The Absolute Sequencer Powerhouse. Introducing Behringer BCR32

video upload by Behringer

"The Behringer BCR32 is much more than a MIDI controller with 32 rotary encoders. Join Bartek as he runs us through its powerful hands on sequencing features and shows how the built in Zaquencer can create melodies chords basslines and drums with multiple synthesizers. We really like how immediate the BCR32 feels and how easily it can become the brain of a MIDI or modular synthesizer setup. Let us know what you think about the BCR32 and share your ideas feature requests or bugs at ideas.behringer.com. Check out our other Behringer demos and synthesizer videos to see more gear in action."



USB/MIDI Controller/Sequencer with 32 Multi-Purpose Encoders and Polyphonic 32-Step / 4-Track Zaquencer

BCR32 — THE ZAQUENCER SEQUENCER, NOW WITH 32 KNOBS UNDER YOUR FINGERTIPS

Hardware controllers either give you knobs OR a sequencer. The BCR32 gives you both, in one of the most powerful USB/MIDI control surfaces ever built at this price. Thirty-two multi-purpose encoders. Twenty programmable buttons. A 32-step, 4-track sequencer powered by the legendary ZAQ Audio Zaquencer — the firmware that turned the original BCR2000 into a cult favourite among electronic music producers worldwide.

Every panel element is freely assignable, manually or through an intuitive learn mode. Eight of the 32 encoders are dual-mode with push function. Buttons can act as note on/off, control change, program change, MMC commands or system-exclusive triggers — meaning you can map this thing to literally anything your studio throws at it. Trigger audio clips, drive MIDI instruments, ride DAW automation, or build the entire performance from scratch.

The Zaquencer takes things into another dimension. Mono or polyphonic drum and note tracks, 192 stored patterns each made of 4 tracks, plus 2 independent MIDI controls per track for program change, aftertouch, pitch bend and CCs. Four CV/Gate and Sync connectors lock the BCR32 to modular rigs, drum machines and the analog world. Two assignable footswitch inputs free your hands. A multi-function OLED display, high-visibility multi-colour LED feedback and 4 virtual groups keep complex setups crystal-clear. One MIDI input, two MIDI outputs and a merge function let it double as a USB-to-MIDI interface and cascade with other control units. USB powered, Apple iPad compatible (via Camera Adapter, sold separately), class-compliant for plug-and-play operation. Pure performance power.

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GODWIN MPS88 - The Final Boss That Does Whatever You Ask

video upload by Vintage Audio Institute Italia

Another first to be featured on the site, the GODWIN MPS88

00:00 Setting up and Plugging in
01:24 Specifications and Introduction
02:22 Auto Accompaniment Section
04:26 The Mystery Explained / Musical Interlude
05:27 Drum Machine
08:09 Upper Manual Sounds
10:40 Musical Interlude
11:29 Monophonic Synth
12:55 A Brief History of Godwin Auto Comp Machines
13:24 Lower Manual
16:25 Last Musical Interlude

After our videos on the predecessors Godwin CD1 and CD2 we felt we had to continue all the way to the finish line of Godwins output of amazing and rare, combination instruments.
The GODWIN MPS 88 was most likely the last instrument to come out of the factory and BOY is it something special!
It doesn't look like any other Italian instrument that we've laid eyes on, and the majority of the sounds are unique to this machine.

You'll find all the information we've managed to unearth in the video but a quick roundup would look like this.

The instrument consists of mainly 6 instrument sections with individual volumes divided between two manuals - all playable simultaneously.

1. DRUM MACHINE - sample based sounds
2. AUTO ACCOMPANIMENT section (bass, chords and arpeggiator)
3. 2 x PARAPHONIC PRESETS (upper / lower orchestra)
4. SOLO PRESETS (monophonic synth)
5. 2 X ORGAN FLUTES (organ footages)
6. 2 X STRINGS / CHOIR

There are only minor modulation possibilities available but the spring reverb is nice and deep and the Chorus and Leslie effects are great too, although they might deserve a closer look by our tech since we're not sure they function properly.

If you're into rare Italian synths and drum machines you can subscribe to our channel and please check out our other videos of rare gems, but you might also enjoy the V.A.I. website, an encyclopedia of Italian Vintage Synths and Drum Machines:

https://www.vintageaudioinstitute.com/"

Clave Euclidian Drum Machine by Oficina de Sonido

video upload by Oficina de Sonido

CLAVE. Euclidean Drum Machine - Quick Start

video upload by Oficina de Sonido

via Kickstarter

"Clave, Ecuclidean Drum Machine lets you intuitively play rhythmic patterns that complement and syncopate with one another. Prepare your compositions across 16 steps and 8 sample tracks by saving different versions or parts, and refine your performance with the included effects and filter. All in a single, lightweight, and portable unit. It comes with 5 factory-installed drum kits and has space for you to add your own.

It’s based on what’s known as Euclidean Rhythms, which describes the distribution of beat intervals. It sounds complicated, but that’s exactly what makes the system simple. The best part is that you’re not limited to using the automatic distribution system, you can also program it step-by-step, 'XOX' just like any other drum machine.

In our musical quest to create a hybrid sound that blends electronic music with organic rhythms, we have collaborated with percussionists, designed our own synths and drum machines, programmed digital instruments, and even built electromechanical percussions!

This campaign is to introduce our new drum machine to the world; we already have a couple of working prototypes. We need your support to be able to produce the first batch of machines. This is already our fourth project on Kickstarter—we hope we can crowdfund this one, too!"

You can find the user manual here.

P.S. They reached their Kickstarter goal in 24 under hours!

Monomodule -1.0.1-Beta (Elektron Monomachine emulator)

video upload by Ticco Ross

"Another different emulator. It emulates the sound engine of one monophonic voice per track. All the various machines and effects featured in the Monomachine are present.
Private Beta. Soon in your DAW of choice.
The only file needed is the original Elektron_SFX6-60_OS1.32B.syx you can get @ Elektrons official web"

From the developer: "I'm the developer of this, it is currently only released in the form of a private, invite-only beta, but the full public release coming next week will be free and open source."

Phaseburn One sound demo: everything you hear is one synth [Open Beta]

video upload by Phaseburn Music

"Phaseburn One is a synthesizer built around a phase-locked loop: the main oscillator tracks a reference signal, and whatever you patch into that reference becomes part of the sound. Everything you hear is the plugin on its own, nothing else added.

In the video: the PLL lab, the morphing oscillator and its fold, four step sequencers and four LFOs, the probability sequencer, the mixer and patchbay.

VST3, CLAP, AU and standalone, macOS and Windows, instrument or effect. Free open beta until 15 October 2026.

https://phaseburn.music"

The following is some additional info directly in via Phaseburn Music:

"I want to introduce Phaseburn One, a synthesizer we have been working on for several years, which is now in open beta and free for everyone until 15 October.

The sound is built on a phase-locked loop. One oscillator listens to another and keeps trying to match it, and the interesting part starts where it fails. When it tracks accurately the tone comes out clear and strangely alive, and when the loop is loosened you hear the chase itself: the oscillator catches up with the target, overshoots, breaks off, finds the frequency again, sometimes clinging to a harmonic instead of the note you played. PLLs are not new, they have appeared before as modules and effects, but as far as we can tell nobody has built a whole instrument around one. Four macro dials open the loop by ear, so none of the theory is needed to land somewhere usable.

Three more oscillators sit beside it: Morph, which sweeps between waveform families, a Vector shaping oscillator and a Sub. A transient module can add a click, noise or a metallic edge, or build a kick out of a sine. Around the loop there is a modular patchbay where you draw the cables yourself, a rack of seven effects and a mixer, and almost everything can be modulated from a dedicated section of LFOs and modulation sequencers.

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EKO COMPUTERHYTHM : Rare But Influental.

video upload by Vintage Audio Institute Italia

"I found this video I made this spring and thought it’d be a great time to post it. Most of these facts are known of course but no one really compiled the movie scenes to my knowledge.

It’s crazy how influential the Eko Compurhythm really is and another fact to add to the ones in the video would be that it’s featured on Manuel Göttschings masterpiece E2-E4, most likely the first minimal techno track ever made.

The video was made for our collaboration with @slalom.acoustic for Salone Mobile in Milan in April this year.

The Alfonso Brescia Films are royalty free public domain and can be remixed as one please.

If you're into rare Italian synths and drum machines you can subscribe to our channel and please check out our other videos of rare gems, but you might also enjoy the V.A.I. website, a photo book and encyclopedia Italian Vintage Synths and Drum Machines:

https://www.vintageaudioinstitute.com/"

Elastic Melody 1.2 — What’s New

video upload by Elastic Instruments

"A quick demo of some of the new features in Elastic Melody Update 1.2."

"Here comes the full list:

MASTER SECTION

• Added a master level control
• Added a simple volume meter

OSCILLATOR

• Added four more oscillator waveforms for a wider range of sounds
• Added new modulation options:
– Pitch Modulation
– FM Modulation (IAP)
– Decaying FM Modulation (IAP)

FILTER

CLICK FOR MORE »

Another Machines Techno presets for Elastic Melody Update 1.2 (coming soon)

video upload by Elastic Instruments

"Another Machines has created some incredible presets for Elastic Melody — heavy techno bangers that perfectly showcase the new sonic possibilities coming with Update 1.2.

OSCILLATOR
• 4 additional oscillator waveforms for an even greater range of sounds
• New modulation modes for more sonic variety:
1) Pitch Modulation
2) FM Modulation (IAP*)
3) FM decayed Modulation (IAP*)

FILTER
• 3 new filter drive modes for adding dirt and character:
1) Creamy Overdrive
2) Filter Feedback (IAP*)
3) Filter FM (IAP*)

*All additional IAP modes are included in a single In-App Purchase.

👉 Get Elastic Melody via App Store: https://apps.apple.com/us/app/elastic...

MORE MELODY INFO:
Website: https://mominstruments.com/elasticmelody"

Poly Rave 👾 (Waldorf PROTEIN // Roland TR-6S // JU-06A // Moog DFAM // Squarp HAPAX)

video upload by 2-Minute Warning

"This time, I'm introducing a new instrument to the setup: the Waldorf Protein, used here for the CHORDS 🎹

The rest of the setup is made of a Roland JU-06A for the BASS, a Roland TR-6S for the DRUMS (no samples used, only ACB analog behavior engine with mainly the TR-808 model) and, for some additional percussion, the only analog instrument in the setup: the good Moog DFAM 🤩

Everything is sequenced by the Squarp Hapax, with quite a few things happening behind the scenes as usual.
MIDI LFOs are used to modulate some parameters of the TR-6S, while automation takes care of changing parameters on the JU-06A during the performance.

This time I also decided to use the Hapax's physical MIDI ports rather than relying on USB MIDI:
MIDI A : Roland TR-6S
MIDI B : Roland JU-06A
MIDI D (TRS) : Waldorf PROTEIN

And then there's the DFAM... which, as usual, refuses to speak MIDI. 😄
Since the DFAM doesn't have a MIDI input, I sent very short Gate pulses from the Hapax (Track 11) to simulate an audio clock, allowing its internal sequencer to advance in sync with the rest of the setup.

So, quite a lot going on behind what hopefully sounds like a relatively simple piece of music!

Another little experiment in making several machines behave together without making the whole thing look like a NASA control room 😄

As always, the performance itself was recorded in a single take. I do the mixing and mastering afterwards in Ableton Live."

1970’s Electronic Music Laboratories EML Electrocomp 101 and 200

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

via this Reverb listing

These appear to be listed separately as well. See the seller's other items.

"We recently acquired these two consecutively cute curiosities courtesy of a very inspiring and equally interesting gentleman and great friend of the late Don Buchla. When I brought them back to the shop, naturally I plugged the 101 in and attempted to get proper scaling and triggering sound out of it for 45 minutes, watching videos reading pointers etc. Finally I tried turning the 5 pin keyboard plug around, and then I lost 4 hours in seemingly 10 minutes. I was floored. I didn’t hook up the 200. The next day I delivered these to my friend and tech in Santa Ana. Within a week he had checked them out , addressed any issues and found them to be fully functional and in great working condition. So I picked them up and was really excited to try the 200. Got back to Fullerton and plugged it in with a mf-104 tailing into an early cooper cs-106+ and went to heaven. The spring sounded like the grampian, the preamp is also in that vein, dual ring modulators are very special. In particular as a studio piece the stereo functionality takes this to another level, signal processing to use while mixing or effecting tracks Is very much more than 1/2 the value with the 200. Awesome machines."

CLICK FOR MORE »

Introducing Plinky 12 Blocks, Chords and Toadstep

video upload by Making Sound Machines

Additional videos below.

"We are super excited to introduce 3 new instruments today! Plinky 12 is a family of expressive polyphonic touch synthesizers. The three instruments are built around a shared synth engine. Designed by mmalex, it evokes the unmistakable melancholic sounds of the original Plinky. https://plinky12.com

Each instrument is designed in collaboration with a different synth maker, lending each panel a distinct playability and unique character.

Plinky 12 Chords is a harmonic inspiration machine. It lets you improvise melodies and chords, with expressive control over voicings, progressions, and immediate musical play. Created by Making Sound Machines, Chords is the panel for finding beautiful harmonic movement quickly.

Plinky 12 Toadstep is a 4-track step sequencer built for super funky riffs, experimental self-generative melodies, and good ol' Acid. Created by Toadstool Tech, the designer behind the Ectocore Eurorack module, Toadstep is fun, immediate and easy to jam with!

Plinky 12 Blocks is an open panel built for experimentation, with monome-grid compatibility, Plinky style touch synthesis, and a browser-based coding environment just a click away. While it comes with a fully playable design out of the gate, creator mmalex invites you to build your own adventure with this panel. If you can imagine it, you can make it!

In this video, Enrica and Roland from Making Sound Machines explore the three new Plinky 12 instruments: Blocks, Chords and Toadstep from left to right.

The track builds on a repeating loop created with the built-in sequencer on Plinky 12 Toadstep. The short sequence uses rhythmic step repeats, track step length and animated synth parameters to create an ostinato that keeps sonically evolving over the length of the track.

As the piece continues, Roland plays a progression of harmonies from the rainbow chord palette on Plinky 12 Chords, before launching a sequence that reharmonizes the loop heard from Toadstep. Enrica joins in playing sparkling arpeggios with her fingertips on Plinky 12 Blocks, the surface with the sunset colour-fade print.

As the track progresses, Roland plays a melodic line on Chords, then Enrica takes over with a melody on blocks. The Plinky 12 polyphonic play surface reads both play position and pressure of the touch. It enables bends and glides on the horizontal axis, while allowing for discrete arps in the vertical direction.

They end the piece with a tempo transition showcasing the septuplet feature on the internal sequencer."

CLICK FOR MORE »

SynthFest 2018 - Synclavier History by Jean-Bernard Emond

video upload by SynthFest France

This one is in via Jean-Bernard Emond. Click CC at the bottom of the player for subtitles. This is an older video from 2018 but still interesting. This is also a good reminder that SynthFest France 2026 is happening this weekend: https://www.synthfestfrance.com.

"I invite you to revisit my short 2018 talk (33 minutes), still relevant today, on the history of digital synthesis—specifically FM synthesis. It covers everything from the NED Synclavier to Yamaha’s FM machines, and ends with the audio engines from the Hal Alles family tree (ATT Bell Labs), starting with the Alles Synth, then the Crumar GDS, and finally the DKI Synergy."

Jean-Bernard Emond also sent in the following links:

The latest on WaveFrame’s AudioFrame: https://mustudio.fr/2026/04/17/waveframe-corporation-audioframe-2/

"And another previous piece on audio in NeXT computers, especially focusing on what was developed at the IRCAM and CCRMA research centers: https://mustudio.fr/2024/06/21/sound-on-the-next/"

UVI made a virtual AudioFrame previously featured here.

See the WaveFrame label below for a handful of posts on the site.

4/9/26 Metasonix RK7 RK2 RK8 + Beers Melakarta & DAC + ALM Pamela’s New Workout + Alesis MIDIVERB II

video upload by Cfpp0

This is the first post to feature the Beers Melakarta.

"Feeding the Beers DAC and Beers Melakarta several triggers from ALM Pamela’s New Workout, and then modulating the pitches of the two Metasonix RK7 VCOs and the CV on the Metasonix RK8 Filterwall. Gated reverb from the Alesis MIDIVERB II."

"The idea for this module came from my friend Rodrigo Kendrick. He was a bit burned out on western tonal structures, and had recently missed out on an electronic lehra machine in a facebook marketplace deal which fell through. These machines are a kind of practice tool for carnatic musicians that plays a wide variety of different raga. Think that 'casio auto-chord' function on old casio keyboards, but for carnatic music.

Unwilling to wait for another one to come up on the used market, he did some cursory research, and sent me an early-morning design document, expanding the functionality of DAC with a scheme of two rotary switches and one toggle switch to select the pitch sets for all 72 Melakarta ragas and specified a clock input that would run up and down the selected raga in ascending then descending order, with the ability to turn around or reset on command. In theory this would allow the complex rhythmic and sequence rules of the raga to be implemented with external logic and sequencers, but still give the module enough sequencing functionality to explore the pitch sets of these raga on it's own.

I got excited and went a bit silly 'helping' until we had shoehorned in a pile of other features like binary addressability of the selected swara (interval), gate outputs for each swara, an 'inhibit' input that mutes the transposition voltage while the clock continues in the background, CV controlled halving of the clock frequency, extra +1oct input, and the logic-inverting toggle switches from the DAC on several inputs.

This design is all analogue using discrete MOSFETs and 0.1% tolerance resistors in a weighted DAC driven by a 4000-series CMOS based sequencer.

Yes, it might have been simpler to use a microcontroller."

The Crow Hill Company Introduces the THE SH*T SYNTH

The Sh*t Synth - Walkthrough video upload by CROW HILL XTRAS

Press release follows:


The Crow Hill Company turns to extensive and rare collection to turn out THE SH*T SYNTH as compendium of 48 circuit-, wave- and sample-bent instruments

EDINBURGH, UK: The Crow Hill Company is proud to turn to its own extensive and rare collection of hardware to turn out THE SH*T SYNTH — available as a compendium of 48 circuit-, wave- and sample-bent instruments inspired by some of the Edinburgh-based enterprise’s eclectic musical favourites (spanning the likes of Aphex Twin, Boards Of Canada, Joe Maus, Jon Brion, Laurie Spiegel, Radiohead, Throbbing Gristle, and Yazoo) to create something that they collectively ask: is it just shit or ‘the shit’? — as of April 7…

Whatever way anyone chooses to read into the titling of THE SH*T SYNTH as the latest entry into The Crow Hill’s ongoing ORIGINS series of sample-based virtual instrument plug-ins, one thing is for sure: it readily represents a broad selection of three categories of 16 workhorse instruments each, effectively wrapped up into a single plug-in designed to bring a cohesive approach to making music more edgy, lo-fi, retro, and — swimming against the technological tide of so-called progress — decidedly AI (Artificial Intelligence) slop-free. From pianos to strings, plucks, beeps, bass, and pads, the compendium that is THE SH*T SYNTH has been lovingly sculpted by the Edinburgh-based enterprise’s media composer and ‘samplist-in-residence’ Christian Henson to take the hassle out of making existing sounds less refined, catering to those looking for an entirely new bank of Mellotron-style sounds as well as synths that have been long forgotten — for good reason, too!

CLICK FOR MORE »

Yamaha DX7 - the best (arguable) digital synth ever! Part III (2nd)

video upload by Sebastian Galassi

"The third track on my EP, made almost exclusively with Yamaha DX7 (for the synthesizer part) and a handful of drum machines. As mentioned, this track also features an electric guitar solo, played by Sharad Shakya, which fits perfectly with this unmistakably '80s vibe. Stay tuned."

Yamaha DX7 - the best (arguable) digital synth ever! Part IV

video upload by Sebastian Galassi

"And here's another snippet of the track, created entirely with the Yamaha DX7 and the TX802 FM Tone Generator (a rack-module version of the DX7mkII with full 8-part multi-timbral operation). It also includes the electric guitar solo played by Sharad that enriches the second part of the song."

Sebastian Galassi DX7 posts

LXR-02 gets Xeno'ed (no talk)

video upload by Richard DeHove

"In the last video I had the DB-01 going into the Nightverb reverb and then into the Xenodrive. This time it's a more conventional routing of the LXR-02 into the Xenodrive and then into the Nightverb. With the Nightverb early reflections, a little pre-delay and a careful amount of shape,it sudden;y came together. I was setting up for a completely different video idea but just had to capture this instead.

It's not all happy accidents though. First I tried Echolocator feedback into the Xeno and then Nightverb. Mildly interesting but even the Xeno couldn't rip the Echo feedback apart. And that's how it goes sometimes - you set everything up, twiddle up to 11 and you draw a blank. Sometimes I'll chew on it for days before admitting it was a rotten idea. I wasted the best part of two weeks recently on a looper pedal I bought and just couldn't get a single thing out of it. So sometimes when I don't post a video for a couple of weeks it's not because I'm too busy with cocktails and cigars, it's because my latest great idea just didn't produce anything worth your time.

Hopefully you'll agree that this little experiment with the LXR-02 was worthwhile. The LXR-02 remains one of my favorite machines. It has its flaws and is still desperately in need of another firmware update but I think it's a brilliant machine. Six assignable LFOs and multiple filters, deep editing and a tiny footprint: So much to love.

If this were a final production drum track I would definitely add a deep and clean bass drum from Hexdrums, but as usual I like to keep things well defined. Adding an external bassdrum would sound better but then you wouldn't be hearing pure LXR-02 / Xeno / Nightverb. My aim is to show you possibilities.

Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/
My other channel "IntraCosmos" of long-play dark ambient textures: / @intracosmos"

Self Playing Patches by BENGE

video upload by Memetune Studio

"This series of studies explores an idea that Benge has been working on over the past year or so, namely that of Cybersynthesis. This involves programming self-contained patches on various modular systems which, once set in motion, will produce dynamic, evolving soundscapes, sometimes purely abstract in nature, at other times veering towards the more melodious

Many different methods were deployed in the patches, depending on the system being used, but normally multiple sequencer and switching devices were combined to give varying degrees of control over long time periods, often without repetition

Other things like random control signals and semi-random events were combined with the sequencers and switching units to bring variation to the performances the machines were making

The key idea at the heart of Cybernetics is the concept of bringing control to chaotic processes. To do this, some kind of feedback loop would ideally be established that can monitor and limit events that might otherwise spin out of control. The Serge and Modcan systems featured here each have various comparator circuits that can, to a certain extent, achieve this highly advanced synthesis feature

In the absence of such sensor paths, it is sometimes possible to use audio or voltage mixers and feedback chains to set various parameters to be on the very edge of chaotic behaviour, an approach used in many of the patches on display here

Other techniques such as the quantisation of voltages and the forcing of notes to play within certain predetermined musical scales were also employed in some of the pieces, which is another way of taming chaotic elements into into a more musical realm

Overall, a wholly experimental approach was applied to the various setups, with the intention of providing an insight into how these machines can behave. Of course, each system has an almost limitless depth to the complexity of patches available, and each track on the album provides just a single snapshot of each instrument used. But hopefully it provides an interesting glimpse into the wonders that these self-playing systems can achieve

Tracklist:

01 - Buchla 100 and EMS VCS3
02 - Serge Paperface
03 - Modcan A-Series
04 - ARP 2500
05 - Buchla 200 and DK Synergy
06 - Serge and LW Comparator
07 - Moog Modular 3C
08 - Roland Discrete System
09 - Buchla 200

MORE INFO HERE:
https://modular-station.com/modulisme...



Synthesiser programming and recording, design and concept: Benge (B D Edwards)

Made at Memetune Studios, England

(c)+(p) 2025 Memetune Recordings

Special thanks to Philippe Petit at Modulisme (modular-station.com/modulisme) for his continued support"

Hexdrums and friends

video upload by Richard DeHove

"Noodle the second. Hexdrums plus effects. The routing here has BD1 going to Gallows for a little dirt and reverb; BD2 going to the Boss DM-2w; the machine voice 3 to the Zen delay; and everything else to the Xeno filth machine. A six-minute drum machine solo is a challenge. You're essentially making an 'accompaniment' instrument take the lead.

Here I again use the mute/unmute to create variations. That's reasonably easy on machine with ten voices. I've often thought that four voices is plenty for me. So is ten voices with mutes better than two patterns with four voices; or four voices one pattern and parameter locks? Is one more efficient than another? Is there any way to quantify such things? Just for laughs I asked Grok this exact question. Predictably (just like any forum) it started with "It really depends...". Later it said that: "In the drum machine world, parameter locks (p-locks) on a single pattern are generally considered far more powerful and creative than having multiple patterns or more voices." Hmmm. maybe. P-locks might allow more voice variation on a single pattern but then you have to program that in. With multiple voice and muting you can create multiple 'scenes'. Of course AI isn't going to tell you anything profound, it's just scraping forums.

What really strikes me with Hexdrums is that it hits hard. It's easy to get a very solid bass drum in all sorts of flavors. Why can't cheap drum machines do that? Ah, so many questions...

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

ERICA SYNTHS HEXDRUMS 08 // LØSTLVLS

video upload by LØSTLVLS

"Really enjoyed the last 'clean' HexDrums video so thought I'd make another, this time using the Cymbals voices to add some sampled chord stabs.

Check out my sample packs on Bandcamp - loads of vintage and modern gear (leaning towards drum machines) with kits, sample chains and presets. All ethically-sourced and locally-grown here in the lab in Bristol, UK: https://lostlvls.bandcamp.com/"

c.1971 CRB Elettronica Tanzanite (aka. Diamond) Synthesiser Organ

Note: links to listings are affiliate links for which the site may be compensated.
video upload by riffers

See another model here.

via this Reverb listing

"Serial Nº 21196

Italian-made CRB “Diamond” Cavendish Combo 30 in remarkable condition for its age. Classic combo-organ tones plus a built-in “mini-band” (bass + drums) make it a fun, self-contained writing and performance machine. Built in Ancona under CRB’s Diamond/Cavendish line.

Organ section: Flutes, Clarinets, Reeds, Strings

Presets: Piano, Spinet, Harpsichord

Effects: Sustain and Vibrato (both sound great)

Mini-band (auto-accompaniment)

Drum patterns: Waltz, March, Tango, Bossa Nova, Samba, Slow Rock, Boogie, Disco — all with variable tempo/volume; very much in the vein of early CR-series drum machines.

Bass accompaniment with automatic chords, Free 1-Finger, Memory, and chord quality switching (Major default; Minor/7th via yellow/green buttons).

External output, headphone out
Expression pedal input
Built-in speaker that’s quaint yet surprisingly punchy
UK mains power - we can include a step-up/step-down transformer on request so you can use it in your country without modification, just ask for details."

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