Morphor marks upcoming availability of ECHON 6 as world’s first polysynth based around analogue BBD resonators by announcing opening of pre-orders
GHENT, BELGIUM: having twice turned heads and opened ears thanks to show-stealing showcases at SUPERBOOTH25, May 8-10, FEZ-Berlin, Germany and Machina Bristronica 2025, September 27-28, Bristol, UK, Morphor marks upcoming availability of its eagerly-awaited ECHON 6 — being billed as the world’s first polyphonic synthesizer based around BBD (Bucket-Brigade Delay) resonators, building upon the Belgium-based collective of artists, engineers, and musicians with a passion for creative sound experience and radical acoustic ideas’ illustrious Eurorack expertise in that area as its inaugural standalone (rack-mountable) desktop design — by announcing the opening of pre-orders as of October 23…
As an ANALOGUE POLYPHONIC MULTI-TIMBRAL BBD SYNTHESIZER — helpfully highlighted by the on point wording worked tastefully into its fitting front panel design’s execution, ECHON 6 brings the principals of modal synthesis into the analogue domain. Far from reimagining a digital concept with modern analogue circuitry, it readily redefines how resonance and excitation can interact. And as the world’s first polyphonic synthesizer based around BBD resonators, no less, each of its six voices features a discrete BBD RESONATOR that tracks the keyboard, producing organic overtones and complex harmonic depth. Duly allowing its users to excite those resonators in creative ways, ECHON 6 can generate anything from plucked and bowed strings over leads and basses to big pads and evolving soundscapes. Combining comprehensive multi-timbral capabilities, a 9 x 32 modulation matrix, a full analogue signal path, and a one-knob-per-function approach, ECHON 6 ultimately unites experimental sound design with classic polyphony. Indeed, its architecture invites exploration at every stage of that analogue signal path.
"Erica Synths - Fusion System in excellent condition
She’s a real screamer! Available for purchase on our used reverb page. Interested in trading in your gear for store credit? Shoot us an email! #synth #eurorack #modularsynth"
"Fusion System MK1 in excellent condition. This system has been fully tested. all modules function as expected and the modules all sound incredible!
Comes in an Erica Synths powered skiff with original PSU.
Erica Synths Fusion Drone System is here for those, who want to explore the dark territories of the sound, where only few have stepped in.
Vacuum tube based Erica Synths Fusion Series modules are the basis for this system, while Black Modulator and Black Envelope Generator add plenty of modulation and noise generation possibilities. It has 43 patchpoints for extensive experiments in sound design, all analogue signal and CV path to create the drones of massive power. Want a solid bassline with great 1V/oct tracking? Use CV/Gate sequencer or keyboard and you have it! Erica Synths Fusion Drone System brings distinct and powerful sound into eurorack.
Fusion Drone System includes:
Fusion VCO – Two double triodes in bistable latch connection act as suboscillators: -1 and -2 octaves with plenty of mixing opportunities for amazing sonic results. External audio signal can replace internal VCO.
Fusion Ringmodulator V2 – Germanium diodes enrich the sound by adding extra harmonic content meanwhile vacuum tube adds evilish overdrive to audio and carrier signals.
Fusion VCF V2 – Each side of the double triode drives signal between 2nd and 3rd stage of the filter, while germanium diodes are used to limit the output signal.
Black Modulator – a fully analogue modulation and noise source. Black 8-Multi – an advanced replacement for stackable patch-cables – it is active buffered multiple with signal status LEDs.
Fusion VCA V2 – a Russian miniature pentode 1Ж24B with power consumption comparable to an LED. Black EG – the ultimate control over envelopes in your modular system.
Fusion Delay/Flanger/Vintage Ensemble – a distinct multifunctional analogue effects module that combines BBD chip based effects with an adjustable tube overdrive in the delay output and a feedback path for extra thickness of the sound.
"Here we have the new 'stereo field' version of the Steady State Gate from SSF (Steady State Fate). It's a revamped circuit design with added features and new stereo functions that builds on what I think is a bit of a modern classic, the Steady State Gate from 2022. It's a re imagining and expanded LPG or low pass gate that has on board wave shaping, versatile filtering options and stereo field (stereo image, creation, control and modulation thereof) controls. It's beautifully musical and dynamic, check out the patches below."
"The Steady State Gate Stereo Field (SSGSF) is a stereo low-pass gate module combining dynamic filtering, timbre shaping, and stereo field control to produce rich, evolving textures with spatial effects. Suitable for both stereo and mono sources, it offers extensive modulation possibilities for expressive sound design.
Newly designed signal path with updated Timbre and Qaos response and control.
True stereo design utilizing a curated mid-side signal chain that provides processing features for stereo, as well as mono input signals.
Stereo and mono signal processing including psychoacoustic panning and stereo field enhancement with voltage control and two 'FIELD" modes.
New CV/GATE LPG control input. Can be used simultaneously with EXCITE for more dynamic and rhythmic effects."
"The ADDAC816 Percussion VCA by ADDAC System is a voltage controlled amplifier featuring an integrated AD envelope with a fast attack and adjustable decay, perfect for creating precise and dynamic percussive sounds!"
0:00 Intro
0:24 Envelope gain
1:08 Decay knob and time switch
2:05 Envelope input behavior
2:33 VCA input
2:46 Patch 1
4:02 Patch 2
5:05 Patch 3
"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."
"With Vamp Apollo View modular took the early Korg MS-20 and MS-10 filter designs, which favoured non-linear character over stability and control, they added more character with a tube input saturation stage and tube resonance feedback path, further output clipping stage options and then designed in modern stability and control. I joke in the video the filter is so rubbery it might as well be wearing a gimp mask. Vamp is also multimode with low pass, band pass and high pass modes with routable pre/post VCA and gain option, smart normalled CV options and prevision circuitry to turn it into a full single module tube voice, killer kick drum and more.
VAMP is a multi-mode analogue filter that gives you low-pass, band-pass, and high-pass responses in a compact 8HP design. At its heart lies a classic Sallen-Key topology supercharged with real vacuum tube (12AU7) saturation and multiple stages of clipping, letting you move seamlessly from smooth, hi-fi filtering to snarling, overdriven character.
One half of the tube is used to saturate the input, while the other half provide MS-20-inspired resonance limiting (tube, not diodes). With FLOW placing the VCA pre-tube or post-filter, and FANGS selecting Off / Soft / Hard output clipping, VAMP ranges from subtle warmth to ferocious harmonic destruction. FEATURES Three filter modes: low-pass, band-pass, and high-pass Classic Sallen-Key topology with tube saturation and clipping 12AU7 vacuum tube: one half for input drive, one half for resonance distortion MS-20-style resonance limiting/clipping for aggressive tones FLOW switch: Integrated VCA pre-tube or post-filter FANGS: output clipping: off / soft clipping / hard clipping 1V/Oct cutoff tracking: use VAMP as a VCO in self-oscillation Extensive CV control: GAIN, FREAK (cutoff), REZ (resonance) (all with attenuverters) Self-oscillation for screaming tones TECH SPECS 8HP 30mm Depth 40mm Max Tube Height from panel Reverse polarity protected +12V 230mA -12V 70mA
"Meet the Behringer UB-Xa MINI, a compact analog synth built to inspire.
With 3 VCOs, a dual-slope VCF, a 16-step motion sequencer and a multi-mode ring modulator, it delivers that rich, evolving sound that makes ideas come alive.
Designed for producers, live performers and anyone who wants hands-on control, UB-Xa MINI turns every knob into an invitation to explore.
🎛 3 VCO | Dual VCF | Motion Sequencer | Ring Mod | Touch Keys | USB-C + MIDI"
Analog Polyphonic Synthesizer with 3 VCOs, Classic DUAL VCF, Ring Modulator, and 16-Step Motion Sequencer
Powerfully Compact, Incredibly Capable
The UB-Xa MINI is a compact analog polyphonic synthesizer that delivers big sound in a small package. With a fully analog signal path and three rich VCOs, it brings iconic ’80s textures into the modern age. Whether in the studio or on stage, its portability and punch make it an ideal choice for musicians who want authentic tone without compromise.
A Mini Synth with Maximum Impact
Sized for convenience but designed for performance, the UB-Xa MINI captures the essence of the UB-Xa in a streamlined format. It features a powerful analog engine, lush analog filters, and versatile modulation options, giving creators access to classic sounds and expressive controls – all in a more travel-ready design.
Total Control at Your Fingertips
With 27 touch-sensitive keys and an intuitive layout, sound shaping is immediate and fun. The switchable 12/24 dB analog filter offers powerful tone sculpting, while the LFO with three waveforms modulates pitch, cutoff, and pulse width with ease. Every knob and key are tuned for tactile, musical response.
GS Music leads with its synths in the fight for breast cancer prevention and early detection
After 11 years of dreaming, GS Music finally brings to life a project that speaks to the very heart of its team: supporting breast cancer awareness and early detection. The Argentinian brand — the first to manufacture polyphonic analog synthesizers in Latin America — launches a limited edition of the Pink E7, a synth that doesn’t just resonate sonically but vibrates with purpose.
“67% of our assembly team is made up of women. For us, it’s important that our actions align with the DNA of our team,”
says Elena Epuin, founder of GS Music and the main driving force behind this heartfelt campaign.
Breast cancer is a disease that can affect women at any moment in their lives. That emotional proximity to the cause is what led the team to finally bring an old idea to life — one that had been evolving for years.
A synth with soul (and heart)
“The idea of the pink synths has been in our heads for a long time,” Elena explains.
“For us, it’s vital to keep our synths connected to the human side of things. The E7 doesn’t just have a great sonic soul — it has a human soul too. I believe that’s why our clients stay in touch long after buying their synths.”
The result is a limited run of four Pink E7 units, in a soft baby pink tone with transparent iridescent knobs that perfectly blend tender visual design with raw sonic power. A true analog beast — seven voices of polyphony, multitimbral, with a fully analog signal path — now with a cause beyond the music.
All proceeds from the sale of these four special units will be donated in full to a leading oncological institution in Buenos Aires, reinforcing a campaign that goes far beyond sound.
A Batman, an idea, and a city
As a creative twist, Elena had an unexpected idea: she invited Buenos Aires’ own Batman influencer, with over 60,000 followers on Instagram, to join the campaign.
The result was an iconic and moving encounter that brought together synths, social awareness, and a local superhero who represents strength, visibility, and commitment to real-world causes.
And yes, here are the photos from that unforgettable moment — even Batman showed up for this.
"Distortion has been an essential tool for my music making for most of my life, whether that was playing guitar, working with synths in amps, re amping synths and production stems through pedal FX or smashing mixers, tape machines and other gear I've always found it fascinating and with the options to CV control distortion in modular it's even better!
Head Banger from Setonix Synth & Robots Are Red takes the Swedish Death Metal sound of the Boss Heavy Metal pedal, heavily re vamps it for a wide range of input sources, adds CV control and a creative feedback path and presents itself in Eurorack form. While the name and styling lean on the metal heritage it's been interesting to find a subtler warmth and crunch, synths in tube amp like tones and blown out noisy cassette style grunge for more ambient music.
There's a 5% off code for sales of Head Banger at https://www.setonixsynth.com/ with code HEADBANGER5. If you're a Patreon supporter there's an exclusive 15% off code for you at / divkid"
"Nembrini Audio Launches The Hughes & Kettner Tube Rotosphere Plugin
Classic Rotary Sounds With Rich Tube Warmth And Easy Rotor Speed Control
3rd October 2025: Nembrini Audio is pleased to launch the Hughes & Kettner Tube Rotosphere plugin, an authentic digital emulation of the acclaimed Hughes & Kettner Tube Rotosphere MKII Rotary Speaker* simulator. Listen to it here and see it here.
In the 1960’s the Leslie Speaker System*, originally developed in the 1930’s for the Hammond Organ, began to be used for guitars by The Beatles, Eric Clapton, David Gilmour and more. In the 1990’s Hughes & Kettner, a highly respected manufacturer of instrument amplifiers, cabinets and effect boxes, created the Tube Rotosphere pedal, an extremely accurate, analog reproduction of the Leslie Speaker System.
More than thirty years later, Nembrini ‘s new plugin breathes fresh life into this cool sound with the introduction of a realistic digital simulation of the much admired Hughes & Kettner Tube Rotosphere. Celebrated for its rich tube-driven character and highly musical rotary modulation, the original hardware was used keyboardists and guitarists seeking the iconic swirling depth of a classic rotary cabinet, with the warmth of real tube saturation. The new Hughes & Kettner Tube Rotosphere plugin faithfully captures every nuance of its analog counterpart, offering everything from subtle to dramatic Doppler-infused motion, with can be seamlessly integrated into any rig.
Nembrini’s advanced modelling technology captures all of the lush swirl, warm tube saturation and authentic rotary motion of the original pedal. The key features of the new plugin include true to life emulation of the analog circuitry and tube preamp behaviour, independent rotor speed simulation with separate LF and HF controls allowing precise adjustment and a breaker switch for realistic ramp-up/down and rotor stop effect. There is also tube saturation modelling with visual feedback, rotor balance control for fine tuning the blend and a stereo signal path for wide, immersive rotary modulation.
The Hughes & Kettner Rotosphere plugin desktop version is available at the introductory price of $29.99 (normally $99) until the October 31st 2025.
Check with dealers on the right on availability and price.
Press release follows:
"Gamechanger Audio Officially Releases the MOTOR Pedal
Electromechanical sound. A gas pedal for your guitar. The ultimate analog noise-machine.
Riga, Latvia – September 29, 2025
After years of development and anticipation, Gamechanger Audio is proud to announce that the MOTOR Pedal is finally available to the public. First teased as a wild experiment back in 2019 and reintroduced earlier this spring as a pre-order, the MOTOR Pedal is now shipping worldwide—bringing a completely new category in sound and performance machines to guitarists, producers, and sonic explorers everywhere.
At its core, the MOTOR Pedal is built on two groundbreaking technical achievements: A fully controllable musical motor oscillator that transforms brushless DC motors into living, breathing sound sources. An proprietary monophonic pitch-tracking engine that follows guitars and virtually any instrument with surgical accuracy. These breakthroughs were forged over years of experimentation. From 2019 to 2022, Gamechanger Audio developed and released the MOTOR Synth MKI and MKII—the world’s first polyphonic synthesizers to use electric motors as vari-speed oscillators. More recently, the company perfected pitch tracking with its acclaimed AUTO Series pedals, released late 2024 The MOTOR Pedal builds directly on these innovations, fusing them into a compact stompbox—creating a powerful, unpredictable, and endlessly fun performance tool.
And in true Gamechanger style, it’s not just about the sound. The MOTOR Pedal introduces a completely new way to control it: a real acceleration foot pedal. This gas-pedal-style controller turns dynamics, pitch bends, and rhythmic sweeps into something you literally drive, delivering an adrenaline-fueled approach to expression that no other stompbox offers.
“Back in 2019, the original MOTOR Pedal was just a spark that set this whole journey in motion - what if we could play MOTORS as Oscillators!?” says Gamechanger Audio founder Ilya Krumins. “Since then, through the MOTOR Synth MKI and MKII and the AUTO Series, we’ve gone deeper and deeper into the world of electromechanical sound. At this point, we feel like we know pretty much everything there is to know about making music with motors and the MOTOR Pedal is the culmination of that knowledge, and the most fun, immediate and accessible way to experience it.”
Key Features: ● Real electromagnetic motor oscillator driven by precision pitch tracking ● Gas-pedal controller with five modes - for dynamic, physical expression ● Hybrid electromechanical + digital signal path for unique textures - five MOTOR engines - each with unique sound ● Compact form factor built for pedalboards, studios, and live rigs ● Replaceable motor block for extended lifetime and serviceability ● Powered by Gamechanger Audio’s MOTOR Synth (MKI & MKII) and AUTO Series technology
The MOTOR Pedal is now shipping worldwide from www.gamechangeraudio.com and with selected dealers world-wide. The MOTOR Pedal is priced at 399 USD and 399 EUR (incl. VAT) respectively. For more details, demos, and ordering information, visit www.gamechangeraudio.com."
"I got this unique synthesizer new, directly from Jürgen Michaelis (Jomox) in 2019 - Serial No. 58. I‘ve only used it a few times, because I haven’t had the time to dive fully into its features.
I still think it has a lot of potential:
- Fully analog signal path
- 6 neurons, which are like voices, combining an oscillator, a resonant filter, envelopes and a special mini-sequencer (see below)
- Each neuron has its own output and also the stereo mix, and can be triggered separately (via round robin notes, or different MIDI channels) or in unison
- Neurons can feedback into each other and themselves, FM each other and “genetically modify“ each other (see below)
- At the same time, neurons can play notes, via MIDI, with the relationships between them still in place - so as if the six voices of a polysynth were all connected to each other
- Each neuron has a mini byte sequencer, which can be used to sequence the filter cutoff, or the steps can be interpreted as a sample, or waveform of the oscillator!
- The sequences of each neuron can also interact with each other, combining in different defined ways to create new, evolved sequences as they run
- There are two external audio inputs, which can be used as the exciter of two of the neurons instead of the oscillator, so you can process external stereo sound as part of the craziness
- You can play it as a 6-voice polysynth if you want!
Perfect condition, comes with original box and individual power supplies for 100-120V and 220-240V."
"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.
