"Really liking the Perc VCA for the simplicity of its built in decay envelope and ability to grab a bassline with the minimum of fuss. Here's a quick demo and I hope to do a full review soon."
"While deep in its soul there’s a standard VCA with exponential response that can be used as such, in its heart pulses an AD envelope with a sharp attack and a variable decay internally connected to the VCA control input. When it opens its mouth it can whisper in your ear but don’t let this soft demeanor fool you, if driven to the extreme it will show its teeth and gnarly bite and chew on your cochleas with all its might.
The AD envelope has a fixed short Attack, just enough to avoid the typical “click” that happens when using a Gate signal to control a VCA, while the envelope Decay can be controlled via its knob or voltage controlled using the CV input and attenuverter.
We named it Percussion VCA as most percussion intruments have sharp attacks with variable decays just as its AD Envelope however it can be used for any purpose where a VCA is needed including for CV signals due to it’s DC coupled signal path.
Furthermore it also allows to be driven from a simple Gate signal while controlling its decay. This way it’s easy to plug a noise source, vco or any audio and turn that source into a percussive element."
"This is my Antonus 2600 - I just completed building it from the synthCube.com full DIY kit. It is a huge project! Working on it in my free time, it took six months for me to complete. But I'm sure a full-time builder could do it in a couple of weeks. I actually love that it took me this long. :-)
Anyway, since I first powered it up I have been testing, calibrating and starting to understand how it works, and yes, it deserves it's reputation as an awesome sounding and very flexible synthesizer.
This video is just me noodling on it using the Arturia KeyStep Pro with a sound/patch I really like. This is actually just one of its three oscillators, but I have the saw and square waves patched in. The other two oscillators are in LFO mode. The oscillator is using the ADSR envelope and the filter is using the AR envelope plus an LFO to modulate it - makes some interesting accents.
Effects are courtesy of the Fractal Audio VP4, which is an incredible pedal.
I thought adding some drums would give this more of a musical context, so I force-fit some patterns from EZ Drummer.
The opening groove is definitely reminiscent of Bluetech's Laika, from the Spacehop Chronicles album. It's intentional. :-) I really like his stuff! Go buy some at Bandcamp.
This signal path for this recording goes like this: 2600 into VP4 into iRig into iPhone. I then applied a little EQ in Studio One, just to trim out the extreme highs and lows - I did not use any compression on this.
Can't wait to make some "proper" music with this amazing synth.
"With a modular you have full control over your signal path. This means you can combine modules and functions like oscillators, VCAs, and modulation sources in different ways, again and again. In this video I show how the ingredients for a ‘classic’ 2 oscillator voice can be expanded, and used to create a variety of interesting ‘simple’ dual voice setups."
"Ambient Jam with Polyend/Dreadbox Medusa and a few iPad apps.
A total of only 6 tracks, a simple chord progression, but with Probability/Random Notes from the Medusa and a few effects. It's all very chilled out and only using my "desktop setup" in my office. Since I usually only make music with hardware, this is a nice change and a challenge for me.
To visualize the whole thing more appealingly, I used a freely available NASA video in the background, which can be used for non-commercial purposes. The video was created with Adobe Premiere Pro. Everything else in the video, and of course the music, is mine.
I use the Medusa with Probability for melodic to whiny synth sounds, mostly with the wavetable oscillators. During recording, I play around with the filters and oscillators. The Medusa sequencer is synced to AUM by Kymatica.
I also recorded the bass beforehand using the Medusa and its analog oscillators. This is played back via the Koala sampler.
The track begins with a synth pad from Synthscraper/Igor Vasiliev
and two tracks of 'synthetic' water (one via the Koala Sampler, the other via the Spacecraft granular sampler). I tinkered around until I managed to create something reminiscent of flowing water from the noise and other sounds.
Klevgrand's Hillman, a phaser-equipped organ synth, is used to give the track a bit of a retro flair.
To increase the dynamics, Klevgrand's REAMP, a tube amp simulation, is later used.
Reverb from Eventide (BlackHole) was used except on the bass.
The mastering was done with GrandFinale 2, which was already in the signal path during recording."
1. Analog Sequencer : Short Review 1 : Vaemi (Standalone or DIY) #gate #cv #eurorack #synthesizer #step
2. Analog Sequencer : Short Review 2 : Vaemi (Standalone or DIY) #gate #cv #eurorack #synthesizer #step
3. Analog Sequencer : Basic Features : Vaemi (Standalone or DIY) #gate #cv #eurorack #synthesizer
"The VAEMI Analog Sequencer is a compact, standalone sequencer designed with a classic 8-step structure and a fully analog architecture. Handcrafted with through-hole components, this unit provides a reliable control center for those seeking pure analog control in both stage and studio settings. The sequencer operates with a 12V–15V power adapter and features 8V CV and 5V Gate outputs. It is fully compatible with all modular and standalone systems.
"Adam walks us through the BM-14M ANALOG DELAY — a rebirth of one of the most sought-after pedals from a long-discontinued series.
Far beyond a standard analog delay, the BM-14M delivers deep sonic shaping capabilities with enhanced control features and expanded I/O. This is not just a delay pedal; it’s a full-on sound-sculpting machine designed for creative musicians and tone explorers alike.
*Chapters:*
00:00 Welcome BM-14M ANALOG DELAY
00:17 Story time
01:32 The BBD Chip
02:07 Features
02:37 Delay Demo
03:05 Hidden feature
03:36 LFO control
04:44 Tap in LFO rate
05:07 IO
05:44 IO Demo"
BM-14M ANALOG DELAY The BM-14M brings a classic delay device back to life, celebrated for its unmistakable warmth and high level of control. Known for sparking creativity, this reborn design delivers rich analog tone while pushing you into uncharted territory. Its hands on approach invites you to sculpt echoes that can move from subtle depth to radical soundscapes, perfect for those who thrive on inspiration through exploration.
Deep Control and Expansive Connectivity This isn’t just a delay pedal, it’s a laboratory for sonic experimentation. With CV and expression inputs for Feedback, Time, LFO Rate, and LFO Amount, plus MIDI In for precise parameter control, BM-14M gives you unmatched flexibility. Dedicated audio outputs like DELAY OUT let you isolate the wet signal, while the FB Insert unlocks new routing possibilities by sending and returning the delay path into other effects. The result: endless ways to push delay beyond the expected.
Easy Integration The BM-14M is made for creators chasing texture, movement, and analog depth across any setup. Whether paired with guitars, synths, drum machines, or modular rigs, it adapts seamlessly and rewards experimentation. Wherever creativity leads, the BM-14M is your tool for shaping truly unique sonic journeys.
"Crumar Spirit by Cherry Audio captures the unique sound and features of the exceptional analog monosynth from 1983, originally designed by some of the most legendary figures in the synth industry. Spirit is a gateway to sonic experimentation. It is not a polite instrument. Nor is it clean, safe, or obvious. However, twist a few knobs and it will reward you with some of the most colorful sounds you have ever heard from a virtual analog software synthesizer.
"100 additional presets for Cherry Audio's Crumar Spirit synthesizer by James Dyson that showcase its darker and more atmospheric side in nine categories. Explore more advanced modulations, integrated effects, rhythmic arpeggios, and aftertouch performance features.
"We are proud to preset the new Crumar Spirit by Cherry Audio, a meticulous software recreation of the unique, quirky and elusive Crumar Spirit analog synthesizer from the early 1980s. This is a two-part series. In Part 1 we go over most of the original-instrument features (minus the arpeggiator).
Part 2, covering the remaining features and exploring factory presets, will be released soon.
00:00 Introduction
00:34 A brief history
01:54 Overview of Crumar Spirit by Cherry Audio
02:35 Oscillators
09:59 Upper filter
12:41 Lower filter
20:02 Noise generator
23:43 Shaper Y (and Shaper Y audio path)
33:24 Mod X
41:24 Conclusion"
Crumar Spirit by Cherry Audio is a meticulously crafted virtual recreation that captures the unique and captivating features of the exceptional analog monosynth from 1983, originally designed by some of the most legendary figures in the synth industry. In collaboration with Crumar, we have reopened a time capsule to revive this Italian cult classic and thoughtfully elevated it with Cherry Audio's signature style.
Spirit is a gateway to sonic experimentation, whether you are after wild, unpredictable timbres or warm, analog tones. It is not a polite instrument. Nor is it clean, safe, or obvious. However, twist a few knobs and it will reward you with some of the most colorful sounds you have ever heard from a virtual analog software synthesizer.
Crumar Spirit includes over 430 sensational presets in 12 categories
Producers will find immediate inspiration in Spirit's extensive preset library, created by a talented sound design team led by veteran sound designer James Terris. And don't miss the Spectres for Spirt Preset Pack (sold separately), featuring an additional 100 additional presets by James Dyson.
A "Little Synth" Designed by Legends
Crumar S.P.A., based in Castelfidardo, Italy, was a notable player in the 1970s musical instrument industry, specializing in home organs, digital pianos, and multi-sound keyboards, and with a significant focus on the U.S. market. Sante Crucianelli, the son of the owner, became the driving force behind Crumar's design and strategies. Crumar became known for its open lab culture, frequently allowing competitors to test instruments, a rare practice for the time. Another key figure during this period was Luciano Jura, a designer, musician, and programmer. Luciano became crucial as Crumar's point of contact with synth pioneer Bob Moog, which led to a collaboration that resulted in the creation of Crumar's Spirit synthesizer.
Although many details have been lost due to the passing of key figures and the closure of Crumar, the development of the Spirit synthesizer in the U.S. is well documented. Key contributors to the project, codenamed "Little Synth," included Moog engineer Jim Scott, Moog clinician and electronic music historian Tom Rhea, and Bob Moog himself. The project likely began around 1980 or 1981, and incorporated elements from earlier projects by Scott and Moog. Rhea played an essential role in defining the Spirit's key features, such as the keyboard scanning setup, panel layout, functional architecture, and technical documentation. The Crumar Spirit went into production and was released in late 1983.
"Sound recorded directly from the back of the synth (No added effects / eq / reverb etc)."
"POLYGENE II is an all analog polyphonic synthesizer with two halves. One half is all-transistor class A from signal source through audio path two output, the other half is identical except it uses analog chips to generate dynamic customisable waveforms.
Inspired by the earliest polysynths of the 1970s, it is fully polyphonic (all 24 notes can be played at the same time), can be tuned to any scale or tuning, is multi-timbral and completely touch sensitive.
Touching any part of the synthesizer bridges connections in the circuitry and creates a unique sound.
"Clavia Nord Lead 3 with Full Pro Restoration + Custom Line Out Mod. This one has been completely rebuilt. Studio-ready, sonically enhanced, and future-proofed. 1 year warranty with Invoice.
Full PSU rebuild, including replacement of X2 safety caps (RIFA issue permanently resolved) Complete recap with high-grade parts: Panasonic FR/HD, Kemet PEGH, Nichicon MUSE, ELNA Silmic II Unique Line Out Mod, deliberate hardware-based character shaping at the analog output stage: • Outputs 1–2: Silmic II – warm, smooth character • Outputs 3–4: MUSE – clean, punchy tone Factory-original AD1865R R–2R multibit DACs and pure analog output signal path, no oversampling, no digital filtering. Fantastic transient response, vivid mid-range, deep and punchy low end.
100% working, clean condition. This is one of the very few NL3s on the market that has had its PSU, caps, and audio path completely upgraded with longevity and sound quality in mind."
"Step into the golden era of analog synthesis with this pre-owned 1975 ARP Axxe, a vintage monophonic synthesizer that delivers the unmistakable sound of the '70s. Introduced as a more accessible sibling to the legendary ARP Odyssey, the Axxe brought rich, punchy analog tones to players ranging from beginners to seasoned professionals. This early Mark I unit retains its distinctive black-and-gold aesthetic, robust metal chassis, and classic wooden side panels, all hallmarks of a time when craftsmanship and innovation defined electronic instrument design.
Renowned for its straightforward layout and characterful sonic palette, the ARP Axxe excels at producing gritty basslines, searing leads, and otherworldly effects. Its single-oscillator signal path, paired with a powerful resonant low-pass filter and classic ADSR envelope, allows for bold, expressive shaping with hands-on immediacy. Whether you're integrating it into a modular setup via CV/Gate or seeking that authentic vintage analog sound for your studio, the Axxe remains a sought-after gem with historical clout and musical relevance. Though this unit shows typical signs of vintage wear consistent with its age, it remains in solid playing condition and is ready for many more years of creative exploration."
"Sound is everything... and the GS MUSIC Bree6 doesn't fail to deliver. There's an intangible quality to the tone of their synths. The GS MUSIC e7 bing their first offering, that bowled me off my feet when I first got my hands on it.
This was first announced in NAMM 2024, so it's took a while to get to me - and it was worth the wait. Its a single VCO 6 voice polysynth with a 24dB LP filter and all analog signal path ... so it's in the same ball park as Juno's except this is a VCO, not a DCO, and has a different flavour.
Importantly for a boutique synth manufacturer, this feels great to use - its got a knob per function interface thats so intuitive and easy to navigate you'll be an expert in minutes!"
"This video shows our completed machine, running second-version pcb.
It is essentially a 2-channel valve pre-amp with plasma tube in the current path. One channel is used for the synth voice, one for line-in.
We've got a good sound putting audio through a Wingie2 resonator before sending to the synth line-in. This boosts certain frequencies of the input, which puts some initial distortion onto the signal.
For these clips the input signal was split before the line-in, and routed into a separate mixer channel to the synth. Turning them up in turn lets you hear what the resonator is doing, and what the synth is."
"Pure Analog Polyphony with the VAEMI Modular System
Most polyphonic synthesizers are hybrid designs that combine digital control with analog sound generation. In modular systems, however, building a truly pure analog polyphony can be both challenging and deeply rewarding.
In this video, we created a fully analog polyphonic structure using the VAEMI modular system. We used sawtooth waveforms on all oscillators. With 3 OSI-OP modules, we achieved 3-voice polyphony. By using VAEMI Analog Sequencers, we provided dedicated voltage control for each oscillator, resulting in a completely analog polyphonic sequencer.
The signal path was processed through our prototype analog filter module, creating a classic subtractive synthesis architecture. The entire system was synchronized via clock signals from the Beatstep Pro. The final recording was passed through an RE-201, adding a classic tape delay and spring reverb atmosphere.
Sometimes, chasing sound takes you back in time.
This pure analog polyphonic structure we built with VAEMI blends the feeling of the past with the modular technology of today.
You'll know what we mean when you hear it."
"This track came out of the blue while I was playing and experimenting with TipTop Audio Poly Modular System and my ASM Hydrasynth.
This patch sounds organic and deep, a perfect blend between analog and digital!
I loaded a custom wavetable on TTA Vortex 6 then I set up a classic signal path going through the poly filter (TTA Octopass) and the poly vca (TTA Octogain). Then I added some external modulations coming from Hydrasynth CV outs, which turned out to be the best keyboard controller for this incredible system!
Star of the show is TTA Resonator that adds a very organic and ethereal texture to the entire patch!
"🎛️ Novation Bass Station II Swifty Limited Edition – The iconic synth with a new look! 🎨
At Superbooth 2025, Novation celebrates the return of a classic – in a brand-new design! The Swifty Limited Edition of the legendary Bass Station II combines analog power with striking retro artwork designed by British graphic designer Ian Swift (aka Swifty)."
Googlish:
"🎛️ Novation Bass Station II Swifty Limited Edition – The iconic synth with a new look! 🎨
At Superbooth 2025, Novation celebrates the return of a classic – in a brand-new design! The Swifty Limited Edition of the legendary Bass Station II combines analog power with striking retro artwork designed by British graphic designer Ian Swift (aka Swifty)."
Together with visionary British graphic designer Ian “Swifty” Swift, we’ve reimagined our iconic paraphonic synthesiser in his inimitable DIY style and packed it with fresh, new artist packs from Bass Station II power users Legowelt, Pecq, and Maria Chiara Argirò.
Key Features
Limited-edition colourway
Includes 60 new artist patches
Two analogue oscillators
Two characterful filters
Incudes AFX and Paraphonic modes
Analogue soul.
Since 2013, Bass Station II’s deep capability, raw character, and unbeatable value have made it a modern classic. Now, together with British designer Ian “Swifty” Swift, we’re reimagining it with a fresh, new look, that brings underground attitude to a synth that's long been a driving force in electronic music.
Powerful analogue oscillators
Bass Station II’s true-analogue signal path begins with two tuneable, syncable oscillators with four waveforms each plus, a sub-oscillator for even more low end and adjustable portamento. The two dedicated LFOs allow for modulation of other parameters via four waveforms of their own.
Click CC at the bottom of the player for subtitles.
"Magnolia will be an 8-voice analog through-zero FM synthesizer, which we built to create sounds from the modular world through a classic keyboard interface.
Waveshapers, wavefolders, and, most importantly, analog linear through-zero FM unlock every sound associated with the 'West Coast' synthesis world. But that's not all! Fat resonant filters and powerful analog oscillators allow more traditional subtractive synthesis sounds as well.
A vast and flexible modulation section encourages complex patches with the twist of a knob, but it is always easy to keep track of what's going on thanks to LEDs on every source and destination. An arpeggiator and a sequencer complement the machine.
We are announcing and showcasing two pre-production units. We aim to release the final version at the end of summer, and it will show some differences. It may have a more refined interface, it will feature digital effects, and some of the features currently under evaluation may disappear.
We've been working on it for the last year, and we're eager to show it to the world!"
Follow-up to this post where you'll find additonal pics.
Update: press release follows:
Frap Tools to take on high-end keyboard synthesizer market with ‘West Coast’ MAGNOLIA making its public debut at SUPERBOOTH25
MEDOLLA, ITALY: Frap Tools, hitherto known as a manufacturer of Eurorack modules and accessories alongside professional audio compressors in the 500-Series format, is proud to venture into the world of high-end keyboard synthesizers with its introduction of MAGNOLIA — announced as an 8-VOICE ANALOG THRU-ZERO FM SYNTHESIZER built to unlock every sound associated with ‘West Coast’ modular synthesis through a classic keyboard interface — anchored around showcasing two pre-production units at SUPERBOOTH25, May 8-10, FEZ-Berlin, Germany…
As an 8-VOICE ANALOG THRU-ZERO FM SYNTHESIZER, MAGNOLIA unlocks every sound associated with the so-called ‘West Coast’ modular synthesis world with waveshapers, wavefolders, and, most importantly, analog linear TZFM (Through-Zero Frequency Modulation) Indeed, its intentions are made clear from the outset by the on point wording worked tastefully into its (initial) top panel design. No need to necessarily remain there, though, for fat resonant filters and powerful analogue oscillators also allow for more traditional subtractive synthesis sounds. And although a deep and flexible modulation section encourages complex patches with the push of a button and twist of a knob, switching modulations on and off with the TOGGLE function, it is always easy to keep track of what is going on thanks to the inclusion of LEDs (Light-Emitting Diodes) on every source and destination.
Digging deeper, MAGNOLIA features eight analogue voices with two oscillators — carrier and modulator — and 24 dB/oct resonant HIGH-PASS and LOW-PASS filters; the carrier oscillator has a through-zero core for precise, sideband-rich analogue FM (Frequency Modulation) sounds, so crystal-like pads to growling basses are available to all with the greatest of ease, while FM can be applied to the filters. Furthermore, sculpting sounds that have not been heard before on analogue polysynths are now perfectly possible, thanks to MAGNOLIA’s unique signal flow — think continuously variable waveform shapes and a wavefolder circuit per voice!
Those two oscillators are derived from Frap Tools’ BRENSO (https://frap.tools/products/brenso/), a Euroack module readily representing its creator’s primary analogue source of articulated waveforms whose degree of entanglement can be precisely set by the musician. MAGNOLIA’s Oscillator 1 is the ‘West Coast’ one with TZFM, wavefolder, and FLIP SYNC, while Oscillator 2 is the ‘East Coast’ one, with PWM (Pulse Width Modulation) and fine-tune. Whether wanting experimental FM sounds or punchy synth brass, they are always at anyone’s service. Speaking of Frap Tools’ unique modular soul, MAGNOLIA’s filter section is derived from CUNSA (https://frap.tools/products/cunsa/) — itself a quadruple analogue ping-able multimode resonant filter, saturator, mixer, and oscillator, no less!
Musically, MAGNOLIA sports a keyboard from fellow Italians FATAR, with polyphonic aftertouch capabilities for enhanced expressiveness, while a per-part ARPEGGIATOR and per-part 16-step SEQ (sequencer) serve to creatively complement the synthesizer still further. Features briefly worth drawing attention to here by way of ending on some more high notes include MAGNOLIA’s bi-timbral programs (with SINGLE, MORPH, DUAL, and SPLIT MODES); all-analogue signal path; three loop-able DAHDSR (DELAY, ATTACK, HOLD, DECAY, SUSTAIN, and RELEASE) envelopes; three digital LFOs (Low Frequency Oscillators); and 512 preset memory slots.
Anyone attending SUPERBOOTH25, May 8-10, FEZ-Berlin, Germany can get up close and personal with two MAGNOLIA pre-production units by swinging by Booth B049 there. Their creators will be showcasing them personally, eager to show the results of their hard work, while providing a passionate warm welcome. Frap Tools aim to release MAGNOLIA as a production product by the end of summer, albeit with some differences evident by then. The interface will likely be more refined, featuring digital effects, while some features currently under evaluation could conceivably be removed."
"CEM Chip Power – Oberheim Xpander DNA – MIDI Capable
Step into vintage analog glory with the Akai EWI3020M, a rack-mounted monophonic synthesizer designed to pair with the EWI3020 wind controller—but just as capable when triggered via standard MIDI! Yes, it can be used without the wind controller, making it an incredible analog voice module for any MIDI-capable setup.
At its heart lies a Curtis CEM3394 voice chip—the same chip found in the legendary Oberheim Xpander—delivering warm, punchy, and expressive tones. Originally launched in the late '80s, the EWI3020M was part of Akai’s bold foray into wind synthesis, but its standalone capabilities and exceptional tone make it a sleeper hit for analog synth enthusiasts and modular-minded players alike.
Key Features:
Monophonic analog signal path with dual VCOs, VCF, VCA, LFO, and dual EGs CEM3394 voice chip for rich, vintage sound Wide modulation matrix: 7 sources, 10 destinations 50 patch slots (factory + user) Waveforms include Triangle, Saw, Square, and Sync modes Full MIDI In/Out for use with keyboards, sequencers, or DAWs Rackmount format – a studio-friendly synth module with stage potential Whether you're breathing life into it with a wind controller or sequencing it via MIDI, the EWI3020M is a versatile, expressive, and highly underrated gem in the analog world."
