-Stereophonic analog bucket brigade delay with
-precision analog clock generators,
-variable frequency anti-alias and reconstruction filters for wide frequency response and -advanced companders and careful clock signal handling for high signal-to-noise ratio
-Superb-sounding tube distortion stage for the delay path with four NOS SQ pentode tubes
-Six 4096-step BBD ICs for 20ms-600ms (1200ms in mono) delay time
-Seven different operational modes, including X-fed feedback signals
-Versatile LFO
-Tempo divisions
-Tap tempo and external sync
-Beautiful, solid walnut housing and engraved and color-filled panels
Overview
Knif BBD is a stereophonic analog bucket brigade device (BBD) delay. It is a no-compromise device rich in features. What sets it far apart from any other device in the market are the unique self-adapting anti-aliasing and reconstruction filters which provide the widest possible frequency response for any given delay time setting without any aliasing.
The unit features in total six 4096-step BBD ICs which results in maximum delay time of 600 ms for a stereo signal and 1200 ms for a mono source. The device has got seven operational modes for different effects and comes with a wide range of control signal inputs and internal control possibilities. The unit features a microcontroller for relay switching and timing tasks such as tap tempo and time division. However the signal chain and clock generation are fully analog and built using state-of-the-art components.
The other very unique feature to the device is a vacuum tube distortion stage located before BBD circuits. It consists of four NOS Special quality pentodes in total. The amount of distortion is continuously adjustable without affecting the overall signal level. In addition to this, the spectrum of the distortion can be selected.
This granular chord resynthesizer takes your audio, slices it into grains, and reconstructs it into chords, clusters, and shifting harmonies. Paired with a shimmering reverb that adds glowing tails and angelic overtones, Granulita can turn even a single oscillator into something lush, cinematic, or beautifully haunted.
Granulita is part of the Versio platform, so once you’ve got your hands on this module, you can swap the firmware with any other Versio effect for free. Unpower the module, plug in the USB, and visit noiseengineering.us to make the swap.
Noise Engineering announces Granulita Versio, a granular chord resynthesizer and shimmering reverb.
Contact: kris@noiseengineering.us
Los Angeles, CA — Noise Engineering, known for their innovative platform modules, has released Granulita Versio, a granular chord resynthesizer and shimmering reverb.
Granulita Versio offers a simple solution to a complex modular problem. Chords, while beautiful, are difficult and resource-heavy to patch in a Eurorack system. Granulita solves this by generating harmonies for any input signal using a unique granular process. The Chord and Voice parameters allow the user to choose a chord and the note that follows the input signal.
The unquantized Pitch parameter adds an extra layer of harmonic options via transposition, detuning or vibrato.
For fans of granular processing, the Count and Length parameters will be familiar, Granulita can generate any number of grains from zero to 32, and grains can be 16 milliseconds to four seconds long. A modal trigger input and manual button add to the granular fun: freeze grains, sync their playback to an external clock or tap tempo, or use a trigger sequence to manually fire off grain playback.
No granular module would be complete without some atmospheric effects, so Granulita also adds the simple Verb parameter to add in some space. Below noon, small echoes put a patch in a realistic space – but turn up the parameter to add in shimmering octave overtones and feedback into infinity.
Part of the flexible Versio platform, Granulita will be available as an alternate firmware for all Versio owners, completely free, at the Noise Engineering firmware app. However, Granulita breaks the mold with a limited-edition hardware release: only 100 Granulita Versios with exclusive art will be produced, the perfect purchase for collectors or, perhaps, as a holiday gift for the granular enthusiast in your life.
Granulita Versio’s limited run starts December 11th at https://noiseengineering.us and at retailers globally.
Features ● Turn a monophonic signal into a full chord with ease ● Easily create gentle or ominous timbres from any input ● Modulate between 16 resynthesized chord shapes using the CV-controllable Chord and Voice parameters ● Use Count and Length to change the number and size of grains ● Add subtle atmosphere or shimmering, infinite reverb with the Verb parameter ● Create massive soundscapes or use external triggers to fire or freeze grains ● Play grains forwards, backwards, or in random directions
Availability and pricing: Granulita Versio: Limited run in stock. Shipping from Noise Engineering and retailers starting December 11th, 2025; MSRP US$393
1. Introducing the GCS - Spectral Synthesizer
2. GCS Spectral Synthesizer - Resynthesis Demo
3. GCS Spectral Synthesizer - Turning Images Into Sound (Image Synthesis Demo)
4. GCS Spectral Synthesizer - Drawing Sound with the Harmonic Brush
"I'm very excited to release my new Spectral Synth, an additive synthesizer plugin that allows you to draw your own harmonics, clone sound timbres, play the harmonic content of images, and so much more.
In this rendered video, you can see an image being played in real time via a MIDI keyboard, hearing its unique harmonic content. At the end of the playback, while holding a chord, I draw some extra harmonics onto the spectrogram to show how you can evolve sounds on the fly.
Spectral Synth is designed to be both incredibly powerful and intuitive. Whether you want to meticulously craft a sound from scratch or generate complex textures with a single click, it has you covered.
Try it for free for ten days via our website! Available on all plugin formats for both mac and windows.
Hybrid Sound Engine: A true hybrid synthesizer combining a powerful 32-partial additive engine with classic, band-limited analog waveforms (Saw, Square, Triangle) for ultimate flexibility.
Draw Your Sound: Use the brush tool to directly draw or erase harmonics and noise on the spectrogram. Adjust brush size and intensity for precise control.
Drag-and-Drop Synthesis: Simply drop any audio file (.wav, .aif, .flac) onto the screen to automatically clone its harmonic and noise profile, creating an instant starting point for new patches.
Image Synthesis: Drag and drop any image file (.png, .jpg) to translate its brightness into playable harmonics.
Generative Tools: Instantly create complex sonic textures with the "Generate Pattern function.
Partial Mixer: Take manual control over the volume of all 32 individual harmonics with a dedicated fader bank. Push faders above the midpoint to add baseline volume or pull them below to scale your drawn harmonics.
Harmonic Filtering: Isolate specific harmonics with "All," "Even," "Odd," and "Inharmonic" modes for unique timbral shaping.
MODULATION & PERFORMANCE:
Full-Featured Arpeggiator: A comprehensive arpeggiator with multiple patterns (Up, Down, Up/Down, Random, Chord), tempo sync, octave range, note length, and swing controls.
Flexible LFO: One extensive LFO with multiple waveforms that can be routed to modulate pitch, filter cutoff, animation speed, and even create unique "rippling" effects across the partials.
Advanced Analog Modeling: Dial in vintage character with dedicated "Analogness" controls for wow and flutter for incredibly rich, organic sounds.
EFFECTS & FILTERS:
State Variable Filter: A versatile filter with Low-Pass, Band-Pass, and High-Pass modes, complete with its own dedicated ADSR envelope, resonance, and velocity sensitivity.
Vintage Tape Echo: A rich delay section with tempo sync, feedback damping, and a "Tape Dropout" to simulate the beautiful imperfections of analog tape.
Expansive Reverb: A high-quality reverb module to add space, depth, and atmosphere to your sounds.
Get Spectral Synth Today: www,gulfcoastsynthesis.com for $69 or try the free demo!
Follow Gulf Coast Synthesis for more demos and tutorials: www.instagram.com/gulfcoastsynthesis"
Check with dealers on the right on availability and price.
Playlist:
1. Waldorf Protein Trailer
2. Waldorf Protein Sounddemo
3. Protein - Deep Dive - Tutorial with CTO Rolf Wöhrmann
User Videos:
Playlist:
1. New Wavetable Synth: WALDORF PROTEIN - Sound Demo (no talking) - Limbic Bits
2. Waldorf Protein Demo (no talking) - New Wavetable Synth from Waldorf! - Bonedo Synthesizers
3. Waldorf Protein - Sounds, walkthrough and sound design - Martin Stürtzer
Protein is an affordable and compact 8 voice polyphonic Wavetable synthesizer based on the original Microwave 1 ASIC oscillators combined with modern features of Iridium heritage like the sophisticated arpeggiator, step sequencer, chord mode, effects and more. Protein links back to the very beginnings of Waldorfs instrument makings but interprets the original ideas in a contemporary and surprising way.
With handy dimensions of 252 × 170 × 48 mm (including controls) and a weight of 0.9 kg, the Protein is a true powerhouse packed into a compact and portable new form factor that stands as the first statement of a new upcoming product line.
Specifications
Oscillators • Two oscillators based on unique Waldorf Microwave ASIC chip. • Internally running with 250 kHz sampling rate to match original ASIC sampling rate. • Modeling of digital-to-analog converters for each voice (DAC). • Unique digital noise generator based on ASIC technology.
Wavetables • All original wavetables of Microwave 1 based on the original coding and bit-identical to original. • Including algorithmic and speech wavetables. • Beautiful recreation of 8-bit quantization and aliasing. • Full waveform catalogue of original Microwave.
Filter • Faithful modeling of CEM analogue filters. • Adjustable de-calibration of cutoff and resonance to model detuned hardware. • Cutoff and resonance modulations. • Additional „Dirty“ types: Noise, crackle, click, geiger and bursts.
Modulation • 3 Envelopes • 2 LFOs with tempo sync and sample & hold • 8 slot modulation matrix • Poly-aftertouch capable • MPE modulation sources.
Performance features • Advanced Arpeggiator • Step-sequencer with up to 32 steps • Chord & Scale modes • MPE Compatible • MIDI CC Learn
Patches • Over 150 factory patches • Capacity of 250 patch memory slots • Category filter for patch list • Import- and export of patches via MIDI Sysex
Connections • Stereo Audio Out with 6.35 mm jacks with optional mono and TRS stereo connections • Headphones mini TRS output • DIN MIDI IN & Out, mini-TRS Type A (two adapters to DIN MIDI sockets included) • USB Type C for power supply and USB MIDI connection • Firmware updates via USB
Overall • Sturdy metal front plate on a colorful plastic case • Dimensions: 252 mm wide by 170 mm depth by 48 mm height (including controls) • Weight: 0.9 kg • Power Supply via USB (not in the box)
What’s In the Box? • Waldorf Protein Synthesizer • Two MIDI adapters: mini TRS to DIN sockets • USB C to C cable • Printed Quick Start Guide
"ELZ_1 play V2: https://sonicware.jp/pages/elz_1-play
Only a Dozen V2 Launch Edition Units with Special Case Coming in Early December — Secure Yours Now!
For this piece, I used the preset 'Resophonic Gt', a plucked-style sound with a short envelope that gives it a string-like, percussive character, perfect for melodies and short phrases. I worked with the Wavetable engine, switching between several waves: '2 Echos' (my favorite), 'Clavinet', 'AnotherWT', 'Electric Piano', and 'FM+Crush'. For effects, I alternated between 'Grain Particle' and 'Grain Uncertain' to add that beautiful granular texture, and used a 'Plate reverb' as the master effect.
To integrate the ELZ_1 play with my Eurorack setup, I used the Collide 4 module by Joranalogue and Hainbach to match the signal levels to Eurorack standards and to take advantage of its filter and amplifier. I began by recording some 2 Echos notes into the Morphagene by Make Noise, then pitched them down and layered another take on top, letting the module work its magic to further enhance the sound. I also added a few notes from different sequencers and oscillators, blending them into the mix, which was processed through the Typhoon module for additional movement and texture.
Next, I recorded several loops: Clavinet on channel 1, Electric Piano on channel 2, and FM+Crush on channel 3. Each loop has a different length, and I played them in offset so they evolve in an asynchronous, shifting way. While performing, I also reversed playback back and forth, creating variation in both notes and texture so the piece never repeats in the same way.
For the live part, I used AnotherWT and 2 Echos, experimenting with effects and octaves. These layers were recorded into channel 4 of the looper in real time, following the same offset looping approach as earlier in the piece. During recording, I used the Collide 4 to shape and amplify the ELZ_1 play’s signal, adding even more character to the sound, and the Typhoon module to blend everything together in a beautiful, immersive space.
It’s a piece that invites exploration, one could easily spend hours lost in the endless sonic possibilities of the ELZ_1 play and modular synthesis.
"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.
1. themkI | An exploration of a 70s classic
2. themkI | Overview
3. themkI | Presets playthrough
Press release follows:
Thephonoloop tweaks themkI as deeply-sampled, expressive VI exploring electromechanical keyboard classic’s imperfections with colourful Version 1.1 update
KATOWICE, POLAND: Thephonoloop is proud to announce that it has tweaked themkI — already available as a deeply-sampled, expressive VI (virtual instrument) for Native Instruments’ KONTAKT PLAYER platform housed in an MPE (MIDI Polyphonic Expression) compatible engine built for discovery and experimentation, exploring the beautiful imperfections of a Seventies-vintage electromechanical keyboard classic — with a colourful Version 1.1 update introducing sharper contrast for better visibility alongside new GUI (Graphical User Interface) colour options for customising its look, as of October 7…
The Crow Hill Company works with Bleeding Fingers to proudly present PREHISTORIC STRINGS as unique string library built from bespoke instruments
EDINBURGH, UK: working with award-winning composers collective Bleeding Fingers, Edinburgh-based enterprise The Crow Hill Company is proud to present PREHISTORIC STRINGS as a truly unique string library — literally built from one-of-a-kind bespoke instruments incorporating horns and teeth with a few ancient bones thrown in for good measure, making for hybrid monstrosities to create tones that are haunting, primordial, and staggeringly beautiful in their truly primitive nature — as of September 25…
Putting PREHISTORIC STRINGS into its rightful perspective involves delving deep into the past in more ways than one — not least The Crow Hill Company’s ongoing relationship with its collective friends at Bleeding Fingers. For it all started when the latter’s talented Anže Rozman and Kara Talve worked with Hollywood hotshot Hans Zimmer — arguably one of the greatest, certainly one of the most prolific film composers of our time, noted for his innovative integration of electronic sounds with traditional orchestral arrangements — on the primetime television series Prehistoric Planet (2022-2025). As always with both Bleeding Fingers’ and Hans Zimmer’s approach to composition, the creation of truly unique sound-worlds played a fundamental role in the development of said score. An audacious project, indeed, it involved the construction of a selection of string instruments built with bones, horns, skulls, and cannibalised classical instruments, including a cello, frame drum, resonating dulcimer, and many more besides. But credit where credit’s due to the killer composing team involved in instinctively understanding that the resulting score’s success merely represented the tip of the iceberg in terms of the potential of their unique inventions and agreeing to share them with the rest of the composing community.
"Super-rare Moog MuSonics Sonic V synthesizer from 1972! This is #96 out of only 100 made and the only one I’ve seen with a front panel overlay that differs slightly than others I’ve seen (which, admittedly, is not many and not at all in-person). It’s actually more in the aesthetic style of a VI, as far as that particular detail is concerned.
The elusive predecessor to the Sonic VI was designed by Gene Zumchak, who also designed the 960 Sequencer, 961, and 962 modules. According to advertising literature, it was “designed for the music educator” and features “ring modulation, microtonal keyboard scaling, two-note keyboard capability, and extended modulation resources”.
The sounds this thing can make are absolutely insane. For those of you who are in to noise, sound effects, and sound design — this is a formidable and wildly entertaining beast. It is capable of some really beautiful, melodic sounds, as well, so it’s not just for pure craziness. It’s a unique instrument not often seen out in the wild and only in the collection of distinguished collectors, studios, and synth aficionados. A rare chance to grab an incredibly rare instrument!
Just serviced with the following:
- PSU recap - all pots cleaned and a few jacks replaced - ground hum eliminated - 741 op-amp replaced in Oscillator A - full calibration"
"The world of synthesis gets a boost with the innovative Fred's Lab Manatee: A four-part multitimbral synthesizer with the power to transform sonic creativity"
"With its unique combination of synthesis algorithms and intuitive control panel, Fred's Lab Manatee is an agile and amazing tool for any producer or composer.
With its heralded spectral synthesis and multi-timbral/multi-part capability, this beautiful machine generates 16 voices (depending on the loaded preset ) and four parts , meaning great flexibility in terms of sound design power.
Manatee features a generator that combines the best of additive and wavetable synthesis architectures , inviting synthesists to agile exploration through innovative sonic textures (watch our video, above).
Initially a Kickstarter project (2023), the creative and experimental Fred's Lab Manatee is now available from retailers in limited quantities.
Advanced technology for exceptional sound A wide range of modulation and synthesis tools make Fred's Lab Manatee a perfect instrument for any MPE (MIDI Expressive) controller . With a well-documented MIDI implementation, users will easily integrate it into their ecosystems, whether with hardware or DAW software . This total adaptability makes Manatee an invaluable resource for any experimental production environment.
"Muro Box-N40 Standard music box track with an Onde from La Voix du Luthier, a Continuum and an Eagan Matrix Module from Haken Audio and an Osmose from Expressive E
The N40 is an enhanced version of the N20, the main additional feature being a chromatic scale and internal piezo microphone, both being huge improvements !
The Muro Box-N40 s controlled via MIDI by a Korg SV1.
The voice is built from and analysis of the voice of Khatija Rahman and resynthesised by the Continuum. The pitch and shimmer effect on the Murobox are done by an Eagan Matrix Module. Both are done thanks to the new 10.40 features of the Eagan Matrix.
The murobox is recorded with 3 internal piezo and an IQ7 microphone.
The piezo are connected to a small preamp (TubeMP from ART, but multiple others will work).
The output of the preamp goes to a Eurorack (in an Eagan Matrix Module). I then a processing chain with a notch filter cuting a frequency band aroud 280/300 Hz, and a noisegate in order to lower the motor noise. The Eagan Matrix module then adds shimmers and pitch effects."
"Muro Box sent a prototype of their upcoming N40 midi music box to test out. This new unit can also do the black keys on a keyboard! (the original N20 version is limited to the C major scale)
Here, I'm controlling the plucking of the music box's tines with the OP-1 Field's keyboard by MIDI over USB-C, while sometimes adding in soft sine tone synth sounds coming out of the OP-1 at the same time. Soft sine tones and music boxes have been the Lullatone dream team since the early 2000s : )"
See the Muro Box label below for additional posts.
"Which Music Box Has the Best Sound?
The Beautiful Sound of a Music Box Comes from these key components: Comb, Metal Base, and Wood Box
The N20 and N40 Standard models share the same material and design, differing only in the number of notes and the inclusion of semitones. The N40 Sublime is our flagship model, featuring a four-comb configuration, an acacia wood box, and pure brass base that adds a unique character to its resonance."
"Since its inception, the Muro Box’s external MIDI functionality makes the dream of using a music box as an instrument a reality. Especially with the N40’s 40-note scale, which includes semitones, it meets the arrangement and composition needs of musicians!"
"A few years back almost all my hardware was modular gear. A beautiful 15u all-black monster. A wondrous thing it was with a most fetching array of clock-synced lights. Problem was I never made any music with it. It was lots of fun arranging the modules though. I still have about 80hp left of a few favorites I couldn't part with: Interstellar Radio, the Erica LFOs and some utilities.
I mention this because the Syntrx II is often described as a modular system in a box. Sections are "patched" via the matrix. I've had the Syntrx for an embarrassingly long time and never done anything with it other than admire its good looks. In fact I sold my OB-6 to help pay for it. Yet somehow it just hasn't called.
So here's my first attempt at coherent sound. It took a day to get going. Figuring how to clear the matrix and patch anything took several hours. A couple of hours after that and we have this. It's not much. I tried to get a stereo field happening - and succeeded briefly - then somehow lost it. I was also getting excellent low rubber resonance swells but somehow lost them as well by the time I was ready to record. I battled for quite a while to stop overloading the filter and that seems to have worked.
So I certainly wouldn't say it's easy to get going. Of course that's just me. So far there's nothing here that other reasonably deep synths couldn't do. I know the Syntrx can go way deeper, but I don't want to just make random complex noise. Perhaps the question is how complex can you get while staying somewhat musical? And where is your own subjective boundary of music?
I wasn't going to upload this as I wasn't very happy with it, but then I thought its value is as an example of a 'first try' with a complex machine.
As usual there is no processing or effects other than what you see - the Syntrx itself. The only other element are the vocal samples which are taken from one of my favorite B-grade sci-fi movies: The Time Travellers (1964). It has an excellent score btw.
"A RadioPhonic Real-time Performance, All-analogue sounds, all AJH Synth Eurorack modules. Inspired by the electronica of the 1970's and comprising 3 voices: A 3-VCO drone/chord using the Gemini 2412 as 2 separate filters being cross-modulated. A single VCO sequence, using the Ring SM to add a sub-octave/sub bass to the sawtooth wave of the oscillator. A voice-like sound, using one, then two oscillators into the Transistor Ladder Filter (VCO and VCF both based on the original R.A Moog version of the Minimoog). A choir-like sound created by running 2 VCO sawtooths into the Wave Swarm and then the Fixed Filter Bank 914 (based on the original Moog modular). Then, both the previous 2 sounds combined in the Next Phase 12-stage analogue phaser, swept by its own internal LFO.
Two additional sound effects created by using the random voltage mode of the Tap Tempo VC-LFO to modulate the self-oscillating Sonic XV diode filter, it's frequency also being affected by the Contour Generators to create descending pitches. Finally, a DH-ADSR envelope generator controlling the Entropic Doom. Both envelope modules are manually triggered.
The RadioPhonic is a Eurorack modular synth commissioned by Hans Zimmer, recreations of which are now available to pre-order at https://ajhsynth.com/Radiophonic.html.
The RadioPhonic features 48 AJH Synth modules, including 8 envelopes, 7 VCOs, 6 LFOs, 6 VCFs, up to 7 VCAs, random voltage generators, random gates, phaser, fixed filter bank, dedicated noise oscillator, wave-folder, wave multipliers, audio and CV mixers, ring modulators, sub-octave generator, glide/slew, octave/semitone switching, multiples... and in a beautiful hardwood, well-powered Eurorack case. All modules are also available separately, or as part of pre-assembled, ready to play systems.
Chris Lody (@ChrisLodyMusic) , a sound wizard I genuinely trust, created an amazing sound of the Indian instrument, Tanpura. It was so beautiful that I had to jam with it today. I thought the tanpura sound would also fit perfectly with the world of LIVEN Ambient Ø.
In the second half, I got creative by grouping every 4 steps and making the sequences trigger randomly.
"Beware the title: 'First day noodlings'. This isn't a collection of pristine patches or sweetly controlled tone-perfect spaces. It is literally me with the Nightverb on day one twiddling the knobs trying to understand the various interactions and calibrations. But I figure that will be of interest to some. And since my daughter always laughs at how "incredibly niche" my channel is, well, surely it can't hurt.
I'm honored to have Nightverb serial number 0006 sent to me gratis by Erica Synths. Technically that should earn the "paid promotion" tag, and yet, saying that on this random hodge-podge doesn't seem quite right. And since I'm almost qualified as a member of the Erica Synths 10% discount club I think I've earned a pass on this one. Of course the truth is I would have bought this anyway if Erica Synths hadn't sent it to me, so at least this way I didn't have to sell anything - yay!
But about the Nightverb. It's armoured, beautiful and alive with grippy knobs. Reverb has never been so much fun or so fast to program. About halfway through the video I learn that 'late reflections' combined with 'infinite feedback' equals noise - but that's what day one gets you. Give it a few months and I'm sure all this will look painfully awkward. I also had the gain quite high and neglected to touch the low and high damp controls at all, but there's only so many parameters I can deal with fresh at one time. More videos to come of course.
I'm looking forward to pairing the Nightverb with the Zen Delay and Acidbox III though for this first outing I thought it should stay pure. Of course there are absolutely no DAW effects, EQ or limiting. I can certainly see cases in the future where a delay after the reverb could make for some interesting creations. Even so, just with the trusty DB-01 I did enjoy the pseudo poly-synth effect going 100% wet. Likewise the pre-delay with early reflections and feedback gave a good industrial delay. So much more I could say but I'll leave that for a talkie video.
If there's anything specific about the Nightverb I can answer, or a particular sort of audio demo you'd like to hear, let me know and I'll try to cover them in a second video.
Lots of downloads for supporters on Patreon: / richarddehove Many thanks to my kind patrons who keep this channel ad-free My website: https://richarddehove.com/"
"Step up to the legendary warmth and brilliance of classic Oberheim, reborn in the compact, powerful TEO-5. Dive into authentic analog tones, push boundaries with modern modulations and effects, and create like Thomas Elroy Oberheim always dreamed. TEO-5 is more than a synth, it's your sonic legacy, waiting to be written.
"Today, I unbox and demo the incredible Oberheim TEO-5 synthesizer. In the video I also discuss TEO-5 with the man himself Tom Oberheim who graciously gave me an intimate introduction to his latest and greatest synthesizer. 🚀"
"Today, Oberheim Electronics has just announced the release of their new synthesizer: TEO-5 -- a five-voice analog synthesizer. In this video, Julian "J3PO" Pollack reviews the synth and performs numerous sound examples.
"Following up from my work on the beta development and sound design on the Oberheim OB-X8, I was pleasantly surprised to find that the next Oberheim synth would be the TEO-5. Unpacking the beta unit revealed a beautiful and cleverly designed 5 voice analog synth that simply sounds amazing.
The size of the TEO-5 is absolutely perfect for world wide gigging and the sound is a sort of best of Oberheim with a modern twist. That modern twist doesn't exclusively come from the excellent FX processor on board, but also from the interesting modulation options and ranges. While you can push the synth into harmonic and saturated zones, it still, like all Oberheims remains one large sweet spot.
Don't be fooled by the smaller size and voice count, there is nothing small about the sound and capability of the TEO-5. Not to be missed.
Please note this recording is of a beta development unit running an early firmware. The sounds featured here are the patches I made for the shipping factory bank that comes with the synth straight from Oberheim.
Recorded at Infinite Power Studios, Los Angeles. All patches by Matia Simovich/INHALT. Video edited by Grover Greenberg."
"At Superbooth 2024 we met up with David Gibbons from Oberheim who introduced us to the new TEO-5 synthesizer. Named after Tom Oberheim with an exclusive reveal of Tom's middle name, the TEO-5 has a SEM filter, two oscillators and a sub giving that classic Oberheim sound, but with lots of features to bring its capabilities right up to date.
Chris Calcutt then stepped up, and gave us a demo of the sound of this synth. TEO-5 gives us 19 mod slots with tons of destinations, both a mono and a poly LFO, two envelopes and a capable twin FX section. Uniquely there is a cross-mod section with thru-zero capabilities, which allows FM modulation that stays in tune up and down the keyboard.
With a similar form factor to the Take 5, the TEO-5 has a 3 and a half octave Fatar keyboard with aftertouch, and is designed to give the Oberheim sound in a more portable and affordable package
"A Quick Look any the new Oberheim TEO-5 - named after Tom Edison Oberheim - there was a leak a few weeks back but it's here in the flesh.. and nice it is too.
Its got the same form factor as there Sequential Take 5. The big addition is obviously the Oberheim filter, and a through zero FM - so it looks like it has the new SSI chip.
Anyway.. just a Quick Look.. enjoy:)"
And the press release with pics:
Introducing the New Oberheim TEO-5 Polyphonic Synthesizer
TEO-5: The Legendary Oberheim Sound Reborn in a Compact Powerhouse
San Francisco, CA – [May 16, 2024] – Oberheim, the venerable brand synonymous with the golden age of synthesizers, proudly announces the TEO-5 polysynth. This powerful instrument features the visionary craftsmanship of Thomas Elroy Oberheim (TEO), offering a perfect blend of classic analog warmth and modern versatility for today's musicians.
“I’m so proud to be able to make a synth like this... compact and affordable, the Oberheim sound for 2024,” says Tom Oberheim, the company’s founder. TEO-5 is designed to make the classic Oberheim tone palette widely accessible, encapsulating decades of analog engineering experience in a forward-thinking and innovative musical instrument.
The TEO-5 boasts a five-voice architecture with genuine analog VCOs and VCFs, capturing the distinctive warmth and depth that defined countless hit records. But TEO-5 isn't just a tribute to the past. Additions like through-zero FM, which adds a contemporary twist to its oscillator X-Mod feature, allow for the exploration of entirely new sonic textures. And the legendary Oberheim SEM filter returns, offering the versatility of morphing between low- pass, notch, and high-pass configurations, along with a switchable band-pass mode for extensive tonal shaping. Beyond its core synthesis architecture, TEO-5 features a comprehensive modulation matrix, opening a world of possibilities for sculpting and transforming sounds. Digital effects processors provide classic chorus, delay, reverb, and more, alongside faithful recreations of the revered Oberheim Ring Mod and Phasor effects. A 64-step polyphonic sequencer and multimode arpeggiator further fuel creative exploration, while a premium Fatar keybed ensures a responsive and inspiring playing experience.
“There was a huge surge of interest when Oberheim returned in 2022 with the historically inspired OB-X8,” said David Gibbons, CEO of Oberheim. “But Tom and the design team were keen to show that the magic of Oberheim can be within reach for everyone, and can bring a distinctive modern flavor. TEO-5 is an exciting addition to the Oberheim legacy.” Whether you're a seasoned professional seeking a powerful new sonic tool or a budding artist embarking on your analog adventure, TEO-5 is your gateway to unparalleled musical exploration.
DRONES MAX is a WAVE TABLE SYNTHERSIZER for sustained sounds. It has three WAVE TABLE OSCs and two POLE FILTERs, which can be modulated by two LFOs. Powerful effects include stereo delay, reverb, and crusher with a wide range of parameters, allowing for a variety of expression from aggressive and intense sounds to beautiful cosmic harmonics.
WAVETABLE
Over 200 waveforms are recorded, and you can change them smoothly. Also, at the end of the knob is a sawtooth waveform, a sine waveform, and a frequency-varying noise generator. WAVETABLE has a mixture of waveforms that contain different harmonics, and when combined with an LFO, it can create the effect of gradually changing musical scales.
OSC MIX
You can set the volume ratio of the three oscillators.
NOSIE
Adds noise to the oscillator output.
FILTER
DRONES is equipped with a 2POLE low-pass filter with resonance. Turning the CUTOFF knob to the left attenuates the high notes, and when turned all the way, no sound is produced. Turning the RES knob to the right will cause a peak to occur at the pitch at the cutoff point.
LFO
DRONES has a built-in LFO that can output sine, sawtooth, square, and sampled and held random waveforms. The LFO knob sets the LFO frequency and waveform. Turning the knob to the right will speed up the frequency, and when it reaches the highest frequency, it will switch to the next waveform.
STEREO DELAY / REVERB
Equipped with stereo delay and reverb for drone sounds.
Feedback can be set to no attenuation, adding even more depth to the sound.
CRUSHER
By lowering the resolution of the sound, you can create harsher expressions.
"This video demonstrates the final version of a 4-bit Linear PCM synthesizer that I have designed and built over about two months. It makes use of mostly Soviet clones of 7400 and 74LS series TTL chips, with no microcontrollers involved. It has a 256 x 4 SRAM chip that allows the user to program whatever waveforms may be desired, with looping capability, and starting at whatever point desired. Most importantly, it is able to be controlled by an external source, for example a keyboard instrument. It also has a frequency doubler circuit. This video is part 2 of 2, showing the finished product.
If you want to skip right to the sounds, go to 27:08"
"Please support my work on Patreon: https://www.patreon.com/jayhosking A live, semi-improvised synthesizer jam performed entirely on hardware.
I went to the store to try out the Sequential Prophet Rev2 for fun, but they didn't have it set up on the floor.
"You should just take it home," the rep said. "Bring it back within 30 days if you don't want it."
So here we are, with the Prophet Rev2 at home. I love having so many voices that so easily can be panned into a binaural sound. The keybed and layout are fantastic and I just like playing it. The sound is great except when it isn't; something about the full-open filter or resonance is displeasing in a mix, though I often don't mind it on its own. Here, I made a binaural patch, with the same synth sound hard panned to left and right sides, but slight variation in the DCOs and "slop" (terrible word) leading to a very rich stereo feeling. One of those rare beautiful things you can do with only some polysynths (and software, of course).
In short, the Prophet Rev2 is a wonderful synth to explore with something of a frumpy sound, for better and for worse.
I was noodling on some chords and wanted accompaniment, so I started with the Cosmos (for some asymmetrical looping), and then took out my melodic eurorack skiff. It's been a while since I had it on the table, so it was nice just to hear these sounds again. Eurorack just leads me to places and sounds I might not otherwise find.
Ultimately, this jam came together in a day, and I'm always a little worried about those ones, because you might not like them as much the next day. So far, though, I'm pretty happy with it.
Thanks for listening.
Sequential Prophet Rev2 - pads Walrus Sloër - reverb for Rev2 Soma Cosmos - looping for Rev2 Eurorack: Qu-Bit Chord V2 through Endorphines Squawk Dirty to Me - organ sort of sound Frequency Central Product - droning analog voice 4ms Ensemble Oscillator through Make Noise QPAS - hyperspace organ Effects are described in the video, and include Happy Nerding FX Aid XL, Noise Engineering Melotus Versio and Desmodus Versio, Intellijel Multi-FX 1U ALM Busy Circuits Pamela's New Workout - modulation for all the voices
Performed and recorded live, with EQ, compression, and limiting on the master.
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"Excellent used condition, includes original packaging, power supply and rack ear kit.
XERXES delivers an unmatchable level of warmth through its two digitally controlled analog oscillators. A multimode analog filter, white and pink noise generator, 2 ADSR envelopes, 2 sync-able LFOs, unique analog BBD chorus with 3 modes, full MPE-based polyphonic aftertouch, and complete MIDI control including polyphonic aftertouch and MPE work together to bring a classic analog sound ready to integrate into modern times. MK2 features an updated VCA section, and balanced outputs.
Xerxes produces triangle, saw, square, and PWM waveforms with variable drift controls from each oscillator, sync with variable phase shifting, and ring modulation allowing for complex cross-modulation effects. Each oscillator features an octave switch, bipolar transpose potentiometer +/-7 semitones, a master tuning pot affecting both oscillators, and a detune knob for subtly detuning Oscillator 2 to Oscillator 1. Portamento/Glissando or Glide can be programmed to affect Oscillator 1, 2, or both.
The analog multimode filter on XERXES offers 24db/oct low pass, 12db/oct high pass modes and a band pass filter mode switchable between 6db/oct & 12db/oct for all kinds of filter characteristics. The filter can also be modulated by the dedicated ADSR envelope, LFO, velocity, and aftertouch (MPE and Polyphonic Aftertouch) allowing for incredibly expressive performance and programming.
XERXES features 6 LFO waveforms: Sine, triangle, saw, ramp, square, and random, plus a dedicated delay control to fade the LFO to the full amount set by the depth knob. Two LFOs are selectable with an A/B switch, each of which can be used to control multiple parameters set by the button switches to control oscillator tuning (A/B/Both) filter cutoff, and amplifier levels (VCF/VCA/Both.) Each of these LFOs also includes a Sync on/off switch.
XERXES features a beautiful, fully-analogue BBD-based chorus with 3 selectable modes, similar to the chorus effect found on the vintage Elka Synthex synthesizer. XERXES MK2 is equipped with stereo 1/4” balanced outputs to take full advantage of the stereo chorusing effect.
Finally, XERXES features full MIDI control and ability to store 128 user presets per bank across 11 banks (Factory, Vintage and 9 user banks) integrating this classic synth concept seamlessly into any studio setup."
