"The Polyend Loop is a complete loop-based audio workstation that brings you 4 independent loopers alongside 4 tracks of sample-based percussion with built-in effects. Each of the 4 loopers offers up to 52 seconds of recording time in mono or stereo with the option for forward, reverse, or ping-pong playback. Add discrete effects to each channel with myriad reverb and delay options, along with classic modulation effects, like chorus, vibrato, phaser, and tape effects; shaper effects give you overdrives, distortions, and other waveshapers, use the panning option for spatialization, and the filter can give you a nice bit of sonic sculpting. Indeed, this is the perfect device to not just sketch ideas, but create an entire album's worth of sonic world-building.
"Osmose keeps evolving. Firmware 2.3 is a major free update for every Osmose owner, taking the instrument further with deep DAW Control and Ctrl-e.
In this overview, Chris shows how Osmose now brings together its unique internal sound engine, expressive MIDI control, deep DAW integration and a growing software ecosystem through Ctrl-e — all from the same multidimensional keyboard.
See DAW Control in action, explore the 900+ expressive presets included with Ctrl-e, discover the new bottom action bar and improved MIDI integration, learn how to install firmware 2.3 and get started with Ctrl-e."
⏱ Chapters
00:00 Introduction
00:38 DAW Control
1:45 Ctrl-e
5:05 Get more sounds
5:28 External MIDI Mode
7:08 Other Improvements
8:57 How to Update
9:18 Outro
VAEMI Synterra features 10 onboard effects. In this video, we’ll introduce these effects and show you how they work.
10 Onboard Effects:
Stutter 1/4
Stutter 1/8
Stutter 1/16
Random Stutter: 1/16, 1/32, and 1/24
Delay Throw
Bit Crusher
Pitch Shift: Two Octaves Down
Pitch Shift: Two Octaves Up
Controlled Chaos
0.25 Hz Filter Sweep
Effect Controls:
The first four effects operate in momentary mode.
The other six effects operate in toggle mode.
Up to two toggle effects can be used simultaneously.
Tempo-based effects can sync to USB MIDI Clock.
Synterra automatically follows MIDI Start, Stop, and BPM changes."
"The Abstrakt Avalon was made to perfectly replicate everything in a vintage Roland TB-303, and add features like an additional mod envelope, more knobs for greater control, and excellent metal build quality. But they were rare, expensive on the secondary market, and hard to find. Some people have waited half a decade for delivery.
Until now.
Made by a complete 303 madman deep in a laboratory under strictest of top-secrecy and tightest guarded listening chambers, this digital version gives you everything you could ever want, then goes a little further with more programming modes, tweakable settings for slide/glide and resonance, Devil Fish mods, adds all the filter cartridges (even your own!) new colored skins, and the should-be-patentable EZ buttons. Also included for analog authenticity is the db-cell technology, adding pure analog noise modulation for non-repeatability where it counts; in vintage circuits. Best of all: it matches the hardware through rigorous test harnesses, and countless hours of listening. If it didn't sound authentic, it wouldn't get released.
Zero-input mixer. DIY noise artist's playground.
A digital no-input mixer: four channels, two effect returns that are full mixer channels in their own right, db-cell running as the board's own noise floor, and a live patch bay — everything you hear starts as the board's own hiss going round a feedback loop until it finds a mode. CASCADE feeds each channel into the next, wrapping channel four back to channel one; CHEAP/SOLID decides how hard the shared power rail sags and lets every channel modulate every other one through it.
ZEROBOY plugin GUI
Four mixer channels, each with seven selectable circuit topologies and Mackie-style 3-band EQ, plus a CASCADE that feeds straight into the next channel — channel four wraps back to channel one
Reverb and delay aren't send effects — they're two more full mixer channels with their own gain, EQ, and aux sends, already wired into a two-node feedback loop with each other
"INFIDEL shown here put through its paces.
This is an intentionally non-musical demo to show the power and sound of INFIDEL. It gets loud. If you don't like it, good.
The point is, you've never heard a VST sound like this, ever.
What we make hasn't existed before.
So, stop chasing other people's sound, and make something that's your very own for a change.
With roughly 1/3rd of the available modules shown here, you can tweak until morning.
Just make sure you get some sleep sometimes!
"INFIDEL is a full modular synth built around one idea: every module runs its own cheap sign-magnitude DAC, at its own sample rate and bit depth, so the whole rack can sound exactly as broken as you want it to — on purpose. You don't have to earn that sound with a soldering iron or a twenty-minute boot sequence. Hit INIT FULL and you've got a working 47-module, 81-cable patch across four buses — lead, drone, texture, drums — before you've turned a single knob. Hit EZ on any module and it rolls a new setting that's checked to never go silent. Cables snap to the nearest free jack, drop onto an existing cable to insert a module inline, or swap one module for another while keeping every cable that matches by name. It's fast to get a sound out of, and it stays deep — a 53-module library and KEY-locked lo-fi clocking mean there's always one more place to take it.
- 53 user modules across Sources, Filters, Effects, Drums, Utilities and Logic — including an 8-model VCF BANK (CS-80, IR3109, SSM2044, CEM3320, SSM2040, STEINER, EMS DIODE, WASP) and effects ported from SpringBoy, BucketBoy, Thermion and Ironwall
- Every module runs its own cheap lo-fi DAC — RATE 1–32 kHz, BITS 2–16 — and KEY locks a module's clock to the last note played, so the grit tracks pitch instead of just buzzing underneath it
"The Roland D-50 and Roland D-110 both come from Roland's late-80s Linear Arithmetic synthesis era, but do they actually sound the same? In this blind comparison I play similar D-50 and D-110 sounds side by side, including warm pads, Soundtrack, synth bells, electric pianos, synth brass, Fantasia/Fantasy style patches, and dual-layer sounds, then reveal which synth was which.
The D-50 is the classic performance synth behind so many iconic digital sounds, while the D-110 is the rackmount, multi-timbral workhorse built for MIDI studios. This test is about the real character of each instrument: the modulation, the shimmer, the effects, the PCM attack, and how close the D-110 can get to the D-50 in practice.
"My free Roland D-50 Editor Librarian is a browser-based Web MIDI tool for backing up, browsing, importing and editing D-50 sounds without sending your patch data to the cloud.
In this video I show the full workflow from the YouTube transcript: connecting the D-50 over MIDI, enabling SysEx, reading the current edit buffer, opening a patch library, sending sounds to the synth, receiving a full bulk dump from the D-50, saving a library backup, importing SysEx banks, and editing classic D-50 patches such as Fantasia. The editor also makes it easier to work with the D-50's upper and lower tones, partials, PCM and synthesis structures, ring modulation, filter and amp envelopes, reverb, tuning and patch management.
The aim is to give the Roland D-50 a modern librarian/editor workflow: build a large library of card sounds and custom patches, search for sounds quickly, send patches to the edit buffer when recording, and avoid constantly swapping cards or managing small internal banks by hand.
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].
ALL 88 ALGORITHMS
Every FM algorithm from the hardware, with the voiced and unvoiced operators the FS1R is known for.
THE FACTORY BANKS BUILT IN 1408 voices [patches], 384 performances and 90 formant sequences read out of the ROM, so the patch browser needs no dump of your own.
FSEQ PLAYBACK The formant sequences that made the FS1R sound like nothing else, with every loop mode, the start delay and MIDI clock sync.
THE FRONT PANEL IS THE GUI Down to the cursor stops and the controller set, read out of the firmware's own screen tables rather than off a photo.
VST3, CLAP AND STANDALONE Windows, macOS and Linux, built on every push, with no installer and no dependencies.
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."
"I'm really happy with this piece and I've tried a different way of presenting it. I kept a diary as it progressed and I've put together a montage of the development. Feel free to skip straight to the music if you don't need any of that.
0:00 intro and concepts
0:52 adding more ideas
1:04 developing the handpan ostinato
1:27 bass
1:37 arranging
1:55 using e-ther through guitar effects
3:07 the music"
Added preset saving, sysex exports, just a ton of stuff i dont feel like writing down
Added Monomodule FX as a standalone FX bus plugin
NEXT RELEASE WILL BE OPEN SOURCE!!
Shnolk Monomodule — beta
A chip-level emulation of the Elektron Monomachine. This installer puts the plugins in the system plugin folders (Audio Unit and VST3) and the Library app in /Applications:
• Monomodule One — one Monomachine track: every synth and FX machine, the three LFOs (instrument)
• Monomodule Six — all six tracks in one instrument: MIDI channels 1-6, one stereo output per track, the hardware's routing (multitimbral instrument)
• Monomodule FX — the FX machines (THRU, REVERB, CHORUS, DYNAMIX, RINGMOD, PHASER, FLANGER) as an audio effect for any channel, with the same pages and LFOs (effect)
• Monomodule Library — a standalone app: import your Monomachine sysex dumps, browse their presets, kits and patterns, hear them with the play glyphs, and drag them into the plugins or the DAW
Requires Windows and macOS 12 or later, on Apple Silicon or Intel.
Thanks to @halftoneworld for making this Monomachine Emulator"
00:00 Intro 01:13 Control Layout 02:54 Analog Fuzz (Distortion) Controls 06:23 Shift Parameters 06:43 Shift Parameters: Detune, Melt FM & Glide 09:48 Shift Parameters: Delay Section 13:31 Shift Parameters: LFO Shape, Tempo Sync & Sustain 15:26 Assigning Modulation: LFOs 16:18 Assigning Modulation: Global vs Local Depth 18:15 Assigning Modulation: Envelopes 20:43 Arpeggiator 20:55 Arpeggiator: Modes 21:13 Arpeggiator: Latch & Half-Latch 22:27 Arpeggiator: Subdivisions 23:25 Randomizer 24:42 Sequencer 25:13 Sequencer: Parameter Lock 26:30 Sequencer: Randomizing with Pressure 27:52 Voice Modes: 3 Voice Polyphony (4 Oscillators per Voice)
"Your ears lust for the sacred and the profane; Asura, our first standalone synthesizer, satisfies the desire for both.
In Indian and other Asian mythologies, Asuras are depicted as celestial beings of immense power; sometimes benevolent, sometimes evil, and in opposition to the Gods.
Our synth distills these values into its sonic soma. It models itself after no known synth, and does not wish to. With a six-voice polyphonic wavetable architecture, an inbuilt delay and a signature Animal Factory analog fuzz circuit, it creates soundscapes that range from ethereal lushness to visceral devastation.
How serious is it? With a multitouch pressure sensitive keyboard, bidirectional USB MIDI, compact form factor, web editor and a comprehensive modulation matrix, this might just replace your current polysynth.
"Ocean Swift has released version 1.2 of DevOcean Modular, its modular synthesis and sound design platform. The update adds thirty-five modules, headed by a complete MIDI effects section - Chord Generator, Scale Enforcer, Strummer, Random Notes, MIDI Delay, Velocity Processor and Humanizer - which operate on note data rather than audio.
A second group unbundles functionality that previously lived inside larger multimode modules. Compressor and Limiter, Bracket EQ, RBJ Multimode Filter, the AD, AHD and ADSR envelopes and the Display family are now also available as single-purpose modules, carrying fewer controls to wire and to expose.
The Capsule Manager, which lets a builder give any patch a custom front panel and compile it into a shareable .osmodule file, gains sprite and font skinning, hyperlink labels, styled input and output labels, and exposable XY and sample views that can act as drop targets. The release also includes performance work across undo, the browser and canvas polling, plus new tutorials and factory content.
DevOcean Modular 1.2 is available now for 35% off at €129.99
The demo is the full instrument - every module and preset, no time limit, saving disabled."
"We get a tour of the new INARA controller series from Five Lined Engineering at Knobcon 2026. These special-purpose controllers are designed to expose the deep parameter sets of vintage synthesizers as physical controls and MIDI CCs for use in live performance and with DAWS. There are three current models, supporting the Korg DW-8000, Yamaha DX7 family, and Roland Alpha Juno, respectively.
For more info, please visit https://www.fivelined.com/"
"When I designed the control surface, I intended to use it to find a bunch of sounds and provide more presets for the mono and duo modes. And here we are.
In this video I demo Synth Strings 1 and 2, Percussive Organ, Sweep Pad, Tuba, Bowed Glass, Seashore and Breath"
