0:00 Intro
1:30 Hands on / Delay
9:54 Glitch Knob
14:23 Modulation
18:35 Dissolve
25:28 I get lost
29:44 TR-1000 / drum machine demo
34:25 Matriarch / ambient demo
"Parting is a box of pleasant surprises. Moments of chance will give bursts of a glitch delay that can smear into a reverb, modulated by tremolo or vibrato, filtered, and, most importantly, dissolved into lofi aliasing or stretched out reverse. All of this may jump around in halves and octaves of itself - it’s up to you and Parting, together. Controls
Dissolve has two functions. Below noon, it reduces sample rate, creating an increasingly degraded version of the signal. Above noon, it reverses the signal, and repeatedly cuts the reverse clock in half as the knob is turned, creating an increasingly long and degraded reverse.
Rate sets the rate of the modulation LFO, which is also the frequency of triggers for moments of chance.
Depth sets the depth of the LFO.
Shape sets the LFO shape: Sine, Square, Reverse Saw, Saw, Random Sine, Random Square, Envelope
Chance allows random bits of signal to enter the delay/reverb buffer during an LFO cycle.
Smear adds diffusion and feedback to the delay lines, turning them into a lush reverb as the knob is turned up.
Glitch creates various clock subdivisions.
Time sets the timing of the delay/reverb, as well as the reverse.
Filter sets the cutoff point of the post-dissolve filter.
Mix sets the blend of dry and wet signal.
Aux switch for tap tempo, half speed, or preset switching.
Soft-touch On/Off footswitch with relay switching for minimal switch noise"
"This piece was created using the @SequentialLLC Prophet-10 and a self-developed ambient music generation software called Ambient Engine. Cut-up samples are transformed into micro-loops, forming an ambient soundscape layered with synth pads.
The Prophet-10 is played with reverb applied via @strymon blueSky.
Ambient Engine plays samples at both fixed intervals and random timings, processing them through a micro-loop effect, delay, and reverb before output. The samples include field recordings captured in urban areas and parks, as well as sounds from a Rhodes MKII."
"In 2025 Ashun Sound Machines contacted me and asked if I would like to create a set of unique presets for their upcoming synth. No details were disclosed about the instrument but, as you can imagine, I was curious. I agreed and several weeks later a monster 8-oscillator synth arrived at my doorstep. Today all of you can see it and hear it in action - the LEVIASYNTH is ready! Here's a quick video with some factory presets I created on the new Leviasynth. In this demo I kept the internal reverb low and did a fair amount of tweaking to give you a better idea of the timbre / behavior of the synth.
cheers;
Jexus / sounds-for-synths.com"
"Just some thoughts on Eurorack delay effects.
If you are buying your first effect module, make sure to not only look at the features but the layout and workflow."
0:00 Intro
0:30 Mimeophon as an Instrument
1:30 Mimeophon Karplus Strong / Reverb
2:00 Mimeophon with CV Modulation
2:42 Mimeophon Pros/Cons
3:03 Ghost as a Workhose
4:05 Ghost Karplus Strong / Reverb
4:52 Ghost Pros/Cons
5:43 Effexx RT1701 as a Studio Effect
7:17 Effexx RT1701 Pros/Cons
8:16 Take-Aways
"This is the third comparison video I’ve made so far with the Metasonix R-54 and the Zerosum Inertia ZI54, by playing them simultaneously. For the first three minutes, I’m just turning the drive knobs on the modules to hear the differences, how it affects the timbre and even the pitch. After 3:00, I start messing with the resonance knobs. In this video, the ZI54 drive knob is much more aggressive, particularly when fully clockwise. The R-54 is panned a bit left on the Mackie Onyx 1640 mixer and the ZI54 is panned a bit right. Both have some stereo reverb blended on the CXM 1978."
Check with dealers on the right for price and availability.
Playlist:
1. Introducing LEVIASYNTH from Ashun Sound Machines
2. Leviasynth - Crystal Cove with Kaela Sinclair by Exploredinary
3. Leviasynth Journey with Dominic Au – Part 1: Classics
4. Leviasynth Journey with Dominic Au – Part 2: Soundtracks
And an overview by loopop:
ASM LEVIASYNTH Review // Keyboard vs Desktop vs Hydrasynth
From the darkest recesses of the unexplored oceans comes ASM's most powerful creation yet—a hybrid algorithmic synthesizer with sixteen-voice polyphony, eight oscillators per-voice, and a truly absurd amount of sound design potential. There are over 300 waveforms available for each voice's eight oscillator slots, giving you access to a bonafide sandbox of sonic alchemy. Each voice's oscillators can be arranged and rearranged for versatile modulation schemes using the many available algorithms. This open-ended method of crafting timbres gives you nearly-unlimited possibilities for sculpting sounds ranging from familiar tones to completely alien timbres. In addition to the ability to create your own algorithm, the Leviasynth also comes with 144 preset algorithms for quick sparks of inspiration, and the ability to morph between these oscillators non-linearly.
The oscillators can be modulated in a multitude of ways to create even more timbral variation: Frequency Modulation, Phase Modulation, Pulse Width Modulation, HTE Sync, and Phase Distortion can all be applied to Leviasynth's oscillators for nearly-endless sound design potential. These, along with nearly every other parameter, can be affected using the internal 32-slot modulation matrix. Each of the eight oscillators includes its own volume envelope, along with five additional shared envelopes and five LFOs per-voice for creating a moving sonic texture within the canvas of the expansive modulation matrix.
The Leviasynth is one of ASM's most expressive synthesizers to date, offering a 61-key keybed with full polyphonic aftertouch, MPE compatibility, and a four-octave ribbon controller for even deeper playability. Record and playback more than just audio with the internal three-track sequencer, allowing you to record note, arpeggio, and macro automation data. Control a plethora of parameters across the synth with the eight individual macro controls, which provide a deep level of expressivity given the broad timbral potential of Leviasynth's multi-algorithm design. Expand this expressiveness into your Eurorack systems with the 3.5mm CV I/O, providing two assignable Mod inputs, as well as outputs for Pitch, Gate, Clock, and two assignable Mod outputs.
Leviasynth offers both analog and digital filters for sculpting multi-layered timbres. On the analog side, you get a buttery-smooth four-pole low pass, which provides the foundation for beautiful, intimate sounding patches. On the digital-end of the spectrum there is a complex, Hydrasynth-style multimode filter with eighteen different filter types. All of these filters can self-oscillate at high resonance settings, along with pre-drive saturation for helping your patches cut through any mix. The effects section offers two independent methods for applying that extra layer of polish to your sound. In the master effects, you can shape and transform your final sound with Delay, Reverb, Distortion, Rotary, Phaser, Chorus, Compression, EQ and more. The second method provides dedicated insert effects, which offer five flavors of Delay and four Reverbs for giving your sounds that ever-important sense of space. This two-layered approach to effects gives the Leviasynth a sound all its own, and when used in tandem with the aforementioned suite of timbral shaping engines, your imagination is the only limit. Like the vast unexplored waters of the deepest oceans, the ASM Leviasynth holds an immense amount of undiscovered potential underneath its dormant surface.
LEVIASYNTH KEYBOARD FEATURES
Complex hybrid algorithmic keyboard synthesizer 16-voice polyphony with 8 oscillators per-voice 32-slot modulation matrix Dedicated 3.5mm CV I/O Both analog and digital filters Master and insert effects engines Multi-color touch screen interface 3-track sequencer for recording notes and macro automation 4-octave ribbon controller 1024 Single mode patches, 640 Multi mode patches MPE-compatible ASM Patch Manager for Mac and PC for patch management and firmware updates
A few days ago, it snowed.
A good opportunity to try something calmer and more relaxing...
All the sounds are produced by the DUAL UNDULA OSCILLATOR only.
(yes, of course, with delay and reverb...)
And all sequences are generated with the RITOURNELLE module familly.
Absolutly nothing more.
"Roland Juno-60 in near mint condition. This iconic 1980s analog polysynth is known for its lush, warm pads, punchy basses, and the legendary built-in chorus that has defined countless classic tracks.
I purchased this directly from the original owner who bought it brand new. There are barely any scratches on the whole synth just some very light scratches and a small mark on one wood side panel. This is by far the cleanest Juno-60 I’ve seen on Reverb in the past year.
Condition:
Cosmetic: Excellent overall; minimal wear with a tiny mark on one wood side panel. Functional: Fully functional—all keys, sliders, switches, patch memory, and chorus work perfectly. Maintenance: Recently cleaned and serviced; ready to play or record. Features: 61 keys, 6-voice polyphony Classic Roland analog VCOs and VCFs Signature built-in chorus effect Patch memory for 56 presets MIDI retrofit possible
This Juno-60 is an exceptionally clean example, perfect for collectors, performers, or studio use. Don’t miss your chance to own one of the most beloved analog synths of all time!"
"Someone just saw Marty Supreme 😂. Trying to be like OPN with the 80s sounds. Quick jam with the Roland Juno 60 and the Dave Smith Tempest. Some reverb from the Strymon Bigsky Mx."
In this patch the A-112 is used as a lofi effect in the feedback loop of the A-119 Spring Reverb. All sounds are out of the system!
The bassline is a combination of the A-110-2 Basic VCO and the A-124 Wasp Filter. The A-188-1 BBD is used as a Karplus-Strong synthesizer.
The Eardrill Morphun is sequencing the Buchla 258d sine/square wave oscillator. I’m playing the Synthetic Sound Labs 3650 manually to control the pitch of the 258d sine/saw wave. Eventually I insert a cycle from the 281 into the Morphun reset jack, which randomizes and disrupts the sequential loop. The sine/saw VCO runs through the 292r, with the gated sine/saw signal panned center on the Mackie Onyx 1640 mixer, while the gated sine/square signal runs through the JRB VCBF filter, modulated by the 281, then through the 292 into the Peavey DDL-3 delay, with the direct output panned slightly right on the Mackie and the delayed output panned left. All three signals have some stereo reverb blended on the CXM 1978."
"This is the Roland SA-09 Saturn 09, a 44-key organ synthesizer from 1980, manufactured in Japan.
It’s built around a master oscillator (S10430) with an octave divide-down chip (AY-3-214), delivering that classic fully polyphonic, organ-style tone.
In this showcase, I’m focusing on the core sounds, variations, and character of the built-in analog chorus and vibrato (BBD MN3009) — which is a significant part of its vibe.
Reverb: Blackhole
Master: The God Particle
Sorry in advance if the camera is a bit shaky in this video 🙏
"We just got this used. It’s heavier than expected, and the recycled plastic surface has a nice texture. With no labels or logos it will take some time to memorize how to operate it, but here’s a first attempt—some quasi-Buchla based on the quick-start patch in the manual. The Double Knot is panned center, with a reversed reverb from the Alesis MIDIVERB II panned a bit right, the Roland RE-301 tape echo panned a bit left, and a stereo reverb on all of them from the CXM 1978."
"Everyone says the Yamaha CS-80 needs huge reverb and delay to sound alive…
But does it really? In this video, you’ll hear the real CS-80 completely DRY – no FX, no EQ, no compression – recreating eight classic Vangelis riffs exactly as they come out of the synth.
Can the legendary 'Synth of the Gods' still sound inspiring with nothing on it? You decide.
🎧 Best listened to on good speakers or headphones
✅ Real Yamaha CS-80
✅ 100% Dry – No FX, EQ or compression
✅ Iconic Vangelis sounds played live
⏱️ Time Stamps
00:00 – Intro
00:15 – Vangelis – Chariots of Fire Brass Melody
00:49 – Vangelis – Blade Runner Brass Line
01:59 – Vangelis – Blade Runner String Pad
03:00 – Jon & Vangelis – I Hear You Now Main Theme
04:33 – Vangelis – Chariots of Fire Brass Lick
05:10 – Vangelis – To the Unknown Man Intro Melody
06:41 – Vangelis – Blade Runner Flute Intro Line
08:07 – Vangelis – Blade Runner Brass Line (No Bass)
09:04 – Outro
💬 Comment Challenge:
Does the CS-80 really sound dead without FX – or is its raw tone still unbeatable?
Tell me what you think below 👇"
"1980s Linn Electronics LM2 Drum Machine, fully serviced/restored in-house. Ready for studio action and sounds incredible. Serial No. 3218
Service notes:
-Disassembled and cleaned/lubricated Level and Pan faders
-Cleaned control and master volume pots
-Repaired MUX drum D/A and audio circuit
-Repaired read function for bass drum ROM
-Replaced internal memory batteries with modern type
-Replaced electrolytic capacitors on all pcbs
-Disassembled and cleaned switches on panel PCB
-Cleaned chassis and panel
-Installed complete set of freshly burned sound ROMS (31 total)
-Calibrated mux clock and set internal filter adjustments
-Cleaned IC pins and socket of CPU
-Cleaned pins and socket of 16pin DIP cable between CPU and voicing pcbs"
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
KORG Introduces KAOSS PAD V: A Touch Evolution for Modern Performance and Production
MELVILLE, NY - Korg announces the new KAOSS PAD V, a reimagined evolution of its expressive touch-based effects platform, designed for the way musicians, producers, performers, and content creators work today. Building on the iconic KAOSS approach, the new unit arrives as a powerful real-time sound manipulation tool for vocalists, instrumentalists, producers, and performers delivering an advanced dual-touch control surface with expanded effects and sampling on stage, in the studio, and in streaming environments today by reacting instantly to gestures, shaping sound through intuitive touch interaction, and integrating seamlessly into contemporary setups. The KAOSS PAD V centers on a redesigned touch interface capable of responding to two simultaneous gestures, allowing users to control paired parameters at once and create evolving textures, layered movement, and dynamic transitions in real time. Filter and delay, pitch and reverb, modulation and feedback, and many other combinations become fluid, tactile musical expressions rather than static settings, helping performances feel more alive and interactive. Connectivity and integration play a key role in this new generation. KAOSS PAD V supports MIC, LINE, and USB inputs simultaneously, enabling vocals, instruments, and computer audio to blend into a unified performance system. A balanced microphone preamp ensures clean vocal input, while a dedicated high-impedance input allows electric guitars and basses to connect directly without added hardware. An integrated USB audio interface streamlines recording, processing, and streaming, making it equally suited to DAW workflows, livestream setups, and headphone monitoring. A newly designed power circuit and refined audio path support low-noise, stable operation whether used in performance venues, studios, or creative spaces anywhere music is made.
Vocal creativity takes a significant step forward with the new Voice FX engine, providing harmonies, vocoder-style layers, pitch-morphed tonal shaping, and expressive textures applied in real time. The platform even allows users to control external MIDI equipment with their voice, opening distinctive performance possibilities that extend beyond traditional effects processing. Guitarists and bassists also gain a powerful new performance partner. With direct connection via the dedicated high-impedance input, KAOSS PAD V offers fingertip-controlled ambient swells, rhythmic modulation, time-based glitch elements, atmospheric reverbs, and other expressive textures, all shaped by movement across the pad rather than menu navigation or fixed parameter adjustment.
Sampling and looping are built directly into the creative workflow. Users can capture up to eight bars depending on tempo, overdub layers as they perform, keep precise loop positioning during playback, and keep performances rhythmically grounded through BPM-synced Step Hold operation. Multiple playback and slicing options support creative rearrangement, making KAOSS PAD V a capable tool for remixing, live improvisation, and evolving pattern creation. Honoring its lineage while expanding its scope, KAOSS PAD V provides access to a curated range of classic KAOSS effects alongside refreshed modern processing, from filters, delays, reverbs, and modulation to advanced voice shaping and contemporary textures. Users can further refine their sound using onboard editing tools, tailoring parameters, creating customized variations, saving personal presets directly to the device, and even adjusting pad-LED color and program behavior to suit their workflow. With 300 total programs available - 200 factory presets and 100 user location - plus support for external SD or SDHC cards, the platform balances immediacy with depth.
Compact, robust, and designed for real-time expression, KAOSS PAD V measures 210 mm wide by 226 mm deep by 49 mm high and weighs approximately 1.3 kg (excluding power supply). It includes RCA line input and output connections, balanced/unbalanced MIC/GUITAR input, headphone output, MIDI In/Out, USB connectivity, and ships with an AC adapter and Quick Start Guide. Operating stability from 0 to +40°C ensures reliability across environments. With KAOSS PAD V, Korg advances the KAOSS concept into a new era, keeping the immediacy and visual interaction that made the series a staple while deepening control, expanding sonic capability, and aligning the platform with today’s creative demands. For more information, please visit NAMM Booth #6802 or online at www.korg.com.
