Synthetic Sound Labs Announces Wave Oracle™

Synthesizer module review of the the Wave Oracle video upload by Synthesizer Sound Design

"Synthetic Sound Labs Wave Oracle Model 1910

This video is a review of the 5U / MU multi-function module from Synthetic Sound labs - The Wave Oracle.

The Wave Oracle exists to inspire curiosity about signals—and creativity in what you do with them. Your synthesizer makes voltages, but you usually experience the result through your ears. Wave Oracle adds another way to explore: you can see what is happening while you listen.

Time Index

00:42 Title
00:45 What is the Wave Oracle01:22 What I like about the Wave Oracle
02:56 How I will use the Wave Oracle
03:38 Review of the functions or the Wave Oracle
05:05 Examples
05:08 Understanding Modules Better
05:45 Inverted Envelopes Made Easy
08:26 Examining Harmonics
09:48 Through-Zero FM
10:54 Lissajous figures
12:33 Final Thoughts

** THIS VIDEO IS SPONSORED BY SYNTHETIC SOUND LABS ** they have funded the creation of this video."

Press release follows:

Synthetic Sound Labs announces Wave Oracle™, a multi-function signal visualization and learning instrument designed specifically for modular synthesizers. See and explore your sounds.

Wave Oracle™ combines oscilloscope, XY, spectrum analysis, tuning, metering, audio-responsive visualization and integrated learning functions in a single module. Four signal inputs allow several points in a synthesizer patch to remain connected simultaneously, with channel selection available within applicable modes.

Wave Oracle™ is designed to be easy to learn and use, without requiring a background in electronics or test equipment.

SCOPE
Wave Oracle™ can display signals from oscillators, envelopes, LFOs, modulation and complete voices.

The oscilloscope views these as voltage changing over time, revealing the actual shape and timing of a signal. Laboratory-style adjustable timebases, vertical scaling, positioning and triggering allow visualization and measurement of up to four independent synth signals at once.

XY
Plots two signals against one another to display phase and frequency relationships, modulation and Lissajous figures. XY uses Channels 1 and 2 as its X and Y signal sources.

FFT
Where SCOPE shows voltage over time, Wave Oracle™’s FFT modes reveal frequency content and how it changes over time. Multiple spectrum displays provide different views of fundamentals, harmonics, noise, filter response and the evolving spectral content of complex sounds and complete voices.

Automatic and manual display scaling accommodate signals ranging from individual oscillators to dynamic musical material.

TUNER
Measures frequency and musical pitch for oscillator tuning, matching pitches and checking oscillator tracking.

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Drifting away and blissing out with Spotykach

video upload by Oscillator Sink

"This year at Superbooth, one of the tents that I returned to multiple times was the Synthux Academy tent, mostly to snatch another few minutes with, what is arguably their current flagship product: Spotykach.

Spotykach is one of those wonderful bits of gear that sits in the intersection of effect and instrument, and its focus is around exploring looping in all its forms - emulating tape techniques as well as various eras of digital looping and sampling. It feels to me like a companion to the music making process. It’s surprising without being unpredictable, new ideas are readily born out of whatever input you provide - a perpetual stream of happy accidents.

It can also be approached in many different ways, but in this video as we explore its features, I’m going to focus on one particular way of using it - a more open, unsynchronized, exploratory approach, which is how I’ve been enjoying using it, but it also can be very rhythmic, controlled too - it has a full MIDI implementation and a lot of features around clock synchronization - but I am who I am and I am feeling a little ambient."

The Plinky 12 Toadstep Is an Absolute Jam Machine

video upload by The Unperson

"Plinky 12 is a unique touch-based synthesizer designed by mmalex and Making Sound Machines, built around a powerful synth engine that can take on different forms through interchangeable faceplates and alternative firmwares. This means the same underlying hardware can become a very different instrument depending on which version you're using.

In this video, I'm exploring the Plinky 12 Toadstep, a version developed in collaboration with Toadstool Tech that transforms Plinky 12 into a multi-track sequencer and performance instrument. I'll take a look at how Toadstep works, explore its sequencing and sound-shaping capabilities, and put together some jams to see what this unusual instrument can do.

I really hope you get a feel for the workflow and immediacy of the device. It has such a fun interface, and once you’re comfortable with the setup, it becomes incredibly intuitive, with a perfect blend of intentionality and discovery."

CONTENT
0:00 - Intro
0:56 - Basic Overview
8:15 - Breakbeat Fun
12:50 - Randomize Everything
18:13 - Modulate Everything
23:41 - Outro

The Electric Weasel Ensemble Strange/Buchla/Ruppenthal/Morse 2LP/2CD

"Below you'll find a press kit for a historic 2LP/2CD from The Electric Weasel Ensemble, a touring group of electro-acoustic musicians including Donald Buchla and Allan Strange.

Why is this group so important, you ask? Because they were playing Donald Buchla's instruments straight off his workbench and these instruments have gone on to help define the modern modular synthesizer era and business. Thankfully, the music is incredible, too."

Press release follows:

The Electric Weasel Ensemble
Strange/Buchla/Ruppenthal/Morse
2LP/2CD

EPK

Release date: Nov 27, 2026

Shifting continuously between minimalistic patterns, intricate soundscapes, and evolving textures of overlapping electronic sonorities, The Electric Weasel Ensemble presents a missing link in the history of electronic music. It is a series of previously-unreleased live recordings from a little-known but trailblazing ensemble of improvisers—equipped with a unique embrace of invented instruments and distinctly 1970s avant-garde sensibilities. This historic music is available on both double LP and double CD.

Founded in 1974 by composer Allen Strange and now-celebrated instrument designer Donald Buchla, The Electric Weasel Ensemble explored new directions in live performance with electronics, using Buchla’s sophisticated and unusual instruments as a launching pad.

Maintained for decades by Ensemble member Stephen Ruppenthal, these recordings include some of the best-preserved examples of Allen Strange’s pioneering compositions: graphically-notated directed improvisations for electronic and electronically processed acoustic instruments. They also offer rare insight into the radical sonic aesthetic that Buchla’s inventions enabled in the Bay Area music scene.

Focused on performance and DIY music distribution, the Electric Weasel Ensemble never widely released their music. Transferred from the original quarter-inch reels at Imprec, mastered for vinyl by Tom Eaton at Sounds and Substance, and pressed at Optimal in Germany, this record is a glimpse into the raw creativity and inventiveness that fueled the early decades of electronic music performance.

Who is the Electric Weasel Ensemble?

How do you build a new type of music from the ground up? The Electric Weasel Ensemble continually orbited this very question: inventing new instruments and, through collective play, learning to communicate in their unfamiliar, emergent languages.

The Weasels operated along the fringes of Northern California’s 1970s music scene, drawing equally from avant-garde and electronic composition, free improvisation, cybernetics, and the Bay Area’s psychedelic-fueled, countercultural spirit. A group of self-proclaimed “music outlaws,” their eclectic, anything-goes approach eschewed traditional notions of harmony, melody, form, and virtuosity—informed by their evolving relationships with new technology.

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MOdARK by Cristián Vogel

via NeverEngineLabs where you'll find samples under the EXTRAS section. Be sure to see the graphic novel as well.

MOdARK

Software instrument for Mac and Windows

Prize winning composer Cristián Vogel's latest digital creation is not your conventional software instrument. It is an extraordinary and unique approach to instrument-as-world-building. Built around a stunning 3D performance interface and an equally compelling physical modelling sound core.

MODARK is a new kind of digital instrument for composers, sound designers and sonic explorers. It invites you to enter a resonant 3D world where sound is not only triggered or edited, but inhabited, shaped and performed.

At its centre is a modal physical-modelling engine: a living body of frequencies, decays, resonances and gestures. You can import or analyse source material, build impossible instruments from spectral fingerprints, excite them with strikes, bows and samples, and explore the results through a visual interface that feels closer to navigating a sonic sculpture than operating a conventional soft synth.

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phase fiasco eurorack modules

via phase fiasco

Skalman

240dl

[i]

meteor shower

CLICK FOR MORE »

MultiWAVE the Monosynth | Make Noise

video upload by MAKEN0ISE

"The 0-Coast 10 year celebration is coming up Saturday September 12! RSVP here:

https://dice.fm/event/k65qyq-aplr-and...

Sign up for the 0-Coast workshop here! https://docs.google.com/forms/d/e/1FA...

Parallel mode with Span setting 1 Activates all eight channels on each gate - just like "Unison" mode on a classic poly.

Also, enjoy a new visual score by Norman Freund, realized sonically by Del!

/ norman-freund
/ user-780024068

Here is Del's full description of the realization:"

"When I first encountered Norman Freund's score, I noticed the shapes were sketched quite roughly. In order to implement the score in a structured way, I made the decision to 'quantize' the original drawing to a grid. I hope I have suceeded in maintaining Norman's intent for the piece.

I decided on a grid of 64 'bars' at 120 bpm (each bar 2 seconds) Total time = 128 secs - 2:08

I identified common types of graphic entities in the score which would act in a similar sonic way and decided that there would be no implication of pitch in the score, just timing.

Colors were assigned to each type of graphic for visual and compositional reference:
Red - vertical line with spiral top
Light Blue - vertical line
Pink - horizontal line
Dark Blue - horizontal line with circle incorporating clockwise arrow indicator
Orange - rounded rectangle
Green - divergent lines (crescendo mark) and convergent lines (decrescendo mark)

Each entity in the score was recorded from a modular setup and arranged in the DAW (Reaper).
The sound palette came from the various reels of the project iterations.

Below are descriptions of two different ways in which sounds were mapped to graphics:
1. The Green divergent/convergent lines are the most persistent entities in this score. They are treated algorithmically. Each green entity has a different splice from "12 string iteration 0 reel". The methodology was to speed up each splice in Morphagene forwards from 0 to 100% (Green light) precisely over the time specified in the quantized score by the divergent lines and then back to 0 in the same way as specified by the convergent lines. For this I researched and discovered the Rossum Control Forge and used this to apply the precise voltage over time. An interesting technique learned and likely not one I would have considered otherwise.
2. The Red shape is a composed (ie non-algorithmic) collage of the individual sounds from iteration 3.

Other modules used were QPAS, Wogglebug and Mordax Data."

http://www.makenoisemusic.com

The Crow Hill Company Announces POCKET STRINGS Plug-in for Free

The Best Strings Plugin Money CAN'T Buy??? video upload by CROW HILL

Press release follows:

The Crow Hill Company announces availability of popular POCKET STRINGS plug-in for free, bringing broadcast-grade string possibilities to everyone

EDINBURGH, UK: around a year after its initial launch, not long after the Edinburgh-based enterprise effectively rebranded itself with an aesthetic that truly realises company co-founder and composer Christian Henson’s heartfelt dream of encouraging people to make music and help them on their journey, regardless of whatever point they were at and wherever their journey began, The Crow Hill Company is proud to announce that it has made its popular POCKET STRINGS — styled as a never-tried-before strings plug-in that aims to bring broadcast-grade string possibilities to everyone by combining live cinematic orchestral recordings of some of the best musicians working in the UK with some rarefied vintage synth classics made to measure for added body, depth, and character — available for free with no strings attached (but pun intended), as of August 6…

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Organic Forms & Sonic Shapes Vol. 2 by Particle Bunni

"Particle Bunni is an ambient-electronic collaboration between multidisciplinary artists Terrance Stearns and Grayson West.

Blending electronic sound generation, guitar, analog instruments, voice, and field recordings, the project explores the intersection of mysticism, psychoacoustics, and digital folklore."

particlebunni.com

Yamaha CS-5 improvisation over drones | Analogue synthesizers performance

video upload by Telantas Changxo

"This is part of a new thing I am doing where I just turn on the camera and the audio recorder and sart patching and improvising, withoutnany preparation. I hope you enjoy it -let me know im the comments."

But we are still human, can't you see? | Original analogue synthesizer composition and performance

video upload by Telantas Changxo

"Kant wrote '... that the human being and in general every rational being exists as an end in itself, not merely as a means to be used by this or that will at its discretion; instead he must in all his actions, whether directed to himself or also to other rational beings, always be regarded at the same time as an end.' (IMMANUEL KANT in 'Groundwork of the Metaphysics of Morals') These words acquire new meaning in the present world where social media, artificial intelligence, and automation offer new ways of organisation, manipulation, and control. Whether the aim is to achieve more efficient distribution networks, more agile organisational structures, or a more convenient election result, we increasingly see powerful individuals and organisations achieving their aims by using people as tools, not as human beings with their very own needs, desires, and intrinsic value. Meanwhile, large language models such as ChatGPT hold up a mirror to ourselves: here is a being capable of speech, reasoning, and even a sense of identity (much as they protest that they don't have one when you ask them directly). But, are they tools, or ends in themselves? And if we get used to treating them as tools, what will prevent us from ending up translating the new forms of coercion and deceit that we will develop for them to us as well?"

#philosophy #music #synthesizer #dawless #yamahacs #yamahacs5 #behringercrave #yamahasynths #yamahasynth #bossdd200

Roland D-05, Make Noise Strega & Ableton Mode | Ambient Drone

video upload by Akihiko Matsumoto

"Sequencer: Ableton Mode https://akihikomatsumoto.sellfy.store...
Discover the Sacred Sounds of the Past: A Generative Sequencer Inspired by Medieval Chant
Immerse yourself in a groundbreaking tool designed for creators of ambient, experimental, contemporary music, IDM, and electronica. This Max for Live generative sequencer fuses historical depth with cutting-edge technology, offering a unique journey through time and sound.
Historical Roots, Modern Expression
Developed over a year of intensive research, this device draws from a rich tapestry of medieval chant manuscripts and the intricate patterns of neume notation. Delve into the essence of the eight church modes, enriched with the proto-characteristics of Ionian and Aeolian modes foretelling the rise of major and minor tonalities.
Infinite Melodic Possibilities
Let the sequencer generate melodies imbued with the organic flow and spiritual resonance of early music, now reimagined for contemporary creativity. Whether sculpting ethereal soundscapes or exploring experimental forms, this device breathes new life into your compositions.

Recording: Ambient Drone (Sample Pack) https://akihikomatsumoto.sellfy.store..."

MYSTERON : Make Noise's lost gem

video upload by Robotopsy Robotopsy

"The Mysteron is neither an oscillator nor a traditional instrument. It is a digital resonant structure whose behavior seems to oscillate between known physics and something less easily explained.

This demonstration explores its responses to different forms of excitation, its unpredictable resonances, and the soundscapes it generates when left to evolve freely."

DELTA DP-900 (1985) - the synth no one knew existed - HD

video upload by Vintage Audio Institute Italia

This appears to be the first post to feature the DELTA DP-900.

00:00 Pre - Introduction
00:38 Introduction
01:14 Flutes and Strings
02:05 Auto Accompaniment
04:42 MUSICAL INTERLUDE 1
06:00 Poly Voices
08:36 The Mystery
09:02 Synth Voices (Monophonic Synth)
12:02 Drum Machine
14:12 Outro

"DELTA DP-900 - 1985?

It happens that an instrument surfaces that no one's heard about or even seen before.
But it rarely happens that no one hasn't even heard of the manufacturer of that instrument.

Delta - what kind of brand was this?
Where were they?
Is this the only thing they developed?

CLICK FOR MORE »

Deep Forest – SOUL

video upload by Deep Forest

"The first chapter from the upcoming album SOUL.

Deep Forest has always explored the frontier between memory, technology and emotion.
From ancestral voices to new forms of sonic creation, from organic textures to AI-driven experimentation, music becomes a living, shifting presence — almost conscious.
Traditional sounds merge seamlessly with the tools of the future.
Human and machine no longer stand in opposition. Together, they create a new emotional language.
For more than three decades, Deep Forest has blended ethnic inspiration, electronic landscapes and innovative sound design, constantly searching for new sonic territories.
SOUL continues this journey into unexplored dimensions, where ancient memories, synthetic textures and human emotion intertwine.

Thus begins a new chapter of Deep Forest.
Video: Mix and Cie by William.L

Follow Deep Forest :
| Website : http://www.deep-forest.fr/"

EMS Rehberg Logik Analog Synthesizer & Keyboard (Made in Germany)

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

via this Reverb listing

Pics of the inside and the user manual below. "This edition is rare, and cannot be found anywhere as a set. Made by EMS London, and works differently than the Synthi A, although it appears to be the same. Here is a breakdown of what you get below:

In addition to the power supply, new patch cables as well as the original patch cables (standard mini jack), the lid of the "suitcase synthesis" and the original manual (or textbook) are included.

The modules of the EMS Synthis work perfectly, the overall sound and especially the filter sound very high-quality.

VCO – Voltage Controlled Oscillator • with the vibration forms sine, sawtooth, triangle and rectangle with external control voltage input for pulse width modulation • VCF – Voltage Controlled Filter • Multimode filter with 12 dB slope, low-pass, high-pass, band-pass and phaser • LFO – Low Frequency Oscillator • with the vibration forms sine and rectangle • SRG – Slow Ramp Generator •

with
the vibration form sawtooth • NG
– Noise Generator •
the noise generator offers white
noise • EG –
Envelope Generator (Envelope
Shaper)
• A-D-S-R • RM
– Ring Modulator • INV – Inverter • SL – Slew Limiter (Portamento) • EF – Envelope
Follower • External Audio
Input • Output/Mix
• Control Inputs"

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X1L3 - ALLEYKAT - URIDIUM 2 - 8580 sid - stress test - Amiga cover

video upload by X1L3

"By ear cover of the awesome theme to the Amiga version of Uridium 2 by Jason Page.

The Commodore 64 version that never was . . . .

8580 SID in circuit. No midi file. No C64 original to lift hints on how to handle the voices and wave forms. Just an idea on a whim, a blank canvas and a question of how to do the four channel sample based original justice with only a potato and three voices.

Shout out to Rob Hubbard for his SID programming style, all it taught me from listening to it all before the world moved on, and studying it now for the wealth of tricks you can learn from it if you put in the time.

The human league cover that came before this was nothing more than messing around for the sake of all the meows. It was fun, but didn't offer much in the way of a challenge. This one sets the bar much higher. A 100% pass as far as stress testing the module and write routines goes.

Alleykat proves itself admirably.

From the point of view of a 80s C64 kid, it's fucking awesome 😁🔥

Cheers, Dad, for getting me the bread bin all those years ago ❤️"

Behringer Introduces D-MINI – Legendary Analog Sound in a Compact Synth

video upload by Behringer

"Discover the sound that defined a generation.

The Behringer D-MINI brings back the character of a true analog classic in a compact format made for today’s creators.

From deep basslines to expressive leads, everything feels immediate and hands-on — the kind of workflow that makes you want to keep playing.

Whether you’re in the studio or on stage, D-MINI gives you that iconic sound straight away, without getting in your way.

#behringer #dmini #analogsynth #synthesizer #synth #musicproduction #producers #sounddesign #synthwave #electronicmusic #studiogear #livemusic #gear #synthlife #analogsound"



Portable Legendary Analog Synthesizer with 1 VCO, Classic VCF, 1 LFO and 2 Envelopes

D MINI — MINIMOOG LEGEND, POCKET POWER

The MiniMoog is the synth that built modern music — the fattest mono lead sound ever invented. The D MINI captures that DNA in a true portable analog synth you can throw in a backpack and play anywhere. This is the sound of countless hit records, now ready for the bus, the bedroom or the beach.

A single VCO offers five selectable waveforms (saw, triangle, sharktooth, square and pulse), giving you a wider sonic palette than the original.

CLICK FOR MORE »

Stupidly useful, simple & small // Low Fat VCF from AJH Synth

video upload by DivKid

"Here's a fun one and something stupidly simple, really easy to use, small, affordable but way more useful than you might think. It's the Low Fat VCF from AJH Synth, which is a 2HP non resonant (it's supppppeeeer smooth) high pass filter.

I think my favourite thing is using it to pair with low pass filters and to make a variable width band pass filter. It's also nice as a simple "clean up the mix" tool, as a pseudo spectral sidechain, multiband ducking style device or just for performance sweeping low end out of things."

"The Low Fat filter packs a switchable 6dB and 12dB slope High Pass Voltage controlled Filter into a miniscule 2HP of rack space, with a very low power consumption of less than 12mA per rail.

Sometimes there is just too much bottom end in a patch and it swamps everything else, by feeding it through the Low Fat Filter we can remove some of this bottom end to balance things up.

It also makes a great companion to the MiniMod Transistor Ladder Filter and can be placed before or after this in a patch to create a Band Pass filter with a variable passband and a choice of a softly rolling 6dB slope or a stronger 12 dB slope.

It's a great way to populate one of those frustrating gaps in your eurorack modular case with something that is deceptively usefuI.

In Depth

The LOW FAT is a new 2hp Eurorack module by AJH Synth, it's a High Pass filter, with frequency control by either manual pot, and/or external CV with attenuator. It's intended to compliment other filters, particularly low pass VCF modules, in practical tasks such as removing excessive low frequencies, for example when the bass is swamping a mix. It can be switched between 6dB (1 pole) response and 12dB (2 pole) response.

By patching a CV signal to the FCV input it can be voltage-controlled and used musically as with any other VCF. When used in conjunction with a LP filter it forms a fully customisable band pass filter, allowing the range of passbands to be cherry-picked. Feeding in a 1V/Oct pitch CV and setting the FCV pot to a suitable level allows it to track an incoming pitch CV, so the amount of High Pass filtering remains constant as the pitch of the incoming VCOs traverse up and down the frequency range. This can be particularly useful in creating percussive sounds, such as snares and hats, but also on sequenced bass lines. Since it is only 2HP it's a great way to occupy one of those frustrating gaps in your eurorack modular case with something that is deceptively useful, and adds another dimension to the classic bass monster that is the Transistor Ladder Filter."

Gradient Noise [stereo version]

video upload by John C.S. Keston

"On May 11, 2026 I premiered my piece Gradient Noise at the International Computer Music Conference (ICMC) in Hamburg, Germany. The following video represents a stereo, studio recording of the performance. The performed piece was quadraphonic and contained one to four layers of instruments with independent, corresponding, video objects.

Since 2019 I have been composing animated graphic scores for ensembles and soloists. Examples include collaborative works like Parking Ramp Project or SYNTAX, solo pieces like Rhodonea. These generative works are projected for both the performers to read and audience to experience. I write the software that generates and animates geometric forms, and then establish rules on how the forms are read, whilst allowing improvisation and the emotional response of the performer to play an integral part in each piece.

Gradient Noise, written using the Processing.org language, translates values generated by the Perlin noise algorithm into independent layers of seamless loops repeating at variable intervals. These loops are visualized as geometric forms, abstract visualizations, and evolving structures. The data generated is aleatoric, but the values can be tuned to range between slowly moving gradients or rapid, angular forms. When the sound and visuals are synchronized I respond not only to the animation but also to the changes in the timbre of my instruments."

Follow-up to this post.

GRADIENT NOISE Coming to ICMC 2026

Gradient Noise: Work in Progress with Dirtywave M8 and Processing.org
video upload by John C.S. Keston

https://audiocookbook.org/gradient-noise-at-icmc-2026/

"I'm pleased to announce that I will be performing the world premiere of my piece Gradient Noise at the International Computer Music Conference (ICMC) in Hamburg, Germany on May 11 at 9:30pm. The following video except represent the work in progress. The final piece will be 10 minutes long and contain up to four layers of instruments with independent, corresponding, video objects.

Since 2019 I have been composing animated graphic scores for ensembles and soloists. Examples include Parking Ramp Project, SYNTAX, and Rhodonea. These generative works are projected for both the performers to read and audience to experience. I write software to generate and animate the geometric forms, and establish rules on how the forms are read, whilst allowing improvisation and the emotional response of the performer to play an integral part in each piece.

Gradient Noise, written using the Processing.org language, translates values generated by the Perlin noise algorithm into independent layers of seamless loops repeating at variable intervals. These loops are visualised as geometric forms, abstract visualizations, and evolving structures. The data generated is aleatoric, but the values can be tuned to range between slowly moving gradients or rapid, angular forms. When the sound and visuals are synchronized I respond not only to the animation but also to the changes in the timbre of my instruments.

Through Gradient Noise I am rethinking the relationships between musicians and machines. By translating the properties of n-dimensional Perlin noise into a musical language, the piece presents a unified ecosystem with coordinated timbres and geometric forms. Thus generating a living environment that requires active participation and improvisation. Ultimately, the work presents a contemporary model for computer music where the performer does not simply follow a score, but negotiates a path through a responsive, multi-sensory experience.

More on AudioCookbook.org:
https://audiocookbook.org/gradient-no...

ICMC Official Conference Website:
https://icmc2026.ligeti-zentrum.de

Audio in this video entire produced using the Dirtywave M8 tracker:
https://dirtywave.com/"