"The Memorymoog is a classic for its epically fat sound! Though it's not a Plus, we actually prefer non-plus Memorymoogs around here as they are significantly more reliable. This particular unit is in beautiful cosmetic condition as well.
This Memorymoog was previously serviced by Memorymoog specialist Jareth Lackey at Synthpro, and all of the work has been checked by us to make sure it is up to our standards as well. As a finishing touch, we installed our own Memory Liberator upgrade which allows perpetual storage of patch memory without a battery.
This Memorymoog also comes with a Moog 1122 Dual Footswith Pedal, and original owner's manual.
S/N 2268
We believe in transparency when selling “pro serviced” synths so always include documentation of what services every synth we sell has received. Our approach to servicing vintage instruments entails both making sure every synth is working 100% now, and eliminating common failure points to preempt future issues.
This unit received the following services while it was here with us:
Primarily serviced by Jareth Lackey at Synthpro Restorations, we don't have the original invoice but here is what we can tell was done:
Power supply updated all electrolytic capacitors replaced Unreliable chips (analog switching ICs, op amps, resistor arrays) replaced Controls cleaned Tuning trimmers replaced Fully tuned and calibrated Here at Bell Tone:
Memory Liberator F-RAM memory upgrade installed, battery no longer needed and removed!"
Note the above demos and following description are from March 5, 2025. I spotted the Elfin in Hainbach's A Hundred Suns, posted below. There appears to be two synths, an Elfin-08: 8-Voice Functional Prototype Synthesizer, and an Elfin-04 Polysynth.
"Introducing Elfin-04, Hideaway Studio's Compact New 4-Voice Polysynth...
I have been working round the clock for weeks now on my dinky little 8-bit 4-Voice (4 x [2osc+1sub+LFO]) VA Poly Expander with 1960's style transformer-mixed output voicing and finally No's.000 thru 010 are born to the world and receiving very positive feedback from their new owners...... this 4-voice polysynth measuring just 16x12x3cm has full real-time control over her 32 parameters via simple midi ccs and 16 built-in patches.
In this session, I went in completely blind—no planning, no preparation, and zero pre-arranged patterns. Every sound decision was made on the spot using randomly selected samples across all 4 tracks.
Somewhere along the way, the jam naturally evolved into an unexpected Drum & Bass vibe, which made this session an absolute blast. The video is annotated throughout so you can follow along with exactly what I’m tweaking, modulating, and processing in real time.
🎛️ Post-Production Note:
The raw performance was recorded live, then lightly mixed and mastered in Pro Tools.
⏱️ Timestamps:
00:00 - Intro
00:20 - Building Track 01
01:09 - Granular fun
02:16 - Building Track 02
03:05 - Playing with 'Slices'
03:47 - Building Track 03
04:34 - Playing with FREEZE
06:04 - Building Track 04
07:07 - Let's bring the drums
07:55 - Accidental DnB 😎"
"'Time and Destiny' is a live ambient performance recorded using the Hydrasynth Deluxe, Novation Summit, Arturia Pigments, and Bitwig Studio.
Sit back, put on your headphones, and dive into a journey through atmospheric soundscapes, evolving pads, and deep textures. Everything was performed and recorded live.
Gear & Software Used:
ASM Hydrasynth Deluxe
Novation Summit
Arturia Pigments
Bitwig Studio (DAW)
NATIVE INSTRUMENTS KOMPLETE KONTROL S 61 MK II
"Instruments: Leaf Audio Microphonic Soundbox MKII, Squarp Hapax, Oberheim TEO-5, Waldorf Pulse 2, Elektron Octatrack, Elektron Digitone, Roland Aira Compact S-1, a fidget spinner.
Effects and Mixer: TC Electronic Hall of Fame 2, Boss EQ-200, Soundcraft EPM8.
The drums and background synth parts were sequenced with Hapax. The performance was recorded from the mixer output and slightly post-processed in a DAW. No samples were used apart from the drum oneshots."
Master Section Added a general Master level Added simple volume meter
OSC Added 4 more Oscillator Waveforms for a greater range of sounds Added Modulations for a greater variety of sounds 1) Pitch Modulation 2) FM Modulation 3) FM decayed Modulation
"Welcome to Volume 35 of my Torso S-4 exploration series.
This is a completely improvised, zero-preparation ambient performance. No planning, no pre-saved patterns—every single sonic decision was made live on the spot. To give you a deeper look into my workflow, the performance is fully annotated so you can follow along with every twist, turn, and parameter tweak.
During the jam, I dive into a few advanced Torso S-4 techniques, including:
• Modulating sample Speed in Stretch mode with Glide for shifting textures.
• Modulating the sample Start point to create infinite, jittery variations on a drum loop.
• Modulating grain rate, pitch, and contour for evolving, organic soundscapes.
Audio Note: The raw performance was captured live and then lightly mixed and mastered in Pro Tools for the best listening experience (headphones recommended!)."
🕒 TIMESTAMPS:
00:00 - Intro
00:24 - Building Track 01
00:43- Modulating SPEED and PITCH
01:35 - Granular (MOSAIC engine)
02:20 - Building Track 02
03:12 - Granular (MOSAIC engine)
04:37 - Building Track 03
05:14 - Modulating START (glitchy drum loop)
06:56 - Granular (MOSAIC engine)
09:29 - Building Track 04
10:08 - Modulating TEMPO
11:38 - Soloing Track 01
12:32 - Bringing back the drums
13:05 - Soloing Track 04
13:41 - Drums are back!
14:27 - Wrapping up!
"'Dance ARP' is a music song composed in 2024 by Davide Micheli. Some parts were extracted from it and later used to compose the song 'We are the Fire', released in July 2026 with the Sir Donkey band made by me and my friend Piero Pirani.
The song uses mainly vintage Italian electronic synthesizers from the 1980s
The track was strictly recorded with an analog mixer, similar to what was done in the 1980s, except for the digital conversion of the audio using a 24-bit audio interface and Cubase at 96 kHz.
In particular:
--A1985 Crumar Bit99 synthesizer was used for the Bass, Arpeggio, and Pad parts;
--An Elka Rapsody 610 and an Elka Twin 61 synthesizer from the 1980s were used for the string machine parts;
--A Crumar Multiman S from the 1980s were used for the string machine parts;
--A Elka Rapsody 610 synthesizer from the 1980s were adopted for the vintage '80 piano;
--A CRB Diamond 910 Gold vintage electronic organ of '80 was adopted for organ part on the initial part of music track
--A Korg Prologue was used for the synthetic sound effects.
--A Akai S5000 sampler for some for the strings in a central section of the song.
Finally, for the rhythm section, a Behringer RD-9 Drum Machine with a phaser and stereo modulation effects on some parts was used and you can hear drom going from left to right stereo channel.
Hope you enjoy the music."
With vocals:
We are the fire (Sir Donkey band by Davide Micheli and Piero Pirani) recorded in Ankon Record studio
"This piece was conceived, composed, and then produced using almost exclusively vintage Italian electronic synthesizers from the 1980s at the private recording studio Ankon Records.
We appositely decided to make use of vintage Italian brand synthesizer to reproduce the music dance atmosphere, sonority and resonances of the Italo Disco dance of '80 era.
We are the fire is a dance music brand that harks back to 1980s music revisited with a contemporary twist. The song features my friend Piero Pirani and I who are the components of Sir Donkey band. A friend of ours, singer Maruzio, sang some parts in falsetto on some of the chorus parts.
The choruses and vocals sometimes have slight imperfections that we deliberately left on the recording without correcting."
"On 27 May, we hosted an event diving deep on all things disting with artist, musician, and Professor of Language Evolution, Simon Kirby, alongside Expert Sleepers founder and longtime pal of Signal Sounds, Os. The night began with a performance by Simon using his disting-focused Eurorack system, followed by a Q&A and a look into the depths of the disting NT universe.
"An improvised hardware session exploring live textural processing and generative drones.
In this performance, I’m using the Torso Electronics S-4 as the central sonic playground and processing brain. The Montreal Assembly (MTL) Purpll is set to drone mode, acting as a self-contained, unstable harmonic generator. Alongside it, the DecadeBridge Sn provides a gritty, compact synthesizer voice.
Both devices are routed into separate, dedicated inputs on the S-4, allowing for independent live looping, granular warping, and spatial sculpting on the fly.
The performance was recorded live from the S-4 output, then lightly mixed and mastered in Pro Tools
"The folks at @synidotech asked me to help launch their latest MIDI controller, the TempoKey K32. It's unique in that it's not just a MIDI controller but also includes a synth engine. In this video, I take a look at a pre-release model."
Intro - 0:00
Unboxing & Overview - 1:26
Internal Synth Engine - 3:31
Using the Editor - 5:24
Direct Audio - 6:47
Using with Soft Synth - 8:15
Using the Arpeggiator - 10:08
Additional Features - 11:30
Using with Hardware Synth - 12:45
Final Thoughts - 14:24
And one from 2-Minute Warning:
The Key - 4-Minute Jam (TempoKEY K32 Play + Taiga + DFAM)
"This video is a little different for two reasons!
First, it's the first time I'm featuring an instrument kindly provided by a manufacturer. Synido sent me the TempoKEY K32 Play to explore in my own workflow and share my honest impressions.
They didn't ask for a scripted review, so I simply approached it the same way I approach every other instrument on this channel: by making music with it.
Secondly... this is exceptionally a 4-minute jam!
Think of it as two consecutive 2-minute performances before I take a short summer break. 😊
Rather than trying to showcase every feature of the K32 as a MIDI controller (Bluetooth MIDI, battery power, USB/MIDI connectivity, pads, knobs, etc.), I wanted to focus on what intrigued me the most: its built-in General MIDI sound engine.
For this performance, the Hapax sequences the entire setup. The Taiga handles the bass, the DFAM takes care of the analog drums (synchronized by the Hapax), while the K32 Play provides everything else: guitars, strings, bells, plucks, additional drum sounds… and occasionally runs through the Eventide H90 for a bit of extra space and texture.
As always, the musical performance itself was recorded in a single take. Mixing/mastering was done afterwards in Ableton Live, but the performance you hear is exactly as it happened.
A sincere thank you to Synido. Without their message, this musical experiment probably wouldn't have happened."
✅ PLAY THE MOMENT INSPIRATION HITS
Most MIDI keyboards need a computer and software to make a sound. K32 doesn't. Built-in sounds and speakers let you play instantly--couch,classroom, anywhere.
✅ 32 KEYS, MORE ROOM
25 keys feel cramped for chords and melody together. The K32's 32-key layout gives your hands space to play naturally.
✅ WIRELESS, GO ANYWHERE
BLE MIDI + Battery. Create from the couch, backstage, in class, or on a plane.
✅ GROWS WITH YOU
Connect another MIDI controller and use the K32 as a standalone sound module. Compact setup, maximum flexibility.
✅ INSTANT SOUND SWITCHING
Save favorite instruments to the KEY Sound buttons. Jump from piano to synth to bass with one press. No menu-diving.
✅ HANDS-ON CONTROL
8 assignable knobs, 8 drum pads, and a clear OLED display. Adjust, beat, and perform in real time—no mouse needed.
✅ FOR EVERY STAGE OF YOUR JOURNEY
From first beat to live performance, K32 adapts to your workflow. Start simple. Grow into it. Create without limits.
"A raw, live-recorded ambient improvisation using the Hikari Duos synthesizer routed through the Torso Electronics S-4 sculpting sampler for real-time processing and sound design.
This performance was captured entirely live in a single take, presented without any edits or arrangements after the fact. The master audio was lightly mixed and mastered in Pro Tools for clarity and depth.
Signal Flow & Routing:
• Source: Each of the two unique oscillators from the Hikari Duos is sent to its own dedicated channel on the Torso S-4 (Track 1 and Track 2).
• Processing: Both input tracks are actively sculpted live on the S-4 and routed through an Aux Send on Track 4 for shared spatial effects and texture generation.
If you enjoy live electronic music, generative soundscapes, and hardware jams, consider subscribing for more process-driven sessions.
---
`#AmbientMusic #TorsoElectronics #HikariDuos #DawlessJam #SoundDesign #experiment #alelectronicmusic #electroacousticmusic"
The studio is undergoing a few changes this summer. The ElectroComp EML 400 is now above the 401, next to two stacked EML 200s. The Metasonix S-1000 Wretch Machine has been moved to a rack right to the left of the EMLs, where the S-1000 is easier to reach. And it’s above several racked Metasonix TM boxes, the Zerosum Inertia Cenotaph, and the Korg SQ-10 sequencer. This was a test of the SQ-10 and the S-1000 together, with some filter and waveshaper wigging. At 1:47, the waveshaper is switched from flat to flat+pulse and it all gets slightly didgeridoo. The spring reverb used in this video is the Paia 6740."
"In Volume 34 of my Torso Explorations series, we are diving deep into the POLY engine on the Torso Electronics S-4 sculpting sampler. While the S-4 is an incredible texture and ambient machine, the POLY engine transforms it into an expressive, 8-voice polyphonic synthesizer by arranging samples chromatically across the keys.
I walk you through how to configure and play the POLY engine using two external MIDI controllers: the Keith McMillen QuNexus keyboard for manual playing, and the Korg SQ-1 for sequencing.
The POLY engine gives you per-voice control over amplitude and filter envelopes, allowing you to sculpt raw samples into beautifully playable synth patches.
--
🎵 What's inside this video:
• Track 1: Demonstrating the core mechanics and envelope shaping of the POLY engine using a built-in stock sample.
• Track 2: A quick, live workflow showing how to sample an external acoustic instrument (my mandolin) using the S-4’s internal microphone and instantly flip it into a polyphonic synth patch.
This entire performance was recorded live in one take, with light mixing and mastering finished in Pro Tools. The video is fully annotated throughout so you can easily follow the exact parameters and routing I'm altering in real-time.
If you enjoy these deep dives into the S-4, please consider liking the video, subscribing to the channel, and leaving a comment with how you’re using your S-4!
--
00:00 - Intro
00:37 - Setting up a first POLY track
04:24 - Sending Audio from one track to another
06:12 - Quickly recording, trimming, and saving a new sample
07:05 - Using the new sample to create a second POLY track
08:34 - Let's add some drums?
09:03 - And let's play!"
Timeline:
00:00 - 01:02 NatLife - From The Past To Future
01:03 - 02:18 NatLife - Analog Flying
02:19 - 02:53 NatLife - Black Hole
02:54 - 03:26 NatLife - Sona
03:27 - 04:13 NatLife - Drama
04:14 - 04:45 NatLife - See The Dream
04:45 - 05:32 NatLife - OF Future
05:32 - 06:42 NatLife - Memory Of 90s
Note: - All sounds you hear were used from this library, WITHOUT ADDING THIRD-PARTY EFFECTS OR ENHANCERS!
Get ready for the next-level sound design with Arturia Memory V – Melodic Techno | All Colours.
All Colours – these are all variations of Melodic Techno sounds from its creation by Stefan Bodzin to Afterlife‘s Anyma and Argy sounds. Naturally, I add my own vision of this style in my signature NatLife style.
I have created 51 custom presets and patches from scratch.
Every sound optimized to perfection for immediate, out-of-the-box use.
The collection features modulated LEADS, deep modulated PADS, beautiful space PLUCKS, modular ARP sounds and ultra-elaborate SYNTH effects. These sounds fully exploit the unique capabilities of Memory V. Despite this, these patches also reveal the full power of this emulation – and you will get sounds similar to Blade Runner.
"DII·ONE is a compact MIDI controller and routing hub designed for modern hybrid music setups. It combines USB MIDI, hardware MIDI, and a CV clock output in a single device, allowing all functions to operate simultaneously without compromises.
For more information please visit st-modular.de!
00:00 Functions & Features
01:17 Midi Learn with Elektron Model:Samples
04:35 Controlling Torso S-4
05:36 Ableton Live Setup and Control
07:06 Controlling Waldorf Iridium with a single USB cable
07:47 DII ONE Configurator"
key features
Compact USB MIDI controller with hardware MIDI I/O and CV clock output
4 programmable buttons (CC or Note, momentary or latching)
4 programmable knobs (assignable to any MIDI CC)
USB MIDI to and from computer
TRS MIDI In and Out (5-pin DIN compatible via adapter cable Type-A)
CV Clock output for modular synthesizers (0–5 V)
Hardware-based MIDI Learn
Clock division directly from the device
All functions usable at the same time
"Welcome to Volume 34 of my Torso S-4 Explorations.
For this improvised live performance, I set a strict creative limitation: use only one single sample (a drum loop) and one single track on the Torso Electronics S-4. The goal was to push the boundaries of the S-4's granular and sound-design engines to see just how far a single piece of source audio could be stretched, morphed, and reshaped into a variety of sonic landscapes.
The performance was recorded live with only minor edits for pacing. Final audio was lightly mixed and mastered in Pro Tools."
1. Partials & Discrepancies | Full Walkthrough of an Additive Synth
2. Partials & Discrepancies | Sound Examples
3. Geometry Delay | Full Walkthrough of a Multi-Tap Delay
4. Geometry Reverb | Walkthrough of a Geometry-Based Reverb
5. Binaural Modulator | Full Walkthrough of a Spatial Modulation Effect
6. Partials & Discrepancies | Extremely Long and Incredibly Offhand
Today marks the release of our second synth, a multi-tap delay, a reverb and a free spatial modulator for both Mac and Windows as AU/VST3.
Partials & Discrepancies is an 8 voice additive poly-synth. The goal was to make additive synthesis accessible through a much simpler abstraction model than what you usually get, and include lots of sonic motion capabilities within a simple interface without modulation matrixes or multi page layouts. As always, we want to build instruments and effects that makes it fun to make music and that won’t slow down the creativity. Partials & Discrepancies is available for 79 euros incl. VAT. Discounts and cross-grade offers may be available on the account page for earlier costumers.
"The Memorymoog is a classic for its epically fat sound! Though it's not a Plus, we actually prefer non-plus Memorymoogs around here as they are significantly more reliable. This particular unit is in beautiful cosmetic condition as well.
