Lo-Fi Electronica with Granular Piano & Soft Synths | Touch the moon 2026-09-30 by atnr

video upload by atnr

"An electronica piece where lo-fi piano textures overlap with quiet harmonies.

This piece was created with the OP-1 field, norns shield, volca fm2, and Omnisphere 2.

On the OP-1 field, a phrase is played using the ENDLESS sequencer and processed with reverb through the blueSky.

On the norns shield, a piano performance is recorded into graintopia and played back with granular processing. The output is connected to the Chase Bliss LOST+FOUND for delay and reverb.

The volca fm2 is processed through the Guyatone AE-5 for echo, followed by reverb through the MICROCOSM. The PHRASE LOOPER in the MICROCOSM is also used to capture and repeat phrases.

The remaining parts are built in Ableton Live using Omnisphere 2.

🎵 [Gear Used in This Video]

CLICK FOR MORE »

Moog Grandmother VS Rogue Synthesizer Face Off (No Talking)

video upload by gstormelectro

"Audio + Video by G-Storm Electro c. 2026

Both a Moog Rogue and Grandmother are in the studio. Let's do a comparison face off today. Oscillators, Sync, Filter, Envelopes, and Noise. Do they have the same basic Moog tone? Where there is feature overlap can I get them to sound the same? Which of them wins the day for you? Raw audio recorded direct via Roland GO:Mixer Pro-X, no post process eq or compression added. Listen w/ headphones or studio monitors to get the full experience!

I make cool Eurorack modules with mojo! Check out my Reverb Store https://reverb.com/shop/gstormelectro

0:00 | Oscillators
1:53 | Oscillator Sync
2:26 | Filter
3:38 | Envelopes
5:32 | Noise"

G-Storm Electro:
MUSIC https://gstormelectro.bandcamp.com/
BLOG http://gstormelectronica.blogspot.com/
LISTEN/DOWNLOAD http://soundcloud.com/gstormelectro
REVERB https://reverb.com/shop/gstormelectro

20cc Spectron: Classic Tape Dual Oscillator | Knobcon 2026

video upload by CatSynth TV

"Andrew from 20CC takes us on a tour of the TXX-1 Spectron, a dual-voice module based on samples from classic recording-based instruments like the Mellotron and Optigan.

To find out more, please visit https://www.20cc.cool/

'The 20CC TXX-1 Spectron is a Eurorack format dual oscillator inspired by vintage analog multisampling instruments such as the Mellotron, Chamberlin, and Optigan. Spectron uses a unique combination of synthesis and sampling techniques to bring the rich, warbly sounds of these classic instruments into Eurorack for the first time, while also offering new possibilities to manipulate, warp, and mangle them.'" Patreon: / catsynth | https://shop.catsynth.com | https://ko-fi.com/catsynth


0:00 Introduction
0:15 Spectron
1:49 Availability
2:08 How sounds are added to Spectron

"The 20CC TXX-1 Spectron is a Eurorack format dual oscillator inspired by vintage analog multisampling instruments such as the Mellotron, Chamberlin, and Optigan. Spectron uses a unique combination of synthesis and sampling techniques to bring the rich, warbly sounds of these classic instruments into Eurorack for the first time, while also offering new possibilities to manipulate, warp, and mangle them.

Analog multisampled instruments had their hey-day in the 1950's through the 1970's. They used analog recording technology - tape recording in the case of the Mellotron and Chamberlin, and optical sound printing on analog photographic film in the case of the Optigan. Each key corresponded to a recording of a note played on another instrument, often orchestral sounds like strings, woodwinds or choirs, which would play back when the key was pressed. All of Spectron’s sounds are based around full, per-key recordings of vintage multisampled instruments.

Rather than simply triggering discrete samples, Spectron organizes many samples to create the illusion of a continuous voltage-controlled oscillator. As pitch changes, playback seamlessly transitions between recordings, preserving the character of each original tape while allowing smooth, continuous frequency control.

There are two assignable timbre shaping sections not normally found on sample-based instruments: FM and Sync. These are tuned to range from subtle modulations that recontextualize familiar sounds, through radical transformations that are barely recognizable, and all the way to harsh and clangorous, with continuous CV control of all points between."

CLICK FOR MORE »

The M8 Tracker Continues To Blow His Mind // OS 6.6 Release

video upload by EZBOT

"Today I wanted to take a bit of time to explain my deep love for the Dirtywave M8 Tracker while going over the patch notes for the new OS that was released last week. The new OS brings a slew of upgrades to the device in both sound and presentation. Let's check it out and make some tunes."

EZBOT resources: https://www.patreon.com/ezbot, https://ko-fi.com/ezbot/, https://www.modbang.com

M8 Changelog on github

Makes for an intersting look back on the development history of the M8:

CLICK FOR MORE »

Electronica w/ Prophet-10, Piano, Modular Synth | Remains 2026-09-02 by atnr

video upload by atnr

"An electronica piece where looping melodies overlap with piano and synthesizer performances.

This piece was created with a modular synthesizer,‪@SequentialLLC‬ Prophet-10, and CP-88.

On the modular synthesizer, the bassline uses the ‪@MAKEN0ISEMUSIC‬ STO as its oscillator. A metallic melody is created using FM with the ‪@instruo‬ CS-L as the oscillator. Both sequences are generated with René.

On the Prophet-10, synth pads are performed. The output is connected to the ‪@strymon‬ blueSky for reverb.

On the CP-88, the piano is performed with its built-in reverb applied."

Electronica w/ Electric Kalimba & OP-1 field Looping Piano | Gentle Rain 2026-08-30 by atnr

video upload by atnr

"An electronica piece where electric kalimba and looping piano sounds overlap.

On the LOTTIE CANTO Color Palette electric kalimba, the built-in delay is used while the MOOD MKII adds further delay and layers micro loops over the sound.

On the OP-1 field, a 16-bar piano performance is recorded and played back in reverse during the intro and outro. The built-in TERMINAL effect applies bit reduction, followed by reverb through the ‪@strymon‬ blueSky.

On ‪@SONICWARE‬ AmbientØ, synth pads are performed. The output is processed through LOST+FOUND with reverb and delay."

Minimal Ambient with Piano, Tape Loop, and Synth Pads | Memorial Delay 2026-05-27 by atnr

video upload by atnr

"A minimal ambient piece where piano sounds, tape loops, and synth pads overlap.

This work is created with ‪@teenageengineering‬ OP-1 field, ‪@YamahaSynthsOfficial‬ CS01, and tape loops.

On the OP-1 field, bit reduction is applied with the TERMINAL effect to a piano loop performed on the Sampler. Additional piano phrases are played by hand and layered into the piece.

The tape loop uses a one-minute endless tape. A pre-recorded piano performance is played back while pitch shifting and micro loops are layered through the ‪@ChaseBlissAudio‬ MOOD MKII.

On the CS01, sounds with long attack and release settings are performed. Filtering and reverb through the ‪@strymon‬ NIGHTSKY create a synth pad-like texture."

QUAID GIGASLOPE - Envelope, Loop, & Step Modes

video uploads by ALM TV

Playlist:

1. QUAID GIGASLOPE - Envelope Mode

In this video we take a detailed look at the QUAID GIGASLOPE's 'Envelope' mode, building a simple 2 stage envelope, adding a sustain phase to create an ADSR, then increasing the stages to build a larger complex multistage envelope.

The QUAID GIGASLOPE is a four-channel multi-mode modulator, with each channel outputting a variable staged slope that can act as a complex envelope, flexible LFO, or step sequence.

Each slope can contain up to 13 stages, which may be independent or overlap with other stages. Slopes can be triggered or run freely, with both manual and CV control over each stage’s level, duration, and curve. The output range of each slope can be set and optionally quantised to musical scales. Trigger outputs are available at the end of each stage and at the completion of a slope.

2. QUAID GIGASLOPE - Loop Mode

In this video we take a detailed look at the QUAID GIGASLOPE's 'Loop' mode, using it to build unique custom LFOs with up to 13 stages.

The QUAID GIGASLOPE is a four-channel multi-mode modulator, with each channel outputting a variable staged slope that can act as a complex envelope, flexible LFO, or step sequence.

Each slope can contain up to 13 stages, which may be independent or overlap with other stages. Slopes can be triggered or run freely, with both manual and CV control over each stage’s level, duration, and curve. The output range of each slope can be set and optionally quantised to musical scales. Trigger outputs are available at the end of each stage and at the completion of a slope.

3. QUAID GIGASLOPE - Step Mode

In this video we take a detailed look at the QUAID GIGASLOPE's 'Step' mode, using it to create quantised melodic sequences with per step slides.

The QUAID GIGASLOPE is a four-channel multi-mode modulator, with each channel outputting a variable staged slope that can act as a complex envelope, flexible LFO, or step sequence.

Each slope can contain up to 13 stages, which may be independent or overlap with other stages. Slopes can be triggered or run freely, with both manual and CV control over each stage’s level, duration, and curve. The output range of each slope can be set and optionally quantised to musical scales. Trigger outputs are available at the end of each stage and at the completion of a slope.

Superbooth 26 - Xaoc Devices Introduces Skopje & Budapeszt

Superbooth 26 - Xaoc Devices Skopje & Budapeszt

Xaoc Devices proudly debuts two new products at Superbooth 26: Skopje 1988 Dual Quantizer and Budapeszt 1972 Exploratory Stereophonic Spectral Lattice Network. Here is some information on the modules.

On the surface, Skopje is a seemingly simple compact (6HP) dual quantizer with two independent channels. However, some clever features coupled with high-precision A/D and D/A converters make it a complex (though extremely easy to use) compositional tool suitable for all kinds of musical outcomes. The user interface is similar to Zadar with frontpanel labels clearly indicating the features available for adjustment. No menu diving as the small OLED display is only used for selecting banks and scales. Each channel is able to quantize its input to a different scale from a different bank (up to 100 banks each containing up to a 100 scales - if you're deranged enough to need as many... ;-). Skopje stores its data on a regular microSD card. The module supports its own very simple scale format (a straghtforward TXT file you prepare on your computer), as well as any of the abundant SCALA files you throw at it. You can mix and match different scale format files in one bank. Various tuning systems and description formats supported. Microtonality galore! Our own scale programming system additionaly includes a few clever features, e.g., various voltage limiting settings. But there's more.

Got a lovely sounding VCO, but with volt/octave tracking leaving something to be desired? Skopje to the rescue - you can quickly calibrate any of its channels to fit your VCO like a glove for precise tracking! Other notable features include: glide, scale switching via triggers or CV (great as a performance/compositional tool with your own scales/note combinations), and transposition (including unquantized for vibrato).

Skopje is in production and will be available in June 2026.

PS Yes, this is a game of life screen saver on Skopje in one of the photos :-)

MAIN FEATURES:
- dual quantizer with precision A/D & D/A converters
- highly customizable
- compatible with microtonal scales
- OLED display for ease of use
- up to 100 banks, each with up to 100 scales
- VCO calibration feature
- data stored on microSD card
- SCALA file support
- 6HP

BUDAPESZT — 1972 Exploratory Stereophonic Spectral Lattice Network

Budapeszt is a stereo dual spectral processor built around the interference of resonant structures. It features two independently tunable comb-type filters with six distinct modes. Each filter has its own set of controls, with two separate triangle LFO's providing internal modulation (with free and synced operation, and an envelope follower mode on top). The real magic happens in the interference between two stereo filters though. The overlap of two resonant structures weaves a spectral lattice: a complex grid of peaks and voids. The final geometry of that lattice is determined by the relationship between the channels rather than by either one in isolation. To encourage experimentation and for even more sonic flexibility, multiple feedback paths are available, including cross-coupled feedback between the filters. There's also a feedback phase inversion switch for each filter.

Filter modes include delay-based, phase-based, and filterbank-based approaches to shaping the frequency domain. The first mode draws on a signal model inherited from Xaoc Devices Samarkanda, enabling artifact-free pitch behavior across the full frequency range. The remaining modes distribute resonant energy in ways ranging from the mathematically orderly to the perversely irregular. That being said, more familiar results, like flanging and chorus, are also easily attainable - delivered by Budapeszt with unusual precision.

Budapeszt is equally at ease processing oscillator waveforms and complex samples. It eagerly responds to short triggers with percussive transients whose character depends entirely on what the two channels are doing to each other. The interaction between the two channels is the instrument. Two channels agree, and the result is color. Two channels disagree, and the result is stormy weather. The space between agreement and disagreement is where Budapeszt lives.

CLICK FOR MORE »

New DX7 Patch Bank with 80s Magic | Download now!

video upload by Espen Kraft

00:00 Demo song
00:50 What is this bank?
02:30 Demo of patches in more detail

"Get my new DX7 Patch Bank now — a premium collection of 32 of my best Electric Piano voices for the Yamaha DX7, DX7II and TX802, and for software or hardware that can import or load original Yamaha DX7 / DX7II voice data.

Price is only $12USD for the bank. You can get the bank from me directly through email here: espenkraft69@gmail.com You can also get the bank here:

https://thepatchbay.io/product/yamaha...

This is not a random bank put together overnight. These sounds have been with me for decades — some of them all the way back to the 1980s. They have been carefully selected, edited and refined over many years, and used by me on my own albums as well as in commercial music productions. Every sound in this collection earned its place. There is not a single filler patch here.

All 32 voices are Electric Piano based, but they sound much more varied than that. The have a wide musical range inside their category: some are glassy, some bell-like, some harder and more cutting, some soft and smooth, and some have that extra glossy, polished sheen that makes a part instantly sit right in a track. Some are more like pads, while others can be used as leads or bass depending on where you play it on the keys.
They are polished for maximum musicality and usability, and they work especially well either on their own, layered with other voices from this bank, or combined with other sounds in a full arrangement.

CLICK FOR MORE »

monophreak EMMY1OH1 Software Editor for the Roland EM-101 Preset Desktop Synthesizer

via Monophreak

"With the right firmware mod (that’s right – no mysterious hacky soldered in dials) for old board Roland EM-101 machines, the EM-101 is no longer a preset machine. Often billed as a cutdown Juno 106 restricted to just 24 presets, this box previously had some interesting uses but didn’t really deliver as an anlogue beast in my arsenal. It was too restricted. Until now. Due to the amazing work by Ryan (Plutoniq), the EM-101 has been give a new lease of life and transformed into a strong addition to my music making and since the parameters can now be controlled over midi CC, I have written an editor to load in presets from the Juno 106 and MKS-7, extended to a new Roland EM-101 format with naming and created a preset saving system and librarian for patch recall. It’s not a Juno 106 but it is a very nice sounding a machine with it’s own character sharing a lot of parallels. If I have understood correctly (there could be inaccuracies!), it has a M5232RS tone generator chip with 36 (I think) waveforms that are beautifully shaped by Roland analogue fitters. A good example is the IR3109 VCF filter, found in a the Jupiter 8 or M5241L VCA found in the MKS-70. If you look at the chip list, there are lots of shared electronics that overlap between Junos, Juipter and other quality Roland gear of it’s time, giving it character. Notably, the MN3009 and MN3101 chorus chips shared by the Juno 106 chorus. It has interesting analogue effects on board but the chorus particularly shines due to the much greater CC control (as you can see from the screenshot). That chorus is gorgous, adds that analogue sheen and processing. I spent last night building up a preset bank for the EM-101 to release with the editor (and check bank functionality) and got lost inside this little beauty."

If you forget the EM-101 you can find some pics and demos in previous posts.

This one is in via monophreak in the comments of this post and this post.

ALM Introduces QUAID GIGASLOPE - Quad Multimode Modulator

video upload by ALM TV

Chapters: 0:00 - Intro 0:59 - Envelope Mode 2:16 - Slope Range & Trigger Inputs 3:33 - Loop Mode 4:52 - Step Mode 6:04 - Quantiser 7:00 - EOS/EOC 7:36 - Assigning CV - Reset 8:32 - Assigning CV - Parameters 10:27 - End Jam 11:21 - Outro

The QUAID GIGASLOPE is a four-channel multi-mode modulator, with each channel outputting a variable staged slope that can act as a complex envelope, flexible LFO, or step sequence.

Each slope can contain up to 13 stages, which may be independent or overlap with other stages. Slopes can be triggered or run freely, with both manual and CV control over each stage’s level, duration, and curve. The output range of each slope can be set and optionally quantised to musical scales. Trigger outputs are available at the end of each stage and at the completion of a slope.

The QUAID GIGASLOPE builds on our earlier Megaslope module, expanding the idea of a hands-on, menu-free, jam-friendly complex modulator. With four channels, it easily covers standard envelope duties, quantised sequencing, and LFO tasks, while its design also encourages more experimental use through overlapping slopes, self-modulation and cross-channel interaction, leading to more distinctive, unexpected, and improvised results.

Feature List

Quad multimode modulator with complex Envelope, LFO and Step Sequencer modes.

13 modulation stages shared or split between slopes.

Per stage dedicated Level, Time and Curve controls.

Per slope Quantiser with 19 different scales.

Selectable output ranges of ±5V, 0-5V or 0-2.5V.

Assignable ‘EOC’ (End of Cycle) or ‘EOS’ (End of Stage) trigger outputs.

4 freely assignable CV inputs.

AXON CV expander support for 4 additional CV inputs.

Fun, performance oriented interface, well suited for happy accidents.

All states preserved accross power cycles.

USB-C for quick and easy ‘drag and drop’ firmware updates

Skiff friendly with reverse power protection.

2 Year Warranty.

Made in England.

Audio Damage Introduces Descent Granulator

via Audio Damage

"Descent is a granular delay and reverb effect that transforms your audio into evolving, otherworldly textures. At its core, Descent captures incoming audio and breaks it into tiny grains—anywhere from a handful to dozens at once—then scatters them across time and pitch to create everything from subtle thickening and rhythmic delays to vast, frozen soundscapes and shimmering pitch-shifted clouds. With independent control over grain count, duration, overlap, and direction (forward, reverse, or random), combined with extensive randomization for pitch, pan, position, amplitude, and timing, Descent turns any sound source into a living, breathing texture. Whether you're adding shimmer to guitars, creating infinite sustain on synth pads, or designing abstract sonic environments, Descent delivers studio-quality granular processing with an intuitive interface and real-time FFT visualization.

Features

Granular engine with adjustable grain count (1–50 simultaneous grains), duration, overlap, and envelope shape for precise texture control.
Pitch shifting from -24 to +24 semitones with pitch quantization—lock transpositions to specific intervals for harmonically-correct shimmer, fifths, octaves, or any chromatic combination.
Six-axis randomization: independently randomize pitch, pan, position, amplitude, duration, and grain count for everything from subtle movement to complete chaos.
Direction control plays grains forward, reverse, or randomly mixed—perfect for tape-style effects, reverse swells, and glitchy textures.
High-feedback mode with diffusion control transforms delays into lush, reverb-like washes that never get harsh or out of control.
Tempo-sync or free-running modes let you lock grain timing to your session or let textures evolve organically.
Real-time FFT visualization shows your granular cloud evolving, making sound design intuitive and immediate.
35 factory presets covering shimmers, delays, reverbs, pitch effects, and experimental sound design to get you started instantly.
Cross-platform preset manager with XML-based presets compatible across all plugin formats and operating systems.


Sound Design Ideas

Add subtle depth with a few long grains and minimal randomization. Create rhythmic delays with short, quantized grains at high feedback. Build infinite sustain pads by freezing audio with high grain count and overlap. Design glitchy textures with extreme randomization and reverse grains. Craft shimmer effects by quantizing pitch shifts to octaves and fifths. Transform vocals into ethereal textures with diffusion and wide panning."

Gentle Synth Layers and Delayed Piano | Weaver’s Shadow 2026-01-06 by atnr

video upload by atnr

"This piece was created using the ‪@SequentialLLC‬ Prophet-10, ‪@MoogSynthesizers‬ Moog One, ‪@NordKeyboards‬ Nord Lead, ‪@YamahaSynthsOfficial‬ CP-88, and CBX-K1XG.
It is a composition where gentle synthesizer tones are layered with delay-soaked piano sounds.

On the Prophet-10, slow-attack synth pads are performed and processed with reverb and filtering using the ‪@strymon‬ NIGHTSKY.

The CP-88 is used to play piano with its built-in delay and reverb.

On the CBX-K1XG, string sounds are performed and processed through ‪@ChaseBlissAudio‬ LOST+FOUND, adding reverb and delay.

The Moog One plays soft, low-attack synth pads with a generous amount of reverb applied via its master effects.

The Nord Lead provides additional synth pad layers, processed with reverb using the ‪@gfisys‬ Specular Tempus.

As the layered synthesizer sounds gradually overlap and fade away, the piano weaves through the space, filling the gaps between them."

Where Digital Meets Vintage Soul

video upload by Jose's Vintage Keys

"This demo explores the overlap between modern digital synthesis and classic instruments. The ‪@GrooveSynthesis‬ 3rd Wave 8M sits at the center, supported by the warmth of the OB-X and the expressive touch of the CP70 electric grand piano. Using presets by ‪@devinbelangermusic‬ and ‪@MattJohnsonskeyspace‬

I am not yet good enough to program it myself - their sounds are a wonderful start to get to know the instrument and its vast sonic possibilities. #3rdwave"

Introducing ADDAC System Servo Controller

video upload by ADDAC System

"At ADDAC we always admired the geniality of Neil Young’s Whizzer, way ahead of its time, a great example of how great ingenuity and engineering can come together to make something great.

Inspired by its motor controlled method we created a standalone solution featuring 8 Servo outputs to control any knob on any amplifier, guitar pedal, rack gear, etc. Bottom line any hardware that has a knob that needs to be controlled/sequenced/automated externally.

The idea behind it was to create a device that would open the possibility to control any knob, any physical knob, be it from a musical device or any other tech appliance that “needs” to be controlled, for musical, artistic or automation purposes.

Our solution comes with a Servo Connector that screws into any compatible physical potentiometer, a coupler connects the motor shaft to the target knob which will turn as the Servo turns.
We use servo motors which can be digitally controlled and move to a precise angle. The motors are controlled by a microcontroller that receives MIDI signals or the internal Expression Pedals and converts these signals to the 270 degree Servo motor range.
Each expression pedal input features 2 knobs: MINimum and MAXimum. These are used to set the range of action of the expression pedal, allowing to dial the range to any sweet spot desired. Raising the MINimum knob above the MAXimum knob inverts the Servo range.

It features MIDI over USB-C, Bluetooth MIDI, and a 3.5mm MIDI IN jack. MIDI can come from any of the 3 sources at the same time as long as they don’t overlap the servos channels being controlled."

Gyroresonant Scattering - Groove Synthesis 3rd Wave - Self Playing Patch w/ Artmatic Designer

video upload by Tumeni Knobs

"This is a "self playing" or "generative" patch programmed on the Groove Synthesis 3rd Wave. There is no sequencer or arpeggiator or midi used, just a lot of patch programming of the synth. This recording is actually two tracks layered together, each one slightly different. One is a fully hands-off version of the patch, and the other is performance recording where I was turning knobs as it played (mostly saturation, cutoff and resonance). This recording of the patch is in Bm, and each track uses different notes in the scale, with some overlap.

The dynamic range this patch produced was amazing, and in the end it required some heavy EQing to cut the lows out so as not to blow speakers when played at volume. Low cut and high cut filters were applied as well as a standard master bus compressor. It still gets pretty glitchy and grungy at times, but it doesn't clip.

There is a little bit of the 3rd Wave's delay effect that goes in and out, but much of what may sound like a delay effect isn't - it's just the way the patch plays. Valhalla Supermassive, applied in the DAW, totally sends this patch into space. Each track has a different reverb applied.

The animation was created in Artmatic Designer in my usual style, but this time, because I used two audio tracks, I used two video tracks layered as well. The base layer is the "as rendered" version right out of Designer, and the second layer is a copy processed in DaVinci Resolve with the Edge Detect effect. That processed layer is manually programmed to fade in an out on top of the base layer which dramatically changes the visuals.

I have a bunch of works like this, but this one seems next level to me. I've watched it a bunch of times now and always with eyes wide open, ears tingling and mouth agape. Hopefully someone else enjoys it as much as I do. ;-)

Cheers!

P.S. Gyroresonant scattering is a process where charged particles, like electrons, interact with electromagnetic waves in a magnetic field, causing changes in their energy and motion. This interaction can occur in environments such as planetary magnetospheres, affecting the behavior of particles within those regions."

PlantsSystem-Prophet-5&PolySeq

video upload by plantssystem

"PlantsSystem performed live in the intimate space of a single room using the Prophet-5 and Poly-Seq.

Performer and audience shared the same space, and in a seamless environment, the Prophet-5's rich analog tone and the Poly-Seq's quietly pulsating sequences resonated with each other.

The act of performing itself blended into the living space, resulting in an intimate and immersive performance where the listener could experience the sound-creation process in its entirety.

#plantssystem #prophet5 #polysequencer"

PlantsSystem-Duos&PolySeq ChaosSync

video upload by plantssystem



"PlantsSystem performed using Hikari Instruments' Duos and Sequential's Poly-Sequencer, linked via ChaosSync.

The multiple sequencers interact and influence each other, generating music through a struggle between regularity and chance. The delicate yet sharp modulations of the Duos and the phrase changes made by the Poly-Sequencer overlap, keeping the development constantly fluid.

This experimental live performance, unique to PlantsSystem, showcases the process in which intention and chance emerge simultaneously."

Layered Delays and Shimmering Synths | Loose Connection 2025-12-06 by atnr

video upload by atnr

"This piece was created using the ‪@SequentialLLC‬ Prophet-10, ‪@MoogSynthesizers‬ Moog One, ‪@NordKeyboards‬ Nord Lead, and ‪@YamahaSynthsOfficial‬ CP-88.
Layers of delayed and reverberated tones overlap and gradually fade, forming a drifting ambient soundscape.

The Prophet-10 is processed with a deep reverb using the ‪@strymon‬ blueSky.

The CP-88 is recorded in two separate paths: the dry signal and another processed through ‪@ChaseBlissAudio‬ LOST+FOUND, adding tape-style coloration.

The Nord Lead is processed with delay using the ‪@gfisys‬ Specular Tempus.

On the Moog One, a flute-like tone is performed with a shimmer reverb applied via the master effects, enhancing its airy, ethereal quality."

Dieter Doepfer explains the 3D Joystick

video upload by Doepfer Musikelektronik GmbH

"Dieter Doepfer explains the 3D Joystick"

The A-174-4 made its first appearance on the site back in 2020. The following are some pics and details via https://doepfer.de/a1744.htm.



"Module A-174-4 generates several control voltages and a gate signal controlled by a spring-loaded X/Y cross potentiometer (so-called joy stick). The control voltages for X and Y are controlled by the X and Y position of the joystick in the usual way. The third control voltage Z is controlled by the rotation of the spring-loaded joystick knob. The gate signal is generated by a button at the center/top of the joystick knob. As an additional feature four control voltages are generated that are assigned to the quadrants of the Cartesian coordinate system. These quadrant voltages are derived from the X and Y voltages by means of a special algorithm.

For each joystick function the non-inverted signal (X, Y, Z) as well as the inverted signal (-X, -Y, -Z) is available. The generic joystick control voltages are bipolar and range from typ. -5V (lowest position) via 0V (center position) to typ. +5V (highest position). By means of the Offset controls OX, OY and OZ a variable voltage of up to 5V can be added to the generic voltages. That way it's possible that the X, Y and Z outputs become pure positive (0...+10V instead of -5V...+5V). That's necessary if e.g. VCAs have to be controlled, because VCAs require a pure positive control voltage. The offset voltages can be adjusted by means of three small potentiometers. When the control in question is fully CCW no offset is added and the "pure" control voltages X, -X, Y, -Y, Z and -Z without offset are generated. As soon as the offset control in question is moved clockwise up to +5V are added to the voltage in question. The offset voltages are also added to the inverting outputs. With max. offset the range of an inverted output becomes also pure positive (+10V...0V instead of +5V...-5V). These six voltages are output at the sockets "X+OX", "-X+OX", "Y+OY", "-Y+OY", "Z+OZ" and "-Z+OZ". Each of these outputs is equipped with a dual color LED (red/yellow) that displays the present voltage and allows to distinguish between positive (red) and negative (yellow) voltages.

CLICK FOR MORE »