"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
"I'm back! (A little later than planned.) Today we're looking at the Yamaha CS-01, a monosynth from 1982 that - while it can't compete with it's older bigger brother the CS80, has plenty to give - more than you may think ;) Thank you to Paul for loaning me this lovely machine.
Let me know if you owned a CS01 in the comments below, I'd love to hear your stories - and feel free to suggest any other synthesisers you'd like to see on the channel in the future.
PS: A quick note - the quality of the microphone and camera are a bit skew-whiff in this channel. Unfortunately nothing went quite as I had hoped as I didn't have my normal equipment, ran out of time and made some errors - chucking a screen with some photo references in the corner of my eyeshot reflecting the whole time being one of them. Lastly, if my voice sounds a bit weird at the start, my noise reduction plugin went a bit overboard and makes me sound like an AI voice. I'm not, I promise!!"
"The Take 5 Poly Chain OS update is free to download! Link two units together for a massive 10-voice polysynth, explore 10 new arpeggiator modes like Spiral and Leapfrog, and experience Whiplash arp timing for dynamic rhythmic transformations. Plus, dive into fresh sound design possibilities with selectable violet noise for shimmering, airy textures. This update is all about bigger chords, deeper creativity, and inspiring new sonic landscapes! It's your Take 5 to the power of 10.
Synth sounds and drums exclusively by Take 5. Music composed by Peter Dyer.
"Elevate your TEO-5 with the new Poly Chain OS update! Link two TEOs together for a lush 10-voice Oberheim experience, explore 10 inspiring arpeggiator modes like Spiral and Leapfrog, and add rhythmic drama with Whiplash arp timing. Plus, expand your sound palette with violet noise for shimmering and airy textures. Step up to bigger chords, deeper creativity, and fresh sonic possibilities!
"First look at the brand new firmware update for the Oberheim TEO-5 & Sequential Take 5. This update adds Polychain, new arp modes, noise options, and more — giving these synths a serious upgrade. In this video I’ll walk through what’s new and demo some of the new sounds in action."
Press releases follow:
Sequential Announces Free OS Update for Take 5 Synthesizer — Adds Poly Chain and More
OS Update introduces 10-voice Poly Chain, new arpeggiator patterns, Whiplash arp timing mode, and violet noise.
San Francisco, CA — November 6, 2025— Sequential today announced a major OS update for its popular Take 5 polyphonic synthesizer, delivering powerful new features that expand its creative capabilities. This update is free for all Take 5 owners and is available now from the Sequential website.
The centerpiece of the update is Poly Chain, which allows two Take 5s to be linked for a fully integrated 10-voice instrument. This means players can perform bigger chords and more complex arrangements without worrying about voice stealing. All front-panel controls are mirrored from one unit to the other for seamless sound tweaking, as if they were a single, expanded synth.
The arpeggiator gets a serious creative boost with 10 new play modes designed to inspire fresh rhythmic and melodic ideas. Modes like Spiral and Leapfrog introduce surprising new musical elements, creating parts that feel alive. These patterns go beyond simple up-and- down motion, using virtual “playheads” to weave intricate note paths, adding new flavor to your compositions.
Another standout feature is Whiplash, a new timing mode that keeps each arpeggiator cycle the same length regardless of how many notes you hold. The result? Notes bunch together or spread apart dynamically, producing rhythmic tension and release that stays in-step with the overall bar-length of your composition.
Finally, the update also adds violet noise, which emphasizes high frequencies while reducing low-end content. This opens up new possibilities for sound design, from smooth and shimmering textures to airy percussive layers.
"Musicians love the sound of Take 5, and we get asked regularly for ways to expand the polyphony," said David Gibbons, CEO of Sequential.
"This new software makes it possible to use it as a massive 10-voice synth — while also adding some fun and creative new capabilities."
The Sequential Take 5 combines classic Prophet-5 tone with a compact, portable design and an intuitive layout that feels great to play. With five voices of polyphony (and now ten with a desktop module companion), authentic analog oscillators, the iconic Prophet-5 filter, and deep modulation options, it’s the perfect gateway to Sequential’s legendary sound.
Oberheim Releases Free OS Update for TEO-5 Synthesizer — Adds Poly Chain and More
OS Update introduces 10-voice Poly Chain, new arpeggiator patterns, Whiplash arp timing mode, and violet noise.
San Francisco, CA — November 6, 2025— Oberheim today announced a free OS update for its acclaimed TEO-5 synthesizer, adding powerful new features that make the instrument even more versatile and inspiring. The update is now available for download from Oberheim's website.
The highlight of the update is Poly Chain, enabling two TEO-5 units to be linked for a fully synchronized 10-voice Oberheim experience. This allows for complex chords and lush textures without compromise, and all panel controls are mirrored across both units for consistent sound and performance.
Additionally, the arpeggiator now includes 10 new play modes that go far beyond traditional patterns. Modes like Spiral and Leapfrog introduce new rhythm and melody, creating parts that twist, turn, and evolve in ways that spark creativity.
Also new is Whiplash, a timing mode that keeps each arpeggiator cycle the same length no matter how many keys you hold. This means the note values shift dynamically, producing rhythmic tension and release that stays in-step with the overall bar-length of your composition.
To round out the update, violet noise joins the sonic palette. With its emphasis on high frequencies and reduced low-end content, violet noise is ideal for creating smooth shimmering textures, airy effects, and unique percussive elements.
"TEO-5 was designed to bring the classic Oberheim sound to more players," said Tom Oberheim. "This update pushes that vision further — adding features that make it even more useful and inspiring."
TEO-5 combines authentic Oberheim tone with modern creative tools. With true analog oscillators, the legendary SEM filter, linear through-zero FM, and a deep modulation matrix, TEO-5 offers a vast sonic palette in a compact, performance-ready design. Take the next step with TEO-5 and download the Poly Chain OS Update today.
"With Theo off on hols this week Christian opens the lid on one of his favourite instruments, The Harmonium. Think Penguin Cafe Orchestra, think Jon Brion, think a leading (albeit inanimate) character in Punch Drunk Love."
Press release follows:
The Crow Hill Company announces availability of VAULTS - HARMONIUM, bringing bellows to DAWs as latest free VI abiding by its Make Music, Your Music motto
EDINBURGH, UK: The Crow Hill Company is proud to announce availability of VAULTS - HARMONIUM — bringing bellows to DAWs (Digital Audio Workstations) as its latest free VI (Virtual Instrument) monthly drop, allowing anyone to experience the timbral complexities and harmonic layers of its gorgeous and, some might say, quaint instrument namesake for the rest of their lives, abiding, as always, by the Edinburgh-based enterprise creators’ collective Make Music, Your Music motto — as of October 24…
Its iconic appearance in Director/Writer Paul Thomas Anderson’s 2002-released dark romantic comedy Punch: Drunk Love — look it up! — may make many think of the harmonium in a certain way. What is certain, though, is that the small free-reed organ was patented way before, back in 1842 by Frenchman Alexandre Debain. By being smaller and less expensive than traditional pipe organs, it quickly became popular through Europe, India, Africa, and the southern United States. Travelling through the north of the UK, harmoniums can still be found tucked away in the corners of many recording studios. Saying that, those that are there are not just set dressing; after all, the harmonium captured the hearts of artists such as The Beatles, Supertramp, Penguin Cafe Orchestra, and Tori Amos, all of whom featured it in their music.
Making music with a harmonium is easier said than done, however, since the instrument in question generates sound by pumping air — using two foot-operated pedals joined to a mechanism that operates a bellows or by pushing and pulling a handle joined to the bellows back and forth with one hand — past a thin piece of metal in a frame and making it vibrate. Vibrations then resonate through the harmonium’s wooden body, thereby producing the distinctive, church-like sound. Thankfully, The Crow Hill Company has succeeded in capturing this sound to produce VAULTS - HARMONIUM, making it much easier for many more appreciative sound-seekers to experience its musical magic.
Composer Christian Henson — original founder of The Crow Hill Company — freely admits to being a big fan: “It’s got to be one of my favourite instruments. It can bring a simplicity to music — dare I say it, a quaintness, but because of its timbral complexities, it’s also massively expressive.”
"A cinematic atmosphere made of sound, not melody. https://akihikomatsumoto.sellfy.store... This is not a collection of loops. It is a carefully curated archive of long-form drone textures, each exceeding five minutes, sculpted for those who create without the need for rhythm, harmony, or resolution. Designed for deep listeners and sound designers. From seasoned ambient producers to experimental filmmakers, this pack speaks to those who understand that sound can live and breathe without a beat. Built from legendary hardware units and bespoke digital tools, these drones are not simply sounds. They are environments.
The SUPERVEC is a heavily modified / circuit bent video FX processor with audio reactive capabilities.
It is based on the VEC1060 video processor / enhancer. The circuit board of the VEC1060 is completely stripped of any unnecessary components from its audio mixer section and corresponding connectors / faders are removed. Every one of the original potentiometers is fully disassembled, cleaned professionally and reassembled with some high quality silicone lubricant so they operated noise free and feel smooth. Lastly the power input and power regulation circuitry is modified to use a standard 12V switching power supply.
This processor is audio reactive via its built in microphone or via the 1/4" line input. There are 3 selectable decay speeds that result in smooth audio reactivity.
The unit features 12 circuit bent effects that can be combined for a seemingly endless amount of variation. With all of the effects off the unit retains all of its original functionality."
1. themkI | An exploration of a 70s classic
2. themkI | Overview
3. themkI | Presets playthrough
Press release follows:
Thephonoloop tweaks themkI as deeply-sampled, expressive VI exploring electromechanical keyboard classic’s imperfections with colourful Version 1.1 update
KATOWICE, POLAND: Thephonoloop is proud to announce that it has tweaked themkI — already available as a deeply-sampled, expressive VI (virtual instrument) for Native Instruments’ KONTAKT PLAYER platform housed in an MPE (MIDI Polyphonic Expression) compatible engine built for discovery and experimentation, exploring the beautiful imperfections of a Seventies-vintage electromechanical keyboard classic — with a colourful Version 1.1 update introducing sharper contrast for better visibility alongside new GUI (Graphical User Interface) colour options for customising its look, as of October 7…
"'Pulsar' is a non-beat electronica piece.
Eliminating the framework of rhythm, it is constructed around the breathing and spatial movement of the sound itself.
Subtle glitches, fluctuations created by granular synthesis, and delicate reverberation processing overlap to form a static yet internally pulsating acoustic body.
Permeating the entire work are flashes of sound that, despite having no set tempo, somehow feel periodic.
These repetitions and intervals reconstruct 'time' in the listener's mind.
Acoustically, the center of gravity of the low frequencies is intentionally blurred, creating a floating spatial depth.
High-frequency particles spread like countless points of light, enveloping the entire piece with gently shifting noise textures.
The result is an experience in which one is drawn in not by rhythm but by the 'gravity of sound.'
"Pulsar" is an attempt to rethink the structure of electronic music,
and also an acoustic experiment to visualize the quiet vibrations that lie between hearing and our sense of time.
#pulsar #prophet5 #tardigrain"
Check with dealers on the right on availability and price.
Press release follows:
"Gamechanger Audio Officially Releases the MOTOR Pedal
Electromechanical sound. A gas pedal for your guitar. The ultimate analog noise-machine.
Riga, Latvia – September 29, 2025
After years of development and anticipation, Gamechanger Audio is proud to announce that the MOTOR Pedal is finally available to the public. First teased as a wild experiment back in 2019 and reintroduced earlier this spring as a pre-order, the MOTOR Pedal is now shipping worldwide—bringing a completely new category in sound and performance machines to guitarists, producers, and sonic explorers everywhere.
At its core, the MOTOR Pedal is built on two groundbreaking technical achievements: A fully controllable musical motor oscillator that transforms brushless DC motors into living, breathing sound sources. An proprietary monophonic pitch-tracking engine that follows guitars and virtually any instrument with surgical accuracy. These breakthroughs were forged over years of experimentation. From 2019 to 2022, Gamechanger Audio developed and released the MOTOR Synth MKI and MKII—the world’s first polyphonic synthesizers to use electric motors as vari-speed oscillators. More recently, the company perfected pitch tracking with its acclaimed AUTO Series pedals, released late 2024 The MOTOR Pedal builds directly on these innovations, fusing them into a compact stompbox—creating a powerful, unpredictable, and endlessly fun performance tool.
And in true Gamechanger style, it’s not just about the sound. The MOTOR Pedal introduces a completely new way to control it: a real acceleration foot pedal. This gas-pedal-style controller turns dynamics, pitch bends, and rhythmic sweeps into something you literally drive, delivering an adrenaline-fueled approach to expression that no other stompbox offers.
“Back in 2019, the original MOTOR Pedal was just a spark that set this whole journey in motion - what if we could play MOTORS as Oscillators!?” says Gamechanger Audio founder Ilya Krumins. “Since then, through the MOTOR Synth MKI and MKII and the AUTO Series, we’ve gone deeper and deeper into the world of electromechanical sound. At this point, we feel like we know pretty much everything there is to know about making music with motors and the MOTOR Pedal is the culmination of that knowledge, and the most fun, immediate and accessible way to experience it.”
Key Features: ● Real electromagnetic motor oscillator driven by precision pitch tracking ● Gas-pedal controller with five modes - for dynamic, physical expression ● Hybrid electromechanical + digital signal path for unique textures - five MOTOR engines - each with unique sound ● Compact form factor built for pedalboards, studios, and live rigs ● Replaceable motor block for extended lifetime and serviceability ● Powered by Gamechanger Audio’s MOTOR Synth (MKI & MKII) and AUTO Series technology
The MOTOR Pedal is now shipping worldwide from www.gamechangeraudio.com and with selected dealers world-wide. The MOTOR Pedal is priced at 399 USD and 399 EUR (incl. VAT) respectively. For more details, demos, and ordering information, visit www.gamechangeraudio.com."
0:00 Intro 1:53 Oscillators 7:58 Mixer 9:15 Filter 14:17 Filter Modes 17:14 Envelopes 19:38 LFOs 22:14 Mod Assignments 28:03 Arpeggiator 30:45 I'm about to get lost, watch out 33:09 Sequencer 35:07 Note Prob / Pool 38:00 Gate Prob 41:50 Parameter Recording 43:58 Slow Jam and Conclusions
"My notes unedited: ----Probably cant change---- Lfo mode / pitch decouple on osc 2 would be goated Mod wheel as a mod source(expression source with nothing in the jack?) Pitch wheel as a mod source Lfo 2 as an signable mod source Gate prob should work on the arp page as well Maybe note prob as well, but thats mostly covered by arp modes Ratchets would've been a huge buff to the sequencer
----Probably could change---- F env mod to osc wave is almost a useless range Velocity curves could use a tweak, maybe that's preference Any modulation to pitch, (i feel) needs a more generous taper for low amounts Noise can get way too loud.. Am I crazy? Pressing 1-16 in note prob should do something clear that note? Deactivate it?"
"The Mutable Challenge is a tribute to the late, great Mutable Instruments, the most innovative of all Eurorack makers, who ended their journey in 2022. In this challenge, participants start with a rack entirely filled with Mutable Instruments modules and have one hour to create anything they like—be it a tune, a riff, a sound effect, or even pure noise—to showcase the unique and creative potential of these iconic modules. With official Mutable patch cables and just two other pieces of gear allowed—an Arturia KeyStep 37 and a Cre8audio Assembler mixer—participants are free to let the Mutable magic unfold.
*utility cables kindly provided by Synthcables.com
Big thanks to Tom Kirton for Yarns and to MonoJack from BeepBoop for the kind loan of Edges"
The Gaz Williams' Mutable Challenge/Tribute - Row 01
"Let's just all celebrate Mutable Instruments. I met Gaz Williams @GazWilliams on Dutch Modular Fest (2025) a week ago. I couldn't do the test myself, but I was really inspired by his inititative. Mutable is probably the most influential brand in Eurorack and beyond. You can easily find clones that suit your budget, and nearly all modules are available in VCV. If you feel like patching along, I will share a few tips and tricks (trips) and hopefully help you find a few new happy accidents.
