Building a Serge BESTIA III panel with Serge Eurorack

video upload by Cinematic Laboratory

"I am aware my Serge series is a bit of a niche in eurorack, but I feel it shouldn't be. They may seem complicated, or maybe too simple with the minimal grid panels and the lack of leds. Maybe even eh.. underwhelming compared to the competition. Also, many Serge videos focus on the raw voltage paths, so many of them just scream, tick and growl. This video is no exception. However, if you truly want to know what modular synthesis is about to enjoy absolute voltage freedom (a challenge by itself) a Serge system can teach you a LOT about the gear you already have - even when you never get to own single Serge module. As always, I am not trying to sell you anything, I am not an influencer and I no longer care (too much) about the latest hype modules anymore unless it blows me away. This is now an educational channel. It always was. And it's my duty - and privilege - to try and show you why Serge changed the way I patch. If you don't know what you're missing, you won't miss it. And if none of this appeals to you, that's also a valuable 'lession'. Your personal experience is all that matters - and the music you love most.
I am still a beginner, with Serge you may always know nothing between your previous and next patch. But if you're looking for magic, there's a lot of magic hiding behind those modest panels."

The Oxi E16 is the best MIDI controller I've owned. It makes the OP-XY so much more jammable 🎛️👌🏻

video upload by DeeCee

"I've been dabbling with MIDI controllers recently (as you will have seen if you've watched my recent stuff). Nothing has really hit the mark, until now. It's been a right pain in the ass to set up (the Mac app doesn't want to let me use it to configure settings) and have had to manually enter them on the device itself. But it's actually pretty easy once you know how. The OP-XY and Artemis have presets available to upload to import to it so you just need to know what you're doing and you're off. I've wanted a small but robust controller for ages and decided to give this a go. It's not cheap but it's impeccably made. The linking of encoders is amazing. There's no way you could perform a filter sweep on 2+ tracks on the OP-XY. This makes it easy peasy. Love it. Hope you enjoy!

Gear used:

Music:
Teenage Engineering OP-XY
Dreadbox Artemis
Oxi Instruments E16

Video:
Fujifilm X-M5
Motu M2 Audio interface
Mac Studio with Logic Pro X"

Novation Introduces New Launch Control

Meet The NEW Launch Control: What does it do? video upload by Novation

Find out more about Launch Control - https://novationmusic.com/products/la...
Discover the Launch Control range - https://novationmusic.com/launch-cont...
Explore Launch Control XL - https://novationmusic.com/products/la...

Watch our livestream feature dive walkthrough for the new Launch Control - [BELOW] News Story - https://bit.ly/_Discover_The_NEW_Laun...

"We’re excited to unveil the latest generation of our most compact control surface, Launch Control 3 - available to order now. This video gives you an overview of everything our new Launch Control can do for you and your unique workflow.

Our new controller packs the most powerful features of Launch Control XL 3 into a smaller footprint and is perfect for adding an extra layer of tactile control to any studio or stage setup. Launch Control is a compact and highly portable MIDI control surface designed to integrate with all major DAWs, software synths, effects, and external hardware. Connect via USB or MIDI I/O and adjust parameters with 16 endless rotary encoders, eight assignable buttons, and a new OLED display.

Launch Control comes bundled with studio-grade software to get you started. Ableton Live Lite lets you record, launch and perform, while Cubase LE is ideal for songwriting and production projects. You also receive a selection of plugins from Klevgrand, Baby Audio and Output.

Chapters:
00:00 - Introducing the new Launch Control
00:24 - Launch Control Feature Overview
00:55 - Launch Control's DAW Integration
01:17 - Launch Control's DAW Control and Mixer Features
01:53 - Launch Control's Hardware Integration
02:08 - Launch Control's Custom Modes
02:19 - Launch Control: The DAW, Plugin, and Hardware Control Surface"

Launch Control | Everything you need to know | Livestream

video upload by Novation

Novation Launch Control MK3 // Here's what's new // Review & tutorial

video upload by loopop

"TIMELINE: 0:00 Intro 1:10 Screen 2:20 Encoders 3:10 RGB LEDs 3:45 vs XL MK3 4:30 Build 5:20 I/O 6:25 DAWs 6:45 HUI (Reaper) 7:10 Ableton 8:55 User modes 9:55 Components 11:35 Synth params 13:50 Write an app! 15:00 Motion rec 16:05 Morph 16:30 Random 18:10 Setup 19:20 Settings 20:00 Pros & cons"

"Launch Control is a compact and portable MIDI control surface designed to integrate with all major DAWs, software synths, effects, and external hardware. Connect via USB or MIDI I/O and adjust parameters with 16 endless rotary encoders, eight assignable buttons, and a crisp OLED display.

Key features

16 endless encoders
Eight assignable buttons
MIDI routing via USB and 5-pin DIN
Store up to seven Custom Modes

The Creative Control Surface
Get hands on with your DAW, plugins, and hardware from a portable-yet-powerful controller with 16 endless rotary encoders; eight assignable buttons; and a crisp OLED display for essential info. Mix and sculpt sounds right out the box, and create up to seven Custom Modes to fit your specific workflow in the studio or on stage.

16 endless encoders
Launch Control’s smooth-feeling endless rotary encoders each feature a dedicated RGB LED that indicates its relative value. Pan tracks, adjust sends, or do anything else you want via Custom Modes — all with adjustable response curves."

You can find additional details at Novation.

CLICK FOR MORE »

This is your last chance to stop for fuel until Jupiter - Fill up now! ⛽️

video upload by DeeCee

"I had a crappy day at work and I saw the stars in the sky for the first time this evening, in who know's how long, so I was kinda inspired by a road trip into space.

Hope you enjoy the journey 😎

Gear used:

Music:
Teenage Engineering OP-XY
Dreadbox Artemis

Video:
Fujifilm X-M5
Motu M2 Audio interface
Mac Studio with Logic Pro X"

EMS Universal Sequencer Playlist

video uploads by analogia pl

A few of these have been featured on the site before. You can use the player controls to skip around.

Playlist:

1. EMS Synthi with Universal Sequencer and RSF Kobol #emssynthi #rsfkobol #rolandph830

It’s a tune done on the Synthi and EMS Universal Sequencer with some help from RSF Kobol processed by Roland PH-830 phaser.

2. 2 x EMS Universal Sequencer with Roland MC-202 #emssynthi #emsuniversalsequencer #mc202

Universal Sequencer is playing a sequence on the Synthi and the 202 - that’s why it’s called “universal” as both sequence and real time layers have CV/gate outputs. No effects other than spring reverb on the Synthi.

CLICK FOR MORE »

MidiVolts Desktop | How to Get More Voices on the Moog Matriarch

video upload by Space Brain Circuits

"Firmware version 1.7 now available !! Let me know if you have any questions!

Do you have a Midivolts Desktop version 1.4 or less? Shoot me a message to upgrade.

0:00 Intro
0:20 Firmware Version 1.7
1:03 5 Voice Matriarch
1:18 Hardware Setup
1:32 Patch Setup
1:46 Tuning all Osc
4:00 MidiVolts Setup
4:36 How does this work?
6:20 Using Attenuators as Gates
7:36 Hold Gate on Release
8:32 7 Voice Matriarch
10:03 Thanks guys!

The following Matriarch settings need to be assigned.
Note Priority - Last (default)
Restore Stolen Voices on Note-Off - Off (default)

If using the Matriarch with Paraphonic Unison Mode, then,
Update Unison on Note-Off - Off (default)"

https://spacebraincircuits.com

Want to upgrade your unit to version 1.7?
MidivoltsDesktop: https://github.com/SpaceBrainCircuits...
MidiVolts Modular: https://github.com/SpaceBrainCircuits...

Erica Synths Steampipe + Torso S4 // DAY 17 #jamuary2026

video upload by Dexba

"Perfectionism almost killed this video, and for a second, I forgot about the point of #jamuary I recorded, and recorded, and re-recorded, and a few days have passed, back and forth, because I care so much about this sound, this vibe, this balance.
I am not 100% satisfied, but I have to let it go, because otherwise I know for sure I will start to hate these chords, I will have to tweak the sounds once again, I will change the video, and so on.
But I do love the resulting vibe, and I will try my best to bring variations on this theme in some live scenario, maybe with a different controller instead of the OPXY (which I am only using because it has midi via 3.5mm jack and... an audible metronome, I am looking at you, Torso)
I hope you'll like it, now this jam is free to run wild on the internet 🧡"

Today Marks the 10th Anniversary of the Sequential Oberheim OB-6

Andrew McGowan, pictured here with Tom Oberheim, wrote in to let us know today is the 10th Anniversary of the Sequential OB-6. Andrew was a product designer at DSI/Sequential and worked with Tom Oberheim on the OB-6.

You can find a write-up on some the development of the OB-6 as well as the Prophet-6 on his website, https://www.smartbombdesign.com.

A couple of excerpts:

"I was sitting in my office at Seer Systems one day in 1997 or thereabouts when the phone on my desk rang. It was Dave Smith calling from his home. 'I’ve been talking to Tom Oberheim. He’s between jobs and wants to learn about software synths, so I asked him if he wanted to write the Reality operation manual. Can you get him set up and manage that?' I knew who Tom was, of course, but I had never met him, and now Dave was asking me to be his manager. I had no reason to believe that Tom was anything other than the warm, bright, and kind person that I now know he is, but the idea that I would be managing him made me deeply uncomfortable.

Seer Systems was in the process of developing Reality, which is generally considered to be the first 'professional' software synthesizer, though I’m not certain what makes one synthesizer professional and another not."

[Side note: Propellerheads Rebirth was also released in 1997, however the demo version was released in October 1996. A bit like The Damned vs. Sex Pistols for those in the know!]

And [thought this was funny]:

"Those Fucking Lines

Tom and I had talked about synths over the years and, on several occasions, he remarked how often people asked him to remake the OB-X, perhaps because not many were made. Or maybe Rush/Tom Sawyer? I don’t know. What little I did know about the OB-X was that it had a (low-pass only) SEM filter, and we had already made a synth with an SEM filter in it. And our hardware engineer Tony Karavidas had worked at Oberheim and owned multiple Oberheim synths. I also felt very strongly that if we were going to make two poly synths that were essentially the same except for the filter, the 2-pole, SEM state-variable filter would be complementary to the Prophet-6’s 4-pole, OTA low-pass filter.

Tom’s wish list was short. He didn’t want the Prophet-6’s analog distortion. And he wanted the OB-Xa’s blue lines."

Read the rest here

[P.S. I still own an OB-6 desktop and it's one of my most cherished synths. There is something organic about it. The demos I've heard of Sequential's new FOURM have that about them. I have enough synths as it is but the FOURM is very, very tempting for this particular reason.]

Bastl Introduces CITADEL Alchemist Eurorack Module

video upload by Bastl Instruments

Check with dealers on the right for availability and price.

Playlist:

1. CITADEL ALCHEMIST & Kastle 2+Citadel DIY Kits & more NEWS from Bastl!

We built a fantasy world of magical music machines with the FX Wizard multi-effect, the Wave Bard sample player and the Alchemist synth that live in battery powered Kastle 2 format and the Citadel eurorack version. We are excited to not only announce the late arrival of the Citadel Alchemist Eurorack module to the party, but to let everyone know that all the instruments are now available as DIY kits and that we are partially open-sourcing it so the world we started could be expanded by many others."

2. Bastl CITADEL Alchemist - All Synth Modes preview

"A complete preview of Alchemist's Synth Modes with a quick preview of the Dual FX and a small jam."

Chapters:
00:00 Filter
00:44 FM
01:32 Supersaw
02:25 Hypersine
03:24 GlitchNoise
03:41 Dual FX
04:27 Small Jam and patching

3. Hello Alchemist ! Bastl Citadel synth engine rave to experimental - Stazma and Bastl Instruments

Alchemist is now EURORACK... into the CITADEL!!!!!
So here we go checking out how this synth engine will play out with his other citadel friend the Wave Bard in breakbeat torture mode.
Also a cool oportunity to play around the Diktaat from Mzourack to trigger both units in a performative way.

Citadel Alchemist is a patchable hybrid-synthesis based eurorack module that empowers you in discovering melodies and even harmonies despite being monophonic.
Patch programmable sequencing via the control signals into the two PITCH MOD inputs opens up a world of melodic inspiration beyond classic arpeggios while staying in your preferred SCALE.

5 synthesis modes
The Alchemist has a carefully tuned wide timbral range spanning across 5 synthesis modes (FILTER, FM, HYPERSINE, SUPERSAW and GLITCHNOISE) accessed by main TIMBRE sweep that is refined by the RATIO control.

The ENV macro knob affects different parts of the synth and sequencing engine to maximize musicality and it even lets you continually morph between the synthesis modes and access truly unique sounds.
The timbral palette is further extended by the dual FX section which offers either a wide delay that will smear the arpeggios into echoed harmonies or a chorus-flanger-distortion-combfilter macro custom tuned for each synth mode.
You can also access gliding rubber textures with the PITCH SLIDE macro that applies pitch envelope and portamento.
You can customize its rhythms and scales with the web-based editor.
Modulate anything
All main parameters can be modulated and tightly sequenced by the surprisingly powerful CV and GATE pattern generator. Create groovy off-grid beats using the built-in LFO, which can be synced, reset, or left to run freely.

CLICK FOR MORE »

Melbourne Instruments announces advanced Logic Pro integration for ROTO-CONTROL

video upload by Melbourne Instruments

Roto-Control (Review): A Logic Pro Controller I Actually Want to Use

video upload by Why Logic Pro Rules

"I was skeptical when ‪@melbourneinstruments‬ sent me Roto-Control for Logic Pro. I've owned plenty of MIDI controllers that ended up collecting dust. But after using this for the past month, I actually reach for it.

What makes it different? Eight fully motorized control knobs with haptic feedback that adapt to whatever you're focused on in Logic Pro. You don't just see parameters change on screen - you FEEL them. End stops on a filter cutoff, notches on discrete values, center indents for faders, pans, and more.

In this review, I walk through the Logic Pro integration, the haptic feedback system, and what it's actually like to use day-to-day. I also cover the real limitations - manual plugin mapping and limited storage - that you need to know before buying."

Press release follows:

Melbourne Instruments announces advanced Logic Pro integration for ROTO-CONTROL motorised software and hardware MIDI controller

MELBOURNE, VIC, AUSTRALIA: Melbourne Instruments is proud to announce availability of advanced Logic Pro integration for its ROTO-CONTROL motorised software and hardware MIDI controller — creatively expanding upon its successful integration with Ableton Live and Bitwig Studio, demand for integration with Apple’s popular professional DAW (Digital Audio Workstation) for Mac having been strong since said controller launched to widespread critical acclaim a year ago — as of January 15, 2026…

ROTO-CONTROL readily packs eight touch-sensitive motorised knobs — brushless drone motors with Melbourne Instruments’ patented ultra-high-resolution contactless optical sensors offering a lifetime rating in excess of 50 million cycles that equates to 500 times more than conventional pots, precisely — alongside nine high-resolution IPS (In-Plane Switching) LCDs (Liquid Crystal Displays) and 16 backlit RGB (Red, Green, Blue) LED (Light-Emitting Diode) buttons into its classy, compact — 341mm/13.4” (W) x 112mm/4.4” (D) x 44mm/1.7” (H) — form factor to duly deliver haptic feedback and instant parameter recall, communicating with the outside world via MIDI (Musical Instrument Digital Interface) over USB (Universal Serial Bus) and 5-pin MIDI DIN (Deutsches Institut für Normung) IN/OUT/THRU connections. Constructed out of ABS (Acrylonitrile Butadiene Styrene) and metal, it robustly weighs in at only 715g/1.58lb, making it the perfect portable production partner for encouraging artists to use sound and music in new and exciting ways — wherever their journey might end up taking them, both creatively and geographically. Get this, though: ROTO-CONTROL now introduces a fully-tactile, motorised workflow to Logic Pro, delivering fast, hands-on control of tracks, plug-ins, Smart Controls, and automation — all thanks to a new firmware update.

MIX mode mirrors Logic Pro’s session track names, colours, and order automatically, while providing high-resolution control of volume, pan, sends, and automation alongside instant access to track selection, paging, mute/solo/arm switching, and dedicated TRACK FOCUS.

Fast, powerful plug-in control comes courtesy of PLUGIN mode, allowing users to browse and select Logic Pro instrument and effect plug-ins instantly from ROTO-CONTROL using simple touch-and-learn mapping for any parameter, with up to eight pages of controls per plug-in stored directly on the device ready for any projects, plus bypass/select controls — all mappings being saved on ROTO-CONTROL and usable across all Logic Pro projects on any computer.

Cutting-edge control continues with Logic Pro’s Smart Controls being automatically mapped to ROTO-CONTROL, controlling up to 16 Smart Control parameters instantly — perfect for working with instruments, macros, and MIDI effects, available in both PLUGIN mode and the dedicated SMART mode itself.

And as if all that was not enough to be getting on with, ROTO-CONTROL can be used to customise labels, colours, haptics, and steps for each control, while integrated transport — play, stop, record, cycle, auto-punch, and playhead — controls are all accessible from any mode.

It is fair to say, then, that Logic Pro users owe it to themselves — and, ultimately, their sound and music — to consider making some space in their creative and physical world for ROTO-CONTROL. After all, motorised and morphing controls, instant recall, and intuitive hardware are only the beginning of their journeying.

ROTO-CONTROL is available to buy at its new North American price of $399.00 USD (excluding tax) in the USA and Canada, while its RRP (Recommended Retail Price) in Australia of $619.00 AU (including GST) and MSRP (Manufacturer’s Suggested Retail Price) in the EU of €372.35 EUR (excluding VAT), MSRP in Japan/Asia of $469.00 USD, and MSRP in the UK of £389.00 GBP remains unchanged — all via Melbourne Instruments’ growing global network of dealers here: https://www.melbourneinstruments.com/dealers [check with dealers on the right here on MATRIXSYNTH]

For more in-depth information, please visit the dedicated ROTO-CONTROL webpage here: https://www.melbourneinstruments.com/rotocontrol

The new (3.0.1) firmware update for ROTO-CONTROL with Logic Pro integration is downloadable for free from here: https://www.melbourneinstruments.com/roto

Tonverk 1.2.0 OS Upgrade

video upload by Elektron

"Tonverk 1.2.0 is here! With some lovely little festive additions to put under the Tonverk tree. We’ve got two new FX to play with, even more options with the existing FX, random mode for the arpeggiator, and further fixes and improvements.

Find out more and download Tonverk OS 1.1.0: https://bit.ly/48T1BjG"

"OS Upgrade: Tonverk OS 1.2.0
We know Grainer, and the 1.1.0 OS that fixed the sync issues, are still fresh on the block, but we had some pretty neat dishes in the oven that didn’t quite make that release. So here is OS 1.2.0, a chance to put a few more little festive additions under the Tonverk tree. We’ve got new effects, even more options with the existing effects, a random mode for the arpeggiator, and some other little additions alongside further fixes and improvements.

New effect: Steel Box Reverb

A third reverb comes to Tonverk, and it’s a whole other flavor. Steel Box Reverb draws on early digital and ’90s plate reverbs, with deliberately wide parameter ranges that let you push sounds from tight metallic rooms to sprawling, resonant spaces. It can clang, bloom, or decay endlessly, making it equally suited to metal can tails or big, characterful ambience.

New effect: Filter Folder

Filter Folder combines wavefolding with filtering and distortion to reshape sound at a more fundamental level. By folding the waveform before it passes through a multimode filter and drive stage, it adds harmonics, grit, and movement that go far beyond traditional filtering. From subtle edge and density to aggressive, overtone-rich transformations, Filter Folder excels at turning simple signals into something far more complex.

More FX availability

If those two additions weren’t enough (for now) we’ve also extended Tonverk’s FX powers in other ways too. Daisy Delay can now be used on all tracks - and Frequency Warper can now be wielded on all audio tracks, bus tracks and mix. Use these two awesome options wherever your echoing, warped heart desires.

Random Arp

Random Arp introduces controlled unpredictability to arpeggiated patterns, reshuffling note order on the fly to generate evolving melodies and unexpected variations.

And more

There’s a few other stocking fillers too. Pattern mute, improved gain reduction and new sidechain sources for the compressor, shorter samples available to use on Grainer, and improved tempo stability when simultaneously receiving clock and large amounts of MIDI data from an external source, such as Octatrack. Plus various other fixes and improvements."

Waldorf Protein - Unboxing & 4 Custom Sequenced Presets (absolute No Talking)

video upload by NatLife Sounds

"Four sequences straight out of the preset/sequence pack I’m working on right now.
Everything you hear is 100 % pure Waldorf Protein – no external effects, no nothing.
Absolute No Talking, as usual :)

Let me know what you think of the sounds – honestly curious.

Pack coming soon.

TIMELINE:
00:00 - Unboxing
01:15 - SEQ RA
03:13 - SEQ High Road
04:22 - SEQ Dream
05:48 - SEQ Nat Code

My preset packs & shop:
https://natlifesounds.com/products/

#WaldorfProtein #CustomPresets #AbsoluteNoTalking #SynthDemo"

Mystery Synth in Norwegian Vintage Synthesizer 70's and 80's Dreams Full Album

video upload by Kaj Roger Willumsen

This one was spotted and sent in via Ivan Trajkovic aka dejayiwan. Note the video is from 11 years ago so not AI. Could be a render for a soft synth or other though. Could be DIY, but note the touch panel or screen. According to the YouTube comments "Picture is only for cover. Not sure which synth it is. Will try to find out." There was no follow-up that I could find after that aside from mention the album itself mainly features Arturia. You can find a list of hardware synths and some harware synth spotting in this previous post featuring Dreamland. If you know what that blue synth above is, feel free to leave a comment at the bottom of this post, or send email to matrixsynth at gmail.com and I'll update the post with anything definitive. BTW, you can find additonal Mystery Synths via the Mystery Synths label here. There have only been 23 including this one, to date, since 2005. Update: answer in the comments of this post below. That was quick.

Here's the video description for the above:

"Norwegian Vintage Synthesizer 70's and 80's

Is now available on.

https://itunes.apple.com//artist/kaj-...

Spotify: https://play.spotify.com/artist/2MO67...

Some songs are made for Norwegian television documentary.

1.Dreamland----- 0:00
2.Saltfjellet ----- 4:32
3.80's movement -- 7:06
4.Nordlandsbanen- 10:31
5.Voyager 2--------- 14:31
6.Dolphins song---- 18:00
7.Kepler Telescope--21:53
8.Deep Impact------ 26:09
9.Reisen--------------- 29:15
10.Mariner 2----------33:40
11.Mars------------ 38:00
12.Venus------------- 40:49
13.Supernova----- 45:20
14.Tones Comforder--49:25
15.Jupiter------------ 52:40
16.Home--------------- 57:34
17.Back to 80 century- 1:01:14
18.We fly out of place--1:05:10
19.Minded Traveling--- 1:08:00"

100 Oberheim Expander/Matrix12 single FX patches by Arthur Springer

video upload by Really Nice Audio

"So whilst on soak test I came across this crazy bank:
Notes from the .txt
ART SPRINGER STRIKES AGAIN (free)
Reviewed by Mike Metlay

All right, gang, I know what you're expecting in this space, so I'll oblige you and get it over with. Ready? Here goes: "WAHOOLAZUMA! Everybody's favorite twisted puppy is back from the audio torture chamber, and he's brewed up the most brain-slashing package of monstrous elektronoyze EVER! This stuff's great for warping your brain patterns, killing your cat, etc..."

Okay. Happy now? Good, now let's get serious. I heard from Art recently that he didn't get a terribly good response to his first mailing, and that few, if any, XUG members looked him up for his second set of patches

He seemed in a pretty good humor about it, but I couldn't help wondering if my presentation of his patch set didn't scare a lot of people away just by the wording. So, with a new patch set from Art (more diverse than the first two) in hand, I'd like to try again.

One of the most unhealthy trends I see in today's patch-editing software is the patch randomizer, that cute but overused utility that generates random patches at the click of a mouse. Literally thousands of these random patches are being sold by unscrupulous hackers as "original sounds," and a whole new generation of MIDI morons is springing up (pardon the pun) whose idea of "good programming chops" is the ability to tweak a randomly generated sound into something that (almost) works. No program of this type exists yet for the xpander, and I'm glad of it: the lack of computer-generated garbage on the market forces the user community to seek one another for new ideas, rather than some electronic I Ching. We come together in this Group to share ideas and learn from one another and I believe that studying another human being's work beats watching a computer coughing up random numbers. Which brings us to the music of Art Springer.

In my opinion, these patches are important. VERY important. I get so enthused about Art's work because I see in him a reflection of my college days, when I puttered about with ARP and Buchla modular monsters creating sounds for the sheer joy of it, putting together tonalities never before heard on Earth rather than trying to make a realistic shakuhachi. This was, and often still is, the meat and potatoes of electronic music to me. And when I hear Art telling me that people- Xpander users!-are returning his work because it's "too weird," I know something's wrong. The Xpander isn't a sampler or a digital piano. It's not an imitative instrument by nature. It's a powerful, multiply interfaceable modular synthesizer with a great deal of flexibility. Art Springer takes a stance on its use that no other Group member has had the courage to try: using its Power as a CV percussion device to enhance the sounds of his more traditionally oriented synths. (By the way, Lionel and I are big fans of his music ... it's not as inaccessible as you might think, and the odd tonalities make his dance pieces a lot of fun.) This is a new idea to a lot of you, and I don't blame you for being frightened. But it's better to learn from someone whose ideas differ from yours than to convince a computer to feed you something safe. I'd like to suggest something simple to start with: get one of Art's sound sets, trigger your Xpander with your drumbox, and try writing music with these sounds as part of the atmosphere rather than conventional drum noises. Or do something completely different. The important thing is to try to expand (hm) your horizons to something new. These sounds of Art's do take getting used to, but I think you'll learn a lot from them. Trust me."

Meet Osmose 61

video upload by Expressive E

Check with dealers on the right for availability.

"🎹 Meet Osmose 61
The new 61-key version of the Osmose adds an extra octave for more freedom to explore, compose, and perform ✨. A fully expressive keybed lets you press, bend, glide, and shape sounds naturally, whether as a standalone synth or controller."

osmose 49/61 - the ultimate expressive synthesizer

video upload by Expressive E

"Discover Osmose, the new standard for musical expressivity — now available in 49 and 61 keys! 🎹
Experience a new level of musical freedom with intuitive gestures that let you press, bend, shake, strum, and shape sound like never before. Whether you’re a seasoned keyboardist, a workflow-driven producer, or a bold sound designer, Osmose will take your creativity to uncharted places.

Choose between the compact 49-key version or the extended 61-key model for more range and comfort. Both deliver the same unmatched expressive experience. 🤍

49/61-key gesture-sensitive keybed (semi-weighted)
Custom expressive sound engine (by Haken Audio)
More than 500 presets with custom macros
Built-in Effects: Reverb, Delay, Compressor/Drive/2 convolution engines, pre & post reverb/delay, EQ
External MIDI control w/classic & MPE keyboard configurations
Large color screen & ergonomic UI
Built-in MPE arpeggiator & innovative glide control
Custom sensitivity controls
Sleek & rugged design

Everything you need to know about Osmose: https://www.expressivee.com/2-osmose"

"Take your expression further than ever before with the Osmose 61, an expanded range version of Expressive E's advanced MPE keyboard synthesizer and controller. Adding another octave to Osmose, this 61-key version provides ample room for a wider range of melodic and harmonic playing, supporting two hand performance with plenty of room for dynamic performance across the Osmose's uniquely capable 3D keybed. Beyond this expanded range, the Osmose 61 delivers every innovation that made the original 49-key version a mainstay for musicians around the world. Deep control with MPE-enabled keys that add nuance to every touch, premium build quality, and the vastly powerful EaganMatrix synth engine are all at your fingertips, now with even more room to make your musical mark.

Now built in Expressive E's Polish manufacturing center, the Osmose 61 offers a premium standard for build quality, ensuring an uncompromising experience that's built to last. From rich and velvety acoustic tones to daring and dreamy synth patches, the EaganMatrix engine under the hood is your window to a world of captivating expression, now with an optimized interface for intuitive sound design and control. Physical modeling, FM, classic subtractive synthesis, and so much more are at the ready, bending deftly to every keypress, lateral wobble, and aftertouch press for a playing experience akin to the nuanced feel of acoustic instruments. Expressive E's mighty MPE control goes beyond even this core sound engine, readily expanding with Expressive E's software ecosystem of original and third-party developed sound libraries, proprietary instruments, and more. Whether you're using the Osmose 61 as a dedicated performance instrument or integrating its powerful expressive features into your DAW workflow, the Osmose never misses a beat to empower your creative vision.

If you're ready to dive into a lifetime of expressive control, the Osmose 61 is here to offer a dedicated platform for performance and control that's designed to grow with you. Twenty-four voices of polyphony, built-in effects, and 580 factory presets with 2048 slots for saving your own creations provide a deep well of musical possibilities to explore right out of the box, while the powerful engine, expanded software ecosystem, and premium build ensure a lifetime of sonic exploration. For MPE mastery without limits, look to the Osmose 61 from Expressive E.

OSMOSE 61 FEATURES

61-key MPE keyboard synthesizer and controller

3D keybed provides deep expressive control

Gestural controls include press, pitch bend, vibrato, aftertouch, pressure glide, and note off control

Expressive arpeggiator for nuanced sequence performance

EaganMatrix sound engine by Haken Audio enables vast sound design options with physical modeling, FM, subtractive, and more

24 voices of polyphony

Built-in effects processing

Intuitive interface with color LCD screen, 6 encoders, pitch and mod sliders, and octave & preset buttons

Expanded ecosystem of sounds and synths made specifically for Osmose by Expressive E and third-party partnerships for limitless sound exploration

MIDI input, output, and thru

USB type B connectivity for direct DAW control

2x continuous pedal inputs for sustain or parameter control

Balanced audio outputs for professional sound on stage and in the studio"

CLICK FOR MORE »

The Story of CHOMPI

video upload by chase bliss and CHOMPI CLUB

"This is a story I've been wanting to tell for a long time.

CHOMPI is quite possibly the most cheerful instrument ever made, and to be fair that is the resting state of Tobias and Chelsea (and their two corgis). But the unexpected success of CHOMPI and everything that led up to it was quite a saga. Truth be told, Tobias was reluctant to tell this story at all, but I think it's important you know where CHOMPI is coming from and how much heart goes into it.

Also, things are different now. We're doing this together.

0:00 - Welcome
1:25 - Tobias is CHOMPI
3:12 - Creating CHOMPI
6:49 - Tobias's eyes
9:36 - Early prototypes
11:19 - Launching CHOMPI
13:13 - Teaming up
15:21 - Bye bye

Thanks for watching!"

Oddment ODD-1 Build Update & Demos

video upload by oddment

Demos

video uploads by oddment

Playlist:
1. ODD-1 Overview: Playheads

For a long time now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?" But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic. Oddment has evolved too. Starting from one quirky product idea, in 3 years we have grown and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many. So with much consternation, we have decided to drop the name groc. When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1. This is the first in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off half of the encoders that control the granular synthesis engine - the PLAYHEADS function. Here you can control the level, starting point, tuning (aka pitch adjustment) and playback speed for up to 4 different granular playheads. The auxiliary functions available on the touch screen introduce random variability in different ways.

2. ODD-1 Overview: Grains

This is the second in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the second half of encoders that control the granular synthesis engine - the GRAINS function. Here you can control the size, spacing, left-right placement, and grain window shape. Each control also has a related function, introducing grain size variability, spacing jitter, binaural scatter, and a front-back bias for the window shape. The auxiliary functions available on the touch screen control a bandpass filter that can be randomized per grain and adjust whether grain size is regulated in the source sample or in the output signal, which can have a big impact on sound characteristics.

3. ODD-1 Overview: 03 Envelopes & Time Path

This is the third in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the ENVELOPES function. Here you can control the note amplitude envelope and timing, access 3 envelopes that can be used as modulation sources, and use our unique TIME PATH feature to dynamically adapt the playback speed.

4. ODD-1 Overview 04: Sample

This is the fourth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the SAMPLE function. Here you can choose a sample from the factory library or user-uploaded samples, control the playback mode and the section available for granulation, play and hold notes, set loop points and interact with pitch, tempo and channel information of the sample. We also show the auto pitch and tempo alignment features.

5. ODD-1 Overview 05: LFOs, Macros, Patching

This is the fifth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the LFOs, Macros and how to create modulation connections. There are 4 LFOs, 3 Envelopes, 4 Macros (assignable knobs), 4 Control inputs and MIDI information that can all act as modulation sources. Any parameter on the device is a parameter destination. Unlimited connections are made by holding down a destination parameter and then pressing or twisting a modulation source.

6. ODD-1 Overview 06: Filters, Saturation, Echoes

This is the sixth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the Filters, Saturation and Echoes modules. Two filters and two saturation modules per voice, both with multiple types of processing and modulatable parameters, allow for transformation beyond the granular engine. Two echoes sections with filtering and distortion in the feedback loop and fully modulatable parameters make ODD1 worthwhile just as a modular effects rack!

7. ODD-1 Overview: 07 Layers

This is the seventh in a series of videos to show all of the ODD-1's functions in more detail. In this one we show the dual Layer functionality. Essentially the entire system is duplicated so the ODD-1 is like having a dual modular systems, each with a polyphonic granular engine feeding two filters and two non-linear processors per voice, with 3 envelopes, 1 time path, 4 LFOs, 4 Macros and a independent modulation matrix per layer. In these examples we also remind that granular can easily do subtractive-style synthesis when using a basic waveform as the source sample.

8. ODD-1 Overview 08: Reverb & System

The final video in our eight-part series on the ODD-1's functions focuses on the upper-left row where we have global volume, system-level reverb and can work with banks of patches.

The reverb is a classic matrix-style parametric reverb. Think of it like a whole set of interacting delay units with slowly modulating delay times. Ok now that you have that in mind, that's it, that's what it is. It sounds sweet.

If two layers of modulating, granular goodness with a fantastic reverb on top wasn't enough, how do banks of patches to store every twist and connection sound?

And from their newsletter:

What’s in a name?

For a while now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?"

But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic.

Oddment has evolved too. Starting from one quirky product idea, we have grown in three years and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many. And with much consternation, we have decided to drop the name groc.

When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1.

And we plan to keep that off-beat attitude. We hope that brightly-colored friends, ODD-2 and ODD-3, will be along to join ODD-1 after not too long.

Build Updates

We have a lot of exciting progress to report since the last time I wrote. Hop over to our YouTube channel to check out a build update video and some in-depth functionality demos.

We debugged and fixed several problems with the circuit board including the power-up, line input and output, and noise on the control signal inputs.

We got several bids from contract manufacturers in the U.S. and around the world and selected Soldered, based in the E.U. They came highly recommended, and we think their experience will be a huge asset as we go into production.

We worked with Martyna Alexander to tweak the graphic design of the front and back panel. We are thrilled with the updates, including our new company and product logos.

We have first iterations of our custom firmware, enabling full functionality of the device and full USB connectivity to a host computer.

We have completed first versions of the software that include all audio, MIDI and system functionality we intend to support for the release. After many months of playing and testing we re-organized a few functions to expand both the number of concurrent grain “playheads”, and to support banks of patches intended for convenient switching and management in live performance.

What’s Next?

CLICK FOR MORE »

M-Audio Venom Purple Beta Tester Version

Note: links to listings are affiliate links for which the site may be compensated.

via this Reverb listing

"M-Audio Venom Purple Beta Tester Version As far as I know there was only one other of these made in this color. [only two other listings were previously posted here. You'll also find a post on Venom creator Taiho Yamahda's blog. Taiho is now with Sequential.] The production units where white with orange and black lettering. I was one of the beta testers and sound programmers for this synth. Since this was a beta tester model the Midi was not fully functional when I received it. We did all of updates thru the USB however so don't know for sure if there was a change to the hardware or it just needs a firmware upgrade. Was just going to buy another production model and swap out the motherboard but never got around to it. It has all of my factory program contributions in bank C. While it requires using the editor from either a Mac or PC to program it completely it has a broad range of possible sounds. It is a very fat sounding synth."

Serge’s 1979 ÷NCOM - It Compares, Counts, Waits, Fires and It Always Rises

video upload by Cinematic Laboratory

"I bought the #Serge #NCOM in the blind because a) it's the work of a living legend, b) I had no idea what it did, and c) after reading the manual and looking on YouTube I still had no idea how to use it in real life music.

The ÷NCOM is short for pulse divider (by N steps), a comparator (gate goes high where +IN is higher than -IN) and last but not least, a staircase CV is raised one semitone when the compare goes high and the max steps N is not reached. So now you know, and just like me, it still remains a mystery how it can play a role in modular music.

÷NCOM is from 1979, and quantized CV was rare, especially when it's derived from any two compared voltages. It's using two CMOS chips, but only 5 of 8 bits were used (step 0 to 31 = 32 values). So is it early digital? Yes, but without a CPU or code and state of the art precision - for 1979. Is it still relevant in 2025? I am not sure how many voltage comparators are around in eurorack, and you probably never needed one. A staircase CV waveform is simply a matter of running a ramp through a quantizer, and you may be able to use an END of RAMP event on a Maths clone. The ÷NCOM circuit is often used for rhythmic patches, and the staircase is super useful to make synchronized ramps you can use to open a filter or wavefolder. Not to mention arpeggios. It's the opposite of high-tech, it's low tech. A circuit you need to learn, discover and find use for. It was special in 1979, and today it's part of the joy of owning a true Serge module that can always do more than you think."

NEW Mellotron Micro Module - 2025 review and demonstration video

video upload by Now You Know

"Review of the new for 2025, Mellotron Micro Module. Basically a Mellotron Micro without the keyboard. Use your own controller keyboard with the Mellotron Micro Module. Review the micro module for its sound, functions, price point. In 2025, the Mellotron Micro is retailing for around $500 USD. I paid $695 CAD. Thanks @MellotronFactory for this wonderful instrument."

This one is in via John L Rice.