Animate" buttons that allow you to "warp" and trigger modulation in real-time.
Pitch & Mod Wheels: Tactile wheels for expressive playing.
Large Filter Knob: A dedicated, oversized cutoff knob for instant sonic control.
Arpeggiator: A built-in 33-pattern arpeggiator with real-time editing.
Hardware & Connectivity Mini-Keys: 37 velocity-sensitive mini-keys for a compact footprint.
Patch Storage: Space for 384 onboard patches (256 factory sounds included) and additional storage via computer software.
"I ordered my Beat Friend at SuperBooth 2025 and it arrived a couple of weeks ago. This is the first chance I've really had to sit down with it. I love it-- it's inspiring and can be pretty good to chill with.
The Minichord is also delightful for chilling. I need to get more into the patch editor.
Played live while recording on my phone for lofi excitement."
"In this video, we’re building a Teensy-powered synth inspired by the iconic Minimoog Model D, and exploring what made the original design so legendary. We’ll walk through all-the-things: oscillators, mixer, filter, envelopes, hidden features, presets, the Teensy’s USB audio setup, and how Bob Moog’s Minimoog helped shape modern subtractive synthesis.
This is my biggest project to date, and I couldn’t be happier with how it turned out! The Teensy 4.1’s built-in USB audio is sending power, MIDI, and audio over a single cable. What a time to be alive, haha! All code and build files are available on GitHub if you want to make your own. Cheers!
A 6-voice polyphonic virtual analog synthesizer built with the Teensy 4.1 microcontroller, inspired by the classic Minimoog. Features comprehensive synthesis with USB audio/MIDI and intuitive menu control.
Key Features: 6-voice polyphony with 3 oscillators per voice (18 total) 6 waveforms per oscillator Noise shared white/pink noise 24dB Moog-style ladder filter with ADSR envelopes Independent LFO with pitch/filter/amp targets Macro knob system - remap filter knobs to LFO controls USB Audio + MIDI - single cable to computer 20 hardware encoders + LCD for real-time control 20 Presets - 80s Brass, Saw Keys, Bass sounds, Pads, and more Multiple play modes - Mono, Poly, Legato with glide
Sounds are complex and vary widely. This experiment uses machine learning to organize thousands of everyday sounds. The computer wasn’t given any descriptions or tags – only the audio. Using a technique called t-SNE, the computer placed similar sounds closer together. You can use the map to explore neighborhoods of similar sounds and even make beats using the drum sequencer. http://g.co/aiexperiments
Built by Kyle McDonald, Manny Tan, Yotam Mann, and friends at Google Creative Lab. Thanks to the London Philharmonia for contributing some sounds to this project. t-SNE animation featured in video by Gene Kogan.
"Welcome to Bad Gear, the show about the world’s most-hated audio tools. There is no shortage of synth manufacturers offering costly top-shelf instruments: PolyBrutes, UDOs, all the old stuff but new and even Roland started channeling their inner Teenage Engineering.
Today, however, we are going to talk about Nord Modular. This range of digital high-end modular synths was introduced in 1998 and not only is there no modern successor in sight, they also made it incredibly hard to use the originals properly. This time it’s personal!
Chapters: 00:00 Intro tune 00:56 Overview Nord Modular G1 01:12 The Nord Modular Range 01:17 The Concept, UI, Computer Integration 01:43 The Software Editor Situation 02:00 Freeware Editor ( Byte Order ) 02:16 The Modules ( Oscillators, Drums, FM ) 02:54 Generative Patches vs. Normal Synth Duties 03:04 Filters 03:40 Modulators 04:08 Using it as a Groovebox ( Clock Generator, Sequencers ) 04:43 Effects (or lack thereof) 05:09 Features for Keyboardists 05:26 Even more weird Features 05:44 What else??? (Connectivity, Pricing,...) 06:10 H*te Screen 06:35 Jam 1 ( Techno Groovebox Patch ) 07:29 Jam 2 ( Many, Many Patches Jam ) 08:34 Finale ( 90s Psytrance ) 08:46 VERDICT"
"So whilst on soak test I came across this crazy bank:
Notes from the .txt
ART SPRINGER STRIKES AGAIN (free)
Reviewed by Mike Metlay
All right, gang, I know what you're expecting in this space, so I'll oblige you
and get it over with. Ready? Here goes: "WAHOOLAZUMA! Everybody's
favorite twisted puppy is back from the audio torture chamber, and he's brewed up
the most brain-slashing package of monstrous elektronoyze EVER! This stuff's
great for warping your brain patterns, killing your cat, etc..."
Okay. Happy now? Good, now let's get serious. I heard from Art recently that
he didn't get a terribly good response to his first mailing, and that few, if any,
XUG members looked him up for his second set of patches
He seemed in a pretty good humor about it, but I couldn't help wondering if my
presentation of his patch set didn't scare a lot of people away just by the wording.
So, with a new patch set from Art (more diverse than the first two) in hand, I'd
like to try again.
One of the most unhealthy trends I see in today's patch-editing software is the
patch randomizer, that cute but overused utility that generates random patches at
the click of a mouse. Literally thousands of these random patches are being sold
by unscrupulous hackers as "original sounds," and a whole new generation of
MIDI morons is springing up (pardon the pun) whose idea of "good programming
chops" is the ability to tweak a randomly generated sound into something that
(almost) works. No program of this type exists yet for the xpander, and I'm glad of
it: the lack of computer-generated garbage on the market forces the user
community to seek one another for new ideas, rather than some electronic I
Ching. We come together in this Group to share ideas and learn from one another
and I believe that studying another human being's work beats watching a
computer coughing up random numbers. Which brings us to the music of Art
Springer.
In my opinion, these patches are important. VERY important. I get so enthused
about Art's work because I see in him a reflection of my college days, when I
puttered about with ARP and Buchla modular monsters creating sounds for the
sheer joy of it, putting together tonalities never before heard on Earth rather than
trying to make a realistic shakuhachi. This was, and often still is, the meat and
potatoes of electronic music to me. And when I hear Art telling me that people-
Xpander users!-are returning his work because it's "too weird," I know
something's wrong. The Xpander isn't a sampler or a digital piano. It's not an
imitative instrument by nature. It's a powerful, multiply interfaceable modular
synthesizer with a great deal of flexibility. Art Springer takes a stance on its use
that no other Group member has had the courage to try: using its Power as a CV
percussion device to enhance the sounds of his more traditionally oriented synths.
(By the way, Lionel and I are big fans of his music ... it's not as inaccessible as
you might think, and the odd tonalities make his dance pieces a lot of fun.) This is
a new idea to a lot of you, and I don't blame you for being frightened. But it's
better to learn from someone whose ideas differ from yours than to convince a
computer to feed you something safe. I'd like to suggest something simple to start
with: get one of Art's sound sets, trigger your Xpander with your drumbox, and
try writing music with these sounds as part of the atmosphere rather than
conventional drum noises. Or do something completely different. The important
thing is to try to expand (hm) your horizons to something new. These sounds of
Art's do take getting used to, but I think you'll learn a lot from them. Trust me."
"MÕNAI is a standalone portable multitimbral synthesizer that goes wherever your creativity takes you. The integrated battery eliminates the need for power outlets, while the compact form factor fits comfortably in a backpack. Whether you’re sketching ideas on location or performing on stage, MÕNAI delivers comprehensive synthesis capabilities without compromise.
Planned beta version release: Summer 2026
Every control on MÕNAI is positioned for intuitive access. The 8 endless encoders provide tactile feedback without physical limits, letting you sweep through parameters naturally. Touch-sensitive strips respond to the subtlest gestures – the left strip dedicated to modulation, the right offering multi-touch control across 20cm of expressive surface. The 2-axis joystick adds another dimension of real-time control.
MÕNAI integrates seamlessly into existing setups. USB Host port accepts MIDI controllers, expanding your playing surface. Standard MIDI I/O connects to legacy gear. Four CV outputs – pitch, modulation, velocity, and gate – bridge the gap to modular systems. Line-level audio input lets you process external sources through MÕNAI’s effects. This isn’t an isolated instrument; it’s a hub that enhances your existing workflow.
A Tool for Sonic Exploration
MÕNAI encourages experimentation. The two built-in microphones capture audio for immediate processing or sampling. The pedal input adds hands-free control. The combination of traditional keyboard layout and function keys provides both familiar territory and new possibilities. This is an instrument that rewards curiosity – the more you explore, the more it reveals.
The CNC-machined aluminum enclosure isn’t just aesthetically refined – it’s engineered for durability. Sandblasted and anodized in matte black, the body resists wear while maintaining a professional appearance. The integrated battery means you’re not tethered to power outlets. Whether you’re sketching ideas on a train, performing in a park, or working in a studio without available outlets, MÕNAI adapts to your environment rather than constraining it.
The workflow is immediate. Controls are positioned for intuitive access, with visual feedback from 109 LEDs across the interface. The high-resolution display renders waveforms and parameters clearly. Multiple synthesis engines can run simultaneously, each with dedicated effects and modulation routing. Sequencers maintains precise timing whether you’re working with internal sounds or triggering external gear."
User Interface 52 keys 29 piano keyboard layout keys (2 octaves and 1/3) 23 function keys 8 endless potentiometers 2 touch-sensitive strips Modulation (left, 8cm) Multi-function (right, 20cm) 2-axis joystick for expression parameter control 6-axis motion sensor Volume control knob with audio level indicator strip (stereo) High-resolution 3.1″ LCD screen Total of 109 LEDs: 88 RGB and 21 single-color LEDs 2 microphones for audio recording 1 USB port for battery charging and computer connection 1 USB Host port for device connection (e.g., MIDI keyboard) Line-level audio input 2 x audio outputs 3.5mm TRS MIDI input and output Pedal input Sync out / in CV outputs CV Pitch CV Modulation CV Velocity CV Gate Dimensions: 36.5 x 12.3 x 18.7 cm
A Technology Preview Exploring AI, DIY Culture, and the Future of Music Creation
Los Angeles, November 11, 2025 — Roland Future Design Lab, the advanced technologies research group of Roland Corporation, announces Project LYDIA, an audio processing platform preview created in collaboration with Neutone, developers of next-generation AI tools for musicians and artists. Project LYDIA merges Neutone’s trainable AI software with Roland’s hardware expertise, using a Raspberry Pi 5 single-board computer to deliver a compact, stage-ready prototype that reimagines DIY innovation for a new generation.
Bridging AI and DIY Creativity
Roland’s legacy in DIY music creation began in 1981 with AMDEK (Analog Music Digital Electronic Kits), a line of build-it-yourself kits that encouraged musicians to experiment with technology. Today, Roland Future Design Lab revisits that spirit, asking how modern creators can explore sound through emerging AI tools.
AI for Sound Discovery and Exploration
Powered by Neutone’s Morpho technology, Project LYDIA, named after DIY and AI, uses “neural sampling” to learn the tonal qualities of any sound and apply it to another in real time, with the sonic results ranging from highly musical to exotic and surprising. The current Project LYDIA mockup houses a Raspberry Pi 5 computer running Neutone’s special version of Morpho alongside Roland’s latest ideas for a simple, tactile control panel. Audio I/O is currently managed via a USB-connected Roland Rubix interface, with future iterations aiming to fully integrate I/O for a completely self-contained device.
AI Innovation at Roland
Project LYDIA builds on Roland’s growing exploration of AI as a creative partner for musicians. In 2024, Roland and Universal Music Group (UMG) jointly introduced the Principles for Music Creation with AI, a framework outlining shared commitments to ethical and artist-centered innovation.
“Roland has taken a leadership role globally in practicing responsible development with AI for music creation,” said Paul McCabe, Senior Vice President of Research and Innovation at Roland. “Part of being responsible is getting input from creators on what they find useful, helpful, or inspiring, and what ideas may not be welcome in their workflows. Releasing Project LYDIA as a technology preview allows us to demonstrate possibilities, seek community input, optimize, and improve.”
Shaping the Future Together
Project LYDIA debuted at the Audio Developer Conference taking place November 10 through November 12 in Bristol, UK, inviting feedback from the creative community to guide future research in AI-driven music tools. Musicians and makers can share their thoughts and ideas via a short survey here.
To learn more about the inspiration and technology behind Project LYDIA, visit Roland’s feature story on Roland Future Design Lab.
