This is an 8-10hp Voltage Starved Compressor module with additional side chain and EQ.
Thank you to Modular 4 the Masses for providing the module for this video."
00:00 - Intro
00:45 - Demo with Kick only
06:58 - Full Drums
09:14 - Plucky Voice
12:00 - Full Mix
HungryThumb is a Eurorack adaptation of a compressor named Engineer's Thumb, typically built as a guitar effect pedal. Juanito built an Engineer's Thumb early in the tin can synth journey, naively replicating the 9V core of the circuit, and then didn't really know what to do with it.
Until they put an 808 kick drum through it. As a kick drum processor, this compressor shines brightly, especially when the Starve settings reduces the core circuitry voltage to 9V and lower. You can get even the purest 808-style kick drum signal, which will be mostly a sine wave, to crunch, clip, gate, fizz and fold. Do you need hardstyle kicks in your modular? This can get you there.
The Engineer's Thumb this circuit is based on uses an LM13700 OTA chip as the adjustable gain portion. These chips are a bit noisy, so an innovation of Engineer's Thumb was to put the gain section in an op amp inverting feedback loop, meaning while the compressor is set to its highest gain, the OTA is set to its lowest gain, and will theoretically be creating less noise. The theory checks out, but I'm not sure how much we Eurorack people care about noise floor.
"This video is all about the Make Noise New Universal Synthesizer System.
What I keep coming back to is this idea of tradeoffs.
This system offers a lot of immediacy. It’s fast, playable, and designed in a way that makes it easy to get interesting results quickly. But at the same time, that design comes with some limitations in flexibility and creative control.
In this video, I wanted to explore that balance.
To me, this doesn’t really feel like a traditional modular system made up of independent modules. It feels more like a single instrument that’s been broken into parts—and that changes the way you approach patching."
single 1U version - https://www.nonlinearcircuits.com/mod..."
"This module is a set of 4 reverse sigmoid chaos circuits, running at different frequencies, there are pots to feed each section into another and influence, sync – sort of, the action. There are also CV inputs for each section which affect the reset or crossover timing, for the faster ones the results are obvious. For the slower ones, give it a few hours.
The reverse sigmoid circuits are similar in concept to the mackey-glass based design used in the NLC Frisson, but are greatly simplified to a bare minimum of parts. Simply an integrator, two all pass filters and a nonlinear stage with two feedback paths. The nice thing about them is you can use any capacitors you like, so long as all three are the same, and the circuit will work with no other mods required. The sections in this module use 1uF, 10uF, 2x 1000uF in series (so 500uF) and 2x 2200uF in series (so 1100uF).
They work quite differently to the Sloth chaos circuits, with a number of ripples or rolls between each attractor, also the three outputs track each other, the faster ones are delayed by a few seconds, the slower ones by minutes. The intent of having 4 different circuits running together with pots to get them to influence each other is to have a module that can create longer tracks with many different but related musical events happening and, of course, weird delayed CV effects. Think of a band where the members all do their own thing but every now and then the sounds and patterns connect and achieve structure, which slowly scatters and reforms in new ways.
Feel free to change the 1uF caps to a higher or lower value, similarly for the 10uF. Stack capacitors on top of each other to get 20uF, or use Tayda 22uF caps and stack them. See pictures on pg6 for info on which caps to change. Make sure the capacitors have at least a 25V rating or higher.
If you want to use larger values than 1000uF and 2200uF, make sure they will fit on the PCB and/or thru the panel holes (1000uF on PCB are 10mm diameter, 2200uF panel holes are 16.8mm)
There are also two difference rectifier circuits which output complex mixes of the individual chaos circuits."
1U REVERSE SIGMOID DESCRIPTION/USAGE
6hp
This module is a reverse sigmoid chaos circuit; it can be built to run as a fast or slow CV source, or even as an audio/noise source. This is a single version of the four chaos circuits in the NLC How’s the Serenity module.
The reverse sigmoid circuits are similar in concept to the mackey-glass based design used in the NLC Frisson, but are greatly simplified to a bare minimum of parts. Simply an integrator, two all pass filters and a nonlinear stage with two feedback paths.
The nice thing about this design is you can use any capacitors you like, so long as all three are the same the circuit will work with no other mods required. The capacitors are marked ‘C’ on the PCB, 1uF is a good mid-range value to install, but 10uF, 22uF are good too albeit much slower. Lower values than 100nF get you into audio rate territory. Make sure the capacitors have at least a 25V rating or higher.
This works quite differently to the Sloth chaos circuits, with a number of ripples or rolls between each attractor, also the three outputs track each other, the faster versions are delayed by a few seconds, the slower ones by minutes.
The Input expects a positive CV, negative going CVs won’t hurt but will have no effect. The CV signal feeds into the first all-pass filter stage via 10k and a diode, this is different to the method used on How’s the Serenity. On slower builds, using 10uF caps, the effect of the CV will be washed out to some extent. It will still have an effect but not as noticeably as on the faster versions.
"Here's another patch on the gorgeous @genkiinstruments Katla synthesizer.
For this keys patch I made use of Katla's voice rotation, with one of 5 voices tuned an octave higher than the rest, resulting in unpredictable pitch jumps in the melody, which I love. I didn't make use of Katla's oscillators for this patch, in stead the sound is coming from the filter with the resonance fully up, which tracks pitch very nicely when tuned with the simple calibration mode of holding down the two filter mode knobs.
I'm a big fan of these singing filter sine waves, which always feel a tiny bit unstable which makes them sound magical. To top it off I'm modulating the panning of the voices, I blended in some of Katla's lovely noise for some warble and I added some of the amazing internal reverb, which reminds me a bit of my Vongon Ultrasheer. I love this sound so much and I've never heard any other synth make it quite like this!
You don't see me playing the keys in the video, but I played this patch for hours, instant inspiration really. This melody is came out of that improvisation.
Thank you for watching!
ps. sine waves generally don't translate all that well on phone/laptop speakers, so speakers/earbuds/headphones advised.
Katla is shipping as of this week, find more info at: https://genki.is/"
"The "pairing series" is back! In this one we explore the Zakal, a spring reverb / feedback device from Colossus Audio. We start by using the Metal Fetishist as a sound source but quickly flip the tables and use it as a sound processor instead, making Rythms with the feedback tones that come through its input from the Zakal.
The background noise you may hear comes from my microphone, not from the instruments. I will be more careful next time.
"Zakal is a resonant audio feedback instrument. It generates feedback using reverb springs, with the feedback signal shaped by a low-pass filter and a delay in the feedback path or simple feedback. Additionally, Zakal can function as a spring reverb effect, offering versatile sonic possibilities.
Zakal contains amplification and recovery circuits designed to generate audio feedback through its reverb springs.
A switch allows you to engage the LPF and Delay within the feedback path, enabling creative control over the frequencies fed back into the spring reverb, shaping unique resonant textures.
When used as a spring reverb effects unit, the POST EQ provides precise shaping of the wet signal, offering enhanced tonal flexibility.
At the end of the chain, a 3-band EQ provides additional shaping of the output, offering precise control over the final sound. When used as a spring reverb effects unit, the EQ enhances the wet signal for even greater tonal versatility.
ZAKAL does not include a power supply. It operates on a standard 9V DC (negative center, 2.1mm barrel plug) compatible with most guitar pedal power supplies. If you do not own one feel free to reach out, and I’ll help you find a suitable option."
"What happens when a synthesizer completely breaks the rules? In this video, we explore the Genki KATLA — a truly unique polysynth inspired by Icelandic volcanoes, featuring a rotating voice architecture, hybrid signal path, and some of the most unpredictable sound design possibilities I’ve come across.
This isn’t your typical analog polysynth. Each of the five voices can run independently with different waveforms, octaves, and modulation — creating evolving textures, harmonic movement, and generative-style sounds that feel closer to modular synthesis than traditional keyboards.
🎛️ What makes the KATLA special? • Rotating voice polyphony (round robin-style synthesis) • Independent per-voice oscillators & tuning • Digital oscillators + analog filter signal path • Looping envelopes reaching audio-rate modulation • Phase distortion, wavefolding & multiple distortion types • Tape-style wow, flutter & pitch instability effects • Stereo voice movement & evolving spatial modulation • External inputs for processing other gear
From lush ambient pads to aggressive, evolving sequences — this synth can go places most instruments simply can’t. It’s not about recreating vintage sounds… it’s about discovering entirely new ones.
💸 At around €5000, this is definitely not a beginner synth — but for sound designers, and anyone looking for something truly different, it well worth a look."
Genki Katla Sound Design: Making sounds from scratch and exploring
video upload by MR TUNA Music
Chapters: 0:00 - Intro 0:16 - Init patch 0:44 - Filter sounds 1:26 - Raising 1 voice 1:43 - Creating a basic pluck sound 2:24 - Aftertouch controls 2:45 - Bring in a little reverb 2:56 - LFO to filter cutoff 3:16 - LFO to reverb mix 3:46 - Keyboard cutoff 4:00 - Osc 3 Square wave 4:23 - Sub oscillator 4:54 - KATLA parameters 5:01 - Rústir wavefolder 6:08 - Rökkur stereospreader 6:37 - Skriða envelope randomizer 7:27 - Aska random modulations 7:57 - Glóð tape stops and flutters 8:35 - Skjálfti ??? 9:14 - Kvika slow tape modulations 9:38 - dark pads 10:20 - Móða voice detuning 11:20 - Katla sounds with aftertouch 13:28 - Thanks for watching
"Hey guys! Very very excited to be presenting the Genki Katla to you all... I am truly in awe of the sound of this very unique and powerful instrument.
I thought the best way to get to know the synth is to start from scratch so in this video we'll go full hands-on with the Genki Katla, exploring (almost) every parameter and building sounds from an initialized patch.
From some raw drone layers and gritty textures to evolving pads, rhythmic sequences, and atmospheric beds, we will see just what this instrument can do, discover new sounds, and maybe make some friends along the way 🙏
If you're into sound design, unique synths, or just love discovering new instruments, this one is for you!
HUGE thanks to Genki for letting me a part of this with them and showing off this super cool synth.
No money was paid, no agreements were made... these are my real thoughts on this very premium synthesizer and I will be sharing lots more."
Press release follows:
Genki Instruments announces availability of Katla as Voice Rotating Polyphonic Synthesizer inspired by its natural namesake
REYKJAVIK, ICELAND: having twice blown European musical minds thanks to show-stealing showcases at SUPERBOOTH25, May 8-10, Berlin, Germany and Machina Bristronica 2025, September 27-28, Bristol, UK, before adventuring across the pond for a repeat performance at Buchla & Friends 2026, January 24-25, LA, CA, USA, Reykjavik-based instrument developer Genki Instruments is proud to announce availability of the eagerly-awaited Katla as a Voice Rotating Polyphonic Synthesizer inspired by Iceland’s largest subglacial volcano as its natural namesake — readily representing the company’s first foray into analogue synthesis, albeit one that uniquely utilises a set of wildcard parameters to infuse it with organic, unpredictable behaviour as an instrument that is worthy of that legacy, excelling at generating rich, evolving, multi-layered textures, where each note stirs, swells, and erupts in its own distinct way — as of March 31…
Clearly Katla’s inspiration runs through its ‘volcanic’ veins. After all, it is framed by side panels and knobs forged from authentic Icelandic lava, giving each instrument a tangible connection to the volcanic forces that inspired it. That this synth should surely roar is a given. Genki Instruments inevitably chose, therefore, to kit Katla out with four independent distortion destinations, the most unruly of which is a stereo CMOS (Complementary Metal Oxide Semiconductor) Drive effect — a characterful saturation stage, pushing tones from warm and rounded to fractured and snarling.
Thephonoloop announces availability of outlines VI, beautifully blending raw acoustic gestures with tape loops and modular-processed tonal experiments
KATOWICE, POLAND: Thephonoloop is proud to announce availability of outlines as its latest NKS (Native Kontrol Standard) ready VI (virtual instrument) for Native Instruments’ Kontakt Player free sample player — beautifully blending raw acoustic gestures with tape loops and modular-processed tonal experiments to spark musical momentum as the sample-based instruments with character-producing Polish two-person team’s approach to a collection of tonal variations designed to be combined and explored, each preset being an outline of a musical idea ready to be expanded and reshaped into something larger — as of March 12…
"Here's our new single Discovering the void, It's made with a DFAM and an Alpha Juno 2"
"Discovering the Void, a new track with a lyric video from Oktavision. In an era of immense activity but weakened meaning, the void should exist as a field of creation, not as a space that must be filled with stimuli."
"Musical exploration of new eurorack filter by Crazy Chicken Modular - SHRIMPY."
Shrimpy is a fully analog multimode voltage-controlled filter with three simultaneous audio outputs: low-pass, band-pass, and high-pass. It was designed with a strong focus on character rather than neutrality.
The resonance is voiced to emphasize midrange frequencies, giving the filter a present, expressive tone that cuts through a mix. At higher settings, it becomes vivid and assertive without collapsing into thinness.
At the heart of Shrimpy lies an unusual distortion chain integrated directly into the filter core. This distortion adds a pleasant crunch, enriching the sound. When pushed further, it can turn glitchy and rustling, introducing rough textures and unstable edges that make the filter feel alive. It should be noted that the distortion sound characteristics will depend on the Shrimpy settings and the input signal, since distortion occurs in the filter core itself, rather than at its input or output.
All parameters are fully voltage-controllable:
Cutoff frequency (with and without attenuator)
Resonance
Distortion amount
This makes Shrimpy a flexible yet opinionated sound processing tool, well suited for experimental patches, aggressive basses, textured leads, drones, and evolving soundscapes."
"Full walkthrough of the Shroud of Turing by FlatSix Modular. In this video I'll walk you through every feature of the module — from the basics of the Turing Machine-inspired shift register to scale quantization, pattern manipulation, and the CV keyboard mode."
Chapters:
00:00 Intro
02:34 Patching Up
03:41 Shift Register Concept
04:04 Random
04:24 Lock
04:44 Slip Mode
05:47 Double Lock
06:25 Sequence Length
07:06 Voltage Range
08:03 Quantization
08:59 Clear Quantization
09:24 Saving Scales
10:25 Loading Scales
11:03 Reset
11:43 Add/Subtract Bits
12:38 Rotate Sequence
13:54 Slight Of Hand Mode
16:38 Outro
➤ What is the Shroud of Turing? The Shroud of Turing is a 1U Eurorack module built on the Nocturne Alchemy Platform. It runs a 16-bit shift register inspired by the Music Thing Modular Turing Machine, with the addition of a built-in scale quantizer you can program directly from the button matrix keyboard. The result is a module that can generate evolving random sequences, lock them into repeating patterns, and output perfectly in-tune musical voltages.
➤ Key Features:
16-bit Turing Machine shift register
Probability knob: 7 o'clock = Double (2x loop), 12 o'clock = Full Random, 5 o'clock = Locked loop
Sequence lengths: 3, 4, 5, 6, 8, 12, or 16 steps
Voltage ranges: 1–4 octaves (0–4V)
User-defined scale quantization (up to 6 saved scale slots)
Pattern reset (Shift + C#) for synchronized performance
CV Keyboard mode for direct note output with portamento
Calibrated 1V/octave output
Format: 1U Intellijel | 26HP | Eurorack
Platform: Nocturne Alchemy (Arduino Nano)
By: FlatSix Modular
The Shroud Awakens | Shroud of Turing Eurorack Performance
video upload by FlatSix Modular
"A live performance showcasing the brand new Shroud of Turing by FlatSix Modular — a 1U Eurorack module that combines concepts from the classic Turing Machine shift register but adds a fully playable musical quantizer with the ability to save and recall user scales on the fly as well as other sequence manipulation abilities.
"In this video, we’re diving into the Waldorf Attack 3 Plugin — Version 3 of that classic Drum Synthesizer PlugIn!"
Attack is back.
And it’s more powerful than ever.
We are proud to unveil Attack 3, the next evolution of one of Waldorf Music’s most iconic and longest-running instruments. A true classic reborn, Attack 3 redefines what a modern percussion synthesizer can be.
At its heart lies a mighty analogue-style synthesis engine, delivering 24 individual sounds per kit, with 12 sounds playable polyphonically as pitched instruments. From punchy kicks to melodic percussion, Attack 3 is built for rhythm that moves both bodies and speakers.
Attack 3 captures the unmistakable spirit of legendary 1980s analogue drum machines and the driving electronic club sound of the 1990s — and propels it boldly into today’s productions. It’s a future-ready instrument designed to shape the drum sounds of the next decade.
Every sound is alive Every parameter can be tweaked in real time and fully automated in your DAW, inviting hands-on exploration and deep expression. While sampling capabilities have been expanded, Attack stays true to its philosophy: pure synthesis first, allowing you to create unique percussion sounds from scratch.
Redesigned for Faster Drum Creation With a completely redesigned, scalable interface and a vastly expanded synthesis engine, Attack 3 proves that after more than 25 years, it remains the go-to tool for producers who want total control over their drums.
The new user interface adapts effortlessly to any screen size, while enhanced MIDI Learn lets you define minimum and maximum parameter ranges for expressive performance. Dedicated browsers for kits, sounds, samples, and MIDI mappings keep inspiration flowing without interruption.
Advanced Sample Playback The oscillator section has been refined for absolute precision, featuring accurate phase control for synthetic waveformsand powerful sample playback options, including user samples, velocity mapping, round-robin playback, and flexible start positions. Whether you want surgical accuracy or organic variation, Attack 3 delivers.
Check with dealers on the right for availability and price. See additional demos here.
"Grab your favorite drink and enjoy this in-depth, knob-by-knob video tutorial of Magnolia, our brand new analog through-zero FM polyphonic synthesizer! Feel free to jump to any section through the timestamps."
00:00:00 Introduction 00:00:44 Programs 00:01:56 Panel Mode 00:02:40 Panel Lock 00:02:56 Initialize a program 00:03:23 Save and compare programs 00:03:55 Lists 00:05:17 Voices
The following is in via Sean Graves, who had the following to say:
"The piece, 'The 'Easel' Spirit in 3U: Rebuilding a Buchla Soul in Eurorack,' documents my five-year journey to replicate the specific workflow and 'soul' of the Buchla Music Easel using a curated Eurorack system."
"This post explores the creative power of 5-step sequencing (the 'migrating downbeat'), the 'origami' of wavefolding via the Verbos Complex Oscillator, and the organic harmonic dampening of vactrol-based Low Pass Gates. It’s a technical yet accessible look at why the West Coast workflow remains the 'holy grail' for performance - based synthesis."
The full write-up follows, with a demonstration of the system in the video above.
The “Easel” Spirit in 3U: Rebuilding a Buchla Soul in Eurorack
The Buchla Music Easel is legendary. It isn’t just a synthesizer. It’s a self-contained performance ecosystem. For many of us, the “Easel” workflow is the holy grail of synthesis. However, instead of chasing original hardware, I’ve spent the past five years rebuilding its specific soul within the Eurorack format. Because everyone deserves a hobby, right?
The Chef vs. The Sculptor Most East Coast synthesizers work like a sculptor. You start with a massive block of harmonic noise (Sawtooth or Square waves) and carve it away with a filter. The Buchla workflow is different. It’s like being a chef in your own Hell’s Kitchen. You start with basic, “bland” ingredients (sine waves) and spice them up with Frequency Modulation (FM), Amplitude Modulation (AM), your choice, and then fold until the sound sizzles.
My current rig recreates this spirit by focusing on three pillars: Uncertainty, Complex Oscillation, and the iconic Sequential Voltage Source.
Part One: The Modulators (The Brain) In a true Easel style setup, the Tokyo Tape Music Center 5-Step Sequencer acts as the brain. While most modern sequencers favor 4-8-16-32 steps, the 5-step limitation is actually a creative superpower.
🌌 "Fractured Atmospheres" is a collection of 50 atmospheric and experimental presets for Xfer Serum 2, made for producers who want emotional, evolving, and dark sounds with character. The soundset moves between soft and pleasant atmospheres and noisy, unstable, and abstract tones, making it suitable for both musical ideas and sound design.
💾 The bank of presets includes: 12 Pads, 12 Strings, 14 Textures, and 12 Drones.
📦 Get these presets: https://antonanru.sellfy.store/p/seru... 👤 The author of the soundset is Ilian. ❗️Compatible only with Serum 2. Not compatible with Serum 1.
💎 The soundset is built around contrast and imperfection, drawing inspiration from natural phenomena, mental states, and inner anomalies. Pads and strings blend smooth, emotional, and airy tones with subtle noise, creating fragile, lo-fi, and cinematic atmospheres, while textures and drones move into darker, noisier, and more atonal territory.
Shaped by slow or fast, evolving modulation, the presets feel expressive and alive, working as musical layers, background ambiences, or standalone soundscapes.
KORG Introduces KAOSS PAD V: A Touch Evolution for Modern Performance and Production
MELVILLE, NY - Korg announces the new KAOSS PAD V, a reimagined evolution of its expressive touch-based effects platform, designed for the way musicians, producers, performers, and content creators work today. Building on the iconic KAOSS approach, the new unit arrives as a powerful real-time sound manipulation tool for vocalists, instrumentalists, producers, and performers delivering an advanced dual-touch control surface with expanded effects and sampling on stage, in the studio, and in streaming environments today by reacting instantly to gestures, shaping sound through intuitive touch interaction, and integrating seamlessly into contemporary setups. The KAOSS PAD V centers on a redesigned touch interface capable of responding to two simultaneous gestures, allowing users to control paired parameters at once and create evolving textures, layered movement, and dynamic transitions in real time. Filter and delay, pitch and reverb, modulation and feedback, and many other combinations become fluid, tactile musical expressions rather than static settings, helping performances feel more alive and interactive. Connectivity and integration play a key role in this new generation. KAOSS PAD V supports MIC, LINE, and USB inputs simultaneously, enabling vocals, instruments, and computer audio to blend into a unified performance system. A balanced microphone preamp ensures clean vocal input, while a dedicated high-impedance input allows electric guitars and basses to connect directly without added hardware. An integrated USB audio interface streamlines recording, processing, and streaming, making it equally suited to DAW workflows, livestream setups, and headphone monitoring. A newly designed power circuit and refined audio path support low-noise, stable operation whether used in performance venues, studios, or creative spaces anywhere music is made.
Vocal creativity takes a significant step forward with the new Voice FX engine, providing harmonies, vocoder-style layers, pitch-morphed tonal shaping, and expressive textures applied in real time. The platform even allows users to control external MIDI equipment with their voice, opening distinctive performance possibilities that extend beyond traditional effects processing. Guitarists and bassists also gain a powerful new performance partner. With direct connection via the dedicated high-impedance input, KAOSS PAD V offers fingertip-controlled ambient swells, rhythmic modulation, time-based glitch elements, atmospheric reverbs, and other expressive textures, all shaped by movement across the pad rather than menu navigation or fixed parameter adjustment.
Sampling and looping are built directly into the creative workflow. Users can capture up to eight bars depending on tempo, overdub layers as they perform, keep precise loop positioning during playback, and keep performances rhythmically grounded through BPM-synced Step Hold operation. Multiple playback and slicing options support creative rearrangement, making KAOSS PAD V a capable tool for remixing, live improvisation, and evolving pattern creation. Honoring its lineage while expanding its scope, KAOSS PAD V provides access to a curated range of classic KAOSS effects alongside refreshed modern processing, from filters, delays, reverbs, and modulation to advanced voice shaping and contemporary textures. Users can further refine their sound using onboard editing tools, tailoring parameters, creating customized variations, saving personal presets directly to the device, and even adjusting pad-LED color and program behavior to suit their workflow. With 300 total programs available - 200 factory presets and 100 user location - plus support for external SD or SDHC cards, the platform balances immediacy with depth.
Compact, robust, and designed for real-time expression, KAOSS PAD V measures 210 mm wide by 226 mm deep by 49 mm high and weighs approximately 1.3 kg (excluding power supply). It includes RCA line input and output connections, balanced/unbalanced MIC/GUITAR input, headphone output, MIDI In/Out, USB connectivity, and ships with an AC adapter and Quick Start Guide. Operating stability from 0 to +40°C ensures reliability across environments. With KAOSS PAD V, Korg advances the KAOSS concept into a new era, keeping the immediacy and visual interaction that made the series a staple while deepening control, expanding sonic capability, and aligning the platform with today’s creative demands. For more information, please visit NAMM Booth #6802 or online at www.korg.com.
"The music is tickling: I've spent the last night envisioning a setup that could yield the most power in the shortest amount of time, both for the recording and the preparation.
I decided not to use the OPXY again, because I feel like just resorting to a groovebox would be a bit like cheating.
Anyway, here we are, and I am very happy I've uncovered yet another use for the Strega :)"
"The year is coming to an end and I feel like it is the end of a cycle for me. I want to compile my favorite jams from this year alongside some older songs and release them as several EP.
I am not sure if I will post any other jam this year but who knows.
In this one I put together all the Elektrons for the first time in a while, really fun machines.
Patch notes:
Digitone - Main melody, pads, and two arps
Digitakt - Percussion
Analog Four - Bass, Second Lead and textures
Subharmonicon - Arp
Octatrack - Mix, FX and noise samples."
"PlantsSystem 'BlackPoint' is a techno sound imbued with a pitch-black texture, constructed using Cyan/n and Rebirth. Swelling low frequencies, inorganic particles of noise, and sharp, cutting synth lines intertwine beneath the minimalist beat, creating a dark groove that draws you into the depths of darkness.
The simple yet powerfully propulsive rhythm creates a profound and tense soundscape, exquisitely blending the transparent texture of Cyan/n with the hard-edged analog feel of Rebirth. The unique atmosphere, a blend of cold and heat, paints a profound worldview throughout the track.
#cyann #rebirth #pitchblackedition"
"After the last set of whacky sounds [posted here] I wanted to document some more 'classic' Matrix 12 vibes. I found this great bank by Peter Urbanek.
From the .txt
PATCHES BY PETER URBANEK (free)
Reviewed by Mike Metlay
Peter's patches tend to be organized in sets, with several subtle variations on a
theme, and named accordingly: VOICE 1.1, VOICE 1.2, etc. It seems that when a
patch deviates enough from the basic form, he gives it a name of its own and
groups it after the others of its ilk. For this reason, Peter's patch tape is organized
quite neatly, making it easy to audition all of a particular type of patch. Heavy use
is made of both Levers, both Pedals, Pressure, Velocity, and Release Velocity on
many patches, for effects ranging from vibrato to ENV shape changes and
resonant sweeps on note attacks. It should be noted by all that to Peter, "vibrato"
means everything from triangle-wave warbles to deep noise-wave growls. His
Multi Patch setups are meaningless: they're left over from the factory patch tape.
Blanking them would've been nice.
In contrast to the previous set, the patches here bear little resemblance to the
sounds after which they're named. Each sound group, like VOICE, STRIN,
CHURCH, etc., appears to describe the general character of a sound rather than
it's true intent. Peter seems to enjoy the "analog synthesis for its own sake"
approach to programming; he eschews realism in favor of timbre.
And what timbres-thundering basses, blasting church organs that seem to belong
to any church I've ever heard of, bizarre sound effects (though not on the level of
the next tape reviewed) with random LFOS, rich filtered string pads ... all heavily
overlaid with a grimy analog crunch that threatens to bury the listener. There are a
few slightly altered factory patches as well, but these have also fallen to Peter's
grim analog touch.
In fact, there aren't that many different kinds of sounds on this tape; it has a
definite "one flavor" feel to it throughout, and that flavor doesn't lend itself to
realism, so if you're looking for variety or realistic sounds, look elsewhere. But if
you want to learn exactly why no digital synth can cross an Xpander and live,
these sounds would be a fine place to start."
"Meet MultiWAVE, an 8-channel dual wavetable oscillator and the core of Make Noise’s New Universal Synthesizer System. Designed by Tony Rolando, it brings true polyphony to modular.
Each channel hosts two oscillators with independent modulation, spread, and detune controls, creating evolving tones that feel alive. Pair it with PoliMATHS and QXG for a full 8-voice modular polysynth, or use it solo as a powerhouse paraphonic oscillator.
Ships with custom Make Noise wavetables, supports WaveEdit, and features a built-in MultiMod LFO and polyphonic quantizer. See more on Reverb."
New Universal Synthesizer System Video Manual
video uploads by MAKEN0ISE
MultiWAVE Press release follows:
Make Noise is proud to announce: MultiWAVE!
MultiWAVE is an 8-channel dual wavetable oscillator for the New Universal Synthesizer System or any Eurorack modular synthesizer. It uses a single set of controls to generate audio waveforms at eight independent channel outputs.
Each of the eight MultiWAVE channels contains two independent wavetable oscillators, Osc A and Osc B, each loading its own wavetable with variable frequency, modulation and wavetable position.
MultiWAVE includes an output header for creating pre-patched connections to the audio signal inputs of two QXG modules. When grouped up with PoliMATHS it creates the 8-channel core of the New Universal Synthesizer System.
8-channel dual wavetable oscillator with a single set of controls
Sequence A and B oscillators (per channel) independently or together via 4 Follow modes
Generate polyphonic activations from monophonic sequences using Modulation Dissemination, Span modes, Spread, and Accumulate
Variable timbre per channel via Spread and Modulation Dissemination
