"The Snare Trap is a drum machine you play guitar or synth/keyboards through! It’s designed to be used either on the desktop – by hand – or on the floor – by foot. The drum sounds are bass drum, snare, and hi-hat, and these can be individually triggered externally by a CV – so it’s very useful for modular synthesists.
"An improvised hardware session exploring live textural processing and generative drones.
In this performance, I’m using the Torso Electronics S-4 as the central sonic playground and processing brain. The Montreal Assembly (MTL) Purpll is set to drone mode, acting as a self-contained, unstable harmonic generator. Alongside it, the DecadeBridge Sn provides a gritty, compact synthesizer voice.
Both devices are routed into separate, dedicated inputs on the S-4, allowing for independent live looping, granular warping, and spatial sculpting on the fly.
The performance was recorded live from the S-4 output, then lightly mixed and mastered in Pro Tools
1. NEW!! Polyrex Synthesizer Breakdown | Features That Matter
2. PolyRex: The Synth Everyone's Talking About - Mixed by Jellz
3. Is PolyRex the Ultimate Juno-Inspired Synth Plugin? - wil maker
Meet PolyRex, the vintage polysynth of our dreams! It captures everything we love about the classic Juno series- the lush chorus, organic movement, warm character, and nostalgic vibe that makes you want to keep playing.
In this video, Noam and Orel take a deep dive into PolyRex, exploring its features, and the wild sonic possibilities.
Inspired by some of our favorite analog polysynths from the early 80s, POLYREX was built around a simple idea: make a synth that feels immediate, fun, nostalgic, and filled with inspiring sounds.
We loved the spirit of classic Japanese polysynths: the glowing chorus, the drifting movement, the soft-but-punchy filter, and the way one simple chord can suddenly feel emotional.
But we didn’t want to build a museum piece. POLYREX is our version of that world, pushed through the weird, colorful Safari lens. Faster, stranger, more playful, and made for modern producers who want to create instead of menu dive.
From dreamy pads and unstable tape keys to punchy basses, glassy plucks, warped chords, and cinematic nostalgia, POLYREX gives you vintage-inspired poly synth sounds with its own Safari personality.
VINTAGE-INSPIRED OSCILLATOR SECTION Square Oscillator - Classic poly synth bite and harmonic weight Sub Oscillator - Adds deeper body and low-end support Noise Generator - Great for air, texture, percussion-style sounds, and grit PWM Control - Pulse-width movement for animated vintage tones LFO Pitch Modulation - Adds motion, drift, and slightly unstable character
"We explore the Spectral Resonator from BLEASS. This captivating effect is based on harmonic resonator banks that are excited by the spectrum of incoming signals. In some ways, it is like a vocoder, but can also act like a resonant filter bank. It can make sounds ranging from delicate chimes to metallic roars and lots in between, and can be used with a variety of sonic material like noise sources, voices, acoustic instruments and drums.
00:00 Introduction 00:29 Overview 00:53 Working with resonators 02:18 Fast Fourier Transforms (FFTs), block size, and hop size 03:39 Stretch, shift, density, and blur parameters 07:29 Filter and dampeners 08:39 Chords and MIDI note input 10:34 Unison mode 11:23 Voice demo 12:51 Bass clarinet demo 15:55 Electronic drum kit demo 18:21 Demo with drum track by G. Calvin Weston 21:23 Factory presets 24:18 Conclusion"
BLEASS Spectral Resonator conjures an iridescent palette of resonating harmonics that add colour, texture and contrast to your audio. Whatever the input, the results are rich, expressive, and deeply enchanting.
"This is a homebrew from kit Paia 9710 mixer with noise source and envelope generator. It is encased in a standalone yellow box in the spirit of early Metasonix pedals.. The case also has the PAIA power supply board to power the envlope generator board.
[manufacturers description]
The PAiA 9710 is a versatile module that combines three VCAs, a white noise source, and a full-function ADSR envelope generator. It allows for mixing signals before processing with the VCA, making it a compact solution for various sound design needs.
The PAiA 9710 is a multifunctional module designed for sound synthesis, combining several key features that enhance its versatility in music production.
Key FeaturesFeatureDescription
VCAsIncludes three Voltage Controlled Amplifiers (VCAs) for dynamic sound manipulation.
White Noise SourceProvides a built-in white noise generator for additional sound textures.
ADSR Envelope GeneratorFull-function ADSR (Attack, Decay, Sustain, Release) with adjustable parameters for shaping sound.
Mixing CapabilityAllows mixing of multiple signals before processing through the VCA, streamlining setup.ADSR Specifications
Attack Time: Adjustable from 500 microseconds to 5 seconds. Decay Time: Ranges from 2 milliseconds to 7 seconds. Sustain Level: Adjustable from 0 to 10 volts. Release Time: Adjustable from 2 milliseconds to 7 seconds. Trigger and Gate Inputs: Separate inputs for re-triggering the envelope. Cycle Switch: Enables self-triggering for Low Frequency Oscillator (LFO) functionality.
The PAiA 9710 is ideal for musicians and sound designers looking for a compact and efficient solution for creating complex sounds and effects. Its combination of VCAs, noise generation, and a comprehensive ADSR envelope makes it a valuable tool in any modular synthesizer setup.
The envelop can self cycling (always on) or activated by trigger or gate voltage pulses."
"The ARP Instruments 2600 is a highly revered analogue synthesiser, renowned for its incredible flexibility and rich sonic palette. First introduced in the 1970s, this semi-modular synthesiser became an instant classic, revered by musicians and producers for its distinctive sound and intuitive design. The 2600 features three versatile oscillators, each capable of producing a wide range of waveforms, from warm, deep basses to piercing leads and complex textures. Its unique filter section, with a resonant low-pass filter, imparts a characteristic tone that has become synonymous with the ARP brand. Additionally, the synthesiser includes an envelope generator, an LFO, and a noise generator, providing users with a comprehensive toolkit for sound design.
What sets the ARP 2600 apart is its semi-modular architecture, which does not require patch cables for basic operation, yet offers extensive patching options for advanced users. This design allows for easy exploration for beginners while satisfying the creative demands of experienced synthesists. The synthesiser also features a built-in spring reverb unit and a pair of stereo speakers, adding to its versatility. Its rugged, roadworthy construction, combined with its distinctive 3-octave keyboard with aftertouch, makes the 2600 a reliable and expressive instrument for live performance. The ARP 2600 is not just a synthesiser; it's a piece of musical history, offering a unique blend of vintage sound and timeless functionality, making it a coveted piece for collectors and a valuable tool for modern musicians.
Includes three power supply cables, a collection of patch cables, lids for both cases, and printed patch manual. This unit is 110 volt, and requires a stepdown transformer for operation in Australia."
early tests with Buchla Lightning + Max; once again, using a Buchla controller as a way of testing different parametric linkages / interaction strategies for what i hope will eventually become a standalone instrument. in this case, lightning is sending several position-related CCs to Max, which is running several simultaneous [gen~] patches. these patches were originally developed for several daisy-based modules i designed, namely:
2x Impulse Generator (a pulsar synthesis-based oscillator and nonlinear distortion feedback device)
1x Retention Mechanism (a granular sampler / multitap delay / pitch shifter)
1x Temporal Drag Processor (a multitap delay / resonator)
i only recently acquired the Lightning; here, i'm using it with the rings from a Buchla 222e Multidimensional Kinesthetic Input Port. the use here is quite basic, relying mostly on the Lightning "Ear's to MAX" factory configuration. no doubt i'll keep exploring more unusual ways to use it in the future
Pics of the inside and the user manual below.
"This edition is rare, and cannot be found anywhere as a set. Made by EMS London, and works differently than the Synthi A, although it appears to be the same. Here is a breakdown of what you get below:
In addition to the power supply, new patch cables as well as the original patch cables (standard mini jack), the lid of the "suitcase synthesis" and the original manual (or textbook) are included.
The modules of the EMS Synthis work perfectly, the overall sound and especially the filter sound very high-quality.
VCO – Voltage Controlled Oscillator • with the vibration forms sine, sawtooth, triangle and rectangle with external control voltage input for pulse width modulation • VCF – Voltage Controlled Filter • Multimode filter with 12 dB slope, low-pass, high-pass, band-pass and phaser • LFO – Low Frequency Oscillator • with the vibration forms sine and rectangle • SRG – Slow Ramp Generator •
with the vibration form sawtooth • NG – Noise Generator • the noise generator offers white noise • EG – Envelope Generator (Envelope Shaper) • A-D-S-R • RM – Ring Modulator • INV – Inverter • SL – Slew Limiter (Portamento) • EF – Envelope Follower • External Audio Input • Output/Mix • Control Inputs"
"I would like to submit a small independent synth-related visual tool I made.
It is a MIDI-reactive VJ / HTML video synth designed for grooveboxes and hardware setups. It runs in a browser and reacts to incoming MIDI CC / clock data, making it useful for live electronic music, acid techno, groovebox jams, and hardware-only performances.
The concept is to keep the setup simple: a groovebox or MIDI controller sends MIDI data, and the browser-based visual synth generates reactive glitch/noise-style visuals without needing a full VJ software environment.
It may be of interest to readers who use grooveboxes, MIDI hardware, DIY performance tools, or browser-based visual instruments."
対応プリセット： Novation Circuit Tracks KORG SQ-1 Roland AIRA MC-101 Roland AIRA MC-707 Roland AIRA T-8 Ableton Move Artiphon Orba 2
Chrome / Edgeなど、Web MIDI対応ブラウザで動作します。
This is a test video of my DIY MIDI reactive VJ HTML tool, “Groovebox MIDI Reactive VJ”.
It runs in a browser and generates low-resolution video-synth style visuals reacting to MIDI Note, CC, MIDI Clock, and Program Change from grooveboxes and MIDI devices.
No audio input is used. The visuals are driven directly by MIDI signals. In fullscreen mode, it outputs only the visuals with no UI.
Supported presets: Novation Circuit Tracks KORG SQ-1 Roland AIRA MC-101 Roland AIRA MC-707 Roland AIRA T-8 Ableton Move Artiphon Orba 2
Works in Web MIDI compatible browsers such as Chrome / Edge."
"The Djupviks Elektronik Grief Manual is a Neuron-based wavedestroyer, CV generator and chaos source. This is the full functionality walkthrough, covering every control and how the three internal circuits relate. A separate patch video is coming soon.
Grief Manual is a limited run of just 50 copies, each bundled with a vinyl LP. The module and the record share a theme of grief and loss. Unlike most Djupviks modules it ships pre-built rather than as a DIY kit, in the same spirit as the Bunker bundles.
At its core is a Neuron circuit based on Andrew Fitch's Non-Linear Circuits design, used here with Andrew's blessing. Around it Jonas has built a digital noise circuit related to the one in Mörser, a chaos and LFO circuit of his own design, and a square oscillator that doubles as a modulation source.
Everything interacts with everything else, so patching into it means intervening in a system that is already in motion.
Disclosure: Jonas sent me this module to keep. As always, my assessment of it is my own and entirely honest.
00:00 - Intro
01:35 - Sense
03:06 - Feedback
04:55 - Noise
06:06 - Clock
07:49 - Oscillator
09:40 - Feeding a VCO
11:53 - CV in
13:28 - Amp
13:55 - FInal thoughts"
"This is a quick demo of the new Catalyst Audio Electroserf MiG Thruster vacuum tube noise generator module showing some of the sonic textures that it can produce.
The output of the Thruster goes to the MiG VCA module and then directly to the digital recorder with no external effects or modifications to the sound, other than a bit of resonance "crunch" added by the VCA near the end of the video.
The Catalyst Audio Electroserf modules are now available to purchase at quality synthesizer retailers."
"Patch breakdown:
208c env generator - Gate 2
Card envelope out - Gate 1
Card sequencer out - Card env generator level
208c random voltage 1 - 208c env generator attack input
208c random voltage 2 - 208c env generator decay input
208c sequencer out - Gate 2 source switch, switching between MOD osc and noise
208c random voltage 3 - Complex osc timbre amount
Card LFO out - MOD Osc frequency
MOD osc fm - Coplex osc
MAil me at rklinkenberg@gmail.com for more info on the card"
It is based on ideas presented in an AES article by Ralph W. Burhans
Using the switches, pots and signal input, you can create patterns as simple or as complex as you like.
It is not a 6 stage sequencer as most settings enable more than one channel to be active at once and the CV output is a sum of the voltages set by the pots connected to the active stages.
The switches enable extremely long patterns to be generated. The signal input allows you to change and randomise patterns on the fly, but it fun to flick the switches back’n’forth (centre is off); sometimes you might even return to a previous pattern. It is also fun to feedback a gate output into the signal input to create shorter loops that can be altered with the switches as well.
As a timbre generator, it can add harmonics to sine waves or step in and out of pseudo random noise as the signal and/or clock are CV controlled. It might be good to feed the output to a VCF to smooth some of the edges, but it depends on how noisy you want it.
"What a magical combination! The other day I tried to run my current favourite drum machine the Erica Synths Hexdrums trough the audio input of the Morphor ECHON 6 and I was blown away by the result.
In this piece, Hexdrums is being used as an exciter for ECHON's six analogue BBD resonators, which are playing a chord progression coming via a midi cable from Ableton Live. I'm using both the knobs on Hexdrums as well as ECHON 6 to create movement and build-ups, and in the second build-up I'm also feeding in some of ECHON's amazing noise generator. Such an amazing sound!"
"Traverse is a lo-fi tape effect and stereo delay in one plugin. The cassette side runs a hysteresis-modeled tape engine with Drive, Wow, Flutter, and a tilt-EQ Tone control. The delay side does what delays do — Time, Feedback, Width, sync, ping-pong. A Post-Delay routing toggle lets you swap their order, so you can use it as either a tape-flavored delay or a cassette effect with a delay built in.
Layered on top: a four-control splice system for procedural dropouts, and a procedural noise generator with nine styles — Hiss, Crackle, Dust, Fan Rumble, 60Hz Hum, 50Hz Hum, White, Pink, and the Califone Card Reader. The noise routes into the cassette path, so whatever else you've dialed in shapes it on the way out.
This is the third entry in our Motion Effects family, alongside Ascent and Descent. Same as the rest of our catalog: Mac, Windows, Linux, and iOS. No DRM, no subscriptions, no dongles, perpetual license."
You can find posts on MATRIXSYNTH featuring Jack Hotop here for a look back on his influence in the synthesizer community. The first post was a simple pic back in 2006.
Press release from Korg follows:
Over a 40-Year Career, the Influential Synthesist and Accomplished Touring Keyboardist Shaped the Sonic Architecture of More Than 100 Landmark Instruments, Including the Historic M1 Workstation
MELVILLE, N.Y. - Korg USA announces with deep sadness the passing of longtime employee, celebrated sound designer, and musical instrument industry icon Jack Hotop. Joining Korg USA (then Unicord) in 1983, Hotop started as Senior Voicing Manager and spent over four decades driving the development, sound design, programming, voicing, and product demonstrations for more than 100 Korg products. As a pioneering engineer and exceptionally skilled performer, his extensive contributions helped guide the evolution of synthesizers and digital workstations from the early 1980s through the modern era, leaving an indelible imprint on instruments used by musicians around the world and for generations to come.
Hotop’s foundational expertise was anchored in a rigorous musical and technical background. Raised in a musical family, he began piano lessons at age seven, inspired by his father, a musician featured on several Broadway cast recordings, and numerous pianists on his mother’s side. By age 14, he was actively performing in local bands on a Gibson 101 organ. He pursued formal training at the Berklee College of Music, majoring in arranging, composition, and accompaniment, before expanding into emerging music technology at the Boston School of Electronic Music under Roger Powell. It was there that Hotop established his core synthesis fundamentals using early hardware including the ARP Odyssey, 2600, 2500, and EMS Synthi, building a deep understanding of waveforms, envelopes, low-frequency oscillators, and modulators.
'The MOOG Liberation Analog Synthesizer Keytar is a high-quality keyboard synthesizer with 44 keys released in 1980, perfect for creating a wide range of analog sounds. This model features unique inputs and outputs such as CV Out and Trig Out, as well as a pedal input for added control. With features like a pitch wheel, modulation and polysynth controls, aftertouch, and a noise generator, this synthesizer is ideal for musicians looking to explore a wide range of sonic possibilities. Additionally, the included original power supply adds to its collector value for enthusiasts and professionals alike."
