Korg Prophecy VST Plugin (Korg Collection 6) - No talking demo

video upload by ADL-MusicLab

"Hi, everyone!

In the 1990s, PCM synths were at their peak, but club scene artists were already searching for a more flexible, analog sound, hinting at the coming analog revival of the 2000s.

It was in this context that the Prophecy was announced in 1995, offering more flexibility and timbral capabilities than ever before heard. Defined by the cutting edge digital signal processing technology and a DSP chip formerly used exclusively for effects processing, the Prophecy Solo Synthesizer is now available as a software plugin, with the ease of use, polyphony, and modern features necessary for today’s music production.

KORG Collection - Prophecy, a legendary physical modeling synthesizer developed with the aim of offering freedom of expression beyond analog synthesizers and unprecedented sound creation possibilities, has evolved even further in its expressive capabilities. In version 1.5, the quirks of the hardware Prophecy can now be expressed even more precisely thanks to deeper creative input from the brilliant minds in the original Prophecy development team.

Version 1.5 also adds 180 new programs. This unique sound collection brings out the individuality of the Prophecy, ranging from fresh, software-only sounds to those that pay homage to the original Prophecy and pushes monophonic sound design to all new levels.

Prophecy for Mac/Win uses software to fully reproduce the original Prophecy’s MOSS (Multi-Oscillator Synthesis System) and is equipped with five of the seven total oscillator types:

Standard Oscillator for Analog Synth Sounds
Noise + Comb Filtering
VPM (Variable Phase Modulation)
Cross / Ring / Modulation and Sync
Physical Modeling (Brass Model Oscillator, Reed Model Oscillator and Plucked String Oscillator)


The sounds from each oscillator model can be processed using a nonlinear wave shaper. In addition to the oscillator and wave shaper sections, there is also a sub oscillator and noise generator.

Grab it! You won't be disappointed.

More info here:
https://www.korg.com/us/products/soft..."

Christmas lights from OP-1 + Modular and Microcosm

video upload by Music4screens

"Super dusty signal through TASCAM portastudio for extra noise and analog sauce. Sound source OP-1 in reverse tape, processed by modular Sealegs and Microcosm out of the Eurorack.
The sounds evolves by itself in a way I couldn't control, and I loved it!

‪@teenageengineering‬ ‪@HologramElectronics‬ ‪@intellijel‬
#ambientmusic #lofi #ambientcuration #eurorackmodular #experimentalmusic"

Xenodrive on synth, drums, drone and SFX (no talk)

video upload by Richard DeHove

"First up: Erica Synths sent me the Xenodrive, so my thanks to the kind crew in Latvia. And did you know Latvia and Tasmania are almost identical in size? Not sure that fact will prove useful to you, but who knows.

The Xenodrive joins the Echolocator and Nightverb in Erica Synths' desktop range. Older members include the DB-01, LXR-02 and AcidboxIII. The Zen delay eats at a different table because of its slightly different case size. Perhaps we can speculate on what's next? I'm thinking of a sampler-looper thing. Thoughts?

Back to the alien-green Xenodrive. But before we get there it's interesting that alien stuff is associated with the colour green. If you read fairy tales in their original form then you'll know green was always the colour of witches and other evil folk.

So the Xeno: Stereo dirt, drive, waveshaping, distortion and tube screaming. Dial in just a touch or destroy everything. Lots of knobs plus presets. It's a rare beast.

Aggressive effects can lead to aggressive knob twiddling spinning from zero to ten looking for the big changes. Sometimes it's true: the parameter might be linear from not much to lots. I find the Darkglass B3K works like that: There's not much true variation as you wind up the knobs, you simply get more. But that's not how many parameters work here. If you rotate wildly from 1 to 10 you'll miss all the flavors. That's especially true of the rotate parameter, the drive tone, and the X and Y waves. With all these you'll find variations with tiny movements.

Another parameter I really appreciated was the noise gate threshold - one of the few things that doesn't get a dedicated knob. Dirt and distortion pedals are notoriously noisy so a noise gate at the end of the chain can save you from lingering hiss. You can hear this in the first drum demo here. It begins with long tails and then I wind back the gate. Fun also to use it as a hard release rather than just a noise killer.

I tried to give a variety of scenarios in this demo. My unexpected favorite was how good it was at simulating the details of shortwave heterodyne noise.

0:00 Synth demo
2:45 Drum demo 1
7:48 Throbbing Gristle
9:30 Shortwave
11:55 Drum demo 2
15:26 Feedback drone
17:19 Cheese demo
19:00 Drum demo 3

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

Tight industrial jam by Stephen McCaul of Noise Engineering

video upload by Noise Engineering

"Here's a tight industrial jam by Noise Engineering's Chief Noisemaker Stephen McCaul.

The bottom case is a six voice case with Incus Iteritas Alia (2), Debel Iteritas Alia, Tymp Legio, Manis Iteritas Alia, Virt Iter Legio + Ampla Legio.

There is a Librae Legio for the percussion submix (paralleling the main mix) and an Electus Versio on a send. The rhythm sequencing is from an experimental prototype that isn't really product worthy.

Pitch sequencing comes from Opp Ned. And the Xer Mixa mixer ties it all together.

The top case is an effects rig for another project but i used a Fala Versio and a Yester Versio in that case for some additional effects.

Join us on Discord! Invite link: / discord"

Intellijel 7U Performance Case Gen-2 | New Features Overview

video upload by Intellijel

"The second generation of our flagship 104HP x 7U Performance Case.

Upgrades and new features:

• Upgraded Power Supply with 34 x Headers and lower noise
• 8 x 1/4" TRS jack sockets for inputs and outputs
• Complete MIDI I/O with USB-C
• New Locking Cover design
• New Built-in Stand design
• VESA Mount Compatible
• Joiner Plate Compatible - stack your cases!

Available in both Silver and Black."

"Have modular. Will travel.

Studio, cafe, stage, floor, coffee table—the 7U Performance case doesn't care where you play with it. Two 3U rows house and power all the modules you love (or one day hope to love), while the additional 1U row accommodates an extensive selection of specialized utility modules. Power, audio and MIDI/USB jacks on the back handle all the necessary inputs and outputs, ensuring all that rack space remains free for the "fun" modules. The lid has enough clearance to keep your system patched in transit, and two cases can be stacked with a set of joiners."

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:"

Roland Juno 60 | Ambient soundscape with Fractal Audio FM3

video upload by MIDERA

"I decided to help a friend and replaced all of his Roland Juno 60 sliders. I figured I’d done a lot of similar work for myself, and I’ve had a lot of people help me out so I wanted to pass it forward. Well, after spending 3 hours replacing the sliders, it was 12:30AM and I turned on the unit to test it out. But it went horribly wrong. Nothing sounded right. Noise was always present, the Attack slider didn’t work, Sub was always on, you get the picture. By this point, I was totally stressed out. I had destroyed a $3000 synth!

I tried going to sleep, but it was around 3AM before I could. I woke up the next day, stressed. I ran downstairs to see if it was just something simple I missed, but nothing seemed wrong. All the pins had continuity to the traces they were going towards.

By 5PM that day, I finally wrote on a facebook group. Someone mentioned something regarding the new sliders from Syntaur. He said they’re chassis legs are too short. Specifically, the Attack slider chassis provides ground to IC5, pin 8. But when I checked, there was continuity from the pad to IC5 pin 8. HOWEVER, the pad was NOT connected to the chassis. I quickly threw the old slider in, and magically… it all worked. I couldn’t believe it. That was about 24 hours of terror as I tried to figure out what went wrong.

However, it is now going strong, perfectly. I’m very thankful to that facebook group!

Fractal Audio FM3 used for delay/reverb/fx."

Sid Station driven by Lightreft Monolit exploring SID textures and grit

video upload by HANJŌ

"Afternoon exploration session with 3 silver boxes, the Elektron Machinedrum handling the beat and the classic SID Station led by the Lightreft Monolit on the 2.0β firmware.

Machinedrum keeps things tight and mechanical while the SID Station focuses on texture. Bit-grit, noise edges, and shifting timbres.

Just experimenting, seeing how far the monolit can take Midi Automation over an IDM groove. #machinedrum #sidstation #idm"

####

The LightReft Monolit made its first appearance on the site earlier this month in another video by HANJŌ.

The following is a playlist featuring dditional demos, followed by some pics and details further below.

Lightreft Monolit Sequencer Demos

video uploads by Sasha DZA

Playlist (in most recent order - video 7 is from one year ago):

1. Monolit Sequencer

2. Machinedrum + Monolit : Simple Setup

3. MONOLIT x DECKARD'S DREAM MK2

4. Monolit: Quick Tips for Hardware Users

In this video, we demonstrate how Monolit connects seamlessly with synths, grooveboxes, and samplers — no computer needed.
No deep menus, no distractions — just a clean interface and immediate control.

We explore different scenarios where Monolit shines: real-time MIDI control, clock generation, note and CC mapping, automation, and even gamepad integration.
Hand-built in Japan, Monolit is a minimal yet powerful tool for artists seeking intuitive, hands-on control.

Chapters:
00:00 — Intro
00:23 — Octatrack MK2 DJ setup ideas
02:42 — Scratching on Octatrack MK2
03:07 — Note-sliders / Quantisation
03:56 — Monomachine Drone
04:45 — External controller macros setup
05:08 — Double Monolit setup
05:47 — Retro game controller
06:36 — Advanced Game controller

5. Monolit Firmware 1.2.0: Unlocking New MIDI Control Features!

In this video, we dive into the new features introduced in Monolit firmware v1.2.0. From advanced MIDI routing to external slider control and dynamic button functions — Monolit just got a serious upgrade. We’re showcasing a dual-Monolit setup, where one unit controls the other, which is connected to an Elektron Monomachine.

6. Monolit × Octatrack — Live Performance Control Demo | LightReft

7. LightReft - MONOLIT v.1.0.0

00:00 - INTRODUCTION
04:36 - EDIT MENU
07:22 - CC MODE
13:12 - NOTES MODE
17:26 - LFO MODE
20:33 - MOTION MODE
23:07 - SETTINGS
24:53 - PRESET MANAGER
26:13 - MAX/MSP
30:26 - TOUCHDESIGNER
33:29 - EURORACK MODULAR
41:29 - MODEL:SAMPLES
45:02 - CONCLUSION

Welcome to the first tutorial on the MONOLIT device! In this 40+ minute video, you’ll get acquainted with the essential settings, programming, and MIDI control on MONOLIT, while exploring the device’s unique capabilities. This session covers the key aspects of working with MONOLIT, making it an ideal guide for musicians and producers who want to master its full potential.

Main topics covered:
Initial setup and connecting MONOLIT
Programming and MIDI control
Using functions and operational modes

Dive into the world of sound with this introduction to MONOLIT! Tutorial by Tim Shatny.

"MONOLIT by Light Reft

A smart, modular MIDI computer built for live performance and smooth integration with any setup. ​

Monolit is not a controller you map once to forget.
It is a playable instrument - a physical interface that lets you shape sound through motion, record gestures as automation, and turn parameters into something alive. ​

Designed for those who don’t just adjust sound, but perform it.

WHY MONOLIT?

A motion driven MIDI instrument for live sound shaping, expressive sequencing, and gestural automation.
​
8 banks with 64 controls per preset
Real-time MIDI automation and parameter morphing
Seamless DAW + hardware integration
USB, TRS-MIDI, external device support
​
Customizable, minimal, and fast.
​
MEET MONOLIT, YOUR NEW MULTIFUNCTIONAL MIDI COMPANION!
​
MONOLIT by Light Reft is a cutting-edge, multifunctional MIDI-computer that transforms your music production experience. Designed for musicians who seek precision and flexibility, MONOLIT offers seamless integration with all DAWs and hardware devices, customizable presets, and an intuitive interface for effortless control and creativity.
​
Whether you're diving into your DAW or jamming out with external hardware instruments, MONOLIT has you covered. An endless library of presets at your fingertips—each one offering 8 banks, with 8 sliders and 8 buttons per bank. That's a whole lot of control!

For each slider and button, we present a range of versatile options. You can record MIDI automation, set delay times for slider movements, send notes and LFOs, and adjust various parameters directly within the device. This flexibility ensures that you have complete control over every detail of your setup.
​
But it doesn't stop there. MONOLIT is as versatile as you are, allowing you to connect other devices like Gamepads, Keyboards, Monome Grid , or any MIDI device you fancy. This means you can take command of your entire setup, all through one sleek, powerful interface. Whether you're crafting the perfect beat, tweaking synths, or anything in between, MONOLIT is the tool that brings your musical ideas to life with ease and style.
​
Designed and assembled in Japan, MONOLIT is ready to be shipped worldwide.

CLICK FOR MORE »

The Secret Life of Plants | From Instruo Scion to PocketScion

video upload by Cinematic Laboratory

"This video is about making music with biofeedback from living organisms like plants, animals and humans. I made a video about Instruo Scion five years ago, and I couldn't resist getting the small PocketScion.
I don't know how to explain this, it's a brilliant design with huge potential, but it doesn't come out on its own. Sonically it's a bit tame with the inevitable additive 'organ-ish' sounds, the pluck, a subtractive voice and a very cool noise preset - which sounds amazing, but doesn't really match the mood of plant music. Most presets use a 5 or 6 note scale to avoid dissonants, so it sounds a bit like musical wallpaper.

Its main goal is to take it outside and capture the secret life of plants translated to ambient music, but it can't possibly survive a rainy day in the forest without a cover (or in the pocket).

So is it any good?
YES!

The Controller app allows you to change scales, ranges, midi channels and a control channel (default CC1 - ModWheel) you can route to other destinations (e.g. expression). Since you have five channels, you can make breathtaking generative music in the DAW, controlling five different CC's. It's brilliance is revealed when you hook it up to your DAW and drive 5 midi channels with an ambient VST for each channel (or VCV Rack?). It's truly amazing as a generative midi controller. On it's own, I'd say it's a 6 of 10. With MIDI, it's an 11 (strictly personal opinion)."

DIY Minimoog Inspired Synth | A Teensy Powered Tribute

video upload by Moby Pixel

"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!

GitHub: https://github.com/NickCulbertson/Min...

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

Parts List:
Teensy 4.1 – https://www.sparkfun.com/teensy-4-1-w...
Menu Encoder – https://www.amazon.com/Taiss-KY-040-E...
Other Encoders – https://www.aliexpress.us/item/325680...
LCD 2×16 – https://www.amazon.com/Hosyond-Displa...
Knobs – https://www.amazon.com/Taiss-Silver-R...

Chapters:
0:00 The Minimoog
3:00 MiniTeensy Synth Build
6:32 Minimoog & MiniTeensy Designs Explain ed
9:26 Presets Demo
12:25 SUBSCRIBE! (maybe?)

Thanks for Watching!
Nick
Moby Pixel"

MultiWAVE Flying Solo! | Make Noise

video upload by MAKEN0ISE

"Reklaw opens a portal into the New Universe from the Old... but can't breach enough to use the entire system and is forced to just use MultiWAVE without the PoliMATHS and QXGs."

http://www.makenoisemusic.com/modules...

Dark Industrial modular synth performance by Stephen McCaul

video upload by Noise Engineering

"Here's another dark industrial modular synth performance by Chief Noisemaker Stephen McCaul.

The bottom Eurorack case is a six voice case with Incus Iteritas Alia (2), Debel Iteritas Alia, Tymp Legio, Manis Iteritas Alia, Virt Iter Legio + Ampla Legio.

There is a Librae Legio for the percussion submix (paralleling the main mix) and an Electus Versio on a send. The rhythm sequencing is from an experimental prototype that isn't really product worthy.

Pitch sequencing comes from Opp Ned. And the Xer Mixa mixer ties it all together.

The top case is an effects rig for another project but Stephen used a Fala Versio and a Yester Versio for some additional effects."

100 Oberheim Matrix 12 URBANEK Patches BY Peter Urbanek

video upload by Really Nice Audio

"After the last set of whacky sounds [posted here] I wanted to document some more 'classic' Matrix 12 vibes. I found this great bank by Peter Urbanek.

From the .txt

PATCHES BY PETER URBANEK (free)
Reviewed by Mike Metlay

Peter's patches tend to be organized in sets, with several subtle variations on a theme, and named accordingly: VOICE 1.1, VOICE 1.2, etc. It seems that when a patch deviates enough from the basic form, he gives it a name of its own and groups it after the others of its ilk. For this reason, Peter's patch tape is organized quite neatly, making it easy to audition all of a particular type of patch. Heavy use is made of both Levers, both Pedals, Pressure, Velocity, and Release Velocity on many patches, for effects ranging from vibrato to ENV shape changes and resonant sweeps on note attacks. It should be noted by all that to Peter, "vibrato" means everything from triangle-wave warbles to deep noise-wave growls. His Multi Patch setups are meaningless: they're left over from the factory patch tape. Blanking them would've been nice.

In contrast to the previous set, the patches here bear little resemblance to the sounds after which they're named. Each sound group, like VOICE, STRIN, CHURCH, etc., appears to describe the general character of a sound rather than it's true intent. Peter seems to enjoy the "analog synthesis for its own sake" approach to programming; he eschews realism in favor of timbre.

And what timbres-thundering basses, blasting church organs that seem to belong to any church I've ever heard of, bizarre sound effects (though not on the level of the next tape reviewed) with random LFOS, rich filtered string pads ... all heavily overlaid with a grimy analog crunch that threatens to bury the listener. There are a few slightly altered factory patches as well, but these have also fallen to Peter's grim analog touch.

In fact, there aren't that many different kinds of sounds on this tape; it has a definite "one flavor" feel to it throughout, and that flavor doesn't lend itself to realism, so if you're looking for variety or realistic sounds, look elsewhere. But if you want to learn exactly why no digital synth can cross an Xpander and live, these sounds would be a fine place to start."

2011 VTOL Volfram

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

via this Reverb listing

You can find demos in previous posts here.

"great and very rare semi-modular synth hand made produced in 2009/2011

VolFram is semi-modular noise synthesizer and fx-proccesor based on digital 8-bit echo chip Ht-8970

it can be used as flexible delay/reverb processor, fuzz and complex. All these fx-capabilitys can be mixed and controlled with much flexibility

Only 56 unit were made

It has a very rare Dimitri's modification: very usefull sensitive knob on the right (see pic)

Great for noise/experimental synth, released a few years ago for a specific art project by Russian genious artist ::Vtol:: aka Dmitriy Morozov.

Part of a set of other semi modular machines, it is a stand alone dekstop device that offers different frequencies, from nasty high-pitched noise, to throbbing medium basses. Suggested for artists working with industrial, noise, power electronics, drone, and experimental.

A great piece of artisanship that I didn't use much but was worth the money. released in 55 models

fx-proccesor based on digital 8-bit echo chip Ht-8970.

Needs a BOSS type 9- power supply

demos on line are not as exciting as the machine really does great potential."

CLICK FOR MORE »

Yamaha CS-01 - The Little Synth That Could

video upload by BucketBrigade

"I'm back! (A little later than planned.) Today we're looking at the Yamaha CS-01, a monosynth from 1982 that - while it can't compete with it's older bigger brother the CS80, has plenty to give - more than you may think ;) Thank you to Paul for loaning me this lovely machine.

Let me know if you owned a CS01 in the comments below, I'd love to hear your stories - and feel free to suggest any other synthesisers you'd like to see on the channel in the future.

PS: A quick note - the quality of the microphone and camera are a bit skew-whiff in this channel. Unfortunately nothing went quite as I had hoped as I didn't have my normal equipment, ran out of time and made some errors - chucking a screen with some photo references in the corner of my eyeshot reflecting the whole time being one of them. Lastly, if my voice sounds a bit weird at the start, my noise reduction plugin went a bit overboard and makes me sound like an AI voice. I'm not, I promise!!"

Sonicware ELZ_1 Play | Ambient explorations

video upload by Jay Hosking

"Please support my work on Patreon: / jayhosking
Two ambient pieces composed and performed live on the ELZ_1 Play, with effects.

00:00 - Song 1
04:22 - Song 2

Sonicware sent the ELZ_1 Play over for me to explore because of its big new firmware update. To be honest, there is an overwhelming number of synth engines and effects within the ELZ_1 Play and I only briefly explored the options with any systematicity. Most of the time, I found the synth was a nice device to tweak presets or dial in a sound quickly based on a particular engine type.

A few of the synth engines are quite beautiful and unique, including some tuned noise that it is really pretty. For these explorations, I was mainly drawn to sounds I can't normally make on my other synths, like electric pianos or organs. The options to make and tweak whatever you want are there, but they require you navigating the menus to find them. That aspect works perfect well, but mostly I found the ELZ_1 Play was a great couch device where I noodle.

The biggest and best surprise was definitely the looper, which allows you to have four separate, synchonized or asynchronous loops just spinning away. The looper is an easy way to quickly find inspiration and compose something new.

For these live performances, I've also paired the ELZ_1 Play with a few effects to extend or build the ambient sketch into something a little more complete. The Walrus Qi adds some granular, delay, chorus, and reverb to the finale of the first piece, and the Meris Polymoon adds its phased delay-verb to the second. I also thought I'd try the Soma Cosmos as a different take on the looping idea for the second track.

Overall, I found the ELZ_1 Play to be a good companion for those tired days where all the music-making energy I had was on the couch. Having so many engine types meant I could explore new sounds, and having the asynchronous looper meant I was often quickly in the territory of a full piece.

Thanks for listening.

https://jayhosking.bandcamp.com"

Oddment ODD-1 Build Update & Demos

video upload by oddment

Demos

video uploads by oddment

Playlist:
1. ODD-1 Overview: Playheads

For a long time now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?" But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic. Oddment has evolved too. Starting from one quirky product idea, in 3 years we have grown and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many. So with much consternation, we have decided to drop the name groc. When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1. This is the first in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off half of the encoders that control the granular synthesis engine - the PLAYHEADS function. Here you can control the level, starting point, tuning (aka pitch adjustment) and playback speed for up to 4 different granular playheads. The auxiliary functions available on the touch screen introduce random variability in different ways.

2. ODD-1 Overview: Grains

This is the second in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the second half of encoders that control the granular synthesis engine - the GRAINS function. Here you can control the size, spacing, left-right placement, and grain window shape. Each control also has a related function, introducing grain size variability, spacing jitter, binaural scatter, and a front-back bias for the window shape. The auxiliary functions available on the touch screen control a bandpass filter that can be randomized per grain and adjust whether grain size is regulated in the source sample or in the output signal, which can have a big impact on sound characteristics.

3. ODD-1 Overview: 03 Envelopes & Time Path

This is the third in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the ENVELOPES function. Here you can control the note amplitude envelope and timing, access 3 envelopes that can be used as modulation sources, and use our unique TIME PATH feature to dynamically adapt the playback speed.

4. ODD-1 Overview 04: Sample

This is the fourth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the SAMPLE function. Here you can choose a sample from the factory library or user-uploaded samples, control the playback mode and the section available for granulation, play and hold notes, set loop points and interact with pitch, tempo and channel information of the sample. We also show the auto pitch and tempo alignment features.

5. ODD-1 Overview 05: LFOs, Macros, Patching

This is the fifth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the LFOs, Macros and how to create modulation connections. There are 4 LFOs, 3 Envelopes, 4 Macros (assignable knobs), 4 Control inputs and MIDI information that can all act as modulation sources. Any parameter on the device is a parameter destination. Unlimited connections are made by holding down a destination parameter and then pressing or twisting a modulation source.

6. ODD-1 Overview 06: Filters, Saturation, Echoes

This is the sixth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the Filters, Saturation and Echoes modules. Two filters and two saturation modules per voice, both with multiple types of processing and modulatable parameters, allow for transformation beyond the granular engine. Two echoes sections with filtering and distortion in the feedback loop and fully modulatable parameters make ODD1 worthwhile just as a modular effects rack!

7. ODD-1 Overview: 07 Layers

This is the seventh in a series of videos to show all of the ODD-1's functions in more detail. In this one we show the dual Layer functionality. Essentially the entire system is duplicated so the ODD-1 is like having a dual modular systems, each with a polyphonic granular engine feeding two filters and two non-linear processors per voice, with 3 envelopes, 1 time path, 4 LFOs, 4 Macros and a independent modulation matrix per layer. In these examples we also remind that granular can easily do subtractive-style synthesis when using a basic waveform as the source sample.

8. ODD-1 Overview 08: Reverb & System

The final video in our eight-part series on the ODD-1's functions focuses on the upper-left row where we have global volume, system-level reverb and can work with banks of patches.

The reverb is a classic matrix-style parametric reverb. Think of it like a whole set of interacting delay units with slowly modulating delay times. Ok now that you have that in mind, that's it, that's what it is. It sounds sweet.

If two layers of modulating, granular goodness with a fantastic reverb on top wasn't enough, how do banks of patches to store every twist and connection sound?

And from their newsletter:

What’s in a name?

For a while now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?"

But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic.

Oddment has evolved too. Starting from one quirky product idea, we have grown in three years and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many. And with much consternation, we have decided to drop the name groc.

When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1.

And we plan to keep that off-beat attitude. We hope that brightly-colored friends, ODD-2 and ODD-3, will be along to join ODD-1 after not too long.

Build Updates

We have a lot of exciting progress to report since the last time I wrote. Hop over to our YouTube channel to check out a build update video and some in-depth functionality demos.

We debugged and fixed several problems with the circuit board including the power-up, line input and output, and noise on the control signal inputs.

We got several bids from contract manufacturers in the U.S. and around the world and selected Soldered, based in the E.U. They came highly recommended, and we think their experience will be a huge asset as we go into production.

We worked with Martyna Alexander to tweak the graphic design of the front and back panel. We are thrilled with the updates, including our new company and product logos.

We have first iterations of our custom firmware, enabling full functionality of the device and full USB connectivity to a host computer.

We have completed first versions of the software that include all audio, MIDI and system functionality we intend to support for the release. After many months of playing and testing we re-organized a few functions to expand both the number of concurrent grain “playheads”, and to support banks of patches intended for convenient switching and management in live performance.

What’s Next?

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Rhythmical & Atmospheric Arturia Pigments Ambient IDM Sounds

video upload by Anton Anru

"🔊 Noise Canvas is a collection of 50 presets for Arturia Pigments. It includes: 21 Rhythmical Timbres, 6 Arps, 10 Synths, 7 Pads, 2 Keys, 2 Strings, 1 Seq, and 1 Pluck. Each patch delivers lo-fi, noise-driven textures designed to command attention—gritty and characterful. Beyond the rhythmic core, this collection includes a selection of deeply immersive, evolving pad textures.

📦 Get these sounds: https://antonanru.sellfy.store/p/pigm...
👤 The author of the soundset is usefull.
Minifreak and Pigments presets can be imported into Arturia Analog Lab V.
If you like these sounds but don’t have Minifreak or Pigments and only own the Analog Lab V plugin, you can still purchase these sets and load them into Analog Lab V.

🎧 How it sounds
Lo-fi noise synth sounds with analog warmth and digital edge
Textured, rhythm-centric patches that pulse, crackle, and evolve
Distorted, saturated tones ranging from subtle grit to full-on chaos
Attention-grabbing presence—perfect for leads and hooks

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Yamaha CS01 II Monophonic Synthesizer SN 2341

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

via this eBay listing

Pics of the inside below.

"See video [in the listing while up] for working features. The feet switch works but you sometimes have to fiddle with it. I bought this in the late 1980’s so it is firsthand. I have kept it in a dry healthy environment. It was bought in Europe and I checked it in the US using a European plug and a proper power transformer. The internal loudspeaker doesn’t seem to work. In the video I connected it to an external speaker. Batteries didn’t seem to power up the synth. Not sure why, the connexions are clean. Maybe modern alkaline batteries are weaker than the older ones. This looks like a toy but is actually a very powerful and sought after synth.

TECHNICAL FEATURES
Improved filter: The CS01 II features a 24dB resonant low-pass filter with an adjustable slider for resonance, a significant upgrade from the 12dB filter with a simple on/off resonance switch on the original model.

Sound generation: It includes a voltage-controlled oscillator with selectable waveforms (triangle, saw, square), pulse width modulation, and a white noise option.

Envelopes and LFO: A single ADSR envelope generator controls both the amplifier and filter depth, and a basic LFO can modulate the VCO pitch or filter cutoff.

Portability: Designed for portability, it has a mini-keyboard, a built-in speaker, and can be powered by batteries.

Controls: It includes pitch and modulation wheels, a glissando (portamento) function, and an input for a breath controller.

The CS01 II is a monophonic synthesizer, meaning it can only play one note at a time.

Sound: It is highly regarded by electronic musicians today for its ability to produce "bubbly and growling" bass sounds and other fat analog tones.

Target audience: While its small size and simplicity made it a good beginner's synth when released, its excellent sound quality has made it a valuable instrument for experienced musicians."

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