"This recently serviced Roland is a great example of a great synth without it's fatal flaw. The red glue has been removed! The faders have also been cleaned as well, making it smooth sailing to surf patches. It sounds amazing with plenty of tonal opportunities unlike any other synth. For the casual keyboardist, it may not be the easiest to learn, but the excellent presets cover a lot of ground."
"Fully functional Korg Delta DL-50, fun and easy to use synth that nails many classic sounds. Tested in great working condition, everything is fully intact despite the missing pitch bend cap. Comes with a very sweet Korg Delta super shiny gig bag as well. This was serviced in house by our own techs."
"I have always wanted a Medusa ever since i tried it at Superbooth (i think?) many years ago, i found it very intriguing, both layout / workflow with the grid and the very special sound engine. For some reason i never got to the point actually buying one until the other day when i stumbled over one used for a very reasonable price. I mean, i dont even really have the space for it.. i just knew this was the time to get one. :)
What you see and hear in this video is me taking it for a quick testrun, i love its quirkiness, how one can assign the voices are being played which creates some really fun happy accidents all over the place. The grid is quantized into Dorian scale, root in D.
FX from the Vongon Ultrasheer Reverb and Red Panda Particle, EHX 720 Stereo Looper from for the intro loop recording. All is recorded live straight on 2 track with some minor touch up post, e.g limiter and little bit of EQ at the top.
"I was asked how Iridium compares to Hydrasynth. Here are some pros and cons:
Hydrasynth pros:
Less expensive
Velocity and pressure sensitive pads (desktop) poly aftertouch and ribbon (keyboard version)
More filter and reverb models
Different wave mutators vs digiformer
Macro mode for the knobs
More flexible arpeggiator
Desktop version is smaller and lighter, and comes with rack ears
Hydrasynth cons:
Monotimbral, 8 voices vs Bi-timbral and 16 voices on Iridium
No resonator engine
No custom wavetables
Shorter wavetables (8 vs 128 waveforms in a table)
No sampler/granular playback engine
No engine like the kernel engines
Mono filters as opposed to stereo filters in Iridium
No proper sequencer vs two sequencers on Iridium"
"Hi everybody this time we bring you the Love Instruments first love interview and sounds at superbooth 26
First Love is a desktop 4-part multi-timbral FM Synthesizer with deep FM editing and waveshaping options. FM synthesis doesn’t always have to be DX-7-style. Love Synthesizers proves this.
Instead of dragging the user into the next operator nightmare, they’ve developed their own playful concept consisting of a 7-inch touchscreen, knobs, and buttons. This is supported by a colorful user interface that tries to enhance this new FM synthesis experience
For example, to create FM, you swipe one oscillator to another with your finger, and so on. At Superbooth 2026, the developers, including founder Kári Halldórsson, showcased the progress they have made over the past few months.
This includes a finished sound engine featuring four polyphonic FM synthesizers, a dedicated onboard FX engine with reverb, delay, chorus, and freezer per part, and the now-implemented 'The Playground'.
website https://www.lovesynthesizers.com/"
See the Love Synthesizers label below for addtional posts.
"Unlike most FM synthesizers that are very clean and digital, the vintage FM chips within MEGAfm have very characterful tone allowing a broad sound palette ranging from beautiful plucked strings to growly distorted bass lines."
"Larking is a 4 voice ambient drone synthesizer that redefines what a playable synth can be.
Pitch is quantized, with each voice locking to a selectable key and one of eight musical
modes for consistent harmonic control.
A standalone instrument for immediate tactile performance and tonal exploration, Larking
functions as a sound design tool, performance instrument, or central voice in effects based
setups. It integrates easily into pedalboard systems and complex signal chains.
Without traditional keys, it shifts focus from fixed patterns to guided harmonic discovery.
Voices can be triggered via onboard controls, gate inputs, or MIDI, supporting hands on
playing, modular systems, and sequencing.
Each voice features independent pitch control that snaps to scale degrees, enabling open
ended melodic movement within a stable musical framework.
At its core is a morphing tonal engine. The Shape control moves each voice from a warm sine
like foundation into harmonic saturation with analog style overtones, grit, and complexity,
delivering a deep resonant low end with strong weight and bass response. Attack and Decay
shape voice response from percussive rhythmic strikes to slow evolving swells that dissolve
into space.
A global LFO modulates pitch across all voices, from subtle drift to extreme instability.
Onboard reverb expands everything into a deep spatial field and atmospheric wash.
The result is an instrument between a melodic synth, drone machine, and experimental
performance tool, grounded in musical structure and open to pitch based exploration."
"When I was playing around with the Roland MKS-80, I kept thinking "My Prophet 10 sounds soooo much like this, do I really need to spend $$$ on getting an MKS?" The things I loved so much about the MKS (and actually the Kawai SX-240 which I sold) related to the LFO. I love a good reverse saw LFO and a random LFO. Notably, these are absent from the Prophet 10.
I started building another device I haven't showcased yet, and I realized I could repurpose that work to make an LFO module, which is what you're seeing here. So what can it do? It currently targets multiple CC destinations with adjustable depth, speed, and waveform shape.
Been having a lot of fun with it so far, creating sounds the Prophet 10 could not do unless I had a Yorick LFE, which is no longer made and was a little too expensive for me to justify purchasing. This is far cheaper (although I don't want to think about how much I've spent in parts/time building this!).
Cheers
NI RAUM used for reverb
#nativeinstruments #raum #sequentialprophet10"
"The ElectroComp EML 200 master triangle is feeding the Lower West Side Studios CGS01 Sub Oscillator module, which is producing a sequence. The positive output of that sequence is modulating the Metasonix TM-3 gas-tube dual VCO, which runs through the Metasonix TM-1 SE waveshaper. The positive sequence from the CGS01 is also modulating the VCA input on the TM-1 SE. The negative output of the sequence from the CGS01 is sequencing the two VCOs on the EML 200, through its VCA, and with its internal spring reverb. The TM-1 SE audio output runs through the Metasonix TM-7 ultra-distortion scrotum smasher, which is being modulated by the EML 200 envelope output. From 1:49, the TM-3 suboctave and oscillator sync are creating some cool percussive spasms. Some reversed reverb is applied from the Alesis MIDIVERB II."
The app is completely free (no in app purchases, no ads or tracking).
Most iOS music apps either give you piano keys or a grid-based interface. Pentatone takes a fresh approach, optimised for the ergonomics of touchscreen devices and inspired by instruments like the kora and mbira. It also has a sophisticated scale selection system that includes all the common pentatonic scale types and unlocks some more unusual ones.
Pentatone features:
An easy-to-play keyboard, split for two handed playing
An original pentatonic scale system with 9 selectable scales, in just intonation or standard tuning
A custom Audiokit-based synth engine (binaural 2x2 operator FM with stereo detune, resonant filter, delay and reverb)
25 preset sounds with macro sliders for tone and ambience
Initial touch and aftertouch response, both polyphonic
User feedback from the public beta:
"this has such a nice design and ui, colors are fresh and remind me of piet mondrian"
"Sounds incredible and can’t wait to use this in my workflow!"
"This is an inspiringly expressive instrument, my friend! Really a joy to interact with."
"Amazing! Love the simple UI and the musical keyboard. Also the sounds are lovely!"
"It’s very fun to play!"
"Looks beautiful!!!"
The app is completely free (no in app purchases, no ads or tracking)."
"Vintage 12 bit rack sampler ready to give those SP1200 vibes. This one is on nice condition and has a Gotek USB floppy emulator installed along with the SE upgrade. Includes a power cable."
"Meet Jynth, the new synth by Fingerlab for iPhone, iPad and Mac — the warm, analog soul of the iconic Roland Juno-106, reimagined with a groundbreaking Physics Engine for organic, living sound.
Designed for leads, basses, keys & pads, Jynth delivers that classic vintage character you love — housed in a meticulously crafted, photo-realistic interface that looks as good as it sounds.
"Quick jam with the absolutely amazing Hologram Microcosm 10th anniversary edition pedal. UDO Super 6 was going through the microcosm. Univox Minikorg on bass. Dave Smith Tempest on drums. Some additional reverb from the Strymon Bigsky Mx.
Please check out my music here:
Spotify: https://open.spotify.com/artist/43pG4...
Apple: / the-nightwater
Soundcloud: / thenightwater
Bandcamp: https://thenightwater.bandcamp.com/"
"CPM DS-2 ANALOG DRONE SYNTH
The FILTER FM patch works by moving Drone 1’s cutoff around at audio rate.
Start by turning down Drone 1 so we can just hear Drone 2.
Pitch Link is switched on, and the pitch is set to the middle. This means any changes to the pitch in Drone 1 will also be matched in Drone 2.
The output is set to a saw wave, and we’ve got the LFO linked to pitch, with the LFO depth turned up just slightly. This means the pitch will drift around a little bit.
Resonance is turned down and the cutoff is all the way open. This means we just get the raw output from Drone 2. Turn its volume all the way up, but plug in a patch cable — we’ll need this later.
Over on Drone 1, the pitch is set to 9 o’clock. We also have a saw wave selected, but the routing switch for the LFO is set to X-Wave. This stops it from affecting the pitch.
We’ve got the cutoff set to 12 o’clock and the resonance at 3, giving us quite a big resonant peak.
Now, when we plug the output of Drone 2 into the cutoff of Drone 1, the filter is going to get moved around at audio rate.
For a more extreme sound, try turning up the pitch LFO on Drone 2.
Also, add a bit of reverb.
WANT MORE PATCHES?
Download the new Stylophone CPM Patchbook 2.0: https://bit.ly/4nTh36w"
"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."
There's an aesthetic trend in modern effects, especially in ambience effects like reverb and delay, which points towards embracing and accentuating digital imperfection.
It turns out that the glitching, aliasing, distortion and noise that engineers traditionally worked so hard to dial out of gear actually sounds pretty amazing when used creatively and intentionally.
Many FX companies have really embraced this way of working, adding controls to their effects which allow musicians to digitally degrade the sound in wonderful ways - intentionally circuit bending their instruments by design.
Another way, though, to achieve these sounds might be to buy an old, cheap reverb from ebay and circuit bend it. This electronic abuse, forces the unit into leaning into these artifacts whether it wants to or not! The results may be more chaotic, but they might also be even more fun and potentially more affordable.
Chapters
00:00 Intro
01:20 The Mods
14:35 Processing Beats
21:57 Getting Weird with The Ether
24:54 Zero Input Patching
29:17 The Samples
30:29 The Impulse Responses"
Featuring a circuit bent Yamaha R100, Arturia Microfreak, Leploop Multicassa, SOMA Ether, and Elektron Digitakt.
"DVNA is a compact synthesizer built for creating rich harmonic textures with minimal effort. Play a single key and get a chord, or intervals of your choice across its four oscillators... monophonic input, polyphonic results.
A built-in note quantizer locks your pitch to any of 25 scales, while the tuning modes let you dial in everything from fixed chord voicings to free microtonal tuning. Oscillator mixing and stereo panning are controlled through morphing systems, so a single knob sweep transforms your entire mix at once. The signal then flows through a stereo multi-mode filter, overdrive, and a choice of reverb or delays.
The 12-key capacitive keyboard responds to finger contact area, generating a continuous pressure signal that can be routed throughout the instrument. DVNA also accepts MIDI over TRS, syncs to MIDI clock, and responds to MIDI CC for external control. 128 presets capture all parameters, keeping your favorite patches ready to recall instantly."
