"We say... A pre-owned Oberheim OB-X8 (Desktop) in very good condition. It comes with original packaging and power cable.
Manufacturer's description NEW functionality now available with OB-X8 OS v2.0 featuring:
Instant binaural mode pans individual voices hard left and right for true stereo operation Simultaneously selectable waveshapes for each oscillator extends timbral variety New 4-Pole low pass filter type with fuller bass at high resonance New VCO 1 and 2 level LFO modulation destinations for independent timbral mixing Arpeggiator clock sync now has selectable note division values for expanded rhythmic control Twice the Split and Double memory locations, including program storage directly in the new banks for 512 more stored sounds Separate MIDI channels for lower/upper split bi-timbral operation Poly chain for up to 32 voices with 4 connected instruments MPE for new levels of expressiveness
I just bought this for myself for Xmas but I don't need it. I have over 20 other synths. I just never had this one and wanted to check it out. It's awesome. Stack multiple sounds at once, multiple filter cut offs, the MS20 low pass and high pass filters in an awesome joystick, aftertouch, and the best cross mod ever. Everything works great. Just got it from a shop from Japan. Comes with the original Japanese manual and a hard case. It works perfect with a Kenton Pro Solo too so you can easily use it with your midi gear if you want to do that. Tons of jacks on the back give it even more potential. One of the nicest ones you will find and now it's in the states. It uses Japanese power so you should use a power converter. They're very cheap. Do not use this synth in the US without a converter."
"everything is from the synth to the zoom recorder, twin t drums, xor snare, pt2399, and cmos stuff.
attiny85 reseting the phase of 40106 oscilators, the digital control accepts 1voct from keysetp and go to the 40106 inputs through resistors, a little rc for filtering the pwm, and for this reason when you change the oscillator frequency you can get intervals and crazy stuff. is not orthodox but suits my need for Rich timbres. the dco goes to 40106 buffers , and then 4040 dividers, twin t filters, one for each of the two voices, one goes to env, vca, filter, delay, and the other one to clock divider and filter, to get the sub osc.
firmware super simple only for checking the conversion from filtered frecuency of the attiny85 to my 40106 non exponencial vcos.
currently is tracking 10 octaves really good, the trick is put a voltage divider in the cv in of the attiny because keystep has 0 to 10v and the attiny accepts 0 to 5v tehn the tracking inside the attiny converts o.5v oct to 1 volt oct. i dont know anything about coding but i made it with chat gpt and my design .
source code will be in the coments ."
Disclaimer: This is an unofficial add-on to the M user manual, describing some of extra features added from firmware 1.05 up to firmware 1.11. This add-on also covers some complex aspects of the Multi Mode, which remains somewhat unusual.
Author: Vladi Salnikov aka VladiS.
Algorithms of FW version 1.11:
Varysaw: A VA oscillator ranging from SAW through PULSE to TRI.
Wave (red encoder): Mixes from 0 to 31 from SAW to PULSE; 32 is pure PULSE, and 33 to 63 mixesfrom PULSE to TRI.
Meta parameter: Pulse width for PULSE, adjustable from 5% to 95%.
CSAW: A famous Yamaha CS-80 saw oscillator with mutation towards a parabolic oscillator.
Wave : Controls the amplitude of the “step” component of the saw wave.
Meta parameter: Mixes between this saw wave and the parabolic saw wave.
Waveshpr: A SAW to TRI oscillator fed into a mild waveshaper.
Wave : 0 is pure SAW, 1-62 mixes between SAW and TRI, and 63 is pure TRI.
Meta parameter: Depth of the waveshaper.
TriplSaw: A stack of three SAW oscillators; two are detuned slightly higher and lower than the third.
Wave : Controls the amplitude of the “central” SAW oscillator relative to the two “side” SAWs.
Meta parameter: Detuning factor, from 0 to maximum detune.
S/T Fold: A SIN wave folding oscillator that folds the chosen crossmixed wave between SIN and TRI waves.
Wave : 0 is pure SIN, 1-62 mixes between SIN and TRI, and 63 is pure TRI.
Meta parameter: Folding depth.
FM 2 OP: Classic simple two-operator FM synthesis. OP1 (modulator) generates a sine wave that modulates the phase of OP2 (carrier). Both operators generate sinewaves; the algorithm's output is the carrier signal.
Wave: Maps values from 0 to 63 to harmonics ratios of 1 to 8 in stepped increments.
Meta parameter: Amount of phase modulation applied to the carrier.
"The word 'aggression' is used in this video to express a certain quality of sound and music. It's not indended and should not be associated with any form of violence. In music, it can emphasize the emotion or reveal what's happening in an actor's mind. It's an element of storytelling. Use it wisely.
For some reason, people love aggressive sounds and we wouldn't be having heavy metal, noise muisic and industrial grunge without it. Some brands, not calling names, specialize in it. So I've been thinking. Does an 'aggressive' VCO exist? Modules like Three-Body, Plasma Voice, Loquelic Iteritas Percido and WaveRazor came to mind, but the level of rudeness completely depends on who's patching it. Not calling any names again. I think 'aggression' - it's a bad word, I know - is a recipe where you'd drive your gear into distortion, self oscillation and cross modulation. However, it's often about grit, dirt, filth and grunge. You don't need violence to enjoy it, it's just 'colors' and many of these colors are all over mother nature.
The ultimate showcase would be Noise Music, but I think that noise doesn't tell a story and emotions need to develop. So it needs some kind of storytelling. In this video, I'll explore some VCO's and combos that will balance the edge of noise, and then try to manage it. Even the most brutal noise becomes percussion when you sculpt it, and even the most civilized module can reap havoc and bring chaos."
New relaxing music and video from supporting member, Saul Stokes. Links below.
"I've lived in the Bay Area for 20 years and only recently discovered that there's one of only about 20-30 black sand beaches in the world right here in the Bay Area. A little search online says that this is due to ground-up volcanic rock. It's a stunning, yet somewhat challenging location to reach. My wife and I opted to take a little beach picnic while recording. Over the course of about 2 hours, only 2 people made it down to the beach. One of the more amazing stories about this area is that there's a Cold War nuclear launch site just up the road, which you can now tour. If you ever come to San Francisco, make sure to cross the Golden Gate and take a little afternoon hike down to the Black Sand Beach.
As for the music, a few long-time listeners might be a bit disappointed, expecting the entire Radiate album, as shown by the album cover. While compiling the music for these videos, I have discovered that sometimes certain songs don't quite fit the feel I'm going for. For Radiate, I opted to replace a few of the darker songs with some of my favorite tracks from my first demo tape, Burning Igloo, which was released in 1993. The song 'Haight Pacific' was a name I pulled from the MUNI bus I first rode on a trip to the ocean while visiting San Francisco in the 1990s. I still find it fascinating that the city of San Francisco is literally right on the ocean. Radiate was performed in Sausalito when I first moved here in the early 2000s. I don't remember much other than it was by a dock with many beautiful boats. Additionally, a few beautiful studio pieces were added to the CD to fill it up. Radiate was released on Databloem, a CDR label based in the Netherlands. I almost forgot, as a closer, I opted to add a single titled Collision, which was written many years later. If you want to hear the entire Radiate album, jump over to the Bandcamp link below.
"The Moog Liberation (because it is a “keytar”) is probably the most criminally underrated synthesizer in the history of the Moog brand. Forget about keytars for a sec...
"Ever wished your synth could sound like the legendary *Roland Jupiter-8*? In this video, I’ll show you how I built over 80 authentic Jupiter-8 style patches—from lush pads to classic leads and basses —and how you can design your own vintage synth tones step by step.
*What you’ll learn in this video*:
How to create Jupiter-8 inspired patches on Novation Summit & Peak
Tips for getting authentic vintage analog tones
Tricks to restrict modern features for a true retro sound
Ways to shape oscillators, LFOs & envelopes for classic synth vibes"
0:00 Intro - taking things a little futher
1:23 You don't need a clone clones
4:01 Cross Mod/FM - They're not the same Linear vs Exponential
5:25 PWM - Check the LFO range
7:54 Sync - The SUMMIT & Peak are unique here
9:59 LFO - Don't go too fast!
12:58 Don't worry about the Cross Mod
13:48 Keep the filter within limits and you'll be fine
20:50 A Patch Form Scratch
22:16 A Word on the Envelopes
24:32 Adding Performance Features
30:15 Some Thouhgts
31:54 A QUICK JAM
"The Frap Tools BRENSO is more than just a dual oscillator—it's a modern homage to the west coast synthesis tradition pioneered by Don Buchla in the 1970s. As a complex oscillator, BRENSO offers a dense web of internal modulation, wave shaping, and signal routing options that invite experimentation, creativity, and highly expressive sound design.
Let’s break down what makes BRENSO special—and why it’s a standout tool for modular synthesists and the perfect place to start Happy Mag's Synth Month 2025 journey!
🧠What Is a Complex Oscillator?
In synthesis terms, “complex” usually refers to waveforms that go beyond simple shapes like sine, triangle, square, or sawtooth. These richer, more dynamic tones are achieved through audio-rate modulation—one oscillator affecting another at high speed to produce new, harmonically rich content.
To that end, BRENSO includes two triangle-core analog oscillators, each with four outputs. These oscillators are designed to interact, cross-modulate, and shape each other in ways that transform simple waveforms into entirely new sonic terrain.
🎨 We Love the Colour-Coded Interface!
One of BRENSO’s most elegant features is its colour-coded layout. This isn’t just for show—it reflects functional sections of the module, making navigation and patching intuitive:
🟢 Green Section – Frequency control for oscillator one 🟡 Yellow Section – Frequency control for oscillator two ⚪ White Section – Timbre shaping (via wavefolders and shapers) 🔴 Red Section – Amplitude control (via a four-quadrant multiplier for AM/RM)
These sections are organised spatially and visually, so once you understand the color scheme, you're halfway to mastering the module.
🔄 Modulation Without the Patch Cables
BRENSO encourages semi-normalled patching. Many modulation paths are internally routed by default using dashed lines on the panel. For example, the green sine wave is often pre-routed as a modulator for the yellow oscillator—no cable required.
This internal routing makes it easy to get rich interactions going quickly, but BRENSO never limits you: patching a cable into a jack overrides the normalization, giving you complete flexibility.
"A simple but interesting song not much known by the early days of The Human League V2 (when the female vocalists joined). If you don't know the original version, check it out. I found it catchy, specially the chorus. So I decided to pick my two analogues plus the JP8000 and give it a try
Gear used.
Left:
Roland MRS2 Promars: single VCO bass (and extra sub bass on backtrack)
Roland JP8000: Cross Mod lead
Right:
Korg Polysix: Sawtooth lead
Backtrack previously recorded, instrument by instrument, on Pro Tools (just drums and the extra sub bass, plus a JX-8P on final pads).
Original song composed by Phil Oakey, Ian Burden.
Performed here by DX5 Jose Maria Bara"
"Making this patch, I imagined traversing immense distances between galaxies through the voids in deep space. I used multiple Sapphire Elastika modules tuned to produce an ever-shifting drone chorus. Then I added a few extra voices to round out the bass. There is plenty of slow-flowing chaotic modulation for interesting variation and texture.
"Tonight I made a complex synth voice from several voices, but all tuned to the same V/OCT signal. Then I decided to play that synth voice using a virtual keyboard (Impromptu Twelve-Key). Usually I do generative stuff, but it was fun to make something more in the spirit of a custom synth, and then to perform that synth.
"Chaops is a new 'chaos operators' expander module in the Sapphire plugin for VCV Rack:
https://library.vcvrack.com/CosineKit...
Here I show how to use Chaops to store/recall the state of Frolic, Glee, or Lark. Chaops also allows you to morph the 3D vector output on a spectrum between position and velocity, which provides a new range of 3D chaotic curves. Finally, Chaops can freeze/thaw the movement of the attached chaos module. All of this functionality can be operated manually or by input voltages."
Create, Customize, and Export Wavetables Like Never Before!
Save 40% - just €25 (normal €40) , until January 10, 2025
Ocean Swift is excited to announce the launch of the Wavetable Creator, a powerful tool that empowers everyone to create custom wavetables for high-end synthesizers, modular environments, and audio production tools.
The Problem: Today's wavetable synths, modules, and apps often require wavetables with specific frame sizes and cycle counts, making cross synth compatibility difficult. No existing app or wavetable pack guarantees seamless compatibility across all platforms.
The Solution: Ocean Swift’s Wavetable Creator – a powerful tool to design morphing wavetables that work anywhere! From Serum to Eurorack, this tool lets you craft wavetables with innovative crossfade, morphing, and blending techniques, and robust compatibility export options. Whether you're producing music, designing game audio, or developing synth plugins, this app is built to unleash your creativity with an easy intuitive interface.
Pricing and Availability The Ocean Swift Wavetable Creator is available now at a regular price of €40. As a special introductory offer, you can purchase it at €25, a limited-time price valid through the Black Friday, Christmas, and Winter Holiday season until January 10, 2025. Don’t miss this opportunity to enhance your sound design toolkit at an unbeatable price, with a unique product!
"A complete demo and tutorial of the Buchla and tiptop audio 259t. The father of all the complex oscillator will show you all its secrets. So you'll can play with and understand all its sons, they work the same...DPO Brenso Further generator and more.
How complex oscillators work.
Waveshaping
Wavefolding
FM
Internal and external modulations
Cross modulation
Hard and soft sync
"DELIA's Morph feature is a powerful creative tool in addition to its versatile palette of sounds and motorized knobs. Morph is one of DELIA's sound design and performance superpowers. Morph can transform your sound; create truly unique timbres and a powerful expressive performance tool.
Essentially Morph gives you access to 2 different patches, where you can combine or mix between 2 different patches, be they similar in sound or completely contrasting.
Morph interpolates the settings across the entire front panel, unlike an audio cross-fader. Morph transforms the settings across the oscillators, filters, envelopes including all the modulation matrix assignments.
By default, almost every patch on DELIA has 2 sounds loaded into A & B. The Morph knob moves between A & B, where you can see the front panel knobs moving and responding to the changes between the 2 patches. Press the button next to the Morph knob to switch instantly between A & B patches. When lit, this button indicates you are on the B patch.
Moving the Morph knob immediately prompts the option on screen to either save your current settings to position A or B . This is great for those moments when you hit on a sound you love - a very fast and intuitive way to create new patches. Just don't forget to save your preset when you're done!
To LOAD a new sound to Morph, hit LOAD, find the preset you want then hit OPTIONS where you'll be able to load the patch to A or B.
Morph can also be a modulation destination, easily assign your modulation source and dial in the Morph amount!
Whether you're looking for subtle way to shape your sound or create wildly contrasting timbres, Morph is a lot of fun, like having eight arms. It's a source of happy accidents and equally a powerful way to manipulate your sound on DELIA."
"Falistri has plenty of controls, but it offers functions so pure that we can bend the rules and use some cross-patchings to go where the knobs don't dare.
00:00 Introduction
00:12 Double quadrature with the four-quadrant multiplier
05:33 Super exponential shapes with the four-quadrant multiplier or cross-patching"
Our OB-Xd 3 synthesizer for iOS update delivers a comprehensive suite of enhancements, significantly improving both functionality and user experience.
Key features and improvements include:
New High-Quality Engine: The iOS version now incorporates the same high-quality digital signal processing (DSP) engine as the OB-Xd 3 Desktop version, ensuring identical sound quality across platforms. This upgrade enhances the richness and authenticity of the audio output, bringing professional-grade sound to your iPad.
Cross-Platform Compatibility: Full compatibility with desktop presets and banks across macOS, Windows, and Linux. Users can now effortlessly transfer their sounds between desktop and iOS devices without any loss of data or quality, ensuring a smooth workflow across different environments.
MIDI Keyboard Enhancements: The update introduces a fully functional standalone MIDI keyboard, now supporting a custom 2-octave layout. The keyboard is optimized for touch and standard input, allowing users to play and experiment directly on their iPad.
User Interface Overhaul: The user interface has been completely redesigned with a new skin created by Ilkka Rosma, offering a modern, visually appealing design that aligns with the desktop version. This update not only enhances aesthetics but also improves navigation and usability. Icons and UI elements have been resized to adhere to iOS guidelines, ensuring a clean and consistent look on all screen sizes, including larger iPad models. Dialogs and menus have been specifically optimized for touch interaction on iOS devices.
Enhanced Functionality: Significant improvements have been made to the bank and preset management system, including enhanced import/export functionality, tooltips, and a refined user experience for creating and organizing sound banks.
Additional Tweaks and Fixes: The update includes numerous tweaks tailored for iOS, such as optimized dialog messages, handling for larger screen devices, and improved file operation dialogs in AUv3. Addressed various issues ensuring a more stable and reliable user experience.
This update marks a significant milestone for OB-Xd 3 on iOS, bringing it in line with the desktop version in terms of both functionality and sound quality. With the addition of a new high-quality engine, a redesigned user interface, and enhanced cross-platform compatibility, this release ensures that iPad users can enjoy a professional, seamless music production experience on the go.
OB-Xd 3 is now available on the Apple App Store with a special limited-time introductory price. This release offers an unbeatable opportunity to experience the enhanced features and professional-grade sound quality of the OB-Xd 3 on your iPad. Don't miss out on this exclusive offer to upgrade your music production toolkit at a discounted rate.
"A simple but interesting song not much known by the early days of The Human League V2 (when the female vocalists joined). If you don't know the original version, check it out. I found it catchy, specially the chorus. So I decided to pick my two analogues plus the JP8000 and give it a try
Gear used:
Left:
Roland MRS2 Promars: single VCO bass (and extra sub bass on backtrack)
Roland JP8000: Cross Mod lead
Right:
Korg Polysix: Sawtooth lead
Backtrack previously recorded, instrument by instrument, on Pro Tools (just drums and the extra sub bass).
Original song composed by Phil Oakey, Ian Burden.
