DELIA Phrase Looper Guide with Mikki From Preston

video upload by Melbourne Instruments

"Mikki From Preston aka Michael Cooper demonstrates the DELIA hybrid polysynth and how he uses the 'Phrase Looper' feature to develop music and sound design ideas. Mikki takes you on a funky music journey demonstrating how quick and easy it is to craft an idea using DELIA's phrase looper. Michael is a fantastic keyboard player with a passion for music, and a wonderful sense of humour. Attention to detail is core to his work, watch how he produces great ideas in a flash on DELIA.

All sounds created in this video are from DELIA and available as part of Mikki's DELIA preset pack.

Check out DELIA here: https://www.melbourneinstruments.com/...

00:00 Intro
00:20 First Jam - Sizzling!
01:57 West Coast Funk
03:07 Take Me to the Club Jam
04:18 Using a Bi-Timbral Split
06:01 Outro Jam

Download the 'Mikki From Preston' DELIA preset pack here: https://www.melbourneinstruments.com/...

ABOUT Mikki From Preston:
Michael Cooper is a versatile producer, musical director, songwriter, and mix engineer based in Melbourne, Australia. With more than 15 years of experience, Michael has made his mark in the music industry, contributing to over 100 songs across a wide range of genres. Mikki has collaborated with acclaimed artists such as Kaiit, The Dili Allstars, Anthony B, Thando, Dub Princess and Kian, helping shape their unique sounds and elevating their music to new heights. In addition to his work with artists, Michael has partnered with leading brands such as Libra, Aldi, and Carlton Football Club, providing expert music production and sound design. His talents also extend to the world of film, where he has composed scores and handled audio editing for various projects, demonstrating his broad skill set and ability to adapt to different creative mediums. Michael’s passion for music and attention to detail are at the core of his work, ensuring that every project he touches resonates with precision and authenticity.

Follow Michael here:
/ mikkifrompreston
/ @howtosynth
/ mikkifrompreston

Discover more at Melbourne Instruments
https://www.melbourneinstruments.com/"

Back at it again- Live looping in the studio 2025 and an Interview with MR TUNA Music

video upload by MR TUNA Music

"My friends I am sorry to leave you hanging all summer with no jams, but its a beautiful sunny world out there and I've got to be out IN IT! So in the meantime I have a few jams backlogged that have **never before been released** and expect some weird b-sides that I was too embarrassed to post when I had content to spare !

Anyways- lots going on here, we got some Hydrasynth deluxe, classic analog pads from the JX-8P... and lots of super pump-jumping with the MX-1 sidechaining and doing some beat effects. Jupiter-80 muted trumpet is the funnest sound in the world.

Stay a while, and listen!"

---

And an interview with MR TUNA Music by Ivan Trajkovic aka dejayiwan editor and journalist (and sometimes producer and DJ):

Q: Have computers and DAWs, in a sense, destroyed creativity – why do we have so many “DAWless” setups today?

A: I think a really big part of it is a desire to get away from 'the screen'. Staring at a computer all day for work, clicking away on a mouse and keyboard can become exhausting after a long day, and to break away from the rigidity and comforts of software simply makes it more fun.... and thats a really big part of why I do what I do. There is some minor advantage to the near-unbeatable quality of analog circuitry you cant quite replicate working purely within a DAW, but that point is being made more and more moot by incredible emulations and virtual analog softsynths.

Q: Today we have apps like BandLab that are complete studios on a phone – have we reached “peak technology”?

A: It staggers me to think about what the future might hold now that music production can be with someone anywhere anytime so long as they have their phones. You can literally be on the bus making a hit track with your thumb. That’s crazy. But I don’t think it’s peak.... Tech is always moving and it doesnt stop for anyone... AI is going to be the next big thing whether we like it or not and we need to find a way to keep in check so we're still doing the creating and imagining and the technology is just an extension of that.

Q: Why are new producers so mesmerized with 80s synths and samplers, even though they’re obsolete tech?

A: Things were built differently. Things were built for professionals. Instruments had a quality of sound and build that is still unmatched today. Some of my gear is 40+ years old and sounds better than the stuff from 2025 thats trying its best to emulate it all today. Why dont we build synths like that anymore? Because its all about money and the manufacturers want to make as much of it as possible while spending the least amount.

Q: With so much new electronic music today, how can anyone “find” an audience?

A: Maybe it's lame to say, but the best path is to be authentic to yourself. When i started finally sharing my music it was more of a personal diary than something i was using to 'get famous' or 'find an audience', but by being true to what I wanted and my own personal vision (and having trust in that over some time), people started to see what I was doing and it all came together. People connect with personality, but it's obvious when you're not being yourself... not just tracks. Its routine to say because its true: be consistent, put your stuff out there. The internet is huge — your crowd is out there, just waiting to stumble onto your page at 3AM.

Q: You have one of the most interesting studios – what was the idea behind its creation?

A: My studio was built with one idea in mind... live looping. When I started dreaming up how I *wanted* to make music there wasnt even the right tools to do it properly.... sequencers were still fairly limited and there wasnt a lot of people in the live-looping jam space. I was really discovering it all and making it work on my own. It all came together with the introduction of the Squarp Pyramid sequencer--- what it allowed me to do, the freedom it allowed me to create with... it was the breakthrough piece of gear I needed to bring everything together and start building and building... and BUILDING. I love the music I get to create, but I am more proud of my studio as a form of art in the beauty of it's function and how it's designed to jam with friends, than I ever have been of the music that I create in it.

Q: What’s the future of electronic music – maybe apps and DAWs in virtual reality?

A: The virtual space is here to stay and it will only get more and more indistinguishable from the real world.... We might be already living in that simulation, but like I said earlier I think the real future is going to be (for better or for worse) in AI production techniques, editing, and complete song production. We're already at the point where AI can create a song for us instantly with our own voices, but how long will it be before AI is doing our chores and boring tasks so that we are free to be creative and put our energy into real art rather than the opposite world we live in now! AI should save us from the hard stuff and let us work on the 'fun stuff', the worthy stuff, the music stuff!

VHIKK X by Forge TME - Why modular will always be real and digital music will not.

video upload by Cinematic Laboratory

"Modular synths are more than tools, they're reality itself.
This video explores why digital music can never truly be real, and why analog gear remains the only way to feel sound at the source.

The world is in transit, like it or not.
Music evolved from the stage into the box, from real media to streams, and now from streams into learning models, weights, and rewards.
We can endlessly debate whether AI is OK or not, but we can’t put the demons back into their bottles.

It’s a non-religious blessing to patch a real machine with real voltage.
Every sound I make is Karma: cause and effect, wrapped in a false sense of choice and control.
I love it. It’s a sanctuary.

And the VHIKK?
Everything I say about it will only give you GAS.
It’s one of the finest modules Eurorack has to offer, and currently my #1 module.
So maybe don’t watch this video if you’re on a tight budget.
Or… maybe watch it very carefully.
Because you might just build the ultimate tiny case with it.

All you need is VHIKK and Pam Pro.
Don’t forget power, but you won’t even need an output module.
VHIKK X can run on USB power.
Build a tiny wooden case. Maybe I will too.

We modular people are still a niche.
A tiny community moving upstream and uphill — while the world flows downward.
And it’s an honor to be part of it."

Check with dealers on the right for availability.

Mood Machine | Sonicware Liven Evoke | New Set of 14 Songs

video upload by Sonic Cartography

"Track list and lots of notes below:

0:00 - 1. Dream Machine - With the Sonicware Liven Evoke, I’ve often been playing songs live, without using the sequencer, which I used for almost all of my songs with the Liven Ambient Ø (the two sequencers are very similar). With this song, I use the hold feature to hold some notes of textural sound in a couple of layers, while playing the piano layer live. The piano sound morphs between an acoustic and electronic sound a little bit after I play each note. Around the halfway point, with the chromatic pitch shifting, everything starts to turn into a granular storm (there are no granular effects prior to this), which is helped by the fact that you can cut the dry signal of each track and have a 100% wet mix of the reverb and/or granular sound. Oh, also, I want to give a thank you/shoutout to this video by @BenLevin because I started messing around with the chords that led to this song after watching it: • The secret to EMOTIONAL chords . His channel is one of my favorite music education channels on YouTube, so do check it out!

CLICK FOR MORE »

New GRP A10 Flagship Synthesizer Incoming

These in via John L Rice.

Left: front panel layout.

Below: PDF with full details. Click on each pic to zoom in.

Update: "The Grp A10 will cost €10,000* plus VAT and will be available at the end of 2026."

CLICK FOR MORE »

Why the MiniFreak Is Changing the Synth Game — 2025 Review

video upload by Sineway

"Arturia MiniFreak is not just a synth — it’s a hybrid that finally makes sense.

It’s got analog filters, digital oscillators, and all the freaky sound design options you’d expect — but it has also removed the single biggest friction point I have with every other hardware synth. It's honestly redefined how I make music.

In this video, I’ll walk through some of the MiniFreak’s sound design tools, play some of my favorite patches, and show you exactly what makes it stand out in a sea of synths."

Check with dealers on the right on availability.

Create Ambient Tracks with SpaceBlender

video upload by soundtoys

Follow-up to this post. Two new videos and the official press release below.

"With SpaceBlender, you can quickly and easily turn any sound into a massive musical ambience. In this example you’ll hear three simple sources and three SpaceBlender presets – without any other plugins or automation."

SpaceBlender - Preset Audio Examples

video upload by soundtoys

"In this video, we add SpaceBlender to a variety of sources — cello, guitar, vocals, drums, and more —and use different presets to showcase the plug-in’s power and versatility.

Get SpaceBlender FREE through May 22, 2025. Only at www.soundtoys.com.

00:00 - Cello
02:00 - Pedal Steel Guitar
03:19 - Door Closing SFX
03:49 - Electric Guitar Harmonics
05:05 - Vocal
06:43 - Drum Machine
07:09 - Piano
09:06 - Saxophone"

Press release follows:


Soundtoys Releases New SpaceBlender Plug-in

Free for a limited time only – a $99 value

BURLINGTON, VT – Renowned pro audio effects creator Soundtoys proudly announces the release of SpaceBlender, an experimental reverb that lets you create unreal and imaginary spaces – shapes, textures,and tones otherwise impossible in the real world. Inspired by the pioneers of ambient music, with their extensive use of layered tape loops and delays, SpaceBlender is designed to create massive waves of lush, organic, and evolving spatial effects.

SpaceBlender is available now at soundtoys.com for free – a $99 value – through May 22. Sign up to claim this offer.

Whether enhancing a track’s sense of space or creating dynamic, evolving effects, SpaceBlender is a fun and intuitive tool for sound designers, musicians, and producers looking for creative yet easy-to-use spatial processing.

“We’ve been exploring new ways to build an algorithmic reverb – something with the creative flexibility of convolution and the richness, depth, and soul of classic hardware devices,” said Ken Bogdanowicz, CEO and founder of Soundtoys.

“SpaceBlender is the first product of this research, and we’ve tried to make it easy to play with ‘space’ in a fun and musical way. We’re excited to hear what people create with it.”

Key features of SpaceBlender include:

● Interactive control – move between gate, reverse, decay, and bloom reverb shapes and everything
in-between, in real time.

● Visualizer – see your sound move through the reverb shape as you adjust its sonic envelope.

● Simple control of spectral evolution; reverbs can get darker or brighter over time.
● Deeply embedded modulation creates rich, constantly moving ambient effects.

● Smoothly change the reverb texture from dense and lush to sparse and grainy.

● Extreme range from super short 100-millisecond nonlinear effects to absurdly long 60-second meditations.

The free SpaceBlender offer is valid only at soundtoys.com through May 22, 2025. SpaceBlender will be available for purchase from authorized resellers worldwide on May 23. Learn about Soundtoys’ system requirements and host compatibility.

ULT-SOUND Introduces DS-4M ProMuzer

Short Demo: Polyphonic Mode video upload by Freaky Tweaky

"I tried out the ULT-SOUND DS-4M ProMuzer, which is scheduled to be released in June.

The newly added Polyphonic Mode assigns voices using the round robin method, just like a typical polysynth, so by varying the settings of each OSC appropriately, you can enjoy kaleidoscope-like changes even with simple phrases. ✨ (Granular, Reverse, and Reverb are added in the DAW as post-effects)"

Check in with dealers on the right for upcoming availability. Note this is the ProMuzer version. A few non ProMuzer versions have shown up on Reverb in previous posts here.






"Introducing the Ult-Sound DS-4M ProMuzer, a modern reissue of Toyo Gakki's DS-4 analog drum synthesizer, available in a limited edition of only 50 units. This exclusive release features a sleek new design with a custom white front panel and black lettering, blending vintage charm with modern aesthetics. The DS-4M ProMuzer faithfully reproduces the second iteration of the ULT-SOUND DS-4 - while incorporating innovative upgrades to meet contemporary music production needs.

Some features of the original DS-4 have been retained in this reissue, and we highlight them here for those unfamiliar with the original design:

CLICK FOR MORE »

Introducing ALICE by Acustica Audio

video upload by Acustica Audio

From the makers of Thing 8.

"What if your synth reshaped reality?
Alice-9 is the next-generation sample-based synthesizer forged from the chaos of the unknown and built for creators who refuse to follow.

Powered by SCO technology, and infused with analog soul, AL9 isn’t here to emulate.
It’s here to change the rules.

🎛 Real movement, deep stereo placement, aging imperfection, and punchy compression.
🎶 Every preset is a twist. Every sound a move. Every session, your next breakthrough.

This isn’t just another synth.
This is the edge of synthesis.

Choose your sound. Be the one who rewrite the rules.

Alice-9 has just entered the game."

ALICE9 | Live preview!

video upload by Acustica Audio

Acustica Audio - Alice-9 (AL9) is a next-generation sample-based synthesizer in the digital domain.
video upload by 23dB Productions

ALICE: https://www.acustica-audio.com/shop/p...



Alice-9 (AL9) is a next-generation sample-based synthesizer in the digital domain, part of the Marea virtual instrument series, and powered by the innovative MUST (Modular Unified Synthesis Technology). Early testers have described it as an instrument with a deeply organic and varied sound palette — evocative of iconic synthesizers from the 1990s and early 2000s. AL9 redefines what a sample-based synth can be, merging analog realism, playable feel, and modern digital power into a single instrument. Available in VST3, AU, and AAX formats, ensuring integration with all major DAWs.
Use code: ALICESPECIAL at checkout for 41% off until August 31, 2025!

The first users compared AL9 to walking into a music store in the 1990s, hearing a synth that delivers something new and inspiring with each preset. That rare sensation of immediacy, depth, and musicality — the feeling of a “real instrument” — is the essence of AL9.

Made to Inspire
The architecture of AL9 goes far beyond sample playback or wavetable synthesis. Its sound engine is built around SCO (Sample-Controlled Oscillator), a high-resolution resampling system capable of reproducing natural analog behaviors such as frequency drift and evolving dynamics. Unlike typical static samplers or rigid waveforms, AL9’s oscillators breathe and shift like their analog ancestors.

This realism is further enhanced by the proprietary Superstereo system for natural stereo placement , the Age control that adds subtle imperfections, emulating the warmth of aged hardware and Integrated multiband dynamics processor inspired by the popular OTT compression paradigm, delivering musical glue and energetic punch.

Whether you're chasing nostalgia or forging new paths in sound design, AL9 provides an inspiring playground that rewards musicianship and creativity.

Beyond Emulation
The idea for THING originated during the development of Thing (TH8 – TH5) — an emulation of a classic 1980s DCO synth. During that process, a question arose: what if, instead of replicating digital waveforms, we could capture and reproduce the actual behavior of an analog VCO? What if we could push timbral diversity beyond the limitations of traditional synthesis methods?

CLICK FOR MORE »

The Beatles’ “Here Comes the Sun” - SYNTH PARTS YOU’VE NEVER HEARD BEFORE!

video upload by Anthony Marinelli Music

"I’m going to take you on a quest into one of The Beatles’ most iconic songs, 'Here Comes the Sun', and show you something I recently discovered, that really surprised me. — THERE ARE SYNTHESIZERS IN THIS ACOUSTIC AND ORGANIC SOUNDING TRACK!

I’ll break down the arrangement of this beautiful song and show you how to create all the synth sounds that were used to transcend it's sound. We’ll cover everything from the signature whistle sound, the main lead synth, the intro sound, and the buzzy synth bass that gives the track its vibe. I’ll also discuss the Beatles’ evolution as they started experimenting with effects on traditional instruments, which ultimately led them to integrate synthesizers in ways that completely reshaped what others thought possible.

They used the Moog synthesizer to replace orchestral parts in some sections of the song and to complement the acoustic elements in others. It was all about pushing the boundaries of what was possible at the time but still keeping their unique voice in tact.

What makes this even more special is that I’ve recreated these sounds on my rare, vintage 1969 Moog IIIc — the same model that was shipped just months after The Beatles received their own Moog directly from Bob Moog. This instrument, used on the 'Plantasia' album by Mort Garson, is in fully working order, so it’s my chance to give you a sense of the subtle nuances The Beatles heard when they first explored this revolutionary sound in their music. I’ll bring you as close to the original sound as possible and show you exactly how they used it in 'Here Comes the Sun'.

So, grab your synths (or just sit back and enjoy), and let’s take a closer look at how The Beatles incorporated this groundbreaking technology into their timeless music. You might just discover something new about one of the most loved songs in history and how you can do the same in your music today.

Don’t forget to like, subscribe, and hit the notification bell so you don’t miss out on any of the synth goodness I have coming your way! Also, check out my course Think Like a Synth to learn the exact method I've used for decades on hit records and films — and still use today.

____________________________________
ABOUT ANTHONY

Anthony's musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including Young Guns , Internal Affairs , The Man From Elysian Fields , 15 Minutes and Planes, Trains & Automobiles , been commissioned by the Los Angeles Philharmonic for his symphonic work 'In the Family Way', written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA's premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as Michael Jackson's Thriller .

His extensive work as a young arranger, orchestrator and performer for Quincy Jones , Jack Nitzsche , Lamont Dozier , Arthur Rubenstein and Giorgio Moroder was vital in launching his own career. His early years pioneering modular analog synthesizers along with his wide-ranging music scholarship positioned Anthony at the center of the music technology revolution. He attended the University of Southern California School of Music as a piano and composition major.

Website - https://www.anthonymarinellimusic.com"

PlantsSystem-Zone16

video upload by plantssystem

"Zone16 is an experimental track where beats and textures intertwine, built using the classic sampler MPC2000 and the legendary synthesizer Prophet-5.
The tight groove of the MPC2000 supports the rhythmic structure, while the warm analog sound of the Prophet-5 expands the space, creating a unique sound world.
PureData + GEM was used for the video, and the visual expression of fantastic particles dancing like a flow further enhances the floating feeling of the music.
The sound and video unfold in sync, creating a work that gives you a sense of immersion as if you have stepped into a different dimension."

Korg Opsix - "Meditation" Soundset (50 Presets)

video upload by LFOstore

"In these turbulent times we all need a sense of peace and harmony. Dive deeper in the world of "Meditation", a transcendent soundset crafted by renowned sound designer, OttO K. Schwarz, co-founder of the acclaimed LFO Store platform! Designed exclusively for the Korg Opsix (suitable for hardware and software editions), this collection of 50 meticulously curated presets invites you to explore serene soundscapes perfect for ambient storytelling, meditation and new age music, cinematic scoring and immersive electronica!

Features:
50 Exclusive Royalty-free Presets: Dive into a world of evolving pads, crystalline bells, spacy plucks, warm-fashioned leads, and hypnotic arpeggios—all designed to inspire calm, focus, and creativity;
Versatile Sound Design: Each preset balances delicate nuance with powerful modulation (modwheel, velocity, etc.) for instant playability;
Hardware + Software Compatible: Seamlessly integrates with both the Korg Opsix synth and the Opsix Native VST/AU plugin;
Instant Inspiration: Ideal for producers, composers, and sound designers seeking ready-to-use tools for ambient, chillout, New Age, or film/TV projects.

Please find the soundset here - https://ottolfo.sellfy.store/opsix/"

432 vs 440Hz concert pitch | Love never dies, but Math never lies.

video upload by Cinematic Laboratory

"I am aware this is a controversial subject, but I've been intrigued by it for a long time. First, I was open for it, then I became doubtful and ended up in 'it makes no difference' camp. It's just a frequency like any other.
Honestly, this was supposed to be a 'fun' video where I'd investigate the subject like a mad scientist would, without jumping to conclusions.

From a numerologic perspective, 432 is a fun number. When you add all digits, you'd end up with 4+3+2 = 9. If you tune A to 432, the next A would be 864. Again, 8+6+4 = 1+8 = 9. If you'd use equal temperament, all notes in your scale would be integer (whole) numbers with no decimals, and the digits of all frequencies would add up to 9. A440 would have eight 'broken' frequencies in the scale. But that's numerology, it doesn't make music any better or worse. A VCO runs perfectly stable on 345.6701 Hz and it will probably drift all over the place when it's analog. Does 432 make any sense from the perspective of the Universe? Quite. The number constantly turns up in time and space. Ofcourse it also returns in the Great Pyramid and the lightspeed constant.

Again, that's just numerology and it has nothing to do with frequency. That's like apples, oranges or cows. Or is it? Frequency is cycles per second. Cycles are circles moving in time and phase is expressed in numbers like 45, 90, 180 and 360. There's that number 9 again. How about time? There are 4320 seconds in 12 hours. So maybe, just maybe, 432 Hz is not like 432 cows. The number 9 is a funny number.

Mr Spock would say 'fascinating' and raise an eyebrow.

I've set my Mordax Data to 432 and 440 Hz on 'wave generator' so I could play both with a sequence. Sure it sounds different, because it's tuned a tiny bit lower (98,18 of 100%). By itself this would have a psychological effect of relief, of closure. When you start A440 and play A432, it's relaxing.
But this also happens when you move a semitone or note down.

I ran my Mordax raw sinewaves through Joranalogue's Collide 4 and used it as a resonating body (with the filter and the quadrature ring mod).
I ran a sequence spanning a wide range of notes, with plenty of reverb to make the notes interact, blur and sustain. Then, suddenly the differences between A440 and A432 wasn't subtle anymore. It was huge.

Better? I think so, but that's personal taste. Healing? Nah. More natural? I think so too. But there's nothing magical about it, it's math. I figured that a frequency doubles for each octave, so the range of A0 to A9 would sound completely different for 432 and 440. In fact, the high notes in 440 end up 256 Hz higher than in 432. It doesn't sound like a big deal, but A3 (220 Hz) is already one octave below A4 (440).

So my 'conclusion' is that A432 sounds much lower over the full range of 88 piano keys and the highs are less high. Pitch quality is different, it sounds different, and interaction with other complex frequencies will be different. Resonance and FM will be different. It's up to you to determine what sounds best. Please share your experience in the comments, and please note I am just having fun. I don't believe in the 440 conspiracy and I don't think it's bad for your health. I believe ALL music can support a healing process, but always listen to your doctor first."

KRONOS Returns: The Next Generation of Music Workstations

video upload by Korg

"The next generation of music workstations is here—KRONOS has returned. With a fast boot time, an enhanced touchscreen, and a refined aesthetic design, this next-generation powerhouse sets a new standard in versatility and performance capabilities."

CLICK FOR MORE »

Korg Trident Mk1 with MIDI SN 330904

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

via this listing

CLICK FOR MORE »

Escaping to Nature with the Digitone

video upload by VoltageCtrlRtv

"Sometimes, I need to step away from screens and just reconnect with nature. My birthday was on the 7th so I I packed up my Elektron Digitone, the Myvolts Step Up Explorers Kit, and a portable Bluetooth speaker and headed out to a quiet spot where I could breathe. Being surrounded by trees and open skies always inspires something deeper in my music; it's like the melodies just flow naturally in response to the landscape. I found a shady spot, plugged in, and let the Digitone hum its warm, evolving tones. As I dialed in delicate FM textures, while listening organic sounds, I felt an incredible sense of peace. Making ambient music here felt right, like syncing with a rhythm older than any technology.

Digitone and other Elektron sound packs available at : http://audibleobjects.com"

Mastering Feedback: The Art of Sonic Chaos | Audrey II Synthesizer

video upload by Synthux Academy

"Feedback. Some avoid it at all costs. Others find the most haunting, electrifying sounds hidden within the noise. In this video, we explore how controlled feedback can be transformed from an unwanted screech into a powerful musical tool. Using the Audrey II synthesizer, we’ll show you how to capture, shape, and unleash feedback to create everything from eerie soundscapes to rich, sustained tones. Perfect for musicians and sound designers looking to push the boundaries of their craft—discover how feedback can add a whole new dimension to your music."

via Synthux Academy

"Audrey II is a horrorscape synthesizer designed for fearless exploration of feedback. Unpredictable yet compelling, it transforms chaotic sound into immersive soundscapes. From deep, haunting drones to screeching, otherworldly tones, Audrey II is a sonic beast like no other.

FEEDBACK SYNTHESIS?

What is feedback, really? It’s that magical moment when sound loops on itself, evolving into something wild. With Audrey II, we’re taking feedback to the next level using Karplus-Strong synthesis—a fancy term for turning short bursts of noise into rich, self-sustaining tones. Think digital strings, but way cooler.

DIGITAL WITCHCRAFT

Some say analog is the only way to get that sound… We were surprised too when we heard the first burst of noise coming through our headphones. That warmth, the grit, the unpredictability—it was all there. But here’s the twist: Audrey II is 100% digital, running on the almighty Daisy Seed platform.

Built from the ground up to emulate analog chaos, digital bits power every nuance of Audrey II’s feedback, distortion, and reverb-drenched echoes. It’s pure digital magic that doesn’t just imitate analog—it embraces and amplifies it. What you hear isn’t just a close approximation; it’s a whole new breed of sound that pushes digital synthesis into uncharted territory.

PRISTINE SOUND

Powered by the Daisy Seed microcontroller, Audrey II delivers 96kHz / 24-bit audio with the speed of an ARM Cortex-M7 at 480MHz. Equipped with 64MB of SDRAM, it handles complex feedback, drones, and effects seamlessly, pushing digital synthesis into rich, analog-like territory.

CLICK FOR MORE »

Ambient analog jam w/ Prophet Rev2, Deckard's Dream, Moog Minitaur, Mother 32

video upload by Jay Hosking

"A live synthesizer jam performed entirely on hardware.

It had been a while since I had a bunch of synths on the table all at once. This one took a few different approaches before I got it. In particular, I spent a lot of time trying to find the right sequencer. I thought this would be a semi-generative piece, and tried a couple of hardware sequencers to that effect, but ultimately I found myself wanting more control. With much more time spent playing piano these days, maybe my days of generative sequencers are slowing down?

So in the end, with only a day before I was heading out of town, I decided to compose a piece in my DAW instead. And you know what? It was the right choice. Sometimes working in the box is the better way to go.

The other obstacle was my arpeggio synth. At first I had the MSW810, which is a sort-of SH-101 clone. But ultimately it was either too bright or too dull, and I couldn't get the envelopes right. I put the Mother 32 on the table and was immediately struck with how beautiful and perfect the sound of this synth is. It's such a beauty for arpeggios, and struck that perfect balance for filter and envelope, brightness and darkness. I just love the Mother 32.

Ultimately this came out sounding like a remix of the theme song for an 8-bit video game, which makes sense since that music fostered my love of synths.

Thanks for listening.

Sequential Prophet Rev2 module into Kinotone Ribbons - Pad
Moog Minitaur into Strymon BigSky - Bass
Black Corporation Deckard's Dream into Walrus Slöer - Melody
Moog Mother 32 into Meris Polymoon - Arpeggio

Performed and recorded live, with EQ, compression, and limiting on the master.

https://jayhosking.bandcamp.com"

Bill Wolfer - Working with Stevie Wonder

video upload by Anthony Marinelli Music

Discover the enchanting tale of Bill Wolfer, a young dreamer from Cheyenne, Wyoming, whose ambition led him to create a master plan: relocating to Los Angeles, securing a job at Guitar Center, and orchestrating the perfect sequence of events that ultimately launched his thriving music career alongside two legendary icons - Stevie Wonder and Michael Jackson.

In this captivating video, Bill not only marvels at the awe-inspiring genius of Stevie as a songwriter, singer, and keyboardist but also graciously opens up about the deep emotional connection and joyful camaraderie he shared with Stevie firsthand. It's a heartwarming journey that showcases not just musical prowess but also the power of friendship and passion in shaping a magical career.

00:00 Introduction
00:36 Stevie Wonder's Early Career
01:40 Berry Gordy Years
02:38 The Guitar Center Plan for a Music Career
04:14 The Star Parade at Guitar Center
05:26 Meeting Ronnie Foster
06:42 Discovering the ARP Sequencer
09:12 Stevie Wonder Hears Bill's Music and Calls Him
09:57 Working on Journey Through the Secret Life of Plants with Stevie
11:50 Touring with Stevie
13:20 Bill's Beautiful Friendship with Stevie
16:19 All-Nighter Recording Sessions with Stevie
17:20 Driving with Stevie...and the Rolls Royce
20:42 Stevie's Sense of Humor, Incredible Singing & Musicianship
23:52 Meeting Chick Corea
26:07 Stevie, Chick and Herbie Hancock
26:57 Logo (AMM theme music)

https://www.anthonymarinellimusic.com

Building a Buchla 248 MARF with Stages, Stages, Stages and Marbles

video upload by Cinematic Laboratory

"Sorry about that title. The MARF is short for the Multiple ARbitrary Function generator, a huge Buchla design carrying the model number 248, and is part of the 200 series. It's not easy to compare it with anything, but you could see it as a 16 step 0-CTRL, a Rossum Control Forge and maybe even the 250e circular Dual Arbitrary Function generator (DARF) like Frap Tools USTA. I contacted Todd Barton (thanks so much!) to be able to study a few MARF images. The sliders made me think of Mutable Stages, and the control section reminded me of Marbles. While getting lost on the way, I finally got a patch that sounded similar: 'music that sounds like dancing butterflies'.
The recipe involves variable timing, notes, a quantizer, and a transpose. You may also need a trigger or gate when a segment runs or finishes. There's a lot to explore here, and I don't think you can find a MARF in a single eurorack solution. I tried to approximate it, but I also needed Maths to do envelopes and gate extraction. It took a while to make this video and I wasn't sure about the results until the very end. Then suddenly, it worked.

You'll need a lot of stuff to do it, but there may be smaller solutions. I'll revisit this idea when my Control Forge arrives and I'll be able to combine USTA with the CF.

This is a complex video so I hope it will make a bit of sense. It would have been better to figure all this out and then make a video. But you'd be missing the fun of exploration. There are plenty of useful examples of how 'factory' Stages can be used, but I installed the Qiemem firmware for max flexibility. In the end I only used its 'random segment' feature in this video, but it doesn't play a role in the MARF patch. You can do this with factory Stages but it still requires a chain of 2 or 3. You can use any sequencer with a clock input for this. A DFAM will also help you to cover the time/level sequence.

Installation requires playing a .WAV into the module which can be bit of a drag. I recommend using a eurorack sample player like the BitBox for a high success ratio. Using a phone, PC or pad can be a nightmare. Also, I am not sure if the firmware works on a clone, please comment if you tried it.
https://github.com/qiemem/eurorack/re...

I am still trying to wrap my head around it. Even though Stages and Marbles are now discontinued, they're easy to find as fully functional clones. With Eurorack, we have the 'power' to build our own synths, or get inspired by designs which are still amazing and modern after +50 years. I hope it inspires you too."