"Meet the Deftaudio Eurorack MIDI-BLE Interface, a compact 4HP MIDI hub that connects your computer, hardware synthesizers, and wireless MIDI controllers into one unified setup.
Three MIDI connections, one module
USB MIDI 3×3
Connect directly to your computer or iPad. Class-compliant operation means no special drivers are required.
2x TRS MIDI ports
Connect your favorite hardware synthesizers, sequencers, and controllers. Each port can be configured for TRS MIDI Type A or Type B.
Bluetooth LE MIDI
Connect wirelessly to iPhone, iPad, Mac, Android, and Linux BLE-MIDI applications. Play from your tablet or controller without running another cable.
Smart MIDI routing
Two operating modes let you configure how your equipment communicates:
Green mode: Direct USB-to-TRS routing with a shared wireless and USB MIDI connection.
Red mode: Merges the two TRS MIDI ports so connected hardware can share MIDI data.
The ATEK303 voice and its acid pattern generator, in a pocket synth. Press PLAY and a line plays; turn the knobs and it moves. No computer and no cables, if you like.
The ATEK303 voice
The same engine as the VCV Rack module: Open303 with the ATEK oscillator and diode filter, modelled on the 303 schematic. Against the original the difference stays at -51 dB: it is the same sound. With its fine tuning, as in VCV.
The acid pattern generator
SEQ makes a new line of up to 64 steps; the mutations change the rhythm, the octaves or the slides and accents. It is the ATEK303 SEQ algorithm: the same seed gives the same pattern in VCV and on the FM-1.
▬▬▬ Download Link ▬▬▬▬ 🚀 MTRX-1K: https://www.synthonia.com... "Explore MTRX-1K in detail with GPR Music Project: a complete walkthrough of its synthesizer architecture, sound editing capabilities, modulation system and integrated effects.
MTRX-1K is a VST3 synthesizer and standalone Windows application that recreates the classic Oberheim Matrix-1000 (1987) through firmware-based emulation.
In this extended presentation, the developer introduces the software's features, explains its synthesis architecture and demonstrates how MTRX-1K can be used for detailed sound programming and electronic music production.
Firmware-Based Synthesizer Emulation
MTRX-1K runs the original Matrix-1000 firmware version 1.20 on an emulated Motorola 6809 processor board, controlling six modeled CEM3396 voice chips.
The software reproduces the instrument's synthesis behaviour while offering selectable 6, 12 or 24-voice polyphony, stereo spread, voice detuning and polyphonic unison.
Dubspot SM-1 is a Semi-Modular East Coast Synth for iPad and iPhone. Start with a playable instrument, then shape it with interchangeable modules, patch cords and effects.
BUILD YOUR INSTRUMENT
Choose MK1 or MK2 modules for oscillators, filters, modulation, envelopes and more. Add extra modulation and envelope units. Change panel colours and save your own sounds.
PATCH AND EXPLORE
Drag patch cords between audio and control connections. Adjust each cord’s level and polarity, choose its colour, or pull an end free to disconnect it. The rack overview helps you navigate larger instruments.
SHAPE YOUR SOUND
Explore oscillator sync, pulse-width modulation, resonant filters, envelopes, an arpeggiator and sequencer. Spring Reverb is always available. Add Delay or Grains effects for stereo echoes, frozen textures and evolving granular layers.
PLAY YOUR WAY
Use the on-screen keyboard and pitch and modulation wheels, or connect a USB or Bluetooth MIDI controller. Choose MIDI inputs and channels in the standalone app.
AUv3 INCLUDED
Load Dubspot SM-1 as an Audio Unit instrument in a compatible host. The host handles MIDI routing and saves the instrument with your project.
Includes factory presets and an in-app control guide. No account, subscription or in-app purchases. Requires iOS or iPadOS 16 or later. Desktop plug-in formats are separate products.
"CoralFlower brings Orchid-inspired chord playing to the M-VAVE FM-1, turning single notes into rich chords, bass and evolving generative patterns. While you play, a flower grows on the FM-1 screen. Each note of the chord adds a part: a flower, a bud, a cluster of berries. In the Side key layout, a coral grows instead.
Chords without the theory
The lower keys play the notes of a scale you choose. Press an upper key, and every note becomes a chord: major, minor and sus, plus major and minor 6, 7 and add9. The chord stays on until you choose another one. CoralFlower is inspired by the Telepathic Instruments Orchid. Its controls are redesigned for the FM-1’s keys and buttons, because every instrument is played differently.
27 scales
Choose a scale and its starting note. The lower keys then play only the notes of that scale.
Arpeggiator and strum
Nine patterns, including a strum up and down. They follow the FM-1’s tempo or an external MIDI clock.
Record a take
Press REC and play. After a one-bar count-in, your chords are written into the sequencer and play in a loop. From there, you can add drums and a melody in a few clicks. Sequencer controls have changed in 0.7. Use SELECT for patterns and SONG, and ALGORITHM for tracks and song blocks.
About 60 sounds
Pads, keys, strings and basses from two synth engines. A bass part plays under your chords.
"FM synthesis has always had a bit of an image problem. Everybody loves the sound, but nobody wants to program it, which is why most of the FM you've heard in your life was a factory preset that nobody dared to touch. (Touching it was a fast way to turn an electric piano in to a fax machine.) With Sandbender, the four operators are where a sound starts. They're all here, in ten factory algorithms or any routing you feel like drawing, but every operator has a wave shaper of its own, there's a wavefolder, a sub oscillator, and six flavors of noise alongside them, and the whole lot runs through a proper filter and a low pass gate. If all you want is a nice FM bell, I'm happy to report that Sandbender makes a very nice FM bell. It just seems a shame to stop there.
We also tried to make the programming part less of a chore, since that was the whole problem in the first place. Modulation is drag-and-drop: grab a source off the rail (envelopes, LFOs, a couple of function generators, a step sequencer, the macros, and all the MIDI and MPE stuff) and drop it on pretty much any knob. And if you'd rather not program at all, nobody's going to blame you. The GENETICS page breeds new patches out of whatever you're playing, and PERFORM gives you two nodes to shove around the screen, plus a gesture recorder for when you stumble on something good. Six of our effects sit at the end of the chain, in whatever order you like, and there are 260-odd presets in the box to get you going.
Same as the rest of our catalog: Mac, Windows, Linux, and iOS. No DRM, no subscriptions, no dongles, perpetual license."
"Mutable Dreams 1.5 is here, and I'm honestly overwhelmed by the response to this little project. Thank you to everyone who has tried it, made music with it, shared it or taken the time to send feedback.
Your ideas and listening notes are helping shape where it goes next. Seeing so many people enjoy these sound worlds is a huge motivation to keep building.
I'll also be sharing a hands-on video soon, with live recordings from the FM-1, some playing and a personal look at the firmware. For now, this short film explores four of the new Biomes.
New in 1.5: • BLE MIDI reception for notes, controllers and transport/clock • A dedicated Wireless MIDI page • 12 new Biomes and 12 new sound starting points • 168 musical Biomes plus Blank, and 364 presets in total • Brighter organic display palettes, corrected echo bounds and a smoother update restart
"Happy November! Today marks the release of two new editors for Patch Base: the Korg M1 and its rack-mount sibling, the Korg M1R. Available now on Mac and iPad. Let's see what they've got going on:
Program Editor
The Korg M1/M1R calls its voice patches 'Programs', and Patch Base shows you all of their parameters in an immediate and compact format. The Main page shows you an Oscillator at a time: for the M1, an 'Oscillator' consists of a Multisound (sample), and Pitch, Filter, and Amp information. You can see, copy, and paste every envelope. Below the Oscillator you have the Effects units, and both LFOs. And on the right, all of the Controller modulation options. The whole patch is here on a page.
"The Yamaha AN1x, like many synths of the time, came with a bunch of built-in demo tracks, but unlike other synths, one of the demo tracks was specifically designed to work when the AN1x was connected via MIDI to its slightly older, sample-based sibling, the more affordable, but equally fun CS1x.
I've never tried it out until now, spurred on by Brad's superb VANIX [VAN1x] plugin, coming soon courtesy of @ISLAelectronics [see this post]. So here are the two synths, connected via @CMEPro WIDI (drink! 🍻) under some 90s lighting, sharing a very anachronistic choooooooon!!!
Also featured for eye candy purposes are other Yamaha units of the time, a couple of SU-10 sampling units, an RS7000 and an RM1x, all fed through an 02Rv2 mixer, using no external FX.
"In this video I take a look at the AMY board: a tiny, affordable ($29) Arduino-based DIY synth module built around the open-source AMY synth library. It packs USB, an SD card slot, digital and analog audio, MIDI, and CV I/O into a board small enough to fit straight into a Eurorack case.
I go over what the board actually is and what's in the box, then jump into a MicroPython REPL to show how the AMY library's synth, voice, oscillator model works, patching up a simple sine voice, triggering notes, and using the built-in PCM/sample engine and tag-based sequencer to create a basic drum pattern. From there I install it in my Eurorack rack, run through the signal chain (MIDI in from the Hermod+, CV/audio out, self-modulation via CV), and share some closing thoughts on where it's strong, where it's limited compared to something like the Disting NT, and what I want to try next (serum-style bass patches with compression/distortion).
If you've got one of these boards — or you're thinking about picking one up — let me know what you're building with it in the comments.
Timestamps:
0:00 Intro & preview
0:31 What is the AMY board?
1:43 Using AMY standalone (MIDI / SysEx / REPL)
2:01 MicroPython REPL walkthrough — synths, voices, oscillators
3:01 PCM sample oscillator & built-in sequencer (drum pattern)
4:22 AMY in the Eurorack rack — signal chain & modulation
6:04 Final thoughts — value, limitations, what's next
7:01 Outro"
"Workshop Fetichist is a firmware for the Workshop Computer by Music Thing Modular. The idea was to turn the Workshop System into an evil analog drum machine inspired by the Body Synths Metal Fetishist.
"Workshop Fetichist is a harsh, semi-random drum machine and noise processor for the Music Thing Modular Workshop Computer (hardware revision 1.1). Inspired by the Body Synths Metal Fetishist, it combines a looping random CV sequencer, probability-based trigger skipping, white noise, external audio processing, and two aggressive effects: Bitcrusher and Distortion. It can also be used as a random CV sequencer and rhythmic trigger source. The sequencer has an internal clock, but can be synchronized via Pulse In 1 or MIDI USB."
"I've just rebuilt my site which collects my generative instruments in one place:
- Browser (Web Audio, no install): PROPHETIQUE (a 5-voice sampler built from a single Prophet-5 note, with a generative melody engine), Register (a minimal sine/noise/LFSR piece with barcode and 3D wireframe visuals), RAINTREEFREQ+ (a generative piano roll based on my own track), KORPER (an instrument dedicated to Electronic Body Music), and SYSTEM-83 (a PPG/Fairlight-flavoured synth/sampler and MIDI player; no MIDI is bundled)
- PS Vita (VPK, for modded consoles): AZIMUTH, Register, PROPHETIQUE
- Linux: SYSTEM-83 (AppImage), plus LMD649 and KORPER as VST3/CLAP/LV2 plugins
1. Meet YOLA: More Than an MPE Controller | Quick Feature Tour
00:00 Intro 00:44 Touch Zone Function 01:39 ZONE SPLIT 02:22 CV expasion 02:49 Arpeggiator 04:28 Sequencer 04:48 SEQ_MAP 05:36 Real-time Recording 06:38 Thanks
2. YOLA + YOLA VOICE 01 — DARK MATTER
A dark ambient and experimental noise performance exploring the sonic possibilities of YOLA Voice.
Combining the distinctive Scan String algorithm with sine-wave oscillators, modulated through a multi-feedback structure to create evolving harmonics, metallic textures, and dark, distorted soundscapes.
With YOLA's real-time MPE control, subtle finger movements continuously reshape the sound, bringing dynamic movement and expressive depth to the performance.
3. YOLA + YOLA VOICE | 02 — ETHER
An ambient performance exploring the physical modeling and modulation capabilities of YOLA Voice.
Using physical modeling algorithms to create acoustic percussion sounds, combined with YOLA Voice's modulation algorithms to transform these sounds into dreamy, evolving ambient textures and ethereal soundscapes.
A journey from organic acoustic resonance to abstract electronic atmospheres, shaped through the expressive MPE control of YOLA.
4. YOLA + YOLA VOICE | 03 — HUMAN TOUCH
An expressive synth performance featuring a classic analog-style wobble bass sound.
Built around sawtooth oscillators, filter resonance, and dynamic filter modulation, creating rich, punchy bass tones with classic analog character.
Combined with YOLA's expressive MPE playing and real-time control, bringing movement, dynamics, and articulation to every note.
Additional posts. Official pics and details follow. Click the pics to zoom in.
"*YOLA is coming.*
Discover a new way to control, create, and perform with MPE.
More Than an MPE Controller
YOLA forms the core of an expressive MPE control system, bringing together intuitive touch interaction, advanced MPE control, and a new approach to musical expression.
From multi-touch performance and expressive modulation to arpeggiator, step sequencer, real-time recording, MIDI, and CV connectivity — this video takes you through the key features and possibilities of YOLA.
*A new way to interact with sound. A new way to create music.*
The YOLA System
The YOLA system launches together with two dedicated expansions:
*YOLA CV Expansion* — Flexible polyphonic CV and Gate connectivity for modular synthesizers. *YOLA VOICE* — A dedicated synthesizer expansion that brings a new sonic dimension to the YOLA system.
More detailed tutorials and demonstrations are coming soon, including dedicated videos for YOLA VOICE, the CV Expansion, and other features and creative possibilities of YOLA."
"IMPORTANT: Ambient Architect does not produce sound and does not operate as a standalone instrument. It must be loaded as a MIDI effect inside an AUv3-compatible host, such as AUM, and connected to other instruments to be heard.
Generate music for films that do not exist.
Ambient Architect is an AUv3 MIDI instrument for dark ambient music, cinematic underscore and slowly evolving composition.
It gives you an ensemble of eight independent parts. Assign each one a role such as Drone, Harmony, Bass, Melody, Fragment, Pulse, Texture or Dust, then route its MIDI output to any instrument you like. Every role has its own musical purpose and its own set of controls.
"Saadet 1.0 is out: synthesizer firmware for the M-VAVE FM-1, now with six engines. HYDRA has three oscillators on 56 waves, two of them scanning lists of eight, with mutants, ring, noise and two filters, eight named macros on every sound and a WAVE LAB for your own waves. PPG Wave 2.2 plays the original wavetables and all 100 factory programs, two groups layered or split, and the sampled grand piano and saxophone of table 31. Two parts play by MIDI channel, split or layered, and save as 12 named performances. Hold ARP for a drone. A stolen voice now fades out over 23 ms under the new note instead of being cut. Saadet also runs on the M-VAVE SMK-37, in beta, and Saadet Studio is a new editor in the browser.
To install, open the web installer in Chrome or Edge, connect your FM-1 and follow it. Back up your sounds first. Bug reports and ideas are welcome.
How this was made: the units' screens and all the audio were rendered from Saadet's own source running on a computer, driven by scripted buttons, knobs and keys. It isn't camera footage, and the FM-1 and the SMK-37 on screen are drawings. The music is Saadet's HYDRA and PPG engines played over MIDI by a script: the unit on screen plays the pad, and three more runs of the same firmware play the bass, the bells (their echoes are played as notes) and the choir. Levels between engines were evened out in the mix; nothing else was added. The engine waveforms in the opening are drawings of each engine's character, not measured audio. Saadet Studio's screens are stills of a local build of the editor, driven in a browser with its demo unit, which was recorded from the 1.0 firmware.
"Note: We have created a set of sampled in Decent Sampler for this - available on our / sonicstate and to 16-bit YouTube Members
@morphor.radical.acoustics Morphor Echon 6 is a six-voice desktop analogue polyphonic, multitimbral BBD synthesizer. Each voice combines a basic analogue exciter with a tunable BBD resonator, giving Karplus-Strong-style pitched delay behaviour that follows incoming MIDI notes. It really got our interest at Superbooth this year, where it won best in show for its unusual synthesis method and sounds.
In this Sonic LAB, we spend time with its oscillator shapes, noise source, onset delay, resonator feedback and filtering. The instrument has six voice outputs, stereo outs, headphones, external input, MIDI in/out/thru, USB and power. There is no onboard display, though an editor exists for patch naming and sharing.
Modulation centres on an envelope, four LFOs, random generation, mod wheel, velocity, aftertouch and key follow. Lit buttons show modulatable destinations, and routings can be muted or cleared. Voice groups allow splits such as six monos, two groups of three or layered unison patches, with separate outputs available.
In practice, the Echon 6 sounds highly dynamic and can become level-heavy quickly.
We use external Ventris reverb at points, as there are no onboard effects.
Street price is around £1,979."
"This is a before and after video attempting to demonstrate what, if any, difference there is between the MG-1's stock filter circuit and the 'Minimoog" filter modification outlined in the 'Moog/Realistic MG-1 Mod Guide' thread on the Moog forums.
You can easily tell the difference between before and after because I used a red MIDI cable before and a yellow MIDI cable after.
I tried to be consistent running a 3 octave arpeggio with full envelope control of the filter and resonance amount consecutively at at minimum, '4' , '7', and maximum repeating the sequence for each of the three filter key tracking modes. Only Oscillator 1's plain saw wave was used as the reference tone.
Scale was calibrated before each test but, admittedly, I did not recalibrate the other filter characteristics before each test. I wonder if doing so would have made the two circuits even less distinguishable from one another. Too late, oh well.
The audio was normalized to -1db, so the peak levels are the same in both instances. Hopefully this eliminates any 'volume bias' impact.
To my ears the effect of this modification is pretty subtle. The modified circuit sound a little 'stronger', I guess. Maybe I could/should have played the synth differently to showcase the differences but, being hardly able to appreciate the distinction, I wouldn't have known what to do.
I hope this video helps anyone out there considering the modification. It isn't difficult; just a swap out of about 10 components. If your ears appreciate the distinction and your MG1 is open anyway, maybe this mod will be worth the effort.
"What happens when a synth manufacturer opens up its hardware to the community? In the case of AtoVProject’s Faderpunk, something rather exciting!
Faderpunk was already a remarkably flexible MIDI and CV controller, but with the introduction of community-developed apps, it’s becoming an even more powerful tool for modular synthesis, generative sequencing and live performance.
In this video, I explore the new community app ecosystem, show you how to install third-party apps, and dive into some fantastic musical examples.
We’ll explore FP-Grids for generative drum rhythms, TB3PO for acid-inspired sequencing, TechnoKick and TechnoHihat for instant techno grooves, Sift for evolving melodic sequences, and Heat Pump for rhythmic sidechain modulation. I’ll also demonstrate how Automator can record your fader movements and turn them into evolving modulation.
Along the way, we’ll build some musical patches, experiment with sound design, and discover a few unexpected tricks — including using Heat Pump to bring rhythmic movement to the Forge TME Vhikk X.
For me, this is a great example of what happens when developers embrace their communities and give musicians the freedom to experiment and create. And the best part? There’s plenty more to come.
CHAPTERS
00:00 Introduction - Faderpunk keeps evolving
01:16 How to install community apps
03:29 FP-Grids - Generative drum sequencing
05:12 TB3PO - Acid sequencing
07:05 TB3PO - Accents for modulation
08:34 Automator - Recording modulation gestures
09:37 TB3PO - Percussion sequencing
11:00 TechnoKick and TechnoHihat - Instant techno grooves
14:11 Sift - Generative melodic sequencing
16:47 Heat Pump - Sidechain envelopes and creative modulation
20:09 Final thoughts and what’s next
It’s a living modulation ecosystem that you can shape, build, and customize to your will Faderpunk is all about customization. You can run apps that use one or more of the channels: LFOs, CV-to-MIDI converters, MIDI-to-CV bridges, random generators, Turing machines, quantizers, sequencers, envelopes, rhythm generators, and so much more.
Modulate anything Faderpunk is a great companion for your Eurorack and semi-modular synthesizers as it speaks all their languages. Explore lots of modulation options for your empty jacks and get inspired by combining MIDI and modular capabilities.
Whether you need modulation sources, sequencers, or automation tools, Faderpunk puts everything at your fingertips with hands-on, intuitive control.
Make it yours, truly Using the web-based configurator you can easily add and remove apps via drag & drop. Just connect Faderpunk to your computer and go to https://faderpunk.io.
Need an app that doesn’t exist yet? Create it yourself! Faderpunk comes with a developer-friendly API, making it easy to build your own apps.
Why limit yourself to six voices when you can have eight? Introducing our brand new Analog Polyphonic Synthesizer the Behringer Polyeight. An 8-Voice that sparkles with the sound of the 80s. Join Bartek as he jams through the presets of this exciting new addition to our Synth lineup."
Behringer's Polyeight is an eight-voice analog synthesizer that re-creates the era-defining sound of the Polysix. The 2044 low pass filter gave that sound its character and sits at the center of the Polyeight's pure analog signal path. Positive or negative envelope control shapes the filter to create sounds from tight plucks to long blooms. Eight discrete VCOs can be played in dense polyphony for rich harmonies or locked in unison for powerful leads and basslines. Chorus, phaser, and ensemble effects are integrated into the signal path to provide rich textures for strings and pads. Program complex voicings into chord memory and trigger them from a single note. For players chasing the classic Polysix sound, the Behringer Polyeight delivers with more voices and powerful performance features.
Polyeight Features
Eight-voice analog polyphonic synthesizer based on the Polysix Pure analog signal path with discrete VCOs, VCF, and VCA Each VCO features saw, square, and pulse width waveforms Classic 2044 low pass filter with resonance and positive or negative envelope control Unison, double, and poly modes for eight-VCO leads, four-voice doubled patches, or eight-voice chords Sub-oscillator one or two octaves below the main VCO Chorus, phaser, and ensemble BBD effects Pulse width modulation with a dedicated LFO Multi-waveform LFO for pitch, filter cutoff, and amplitude MS-20-inspired global noise generator Eight-slot modulation matrix Chord memory triggers stored voicings from a single key Polyphonic portamento Arpeggiator with up, down, and up-down modes and external tempo control 256 program memories with compare and match for front-panel controls 49 semi-weighted full-size keys with velocity and aftertouch Product Details
Polyphony: 8 voices (unison, double, and poly modes) Keys: 49 Memory: 256 user programs Display: LCD with encoder MIDI: 5-pin DIN in, out, and thru USB: USB 2.0 type B, class-compliant MIDI Main output: 1/4" TRS, balanced mono Headphone output: 1/4" TRS Sustain pedal input: 1/4" TS Expression pedal input: 1/4" TS Chord memory footswitch input: 1/4" TS Arpeggio sync input: 1/4" TRS (tip: clock, ring: start/stop) VCF fcM input: 1/4", -5V to +5V Power: internal switch-mode power supply, IEC Dimensions: 4.7" x 32.4" x 10.2" / 120 x 825 x 260 mm Weight: 16.5 lb / 7.5 kg
Three MIDI connections, one module
