"A short musical example with B.A.C.H., a generative Eurorack module.
Here, B.A.C.H. is used to build a polyphonic fugue, with several voices developing and interacting over time.
B.A.C.H. was designed to explore generative composition, counterpoint, repetition and evolution (without trying to replace the musician!)."
B.A.C.H. generates melodic, harmonic and rhythmic structures in real time. At each clock pulse, it determines the activity of the four tracks, along with their pitches, durations and dynamics. The result is shaped by the selected compositional language and the constraints defined by the musician.
The module controls a modular system directly through its Gate, Pitch and Mod outputs. It can also control MIDI synthesizers and sound modules. Each voice has its own configurable MIDI channel.
Twelve compositional languages FUGUE constructs a multi-voice exposition from a subject, answers, a countersubject and episodes.
CANON develops a leading line through imitation, transposition, delay, contrary motion, retrograde or augmentation.
PROBA uses Markov chains and several transition vocabularies to produce directed randomness.
TINTINNABULI combines a melodic voice with voices whose notes are drawn from a triad or the current chord.
MINIMAL applies gradual processes of phase shifting, addition, substitution and hocketing.
"This video showcases my software recreation of the legendary Waldorf Wave—a hybrid wavetable synthesizer known for its huge digital oscillators, analogue filters and unusually complex hardware architecture.
The project is built in C++ using JUCE and is available as a standalone instrument and plug-in. Rather than simply making a modern synth that sounds similar, I’ve tried to reproduce the structure and behaviour of the original machine.
The emulation models:
• The Wave’s 250 kHz, 8-bit time-multiplexed wavetable oscillator system • Signed mixer overflow—including the characteristic Waldorf “ASIC Mix Bug” • Digital 12 dB high-pass filtering • CEM3387-style reconstruction filtering, resonant four-pole low-pass filtering, VCAs and panning • 12-bit stepped control voltages, sample-and-hold behaviour, saturation, noise and output coupling • Three independent 16-voice WDV boards, matching a fully expanded 48-voice Wave • The original 480 × 64 monochrome LCD and front-panel workflow
The instrument can also run authenticated Waldorf Wave OS 1.700 firmware. An emulated 68000 CPU executes the original main operating system, while a second runtime executes the genuine WDV voice-board program. Their shared-memory communication, voice-update masks, semaphores and hardware-register writes are reproduced and traced inside the model.
The oscillator ASIC itself remains undocumented, so its internal operation is represented by a behavioural model based on the Wave’s published architecture, firmware activity and known hardware characteristics. This is therefore an ongoing reverse-engineering and preservation project—not a claim of perfect, bit-exact emulation.
Waldorf and Wave are trademarks of their respective owner. This independent project is not affiliated with or endorsed by Waldorf Music.
"Sometimes music has this magic healing power. While making this one I was reflecting a lot on the small beautiful moments of life we often overlook while we are busy with other stuff. I felt more grounded and inspired me to be more present, more aware. Right here, right now.
Patch notes:
I have tweaked a little bit my Palette case again. Zadar was not right for this build so I swapped it for Pamela's New Workout from my bigger case. As the FX was being used as a filter I then decided to bring back the Shakmat Dual Dagger to this case. I love this build so far.
This is my first time with Ornaments and Crime module. It always looked a bit intimidating with all the various modes, but for now I focused only in one (Acid Curds) which is the perfect pair for Saich. It sends 4 note chords to the 4 V/oct inputs of Saich creating these beautiful chords. To add more interest I have Saich in arp mode, modulated with an LFO from PAMS at a different subdivision than the chord sequence. This way pseudo-generative melodies are created. I was improvising changing the subdivision of the arp within Pams.
Then there are Mimeophon and Arbhar providing ambience to the track. Mimeophon is the delay and reverb for the Saich part and in the outro I looped a bit and improvised within the module. It is very performative, it is my favorite part of this module.
In Arbhar is just a simple sample of my kids playing with some instruments and there is a triangle hit in the middle that sometimes pops out in the mix. This element, despite being subtle, is what brings the emotional depth to this piece in my opinion."
Utterly Terrifying Choir - WALKTHROUGH video upload by CROW HILL
Press release follows:
The Crow Hill Company announces availability of CHILDREN’S CHOIR, crafting terrifying sounds from school-age children to deliver broad spectrum of timbral possibilities
EDINBURGH, UK: The Crow Hill Company is proud to announce availability of CHILDREN’S CHOIR — crafting terrifying sounds from a school-age troupe of boys singing with just the right amount of ‘beautiful menace’ and an ability to be creative while working with the Edinburgh-based enterprise in support of delivering an instrument based around an expertly curated sample-set with a broad range of timbral possibilities designed by media composers with other media composers in mind — as of September 21…
Asked about the task of crafting CHILDREN’S CHOIR, The Crow Hill Company co-founder and media composer Christian Henson has his tongue not entirely out of his creative cheek in response, resurrecting the famous showbiz warning usually credited to American comedian W.C. Fields, effectively, by way of opening: “Never work with animals and children! So what’s this going to be like? Getting kids to be slightly demonic, evil, scary… they love it! And they totally seem to get making it so pretty that it’s scary. So we thought we’d try and nurture that spirit in a children’s choir library designed particularly for media composers — people who write for film, TV, and computer games. Why are these guys going to be wanting to use a children’s choir? Maybe there’s something set in a boarding school, maybe there’s something slightly choral and religious, but, more times than not, something unsettling is needed, and that’s where we’ve gone with this one. There are limits to how long children should be asked to perform. So, we thought we’d use the time thoughtfully, curating a selection of singing styles that capture this spirit. As opposed to giving you yet another library with ‘AAs’, ‘EEs’, ‘Ahs’, ‘Ohs’, and ‘MMs’, etcetera, AHOH, OHEH [and many more singing styles are available using the EXPRESSION wheel]. There’s some lovely WAVERING stuff where the pitch centres change. They sound great and scary when you cluster up, but on their own — or just a couple of notes — they have all sorts of childlike menace. There’s terrifying RISES and FALLS. And we’ve got a whole bunch of SHORT [singing styles].
00:00 Overblow – Night Slave (SC-88Pro)
00:25 Myth – SC-88 Demos (SC-88)
01:26 Departure For Space – Gradius (MIDI Power Pro 5) (SC-88Pro)
02:40 Stellar – HaruMKT (POWER! SC-55) (SC-55mk2)
04:14 Within End's Reach – MelonadeM (SC-8850)
05:56 Plok! Breezy Beach – HaruMKT (SC-8850)
07:19 DANCE II – Idecs Hyper Groove (SC-88Pro)
08:46 WALL FIVE MIX – SC-8850 Demos (SC-8850)
09:59 Embarrassment – Policenauts (MIDI Power Pro 3) (SC-88Pro)
11:07 Jazz & Fusion 2 – Idecs Hyper Groove (SC-8850)
12:04 Six and Seven – Theme Hospital (SC-88)
13:23 passport.mid – Windows 3.0 (SC-88)
Thanks to HaruMKT and MelonadeM for contributing with their compositions!
All the emulators are original work by TUS, except the SC-55 emulation core which is originally based on the work of NukeYKT."
"88Emu emulates the hardware inside most Sound Canvas modules and related earlier sound generators, used for retro gaming and DTM. It runs the original firmware on emulated CPUs and sound chips, including the firmware’s instrument selection, voice allocation, effects, MIDI handling and front-panel behavior. You supply the ROM images; they are not included.
88EmuPlayer is NOT a DAW-compatible plugin, but instead a standalone application for playing MIDI files and using those devices from a MIDI keyboard, sequencer or game. 88EmuCli uses the same emulation to render files to WAV offline using a command line interface, without having to wait for the song to play in real time."
"RAVIK is an eight-voice drum synthesizer from Våld Labs, built for everything from focused electronic drums to metallic, resonant and unpredictable percussion.
Every channel has its own synthesis engine, VEKTE-based algorithmic sequencer, pitch settings, modulation and effects. Build a kit, give each voice a rhythm, then explore how the parts interact.
Its 24 engines cover familiar drum sounds alongside FM, physical models, and uncoventional engines such as resonators, SID, bytebeat, GENDYN, VOSIM and more.
SEM and proprietary Polivoks-inspired filters provide another way to shape each voice, while SNAP controls the impact at the start of a hit.
"Four new free effects for the Zoom MS-70CDR+ and MS-50G+: Rockstar, Pong Delay, Vortex and Duo Chorus. They run natively on the pedal, like any other effect.
Rockstar is a concert-hall reverb with a DownRez rate-crusher. I ported it from Airwindows kRockstar by Chris Johnson (MIT license).
Pong Delay is a true-stereo ping-pong delay with a resonant multimode filter. Based on mscHack PingPong by Mark Schack (MIT), with Rack 2 maintenance by @baconpaul and @pgatt.
Vortex is a twelve-mode multimode filter with resonance, drive and a dry/wet mix. Based on VortexMM and its filter DSP by wintoid and Yuriy Ivantsov (ivantsov-filters), both MIT.
Duo Chorus is a dual-line analogue-style chorus in true stereo. Based on MIT-licensed work by Charles Vestal and Peter Allwin, with hardware research by Andy Harman and Pendragon Software Limited, and a soft limiter by Emilie Gillet (stmlib).
The installer runs in the browser and backs up your pedal before it changes anything. There are fifteen free effects on the site."
The Dual Stereo Looper, released in July 2026, is a collaborative effort between P4L and Ambivalent Instruments.
It is a 2-channel stereo looper in Eurorack format.
In addition to basic recording and playback functions, it is equipped with features such as pitch shifting, reverse playback, filtering, and reverb. CV control allows for sound design characteristic of modular synthesizers.
In this video, we will take a deep dive into everything from the module's basic functions to practical applications using CV.
Table of Contents: 00:00 Intro 01:09 Looper recording and playback 02:04 Mix knob 02:58 A/B channel switching 04:17 Loop balance knob 06:23 Pitch shifting 08:18 Reverse playback 09:57 Overdubbing 11:48 Undo/Redo recording 12:50 Feedback 16:39 Reverb 17:27 CV IN 17:58 External clock 18:44 Setting recording length (bars) 19:57 CV control 22:47 REC IN / RESET IN 24:48 Outro
"Chris Nagorka from Kanawha Music and Art gave us a look at Long Division Stereo and a Eurorack system, including a new phaser, Filternator filters and a matching LFO.
The current Long Division version is stereo and uses divide-down tone generation in the style of older electric pianos and organs. It offers square-wave and narrow-pulse outputs, with analog tone production and wavefolding; only the MIDI board is digital. Each note has its own keying circuit, and notes alternate between left and right every six notes, with panning available per note.
The phasers are exact copies of the 1970s Crumar Roadrunner chorus circuit. The Filternator is a passive Eurorack filter with no power requirement, switch-selected high-pass and low-pass settings, and a CV-controllable mix. The LFO cycles down to one cycle per minute and can drive phasers and filters on alternate cycles.
Products are available direct. The filter is $100 in the US, the phaser and LFO are $225 each, and Long Division Stereo is $1,750.
More Info: @KanawhaMusic
https://kanawhamusic.com"
"There is a whole bunch of updates that I have added to this version which i have listed below:
additional synth engine called 'Drift'
Pattern chaining for the save slots
Mix edit to help balance each of the engines
Acid filter - to help you dial in the acid soundscape
Sync in & out
cleaned up a bunch of functions in all synth engines
The hardware is version 2
Check out the GitHub Repo if you are interested in building your own
"Modular Town — a synthesizer town, drawn by hand.
Modular Town is a single Amorph instrument: a hand-drawn village you scroll through, where every knob, step-sequencer and jack is mounted on a building facade wired by hand, just like real hardware.
🏭 Filter (Cutoff/Resonance) on the factoryVCO1 / VCO2 on the vending machinesDetune and Attack/Decay/Release tucked into the houses🥁 A 16-step drum machine (Drums Volume, Accent, Drive) running through its own sequencer🍜 Ramen Bass Shop, a mono bass synth with its own 16-step piano roll, playable live or sequenced. A day/night cycle you flip from a shop sign. Delay (Time/Feedback/Mix) on a canal-side wall. A full patch panel route LFO, ENV and random modulation across the whole village with real cables✨ Reverb, aged-paper texture and film grain for a sketchbook feel"
"Since the previous video introducing the MX (below), the most asked question has been about if the looper can be used to mix a single device. MX supports up to 24 seconds of stereo looping, so hopefully this answers it.
For this demonstration, we're using only a GBA running @ForsFM FMS."
video upload by RIDES IN THE STORM
"uwe george and pakkadej show you the fully functionality of synth voice SED-CSM."
"Analog discrete Synthvoice with two VCOs, three SUB-VCOs, Wavefolder, Noise, Ring Modulator, two loopable ADRS, two LFOs/VCOs, MIXER, 24db Lowpass VCF, VCAOur new Eurorack flagship hits stores this summer. Very compact (pre-patched) discrete synth voice module with excellent analog technology for endless soundscapes at a reasonable price.
Two discrete VCOs with highly stable tracking
Three analog Suboscillators (3/4-1/2-1/4 with SQUARE, SAW, TRI) + Gravity Mix -Sync
Wavefolder (VCO 1 TRI WAVE)
White Noise
XOR Ringmodulator
Discrete VCA
24dB LP VCF with overdrive
Dual analog LFO (one also usable as VCO) with incredible range and keytracking -Two superfast and punchy analog ADSR sections with LOOP function and four TRG outputs (End of ATT, End of DEC)
Mixer section with Master level -Glide presets and huge Patchfield to communicate with other Eurorack Modules.
Screwed metal shaft potentiometer"
video upload by temaniak - click CC for subtitles once the video begins.
"Универсальный аудио - CV стерео-процессор от Twang."
"A versatile stereo audio-to-CV processor from Twang."
Crossfader/Polarizer/Panner with a twist.
CPP is a powerful processor for audio, but it also can be used with CV signals. It’s a great tool to work with a stereo field particulary and with a sound design in general. It can be a multitrack bus or individual panner. For small systems it can be end-of-chain mixing tool with vc crossfaders, vc panners and VCA’s.
The module consists of 4 sections: 2xCPP, Mid/Side, 2xVCA. The first two channels are identical and the module is named after them. We have two signal inputs going to the crossfader, controlled with the knob and cv input. Additionally, there is a handy attenuverter to make cv control easier. After crossfader the signal goes to polarizer, which is actually a bipolar VCA and can be used as classic amplifier, ring modulator or inverter. It can be bypassed symply by routing the signal with switch directly to panner, then it can work independently. There is a dedicated input C for it. Thus we can get 3 input mixer inside one channel. In addition, it has 5V offset switch wich can be useful while processing a cv signals. The final stage is panner. It also has cv input and send our signal to sum in stereo.
The second channel is identical to the first one.
The third section is a “secret weapon” of stereo sound design – Mid/side encoder-decoder. L and R inputs are transforming to Mid and Side signals and then can be transformed to wide stereo field. There is no knobs to control this, but there a lot of ways to use it with other on board sections or with other VCA, VCF or FX modules.
The last fourth channel is a pair of VCA’s. There is a signal input, cv input and signal output. Both are the same and have level control knobs.
Finally, all input signals are summing to master output with deficated level control knob. If we use a channel’s individual output, it will be subtracted from the main mix.
"The With Mixer is a companion expander for the ALM Stem Ripper, adding a full-featured 8-channel stereo mixer with per-channel level and gain control, stereo panning, dual stereo aux sends, and mute and solo controls.
An easy-to-use graphical interface provides visual monitoring of all eight input channels and the stereo mix output, along with quick, precise control of all mix parameters. Mix parameters can also be controlled via CV or an external MIDI controller connected to the powered USB host port, providing hands-on control and making the With Mixer well suited to live performance. Complete mixer setups can be saved and recalled, while the display also shows the Stem Ripper's recording status and elapsed time. Together, the 'Stem Ripper With Mixer' pair provides a modern multitrack stereo digital mixing and recording setup to your Eurorack system in just 14HP."
Chapters:
0:00 - Intro
0:53 - Mix Setup
1:35 - Channel Parameters
4:07 - Aux Send 1 and 2
6:34 - CV Inputs
7:22 - CV Attenuation and Offset
7:57 - MIDI Controller Setup
10:52 - Global Mix Setting
11:26 - Outro
Capture and control your Eurorack mix like never before with the With Mixer from ALM Busy Circuits, a feature-packed expander for the ALM Stem Ripper that turns the recorder into a robust mixing set-up. While Stem Ripper offers a powerful, high-fidelity way to record multitrack audio in a Eurorack system, the With Mixer takes this functionality even further, incorporating all eight channels of Stem Ripper into a sleek and slim digital mixer for studio tracking and performance control alike. For each channel, the With Mixer enables level and gain control, stereo panning, two sets of stereo auxiliary sends for incorporating effects, as well as mute and solo controls. This vast feature set is available to any sized system, thanks to the incredibly hp-efficient 14hp space required by the full two module set-up. This compact size far outpaces the specs of virtually any other mixer in Eurorack, all while still being a multitrack recorder!
Adjust settings and keep an eye on both levels and recording time with the graphical interface, while hands on control is just as close at hand thanks to the powered USB host port, perfect for attaching your favorite MIDI controller for live mix control. Three CV inputs are available as well, which can be freely assigned to mix parameters to get signals moving with CV. By connecting a compatible AXON expander, you can add even more CV inputs for up to seven independent CV controls. In addition to saving settings between power cycles, With Mixer allows you to save and recall eight full mixes, making it a breeze to program live sets and perform with confidence. Whether you already enjoy the multitrack capabilities of Stem Ripper or are looking at the pair together, With Mixer from ALM is an expander that brings an incredible amount of new functionality to any system, providing an all-in-one mixing and recording workstation for any modular musician.
With Mixer Features
Digital mixer expander for ALM Stem Ripper Mixes all eight channels of Stem Ripper with stereo output Per-channel level / gain control, panning, dual stereo auxiliary sends, and mute / solo controls Final mix is recorded to Stem Ripper alongside eight individual stems 3x assignable CV inputs USB host connection enables control with your favorite MIDI controller Graphical interface for visualizing and adjusting mix and recording parameters Save and recall 8 complete mixer set-ups Connect an Axon expander for additional CV inputs Product Details
"🌅 A new Drum & Bass live session performed at sunset by the Black Sea in Odesa, Ukraine.
Built live with Elektron Digitakt II, Digitone and Roland S-1 🎛️ — melodic DnB, deep bass, psychedelic synth textures and evolving hardware sequences.
This time I also brought Virus synth sounds into the track, adding a deeper psychedelic character to the mix. 🌀
Roland S-1 takes a special role in the transitions, creating wild evolving effects and sequences, while Digitakt II and Digitone drive the groove, bass and melodic layers.
🌊 One of the most beautiful sunsets we’ve captured for an Imagination.Project session — electronic music, psychedelic sound and the Black Sea coming together in one live performance.
Recorded on the Black Sea coast in Odesa, Ukraine. 🇺🇦"
"Liquid Drum & Bass performed live by the Black Sea in Odesa, Ukraine. 🌅
A melodic sunset DnB session built around Elektron Digitakt II, with live-recorded guitar and trumpet adding an organic atmosphere to the electronic groove.
Everything comes together with melodic samples, deep bass, live sequencing and evolving effects as the sun goes down over the sea."
Liquid Drum & Bass LIVE 🌅 Sunset Digitakt II Session
"Sunset Drum & Bass performed live by the Black Sea in Odesa, Ukraine. 🌅
This time the session moves into a warmer African-inspired DnB vibe — melodic rhythms, percussion and electronic textures performed live on Digitakt II as the sun goes down over the sea.
No studio. No prepared stage. Just hardware, music, rocks and the Black Sea.
🎛️ Performed live by Andrii Averin
• Elektron Digitakt II
• live sequencing & performance
• Drum & Bass grooves
• percussion & melodic samples
• live effects and transitions
🌊 Recorded on the Black Sea coast in Odesa, Ukraine."
BROOKLYN, NY — The Brooklyn Synth & Pedal Expo returns October 17–18, transforming a 7,000-square-foot Greenpoint warehouse into an immersive playground for electronic music creators.
Presented in partnership with the legendary Three Wave Music, the Expo offers a strictly in-the-headphones experience — letting attendees demo the latest synthesizers, effects pedals, and modular gear from over 100 brands in a noise-friendly environment.
Nestled in one of Brooklyn's most vibrant musical corridors, the show is expected to draw more about 2,000 visitors, a mix of musicians, producers, and gear enthusiasts.
"Intro to Synthesis" Workshops This year, the Expo expands beyond its large exhibition floor with a new lineup of educational workshops focused on synthesis — from hands-on patch-building sessions to deep dives into modular workflows, led by working artists and builders. A schedule of the workshops will be announced soon.
Hey there!
Today I want to show you how to make vowel sounds with some parallel filtering technics. You'll need to run your oscillator to three frilter, on Low Pass and two Band Pass and mix these in parallel, then apply the modulation you want to all of them.
"This is the first proper track I've made with the Supercritical Redshift 6, and I wanted to take it apart properly. The chord stab you hear at the start is three notes coming out of a single analog voice, which is the thing I still find hard to believe.
The Redshift is multitimbral, so I used it as three instruments at once: a pad chord stab, an arp, and a three layer lead. Each one goes out of its own stereo output. The two aux outs are always dry, meaning they skip the internal FX section entirely, so the arp runs into a Chroma Console and the pad into a Microcosm. The lead keeps the synth's own delay.
Everything else melodic is sampled from the Redshift into the Digitakt II, which is also doing all the sequencing. Around 16 layers in total, so apart from the drums this is one synth.
I also skipped Overbridge this time and recorded four stems straight into a Zoom LiveTrak, which meant committing to the mix as I went. That's why the bass is split across two tracks.
Chapters:
0:00 Intro
0:25 The chords - one voice, three notes
3:52 The arp - and what the Chroma Console does to it
4:46 Chrome Console overview
7:36 The lead - supersaw, macros, and four voices
10:57 I almost gave up on this track
12:41 Some of the Digitakt II layers
15:57 Digitakt trick: a trance click on a 909 kick"
