"Rare and very limited Moog Voyager Old School in a sweet Whitewash finish. Everything about this synth is in EXCELLENT condition.. in and out. No functional issues and it just sounds and looks amazing. Not many of these were made. This one is perfect for any collector and of course.. player."
Makes me think of a new generation Synth Edit based soft synths. For those of you concerned about them, and M-VAVE, taking over site, don't. I'll be filtering out noise as usual. Note supporting member posts are always welcome as a thank you for supporting the site, so you will see demos coming in that route. That said, posts like this one are mainly for informative purposes only, and to give you a perspective on the topic.
Video description:
"Can you 'Vibe Code' a VST? Of course you can :)
Like many of us in this space, I’ve been looking into what “AI” can and can’t do and more specifically how it can help me with Audio/Video and App Creation. Google Flow recently added the ability to 'Vibe Code' your own VST Plugins and I’ve made a half decent FX Plugin…Nothing that will change the Music World, damn, there’s enough of that going on, but it’s quite a cool little Project."
And another project I came across based on the UI of the Moog Messenger but with a different engine.
Vibe Coding VST3 Synth Based off Moog Messenger Preset Editor Layout
Sound test. UI inspired by the Moog Messenger preset editor. Working Windows VST3 and standalone synthesizer with its own sound engine. I used the Moog Messengers preset editor layout and functionality as a foundation for this synth. This does not edit presets on the Moog Messenger and it's not a skin for the preset editor. This is it's own synth.
Developed native synth with JUCE and C++ with GPT Codex. Tested both the standalone app and VST3 inside FL Studio.
The synth currently features two original synthesis algorithms:
⚙️ Mandible = interacting phase-modulated oscillators and asymmetric wavefolding for biting, metallic basses and aggressive textures.
⚙️ Gullet = harmonically rich synthesis shaped by moving resonances and distortion for throaty, vowel-like growls and smoother bass tones.
Added oscillator shaping and sync, multiple filter modes, envelopes, two LFOs, modulation routing, internal feedback, glide, duophonic playing, MIDI-synced pitch and mod wheels, an arpeggiator, a basic step sequencer, and preset saving. The factory bank now includes 17 presets, with ten dedicated bass patches. This is an independent project, unaffiliated with Moog, and isn’t intended to emulate the Messenger’s sound.
More synthesis algorithms are planned for later, including ideas for fractured waveforms, interacting detuned sources, and feedback driven textures. For now, this demonstration explores what Mandible and Gullet can already do as of now.
Built through experimentation, listening, testing, and one working feature at a time. Work in progress."
"Testing my faulty Micromoog with some helpful modules from AJH Synth: My poor old Moog isn't scaling/tracking correctly, so the V-Scale module is being used to modify the 1V/Oct output of the sequencer to produce the correct notes. Video guide to how this was achieved: • Correcting Vintage Synths with V-SCALE - T... [below]
Normally the Micromoog follows a 0.95V/Oct voltage to pitch scale, but mine can no longer even be calibrated to this with it's internal trimmers, so until it can be serviced (probably with some new components), the V-Scale at least makes it useable with external controllers and sequencers.
Sequenced by the Squarp Hermod+, the synth's faulty tracking is then corrected using AJH Synth's V-Scale module, gates coverted by the AMSynths AM997 Gate to S-Trig converter.
Micromoog filter modulated by AJH Tap Tempo VC-LFO, random gate skip by AJH CHance Delay.
Drone is 3 AJH MiniMod VCOs into Matrix VCF.
Mixed in the Cosmotronic Cosmix Pro, reverb from FX Aid, delay from 2HP DLY, final mix recorded on the Disting Mk4."
"Using V-SCALE to compensate for the tuning/tracking problems on one of my Vintage Synthesizers, this time a Moog Micromoog from the late 70's. Also, showing how PRECISION VOLTAGES can also be helpful, and bringing the TAP TEMPO VC-LFO, CHANCE DELAY, and the MATRIX VCF into a short performance demo - FULL performance video by @DreamsOfWires can be found here: • Moog Micromoog & Modular w/ AJH/MiniMod, H... [above]
V-SCALE at its simplest will function as a highly accurate buffered multiple, but four of its five outputs are adjustable by way of multi-turn trimmers. These allow for very gradual adjustments to outgoing CV signals, so that they can be made viable for synths or VCOs that are not scaling properly.
Here I'm adjusting/modifying a 1V/Oct signal from a sequencer so that it controls my old Micromoog correctly, but it could also be used with incoming signals other than 1V/Oct, or even to correct am incoming signal which itself isn't scaling correctly or as desired. Each trimmer has an adjustment range of +/- 5%.
My Micromoog's tracking is so far off that it cannot even be corrected using the internal trimmers on the synth, so I'm using the Keyboard Output (KBD) as the CV input, instead. of the intended OSC input. This method bypasses the keyboard, so the keyboard voltage isn't added to incoming control voltages, and so doesn't interfere with it. The only drawback is that the root key will have to be changed to match the notes on a keyboard. That's where the PRECISION VOLTAGES comes in - it can accurately offset an incoming control voltage by semitones and octaves, either up or down."
1. Cherry Audio | Introduction to Pentaphonic with Mike Martin
2. Cherry Audio | Translucent Presets for Pentaphonic Synthesizer
3. Cherry Audio | "Pentaphonic Cruise" by Steve Peglar
"Cherry Audio's Pentaphonic synthesizer revives the ultra-rare polyphonic hybrid synthesizer originally developed by Gleeman Instruments in 1981. With fewer than 70 units ever produced, this synthesizer is legendary for its rich tone, distinctive design, and pioneering sequencing capabilities. This emulation faithfully reproduces the lush sound of its digitally controlled oscillator (DCO) and analog-filter architecture while capturing the visual essence of the synthesizer "made to be seen, not just heard."
https://cherryaudio.com/products/pent...
Cherry Audio has taken its capabilities to new heights with expanded polyphony, expressive performance, polyphonic and parameter sequencing, and a library of studio-quality effects. Our visual makeover offers a choice of stunning designs inspired by the various looks it sported during its brief existence."
Cherry Audio Pentaphonic: A rare synthesizer masterpiece reborn
"CatSynth presents a deep dive into the new Pentaphonic from our friends at Cherry Audio. This is a recreation of the extremely rare Gleeman Pentaphonic synthesizer, complete with its unique look featuring crystaline transparent knobs and a translucent body. The Pentaphonic was an analog polyphonic synth with a few twists, including three digital oscillators with microcontroller-generated waveforms that were fed into an analog Steiner Parker filter. We explore the emulation of these unique features as well as Cherry Audio's enhancements for modulation, effects, and motion. We also check out a few of the factory and expansion-pack presets.
"Made to Be Seen, Not Just Heard." Pentaphonic resurrects one of the rarest synthesizers ever made: the 1981 Gleeman Pentaphonic.
Cherry Audio is proud to announce the release of Pentaphonic, an innovative virtual instrument that resurrects one of the rarest synthesizers ever made: the Gleeman Pentaphonic. With fewer than 70 units of the original hardware ever produced, this software version is a compelling opportunity for vintage synth enthusiasts and music producers of all genres.
You can find an English translation of the following video description further below.
"Freedom รจ un brano di musica elettronica prodotto da Davide Micheli utilizzando sintetizzatori elettronici tra cui alcuni Italiani moderni come il 'GRPA4', ma anche vintage anni 80 come 'Elka Twin61' e 'CRB Diamond 910 Gold M'. Altri sintetizzatori utilizzati sono il 'Moog Voyager XL', il 'Waldrof Quantum', e per ultimo 'Oberheim OB-X8'. La Drum Machine รจ una Drum degli anni 80 molto famosa ai sui tempi la 'Dynacord P20' 8-Bit Drum Machine.
It took me a while to finish this album, but I’m really happy to finally share these 12 new tracks with you.
The entire album was created using the Moog Matriarch, Novation Peak, Elektron Octatrack MKII, OXI One, Hologram Microcosm, and Arturia MicroFreak.
A lot of experimenting, sequencing, sound design, and late nights went into these tracks. I hope you enjoy listening to Neural Form as much as I enjoyed making it.
"THIS SYNTH IS NEXT LEVEL!
A few years ago, I first met Jacob Brashears at NAMM, where he debuted an extraordinary new synthesizer called the Relic. Now, the Relic is finished and after spending time with it, I think it’s worth asking:
Is this the most impressive synthesizer made in the last 40 years?
In this video, Jacob takes me through the Relic’s front panel and shows how this remarkable
instrument works. Then I get behind the keyboard and play sounds that I created in just a few hours.
The Relic has an incredibly expressive character that seems to combine the best qualities of classic vintage Oberheim, Moog, and ARP synthesizers with some very sophisticated modern technology.
It has the immediacy and character of the great analog instruments of the past, while incorporating modern advancements, routing and expression…and even the ability to continue evolving through future firmware updates.
One of the things that really surprised me is the Relic’s distortion. I demonstrate sounds with distortion that feels remarkably organic and nonlinear, much more like the behavior of a great guitar amplifier than conventional synthesizer distortion.
I’ll also play expressive keyboard sounds, leads, basses, and other patches I created while exploring the instrument, so you can hear what the Relic is capable of in the hands of a musician.
Jacob has clearly put an enormous amount of thought into this synthesizer, and the result is an instrument that feels both deeply connected to synthesizer history and genuinely forward-looking.
Watch Jacob take you through the Relic and hear what happens when I get my hands on it."
"Genuine Moog Sonic Six — the briefcase-style duophonic synth Bob Moog himself used for demos to teach children. Essentially a Mini-Moog in a suitcase. Two VCOs (saw, triangle, variable-width rectangle), two cross-blendable multimode LFOs, ring modulator, noise generator, sample & hold, external audio input, 49-key duophonic keyboard with high-note/low-note/duo priority modes, spring-loaded horizontal pitch bender, built-in amp and speaker.
Condition: Tunes and holds. All controls functional. Speaker and monitor circuit working. Case latches and handle intact. See photos for cosmetic condition.
One of the more sonically distinctive vintage Moogs and increasingly scarce. Sold as-is. Shipped in a custom double-box with foam suspension, or local pickup in Southern California preferred for an instrument this size."
"What does a legendary sumo wrestler have to do with one of the most influential synth-pop tracks ever made? ๐น
Yellow Magic Orchestra was formed by three geniuses: Ryuichi Sakamoto, Yukihiro Takahashi, and Haruomi Hosono, who released the album Solid State Survivor, featuring the song "Rydeen." This song helped shape the sound of early video game music and influenced generations of electronic artists — and the story behind it is stranger than you'd expect. This episode traces the band's outsized legacy before diving into a full reimagination of the classic on the Moog Voyager, Roland Juno-60, and LinnDrum.
Chapters:
0:00 Meet the Band That Rewired Electronic Music
0:28 Two Legends Gone, One Icon Remains
1:23 From Oscar Wins to Underground Side Projects
2:24 The Untold Story Behind 'Rydeen'
3:53 Reimagining Rydeen on the Moog Voyager & Juno-60
7:02 Final Thoughts & What's Next"
"The bassline from @nineinchnails The Becoming has always haunted me. Originally done on a borrowed 'OberMoog' prototype [matrix note: see prior posts here], the original synth underwent massive engineering changes, management, and versioning until it finally became the OB-Mx, which was a "better" synth, but didn't quite sound the same. I know this, because I owned an OB-Mx.
Anyways, our Ober-Moog VST gets pretty close, and goes beyond. Plus, it's got 500+ presets, an EZ button for randomization, and Hand Of God for impossible automated modulation. Available now at store.denversynth.com
How close does this get?
I guess only TR can say for sure.
The synth that wasn't.
A 1:1 recreation of the Oberheim OB-Mx panel, voiced as the ‘Ober-Moog’ — the pre-production prototype Trent Reznor borrowed from Richard Bugg and used for the bassline of Nine Inch Nails’ The Becoming. Never officially released, barely documented, and rebuilt here from every source that exists, contested claims included.
- Full OB-Mx architecture: dual VCO per voice, MM-VCF and SEM-VCF in series or parallel, four-stage envelopes with free-run and repeat
- Voiced specifically as the Ober-Moog prototype, not a stock OB-Mx — the one unit with its own name, its own history, and no official spec sheet
- Unison/spread/detune matching the OB-Mx's card-based voice architecture, mono or up to full polyphony
- Modulation matrix covering breath, pressure, velocity, note number, wheel, and pedal across twelve assignable destinations
- Built from every documented source on the instrument, with the honest gaps left as gaps rather than guessed at
EZ button gets you into a usable patch in seconds; the panel underneath goes as deep as the original hardware did
"Experimental electronica created with the Prophet-10, Moog One, Nord Lead, MS-20, OP-1 field, and Ambient Engine.
This is the 1000th entry in the Daily Sound Experiment series.
On the Prophet-10, synth pads are performed with reverb through the blueSky.
The MS-20 plays a bassline via MIDI sent from Ableton Live. During the intro, the filter resonance is adjusted in real time.
The Nord Lead and Moog One are performed by hand during the middle of the track.
The OP-1 field plays a rhythm pattern via MIDI from Ableton Live. Modulation is applied with the CWO effect, while the MOTHER effect adds gated reverb. The output is then processed through the MOOD MKII with additional pitch shifting and delay.
In Ambient Engine, sine wave samples are loaded and played as sustained tones while the MicroLoop effect is applied.
On this channel I explore many styles of music using field recordings, DIY instruments, and hardware.
Catch up on previous Daily Sound Experiment entries here:"
"A vintage synth reinterpretation of Sting’s “Russians”, originally released in 1985 on his debut solo album The Dream of the Blue Turtles.
Please use headphones or a subwoofer for the full audio range.
For this cover, I wanted to capture the atmosphere of the original while giving the track a distinctly analog, vintage synthesizer character.
The bass foundation was created with the legendary Moog Taurus bass pedal synthesizer, known for its massive, deep and powerful low-end sound. The Taurus has become one of the most iconic bass synthesizers of the 1970s and is especially famous for its thunderous sub-bass character.
All additional sounds, sampled elements, drums, percussion, effects and sound-design elements in this version come from the E-mu Emulator II. Released in 1984, the Emulator II became one of the defining samplers of the 1980s, combining early digital sampling technology with analog sound-shaping circuitry. Its unmistakable 8-bit character gives this version a deliberately authentic vintage texture.
'Russians' itself was written by Sting during the Cold War and became known for its powerful anti-war and peace message.
The goal of this cover was to combine two very different worlds of vintage electronic music:
1970s analog synthesis + 1980s digital sampling
The massive analog low end of the Moog Taurus meets the gritty, unmistakable character of the E-mu Emulator II to create a new interpretation of Sting’s 'Russians'.
If you are interested in vintage synthesizers, analog bass synthesizers, E-mu samplers, 1980s electronic music, synth covers and classic studio gear, you will hopefully enjoy this version.
Thanks for listening!
๐️ Main bass: Moog Taurus Bass Pedal Synthesizer (1976)
๐น String and Lead sounds & samples: E-mu Emulator II Sampling Synthesizer (1984)
๐ฅ Drums / percussion / FX: E-mu Emulator II
This is a cover/reinterpretation created as a tribute to the original composition and its timeless message."
Note this appears to be the first demo of the Dewtron Mr. Bassman featured on the site. Previous posts have all been listings. You'll find some pics and additional info there though.
"In this episode of Sonic Test Drive, our Education Associate Mike Kiker @MikeKiker demonstrates the Dewtron Mr. Bassman.
One of the first commercially available standalone bass pedal units. Made in the UK in the early 1970s, famously used by bands such as Genesis, Yes, Led Zeppelin, and Renaissance. To compliment the Dewtron and to demonstrate how the deep frequencies generated by the Dewtron can supplement the low end in a band situation for both bass players and guitar players, Mike also plays a 1967 Rickenbacker 360/12-string guitar followed by a 1974 Rickenbacker 4001 bass. It wasn't long before more widely available bass pedal synths such as the Moog Taurus pedals supplanted the Dewtron in terms of both popularity and functionality. But it was the Dewtron that first made an impact as a supplemental bass instrument and has become an exceedingly rare and sought after instrument. #basspedals #bass #genesis #mikerutherford #yes #chrissquire #ledzeppelin #johnpauljones #renaissance #joncamp #museum #musictech #synthesizer #analog #analogsynth #progressiverock #guitarplayer #pedal #pedalboard #pedals #basssynth #synthbass #progrock"
"๐️ Enter the Bob Moog Foundation’s 2026 Summer Fundraising Raffle for your chance to win a vintage Memorymoog Plus or a Moog Muse: https://bit.ly/2026MemorymoogMuseRaff...
Justin Stanton of @snarkypuppy plays both raffle prizes, exploring the rich analog sound and expressive possibilities of the vintage Memorymoog Plus and the modern Moog Muse.
And these are the actual instruments you could win.
The Memorymoog Plus, the raffle’s first-place prize, is one of Moog’s most celebrated vintage polyphonic synthesizers. The Moog Muse, the second-place prize, is a modern eight-voice analog polyphonic synthesizer that carries the tradition of Moog synthesis forward.
Every raffle entry supports the Bob Moog Foundation’s work to inspire people through the intersection of science, music, history, and innovation. Proceeds help sustain Dr. Bob’s SoundSchool, the Bob Moog Foundation Archives, and the Moogseum in Asheville, North Carolina."
"A piece created with the Prophet-10, Moog One, Music Easel, and ARP ODYSSEY.
On the Prophet-10, synth pads are performed with reverb through the blueSky. The Moog One also plays synth pad sounds, adding another layer to the texture.
On the Music Easel, the sequencer is looped at a slow tempo to generate sustained tones.
On the ARP ODYSSEY, a synth lead is performed while the MOOD MKII layers micro loops over the sound."
"This last few months I've been downsizing a lot in the studio, while focusing on creating a compact system within the Eurorack. Have lots of redundancies and gear that I haven't been using much.
Now has been the time for the Sequential Pro 3. I used it a lot in some projects, but the last two years has been gathering dust, so it was time for it to find a new home.
Still trying to find the perfect balance. However I find these these two, the Moog Matriarch and the Sequential Take 5 , so inspiring that I hardly see myself parting with any of them. My plan is to pair the modular with the Matriarch more in the future, so we will see.
Also the Magneto is growing on me, I loved the Strymon dTape sound from the Timeline, but this one is AMAZING. Takes anything to a whole different sound world.
Lastly, I used Rings into FX Aid (Gen Loss algorithm) for the bass sound.
1. Behringer 2600 Gray Meanie meets Moog Sound Studio (DFAM, Subharmonicon, Labyrinth) | First Jam
Lately I picked up another synth... yeah, GAS hits hard ๐ My first jam with the Gray Meanie! I still remember loading up Arturia's ARP 2600 emulation years ago and thinking, "what is this shit?" I didn't understand anything back then. I gave up on it pretty quickly and forgot all about it. Later, I found out through deadmau5's MasterClass that it was the synth behind R2-D2's voice, which got me interested again... but only for a while.
Fast forward to now, I finally bought one and decided it's time to actually learn it. I think it'll be a great addition to my semi-modular setup. I'm really enjoying it so far! Behringer did a solid job with this one: the leds looks great, feels really well built, and works really well with my korg sequencer.
Anyway... hope you find this little noodling session interesting! ๐ค๐ป
2. Trying to make the Behringer 2600 work with my Moog Sound Studio | Jam
Just a quick jam exploring this Behringer/Moog setup and seeing if they actually complement each other.
A lot of people say Behringer synths just don't belong next to Moogs... so yeah, I'm doing my best to make it work. :D
Hope you enjoy! ๐ค๐ป
3. Behringer 2600, KORG SQ-64, Moog Sound Studio (DFAM, Subharmonicon, Labyrinth) | Synth Jam
Another quick jam using the Grey Meanie alongside the Moog Sound Studio. Hope you find it interesting! :D
btw, I’ve been struggling with free time lately, so you might’ve noticed I'm behind on comments.. But I'll catch up step by step! And of course, I’ll be checking out your jams too! Cheers, friends! ๐ค๐ป
4. Behringer 2600 Gray Meanie | Noodling Session
Gray Meanie stuff... I really need to learn this synth, feeling quite lost while jamming, so yeah... This isn't even a jam, it's just a noodling session, trying things out with the Korg SQ-64...
Hope you find it interesting!
5. Paraphonic mode on Behringer 2600 | Noodling Session
First time using the 2600 in duo mode. I used the Arturia MicroBrute strictly as a keyboard controller, there's no sound coming from it here. The whole thing is just a raw jam with a many mistakes, but I was having a blast. I really love how the 2600 sounds as a paraphonic synth and I was completely lost in the zone while noodling...
"Genuine Moog Sonic Six — the briefcase-style duophonic synth Bob Moog himself used for demos to teach children. Essentially a Mini-Moog in a suitcase. Two VCOs (saw, triangle, variable-width rectangle), two cross-blendable multimode LFOs, ring modulator, noise generator, sample & hold, external audio input, 49-key duophonic keyboard with high-note/low-note/duo priority modes, spring-loaded horizontal pitch bender, built-in amp and speaker.
