"The K102E is a digital compound oscillator rooted in our original “Island Synthesis” philosophy.
2 independent digital cores are blended via Phase-Modulation, Cross-Fade, or Additive Mix to create dense, animated harmonics—all in a compact Eurorack module.
The K102E is a digital compound oscillator module developed based on the unique "Island Synthesis" philosophy.
Features
3 independent oscillators for rich sound generation
Stable oscillation and diverse wavetable synthesis achieved through DSP processing by microcomputer
Two main oscillators (A/B) function similar to typical complex oscillators
Selection from 3 synthesis methods (phase modulation, multiplication, crossfade)
Hard sync and detune functions
8 types of waveforms following 80's wavetable synthesizers
Reading position controlled by harmonic specification index
Third oscillator (C) functions as an auxiliary oscillator
Selection of any frequency from low to high
Can be used as an LFO or cross-modulator
External control interfaces include standard CV inputs with octave/volt control, CV control for harmonics (wavetable read position), and CV input for alpha parameter of waveform synthesis
"Here's RIPSAW from Acid Rain Technology which offers 56 oscillators across a stereo shape morphing 4 voice polyphonic oscillator module. From super saws to super squares with new hard sync shift tones (new over the previous Chainsaw module) and now with 4 voices. Join us in exploring the sound, features, creative applications and ways to musically articulate 4 voices in a range of different approaches."
The Sequential Take 5 desktop module brings the legendary Prophet-5 sound to your mix, featuring the analog oscillators and filter that transformed electronic music. Compact and powerful, it fits seamlessly into any studio and is easy to transport for live performances. Modern effects and a powerful modulation matrix deliver sounds to transport you.
Soundtrack exclusively by Take 5. Yes, even the drums! Composed by Peter Dyer.
"The Take 5 and Teo-5 from Sequential and Oberheim make fantastic desktop units. They feel like they were made for this form factor - no compromises, simply great sounding synths in a high quality enclosure. The keyboard versions may have felt lacking in keys (even though they have a great keybed) - just a bit too short for some. I found it was quite handy having one that could fit on my rack! But with these the only decision you have to make is which one is best for you.
Luckily I'm here to confuse you further (they both sound great)! The decision will be whether you prefer the Oberheim or Sequential style of VCO programming, the filters, and the X-Mod/FM. And these just so happen to be the bits I look at in this :)"
0:00 Whoo Hoo!!
2:36 The Hardware
4:37 Quick Overview - What Are They?
6:58 Oscillators
10:20 Sync
12:31 Filters
21:08 X-Mod/FM
Press release follows:
Take Your Music to the Next Level with the Sequential Take 5 Desktop Module
San Francisco, CA – [July 1, 2025] – Sequential, a leading innovator in synthesizer technology, today announced the release of the Take 5 Desktop Module, bringing their legendary analog sound to a more compact and accessible form-factor.
Building on the success of the Take 5 keyboard, the desktop module offers the same powerful analog oscillators and filters that capture the iconic warmth and depth of the Prophet-5, enhanced with modern modulation and digital effects. The module delivers this sought-after sound in a space-saving design, perfect for studio setups and live performances where portability and efficiency are paramount.
"Ever since we launched the Take 5 keyboard, we’ve gotten repeated requests for a desktop module version, " says CEO David Gibbons. "And more recently, it seems that modules have really shot up in popularity. So, we're very excited to offer the Take 5 sound in a format that everyone seems to want."
The Take 5 Desktop Module provides the same hands-on, knob-based experience as its keyboard counterpart, allowing for intuitive sound design and real-time parameter adjustments. Users can delve deep into sound creation with controls that are simple and direct, making it fast and easy to polish your sound.
This synth fits perfectly in smaller studio or bedroom setups, and is easy to transport for live gigs, positioning The Take 5 desktop module to bring its signature Sequential sound to a wider audience than ever before. It's an instrument designed to make life easier and streamline the journey to making music and having fun.
The Take 5 desktop module is available now, with a US MAP price of $1,399.
"kNoB technology presents an updated and improved Eurorack VCO module ηCarinae 2 Our second ray of light during a dark time
The ηCarinae 2 is a fully analog tzfm oscillator (tri-based). The concept behind the creation of ηCarinae was to develop a generator with multi-level wave shaping and transformation, allowing not only smooth selection of the base waveform but also modification of the waveform itself in order to expand the available timbres. 7-level waveforming= simple form + form shaping + sub osc + "sine+" + FM + selfpatching + Ring mod 5 basic waves (Tri, Sine, Saw, Double saw, Square PWM) and white noise with vactrol LP filter Wave folding for sine and triangle waves SAW and Double SAW, both with Smooth saw ramp shaper (Rise to Fall) Two SUB OSC f/2 + f/4 with CV level control in main mix Hard and Soft sync 2x LFO modes SINE+ mode for mixing simple waveforms with a folding sine wave Pure analog design in every part of the module LIN, EXP, TZFM, TZPM, RING modulation possibilities
Time sections: 00:00 Hello 00:09 Bla Bla 01:08 Small demo 03:22 Review of controls 05:40 Review of connectors 07:41 Review of touchpads 08:01 WAVE and PWM|S + waveshaping 09:49 WAVE and PWM|S and Sine+ mod 10:50 WAVE and PWM|S + modulations 11:49 SUB OSCs 12:43 Synchronization 13:37 FM modulations 14:27 TZFM modulation 16:09 TZPM modulation 18:01 Exponential FM modulation 19:01 7th lvl of waveshaping RING MOD 20:54 RING MOD + TZFM 21:57 VCO to LFO: How to drop the frequency lower than the octave selector allows? 22:32 Demonstrations: Simple to Complex timbres 27:20 Organ-like patch (5oct) 31:44 Drone and Noise"
"Earlier this year at Superbooth, Adamsynths unveiled the Warthog: our total recall analog modular synthesizer.
We had tons of interest and loads of great questions from you — and now we’d love to answer some of the most common ones right here.
Is the Warthog a pre-assembled desktop synth, or a fully modular one I can customize?
Great question! The Warthog is a true plug-and-play analog modular synth. You can choose the modules you want, arrange them how you like, and build a setup that suits your workflow perfectly.
Can I use modules from other manufacturers in the Warthog?
Absolutely. The Warthog case supports standard Eurorack power. Just keep in mind: the RECALL feature only works with official Warthog modules.
Can I put Warthog modules into my existing Eurorack case?
Yes, you can — BUT. Because of the RECALL feature, the Warthog uses a different power and communication system than the usual 16-pin ribbon cable found in most Eurorack setups. That said, we’ll make sure all Warthog modules (and any necessary accessories) are also available separately, without the case.
Can I use Warthog modules together with my current modular system?
Of course! The Warthog fully follows Eurorack standards for all signal connections. It uses the same V/OCT control, and its GATE, TRIG, SYNC inputs and outputs are 5V compatible. Just a reminder: RECALL functionality only works with Warthog modules.
Why are some outputs on the CENTRAL UNIT labeled “D” for digital?
We know this caused a bit of confusion at Superbooth 25. Here’s the deal: all CV outputs are fully analog and operate in ranges like -5V to +5V or 0V to +10V. The “D” outputs — short for “digital” — are used for GATE, TRIG, SYNC, START/STOP, or RESET signals. We call them digital simply because they have two states: ON or OFF, i.e., 0 or 1.
When will we get more detailed info about the Warthog’s specs?
We are working on it! The full technical documentation will be available on our website soon. We will notify you in a newsletter as soon as it is available.
And the big one — when can I pre-order the Warthog and how much will it cost?
Right now, our team is working hard to finalize pricing and prepare for production. There’s still some groundwork to cover, but we’re doing our best every day to get the Warthog into your hands as soon as possible. Hopefully, we’ll be able to share more very soon."
"The 'Pip Filter' is a compact 4HP voltage controlled 2 pole low-pass filter with resonance and built in VCA. Here we take a look at all the features of the module.
The filter cutoff is controlled via both knob control and dual CV inputs with a built in attenuverter. Resonance is manually controlled and will reach into self oscillation with rough V/Oct tracking. A trigger input allows the filter to be pinged for percussive plucked type sounds. Finally, a built in VCA (normalled open) allows for additional independent amplitude control of the filtered signal.
The “Pip Filter’ provides a classic lowpass filter sound in a small form factor with many useful features for sound sculpting."
"The 'Pip LFO' is a compact 4HP all analogue low frequency oscillator with a wide frequency range, voltage control, numerous outputs, reset input and a VCO mode. Here we take a look at all the features of the module.
The frequency of the Pip LFO is set via a manual control and voltage control input. The module features a unipolar square wave output along with both bipolar and uni-polar triangle, saw and sine waveform outputs. When VCO mode is activated, the frequency jumps to audio range and will track V/Oct for approx 5 octaves. A reset input allows the LFO waveform cycle to be reset and produces hard sync functionality in VCO mode.
The Pip LFO’s compact design makes it easy to add a modulation source and an analogue voice into any system."
"The electricity of live manipulation breathes through every sequence as MSTRBLSTR transmutes the raw essence of the TR-606, MC-202, and TB-303 into a sonic incantation. Alchemical is transformation in motion: analog breakbeats pulse with crackling percussion, acid squelches growl and evolve, and rhythms dissolve and reassemble like matter through fire. The bassline becomes the bedrock of energy, conjured live in real time.
Credits Released May 29, 2025 Programmed, performed, mixed, and mastered by MSTRBLSTR at Ill Acid Additional drum programming: Severed Machines (https://severedmachines.com)
Hardware:
Modified Roland TR-606 (Robin Whittle mods)
Din Sync RE-303
MC-202 w/ Tubbutec 2oh2 mod
Mixers: Boss BX-8, Alice 1228, Boss KM-4
FX: Tapco 4400 spring reverb, TC Nova Reverb & Delay, Korg SDD-1000/1200
Compression: BSS DPR-402, DOD SR-866
DAW: Ableton Live
This is the same setup I used on From Deep.
Backstory I brought my TR-606 to Ramiro at Severed Machines to install a few long-desired mods: switch replacements, a louder BD via resistor change, and Robin Whittle’s Accent Trigger and post-volume individual outs. He left in a few patterns, including a breakbeat variation that really hit me. That inspired the synth parts. Next thing I knew, I was performing and recording the full track.
Recording Notes I treat mixers as modular routers. For Alchemical, the Alice mixer’s direct outs went straight into my interface, while the Boss BX-8 worked as a submixer for overdrive and tone shaping. I panned certain tracks hard L/R into separate buses, then re-centered them on different mixer channels. I have owned many delays while the Korg units are among my favorites, the TC Nova is often a go-to for synths: it sounds great, has nice filters, tap tempo, and my favorite feature, easily accessible time divisions Protip: a buffered pedal in front helps them sound better. The Nova reverb is also very playable and has a dynamic ducking mode that helps it get out of the way, if that's what I need.
In post, I swapped the TR-606 kick for a TR-808 sample in Ableton - it just gave the track the weight it needed. There’s also a lone TR-808 clap halfway through. Other than that, what you hear is live with only some minor edits and additional processing.
The Accent Trigger mod alone is worth it - it adds great performance potential. Robin credited the fix to me, but Ramiro deserves most of the credit. Robin's individual outs (post-volume pot) offer superior performance control and gain staging flexibility compared to the more common pre-pot version."
"ROM switcher boards and third-party sound ROMs are nothing new as far as the E-mu Drumulator is concerned – in fact both were available while the machine was current. JL Cooper Electronics and others made 3-kit boards, and Digidesign (who later became Avid) got their start producing alternative sound ROMs for the Drumulator under their original name of Digidrums. That said, while the various alternative ROM sets are easy to come by these days, ROM switcher boards are not, and without one it’s a total pain to keep swapping chips in and out as you have to take out 8 screws on the underneath of the thing, lift off the lid, swap 5 chips over and put it all back together again.
8 Kits
I wanted a modification very much in the same style as my TR-707 ROM expansion board, with a number of kits that you can instantly switch between. As with that project, this is done without the need for any additional switches and instead uses a microcontroller to snoop on the front panel switch matrix. Kits are selected by holding down one of the bottom row of buttons marked 1-8 and pressing the ENTER button. The selection is remembered when the Drumulator is powered off too.
The Drumulator’s sounds are stored across 4x 16kB ROM chips, although they form one continuous region of memory. Thanks to this, and due to the way that they’re selected, it’s really easy to replace all four with a single large capacity chip. The 512kB flash ROM that I used can hold 8 kits worth of sounds, which works out nicely as that’s the stock sounds plus 7 of the Digidrums kits, including the famous Rock Drums kit:
Stock kit Digidrums Alternate Drum Set 1 Digidrums Electronic Drums 1 Digidrums Electronic Drums 2 Digidrums Rock Drums Digidrums Jazz Drums Digidrums Latin Percussion Digidrums African + Misc Percussion Because each kit also has a corresponding modified program ROM (as the length of sounds, locations in memory and channel assignments are all hard-coded into the Drumulator’s firmware); the D8KM board also has an EPROM which contains the relevant OS for all 8 kits, and is connected to the Drumulator’s OS ROM socket with a ribbon cable. Fortunately the Drumulator doesn’t care if the OS ROM changes while the machine is running as long as they’re all the same version, which they are – ‘P3.00’, the final version.
MIDI
I chose also to include MIDI functionality as part of the upgrade, as most Drumulators don’t have it. E-mu did offer a retrofit, which has been cloned over the years, but it’s very basic and only does MIDI notes. The D8KM board on the other hand also offers the ability to sync the sequencer to incoming MIDI clock. Just set the Drumulator to external clock and if MIDI clock is available, it will automatically override the external clock signal and will also start and stop playback. If MIDI clock is not available the Drumulator will use the external clock signal as normal, including for the tape loading functionality."
"The triple featured Oscar Tria offers regular waveforms, swarming oscillations and polyphonic chord modes within a Eurorack, CV-controlled context. The stereo format offers some lovely detuning and there's some superb morphing between the waveforms. It's built on a digital platform but has a very analogue sound and workflow. Let's get into it."
"Oscar Tria packs a lot of VCO into 10HP. There are three main modes described below.
Green Mode: A ‘traditional’ stereo oscillator. In Green Mode you get the usual three waveforms – saw, triangle and square (with variable pulse width, of course) but you can continuously vary the waveform between the three. For instance, by turning the waveform knob to be just to the saw side of triangle, you get a sound very much like the Minimoog’s ‘shark tooth’. Green mode also gives you a square wave sub oscillator – one octave below the main oscillators – and a sub sub, two octaves below. Oscar Tria is stereo, of course, so you can detune one oscillator for a rich stereo image – or sum the two outputs to mono and you have two oscillators with two subs, for a BIG sound. Green mode also features through zero FM, and hard sync.
Yellow Mode: Super-saw! And super-square! And super-triangle! With a sub (of course). Yellow mode allows you to control the number of oscillators making up the super-whatever, from one (not really super) to 24! Again, being stereo you get up to 12 oscillators in one channel and 12 in the other. Add the sub for a HUGE sound.
Orange Mode: This is a chord engine, with 20 selectable chords. There are controls to select which chord you want and how many notes are played (over two octaves). CV control allows you to set pitch and chord independently, so you can set up a polyphonic sequence, for instance. Again, the output is stereo with detune control of one output."
Click CC at the bottom of the player for subtitles.
"Magnolia will be an 8-voice analog through-zero FM synthesizer, which we built to create sounds from the modular world through a classic keyboard interface.
Waveshapers, wavefolders, and, most importantly, analog linear through-zero FM unlock every sound associated with the 'West Coast' synthesis world. But that's not all! Fat resonant filters and powerful analog oscillators allow more traditional subtractive synthesis sounds as well.
A vast and flexible modulation section encourages complex patches with the twist of a knob, but it is always easy to keep track of what's going on thanks to LEDs on every source and destination. An arpeggiator and a sequencer complement the machine.
We are announcing and showcasing two pre-production units. We aim to release the final version at the end of summer, and it will show some differences. It may have a more refined interface, it will feature digital effects, and some of the features currently under evaluation may disappear.
We've been working on it for the last year, and we're eager to show it to the world!"
Follow-up to this post where you'll find additonal pics.
Update: press release follows:
Frap Tools to take on high-end keyboard synthesizer market with ‘West Coast’ MAGNOLIA making its public debut at SUPERBOOTH25
MEDOLLA, ITALY: Frap Tools, hitherto known as a manufacturer of Eurorack modules and accessories alongside professional audio compressors in the 500-Series format, is proud to venture into the world of high-end keyboard synthesizers with its introduction of MAGNOLIA — announced as an 8-VOICE ANALOG THRU-ZERO FM SYNTHESIZER built to unlock every sound associated with ‘West Coast’ modular synthesis through a classic keyboard interface — anchored around showcasing two pre-production units at SUPERBOOTH25, May 8-10, FEZ-Berlin, Germany…
As an 8-VOICE ANALOG THRU-ZERO FM SYNTHESIZER, MAGNOLIA unlocks every sound associated with the so-called ‘West Coast’ modular synthesis world with waveshapers, wavefolders, and, most importantly, analog linear TZFM (Through-Zero Frequency Modulation) Indeed, its intentions are made clear from the outset by the on point wording worked tastefully into its (initial) top panel design. No need to necessarily remain there, though, for fat resonant filters and powerful analogue oscillators also allow for more traditional subtractive synthesis sounds. And although a deep and flexible modulation section encourages complex patches with the push of a button and twist of a knob, switching modulations on and off with the TOGGLE function, it is always easy to keep track of what is going on thanks to the inclusion of LEDs (Light-Emitting Diodes) on every source and destination.
Digging deeper, MAGNOLIA features eight analogue voices with two oscillators — carrier and modulator — and 24 dB/oct resonant HIGH-PASS and LOW-PASS filters; the carrier oscillator has a through-zero core for precise, sideband-rich analogue FM (Frequency Modulation) sounds, so crystal-like pads to growling basses are available to all with the greatest of ease, while FM can be applied to the filters. Furthermore, sculpting sounds that have not been heard before on analogue polysynths are now perfectly possible, thanks to MAGNOLIA’s unique signal flow — think continuously variable waveform shapes and a wavefolder circuit per voice!
Those two oscillators are derived from Frap Tools’ BRENSO (https://frap.tools/products/brenso/), a Euroack module readily representing its creator’s primary analogue source of articulated waveforms whose degree of entanglement can be precisely set by the musician. MAGNOLIA’s Oscillator 1 is the ‘West Coast’ one with TZFM, wavefolder, and FLIP SYNC, while Oscillator 2 is the ‘East Coast’ one, with PWM (Pulse Width Modulation) and fine-tune. Whether wanting experimental FM sounds or punchy synth brass, they are always at anyone’s service. Speaking of Frap Tools’ unique modular soul, MAGNOLIA’s filter section is derived from CUNSA (https://frap.tools/products/cunsa/) — itself a quadruple analogue ping-able multimode resonant filter, saturator, mixer, and oscillator, no less!
Musically, MAGNOLIA sports a keyboard from fellow Italians FATAR, with polyphonic aftertouch capabilities for enhanced expressiveness, while a per-part ARPEGGIATOR and per-part 16-step SEQ (sequencer) serve to creatively complement the synthesizer still further. Features briefly worth drawing attention to here by way of ending on some more high notes include MAGNOLIA’s bi-timbral programs (with SINGLE, MORPH, DUAL, and SPLIT MODES); all-analogue signal path; three loop-able DAHDSR (DELAY, ATTACK, HOLD, DECAY, SUSTAIN, and RELEASE) envelopes; three digital LFOs (Low Frequency Oscillators); and 512 preset memory slots.
Anyone attending SUPERBOOTH25, May 8-10, FEZ-Berlin, Germany can get up close and personal with two MAGNOLIA pre-production units by swinging by Booth B049 there. Their creators will be showcasing them personally, eager to show the results of their hard work, while providing a passionate warm welcome. Frap Tools aim to release MAGNOLIA as a production product by the end of summer, albeit with some differences evident by then. The interface will likely be more refined, featuring digital effects, while some features currently under evaluation could conceivably be removed."
"Just got turned onto these cool modules from Infinite Machinery which is located here in my little town. Really digging them. Enjoy these brief test drives."
The Infinite Machinery Hexa VCA is a 6 channel VCA with DC coupling and a unique normalization function. All in 12 HP
Signal inputs are DC coupled. CV input response, 0 to +5V
Maximum amplification is unity gain, or 1.
Channels with no CV input will have CV normalized to the CV of the channel above. This cascading of CV values is defined in two groups, channels 1 - 3 and 4 - 6.
For example: If CV is patched to channel 1 and no CV patched into channels 2 & 3 - Channels 2 & 3 will follow the CV of channel 1.
Patch CV into channel 2 and nothing into channel 3 then channel 3 will follow the CV of channel 2. The same hold true for channels 4 - 6, with 4 being the start of the CV cascade.
"4/22/25 ElectroComp EML 200 + Synthetic Sound Labs 1660 + Analog Craftsman acVOKs + STG muSonics Vanilla Envelope + General Radio 1564-A + Blue Lantern Gate Sequencer + Soundforce S-LD + DSP 808 + Alesis MIDIVERB II + Peavey 1300
Testing out a used Soundforce S-LD module we just got. You can hear the cowbell and the maraca (there’s a switch on the back to choose the Linn toms or percussion). The other percussion is from the DSP 808 module, which is a similar sampled sound module, but with pitch control and voltage controls. The synthy kick drum is the General Radio 1564-A processing the S-LD kick drum. Its VU meter looks like it’s out of sync, but it’s just slow and getting pinned hard. The two drones that build up are from two ElectroComp EML 200 synthesizers. The synth lines are Synthetic Sound Labs 1660 The Matrix Algorithmic Composer through the Analog Craftsman acVOKS filter into the STG muSonics Vanilla Envelope. The reverb is preset 10 on the Alesis MIDIVERB II."
Caveman Modules is a collaboration between Michigan Synth Works and Neutron sound focusing on affordable, quality modules with unique features and functionality. Caveman Modules are designed to be simple to use and are perfect for musicians just breaking into the eurorack world while still offering higher level functionality for more advanced users.
Check with dealers on the right for upcoming availability.
The Launch Line-Up:
30SC: A voltage-controlled oscillator inspired by the legendary Roland TB-303 with square, tri, and 2 saw outputs. 3OSC also features an innovative hard sync input for chaining multiple units and an FM modulation attenuverter.
Specifications
• Width: 6HP
• Depth: 25 mm
• Current Draw: +12 V: 6mA, -12 V: 6mA
• Price: US$100
"On The Run" de Pink Floyd avec un clone amélioré du module SEM d'Oberheim, fabriqué par NRSynth, une lutherie éléctronique made in France #pinkfloyd #ontherun #oberheim #sem #NrSynth
2. Tangerine Dream Intro "Ricochet Part 1"
Le module SEM de NRSynth est vraiment parfait pour reproduire l’intro de « Ricochet Part 1 » de Tangerine Dream. https://nrsynth.fr
3. Module SEM NrSynth Démo 1
00:00 Midnight Express
00:57 Star Cycle
01:41 Dervish D.
02:06 Stranger Things
02:44 Il était une fois le Prophet
4. Module SEM NRSynth Démo 2
00:00 Basse 1
00:13 Basse 2
00:26 Fun For Me
00:38 ABACAB
00:54 Welcome To The Machine
01:24 Caverne
02:33 Tange FX
02:49 Chinox
03:04 Percox
5. Tangerine Dream « Monolight (Part 2) » With the Sequential Prophet 6 & Korg Kronos
Oberheim Legacy: In 1974, Tom Oberheim imagined a small synth as an accessory to his DS-2A digital sequencer. But it was Dennis P Collins, a gifted ARP engineer, who designed the multimode filter of the Synth Expander Module (SEM). This unique filter is a 12 db filter that cannot deny its lineage with the ARP 1047 (ARP 2500) and ARP 2023 (white Odyssey MK1) filters, 12 db filters also designed by Dennis P Collins. With two very fat VCOs and a devastating sync (also close to the Odyssey VCOs), the small SEM offers a powerful sound, very present in the mix and very different from Moog and other synths with 24 db filters. So despite its simplicity and a filter that does not enter self-oscillation, we can get a lot of sounds out of it. Accessible and easy to use, the SEM is a success. In 1975, Tom paired first two, then four, into a huge keyboard case, creating the first "true" polyphonic instrument in history, the "Four Voices." In 1976, the SEM was even expanded to eight. Nicknamed the "White Elephant," its sound was as enormous as the instrument itself! But in 1978, the brilliant Prophet-5 made it obsolete, and Tom designed the OB-X, whose channel cards were also clones of the SEM. Subsequently, the OB-XA and OB-8 used Curtis chipsets and no longer had quite the same sound. In 2010, Oberheim reissued the SEM identically, but with all surface-mount components. In 2011, the SEM PRO added just a MIDI interface.
NRsynth "Solo": This is an "extended" version of the SEM, handcrafted with traditional through-hole components. Only the envelopes have been modified for a punchier result; the rest is identical to the original synth. Additionally, the Solo features a sub-oscillator, a glide, white noise, and many more modulation options than the SEM. MIDI velocity is also supported. Finally, the white metal case gives way to a luxurious, classically crafted cabinet with waxed oak sides and black tolex, similar to a Marshall amp.
A patchbook of all Séraphin Palmeri's sounds is included with the device.
Specifications:
VCO: Two discrete VCOs with hard sync, saw, pulse + PW (same as SEM)
Sub-oscillator: Pulse wave – 1 octave below VCO1.
Noise: 100% analog white noise
Multimode 12 dB filter: Same as SEM with LPF, HPF, notch, and bandpass mode. VCA: Analog (same as SEM)
LFO: Analog, triangle wave (same as SEM)
Envelopes: Analog (same as Pro-1) with deactivatable "Release".
Digital LFO: 8 waveforms + tilt, 3 frequency ranges, sync.
Sample and Hold: Analog, sync.
Glide: Analog portamento circuit at the input.
Patchbay: 15 I/O points on 3.5mm jacks (Eurorack compatible).
Rear Connections: Audio I/O and sync on 6.35mm jacks. Reset button.
Dimensions: 30x24x15 cm
"There isn’t another filter in the world that sounds like this filter, and there are two of them. The oscillators sound pure and lush. This baby is fully duophonic, or you can treat it as one beastly four-oscillator monosynth (that’s what I did), either way the sound of this synth is unique.
The keybed is a very nice semi-weighted Fatar, between that and the versatile sequencer (which can be transposed by the keyboard as it plays) it really is a players synthesizer.
VCO2 from SEM2 needs to be scaled as it does not track pitch correctly within a few semitones of the tuned note. A temporary workaround is to hard sync VCO2 to VCO1 but leave the tuning in the same range, this makes it playable in tune."
"In this video, we dive into the key features introduced in the latest 2.10 update of Hapax OS.
HapaxOS 2.10 January 23, 2025
Features Fine-tune note length (hold a step with a note inside, click encoder, then rotate to edit the length) Pitch of drum events can be transposed (hold a drum event, and transpose it) Mono editing mode (in a POLY track, press 2ND+TRACK and enable MONO) REC hard quantize (in REC settings, enable the quantize and hold+rotate this encoder to select if you want to keep the note OFF position, or keep the note original width) STEP-INPUT REC mode (SH101 style) (press LIVE+STEP to enter this mode) New ALGO: Shuffle (randomly rearrange notes in several ways) FX Arpeggiator : new hard-sync mode FX Randomizer : new parameter "base chance on note velocity" Looper: auto-length can be set to 1 step (in addition to 1 bar) Autom mode: when holding a step to edit its value, you can now reset the value to default by holding the encoder Chord Mode: modifiers saved per track Chord Mode: pressing a modifier retriggers the chord Chord Mode: Relatch mode added New SETTING : pedal = BPM New SETTING : cv out type = HZ/V New SETTING : default PATTERN TRIG mode (FREE or RESTART)
"I pre-ordered the CPM DS-2 a year ago and they're now available and it just came in today. Here I unbox it and demonstrate some sounds I made with it."
0:00 Unboxing
2:19 Bella inspects the new synth
2:47 ASMR!
4:02 First sounds
5:30 Oh hi, Bella!
5:58 Bring in 2nd drone
6:43 Delay
7:05 Reverb
7:33 More droning
8:39 Patching PWM and feedback
10:04 Hard Sync
10:53 Some more droning
Feature Rundown w/ Robots Are Red video upload by SetonixSynth
"In this video, Brian aka Robots Are Red breaks down the unique control scheme of the new SkyWave Segmented VCO with audio examples that demonstrate its raw harmonic power."
The SkyWave is an all-analog voltage controlled oscillator capable of producing many different timbres and unique harmonic behaviors, thanks to an original step-based control scheme which allows the user to dial in completely different wave-shapes and levels for successive oscillator cycles.
The SkyWave uses an internal feedback loop with the clock output of the oscillator triggering a step sequencer which in turn cycles through settings at the frequency of the core oscillator, thus changing the shape and level of the waveform output on a per-cycle basis while also staying in tune and tracking pitch like a typical VCO.
SkyWave Features:
-Complex analog oscillator in 14hp -Unique “segmented” behavior -Variable level and waveshape with full CV control and PWM -Unique “SkyWave” output with sequential waveform control -Selectable # of steps, clock input and reset for step sequencer -Audio or LFO output frequency range -Additional Sine and Clock waveform outputs -TZFM/TZPM, 1V/Octave and Hard Sync inputs -Clock division and per-step CV control via Scaffold expander
