Synthetic Sound Labs has just released its new 1 MU width 1015 Lowpass Gate module.
The SSL 1015 Lowpass Gate is a modern "Vactrol" VCA / VCF module inspired by Don Buchla's original 292C. Depending on the selected mode, a lowpass gate can act as a VCA, 2-pole lowpass filter, or VCA/VCF combination which is well known for creating organic plucky sounds. When in filter mode, the 1015 adds a unique resonance feedback which allows a variety of controlled percussive sounds and wild oscillations.
Previous lowpass gate designs used cadmium-sulfide photocells (CdS) which are currently banned in the EU and possibly several other nations. The SSL 1015 may be one of the first to utilize a Vactrol design that replaces the CdS photocells with a newer technology - helping protect our environment and is therefore welcomed Worldwide.
An option for the CdS version is available at additional charge by direct factory request for USA based shipments only.
SSL uses quality fiberglass-epoxy printed circuit boards, precision automated robotics and meticulous hand-crafted assembly assure years of trouble-free service.
Synthetic Sound Labs has been in the analog synthesizer business since 1973. The 1015 is yet another in SSL’s growing line of new synthesizer modules. Proudly made in the USA.
Pricing is $275 US - available directly from SSL and through distributors worldwide.
"M0SS-101 is a virtual analog monosynth built for a pure, hands-on subtractive synthesis, packed into a compact, rugged guitar pedal enclosure.
With 26 buttons and a single encoder, M0SS-101 gives you intuitive access to a deep 42-parameter virtual analog synthesis engine. Press a button to select a parameter, turn the encoder to modify it, and monitor your signal flow via the LED system.
Using a MIDI controller, you can map any parameter via simple MIDI learn, making it easy to integrate into your setup. Up to 17 presets can be saved and recalled for quick access to your favourite sounds.
The 26 RGB LEDs use colour and brightness to represent signal flow, modulation paths, settings and selections. A separate row of 11 LEDs at the bottom gives you instant visual feedback on the currently selected parameter.
I aim to offer an affordable, compact, and versatile instrument, without sacrificing features, ergonomics, or most importantly, fun. I hope you'll enjoy playing this synth as much as I have :'-)"
"We are happy to announce here (first) that Synthesizers.com will be joining our portfolio of synthCube brands here just outside of Boston. We spent the weekend packing all of the assets, inventory, demo units etc into trucks and will be taking the next few weeks to get everything set up again in our shop.
We owe much gratitude to Roger Arrick for the initial effort to design and start the company in the first place, to James Allen and others who took on Dotcom when Roger passed it along to them, and to the most recent owners for their stewardship of Dotcom in the interim.
If you're a designer / maker of dotcom/MU 5U modules, we hope that this helps re-energize interest in your products too... frankly, the more options that customers have, the better for those customers and for the format itself. Part of how we will measure success is NOT by how many makers we put out of business, rather it will be how many makers will now grow faster, and how many new makers might come in and create more dotcom/MU 5U innovations?
We'll post more details about future plans here and in other channels when we have some time, and we look forward to hearing your feedback, ideas, and suggestions on how best to inspire and support the current generations of Dotcom users and how to improve the products and solutions for the next generation as well. We know Dotcom/5U won't ever be as popular as Eurorack, and that's OK; BUT we are equally confident that there will always be a place for high quality, large format, serious synth instruments and modules and 5U will be around for the long haul. How does that saying go? 'We liked the product so much we bought the company.'
"Here we have the 3 new Nekyia Circuits Eurorack modules - Occult, Ouija and Wand. We'll focus on the star of the show here, the TZFM, sub octave generating, Ian Fritz double pulser wave shaping and external crossfading oscillator OCCULT! However we use Wand to crossfade at audio rates into new tones and Ouija for some musical ring mod too.
It's been a pleasure to check out the existing modules and to use those alongside the new ones here. As always the focus is to provide ideas and techniques while demonstrating how things work. So I hope you can take some of the patches to try out.
Info, manuals etc // https://nekyiacircuits.com"
*TIMING INDEX // CHAPTERS*
00:00 Hello & patch previews
01:31 Occult feature run down
04:09 Wand & Ouija feature run down
05:35 Pulser harmonic shaping - big drones ahoy!
08:41 Aggressive Pulser harmonics
11:21 Expand your VCOs with OUIJA
14:48 Stereo PWM sub mega stacks
16:59 Crossfade your way to HUGE waveforms with Wand
20:35 Occult LFOs - sub audio modulated modulation
22:35 Diving into the CLANG! Exploring TZFM
24:56 Animated sub octave feedback TZFM
27:59 Soft sync & TZM - musical alternative tones
31:55 Occult Shaping - harmonics & fade
36:21 Creatively embed ambience in your oscillator
39:15 For the ULTRA SYNTH NERDS - Occult + Ouija F**K YEAH
Occult is an analogue TZFM Triangle-core VCO/LFO with a wide frequency range and unique waveshaping capabilities! It features nine simultaneously available wave outputs: Sine, Triangle, Square and Pulse, a PWM Saw, Sub -1 and Sub -2, plus the outputs of Shaper and an interesting Pulser waveshaper circuit. Pulser is a waveshaper based on the “double pulser” circuit by Ian Fritz, able to produce exotic, rich sounding waveforms. The Shaper section adds a crossfader which can mix between the normalized Sine wave or any other external input and the Pulser or the also includes a TZFM input with an attenuator control, capable of producing more musical and complex FM tones than for every parameter as well as FM options make Occult a very versatile oscillator for sonic exploration!
"4/27/25 RYK 185 + Roland System 100m & SPH 323 Phase Shifter + Peavey 1300 + Ace Tone MP-4 + Alesis MIDIVERB II
I was going for Burzum low fidelity with the Peavey 1300 overloading and the Ace Tone MP-4 spring reverb feedbacking. Anyways, ALM Pamela’s New Workout clocks the right RYK Modular 185, which gates one of the Roland 140 envelopes and the left RYK 185, which gates the other envelope. Each 185 modulates the pitch of one Roland 110 VCO and VCF, while the VCFs are also modulated by LFOs from the 140 and 150 modules. The 140 envelopes control the two 110 VCAs, which are mixed on a Roland 132 and sent through the Roland SPH-323 Phase Shifter into the Peavey 1300 delay. The Ace Tone MP-4 is patched into itself for feedback as it further distorts the delayed signal and adds spring reverb."
The sequences you hear are from my modular system which includes VCZIII oscillator, filter from Feedback Modules, Behringer System 100m and 2500 modules. Also some Roland System 500 gear. The sequences are mainly from the Korg SQ64 - but I've also used Behringer 960 to do some things, as well as getting the SQ64 to trigger the 182 sequencer - see if you can spot it :)
Vocoder bit was done on the Roland E4. Other strings and sounds were from Streichfett, Pro 800 and Novation Peak. Effects are MXR Flanger or in the Modular system: Strymon Magneto, Intellijel Sealegs, Feedback Modules 106 Chorus."
Doepfer will be showcasing the above new modules at SUPERBOOTH25. Details on each follow. Check with dealers on the right for upcoming availability.
Module A-119-2 is kind of a dual version of module A-119 without envelope follower. Instead two amplifiers are available and the module width is 4 HP only.
The module contains two amplifiers with separately adjustable amplification levels. Each channel is equipped with an overload display. The module can be used also for stereo signals, e.g. the stereo output of a smartphone.
Controls and displays:
Level 1/2: manual control of the amplification in the range 0 - about 45.
Overload 1/2: overload LED, begins to light up for output levels beyond about 10Vpp (+/-5V)
In 1: audio input 1 (monophonic or stereophonic, see technical details)
In 2: audio input 2 (monophonic)
Out 1/2: audio output (monophonic)
Technical details:
for higher amplifications the two amplifiers can be daisy-chained
normalling options: the signal applied to socket In 1 can be normalled to socket In 2 in different ways by means of a jumper on the pc board:
socket In 1 is connected via a mono patch cable (standard patch cable) to a monophonic signal and this signal is normalled to socket In 2 (i.e. the same input signal for both sub-units): jumper on pin header JP2 in upper position
socket In 1 is connected via a 3.5 mm stereo TRS cable to a stereophonic signal and the second channel of the stereo signal is normalled to socket In 2: jumper on pin header JP2 in lower position
no normalling: jumper is removed from pin header JP2
all inputs and outputs are DC coupled. Thus the module can be used also for the amplifications of control voltages.
"The MFX Pedal now includes a new FM-based Akemie’s Poly voice engine as part of the latest Firmware (v116) which also includes an updated mix control curve to be closer to equal power for all engines. Here we demo the built in presets for the new polyphonic synth engine.
The ‘Akemie Poly Voice’ is a polyphonic 2 operator FM voice inspired by our ‘Akemie’ FM modules and plugins. Controls let you define the wave, FM depth, ratio, and feedback, with independent decay envelopes for FM and amplitude as well as an end of chain low pass filter. The 4 voice synth engine is MIDI controlled with the same freely assignable CC and expression control just like the other FX engines.
Updating is easy, connect your MFX Pedal to computer via USB and copy the firmware file across, see manual for full details. Download via https://busycircuits.com/mfx-pedal"
Timestamps:
00:00:00 Instruōduction
00:01:12 dhà overview
00:02:04 Expansion (back jacks)
00:03:08 What is normal?
00:04:18 What's in this video:
00:05:06 What's in the patch
00:05:31 dhà-dhà-càrn-dhà-càrn
00:06:13 Foundation Bass (stereo)
00:07:49 A kick in the Bass
00:08:42 Sidechain ducking
00:11:19 Effects looping
00:12:57 Effects looping
00:13:20 Feedback bypass
00:13:34 Feedback bypass (confusion)
00:13:36 Feedback bypass
00:13:59 Octave Delay
00:14:44 Octave Delay - analogue feedback
00:16:17 Parallel feedback
00:17:14 Mix control with normals
00:18:20 Stereo VCA
00:20:47 harmonàig harmony
00:22:31 Parallel stereo effects return
00:23:58 Outstruō
"We would like to introduce a new module to the range! dhà
The dhà is a compact yet powerful stereo mixer module designed for seamless integration into Eurorack systems of any size. It features two stereo input channels, with the top channel including a built-in stereo VCA for expressive amplitude modulation and precise audio-tapered level control, all with a small footprint.
dhà also includes rear stereo I/O jacks, making it easy to expand your set up by connecting with other Instruō stereo mixing modules like càrn, cuïr and additional dhà units. Whether used independently or as part of a larger system, dhà delivers clean stereo mixing, flexible routing, and effortless expandability.
. Stereo two channel mixer
. Stereo two-quadrant VCA
. Audio-tapered level potentiometers
. Back jack connectivity expansion to dhà, càrn, and cuīr"
"Another quick patch showing off Ana's many capabilities. This patch shows how to use Ana to turn a single modulation source into multiple modulation signals and control your entire patch with the turn of a knob. Ana is incredible for feedback patching and unlocking the full potential of modules that provide their own modulation signals for self-patching.
This is a much longer demo because I have been having a lot of fun with this module combo as I have been beta testing the Entropic Loops Grackle, an innovative phase modulation oscillator from a new company that is a collaboration of Naomi from Omi Industries and genius programmer Eris. If you would like to know more about this module there will be some information posted to their website soon:
https://entropicloop.com/
For more information about Ana and to order go to our website below:
"Here we have the TREPANATOR from ZLOB, which is an experimental "bent by design" synth voice. It's inspired by Rob Hordijk's Benjolin and ZLOB remaking similar ideas with their own modules and circuits. There's two oscillators, a multimode filter, many feedback points, oscillating 3 band EQ and more in this highly interactive and wide ranging abstract voice and instrument.
Like the Benjolin that inspires it, the Trepanator excels and abstract, organic and interactive self influencing textures, sounds and rhythmic ever evolving loops. In this video there's mud burping, swamps in space caves, aquatic bubbles, harsh noise, unique techno percussion and FX and plenty more.
"The Trepanator is a 14hp analog “Bent by Design” experimental instrument featuring a Dual VCO, Difference Rectifier, 3-band EQ, Sample/Track and Hold, and SVF(state variable filter) all built into one nonlinear module. Its origins trace back to a love for Rob Hordijk’s Benjolin and patching a similar pseudo chaotic feedback-based instrument from scratch using all Zlob modules.
Although not based on Hordijk’s circuit or signal flow, it uses a similar architecture of dual voltage controlled oscillators, an “interference pattern generator,” a state variable filter, and internalized cross-patched feedback. Instead of a Rungler and comparator the Trepanator uses a sample/track and hold with slew, a difference/rectifier circuit(based on NLC), and a self-oscillating 3-band EQ. Utilizing this excessive feedback between the VCO’s, EQ, S/H, and SVF, creates a completely new instrument for discovering abstract electronic sounds. The Trepanator is a highly interactive, unpredictable, and an immediate instrument capable of a huge range of organic and sounds from: snarling, plucking, bubbling, screaming, gurgling, hissing, grunting, pinging, and quacking, to machine like rhythmic loops, circuit bent broken modem sounds, no-input mixer screeching, intermittent short wave radio fizzling, and full on Harsh Noise Wall all within the touch of a fader or a small knob turn without any external audio or any control voltage in."
"Don’t have a real Buchla 200 (cloned) and Yamaha DX5 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 DX5 is being triggered and pitched from the Buchla 200 modules (mostly a 280 in cycle mode and 262 Source of Uncertainty, plus some MARF) using a Kenton CV to MIDI Converter. The DX5 is programmed to make a percussive drum-like sound using six operators. The DX5 audio signal then goes back into Buchla modules - mainly the 277 and 288 Delays, which are being fed back on themselves to create the bowed-string-like sounds. The Dodeca module provides mixing, random panning and reverb. The SOU sends random voltages to the 280 so it cycles irregularly. The whole patch has a cybersynthetic nature because it is always on the edge of going chaotic with the feedback to the delays, but it keeps itself under control by injecting new DX5 sounds into the path just in time to settle it back down before it happens again"
"Meet the lovely Samarkanda - a monster of a delay with unlimited potential
Xaoc Devices Samarkanda is a digital quad delay module with extensive patching capabilities and a lot of flexibility for signal mangling. It can be used as four entirely independent delays, a dual stereo delay, a complex/multi-tap or multi-channel delay, a quad/polyphonic resonator, a dual chorus, a dual flanger reverb, a looper (with sound on sound!), and a granulator, or any combination of those. You can reverse the delayed signal, hold it, squeeze and stretch it beyond all recognition and still go back to the original piece of audio captured in the buffer! The internal lossless normalization (the signal doesn't leave the digital domain) combined with top-notch components (including 24-bit AKM converters and 32-bit internal processing) are responsible for high sound quality. Samarkanda has been conceived in the truly modular spirit. Not only can you control almost all its features remotely with CV/gates, but the external feedback path gives you the opportunity to process the delayed signal with other modules.
Samarkanda offers a wide range of delay times beginning at a mere 0.5ms and reaching up to 15 seconds per channel. That means that, by stacking its four channels, you can achieve up to one minute delay! There are two operating modes switchable individually for each channel. Analog delivers pitch changes that resemble classic analog tape and BBD delays. When you combine it with the looping Hold function, you can play Samarkanda with any 1v/octave CV source - using the Sync function you can even loop single wave cycles. The Digital mode gives you a granular buffer-scrubbing effect (no pitch change) across the whole delay time range. You can seamlessly switch back and forth between modes without losing any information. You can use Samarkanda for multiple tasks at the same time - from four independent delay lines through any combination of channels processing the same signal up to a quad behemoth. You can also use the linking feature for ease of operation (the first channel in the chain acts as the main control source for the others).
As most settings operate on a per-channel basis, you can freely combine different features (such as analog/digital behaviour, delay time range, reverse and hold functions, etc.) in a configuration of your choosing. You can synchronize each of its channels separately to a different source, either via the Sync input, or by using the tap-tempo functionality (with multiplication and division galore). Should you ever get lost, the Purge button comes in handy when/if things start to spiral out of control!
Notable features:
Quadruple resampling delay
Lossless chaining of sections
Delay range of 0.5ms to 15 seconds per channel for a total of 60 seconds when stacked
Analog (tape-like) and digital (granular) sweep behaviours
Continuous, synced, and tap-tempo operation
Clock division and multiplication from 1:8 to 8:1
Buffer freezing and 1V/oct loop playback control
Reverse delay effect
Multiple options for coupling channels
Batverb is the stereo reverb that dreams are made of: less of a room simulator and more of a tail generating pedal, Batverb is an instrument in its own right.
Taking inspiration from our popular tail-generating modules, Batverb brings reverberation and delay to a whole new level with extensive control of timbre, echoes, and dynamics.
Start by setting a predelay time and adjusting Regen to set the length of the tail, from a short slapback-style echo to an infinite wall of reverberation. A variety of unique controls make Batverb sing in any signal chain:
Doom adds in chaotic suboctaves, and Shimmer brings in haunting overtones. With each on its own control, go wild and have both at the same time!
Low and high damping settings for the reverb tank
Add filtering and harmonics to reverb tails
Built-in saturation can apply to only the wet signal or the whole output Includes onboard dry/wet Blend control and input- and output-gain parameters
Unique Duck switch controls the reverb’s behavior: duck out of the way of an input signal, or match the dynamics of your playing, similar to a gated reverb
Create instant atmospheres with reverb-freezing Hold footswitch Route the expression input can to any parameter on the pedal
Store and recall 16 different presets and recall them in response to MIDI program-change messages.
Exploring and sharing engaging ideas in sound, music, and synthesis • Eurorack, 5U • Guitar Pedals • VST, AU, AAX plugins • Reason Rack Extensions"
Press release follows:
Noise Engineering announces Batverb, an experimental reverb, delay, and infinite-tail generator
Los Angeles, CA — Noise Engineering, known for their expansive selection of synthesizer effects and sound sources, announces Batverb, a distinctive stereo reverb with a twist.
Noise Engineering’s take on reverb has always been innovative, creating effects that are as much instruments as they are processors. Batverb is no exception: parameters allow the resulting effects to morph organically from slapback delays to infinite reverb tails.
“Batverb was inspired by our Desmodus Versio module, but when we tried to bring the Desmodus experience to guitar, we realized quickly that we would need to rethink the approach. Batverb shares concepts with Desmodus but shares zero code: the entire thing was redesigned from the ground up, with the dynamics and tonality of guitar at the forefront,” said Stephen McCaul, Chief Noisemaker at Noise Engineering. Kris Kaiser who is the Doer of Many Things at the small company added, “Working with guitar was key, but what sounds great on guitar also works really well for loads of other instruments.” Indeed, Batverb’s stereo I/O and MIDI integration make it a perfect choice for a multitude of instruments.
Kaiser continued, “I like to say Batverb isn’t your father’s reverb because it has such unique features.” She’s not wrong. Along with predelay/delay Time and Regen controls, Batverb includes a number of parameters for shaping the tone of the reverb itself. The Grit switch adds a unique harmonic distortion to the tail or the whole mix, and the Doom and Shimmer controls add in subharmonics and overtones. Batverb also has onboard adjustable highpass and lowpass filters to shape the tone to taste.
Batverb’s configurable Bypass footswitch can cut the reverb tail immediately, or simply mute the input to the reverb processor, allowing the tail to ring out while you play. The Infinite footswitch mutes the input to the reverb tank while maximizing the feedback for an infinite atmosphere.
The innovative Duck switch uses the dynamics of your playing to shape the reverb tail. Use the right setting to duck the reverb out of the way of your guitar’s tone, or the left setting to make the reverb’s dynamics match your guitar’s.
Batverb also stores/recalls up to 16 presets with MIDI Program Change messages. Batverb features a convenient MIDI thru jack, so it’s easy to patch into your MIDI control chain. In addition, all parameters can also be controlled via MIDI for automation and remote control from a DAW or configurable controllers.
Noise Engineering is a member of 1% for the Planet and has been donating a percentage of all sales to environmental conservation. Proceeds from Batverb will benefit the organization Bat Conservation International.
Batverb is available for preorder with MSRP of $499. It starts shipping March 13 from noiseengineering.us and retailers worldwide.
Batverb was designed and built in sunny Southern California.
"The Slosines by CMS Lab is a collaboration project with Feedback Modules. It's an LFO with 4 independent sine waves. Each offering a normal and inverted output with a rate control from 32 seconds up to 4 Hz.
This video is in the mailbag format - unboxing, and first look. Enjoy!"
Sisyphus is organized around a granular engine and a palette of eight original filters. Its granular system allows several grains to coexist in a single stereo sound stream that combine with each other.
This filter is based on a global granular design of the sound: it is not a granular engine followed by a filter but a real integration of filtering in the process of establishing the grain. Each grain generated carries the filtering characteristics defined by the musician and will be combined with the other grains according to evolving and configurable patterns.
The filters have been the subject of a completely specific development and are not from the usual libraries: they will therefore have a specific color that we let you explore!
Filters → Lowpass Attenuates high frequencies beyond the cutoff frequency. Filter at 12 dB/octave.
→ Highpass Attenuates low frequencies below the cutoff frequency. Filters at 12 dB/octave.
→ Bandpass Let a band of frequencies around the cutoff frequency pass. Filters at 12 dB/octave.
→ Notch Widens around the cutoff frequency and lets the rest pass.
→ Peak Boosts the band around the cutoff frequency, while letting the rest of the spectrum pass without cutting it drastically.
→ Comb Creates a series of cancellations and resonances, based on an internal delay and feedback.
"The Buchla & Tiptop Audio Programmable Pulser - Model 242t is an essential module for creating rhythmically intricate patches in Eurorack 200t systems.
This video showcases how the 242t interacts with other 200t modules, driving a unique patch that triggers and controls a feedback loop system.
You can see this historical collection of Buchla 200 series reissues, including the new 242t, the Programmable Pulser module, here: https://tiptopaudio.com/buchla/
Patch Overview of 'Triggering Feedback Loops':
The 242t sends pulses to a network of modules to generate sequences and modulations:
242t: Sends pulses to the 245t, 266t, and 281t for creating CV sequences and dynamic modulations.
259t: Serves as the primary VCO, delivering the audio foundation.
292t: Shapes the audio signal from the 259t.
Feedback System Details:
Tiptop ZDSP: Processes the 259t’s audio output (filtered by the 292t). Its outputs feed the 296t and 285t, which send their processed signals back into the ZDSP’s feedback inputs, creating a controlled loop.
296t: Operates also as an envelope follower, analyzing the ZDSP’s output and generating CV. The CV is sent to MISO, where it is inverted and routed back to modulate the ZDSP’s feedback inputs, acting as a limiter to prevent saturation."
Check out the other parts:
Part 1 - Lazer Phazer : link TBA
Part 2 - this video
Part 3 - JP8 VCF : link TBA
Part 4 - Slowsines : link TBA
Part 5 - +/- 18dB : link TBA
Part 6 - Touch & Touchable : link TBA\
