0:00 The most powerful synthesizer on the market
0:22 3D Wavetable synthesis
0:50 Resynthesis
1:40 Granular synthesis
2:18 Vocoder
2:53 Additive synthesis
3:36 Supersaw / Hypersaw
4:21 FM synthesis
5:01 Samples
5:33 Subtractive 7 Analog
6:12 Physical modeling
6:39 Waveshaping
7:02 PWM
7:32 Phase Distorion
Icarus is the most powerful synthesizer on the market. The award-winning audio engine offers a huge sonic range, true high-end sound quality, and the ability to create sounds that are impossible with other synths. The exceptionally versatile audio engine is capable of creating all important synthesizer sounds in high-end quality. Icarus is capable of over 30 (!) different synthesis methods, which can be combined:
3D Wavetables
3D Wavetable Synthesis cn create sounds impossible with other synthesizers and opens up a new level of dynamic expression. Classic wavetable synthesis only allows you to cross-fade waveforms. We have extended it with an extra 'morph dimension'. You can use 54 morph modes to further shape and modulate the sound. The morph modes are not limited to traditional waveshaping methods. We have also included a wide range of innovative and exclusive modes that are not available from other companies. This results in a wide range of unique sounds that cannot be produced by other synthesizers.
Resynthesis
Icarus comes with the most powerful and advanced re-synthesis engine on the market. Unlike competing products, it always delivers good results. With Icarus, anyone can create amazing sounds quickly and easily. Icarus' innovative resynthesis can rebuild sounds with a single mouse click! Just click this button, select a wav file, and Icarus will automatically create a patch that sounds like the original. You can further shape your sound with morphing, time-stretching, filters, effects, or any other module.
About this Pack
Serge Tcherepnin once described his instruments not as tools but as open systems for discovering relationships between sound and control. The Serge Modular Synth is built on this principle. It does not simulate acoustic behavior; it generates its own logic of vibration. Each circuit is an experiment in how voltage can behave as if it were alive.
This sample pack captures that principle through Random Source’s modern Serge system, combining the GTO, GTS, and Res EQ with the reissued 50th Anniversary Paperface. The recordings move fluidly between the precise tension of Eurorack signals and the raw, physical tone of classic 4U banana systems. Every patch was shaped through direct voltage interaction rather than digital post-processing, preserving the unpredictable complexity that defines the Serge approach.
Why Serge Matters
Serge Modular was designed in the 1970s by Serge Tcherepnin. It was created as an open-ended tool for sonic experimentation. Influenced by cybernetics and avant-garde composition, this system rejects musical hierarchies and embraces uncertainty.
In Serge, control voltages and audio signals are treated as equals. The circuits invite exploration through feedback, cross-modulation, and unpredictable interactions. Every patch is a process of discovery rather than reproduction.
This makes Serge a powerful choice for artists seeking sounds that are not pre-shaped or confined by rules. The textures you will find in this pack are unstable, alive, and deeply human.
Inside the Pack
The collection includes loops, one-shots, and drones. It extends from tonal minimalism to complex, evolving noise structures. You will find FM and AM modulations, unstable oscillations, and dark ambient layers that drift beyond equal temperament. There are moments of feedback that verge on collapse, SSG circuits running into chaotic self-modulation, and subtle rhythmic patterns that carry the unmistakable texture of analog uncertainty.
Each sound maintains the distinctive grain of Serge synthesis: harmonic richness without symmetry, motion that arises from interaction rather than programming. This is material for artists who value the tactile quality of electricity, who hear circuits as compositional partners rather than instruments.
Who This Pack Is For
Ideal for producers working in experimental electronic music, sound design, ambient, noise, or techno.
This pack suits those who are not satisfied with polished libraries and are looking for materials that add edge, texture, and risk to their work.
Continuous Evolution
This library is a growing archive. New sounds are added through regular updates at no additional cost for existing users. If you already own the pack, simply log in to your Sellfy account and new files will appear automatically. For those new to the collection, this is an invitation to enter a sonic environment that is never fixed but always evolving.
Not Just a Sample Pack
Some of the included tracks were originally composed as complete works. These can be experienced as finished drone pieces or used as inspiring source material. The lines between sample and sound art are intentionally blurred."
Been working on this for a while and it's finally at a point where I want to share it.
*Tresse* is a standalone polyphonic synthesizer built around Mutable Instruments' Plaits DSP code, running on an ESP32-S3 with a custom PCB. Three voices of polyphony, 38 synthesis engines, USB, DIN/TRS and Bluetooth MIDI, and perhaps Ableton Link and our upcoming stack (VMB) Våld Modular Bus, expected to ship this summer, and which will a new wireless comms protocol with negligible latency, auto discovery and machine mesh capabilities (to be released soon). Also enough knobs and encoders to actually play the thing without menu-diving, and a battery for when you're bored outside of your studio.
*The core idea:* take the full Plaits engine library — all 24 algorithms — and make it polyphonic in a self-contained hardware instrument. Then keep going and add 14 more custom engines on top. There are hundreds of options similar to this in modular systems and i thought why not bring all these god-level creative tools to bedroom, desktop producers who don't have the money or the space (or will) to mingle in the modular space, and bring them one contained box with all they need.
What's inside
*ESP32-S3* doing all the DSP across both cores (voices 0+1 on Core 1, voice 2 on Core 0, parallel render) **PCM5102A DAC**, 24-bit output, 32kHz sample rate *4 pots + 4 rotary encoders* through CD74HC4067 mux and MCP23017 I2C expander *OLED display* (128×64) for patch info, engine select, preset browsing *USB MIDI + BLE MIDI* — works with everything, no adapter needed for wireless Custom PCB, all through-hole friendly
38 engines
The first 24 are straight from Plaits — East Coast, Phase Distortion, all three DX7 variants, Terrain, String/Chords, Chiptune, Wavetable, Speech, Swarm, Particle, the Rings modes, the three drum engines, etc.
Then 14 custom engines built from scratch:
*Karplus-Strong* — proper physical string modeling with excitation morphing (noise → impulse → tonal) *ByteBeat* — 8 classic formulas with pitch-tracked rate, gets wild *CZ Phase Distortion* — Casio CZ-style, three distortion shapes *Supersaw* — up to 7 detuned saws with PWM, the obvious one but it needed to exist *Formant* — vowel synthesis with 3 bandpass resonators, gender shift control *2-Op FM* — clean FM with 13 ratios and operator feedback *Wavefolder* — sine/tri/saw/square source into a proper folder with bias *Noise Drums* — SVF-based with pitch envelope, covers kicks through metallic hits *Modal Resonator* — 8 tuned bandpass partials, morphs from harmonic → bell → bar inharmonicity, with a bowed excitation mode *Sympathetic Strings* — 3 coupled Karplus delay lines with controllable coupling and interval ratios *Comb Resonator* — 4 parallel comb filters with spread control *Drawbars* — organ-style additive with 8 Hammond-ratio partials *Complex Oscillator* — FM into wavefolder, Buchla-adjacent territory *Grain Noise* — granular noise with smoothing, good for textures and pads
Controls
Three parameter layers accessible via toggle buttons:
*Normal* — Timbre, Morph, Harmonics, Color on pots; Attack, Decay, FM, LFO Depth on encoders *MOD* — Fold, Detune, Ring Mod, Chorus on pots; LFO destination/shape/speed/sync on encoders *SHIFT* — Filter Cutoff/Reso/Env/Type on pots; Portamento, Octave, Vibrato depth/speed on encoders
Hold both buttons → engine select overlay. Double-tap MOD → system menu (randomizer, MIDI config, play mode). Double-tap SHIFT → preset browser across three banks (own patches, generated, branches).
Play modes: Poly, Mono, and chord modes (Major, Minor, 7th, Sus4, Power, Octave).
The randomizer is one of my favorite things — it generates random patches with procedural names (stuff like "Velvet Moth" or "Iron Shard"), you scroll through them with the encoder, and save the ones you like to a generated preset bank. 512 slots each for generated and branch presets, 128 for your own.
What it sounds like
Honestly covers a lot of ground. The Plaits engines already span everything from classic analog to FM to physical modeling to noise, and the custom engines fill in some gaps I wanted — proper supersaw, real Karplus-Strong, the modal/sympathetic stuff for metallic and evolving tones, and the ByteBeat engine for when you want to go full chaos. The global FX chain (filter, wavefolder, ring mod, chorus) ties everything together.
The project should be available from April 2026, in kit or assembled units! Price to be discolsed once i have the final FINAL prototype, but shouldn't hurt the wallet.
This is a *Våld Labs* project from Lisbon Portugal. Much more to come.
Would love to hear what people think, and happy to answer questions about the build or the DSP. Be aware that this is a pretty advenced prototype, but still a prototype"
1. We Made Three New Synths — The M0SS Family Kickstarter Launch
2. M0SS-201 Demo: Wave Folder Bass
3. M0SS-201 Demo: Krell Patch
4. M0SS-416 Demo: Presets
5. M0SS-416 Demo: Brian Eno's Tambura patch
6. M0SS-309 Demo: Mellow Horns and FX
"The M0SS-201, M0SS-309 and M0SS-416 are 3 new members of the M0SS line of synthesizers from UltraPalace, expanding on the flagship M0SS-101 released in 2025.
This line of instruments packs the power of an advanced synth in to a tiny, rugged enclosure, and offers a unique user interface, designed to be intuitive, hands-on, and fun. Press a button to select a parameter in the synthesis engine, and turn the encoder to modify its value.
Coloured LEDs positioned across the face will pulse and toggle to show the signal flow, indicate settings, and show the current parameters magnitude.
These synths feature USB MIDI Host, as well as 1/8" MIDI, so you can connect any MIDI controller, and map knobs or faders to any parameter using MIDI learn, allowing you to transform your inexpensive MIDI controller into a powerful and fascinating vintage-style synth, or to integrate the synth into your existing MIDI setup.
"The M0SS-201 is a west coast synth, which takes some inspiration from the Buchla Easel. This modern monosynth is packed with features that will inspire experimentation into advanced synthesis. It is capable of an incredibly broad spectrum of sounds, and diving in, you might find yourself wondering if the sounds you are creating have ever been heard before by human ears, and the answer may well be no!"
"Chris Sanders of KORG shows us the new phase 8! The phase 8 is 'an eight-voice acoustic synthesizer that merges the sonic richness of the physical world with precise electronic control... Acoustic Synthesis uses physically vibrating bodies to generate sound, enhanced with the electronic control you’d expect from a synthesizer.'
Basically, you can place household items onto the synthesizer to manipulate sound and frequencies. Really innovative and new instrument!"
"We're at the KORG booth checking out the new phase 8 acoustic synthesizer. Basically, you can place an item on the 'pickups' to produce a a really cool sound.
KORG.com states, 'Introducing phase8, an eight-voice acoustic synthesizer that merges the sonic richness of the physical world with precise electronic control. With envelope shaping, sequencing, analogue wavefolding, and pitch-dependent modulation, phase8 harnesses the latest Acoustic Synthesis technology developed at KORG.'"
"We head to the Melbourne Electronic Sound Studio for our first hands-on look at the KORG Berlin Phase 8, one of the most unusual instruments to land on the Noisegate desk in years. Phase 8 is built around eight electromechanical voices, each physically striking a steel resonator or tine. Instead of traditional oscillators, sound is generated through real vibrating materials, then shaped with envelopes, modulation, sequencing, and analogue wavefolding. The result feels closer to playing a physical instrument than programming a synth.
In this video, we explore: – How Phase 8 produces sound – Sequencing, pluck, shift and performance controls – Acoustic interaction using everyday objects – Processing Phase 8 with external effects – Integrating Phase 8 into a wider live jam setup
CHAPTERS: 0:39 – Why Phase 8 Is Different 1:04 – What Is Acoustic Synthesis? 1:40 – Touch, Feedback & Physical Interaction 2:13 – Tuning, Scales & Resonators Explained 2:32 – Playing Phase 8 Like a Synth 2:41 – Per-Voice Envelopes & Velocity 3:11 – Air Slider & Raw Pickup Sound 3:35 – Shift & Pluck Performance Controls 4:27 – Sequencer Overview & Storage 4:56 – Playing a Recorded Sequence 5:06 – Step Recording & Polyrhythms 6:21 – Interacting with the Tines Physically 6:30 – Using Objects to Change the Sound 7:50 – Light vs Heavy Materials on the Tines 8:26 – Percussive & Prepared-Style Sounds 9:47 – Modulation & Tonal Experimentation 9:56 – Processing Phase 8 with External Effects 10:14 – Finding Sweet Spots with FX 10:27 – Connectivity: MIDI, USB-C, CV & Sync 10:58 – Hybrid Setup with OP-XY 11:24 – Live Jam Begins 14:29 – Reflections on Exploration & Sweet Spots 15:31 – Why Phase 8 Rewards Time & Touch 15:36 – Trying Phase 8 at MESS 16:04 – Final Thoughts & Sign-Off
We also look at how Phase 8 plays with other gear, including Teenage Engineering OP-XY and outboard effects, and why finding the “sweet spot” is such a big part of the experience."
The following is in via Sean Graves, who had the following to say:
"The piece, 'The 'Easel' Spirit in 3U: Rebuilding a Buchla Soul in Eurorack,' documents my five-year journey to replicate the specific workflow and 'soul' of the Buchla Music Easel using a curated Eurorack system."
"This post explores the creative power of 5-step sequencing (the 'migrating downbeat'), the 'origami' of wavefolding via the Verbos Complex Oscillator, and the organic harmonic dampening of vactrol-based Low Pass Gates. It’s a technical yet accessible look at why the West Coast workflow remains the 'holy grail' for performance - based synthesis."
The full write-up follows, with a demonstration of the system in the video above.
The “Easel” Spirit in 3U: Rebuilding a Buchla Soul in Eurorack
The Buchla Music Easel is legendary. It isn’t just a synthesizer. It’s a self-contained performance ecosystem. For many of us, the “Easel” workflow is the holy grail of synthesis. However, instead of chasing original hardware, I’ve spent the past five years rebuilding its specific soul within the Eurorack format. Because everyone deserves a hobby, right?
The Chef vs. The Sculptor Most East Coast synthesizers work like a sculptor. You start with a massive block of harmonic noise (Sawtooth or Square waves) and carve it away with a filter. The Buchla workflow is different. It’s like being a chef in your own Hell’s Kitchen. You start with basic, “bland” ingredients (sine waves) and spice them up with Frequency Modulation (FM), Amplitude Modulation (AM), your choice, and then fold until the sound sizzles.
My current rig recreates this spirit by focusing on three pillars: Uncertainty, Complex Oscillation, and the iconic Sequential Voltage Source.
Part One: The Modulators (The Brain) In a true Easel style setup, the Tokyo Tape Music Center 5-Step Sequencer acts as the brain. While most modern sequencers favor 4-8-16-32 steps, the 5-step limitation is actually a creative superpower.
Check with dealers on the right for price and availability.
"Magnolia is an eight-voice analog through-zero linear FM synthesizer. Besides the classic analog polysynth sounds, its design allows programming some less conventional timbres closer to the world of modular synthesizers, and especially of the so-called “complex oscillators.”
Magnolia allows to bring modular synthesis techniques in the world of analog polysynths, with all the known advantages of the latter: polyphony, immediacy of use, powerful sound, and those little unpredictable details generally known as “analog warmth.”
Magnolia is a highly playable instrument thanks to its expressive Fatar keyboard with polyphonic aftertouch and encourages sound exploration through its large and relaxing front panel.
"Nymira is a standalone harmony instrument designed around the circle of fifths. Its sonic engine draws from the overtone series, offering detailed timbral control across seven individual partials. Two distinct models explore different synthesis methods; one rooted in additive FM synthesis, the other in classic subtractive design. Together, they provide a new, expressive way to shape rich and complex harmonic textures."
Playlist:
1. Introducing Nymira
2. Nymira, by Terraphones
3. what we don't say... (ambient wooden electronic musical instrument performance)
Cheat Code for Chord Progressions • The Circle of Fifths with Terraphones Nymira
"Terraphones shows me Nymira, a new synthesizer and MIDI controller based on the Circle of Fifths that makes playing chords and advanced harmony feel like cheating."
✶ CHAPTERS ✶
00:00 – Intro
00:32 – Overview
01:22 – Learning Nymira
01:46 – Harmonic Map
02:40 – Combining Chords
03:37 – Open Voicings
03:58 – Terraphones Concept
04:19 – Additive Mode
04:53 – Subtractive Mode
05:33 – Sus Chords
06:16 – Granular Mode
06:56 – Latching Chords
07:14 – Granular Mode Jitter
07:46 – The Circle as a Path
08:27 – Resolving Chords
08:50 – Nymira as a MIDI Controller
10:22 – Relative Movement
11:21 – Free Play
11:42 – Advanced Harmonic Moves
12:47 – The Zones
17:03 – Eureka!
17:35 – Thank you
18:14 – Outro"
"Nymira is a standalone harmony instrument designed around the circle of fifths. Its sonic engine draws from the overtone series, offering detailed timbral control across seven individual partials. Three distinct models explore different synthesis methods; one rooted in additive FM synthesis, another in classic subtractive design, and one based on granular synthesis. Together, they provide a new, expressive way to shape rich and complex harmonic textures.
Nymira is the only instrument in the world that maps the Circle of Fifths to a physical interface. Nymira is designed with Western harmonic theory at the core, allowing you to discover beautiful chord progressions that are much harder to play on other instruments.
Like all Terraphones, Nymira is assembled by hand, and is housed in solid walnut. Underneath Nymira’s keys are Cherry MX Silent Red keyswitches that offer a clean, tactile experience. With the ability to run on four rechargeable AA batteries, Nymira lets you play anywhere. Inside Nymira are two surface transducers that turn the walnut enclosure into a speaker of its own. Playing Nymira in this mode allows you to hear its warm sonic engine played through the walls of its walnut housing. Nymira also excels in the studio. It is equipped with USB MIDI out, and a stereo 1/4" audio output. If you don’t want to use batteries, Nymira can be powered via USB-C with any device that supplies 4-17 volts.
~~~
Nymira is made by Thomas Adam Billings, the sole creator of Terraphones. Every part of Nymira is ethically sourced, assembled by hand, with solid walnut sourced and milled in the United States of America. By purchasing Nymira, you are directly funding the ongoing research and development of a new wave of natural, electroacoustic musical instruments.
– $1200 –
50 units available for pre-order. Expected lead time : 6-10 weeks
Shipping to North America, South America, the UK, the EU, and Australia."
"The Korg Phase8 has been present in the collective synth-nerd consciousness for a few years, as Korg’s Berlin skunkworks department have slowly released details and demo’d prototypes, most notably at the last two Superbooth events. An iconic, mainstream synth manufacturer like Korg, exploring and experimenting with an entirely new concept in how synthesis can be used was an exciting prospect, and captured a lot of people’s imaginations - mine included.
I was lucky enough to find time to explore those prototypes at the previous two Superbooths, and even more lucky to have Korg approach me with a completed production model to make a video about.
The final model is an impressive physical instrument, with Korg Berlin’s industrial design chops on display, but I’m here mostly to talk about the sound and the functionality of the Phase 8, so in this video I’ll explore how it operates solo, how it can be integrated into a larger setup, try out some “extended techniques” and discuss where I feel the Phase 8 could be pushed further.
Transparency notice: Korg kindly sent over the Phase8 to make videos about. They haven't requested or been granted any oversight of the contents of the videos. I haven't otherwise been paid, but I do get to keep the unit shown in this video."
Chapters: 00:00 Intro 01:04 What is Phase8? 03:36 Voices, Resonators and Tuning 06:17 The voice controls 07:58 The Air Control 09:03 The Mod Effects 12:44 The Sequencer 17:51 "Strum" 18:57 Control Voltage and Sync 22:13 MIDI control and CC 27:25 Can it DRONE? 29:35 Acoustic Feedback 31:53 Phase8's Untapped Potential 40:30 Final Thoughts
"Explore Phase8 at home with my multisamples on Patreon: ► / loopop"
TIMELINE:
0:00 Intro
1:45 Overview
3:15 Vel & env
3:55 Buttons
5:30 Air fader
6:00 Shift
6:20 Pluck
6:50 Drones
7:20 Drone jam
7:50 Build & IO
8:15 In the box
8:35 Mod left
8:55 Mod right
10:25 Mod center
10:50 Settings
11:25 Center #2
11:45 Step seq
12:35 Live seq
13:55 Automation
15:25 MIDI
15:45 Pros & cons
19:00 Three jams
The Phase8 has finally made it to market. Check with dealers on the right for availability.
Press release follows:
KORG Introduces phase8, an Eight-Voice Acoustic Synthesizer
MELVILLE, NY - KORG announces the phase8, an eight-voice acoustic synthesizer designed for musicians and creators who want sound that feels alive, immediate, and deeply responsive. Using Acoustic Synthesis technology developed at KORG, phase8 merges physically vibrating steel resonators with precise electronic control to deliver an instrument that behaves like an acoustic object while offering the creative flexibility of a synthesizer. It answers the need for a new kind of expressive electronic instrument by generating sound in the physical world, responding to touch and interaction, and integrating seamlessly into today’s creative setups through MIDI, USB-MIDI, Sync, and CV connectivity.
At the heart of phase8 are eight independent electromechanical voices driving steel resonators to produce genuinely acoustic vibration. KORG supplies 13 chromatically tuned resonators with the instrument, eight of which can be installed at a time, allowing players to customize the tuning, scale, and character of their setup. Through envelope control, these resonators can move from short, percussive hits to long, sustained tones, encouraging hands-on exploration and performance. The resonators are easily swappable and tunable, making the instrument adaptable to individual playing approaches and musical environments.
phase8 has been designed not only to sound organic, but to feel interactive in use. Players are invited to shape sound directly, touching, plucking, strumming, or tapping the resonators, or even experimenting with found objects to introduce new textures. An AIR slider lets users boost or quiet the acoustic response of what they bring into contact with the instrument, enhancing its tactile, haptic character and underscoring its role as a physical instrument as much as an electronic device.
For structured creativity, phase8 features an intuitive sequencer that supports both step programming and unquantized live recording, with step skip available per voice to enable complex polymetric rhythms. Sequences can be stored and recalled across eight memory slots, while all front-panel parameters can be automated using the record function, allowing evolving passages and detailed motion to be captured directly into performance. Three modulation modes are available, including tremolo and two pitch-dependent audio-rate modulation types, with the final mode offering optional harmonic quantization. A trigger delay, controllable via the instrument’s shift knob, allows delayed resonator triggers relative to the selected or synchronized tempo, further expanding rhythmic expression.
phase8 is designed to integrate effortlessly into modern creative workflows. External MIDI devices can trigger the Acoustic Synth, while the phase8 sequencer can, in turn, trigger external MIDI instruments over MIDI or USB-MIDI. Tempo synchronization is available over MIDI, USB-MIDI, and Sync, and CV input (±5V) allows parameter control from compatible analogue hardware. The instrument provides MIDI TRS-A In/Out, USB-C for USB-MIDI and firmware, Sync In/Out, a ¼-inch line audio output, and a 3.5mm headphone output.
Practical considerations match the innovation inside. phase8 runs on a 12V AC adaptor and consumes 4.8W of power. It measures 231 x 236.5 x 46 mm, weighs 1.71 kg, and ships with an AC adaptor, hex key, Quick Start Guide, Precautions Sheet, and five more resonators alongside the included chromatically tuned set.
phase8 is a new chapter in expressive instrument design, bringing together acoustic behavior, electronic precision, real-time interaction, and deep sequencing control in a compact, performance-ready form.
For more information, please visit NAMM Booth #6802 or online at www.korg.com.
Amanda Birkenfalk performs 'Brain' combining the brand new Nord Electro 7 73 and Nord Electro 7 HP, live at Atlantis Studios in Stockholm, Sweden.
2. Introducing the Nord Electro 7
Song: Escapade by Joshua Domfeh
Keys: Joshua Domfeh
Bass: Rubem Farias
Drums: Morgan Ågren
Audio Engineer: Calle Gustavsson
Mixing/Mastering: Calle Gustavsson
Video production: Jonas Embring
Executive Producer: David Sjöqvist
Location: Atlantis Studios, Stockholm
Gear: Nord Electro 7 73 and Nord Electro 7 HP
3. Nord Electro 7: Joshua Domfeh
"The Nord Electro 7 elevates the Electro series with a powerful new Synth Section, dedicated per-section effects and a refined panel design with a high-resolution color display. Combining our latest piano features with the Organ and Rotary Speaker from the acclaimed Nord Organ 3, the Nord Electro 7 offers exceptional versatility in a lightweight, stage-ready instrument. Read more at nordkeyboards.com. #nordelectro7"
Highlight features
General
New Panel design and new large color display Physical Drawbars on all models HP 73 - new Kawai Triple Sensor Hammer Action keybed Expression Pedal Assign, enabling pedal control of Synth Filter and effect parameters Organ Section
B3, B3 Bass, Vox, Farfisa, Soft B3 and Pipe organs from Nord Organ 3 Rotary Speaker emulation from the Nord Organ 3 3 mic positions for Rotary Speaker Physical Drawbars with LEDs on all models
Piano Section
Compatible with the Nord Piano Library Push Encoder for selecting Category and Sounds Dynamic Compression, Unison, Timbre Effects Section
Dedicated effects per section Rate and Amount for Modulation Effects New Spring reverb New Amps (Brit and Suitcase) Global Reverb with per layer Send
Synth Section
Samples, Analog waveforms and FM synthesis Push Encoder for selecting Category and Sound Vibrato with adjustable rate, amount and delay Mono, Legato and Glide Unison Low-pass filter with Resonance control FM Partial and FM Amount Dual envelope for Amp and Filter/FM Compatible with the Nord Sample Library
Yep - we're headed back to California for NAMM - and more! Here's the scoop:
Events
Thursday January 22:
Registration opens for our NAMM giveaway!
Friday January 23:
Anthony Marinelli at our booth
Blue Meanie All Day: See the rarest ARP there is! Nicknamed the "Blue Marvin" after ARP's CFO, Marvin Cohen, due to its bright blue metal case and unique features - while the actual name was "Blue Marvin," the nickname "Blue Meanie" stuck! Only about 25 were made in 1971, making them highly sought after.
ARP 2600: Drew Schlesinger demonstrates patches using the 2600 software included in the Korg Collection VST
Saturday January 24
Artists at our booth - TBA
Giveaways at 4:00pm:
Poster signed by Martin Gore
Soul of the Machine CDs
And one lucky person will win the full Korg Collection 6:
Magical sounds, authentically re-created by KORG.
The ultimate synthesizer suite for the ages.
The KORG Collection is a suite of software synthesizers that methodically and accurately recreates the authentic sound and behavior of legendary KORG synthesizers for the present day and beyond. The KORG Collection project began with analogue synths such as the MS-20, Polysix and Mono/Poly, and has steadily evolved to include digital synths such as the world’s most popular synth, the legendary microKORG, the workstation classics M1 and TRITON, and physical modeling synthesis from the renowned Prophecy. The KORG Collection even includes the ARP ODYSSEY and ARP 2600, both revived for the 21st century by KORG.
In 2025, KORG added three legendary instruments to the KORG Collection – each an icon of its era, celebrated for their distinctive presence and heard over decades in countless classic tracks. The TRINITY, PS-3300 and SGX-2.
As if NAMM weren't enough all on its own - there's Buchla & Friends on Sunday, January 24.
Buchla & Friends is January’s biggest two-day collection of hands-on synths on the West Coast! If you love creative sound, you need to be here. With a pre-party on Thursday, afterparty on Saturday, and two days of exploring all the greatest gear, Buchla & Friends is an essential start to the new year.
They're gathering over 90 synth makers in one awesome Downtown Los Angeles location so you can learn, listen, and live the latest in electronic music sound production. This hands-on, headphones-only gathering gives you a chance to hear the best sounds science has ever created. From additive to subtractive, analog to digital, keyboards to breath, audio to visual, modular to full-size polyphonic, eurorack to Serge to Buchla, you’ll meet synth makers and synth enthusiasts alike.
In the 1990s, PCM synths were at their peak, but club scene artists were already searching for a more flexible, analog sound, hinting at the coming analog revival of the 2000s.
It was in this context that the Prophecy was announced in 1995, offering more flexibility and timbral capabilities than ever before heard. Defined by the cutting edge digital signal processing technology and a DSP chip formerly used exclusively for effects processing, the Prophecy Solo Synthesizer is now available as a software plugin, with the ease of use, polyphony, and modern features necessary for today’s music production.
KORG Collection - Prophecy, a legendary physical modeling synthesizer developed with the aim of offering freedom of expression beyond analog synthesizers and unprecedented sound creation possibilities, has evolved even further in its expressive capabilities. In version 1.5, the quirks of the hardware Prophecy can now be expressed even more precisely thanks to deeper creative input from the brilliant minds in the original Prophecy development team.
Version 1.5 also adds 180 new programs. This unique sound collection brings out the individuality of the Prophecy, ranging from fresh, software-only sounds to those that pay homage to the original Prophecy and pushes monophonic sound design to all new levels.
Prophecy for Mac/Win uses software to fully reproduce the original Prophecy’s MOSS (Multi-Oscillator Synthesis System) and is equipped with five of the seven total oscillator types:
Standard Oscillator for Analog Synth Sounds
Noise + Comb Filtering
VPM (Variable Phase Modulation)
Cross / Ring / Modulation and Sync
Physical Modeling (Brass Model Oscillator, Reed Model Oscillator and Plucked String Oscillator)
The sounds from each oscillator model can be processed using a nonlinear wave shaper. In addition to the oscillator and wave shaper sections, there is also a sub oscillator and noise generator.
"FM-X is the FM synthesis engine found in the Yamaha MODX and Montage Series. With 8 operators per voice and 128 voice polyphony, this is a very capable sound generator. In this video, I create a "Piano with pads and sparkles" sound, explaining which options do what in the process. This is not a complete overview, just the process of making one particular patch and explaining every step. Table of contents:
00:00 introduction, overview and terminology 00:55 selecting the FM-X engine and opening the editor 01:24 selecting an algorithm 02:15 quick editor, and explaining the algorithm 02:46 operator envelopes 03:43 velocity sensitivity 04:05 setting up the first modulator: ratio, level, envelope and velocity 05:30 second carrier and modulator: tuning 07:22 building the pad: distorting the waveshape with the spectral option 08:14 skirt value (oscilloscope view) 09:00 tuning/detuning and browsing some more spectral options (including resonance) 10:17 adding another operator and modulator 11:15 putting it all together / fine adjustments 11:37 adding LFOs for pitch and amp modulation 14:03 adding a "sparkle" with modulator 3 16:46 filter type, LFOs and envelopes 18:29 FM color 19:16 effects: insert and global 20:24 physical controls (mod wheel and poly aftertouch) 21:33 the result - a new age pad with some alien weirdness 22:55 conclusion - do the youtube thing! :-)
"MÕNAI is a standalone portable multitimbral synthesizer that goes wherever your creativity takes you. The integrated battery eliminates the need for power outlets, while the compact form factor fits comfortably in a backpack. Whether you’re sketching ideas on location or performing on stage, MÕNAI delivers comprehensive synthesis capabilities without compromise.
Planned beta version release: Summer 2026
Every control on MÕNAI is positioned for intuitive access. The 8 endless encoders provide tactile feedback without physical limits, letting you sweep through parameters naturally. Touch-sensitive strips respond to the subtlest gestures – the left strip dedicated to modulation, the right offering multi-touch control across 20cm of expressive surface. The 2-axis joystick adds another dimension of real-time control.
MÕNAI integrates seamlessly into existing setups. USB Host port accepts MIDI controllers, expanding your playing surface. Standard MIDI I/O connects to legacy gear. Four CV outputs – pitch, modulation, velocity, and gate – bridge the gap to modular systems. Line-level audio input lets you process external sources through MÕNAI’s effects. This isn’t an isolated instrument; it’s a hub that enhances your existing workflow.
A Tool for Sonic Exploration
MÕNAI encourages experimentation. The two built-in microphones capture audio for immediate processing or sampling. The pedal input adds hands-free control. The combination of traditional keyboard layout and function keys provides both familiar territory and new possibilities. This is an instrument that rewards curiosity – the more you explore, the more it reveals.
The CNC-machined aluminum enclosure isn’t just aesthetically refined – it’s engineered for durability. Sandblasted and anodized in matte black, the body resists wear while maintaining a professional appearance. The integrated battery means you’re not tethered to power outlets. Whether you’re sketching ideas on a train, performing in a park, or working in a studio without available outlets, MÕNAI adapts to your environment rather than constraining it.
The workflow is immediate. Controls are positioned for intuitive access, with visual feedback from 109 LEDs across the interface. The high-resolution display renders waveforms and parameters clearly. Multiple synthesis engines can run simultaneously, each with dedicated effects and modulation routing. Sequencers maintains precise timing whether you’re working with internal sounds or triggering external gear."
User Interface 52 keys 29 piano keyboard layout keys (2 octaves and 1/3) 23 function keys 8 endless potentiometers 2 touch-sensitive strips Modulation (left, 8cm) Multi-function (right, 20cm) 2-axis joystick for expression parameter control 6-axis motion sensor Volume control knob with audio level indicator strip (stereo) High-resolution 3.1″ LCD screen Total of 109 LEDs: 88 RGB and 21 single-color LEDs 2 microphones for audio recording 1 USB port for battery charging and computer connection 1 USB Host port for device connection (e.g., MIDI keyboard) Line-level audio input 2 x audio outputs 3.5mm TRS MIDI input and output Pedal input Sync out / in CV outputs CV Pitch CV Modulation CV Velocity CV Gate Dimensions: 36.5 x 12.3 x 18.7 cm
"🎹 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
"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"
THE ELEKTRON MACHINEDRUM EXPERIENCE IN SAMPLE FORM: FROM IDM TO TECHNO
A vast collection of 987 kicks, snares, percussive elements, glitches, and synth sounds crafted from the Elektron Machinedrum. Inspired by IDM and avant-garde sound experimentation, this pack blends factory selections, TR-808/909-inspired kits, and deep explorations of the TRX, FM, PI, and E12 synthesis engines. Perfect for producers of IDM, techno, and forward-thinking electronic music.
This collection is a tribute to sound experimentation and the IDM / avant-garde electronic aesthetic, fully exploring the creative potential of the Elektron Machinedrum.
It’s divided into two main sections:
1️⃣ Kits Section – Includes a diverse range of IDM-style kits, factory kits, and TR-808/909-inspired sets, offering a balance between experimental rhythm design and classics. Inside you’ll find a massive range of kicks, snares, percussive hits, glitch elements and synhts, all processed with the Machinedrum’s distinctive digital character.
2️⃣ Synth Engines Section – Focuses on the instrument’s synthesis engines (TRX, FM, PI, and E12) to generate not only percussion but also synthesizer-style tones, textures, and FX. Each engine contributes its own flavor — from punchy analog-style hits and metallic FM tones to physical-modeled resonances and lo-fi 12-bit grit.
Altogether, this 987-sound library pushes the Machinedrum beyond its traditional role, becoming a source of innovative percussion and evolving sonic textures ideal for experimental, IDM, and modern electronic production.
All samples are provided in 44.1 kHz / 16-bit mono format, fully compatible with any DAW or sampler"
