Festival of Modular 2026 Tokyo Official Digest Video

video upload by Tokyo Festival of Modular

Festival of Modular 2025 Tokyo

NOVEMBER 23 (Sun) & 24 (Mon)
AT ORD. ＆ ZAspace, Daikanyama

Live Acts from China:
tamiX / THESSIAN (Modular Commune)

Live Acts from South Korea:
OYKNI / Lim Yong JU / Noddy Woo

Live Acts from Taiwan:
MADZINE / weiii

Live Acts from Spain:
espinoza / Alpha Decay

Live Acts from Czech Republic:
Václav from BASTL INSTRUMENTS

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This Pine Tree Doesn’t Follow Time — It Shapes It (Deep Meditation Experiment)

video upload by Bio Music Vibrations

"The signals of a plant are difficult to interpret — especially when their sound is not naturally tuned to the human ear.

What you hear at first may feel raw, almost chaotic.
Not music as we usually understand it, but movement… pulses… living electricity searching for a voice.

In this experiment, I connected a pine tree to a modular synthesizer and did something unusual: instead of forcing harmony, I limited the system to just a few notes and allowed the tree to influence the tempo itself.

The result was surprising.
The BPM was not fixed.
It expanded and contracted organically — breathing rather than following a grid.
This reflects a simple but profound idea once described by Einstein:
time is not absolute.

Here, time is not dictated by a machine, but shaped by a living organism responding to the present moment.

The graph linked below shows the smoothed bioelectrical readings of the pine tree over time, revealing natural fluctuations and distinct states.
Because life is never perfectly stable.
It flows.

With the addition of subtle textures and gentle binaural beats, the sound opens a space for deep meditation, where the mind slows down enough to listen — not with the ears, but with attention.
This feels especially meaningful during the Christmas season.

Pine trees have long symbolized continuity, resilience, and life through darkness.
And yet, millions are cut down each year — used briefly, then forgotten.
This music is not a loud protest.

It is a quiet reminder.
A reminder that forests are not resources —
they are relationships.

Living systems that regulate climate, hold memory, and support all life, including ours.
As the sound unfolds, thoughts soften.
There is no past to revisit.
No future to fix.
Only this vibration.
This breath of time shaped by a tree.
Peace is not something we create.
It is something we remember.

📖 Read the full blog post with measurements and reflections here:
👉 https://biomusicvibrations.com/blogs/...

🌲 Created by Bio Music Vibrations"

Ear Modular Introduces 暮秋 The End of Fall

video uploads by Ear Modular



"The End Of Fall is a feedback-filled effects unit in a 40hp Eurorack format.

By adding two expansion boards and replacing the front panel, it can be reconfigured as a standalone device.

The core of The End Of Fall consists of two ladder filters and two echo effects. The signal chain routes Filter A to Echo 1 and Filter B to Echo 2, with their outputs mixed together for the final output. Each filter features a CV control input for cutoff frequency, while each echo has a CV control input for delay time.

At first glance, this may seem like a basic setup, but The End Of Fall offers much more. It is filled with various feedback pathways:
​
1. Internal feedback within each filter, from output back to input, creates a resonator capable of self-oscillation.
​
2. The internal feedback within each echo is essential for creating the echo effect; excessive feedback results in endlessly decaying echoes.
​
3. The output of Filter A is fed back into the input of Filter B, and vice versa. This design was inspired by experiments during the creation of Solar Card Type VII, where it produced unexpectedly complex and intriguing sounds on the card. This concept has been adapted for The End Of Fall.
​
4. The output of Echo 1 is fed back into the inputs of both Filter A and Filter B, and similarly, the output of Echo 2 is fed back into the inputs of both filters. These two global feedback loops transform The End Of Fall into a circular structure without a clear front or back end, allowing sounds to intertwine within this loop.
​
Additional design features:
​
1. Each filter and each echo has its own dedicated input. When feedback is not utilized, the feedback pathways serve as internal bridges, enabling various signal routing configurations such as echo to filter, filter to echo, echo to echo (for multi-tap delays), or filter to filter (for multi-stage filtering). With expansions, outputs can be taken from the end of any effect, allowing the unit to be used as a stereo effects processor.
​
2. The End Of Fall includes a noise source with two functions: it supplies audio to the inputs of both filters, and it serves as an oscillation source for generating internal CV signals.
​
The unit features four internal CV sources, each assigned to one of the four effects. When no external CV is present, these internal CVs provide randomly varying control voltages. If an external CV is connected, the corresponding internal CV is disconnected. These four internal CV signals are generated by sample-and-hold circuits sampling the noise source. Four knobs in the upper-right corner independently control the sample intervals of these circuits, introducing chaotic and unpredictable modulation. A CLK input can interfere with these four sample-and-hold circuits, partially synchronizing them while maintaining an underlying chaos.

There is a slight background noise from The End Of Fall when there is no output, but it does not affect normal use.​​​​​​​​​​"

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Solar Sound Card - ear modular

video upload by Sonic Seed

"A light-sensitive, portable sound generator that extends Ear Modular beyond Eurorack.

Its circuitry responds to ambient light, transforming sunlight, shadows, or small light sources into dynamic sonic textures.

Built for direct interaction with the environment, it invites musicians to listen with their eyes and see with their ears, shaping sound through the shifting presence of light.

Equipped with an integrated speaker and powered by a coin-cell battery, it functions as a self-contained instrument—intimate, mobile, and alive to its surroundings.

Solar Sound Card is a series of light-sensitive sound cards.

Each card reacts to variations in light, transforming brightness and shadow into shifting sound.

Every card includes a built-in speaker, and can also be connected to external speakers via an audio jack.

The audio output provides SP+ (tip) and SP– (ring) signals.

At present, there are seven types of Solar Sound Cards — each with its own character, circuitry, and way of playing.

More info: https://sonic-seed.com/products/solar..."

Synthesizing with Moog | Lesson 1: Listening

video upload by Moog Music

Synthesizing with Moog

"'Synthesizing with Moog' invites you on an enlightening journey that answers a complex question: how exactly do synthesizers work? https://inmusic.to/bdhnff3m

In this first episode we go back into twentieth century history to understand the origins of electronic music, discussing concepts like modular design and voltage control to learn how they combined to make the synthesizer instrument we know and love today. We then pose some questions to try and understand how listening works. How is sound created in the air? What does a speaker do and how does a synthesizer control it? How does the ear work? And finally, how do our brains perceive the sound around us? Listening, after all, is the foundation of any musical practice.

Written, hosted, filmed, and produced by our team of electronic musical instrument experts, this new seven-part educational video series makes learning the fundamentals of synthesis accessible, engaging, and inspiring for anyone curious about science, music, and how the two worlds converge. We set out to create a series that brings you as much technical knowledge as it does entertainment and joy as you watch each episode!

We invite you to follow along with us at home with a printable worksheet corresponding to the contents of each weekly episode. https://inmusic.to/bdhnff3m

Creator, writer, and host: Chris Miller
Director and editor: Paul Shaver
Producers: Max Ravitz and Chris Miller
Director of Photography: Paul Shaver
Music: Max Ravitz and Gunnar Haslam
Graphics and Animations: Ryan Ford
Special thanks to Ana Rome
Filmed on location at Schneidersladen Apotheke, Berlin"

Introducing Korg multi/poly native Software Edition

KORG · multi/poly native Demo Sounds

Details follow. Demo available here.

Amazing analog sounds that only digital can provide - now in your DAW.

Inspired by the legendary KORG Mono/Poly, the new KORG multi/poly analog modeling synthesizer delivers breathtaking analog sounds combined with extraordinary digital power and flexibility. It's already garnering acclaim as one of the best synths of the year.

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Introducing the KORG multi/poly Synthesizer

video upload by Korg

Priced at $899.99 USD. Check with dealers on the right for availability.

"The KORG multi/poly synthesizer, inspired by the legendary Mono/Poly, blends the rich, classic warmth of analog sound with cutting-edge digital flexibility. Powered by KORG's next-generation analog modeling technology, it offers a unique mix-and-match multi-synthesis approach, allowing you to combine parameters from classic analog synths like oscillators, filters, envelopes, and portamentos, providing endless creative possibilities for sound designers and musicians alike.

Its Virtual Voice Cards recreate the nuanced characteristics of analog synths, such as Pitch Drift, while advanced modulation options like Layer Rotate (round-robin with Programs), Kaoss Physics (pad gestures for modulation), and Motion Sequencing 2.0 (complex per-voice motion with multi-lanes) enable deep, immersive sound design. Building on the legacy of the Mono/Poly, the multi/poly delivers big, dynamic sounds with modular-derived experimental features, offering an unmatched sound experience that bridges the best of vintage and modern synthesis, pushing the boundaries of sonic exploration.

Music track featured in this video was created using the multi/poly by Natalie Chami aka TALsounds www.talsounds.com"

KORG MULTIPOLY Review // vs modwave & more // 70 presets // multi/poly tutorial

video upload by loopop





Details follow.
(click the pics for full size shots).

"Amazing analog sounds that only digital can provide

Inspired by the legendary KORG Mono/Poly, the new KORG multi/poly analog modeling synthesizer delivers breathtaking analog sounds combined with extraordinary digital power and flexibility.

The original Mono/Poly boasted an unusually rich sound from its four stacked oscillators, as well as unique, experimental features like flexible x-mod and sync routing and round-robin oscillator triggering. Previously only attainable in large modular systems, the Mono/Poly delivered these features in a compact, user-friendly instrument.

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Getting experimental with Ear Modular Hadouken, Trot & Boxing

video upload by Signal Sounds

"The Unperson is back on the channel to explore three cool and affordable new units all the way from the underground modular scene in Beijing. Between them, Ear Modular's devices cover noise/random/S&H (Hadouken); unique, pingable filtering (Trot); and switching/logic-based fun (Boxing).

They're available here:
https://www.signalsounds.com/ear-modu..."

Meng Qi Wing Pinger + Eventide H90 // Shadows and Lights

video upload by Dexba

"The Wing Pinger is not easy to process: it sports two outputs which are... double mono?
Not really, and I will show you why soon in the upcoming tutorial (long in the making, I know).
But that's also why I decided to keep one pedal, and that pedal is the H90, which allows for extensive customization of the inputs, and it's modular in its own way.
I created this new preset for the Eventide H90, called Noise Glue, which is a combination of a 4-head delay + tape saturation to keep everything cohesive, and I think it complements beautifully the sound echoing war chants and drums on the battlefield, juxtaposed to the few plucks of melodic rain here and there.
It is always very hard to share a recording of the Wing Pinger, because the lengthy drones and ear-massaging FM sounds do not translate well as a format on YouTube or as a recording: it really is an instrument to be touched and felt."

Tunegirl - live at SUPERBOOTH23

video upload by Superbooth Berlin

"Tunegirl's musical journey began in the 70s as a devoted fan of Hard Rock icons like Status Quo and AC/DC. Starting as a guitarist in a school band, she rocked out to her idols' tunes, playing by ear and gaining local recognition.

In the 80s, funk and soul captivated her, leading her to explore DJing in local discos and immersing herself in the grooves of the era. It was during this time that she first encountered synthesizers, drawn in by the sounds of Depeche Mode and Human League.

The 90s brought a love for techno, inspired by artists like Jeff Mills and Richie Hawtin. Despite dabbling in software production, she longed for the tactile experience of hardware instruments.

Rediscovering her passion in 2009, she embraced software production but missed the spontaneity of jam sessions. Returning to hardware, she explored Elektrons, Volcas, and Roland Airas, yet still felt something was missing.

A turning point came when she discovered modular synthesis through a YouTube video. Intrigued, she embarked on a journey of discovery, diving into Eurorack with determination.

Despite the challenges, her dedication paid off, and she found her ideal instrument in the Eurorack system, unlocking a newfound freedom of expression and creativity. Tunegirl's journey is a testament to the transformative power of music and the endless possibilities of artistic exploration.

https://www.instagram.com/the_tunegir..."

Moog Mavis, Prophet 5, AJH Synth large Eurorack modular synth Performance

video upload by DreamsOfWires

"Performance using Eurorack and Sequential Prophet 5. The modular consists mostly of AJH Synth modules (list below), a Doepfer Mini Synthesizer Voice and a Moog Mavis.
This is a slightly simplified section of something I've been recording for Bandcamp. A reflection of the present with an ear to the past. It'll be released on Bandcamp soon if I'm satisfied with it once it's finished, no promises.
I wanted to build a piece around a simple, analogue, un-quantised sequencer. The manual scaling and slowing of the sequence was inspired by Tangerine Dream's 'Phaedra', which begins rather chaotically, before the sequence morphs and slows to become more melodic. A fascinating piece of music and synth tweaking from the early 70's.
The ambient drone sounds and polyphonic Prophet presets (which I also created) are more inspired by the movie and television soundtracks of the past, if anything, or at least in my imagination of them.
This was entirely recorded within the Eurorack modular system - the mix isn't the best, but I like creating something in this way, set in stone, frozen in time, warts and all, perfectly imperfect.
My music: https://tomorrowthecure.bandcamp.com

Modules used:
Sounds - 2 full AJH Synth MiniMod voices (equivalent of a Minimoog), with 1 using a Sonic XV instead of a Transistor Ladder Filter. Additionally, a Fixed Filter Bank 914, Wave Swarm, Tone Science Triple Cross, Precision Voltages, Ring SM and CV Mix (for scaling the sequence), Dual LFO, 2x Muting Mxer. Doepfer A-111-5 (same voice as a Dark Energy), Moog Mavis, and Music Thing Modular Radio Music (Japanese funeral ceremony sample).
Sequencer - Erica Synths Sequential Switch with CV Expander.
Effects - Happy Nerding FX Aid (master reverb), ALM Busy Circuits MFX (Mavis drone reverb), XAOC Devices Sarajewo analog 'bucket brigade' delay.
Mixing - Cosmotronic Cosmix.
Audio recorder - Expert Sleepers Disting Mk4 (as WAV recorder)."

Paul T Schreiber of Synthtech / MOTM Retires From The Synth Business

View this post on Instagram

A post shared by Paul T Schreiber (@synthesistechnology)

"After 27 years, I have retired from the synthesizer business. I still have a #day_job which will last until Dec 1st. The last set of 16 modules shipped to Patchwerks in Seattle, including the last E520 Hyperions.

Is there a chance someone will buy my IP and continue the product like? I keep hoping. Thanks to everyone who were friends and customers."

---

The man behind MOTM and Synthtech/Synthesis Technology retires. Paul Schrieber was making modular synths in the MOTM 5U format before eurorack took off. He essentiall started his own format, 5U in height like Moog's MU 5U but different. See this old post for a pic of different modular formats. He made his modules available in both DIY and finished form. You all should be familiar with MOTM and Synthech if you are regulars of the site. If not, see the MOTM and Synthech labels for posts over the years.

Since the launch of this version of MATRIXSYNTH back in 2005, there have been a total of 831 MOTM posts, and roughly 367 Synthtech posts, including this one. I say roughly as there was another Synthtech that made the Chroma Cult - Rhodes Chroma MIDI Interface, that shares the Synthtech label I used to get the count. The first post to mention MOTM dates back to This EAR post on July 30, 2005, the second to MOTM Madness - Featuring Yamaha GX1 Filter clone on August 4, 2005. Sadly the mp3 linked there is gone. People let their sites go unfortunately. The first post to mention Synthtech is the Epic Son video by John L Rice from back on August 2, 2011. His designs also made it into non modular synths like this Studio Electronics Omega 8 w/ MOTM CS80 & 440 Filters.

MJ’s Thriller Frog Bass - The Search

video upload by Anthony Marinelli Music

"In this video, Anthony begins a light-hearted search to uncover the mystery of the 'Frog Bass' sound that occurs during the break down section of Michael Jackson’s song - 'Thriller'. He’ll discuss why it was recorded, who played it and what the instrument was. Quincy and Michael were always looking for unusual ear-catching sounds during the making of Thriller. Since Quincy was a world class composer, arranger and orchestrator it made sense that he would want to introduce a new sound later in the song to keep the listener surprised. This bright edgy sound is much like adding a bassoon double to a contra-bass part in traditional orchestral music. It adds more presence to the bass part and makes it pop out of the speakers. Anthony meets with his long time friend Steven Ray (co-host of Michael Jackson’s Thriller Album Stories in the Room podcast) to hear his story about the “Frog Bass”. Steven tells us that Quincy had a Casiotone CT-401 and brought that instrument into the studio along with possibly some other portable Casio keyboards to record the “Frog” preset. Anthony also heard that James Ingram may have suggested the sound or it could have been Rod Temperton that had the idea. We know for sure that it was played by Michael’s keyboardist Greg Phillinganes. Anthony confirmed this with Greg, but he was unsure of the actual keyboard model. The search to find more information about this zany sound will continue on this channel until we have exhausted conversations with everyone that was in the room during the making of Thriller. The lesson here is that interesting sounds are all around us and don’t always require expensive vintage synthesizers or even today’s state-of-the-art plugin instruments. Sometimes what we need is sitting right in front of us. And when we use our imaginations in this way, we may stumble upon something remarkable for decades of listeners to ponder.

In this series Anthony breaks down some of the most icons synthesizer patches that he programmed for Michael Jackson’s Thriller

Anthony's musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including Young Guns, Internal Affairs, The Man From Elysian Fields, 15 Minutes and Planes, Trains & Automobiles, been commissioned by the Los Angeles Philharmonic for his symphonic work "In the Family Way", written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA's premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as Michael Jackson's Thriller.

His extensive work as a young arranger, orchestrator and performer for Quincy Jones, Jack Nitzsche, Lamont Dozier, Arthur Rubenstein and Giorgio Moroder was vital in launching his own career. His early years pioneering modular analog synthesizers along with his wide-ranging music scholarship positioned Anthony at the center of the music technology revolution. He attended the University of Southern California School of Music as a piano and composition major.

Instagram: https://instagram.com/anthonymarinell...

Website: www.anthonymarinelli.com"

ST Modular - NATURAL STATE (Dual Ducking Enveloped Filter)

video upload by Stefan Tretau

00:00 CV Decay and Internal CTRL LFO
00:57 Right Channel Ducking #1
01:21 Force, Open, Peak & Decay
02:25 Right Channel Ducking #2
03:22 Internal LFO

via ST Modular

NATURAL STATE

16HP Dual Enveloped Ducking Filter Natural State consists of two 24b filters with a CV decay envelope and an internal LFO. It is designed to filter two waveforms in the most

ear-friendly way possible to create natural and organic sounding grooves and soundscapes. Each of the two channels has a DECAY slider that adjusts the decay length, an OPEN slider that adjusts the filter cutoff, and a FORCE slider

that adjusts the amount of decay CV that affects the filter. The STRIKE input takes any CV from + 1 volt and triggers the decay envelope. Both the decay and the filter cutoff can be controlled via the CV inputs DECAY and CTRL. Attenuators can be used to change the strength

of the applied CV. The decay attenuator also acts as a DECAY CV offset. A subtle internal LFO can be routed to the filter cutoff, which is attenuated with the CTRL controls. The LFO range is rather slow to create

smooth filter sweeps.

The resonance of the individual filters can be changed with the PEAK potentiometers. When the DUCK control is turned to the right, the decay of the left channel increasingly suppresses the signal of the right channel, creating

a ducking effect.

Both decay envelopes are also routed to the ENV sockets for further external processing.

'Classic Flute' - How to create a more realistic all-analog patch than Classic vintage preset synths

video upload by AJH Synth Official

"A more realistic flute patch than you'll find on classic vintage synths, showing how it's possible to attain a more convincing recreation of an acoustic sound with modular synths, and without the need for samples or digital modules. A truly realistic flute is too much of a tall order - a greater amount of modules, and a more complex controller, would no doubt get you nearer, but here is a more modest way of achieving a reasonable, and nice-sounding impersonation.
Some of the early self-contained synths of the 1970's tried to make useable impersonations of 'real', acoustic or familiar instruments using easily-selectable presets with a very simple voice architecture. Some sounded better than others, but whilst they were often sonically appealing in their own right, they were seldom anywhere near realistic. Among the more famous were the ARP Pro Soloist, Roland SH1000/SH2000, and the Korg 700/700S - all of which very characterful and unique instruments, with their own strengths, and much loved to this day. This patch is a nod to those classic synths, but also exploring what is possible now with modest amount of purely analogue Eurorack modules.
Patch sheet with notes below.

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.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

Video by @DreamsOfWires

Patch Sheet: https://kvisit.com/8AE/kYAH
NOTES
_______
Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. Multiple cables may branch from one output to different destinations, so here a multiple should be used.
This patch needs a lot of fine-tuning, so precise pot positions cannot possibly be illustrated, but this should serve as a starting point, from where further experimentation should be applied. The video tries to explain what is happening with the core modules, which should make it easier to understand what needs fine-tuning.
KEYBOARD: Here the controller's MOD output is used to send Aftertouch, but alternatively Velocity, or direct control from the MOD wheel/strip could be sent to the Dual LFO's CV input instead, depending on your controller and personal preference. In the video I also used the Glide module as 'slew' to soften the harsh changes in aftertouch CV from this particular controller, which may not be needed on others.
TAP TEMPO LFO: Because the base tempo is selectable by tap, the rate of the LFO will have to be set by ear.
VCO: If you don't wish to use the envelope to affect PWM, then PWM SHAPE will need to be set just below -1 - the envelope makes a subtle difference here, changing the shape of the VCO's sound slightly.
NEXT PHASE: This is optional, as the noise is heard subtly in this patch, and only becomes more apparent when the AUDIO MIX of the Gemini is in favour of VCF1 (noise) rather than VCF2 (VCO), but to my ears it makes the sound of the noise more similar (see video description).
GEMINI 2412: I'm using the 'high resonance' setting on VCF1. which is set by the rear jumper, or optionally using the Gain Switch (see User Guide video or manual on the website. Without it the resonance will need to be set to maximum, but still might not be quite enough.
Modules used from top-left to bottom-right: Glide + Noise, Vintage Transistor Core VCO, Contour Generators, V-Scale, Tap Tempo VC-LFO, Next Phase, Gemini 2412, Discrete Cascaded VCA.

#eurorack #synth #modular"

"Piano Phase" - Steve Reich (1967) - modular synthesizer arrangement

video upload by glkibler

"My modular interpretation of Steve Reich's 1967 landmark piece, originally composed for piano and tape machine. I've shortened the typical 15 minute duration with a version that is about a third as long by speeding up the phase a bit.

The 5U modulars I'm using here are two prototypes I hand-built in 2014 using mainly Yves Usson's (Yusynth) circuit designs - ones, I might add, that I painstakingly transcribed from his original printed circuit designs to my own veroboard layouts. These were originally housed in cheap Ikea bookshelves but last year I broke down and bought two very nice-looking Synthesizers.com cabinets, though I retained my own power supplies. The two 960 sequencers above are simply Behringer 960s I had re-housed inside full-size matching Synthesizers.com panels and cabinets.

I am using Ableton to supply the midi that shifts the phase and it is what is driving the two modulars. Each modular has its own built-in sequencer though and while I have done a version of this piece using those, the results are too variable since I'm basically setting the speed of the two by ear.

The MIDI visual that shows intermittently here is some freeware called MAMPlayer (Music Animation Machine MIDI Player)."

Patchwerks Showroom Sessions: Jon Scheid and ybot

video upload by Patchwerks

"Patchwerks Showroom session featuring Jon Scheid and ybot.

Jon Scheid is a Portland/Seattle based experimental artist. Their music combines all sorts of unique textures that will take you on an ear candy filled atmospheric journey.

https://www.instagram.com/j.s_cheid/

Ybot is an electronic dance musician from Seattle. Utilizing Elektron boxes, vocoders, and modular synths, ybot composes a range of various styles from house to dub techno. Ybot is here to make you dance.

https://ybotmusic.bandcamp.com/

https://patchwerks.com/
Video by: Matthew Piecora ( EZBOT), Steven Ly (Project 32)
https://www.ezbot.live"

Buchla 200R 5 Row Modular System

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

via this auction

"Buchla 200R customized 5 row modular system Including original Buchla 297 module, As well as the below listed Eardrill, Sputnik, Verbos and Roman f built modules in a JRB Folding studio cabinet with plenty of patch cables and output cables. This system has been fully tested every patch point recently by a third party and given a very good clean bill of health.

Top row
**Verbos model 258v dual oscillator
**Source of uncertainty model 266 roman f
**Triple envelope model 230
**Dual voltage controlled filter model 291
**Dual voltage processor model 257
**Frequency shifter model 285

Row 2
**Orig buchla Infinite phase shifter 297 model 200.1
**Mixer preamp model 207
**Quad function generator model 281
**Quad lopass gate model 292c
**Quad function generator model 281
**Quad lopass gate model 292c

Row 3
**Programmable specteral processor model 296 (romanf)
**Programmable complex waveform generator model 259
**Harmonic oscillator model 262v

Row 4
**Ear drill pendulum ratchet model 077
**Sequential voltage source model 246

Bottom row
**Verbos Quantize shift register model 263v
**Sequential voltage source model 245r
**Touch controlled voltage source model 216

CLICK FOR MORE »

the mighty M.F. / 130 patches for Arturia Microfreak (vid 2)

video upload by Jexus (sounds-for-synths.com)

"My thoughts on the synth & how to buy: https://sounds-for-synths.com/arturia...

No talking demo. All patches custom-made by Jexus. As you all know the Microfreak is monoaural and has no onboard FX. It sounds slightly different and more “stereo” in my demo because some of the sounds have been EQ-ed, and many of the sounds have a chorus and / or stereo delay & reverb applied (but nothing that would dramatically alter the original timbre of the synth like phasers, flangers, pitch shifters, etc). The wet / dry ratio is usually 20:80 (or 20% mix in other words), reaching 50:50 in a few patches (I used the simplest presets on a Lexicon MX). I wanted to make the sounds nice for the ear but I also wanted show the true sound of this synth without too much embellishment or experimentation.

Here's a short FX dry/wet comparison to give you an idea what the patches sound like without FX:"

Jexus WC Olo Garb · My Microfreak FX dry / wet comparison

CLICK FOR MORE »

Buchla 200R 5 Row Modular System

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

via this auction

"Buchla 200R customized 5 row modular system Including original Buchla 297 module, As well as the listed Eardrill, Sputnik, Verbos and Roman f built modules in a JRB Folding studio cabinet with plenty of patch cables and output cables. Below is the list of modules from top to bottom left to right. All modules have been priced out from 3-5 years ago prices and rarely pop up for sale.

Top row
**Verbos model 258v dual oscillator
**Source of uncertainty model 266 roman f
**Triple envelope model 230
**Dual voltage controlled filter model 291
**Dual voltage processor model 257
**Frequency shifter model 285

Row 2
**Orig buchla Infinite phase shifter 297 model 200.1
**Mixer preamp model 207
**Quad function generator model 281
**Quad lopass gate model 292c
**Quad function generator model 281
**Quad lopass gate model 292c

Row 3
**Programmable specteral processor model 296 (romanf)
**Programmable complex waveform generator model 259
**Harmonic oscillator model 262v

Row 4
**Ear drill pendulum ratchet model 077
**Sequential voltage source model 246

Bottom row
**Verbos Quantize shift register model 263v
**Sequential voltage source model 245r
**Touch controlled voltage source model 216"

CLICK FOR MORE »