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.
"Don’t have a Buchla 100 and EMS VCS3 to hand? No worries! Just put this video on in the background (in full-screen mode), and have the next best thing 😁
Here is 10 minutes of self-playing modular synthesiser randomness. Why not put it on loop - then you can have it bubbling away in the background while you do other things
A note on the patch: The whole thing is being run by the EMS Random Voltage Generator, but that is being modulated by a divided down set of voltages from the Buchla 8-step sequencer, so it changes the randomness very slowly, which makes it seem like its evolving as it goes along. There are ring modulated VCOs, cross mod VCOs and pitch shifted VCOs, from both systems all being mixed on the 205 matrix mixer, which also has feedback paths set up to go to the WEM valve copycat and also the Buchla dual reverbs and dual compressors. So the whole patch is intermingling and feeding back on itself via the matrix mixer. Its a highly complex patch and is pretty much impossible to describe fully because I just kept patching it until I liked the result enough to let it run and film it for 10 minutes"
"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.
"Hans Zimmer's 'RadioPhonic' Synth from AJH Synth @ Superbooth 24 - This monster MiniMod Eurorack modular system was commissioned by Hans himself, and he was kind enough to allow us to build a limited number of exact replicas which will be individually built to order by AJHSynth. Full details of the system, along with an interview with Hans Zimmer about his use of the MiniMod system, can be found at https://ajhsynth.com.
We will have one such RadioPhonic system on display in our bungalow at Superbooth 24, along with a MinMod Keyz, a 9U full system, and a huge monster case full of AJH modules.
Richard Quirk, and Wayne Taylor (DreamsOfWires/Tomorrow the cure) will also be there representing AJH with Allan J Hall himself. We'd be glad to chat about the modules and demonstrate some in action, so feel free to pop by.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Official website page: https://ajhsynth.com"
In this LFO Deep Dive we'll explore the world of synthesis modulation using the Novation Peak, though this can be done on most synths especially VSTs. We'll take 2 LFOs to modulate one another and then add some key tracking to take things to the next level. These synth tips are such fun and easy tools to have in your back pocket when you want to spice up your sound. I really hope you learn something here! Take care."
00:00 The Goal Today 01:32 Step #1 02:15 How To Use LFO Fade Time 02:45 Utilizing LFO Repeats 03:16 If you don't like this sound, here's how to fix it 04:30 Step #2 05:16 LFO 2 to LFO 1 Rate.. Cross Modulation! 06:11 LFO KeySync 06:57 LFO 2 Repeat Setting! Super Crucial 08:55 Fine Tuning the Modulation 09:28 Step #3 - What I Heard In My Head 09:45 Keyboard Tracking to LFO 1 Rate 12:37 This is the Final Cherry On-Top 15:26 NOW THIS IS THE PATCH! wooooo
