'No issues. Past owner reported it had work done in the past. Right wood end has damage as shown in photo. Confusing non traditional workflow and will take time for you to understand the device. The Spectralis is a professional synthesizer, groovebox, and sequencer created in 2004 by Radikal Technologies. Contained within is a powerful monophonic hybrid synthesizer (the Asynth) composed of 4 digital oscillators that can pass through two analog filters (a 4-pole 24dB LP filter and a 2-pole 12dB multi-mode filter), a 32 stereo voice polyphonic multisampling sound engine (the Dsynth) that pass through a digital 12dB multi-mode filter, an 8 bandpass fixed filterbank a plethora of LFOs to modulate parameters, two delay effects, and an extremely complex and powerful pattern-based sequencer section to sequence internal sounds and parameters as well as external gear. The Spectralis has 32 available songs, each with 32 patterns available.
"Little sound design session on the Black Corporation Xerxes MK2 to test a lightweight recording setup directly to my phone.
No fancy post-processing, maximizing, review, just me building a pad from scratch on the wonderful Xerxes and exploring various variations of it, to give you an idea of the sound design freedom. The patch is initialized from a basic single saw wave patch and I play around with low pass and band pass filtering for the pads. Later in the recording I add some reverb from the @Strymon BigSky, which always helps on a pad.
Like most synths, a basic patch like this might not immediately sound '5K expensive' without effects, refinement and post-processing. Fortunately this versatile machine can do a lot more and is a real joy to use with all its hands-on control. Some typical Elka-features like Pulse Amplitude Modulation (PAM), sync phase control and oscillator self resonance, add to the unique character of this synth. It's a really enjoyable synth and I feel it's going to be one of my main workhorses.
I love how good a DCO-based synths can sound, and they are usually great for pads. Like on the Matrix-1000 and JX-8P, DCOs are super stable by nature, so imperfections need to be added manually. Apart from tuning tweaks/modulation, the Xerxes has a nice drift control for this.
Enjoy, and next time I'll clean the camera lens, I promise! 😅"
"2nd video with the Arturia Minifreak hybrid (digital/analog) synth, with a OneSynthOnly jam (after the first video where I used 5 instances of the Minifreak in multi-track: • Cinefreak 📽️ (Arturia Minifreak // Conduct... 😉)
Here's to you my 'No talking demo' of the amazing Cobalt 8M by Modal Electronics.
Cobalt 8 is an 8 voice extended Virtual Analog synthesiser that unlocks the full creative potential of analogue waveforms. This powerful, inspiring instrument reinvents the aesthetics of analogue sounds and invites musicians, producers and sound designers to explore a new era of virtual-analogue synthesiser textures, far beyond the limits of its analogue forefathers.
On top of the innovative oscillator engine of COBALT8, it also has a massive arsenal of inspiring morphable and static filters. Combined with Modal’s unparalleled modulation options, an inspiring real-time / step sequencer, the energising arpeggiator, MPE, studio-quality effects and MODALapp integration, COBALT8 is the perfect synth for everyone who wants a versatile electronic music instrument to play vintage synth sounds and is eager to enter new sound dimensions.
Eight true polyphonic voices tempt players to lay out wide string or rich synth pad chords, while a monophonic bass or lead patch, played with 64 oscillators can shake the walls of every stadium. And with the avant-garde sound forming features, every synth enthusiast can refine his performance with sounds that no other synthesiser is able to generate."
"You want easy? Hexdrums is easy. The sounds are whatever the knobs are on. There are no hidden extra sound controls. The sequencer is wonderfully straightforward yet has the options to create long and complex passages on a single pattern.
This is my first pattern with Hexdrums and I created it to learn the options, so it contains a little bit of everything. Voices 1, 3 and 6 run for 24 steps; most of the others are 16 or 64; there's shuffle on voices 3 and 4; and about half the steps on voice 4 have some microtiming. Many voices use the 'play once in 4' or similar settings applied to various steps and I activated the option for those to affect the last time around rather than the first. Various voices also have accents on different steps. I replaced the cymbal samples with my own samples which is what you hear on voices 9 and 10.
I used the individual outs on the back to send the snare to the Echolocator and the low boom sample on voice 9 to the Nightverb. MIDI out on the Hexdrums controls the Echolocator clock. By that stage it was all feeling full so I didn't want to artificially squeeze in the hats so I left them for next time. Many people like to immediately apply loads of drive to the sound. I love drive, saturation, dirt, gain and distortion. But there's none here. Another thing for next time. Likewise only a tiny touch of compression. With me applying 'test amounts' of all these options, usually at random, it's a miracle it sounds as coherent as it does. Even so rolls and hits do appear at odd intervals, the result of the 24 vs 16 step interplay and the 1-in-4 steps.
Not surprisingly then I thought it best to leave the knobs alone and concentrate on muting parts to create this little demo. Obviously it's all a single take and has not been enhanced, edited or remixed in the DAW. Stupidly I had a loose cable going into the Echolocator which created a bit of hum which I did try to eliminate in the DAW.
My one sentence review so far: Hexdrums is incredibly easy to use with loads of effortless thump and a deep sequencer.
"Original Korg PolySix from 1981 in Very Good condition, everything working, no yellowing. Originally bought from Japan.
No MIDI upgrade. All original hardware. Every key works with no problems and every function throughout the entire unit is in good working condition. Wood panels in good condition, natural wearing on some corners and a few nicks on the bottom but overall very good for it's age. Metal panel on front has light scratch on the left side (pictured) and a few nicks on the edges towards the back, but overall nothing huge cosmetically. Key bed in good shape, almost mint condition. Used very lovingly for about a year, many recordings done with it.
It's very good for gritty 80's sounds, people often compare it to the Juno but I'd more so compare the sound to that of something by Sequential Circuits like the Prophet series, with a key bed that feels like a Juno, while any remaining character is completely it's own. It even gives some effects to play with that come from the turn of a knob, letting you enable Chorus, Phaser, or both while letting you change the intensity via the knob next to it.
I've included a demo of what this particular unit sounds like, playing Eyes by Clio, produced by Roberto Ferrante who also used only a Korg Polysix for the synth tracks.
Some other notable uses of this synth off the top of my head are Faces (Clio, 1985), Start Of The Breakdown (Tears for Fears, 1983), Subways Of Your Mind (FEX, 1984), Till The End Of Time/Animal In Me (Affair, 1984), Under The Ice (Topo & Roby, 1984), and just any underground European artists from the early 80s."
"Spiral Motion is a collection of 64 Arp Presets for Moog Messenger. The patches cover a variety of Arp tones: mild and aggressive, deep and bright, simple and complex, soft and punchy, musical and experimental.
🧬 All sounds are very dynamic: they have synced modulations, and they are velocity-sensitive. You may hold a chord and add accents to the arpeggio with velocity, or add expressiveness via aftertouch. And, of course, you should play with Envelopes, Filter Parameters, Arp Patterns and Range, LFO Rate to get the best experience of the presets.
🧿 The soundset is universal, the Arps are suitable for all genres of electronic music, including Techno, House, Trance, Lounge, Downtempo, Funk, Disco, Pop, Acid, Hardcore, IDM, Drum'n'Bass, Breaks, Breakbeat, Trap, Electro, Ambient, Dubstep, EDM, Synth-Pop and others.
Prismatic Spray II is a deeply explorable, stereo bytebeat synth that implements many novel features. It includes a multitude of physical controls, mesmerizing visuals and full MIDI implementation. The Prismatic Spray II is an evolution of the original in the following ways:
"After a bunch of you (rightly!) pointed out how much Vangelis relied on reverb, delay, and chorus, I went back in and rebuilt the atmosphere properly. This is the CS-80 as it was meant to be heard: huge, cinematic, and dripping in Blade Runner / Chariots energy.
In this video I play 8 classic Vangelis riffs on my original CS-80, matching both the synth tones and the iconic effects vibe as closely as possible."
Time Stamps:-
00:00 Intro
00:20 Vangelis – Chariots Of Fire Brass Melody
00:54 Vangelis – Blade Runner Brass Line
02:05 Vangelis – Blade Runner String Pad
03:06 Jon & Vangelis – I Hear You Now Main Theme
04:39 Vangelis – Chariots Of Fire Brass Lick
05:16 Vangelis – To the Unknown Man Intro Melody
06:47 Vangelis – Blade Runner Flute Intro Line
08:14 Vangelis – Blade Runner Brass Line (no bass)
09:10 Outro
Check with dealers on the right for availability. Pics and additional details below.
"Fantastically fun, feature packed, powerful yet simple to use Venus Instruments have brought a tonne of flexibility to Eurorack sampling and looping with the VENO ORBIT.
There's multiple bonus patch from scratch uncut videos exclusive to / divkid supporters - head there to join the community and gain access."
"#Elmyra2 v2.4 — What’s New and Improved Sound Engine
Higher sample rate and improved wavetable resolution → noticeably cleaner top end. New wavetables added. Overall mix saturation refined, with “soft” (122) now default. Knob value stability and tuning precision improved.
Filters New comb filter (codes 3321/3322). RESO = damping, CUTOFF = delay time, with optional pitch tracking. Ladder filter reworked — now true multimode (LP/BP/HP) with higher quality. Ladder LP (331) is the new default filter. State-variable filter retains LP/BP/HP modes (341–343) but with improved gain staging, resonance, and cutoff ranges.
Delay & Reverb Delay fully re-implemented → cleaner feedback, no lock-ups. Added proper reverb engine controllable with delay knobs. Code 441 = delay (default), 442 = new reverb, 4411 = legacy lo-fi reverb. TIME = decay, FDBK = color, MIX = blend. Dry/wet crossfade curve improved for smoother transitions.
Modulation New MODP: oscillator hard-sync (orange LED, position 5). MOD controls the synced oscillator pitch. LFO1 knob-motion recording (code 2413) — record live movement of LFO rate. Sequencer output to LFO1 possible (243v). Per-voice sequencer clock divider (11sv). Digitally controlled envelopes in multiple short modes (221v → very short … 224v → disable). Detune MODP range expanded.
Scales & Chromatic Mode New musical scales for chromatic mode: major, minor, major pentatonic, minor pentatonic (CHRM + 11–14). Scale selection now unified under the CHRM button. Knob-to-pitch mapping in chromatic mode is now linear and exact.
User Interface & Workflow
LED feedback overhaul — REC and PLAY flash to confirm code entry, sequence record, mute, and drone states. Quick mute/unmute voice (MODP + PG long press). Quick octave switch (MODP + double-tap PG). Pink MODP LED at startup identifies firmware 2.4. Touchpad LEDs more reliable during operation. Drone and mute response feels snappier.
Under-the-hood Fixes State-variable filter crash fixed (previously triggered by fast cutoff modulation). Improved detune, filter, and delay behaviors under modulation load. Sequencer timing more consistent with internal clock."
"This started as a little experiment: What would a transient-only drumkit sound like? Of course it's very clicky, like someone on "amateur talent night" playing a set of spoons. But the filters, LFOs, drive and sample-rate controls all still work so there's some wiggle room. First job is to disable the underlaying sound which, I finally discovered, is most simply achieved by switching everything into PWM mode and adjusting the PWM level.
When the thrill of slightly different flavors of click wears off the challenge becomes finding an effect to give it some deeper variation. The Zen, Nightverb and twin Roger That' all did wildly different things. The Nightverb was unexpectedly successfully especially using the pre-delay, feedback and shape controls to give a heavily gated feel. On the Roger That section I did use the morph parameter so strictly speaking it ceased being all-transient, but I thought the end result was worth a little rule-bending.
0:00 Setup talk
1:50 Raw kit
2:27 With the Zen
3:09 Karplus time
4:40 Nightverb (no more talk)
7:18 Roger That
Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/
My other channel "IntraCosmos" of long-play dark ambient textures: / @intracosmos"
"Here we have a custom circuit bent Texas Instruments Speak & Spell.
Operates as a totally normal speak and spell until you flip a glitch switch or turn a dial, etc.
Very fun to play, no right or wrong way to it, this bent talking synth is capable of tons of new sounds for you to record, sample or play live.
The added mods include:
1) Tone Oscillator button-creates a tone when depressed, the tone can then be manipulated with the theremin pitch cell, pitch dial or pitch body contacts.
2) Active Matrix Glitch-This mod opens up the membrane for random glitching dependent on where you touch the pad.
3) Ramble Glitch-Flip this switch and hit go and it will spew constant ramblings on and on and on and on.........
4) Dual voice glitch- causes it so speak In both a high and low voice at the same time.
5) Pitch Changing Body Contact-Touch this to lower the pitch, the harder you touch the further the change.
6) Pitch Changing Knob-Use this pitch control to change the pitch from incredibly high falsetto to super low, 8-Bit crushing growl.
7) Reset Button-Use this when you're ready for a change and the machine is rambling on its own, also serves as an OFF button.
8) Theremin Opto Cell Controller-Simply flip the switch, use the pitch dial to fine tune and you can play any sound emitting from the speak like a theremin, makes for some great effects.
9) Loop Switch with Advance Button-FLip this switch at any time to catch a sound that you can then mold and play with the other controls such as the opto cell and pitch dial.
10) Strobing LED for cool effect
It now features a 1/4" output jack that mutes the onboard speaker, allowing you can output this into your effects, amp, pa, etc.
These mods add tons of versatility and droning textures for your playing, recording and experimenting pleasure."
"I show how it sounds at 4:17 and play it with a keyboard at 5:50
Winter is getting closer so this is the time of year when I start building things. The first of my projects is a revisit to an old idea of synthesizing waveforms with a frequency divider. This time the waveform in question is a sine wave and some other waveforms derived from it.
The old idea is here: • Synthesizing waveforms with a frequency di... [below]
The project is quite a bit more complicated than the previous 'digital' waveform synthesizer as the sine wave is very..... well....wavy, as there are no straight lines like there is in the triangle and sawtooth waves. Therefore I had to take a different approach using a couple of 74LS138 3-8 decoders and an awfull lot of resistors.
The music is my attempt at playing something relaxing on my Wersi Prisma DX-5 organ."
The normal approach to generating waveforms is to start with a sawtooth wave and then fold it into a triangle wave and schmitt trigger it into a square wave.
But it is also possible to synthesize the waveforms by means of a frequency divider and some logic gates. Off course the generated waveforms will be somewhat 'edgy' but that can probably be filtered out and some people might even find it usefull.
The music is something I made back in 2005 on the homemade synthesizers I had then. It's not the best piece I have made but I am still willing to take responsability for it :-)"
"Exploration of the Hammond organ sound engines and controls on the new CRUMAR SORRENTO organ. Let's play and listen to how closely it emulates the classic Hammonds, such as B3, A100, C3 and more! You be the judge."
2. NEO VENTILATOR 2 Demo, Tutorial & Review
Demo, Tutorial and Review of the NEO INSTRUMENTS VENTILATOR II Rotary Speaker Simulation Pedal, an emulation of the iconic LESLIE 122 used with HAMMOND B3 ORGAN. We connect it to the CRUMAR SORRENTO ORGAN and thoroughly test it out. The Vent pedals are also extremely popular with guitarists so perhaps we can check that out in the future.
3. CRUMAR SORRENTO - Hammond B3 Organ Sounds
All-playing no-talking demo of the newly released CRUMAR SORRENTO ORGAN and CRUMAR BURN 2025 ROTARY SPEAKER SIMULATOR PEDAL. Listen and judge the sounds for yourself (but don't judge me)!
4. CRUMAR SORRENTO Detailed Overview & Demo
Unboxing, demo and first impressions review of the brand new CRUMAR SORRENTO ORGAN, an emulation of the classic iconic vintage HAMMOND ORGAN and LESLIE SPEAKER with the all-new CRUMAR BURN 2025 ROTARY SPEAKER PEDAL.
Featuring music from Sweden's finest Hammond organists, Pierre Swärd and Andreas Hellkvist.
Photos from Hammond B3 Appreciation Group on Facebook and from organ fanatic and friend of the channel Nate Down Under.
Lesson packs available for one-time purchase on Patreon.
"The Kiviak Instruments WoFI is a portable Sampler keyboard that connects to the internet via WiFi, and features an innovative effect module called Texturer that combines elements of shimmer and granular synthesis to create unique and fascinating sounds. Its compact size and intuitive interface make it an ideal tool for musicians and producers who are always on the move. In addition, WoFI comes with a rechargeable battery, allowing you to create music anywhere you go without worrying about power. You can also share your patches and access sound banks from other sound designers through the mywo.fi community platform. Whether you're a beginner or a seasoned professional, WoFI offers endless possibilities for exploring new sonic territories and creating unique sounds."
"I toyed for some time with the idea of titling this video: "To a Mouse, on Turning Her Up in Her Nest With the Plough". Which is the title of the 1785 poem by Robert Burns. Supposedly Burns was ploughing his field in Scotland when he accidently destroyed a mouse nest; was full of remorse for 'little Mousie' who now faced a disastrous Winter; and composed this rather lengthy poem while standing in the field.
It contains the verse:
But, Mousie, thou art no thy lane,
In proving foresight may be vain;
The best-laid schemes o' mice an' men
Gang aft agley,
An' lea'e us nought but grief an' pain,
For promis'd joy!
The key line of which has been popularized as "The best laid plans of mice and men often go astray". Which, it can finally be revealed, was my resigned feeling when rendering this video, and which led to the impulse for the silly title. In the end I decided against this title assuming algorithms don't appreciate obtuse connections by mood.
The plan was to string together a good half dozen Arp-driven Syncussion noodles with long stretches of blather about the Midicake Arp settings. After putting most of that together the only part I really enjoyed was one of the darker pieces, so that's the video. At least I learned a little about Robert Burns. It's worth another few minutes of your time to read something of his life, it's fascinating.
Here the Syncussion is in Mode 2 which means the pitch is controlled via MIDI. At times the Arp is also modulating the only other available MIDI parameter which is decay. The two leftside Arp channels control the left-side Syncussion voice; and the two right channels of the Arp control the right voice.
A pedal I bought used many months ago 'Gallows in the Morning' is on the left channel, and a delay on the right. Gallows is a drive and reverb combo pedal. Meh. The reverb is OK but the drive is pretty gutless and has an odd crackle to it. Mode B I never used because it just sucked the entire bottom end away. But it looks good, has a big light, and a nice gloomy name.
In other news I recently had to endure a few days here without my Fab Knocker. Lord, what an agony. So my thanks again to my loyal handful of Patrons. I detest ads.
In reaching this far I thankyou, it's good we can share these little interludes of irrelevancy.
Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/
My other channel "IntraCosmos" of long-play dark ambient textures: / @intracosmos"
"Live piano improvisation over synth riffs driven by my in-development iOS MIDI control app (no name yet). The app sends MIDI to my computer to play arpeggiators and tweak sound parameters in real time (filters, tone, mix, FX) using on-screen faders, knobs, XY pads, mini keyboards, and pitch bend.
Session routing (Kontakt):
• CH1: Noire Piano — played from Arturia KeyLab 88 Mk3
• CH2: Two synths — driven by the app’s Bass Arpeggiator (riff inspired by Vangelis’ Blade Runner theme)
• CH3: Lead synth — performed from the app’s mini keyboard
• CH4: Minimal electronic drums — driven by a second arpeggiator
Why this app? Many keyboards I use on stage have few (or zero) surface controls—sometimes not even pitch bend—so I built a mobile controller to unlock hands-on control: shape filters, automate movements, morph textures, balance layers, and keep playing fluidly. If this helps me, I know it can help other players too.
This video is a 6-minute+ live jam to show the workflow: arpeggiators keeping motion underneath while I improvise on piano and ride parameters on Page 2 of my scene (faders/knobs/XY). The app is still in development and I plan to release it as soon as possible.
If you’re into MIDI control, live keys, or sound design, tell me what you’d like this app to do next—your feedback will shape the release.
Additional Keywords: iOS MIDI app, mobile MIDI controller, live arpeggiator, synth arps, Kontakt Noire, Native Instruments, Arturia KeyLab 88 Mk3, phone MIDI, DAW performance, synth filters, XY pad, faders and knobs, pitch bend on mobile, live improvisation, Blade Runner inspired, Vangelis, sound design workflow"
five voices of analogue synthesis, controlled and modulated polytimbrally. we’ve taken ideas from our decade of modular exploration, and rethought how we reach into polyphony.
each voice is shaped by its harmonic energy while three core timbre modes push into richer territory. from simple suboctave and noise waves, through frequency modulation, and landing in formant synthesis reimagined. all squeezed through a lowpass/gate combination, providing balance and occasionally emphasis.
no digital multi-effects here, just spectres in the machine. a novel configuration of three filters, two delays, and feedback. front and almost centre — this resonant body is meant to be played. sequenceable, modulatable, while feeding back not just sound, but shape for unfolding cybernetics.
and to modulate! everything mappable to everything else, tactile input extended on the fly, mapping as a performance in itself. sources are dynamically phased across voices, and stretched in relative duration. gestures captured into five recorders, extending play rather than overriding it, all twisted in time at your whim.
Atrium is deeply learnable, and for those moments of quick change, instantly recallable. extensible with usb and midi and cv input.
//
a series of improvisations, exploring but a few edges of this new instrument.
performed by Trent Gill recorded by Dani Derks projections from Sean Hellfritsch"
"With Theo off on hols this week Christian opens the lid on one of his favourite instruments, The Harmonium. Think Penguin Cafe Orchestra, think Jon Brion, think a leading (albeit inanimate) character in Punch Drunk Love."
Press release follows:
The Crow Hill Company announces availability of VAULTS - HARMONIUM, bringing bellows to DAWs as latest free VI abiding by its Make Music, Your Music motto
EDINBURGH, UK: The Crow Hill Company is proud to announce availability of VAULTS - HARMONIUM — bringing bellows to DAWs (Digital Audio Workstations) as its latest free VI (Virtual Instrument) monthly drop, allowing anyone to experience the timbral complexities and harmonic layers of its gorgeous and, some might say, quaint instrument namesake for the rest of their lives, abiding, as always, by the Edinburgh-based enterprise creators’ collective Make Music, Your Music motto — as of October 24…
Its iconic appearance in Director/Writer Paul Thomas Anderson’s 2002-released dark romantic comedy Punch: Drunk Love — look it up! — may make many think of the harmonium in a certain way. What is certain, though, is that the small free-reed organ was patented way before, back in 1842 by Frenchman Alexandre Debain. By being smaller and less expensive than traditional pipe organs, it quickly became popular through Europe, India, Africa, and the southern United States. Travelling through the north of the UK, harmoniums can still be found tucked away in the corners of many recording studios. Saying that, those that are there are not just set dressing; after all, the harmonium captured the hearts of artists such as The Beatles, Supertramp, Penguin Cafe Orchestra, and Tori Amos, all of whom featured it in their music.
Making music with a harmonium is easier said than done, however, since the instrument in question generates sound by pumping air — using two foot-operated pedals joined to a mechanism that operates a bellows or by pushing and pulling a handle joined to the bellows back and forth with one hand — past a thin piece of metal in a frame and making it vibrate. Vibrations then resonate through the harmonium’s wooden body, thereby producing the distinctive, church-like sound. Thankfully, The Crow Hill Company has succeeded in capturing this sound to produce VAULTS - HARMONIUM, making it much easier for many more appreciative sound-seekers to experience its musical magic.
Composer Christian Henson — original founder of The Crow Hill Company — freely admits to being a big fan: “It’s got to be one of my favourite instruments. It can bring a simplicity to music — dare I say it, a quaintness, but because of its timbral complexities, it’s also massively expressive.”
