This is an 8-10hp Voltage Starved Compressor module with additional side chain and EQ.
Thank you to Modular 4 the Masses for providing the module for this video."
00:00 - Intro
00:45 - Demo with Kick only
06:58 - Full Drums
09:14 - Plucky Voice
12:00 - Full Mix
HungryThumb is a Eurorack adaptation of a compressor named Engineer's Thumb, typically built as a guitar effect pedal. Juanito built an Engineer's Thumb early in the tin can synth journey, naively replicating the 9V core of the circuit, and then didn't really know what to do with it.
Until they put an 808 kick drum through it. As a kick drum processor, this compressor shines brightly, especially when the Starve settings reduces the core circuitry voltage to 9V and lower. You can get even the purest 808-style kick drum signal, which will be mostly a sine wave, to crunch, clip, gate, fizz and fold. Do you need hardstyle kicks in your modular? This can get you there.
The Engineer's Thumb this circuit is based on uses an LM13700 OTA chip as the adjustable gain portion. These chips are a bit noisy, so an innovation of Engineer's Thumb was to put the gain section in an op amp inverting feedback loop, meaning while the compressor is set to its highest gain, the OTA is set to its lowest gain, and will theoretically be creating less noise. The theory checks out, but I'm not sure how much we Eurorack people care about noise floor.
"Here we have - except for the three songs that YouTube has 'flagged up' for removal - the notoriously bad-tempered 'Saturday Live' set that was the legendary New Order's contribution to the BBC's 'Rock Around The Clock' music-marathon of pop videos, live performances and documentaries. Some of the day's programming - notably, this New Order performance from the bowels of Broadcasting House - was simulcasted on the BBC's Radio 1/2 network, as there was no stereo TV in the UK back then. This historic programme (New Order's "live radio debut on the telly", according to BBC presenter Richard Skinner) surfaced on an old V2000 tape that was being chucked out (together with the video recorder it was in). V2000 was an unusual (but at the time, technically-advanced) European home-video format, intended to compete with VHS and Betamax. Developed by Philips and Grundig, the now-forgotten V2000 had some cool features - like 'flip over' recording, and noise-free 'trick' playback. Don't laugh - this was a big deal in the early-mid 1980s! The recording was alas in a very poor state - machine (which needed to be repaired) and tape alike had evidently not been stored carefully. I have cleaned up the visuals as best I can - and the result is not bad, considering that the source material is over 40 years old! Better still, I had the cassette recording of the stereo FM broadcast I made at the time - which I have managed to synchronise to the video. I have it on good authority that the result is superior to what the BBC holds in its archives (allegedly a ropey off-air VHS copy, with hissy mono sound).
SynthFest France 2026 was held April 17–19. You can find coverage via the SynthFest France label.
"► Thank You 101 Music | 3IS Education | A2D Sounds | ACE | Age Music Belgium | Akai Pro | Alex Nadzharov | Algae | Ambient Memory | Anasounds | Artists & Relationships | Arturia | ASM | Audeze | B4 Distribution | Baloran | Down the Patches | BEATSURFING | Benoit Widemann | BF Synth | BLEASS | Bitwig Studio | Bjooks | Bll Instruments | Charlotte Dubois | Calm | CIYLab | Heart of Sound | Collision Devices | CSFI | cyma form | DAWless Tools | Drift DJ | EmbodMe | Enjoy Electronics | Entropy & Sons | Eowave | Ewen d'Aviau | Euterpe | Expressive E | Erica Synth | FCPro Audio | France MAO | Frap Tools | Fred's Lab | Fulgur Synthesizer | Forge-TME | Glou-Glou | Haken Audio | Hainbach | Heritage Synthetizers | Hell Modular | HLABS | ITEMM | Ingmar Koch | JC Digital | Diary | Kaona | Kiviak Instruments | Kodamo | KORG | KA pro | KR magazine | L1V3 | Lagoon | The Voice Of The Luthier | Larix-Electro | Leaf Audio | Liquid Sky | Macbeth | MidiBen | Morphor | Musical Entropy | Mvk Synth | Nanopolis | North | Novation | NRSynth | Oberheim | Orbiton | Ohmforce | Paulee Alex Bow | PWM | ph-modular | Polytek | PPG | Pural Modular Synthesizer | Project Home Studio | Pylobolus | RBaudio | Ryme music | Travel Piano | Sequential | SACEM | SACEM University | Schneidersladen | Sonicware | Sp3ctra_ | SSL | Studiologic | Synclavier Music | Silence | SyntTesla | SynthAnatomy | SynthFood | SyntheGrall | SynthR | Synthstrom Audible | Teenage Engineering | Theater of the Fleuriaye | Thingstone | Theresyn | Things | Tom Geffray | Tony T-Steel | TouellSkouarn | UNAC | City of Carquefou | Vintage Synths & CO | Wee Noise Makers | Yamaha | Waldorf Music | Wavesequencer | Woodbrass | Usynth.
► Directed by Maxime Bichon, pictured by Maxime Bichon, Thibaut Charbonnier, with the participation of Gaspard Rouaud, Eva Buffa, Eva Bone Leloup, Penelope Galtier.
► Music ATOEM - Erase Mode, Deep Forest - Ghostly Disco, Dogs & Cables - Shallow Brains, Charlotte Dubois - The Electric Hands, Hainbach - Live from SynthFest 2026 - All rights reserved.
► Acknowledgments to Pierre-Jean Tardiveau / Syntesla and Hans Zimmer.
► Special thanks to all the benefactors, the technical team of the La Fleuriaye de Carquefou Convention Center and the visitors."
"Inspired by the golden era of intelligent electronic music (IDM), including projects as Autechre, early Aphex Twin, The Orb, Plaid, Telefon Tel Aviv and others, Glitch Textures is a meticulously crafted collection of 44 performances for Korg Wavestate. This soundset captures the very essence of classic IDM: the warmth of analog imperfections, the hypnotic beauty of broken beats, and the deep emotional resonance of glitched melodies. Every preset is a portal into a world where digital errors become musical virtues.
Harnessing the Wavestate‘s wave sequencing, we have harmonized glitches, clicks, stutters, and data degradation with lush and evolving soundscapes. You won‘t find random noise here — instead, you’ll discover intelligent imperfections: polyrhythmic sequences that breathe, pads that drift organically out of tune, and leads that sound like cherished childhood toys struggling to remember a melody.
As a sound designer for Access Music, Native Instruments, and Modal Electronics, OttO K. Schwarz poured his passion for experimental electronics into every preset. Many performances feature multi-layered setups, rhythmic textures and melodic phrases — perfect for live performance and deep studio exploration.
All presets are finely tuned for real-time expression: modulation wheel and velocity give you intuitive control over several parametres. Whether you‘re scoring the film, producing IDM, ambient, or experimental electronica, “Glitch Textures” offers a unique palette of sounds that are both beautifully broken and surprisingly musical.
"The Erica Synths Syntrx II is one of the most talked-about synthesizers of recent years — but three years on from its release, is it still worth your money? In this in-depth review and demo, I finally get hands-on with this modern spiritual successor to the legendary EMS VCS3 and EMS Synthi, and I want to bust two big myths: it's NOT as complicated as it looks, and it's NOT just a crazy sci-fi sound effects machine. 🎹 What's covered in this video:
-Syntrx II vs the original EMS VCS3 / EMS Synthi — key similarities and differences -Syntrx II vs Syntrx I — what changed and why -The 16x16 digital pin matrix explained simply -Using the Syntrx II as a standard 3-oscillator monosynth -The trapezoid (looping) envelope in practice -All-analog signal path walkthrough -Onboard 3-channel sequencer, DSP reverb and delay, envelope follower FM, self-oscillation, noise modulation, and filter techniques -Sample & hold circuit — how to set it up -The joystick as an LFO / recording modulation source -MIDI setup tips (offset fix, CC assignments for X and Y axes) -Patch saving — what it DOES and DOESN'T save, and why it matters -Honest pros and cons
🎵 Extended drone demo — 5 minutes of the Syntrx II running a single live patch with the trapezoid looping envelope, FM, noise, filter modulation via joystick, and DSP effects. The full version was over 10 minutes — it really is that good.
💷 Price context: Original EMS Synthis now sell for £24,000+. The Syntrx II comes in under £2,000. If you've ever wanted that Synthi sound without selling a kidney, this might be your answer."
"If you like to just make noise with your gear, literally... This one is for you.
The AW Noise Maker is an ultra-niche synth created for those who want to make awful digital noise that would terrorize the neighborhood and make the cops go to your place several times a week. If they knock on your door because of the noise you are making with the AW noise maker, just greet them saying loudly and proudly:
ACAB!!! ACAB!!! A!C!A!B! That means All Cacophonies Are Beautiful, so they understand that you are just a crazy noise artist and leave you alone with your shit.
"Remember the magic of a hand-cranked music box? That simple, satisfying motion, turning a handle and hearing a melody come alive. Now imagine that crank isn’t just playing music… it’s powering your creativity.
We are about to reinvent the classic paper strip music box. Blending tactile, hands-on music-making with a powerful digital engine.
A Physical Way to Compose
At its heart, it’s simple: you punch holes in paper to compose your own melodies, feed the strip into the box, and crank. Note by note. Idea by idea. There’s no undo button; just experimentation, happy accidents, and discovery. You’re carving music into existence. A melody you can hold, tweak, rewind, and reinvent."
"At Superbooth two years ago, as I was walking the halls I felt a hand on my shoulder and a voice said “oscillator sink, let me show you my groovebox”.
Now whatever gets conjured in your mind when you hear the phrase “groovebox” is probably not the Drop from Mad Sound Factory, but after a few minutes of patching and turning knobs I had it generating extremely aggressive gabber, and naturally I was hooked and named it one of my synths of the show.
In this video we’ll get to know Drop, how it works, how it sounds, how it plays with others - including a discussion of how to get banana jacks and euroracks to talk. As the video is long (because of course it is if it’s on my channel), I’ve added chapter markers throughout, and scattered some small no-talking demos throughout, both with drop as a solo instrument, and in ensemble with other instruments.
Transparency notice: Mad Sound Factory kindly sent the Drop to me for free for the purposes of making videos about it. I get to keep the unit, but no other payment was made for making the video and MSF have been given no editorial oversight for this video.
Chapters:
00:00:00 Introduction
00:01:14 The Tone Section
00:05:50 Interlude 1
00:06:42 The Noise Section
00:14:47 Interlude 2
"Gates and triggers are some of the most common signals you’ll patch. Both are binary signals, meaning they’re either off or on. Off is 0 volts, and on is usually somewhere around 5 to 10 volts.
So, what’s the difference?
A gate stays high for a certain amount of time. The length of the gate is part of the signal. Sequencers commonly output gates, letting you control how long each note lasts.
A trigger is basically a very short gate. It’s just a quick pulse, usually only a few milliseconds long. Triggers are often used to start events, like setting the tempo for drum modules, firing envelopes, or advancing sequencers. Clock signals are usually triggers as well. Each pulse moves something forward in time, like advancing a sequencer or firing rhythmic events.
In many cases, you can use a gate as a trigger, since modules often only care about the moment the signal goes from low to high. But using a trigger where a gate is expected doesn’t always work the same way, since triggers are so short.
Gates and triggers might be simple signals, but they’re essential for controlling rhythm, timing, and events across your entire patch.
"Use headphones for this one! Animal Factory Dirty Mirror dual parallel fuzz pedal running a Korg Monologue analog synth — no talking, no post-processing, just raw tone. This was recorded in one take to bring out how the Dirty Mirror becomes an instrument in itself.
A love letter to shoegaze, noise, and harsh textures, the Dirty Mirror
pairs a modified Shin-Ei Superfuzz (the "Burn" channel) with a heavily
modded Big Muff Pi (the "Churn" channel), plus a pre-fuzz delay
modulated by an internal LFO and envelope follower. Hand-built in
Mumbai by Animal Factory Amplification and debuted at Superbooth 2025.
Here it's sculpting the Korg Monologue's aggressive analog voice into
fuzzscapes, drones, seasick vibrato, and pitch-shifted square-wave
chaos. Recorded dry — no EQ, no reverb, nothing but the pedal and the
synth. Drums from an MFB Tanzmaus (not processed)
"Use headphones or speakers with good bass! Dual fuzz chaos meets beat-driven synthesis! Watch the Animal Factory Dirty Mirror transform the MFB Tanzmaus drum machine with creative distortion and delay manipulation. This is pure experimentation—no tutorial, just sonic exploration.
Not just a shoegaze and noise rock machine - the Dirty Mirror is the perfect fuzz for musicians exploring wall-of-fuzz sounds, experimental synthesis, drum machine effects processing, and unconventional gear combinations."
"The Dirty Mirror takes these two behemoths of sonic perversion and adds an extra layer of nasty – using the core circuit of our Coma Reactor Eurorack module.
This three footswitch, 15 knob pedal looks complicated – but it’s not:
The BURN Channel (left side) is based on our Chemical Burn circuit, a nastier FY-6 variant.
The CHURN channel (right side) is based on a heavily modded Big Muff Pi.
There is a short delay circuit before the fuzz circuits.
Both the fuzz circuits can switch between the input sound, 100% wet delayed sound or a blend of wet and dry.
The fuzz circuits are then mixed in parallel into a high-headroom output section.
For added sickness, the delay time can be modified by an envelope follower or LFO.
Choose your filthy reflection – from straight dual parallel fuzz textures, to seasick vibrato to long slow quasi-chorus phasey apocalyptica.
The delay can be used on its own for slapback, chorus and vibrato effects.
Yes, it can get very noisy. No, you can’t do anything about it - so weep in pain and pleasure, and submit to the swarms of square waves that joyfully fill your room."
"This video is all about the Make Noise New Universal Synthesizer System.
What I keep coming back to is this idea of tradeoffs.
This system offers a lot of immediacy. It’s fast, playable, and designed in a way that makes it easy to get interesting results quickly. But at the same time, that design comes with some limitations in flexibility and creative control.
In this video, I wanted to explore that balance.
To me, this doesn’t really feel like a traditional modular system made up of independent modules. It feels more like a single instrument that’s been broken into parts—and that changes the way you approach patching."
"This composition played live by Nick Klimenko on recently restored & tuned flagship of soviet synthesizers - Formanta EMS-01.
Its very hard to tune OSC sections & there are not so many fully working & tuned units in the world!
Thanks to / @ДмитрийБоровских-ш7п for midifying & tuning work!
Working unit sounding ultra mega magnificent!
FORMANTA EMS-01 is an electronical music instrument combining a polyphonic organ and a monophonic synthesizer. It is designed to perform music of all genres and to create various sound effects while recording soundtracks for movies and plays, or studio recording. The organ has a 5-octave keyboard, 6 preset sound timbres, frequency vibrato with adjustable vibrato delay, decay adjustment and a stereophaser (both for organ and synthesizer). The "vibrato delay" scheme is activated again only after all the previously pressed keys are released. In the "legato" mode the "vibrato delay" scheme is not activated.
The synthesizer has:
3-octave keyboard;
modulator, modulation voltage from which is applied to frequency modulator, width modulator, filter, and amplifier;
broad band oscillators 1 and 2 (with various waveforms);
mixer, designed for summation of signals from oscillators 1 and 2, noise generator, external source, and ring modulator;
filter, designed for dynamic and static changing of the spectrum of summarized signal from mixer output;
amplifier, designed for making the sound corresponding to various parameters of the envelope;
Visual division of the synthesizer panel into the above listed sections and their lay-out make it more easy to orientate oneself while setting the required timbre. Besides, the synthesizer is able to simultaneously control one more similar synthesizer through a special cable and connectors CONTR IN and CONTR OUT.
The instrument provides the opportunity of connecting stereo headphones; the volume in headphones doesn't change in case of changing the volume of the instrument from zero to maximum at all the outputs of the instrument with the foot pedal; thanks to this, preliminary control of timbre through the headphones before applying it to amplifiers is possible. By switching on PHASER into the channel of organ or synthesizer, it is possible to get stereo sound in the outputs STEREO L and STEREO P. In case PHASER is switched off, both channels will function in MONO mode."
The Arplus module from Zlosynth Instruments is a robust Karplus-Strong 6-voice resonator that gives you a bevy of musical scales at your fingertips. The Arplus works by selecting a particular chord based on the scale you select, stepping through the notes of that chord via the Trigger input and button. Use the Tone control to set the root note, and use the Chord control to select the particular chord. Both controls have corresponding CV inputs that let you create intricate sequences or melodic randomness. Choose from 31 different types of scales that include Western, Arabic, Indian, Japanese, and even quarter tones.
Internally, a burst of noise gets generated to create the sound, however, if you want more control over your noise bursts, an external input is available for you to patch in whatever you'd like. Use the String control to adjust how many virtual strings remain resonant after the trigger—up to 6 strings can resonate at a time allowing for soaring expanses of ambience and gorgeous clusters of notes. Sculpt the sound right on the module with a built-in filter, including resonance and cutoff, along with a Contour control that moves from short percussive bursts to long swells of washed texture.
Of course, no resonator would be complete without a stereo output, and the Arplus doesn't disappoint. Choose from three different stereo spreads: Ping Pong, which alternates voices between left and right, Root, which sends the Root to the Left and everything else to the Right, and Haas, which creates a stereo spread using the psychoacoustic Haas effect. The Arplus from Zlosynth is more than just your typical resonator, with an easy-to-read scale selector and a lovely sound that's sure to win over your heart and ears.
ARPLUS FEATURES
6 Voice Karplus-Strong resonator External audio input for custom excitation sources 31 Different scales Customizable chords up to 8 notes CV-Controllable arpeggiator patterns Quantized 1V/Out output 3 Stereo output modes Built-in filter
"The AW noise maker is a non-idiomatic instrument made not to be controlled or understood in any manner. Based on poor signal-to-noise ratio transmissions and glitch aesthetics. The key to playing with this noisy device isn't to reach perfection in its operation or trying to predict the way it works to achieve similar results every time it is used. In fact, the machine is programmed to be unpredictable every time it is connected due to a carefully designed randomization mechanism that modify the conditions used by the device when it boots up. So, you never know exactly how it will sound or how the filters will work the next time you play with the AW noise maker.
Another funny thing about this device is the glitched display. A mess of pixels and line iterations once you start to push buttons and twist knobs there transforming the display into another source of chaos and uncertainty. That's the spirit behind this little gadget: to express the turmoil and instability that we are living in. Use this machine as a way to meditate above the noise... with the noise. AW noise maker will be available soon. Limited units. Register your interest for this gadget from hell here:
"LIQUID SKY d-vices SMUDGETIZER PRO 2 bit bitcrusher desktop multi FX at this year’s SynthFest France, the Liquid Sky artistcollective from Santana dada Serra, Portugal launches the first chapter of a new experimental desktop multi fx series built in the beloved zen delay format.
all units are handcrafted in Santana dada Serra and designed to connect worlds: cv / gate inputs meet midi clock–syncable modulations - engineered for maximum audio wreckage.
this is not about polite breadnbutter effects: our d-vices are sonic troublemakers for bad ass artists, noiseheads and experimental sound labs.
the series begins with the SMUDGETIZER PRO 2bit bitcrusher — a beautifully destructive stereo machine with integrated lfos, ready to bend, fkk up, break, and reassemble your sound into something floor-shakingly new and evil.
developed by Thilo Goldschmitz, it works with pretty much anything you throw at it: guitars, bass, drums and drum machines, synths, voices, worldreceivers and of course… noise.
a eurorack version is coming too: 40 hp wide. yes, we know that’s a lot of rack space. yes, it’s intentionally big. we love instruments you can actually play. no, we’re not making a smaller version. and yes, we’re friends… but you don’t have to remind us every five minutes that it’s a lot of rack space. <3 :)
the eurorack edition will be available in autumn.
price for the pedal: 299 eur plus vat plus shipping."
"Passive bandpass filters are an obsession of mine, so it was just a question of time until AudioThing and me would make a plugin of the special subset called octave filters. Octaves is out on now: https://www.audiothing.net/effects/Oc...
My Music: http://hainbach.bandcamp.com"
"Hainbach’s Bandpass Filter
Octaves is our latest collaboration with Berlin-based composer and YouTuber Hainbach. It is a filter plugin designed to take apart the audio spectrum in spreads of octaves, allowing for unique and enchanting spectral sound design effects. Octaves gives you a retro-scientific approach to sound that echoes the timeless productions created in the BBC Radiophonic workshop or the WDR Studio für Elektronische Musik by the Avantgarde masters, and modern places like Willem Twee, Strøm, and Hainbach’s own laboratory.
Octaves is available for macOS, Windows, and Linux (VST2, VST3, AU, AAX, CLAP).
It’s also available on the App Store for iOS and iPadOS (AUv3 and Standalone).
single 1U version - https://www.nonlinearcircuits.com/mod..."
"This module is a set of 4 reverse sigmoid chaos circuits, running at different frequencies, there are pots to feed each section into another and influence, sync – sort of, the action. There are also CV inputs for each section which affect the reset or crossover timing, for the faster ones the results are obvious. For the slower ones, give it a few hours.
The reverse sigmoid circuits are similar in concept to the mackey-glass based design used in the NLC Frisson, but are greatly simplified to a bare minimum of parts. Simply an integrator, two all pass filters and a nonlinear stage with two feedback paths. The nice thing about them is you can use any capacitors you like, so long as all three are the same, and the circuit will work with no other mods required. The sections in this module use 1uF, 10uF, 2x 1000uF in series (so 500uF) and 2x 2200uF in series (so 1100uF).
They work quite differently to the Sloth chaos circuits, with a number of ripples or rolls between each attractor, also the three outputs track each other, the faster ones are delayed by a few seconds, the slower ones by minutes. The intent of having 4 different circuits running together with pots to get them to influence each other is to have a module that can create longer tracks with many different but related musical events happening and, of course, weird delayed CV effects. Think of a band where the members all do their own thing but every now and then the sounds and patterns connect and achieve structure, which slowly scatters and reforms in new ways.
Feel free to change the 1uF caps to a higher or lower value, similarly for the 10uF. Stack capacitors on top of each other to get 20uF, or use Tayda 22uF caps and stack them. See pictures on pg6 for info on which caps to change. Make sure the capacitors have at least a 25V rating or higher.
If you want to use larger values than 1000uF and 2200uF, make sure they will fit on the PCB and/or thru the panel holes (1000uF on PCB are 10mm diameter, 2200uF panel holes are 16.8mm)
There are also two difference rectifier circuits which output complex mixes of the individual chaos circuits."
1U REVERSE SIGMOID DESCRIPTION/USAGE
6hp
This module is a reverse sigmoid chaos circuit; it can be built to run as a fast or slow CV source, or even as an audio/noise source. This is a single version of the four chaos circuits in the NLC How’s the Serenity module.
The reverse sigmoid circuits are similar in concept to the mackey-glass based design used in the NLC Frisson, but are greatly simplified to a bare minimum of parts. Simply an integrator, two all pass filters and a nonlinear stage with two feedback paths.
The nice thing about this design is you can use any capacitors you like, so long as all three are the same the circuit will work with no other mods required. The capacitors are marked ‘C’ on the PCB, 1uF is a good mid-range value to install, but 10uF, 22uF are good too albeit much slower. Lower values than 100nF get you into audio rate territory. Make sure the capacitors have at least a 25V rating or higher.
This works quite differently to the Sloth chaos circuits, with a number of ripples or rolls between each attractor, also the three outputs track each other, the faster versions are delayed by a few seconds, the slower ones by minutes.
The Input expects a positive CV, negative going CVs won’t hurt but will have no effect. The CV signal feeds into the first all-pass filter stage via 10k and a diode, this is different to the method used on How’s the Serenity. On slower builds, using 10uF caps, the effect of the CV will be washed out to some extent. It will still have an effect but not as noticeably as on the faster versions.
"In the beginning, there was only the Void, and within it were born the Shapers—beings of pure energy whose thoughts shaped the universe. They wove galaxies like webs, breathed life into stars, and created countless worlds inhabited by wondrous creatures. But in the very act of creation, a flaw was born, a disharmony the Shapers failed to foresee. Their creations, imbued with a spark of self-awareness, began to deviate from the intended plan, evolving in unpredictable directions. At first, these deviations were minor, but over time they gained momentum, giving rise to chaos and destruction. The Shapers tried to intervene, to direct, to correct, but their control weakened with each passing moment. The universe, once their perfect creation, became a rebellious force, devouring itself. Stars faded, planets disintegrated, and life, once so vibrant and diverse, died in agony. In the end, the Creators, exhausted and broken, watched as their universe collapsed into a point, returning to the very Void from which they had once emerged. And with it, they themselves vanished, leaving behind only a silent nothingness, an eternal testimony to the futility of even the most powerful plans.
- -
sound gear:
_ Make Noise STREGA / @MAKEN0ISEMUSIC
_ Universe Zen TESSERACT / www.universe-zen.ru
_ Pro-Ject Elemental / @Projectaudiosystems
_ Tascam DR40X / @TASCAMUSA
- -
musician's account:
Bandcamp: https://gipnoz.bandcamp.com
Instagram: / gipnozer.sound
Telegram: https://t.me/gipnozer_sound
VK: https://vk.com/gipnozer"
00:00 Intro to the Form 50 Bass Patch Bank
00:46 Simple is often the most punchy
01:52 Using resonance for "Acid" tones
02:25 Adding a second oscillator for "Reese" style bass
03:36 Changing oscillators by an octave for extra punch
04:37 Using intervals (Fifths and Thirds) for more harmonics
07:28 Adding LFO modulation to the filter or frequency
10:25 Using Pulse Width Modulation (PWM) 1
11:55 Dirtyfying the sound with Audio Rate Modulation
15:31 Using the Feedback circuit and adding Noise
20:32 Creating sub-bass with a self-oscillating filter
22:32 Some Examples
"Want to create powerful, professional bass sounds on any synth? In this video, I break down 10 essential bass sound design techniques you can use right away — whether you're using hardware or software.
Starting from simple waveforms to complex modulation, FM, PWM, feedback, and self-oscillating filters, these techniques will help you design everything from deep sub bass to acid lines, reese basses, and gritty modern tones.
These are the exact methods I used to create 50 bass patches — and once you understand the principles, you can create hundreds more.
