Typhon Unofficial Assistant - Demo video upload by Voidcontrol MIDI
"Voidcontrol MIDI has released the Typhon Unofficial Assistant, a software controller and patch librarian for the Dreadbox Typhon.
It brings the Typhon's sound onto the screen, adds full DAW automation, and keeps a library of your patches on your computer. Because the Typhon shares its sound parameters over MIDI but not its patch storage or internal routing, this is an Assistant rather than a full editor: it focuses on live sound control and patch management.
Features:
Live control of every parameter the Typhon exposes over MIDI, laid out by section
One-click read of the current sound from the hardware
Full DAW automation with real automation lanes, not just MIDI learn
A 32-step sequencer that locks to DAW tempo or MIDI clock and plays the Typhon, with per-step gate, tie, velocity and gate length, plus global division, swing and probability
A lossless patch library with naming, categories, favorites, search, and single-file or full-bank import and export
Preset export to .typhonpr for use with Dreadbox's own Preset Manager
A standalone version for use without a DAW
Init and randomize
Resizable UI, 50 to 300 percent
Windows 10 and 11, as a VST3 plugin and a standalone app. Requires a MIDI connection to a Dreadbox Typhon on firmware 4.2 or later. Tested in Ableton, Bitwig, Cubase, Reaper, Studio One, and Waveform. A Mac version is under consideration.
"What happens if you take four identical timbres, make them exchange signals, and make each track change not itself, but its neighbor?
The idea behind this patch is a ring interaction between the tracks. This has nothing to do with ring modulation.
I created four identical saw waves. Each track has its own volume envelope length and melodic sequence length, so the notes and rhythms are constantly mixing. All four tracks are tuned to Just Intonation, which makes the resulting frequency relationships sound more stable and, at the same time, more pronounced than in equal temperament.
I connected the four tracks in a ring with modulation.
The volume envelope of each track reduces the MIDL parameter of the next one. The louder one voice becomes, the less energy its neighbor receives: it loses high harmonics and becomes less saturated, so even the filter resonance can no longer emphasize an individual harmonic as effectively.
All Modulation Envelopes operate in Envelope Follower mode. EF1 opens the filter of the neighboring track, EF2 changes the rate of the next volume envelope. Volume Envelope destination 2 increases release time of the previous voice.
Thus, one voice simultaneously affects the brightness, volume, rate of volume change, and decay time of another. In addition, the tracks modulate each other through FM synthesis: FM changes the spectrum, the spectrum affects the Envelope Followers, they change the parameters of the next and previous tracks — and the change returns to the system again.
This creates a closed system with multiple paths for energy transfer.
I became less interested in creating a beautiful sound and more interested in exploring its behavior: which actions amplify the dynamics, which suppress them.
Even more interesting is what happens when one voice is turned off. The feedback almost immediately collapses: the ring system requires all participants to be active, and turning one off breaks the chain of energy transfer.
You can recreate this system on your own hardware — I’d be very interested to see what you come up with.
The system from this video can be loaded into your own Kaleidoscope and explored yourself.
http://vadjuse.ru/kaleidoscope_en"
"In this video, I showcase the true power of the Neiro Audio N106 plugin. We are doing a direct comparison: Digital Emulation vs Real Analog Hardware Render! You will hear the huge difference when the digital preset is suddenly processed through the actual analog circuitry.
How does it work? The N106 is not just a standard VST. You compose your track using their high-quality digital emulation without any streaming latency. Once your MIDI and automations are locked in, the plugin sends your data directly to Neiro Studios. There, it is fed through a real physical Roland Juno-106 (specifically a hardware Kiwi 106 synth). The analog output is recorded using high-end RME Fireface UCX interfaces and automatically downloaded right back into your DAW as a WAV audio file. It's exactly like owning the real vintage analog synthesizer remotely.
To sit perfectly in a mix, I've also processed these sounds through external hardware-style reverb and delay.
🎧 Best experienced with studio monitors or high-quality headphones.
"Connect to a classic analog synthesizer revered for its lush, warm sounds. The Neiro N106 features a rich chorus effect that’s instantly recognizable from classic tracks like 'Jump' and 'Tom Sawyer'.
Connect directly to the Roland Juno-106 unit today."
"Please support my work on Patreon: / jayhosking A live synthesizer jam performed entirely on hardware.
I enjoyed having the Vongon Solarfaze and Polyphrase on the table for my last jam and left them there on a whim. That was the starting point. Next, I needed to run a synth through them, so I chose the Novation Circuit Monostation. I borrowed the CMS from a friend and had been looking to make some music with it; my opinion is that it's an extremely underrated synth that can do way more than people recognized at the time. And once I had its sequencer running and a bassline queued up, I could hear more of what was needed.
I also recently got a couple of Stylophones, because they are extremely affordable—the S-1 was something like $60 Canadian—and because I like the sound of them. Using the CMS's CV outputs, I sent a second set of sequences to the Gen X-2, which has CV input. I also took advantage of the Gen X-2's beautiful internal delay for cascading performances. The S-1 ended up my improv melody device for the last third of the song.
At this point, I needed reverb but didn't want to add multiple reverb boxes, so I added the Jellymix to act as stereo send to all the synths. For reverb, I chose the Swells, because I currently have it in a case with the Fieldtone Weaver and Qu-Bit Stardust, which can add a lot to a mix through stereo sample mangling. The Stardust is playing something that came from the CMS into Weaver; the Weaver is playing a snippet of my voice.
By this point, I could hear the full song, and it was just a matter of adding a couple of sequences and performing the whole thing. Pretty fun to see how wanting to explore a bit of hardware can lead to a finished song.
Performed and recorded live to a stereo output from the Jellymix, with EQ, compression, and limiting on the master.
"A few years ago I restored my childhood Amiga 500, and only recently found a way to use a soft synth, Aegis Sonix V2, with external MIDI control. I saw @magicalsynthadventure3216 video on the topic a while back, and on a whim decided to revisit the idea of using my Amiga as a synth. Thanks to an Amibay.com forum thread, I learned that it's pretty easy to get Aegis Sonix V2 to respond to incoming MIDI, and so I was off to the races. Enjoy!
"A delve into obscure software instruments on the Commodore Amiga. Here I look into both realtime & non-realtime varieties, covering a staggering array of synthesis types!
Additional attributions:
I forgot to give a shout out to uncle Brian! Sorry uncle Brian!
Endless Tunnel Animation: KRITRIMVAULT
Syndicate Intro: BullFrog Productions
Update: An interesting side note is that Sonix was released in 1987 with a beta in 1986. That's 10 years earlier than Dave Smith's Seer Systems Reality, which was released in 1997. Seer Systems Reality is often credited as the world's first soft synth. Curious if the distinction was between an editor/interface for the existing Amiga sound chip vs. a self contained software synthesizer.
I asked Google AI just to see what it would say. Here it is:
As one’s life winds its way through the corridors of infinite time and space, I find myself relocated and reset, so to speak, in a place many miles and many moons from the West Country—my former domain—in one of the shires just north of our splendid capital
And I find myself once again following my musical instincts down yet more labyrinthine sonic rabbit holes and through yet more labyrinthine electronic circuit boards
On this outing I decided to try my hand at live sound-on-sound improvisational looping, a method of composition I find particularly rewarding when using relatively unwieldy modular synthesiser systems. The act of looping provides a convenient way of setting down short compositions in real time, allowing simple melodic studies to be created, riddles, if you will, to be solved whilst sitting at the instrument’s console and engaging with the various dials and switches
The core device used on this recording is what I call the Concrete Box - an assortment of Eurorack modules I put together consisting of four loopers, two delays, two digital reverbs, two compressors and various mixers and utility units. Using this box of tricks I was able to run sounds around upon themselves, creating the pieces you hear on this album
Not all tracks were made this way, some took a more conventional path, namely those which made use of polyphonic keyboard synthesisers (the Ensoniq Fizmo, the Crumar DS2) where I simply recorded a few layers of sound one upon the other
And on one track I made use of a rather special device called the Tempera, alongside a regular acoustic piano. The device is able to take stereo recordings and resynthesise them using granular synthesis. You are then able to layer them and manipulate the sound in a great variety of ways. Practical applications of granular synthesis have been around since the mid 1990s, but it is only now, it seems, that dedicated hardware units are beginning to appear on the market, and they seem to be taking hold as an extremely interesting synthesis path
And so it is that these riddles I have been working on have been neatly packaged up for you in this second volume, itself a kind of evolution of the idea presented in the first of the series last year. And who knows where I will find myself in another year’s time - hopefully still diving down sonic rabbit holes and exploring labyrinthine electronic circuits
Synthesisers and recording equipment used on this album:
ARP 2500
Buchla 100
Buchla 200 (cloned)
Roland System 100
Crumar DS2
Ensoniq Fizmo
Tempera Granular System
Yamaha G1 Piano
Eurorack ‘Concrete Box’
Dynacord VRS23 Vertical Reverberation System
The various track titles depict the main instrument used on each track
Released August 7th 2026
Written, recorded and mixed by Benge (B.D.Edwards) at Memetune Studios, England
Design and video work by Benge, made at the Memetune Video Lab
(c)+(p) 2026 Memetune Recordings (Memesongs) all rights reserved"
Note the above demos and following description are from March 5, 2025. I spotted the Elfin in Hainbach's A Hundred Suns, posted below. There appears to be two synths, an Elfin-08: 8-Voice Functional Prototype Synthesizer, and an Elfin-04 Polysynth.
"Introducing Elfin-04, Hideaway Studio's Compact New 4-Voice Polysynth...
I have been working round the clock for weeks now on my dinky little 8-bit 4-Voice (4 x [2osc+1sub+LFO]) VA Poly Expander with 1960's style transformer-mixed output voicing and finally No's.000 thru 010 are born to the world and receiving very positive feedback from their new owners...... this 4-voice polysynth measuring just 16x12x3cm has full real-time control over her 32 parameters via simple midi ccs and 16 built-in patches.
"Here's a video of the recording of the B-side for my new single (links to all formats below). It was recorded on a Yamaha MT-50 four track tape recorder with a Casio CZ-1000 (bass, this is honestly the weirdest synth I own and I think this the only track I’ve released with it on bc it’s just so weird), Yamaha PSS-480 (lead, despite masquerading as toy this thing packs some serious heat) Yamaha DX21 (chord layer) and Roland TR505 (drums – this gets some stick from TR purists, but it has some really usable sounds and the sequencer is super nice). The track was sequenced with the frankly legendary Alesis MMT-8 (the only hardware MIDI sequencer I’ve ever enjoyed using). Synchronisation between tape and MIDI was achieved using a Yamaha YMC10 MIDI clock to tape-synch converter. Dub style delays used on the lead came from a RocLab DD3000 (pretty obscure unit, sounds nice if you tweak it just right); Reverb came from a Behringer DR600 (solid reverb pedal, even more solid price at ~£25) and chorus for the bass via a Boss CH-1 Super Chorus - my favourite chorus, to me it just sounds how chorus should sound (this one is a vintage ‘made in Japan’ model, so fully analogue compared to later digital CH-1 models, and just sounds super warm). It was mixed on MT-50 but also with a Peavey Unity Series 2000-16 (for submixes and sends etc.), this mixer has a flavour all of it’s own, certainly not high fidelity, but kinda gritty and warm… The track is out now for stream and download (links below), hope you folks dig the track 🙂"
⏱️ Chapters
00:00 – Intro
00:14 – What happened since the last video? [embed below]
00:54 – New panels
01:17 – Fixing the noise problem
01:50 – Melon in live performances
02:03 – Firmware flashing infrastructure
02:32 – Updates to existing firmwares
03:08 – New firmwares
03:18 – Metal Hit
04:14 – RALPS
04:50 – Reese Bass
05:29 – Drums
06:26 – fxloperformer
07:29 – Final thoughts
"In this video, I’m taking a look at what has happened to melon since my last video. My 4HP Eurorack adaption of Hagiwo’s amazing RP2350-based MOD2 has grown quite a bit since then, with new panels, new firmware, community contributions, and improvements to the overall infrastructure.
"Tonight was something different: no prepared DJ set, no finished tracks — just the Ableton Move, Novation Circuit and a lot of improvisation.
I built loops, switched between both machines and tried to turn spontaneous ideas into a live electronic performance. Not everything was planned, not everything was perfect — but that is exactly what makes a hardware jam exciting.
Expect melodic moments, driving drums, changing grooves and a few chaotic experiments along the way."
"Can a real analog synthesizer cost less than $100? In this review, I take a hands-on look at the Stylophone Gen X-2, an affordable portable analog synth with a resonant filter, LFO, delay, sub oscillators, CV/Gate connectivity, and surprisingly powerful sound.
I'll unbox it, explore every feature, hear what it actually sounds like, connect it to my ASM Leviasynth via CV/Gate, and find out whether this tiny synth is just a toy - or a serious instrument that's worth adding to your studio.
If you're looking for an inexpensive synthesizer, a portable analog synth, or a fun hardware synth with real analog sound, you may be surprised by what this little Stylophone can do!"
0:00 Intro
0:34 Inexpensive Synth
2:05 Different Stylophone Synths
2:57 Stylophone Gen X-2
4:00 Unboxing and Controls
6:27 Installing Batteries
7:25 The Sound: Envelope
9:27 LFO
10:07 Filter
12:06 Sub Oscillators
12:35 Delay
14:34 Octave and Ribbon Strip
16:12 CV/Gate Input
19:29 Be David Bowie
"The folks at @synidotech asked me to help launch their latest MIDI controller, the TempoKey K32. It's unique in that it's not just a MIDI controller but also includes a synth engine. In this video, I take a look at a pre-release model."
Intro - 0:00
Unboxing & Overview - 1:26
Internal Synth Engine - 3:31
Using the Editor - 5:24
Direct Audio - 6:47
Using with Soft Synth - 8:15
Using the Arpeggiator - 10:08
Additional Features - 11:30
Using with Hardware Synth - 12:45
Final Thoughts - 14:24
And one from 2-Minute Warning:
The Key - 4-Minute Jam (TempoKEY K32 Play + Taiga + DFAM)
"This video is a little different for two reasons!
First, it's the first time I'm featuring an instrument kindly provided by a manufacturer. Synido sent me the TempoKEY K32 Play to explore in my own workflow and share my honest impressions.
They didn't ask for a scripted review, so I simply approached it the same way I approach every other instrument on this channel: by making music with it.
Secondly... this is exceptionally a 4-minute jam!
Think of it as two consecutive 2-minute performances before I take a short summer break. 😊
Rather than trying to showcase every feature of the K32 as a MIDI controller (Bluetooth MIDI, battery power, USB/MIDI connectivity, pads, knobs, etc.), I wanted to focus on what intrigued me the most: its built-in General MIDI sound engine.
For this performance, the Hapax sequences the entire setup. The Taiga handles the bass, the DFAM takes care of the analog drums (synchronized by the Hapax), while the K32 Play provides everything else: guitars, strings, bells, plucks, additional drum sounds… and occasionally runs through the Eventide H90 for a bit of extra space and texture.
As always, the musical performance itself was recorded in a single take. Mixing/mastering was done afterwards in Ableton Live, but the performance you hear is exactly as it happened.
A sincere thank you to Synido. Without their message, this musical experiment probably wouldn't have happened."
✅ PLAY THE MOMENT INSPIRATION HITS
Most MIDI keyboards need a computer and software to make a sound. K32 doesn't. Built-in sounds and speakers let you play instantly--couch,classroom, anywhere.
✅ 32 KEYS, MORE ROOM
25 keys feel cramped for chords and melody together. The K32's 32-key layout gives your hands space to play naturally.
✅ WIRELESS, GO ANYWHERE
BLE MIDI + Battery. Create from the couch, backstage, in class, or on a plane.
✅ GROWS WITH YOU
Connect another MIDI controller and use the K32 as a standalone sound module. Compact setup, maximum flexibility.
✅ INSTANT SOUND SWITCHING
Save favorite instruments to the KEY Sound buttons. Jump from piano to synth to bass with one press. No menu-diving.
✅ HANDS-ON CONTROL
8 assignable knobs, 8 drum pads, and a clear OLED display. Adjust, beat, and perform in real time—no mouse needed.
✅ FOR EVERY STAGE OF YOUR JOURNEY
From first beat to live performance, K32 adapts to your workflow. Start simple. Grow into it. Create without limits.
George is the only one that looks like himself, ableit with a mustache. Wouldn't mind hearing a New Order/Joy Division Bass Battle.
"Is the Seinfeld theme played by a Korg M1 or by the 360 Systems Midi Bass, lets find out :p both have been credited Seinfeld Bass on various Internet forums.
This test is not 100% as i dont have the same mixer, fx etc 🛸
"Remember Seinfeld? Remember that poppin’ slap bass sound all over the show – in the titles, in the end credits, in every sting and transition? Well, this is the little box of tricks that made that sound. The 360 Systems MIDI Bass was an early sampled bass unit, later upgraded to a Pro version that rackmounted. It was a limited but (for its time) powerful-sounding machine that had swappable EPROMS to access additional sounds. We managed to score an original tabletop MIDI Bass plus a set of EPROMS covering a range of both classic and unusual sounds with a distinctly 80s vibe. There is, of course, ‘that’ Seinfeld Slap bass; but if you don’t fancy reliving the glory days of American comedy, there are seven other sounds to choose from – a great Fender Jazz bass, through a punchy 80s synth bass to a rather cool Stick bass (think Tony Levin playing Peter Gabriel’s live gigs and you’ve got it)… and more.
MIDI Bass hardware Kontakt instrumentThe MIDI Bass is a simple little device – MIDI notes go in, bass sounds come out – so we’ve kept things simple for our recreation, which just adds some useful compression and tube saturation controls and leaves the rest up to you and your funk."
"A pure audio demonstration of the Chase Bliss Big Time hybrid analog/digital echo, utilizing the newly released Modal Electronics Element One virtual analog synthesizer as the main sound source.
No talking, just hardware.
Designed in collaboration with John Snyder of Electronic Audio Experiments (EAE), the Chase Bliss Big Time is a true-stereo hybrid echo that revisits the mixed-up, unique circuitry found in rackmount delays from the early 1980s. In that era, advanced analog engineering was functionally used to prop up crude digital systems. The Big Time intentionally embraces and pushes this hybrid architecture to its absolute extremes.
This video showcases how the Big Time's interactive controls and dual stages of analog coloration transform incoming synthesizer signals:
• Stereo Analog Preamp (Color): Adds beautiful, warm saturation to the input stage, designed to handle a wide variety of instruments.
• Feedback Loop Limiter (State): An analog clipping limiter in the delay path that creates everything from smooth compression to crumbling, misbiased overdrive that slowly disintegrates your echoes.
• Cluster Slider: Blends in additional delay taps and diffusion, smudging and expanding the sound into rich ambient delights and multi-tap clusters inspired by vintage space station units.
• Scale & Motion: Controls creative transposition, Thermae-like musical sequencing, and stereo modulation (Sine, Square, Envelope).
Watch how the Big Time's motorized faders react and seamlessly transition through different delay modes—from tight modulations (3-46ms) to Short (46-736ms) and Long delays, across HiFi, Focus, Warm, and Analog voicings.
Providing the core audio tracking is the Modal Element One. Its 8-voice virtual analog engine, morphable filters, and rich stereo waveforms offer the perfect high-quality sonic canvas to test the Big Time's true-stereo capabilities, input saturation, and analog dry-thru.
🎧 Headphones or studio monitors are highly recommended to capture the full true-stereo imaging and analog character of the pedal.
e7 Unofficial Editor - VST3 Demo video upload by Voidcontrol MIDI
"VST3 editor for the GS e7. Real DAW automation, easily build multitimbral patches, patch library, A/B snapshots, morph, and resizable UI. Windows 10/11. Available at voidcontrolmidi.com."
Press release follows:
Voidcontrol MIDI has released the e7 Unofficial Editor, a Windows VST3 plugin that lets you control and automate the GS Music e7 from within a DAW, just like a software instrument.
The e7 is a remarkable analog polysynth with a passionate community and a genuinely unique sound, but editing it properly from a DAW has often meant menu diving on the hardware. This editor was designed to make that seamless. All 88 of the e7's parameters are on screen, laid out to mirror the front panel, with real DAW automation on every control rather than just MIDI learn.
Features include:
Full parameter control: every one of the e7's 88 parameters on one screen, with authentic readouts for oscillator tune, tempo-synced LFO rates, and waveform shapes.
Real DAW automation lanes for every parameter.
A patch librarian: browse, audition, load, rename, import and export single presets, whole banks, or full instrument backups as standard .syx files.
Multi-mode support: edit 4-part multitimbral patches with per-part level, MIDI channel, voice allocation, and key/velocity zones.
A/B snapshots with an automatable morph slider.
Two-way hardware sync: pull the synth's current edit buffer into the editor in one click, with the editor recalling its state on project load.
Init and a musical randomizer for fresh starting points.
A resizable interface with onboard help.
A standalone version is also included for use without a DAW, working as a pure hardware controller that needs no audio interface.
The editor has been tested in Ableton Live, Bitwig, Cubase, Reaper, and Studio One, with USB and 5-pin DIN MIDI, MPE support, and a one-click All Notes Off panic.
"The e7 sounds incredible. I just wanted to see all of it at once, especially the multitimbral side," said Dave of Voidcontrol MIDI.
Voidcontrol MIDI is a small US-based developer making editors for boutique and classic hardware synths. The e7 Unofficial Editor is its third release, after editors for the Roland SE-02 and Oberheim OB-6. A macOS version is under consideration.
The e7 Unofficial Editor is available now at voidcontrolmidi.com for an introductory $30 USD through July 7, 2026, after which it returns to its regular price of $40 USD.
The e7 Unofficial Editor is a third-party tool and is not affiliated with or endorsed by GS Music. "e7" is a trademark of its respective owner.
Prague, Czech Republic, June 23, 2026: Beetlecrab Audio announces Tempera Firmware v2.3, a firmware update introducing cross-modulation, audio envelope follower, quad-macro control, per-emitter pitch sequencing, and numerous community-driven workflow enhancements.
Tempera is a hardware granular synthesizer built around a simple idea: eight samples laid out on a surface, with grains roaming across. At its core is a granular engine with a global pool of 4096 grains, shared across voices, and any single voice can claim the entire pool if needed. Tempera is just as happy chopping breaks and sequencing tight rhythmic patterns as it is building massive drifting clouds. Since launch it has found its way to musicians in over 60 countries, growing steadily through firmware updates shaped and steered by a community that has lived with the instrument long enough to know it inside out.
"Try newest Sonicware Deconstruct Minimal synthesizer - make some techno rhythm and tweak different basic parameters. No speaking, no talks, just pure device sound, taken directly from device to iPhone via usb-c."
"Please support my work on Patreon: / jayhosking
A live synthesizer jam performed entirely on hardware, with the Fourm at the centre.
The amazing Devin Belanger (@devinbelangermusic) aka Miles Away (@thisismilesaway) was kind enough to lend me his Sequential Fourm. Thank you, Devin! If you haven't checked out Devin's amazing channel or his music, please do so!
The Fourm is Sequential's entry-level analog polysynth, as far as I can tell. It has four voices, which is somewhat limited but OK for many circumstances, and sounds (to my ears) as good or better than any other Sequential synth I've personally owned. (Note: I haven't had a Prophet 5/10 and Devin swears by that thing.) So if the sound and a decent workflow are all that matters for you, and four voices is enough, then this thing is a no-brainer.
That said, its main feature is its poly-aftertouch keybed, which allows for you to modulate sounds by pressing into each of the keys. I love polyAT, and the Hydrasynth's polyAT keybed was tremendously inspiring to me. That said, I really struggled to get the polyAT to feel right for my playing. The biggest issue was a discrepancy between how the black keys responded versus the white keys. For the white keys, I could get a great linear aftertouch response, but with the black keys, it would often quickly ramp from 0 to 100 in a way I couldn't control. This could be something I get better at, or maybe it's this particular unit, or maybe it's just an issue with my skills. But ultimately, I found that the polyAT wasn't for me.
The sound, however, most certainly was. This thing sounds amazing. Here, I ran it through the Walrus M1 Mk2 (for auto-panning) and the Empress Reverb (for reverb), and then into the Soma Cosmos for looping. The first half was the more traditional "song" aspect, but truthfully, the second half wandering was my favourite. I could listen to a synth like this all day.
Thanks for listening.
Recorded live to a stereo output, with EQ, compression, and limiting on the master.
Note this is the first post to feature Unusable Engineering. You'll find additional plugins by them below.
Playlist:
1. Curves & Membranes - Software Bézier Monosynth w. Orbital Modulators & Membrane Filter - Walk Through
2. Curves & Membranes - Sound Demo and Patch Ideas - No Talking
3. Curves & Membranes | Synthesizer Patch Creation & Sound Design Walkthrough
4. Curves & Membranes v1.1.0 | New Features and Sound Examples
5. Curves & Membranes Filter Walkthrough | Understanding the Membranes
6. Unusable Engineering Jam | Curves & Membranes in a Different Context
7. Unusable Engineering Update | Curves & Membranes Features and Grain Discharge
8. Unusable Engineering Breakfast Jam | Curves & Membranes + Full Bundle
"Curves & Membranes is a focused mono synth built around a shapeable Bézier oscillator, two visual modulation systems, and a membrane-based filter. In this full walkthrough I go through the core ideas behind the instrument, how the oscillator works, how the preset morphing and orbital modulators create movement, and how the membrane filter shapes the sound.
The goal with Curves & Membranes was not to make a do-everything synth, but to build something more specific: a synth where sound, shape, and motion are tightly connected, and where the structure stays easy to understand while still allowing a lot of character and timbral movement.
Synaptic Resonance is a neural vocoder-style effect where incoming audio, or an optional sidechain, excites a two-dimensional neural simulation. That simulation is then read back somewhere else and used to animate a bank of forty steep resonant band-pass filters.
In this walkthrough I go through the basic idea behind the plugin, show how the Stim Plane and Read Plane shape the behavior, and explain how the neural controls affect the way the model reacts, spreads, remembers, recovers, and settles.
The core idea is fairly simple: the input excites the model, and the output is affected by reading the model. That is what gives the plugin its character. It can behave like a vocoder, a resonant filter instrument, or something more unstable and alive depending on how it is set up.
Despite being an extremely small piece of hardware—just a thumb-sized Raspberry Pi Pico + DAC—all parameters can be fully controlled via TouchOSC.
A new minimal generative instrument that lets you enjoy the sound creation of the PRA32-U 'in the palm of your hand.' It's small enough to sit on the edge of your desk, yet it can create 'that sound' just fine."
