Can you build a playable synthesizer in a single afternoon?

video upload by Illegal State Of Mind

"Can you build a playable synthesizer in a single afternoon? Here's my attempt: a DIY synth built from a basic ESP32 I had lying around.

At its heart is a DCO: a digitally controlled oscillator. The waveform isn't generated in code. It comes straight from the PWM outputs, while the code only sets the pitch, pulse width and modulation. The result is a fat, raw, monophonic sound with accurate notes and no tuning headaches.

How this ESP32 synth works:
• Two PWM signals from GPIO 18 and 19
• A simple resistor mixer and a capacitor on the output
• MIDI input built around a 6N137 optocoupler, three resistors and a socket (powered from the ESP32 board)
• Pitch Bend and Modulation over MIDI
• Pulse width and detune of the second oscillator controlled by knobs

What this synthesizer doesn't have (yet): an envelope, polyphony and a filter. They can all be added later in the analog part of the signal path, and I'll start working on them soon."

Curves & Membranes 1.5 - New filters, expanded orbital modulators + more for the Beizer-wave synth

video upload by Unusable Engineering

"Curves & Membranes 1.5.0 adds two new filter modes, new orbital modulation patterns and polyphonic glide to the 'everything is visual' bezier waveform synthesizer for macOS and Windows.

In the first part of this video, I run a simple sequence from the Arturia Keystep and play around with some of the new features, mainly the new filter modes on a patch with some twisted and eased orbital modulators.In the middle part I play it in 4 voice paraphonic mode to show off internal overdrive.

In the end I run the first sequence again.

Regarding the two new filter modes:
The new Filter Bank mode has 32 bands spaced in minor thirds, with per-band feedback and drive. All three filter points shape the bank, so you can move several resonant regions around at once. The new Pressure mode takes a different approach: each band opens in response to the signal going into it, with controls for sensitivity, recovery and drive. The original Membrane filter is still there too.

A bit on the orbs:
Every orbital modulator now has Easing and Twist. Easing speeds up and slows down different parts of the movement while keeping the overall cycle time. Twist turns the circular path into a horizontal or vertical figure-eight. Both work with ellipse, rotation and the envelope-style half-turns.

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Moog Model 210 & Model 112 Instrument Amplifiers | Lisa Bella Donna

video upload by Moog Music

"Meet the Moog Model 210 and Model 112 amps, two premium full-range, flat-response instrument amplifiers built for synths, keyboards, drum machines, electronic instruments, preamps, modeling pedals, and more.

All audio tracks from this video were recorded through the direct XLR outputs of the Moog Model 210 and 112.

With all-analog amplification and effectively zero perceptible latency, both amplifiers preserve the dynamics, low-frequency depth, clarity, and individual character of your instrument from the studio to the stage.

Watch and listen as sonic sorceress Lisa Bella Donna puts both models to the test with an integrated setup of semi-modular synths including Matriarch, Grandmother, Mother-32, DFAM, and Labyrinth."

Moog Model 112 & 210 Instrument Amplifiers - First Look

video upload by Kraft Music

"Find exclusive Moog Amplifier BUNDLES at Kraft Music:
https://kraftmusic.com/collections/mo...

Dave from Kraft Music takes a first look at the Model 112 and Model 210 instrument amplifiers by Moog.

Moog Model 112 and Model 210 amplifiers are designed to deliver exceptional sound across a wide range of instruments, from keyboards and synthesizers to bass and guitar preamps, modeling pedals, drum machines, and more. Featuring all-analog circuitry, these amps deliver accurate full-range, flat-response sound with effectively zero perceptible latency, preserving the clarity, dynamic response, and low-end depth of modern electronic instruments from studio to stage. In addition, both models provide essential connectivity, with a built-in 4-channel stereo mixer (with 3-band Baxandall EQ), balanced outputs, Bluetooth streaming, and Stereo Link capability.

Get more for your money with an exclusive Model 112 and Model 210 bundle from Kraft Music. These package deals include the accessories you'll need to get the most out of your new instrument amplifiers, all for one low price. If you have any questions, please contact us. Our knowledgeable sales advisors will be happy to assist in choosing the bundle that's right for you!"

Moog press release follows:


MOOG MUSIC LAUNCHES MODEL 112 AND MODEL 210, AMplifiers Designed for electronic instruments

Two all-analog FRFR systems combine full-range amplification, integrated four-channel mixing, professional connectivity, and expandable stereo operation for synthesizers, keyboards, drum machines, and modern performance rigs

ASHEVILLE, N.C. (October 27, 2026) – Moog Music® today announced Model 112 and Model 210, two full-range, flat-response (FRFR) instrument amplifiers purpose-built for synthesizers, keyboards, drum machines, and modern electronic performance rigs.

Model 112 combines a portable 12-inch format with 440W RMS bi-amplified power for studios, rehearsals, personal monitoring, and live performance. Model 210 steps up to a 550W RMS, 2.5-way design with dual 10-inch woofer and deeper low frequency extension for larger stages and more demanding performance rigs.

Both models deliver an all-analog amplification path, 4 stereo inputs and an integrated four-channel stereo mixer, balanced PA connectivity, Bluetooth® streaming, headphone monitoring, and Stereo Link for building a two-amplifier stereo system. Together, Model 112 and Model 210 extend Moog's focus on electronic performance from the instrument itself to how it is monitored and heard on stage, in rehearsal, and in the studio.

"Every great electronic instrument has its own sonic identity," said Joe Richardson, President at Moog Music. "Model 112 and Model 210 were designed to preserve that identity, not color it. From the unmistakable warmth of a Moog synthesizer to the transient snap of a drum machine, these amplifiers allow the true character of the instrument to come through. Musicians work hard to shape their sound. They deserve amplification that delivers it honestly, consistently, and exactly as intended."

MODEL 112: everyday Versatility
Model 112 delivers full-range electronic-instrument amplification in a portable format designed to move between studio, rehearsal space, performance, and personal monitoring setups. A 440W RMS bi-amplified system drives a 12-inch woofer and 1-inch compression driver with a frequency response of 40Hz–20kHz. A top carry handle makes Model 112 the more portable choice for musicians who regularly move between creative and performance environments.

MODEL 210: Command the stage
Model 210 is the higher-output system in the range, designed for larger stages and demanding electronic performance rigs. A 550W RMS bi-amplified, 2.5-way design combines a 1-inch compression driver with dual 10-inch woofers, one woofer for full range, the second focusing on low frequencies extending down to 35Hz ensuring powerful response for synthesizer bass, electronic drums, sound design, and bass modeling systems. Full-grip side handles and removable casters support transport and stage position, while two Model 210 amplifiers can be connected using Stereo Link for performance setups.

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ACME XP60 Oberheim Xpander Clone Update

You might remember the XP60 from this post back in February, 2025.

Here it is in white, and below, next to the original Xpander.

It is not yet avaiable but the ACME website is up taking interest inquiries and pre-orders, although no price is given.

Verbiage from the site follows:

The Xpander architecture, thoughtfully rebuilt for today.

Six analogue voices, the original modulation concept and carefully chosen refinements for contemporary studios.

Faithful where it matters.

XP60 carries the acclaimed voice architecture and modulation logic of the Oberheim Xpander into a newly built desktop instrument.

Two analogue oscillators, the versatile multimode filter and the deep modulation system form the familiar foundation. The signal path is centred on the AS3372 and tuned towards the character of later Rev D instruments.

The original dual-processor architecture preserves the way the instrument behaves, with 100% compatibility with Xplorer, the established SysEx editor for the Xpander. There is no software emulation and no FPGA recreation.

Smaller footprint.
Same depth.
At 19 inches wide, XP60 brings the full six-voice architecture to a purposeful desktop format—substantially more compact than the instrument that inspired it.

Built to belong in a working studio. Individual voice outputs and extensive control connections allow the XP60 to sit at the centre of a modern or vintage setup.

Made with intent,
in small batches.
XP60 is a specialist instrument for musicians and studios who know why this architecture matters. Every unit is assembled with close attention to calibration, feel and long-term serviceability.

New 4 Zone CV Bus Case | Make Noise

video upload by MAKEN0ISE

"A brand new edition of the 7U Case has arrived! So let's make a patch in a Shared System in the 2013 wooden Enclave 7U that is still going strong to this day!

There is at least one error in the voiceover for this video: can you catch it?

Our 208hp 7U 4 Zone CV Bus Case arrives ready to put to use with your modules, patch cables and inspiration. The powder coated metal construction offers excellent mechanical durability. The mounting rails have been updated to black anodized tapped strip, replacing the sliding nut design of previous versions of the case. The lid is removable and can be closed with the system fully patched. The sleek matte black finish was selected to match our line of Black & Gold modules, and it looks great with just about any module installed. This finish will wear nicely showing the story of your modular synth's travels over the years.

The Make Noise 4 Zone Power system is a new approach to accommodating the ever growing universe of Eurorack modules.The multi-zone power solution is like having multiple independent power supplies in a single case. This allows for isolating noisy modules from noise sensitive modules. Each Zone features isolated +12 VDC and -12VDC supplies and a dedicated ground return path. Included are 31 power shrouded connectors to help prevent incorrect installation. The total available power available is +12VDC @ 4A, -12VDC @ 2.4A and +5VDC @ 1A.

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New Make Noise 208hp 7U 4 Zone CV Bus Case and CV Big Bus!

Press release follows:

Make Noise is proud to announce our new 208hp 7U 4 Zone CV Bus Case and CV Big Bus!

The 208hp 7U 4 Zone CV Bus Case arrives ready to be put to use with your modules, patch cables, and inspiration. The powder coated metal construction offers excellent mechanical durability. The mounting rails have been updated to black anodized tapped strips, replacing the sliding nut design of previous versions of the case. The lid is removable and can be closed with the system fully patched. The bus boards now includes 31 shrouded headers for connection to modules. The sleek matte black finish was selected to match our line of Black & Gold modules, and it looks great with just about any module installed. This finish will wear nicely, showing the story of your modular synth's travels over the years.

The Make Noise 4 Zone Power system is a new approach to accommodating the ever growing universe of Eurorack modules. The multi-zone power solution is like having multiple independent power supplies in a single case. This allows for isolating noisy modules from noise sensitive modules. Each Zone features isolated +12 VDC and -12VDC supplies and a dedicated ground return path. Included are 31 power shrouded connectors to help prevent incorrect installation. The total available power available is +12VDC @ 4A, -12VDC @ 2.4A, and +5VDC @ 1A.

The CV Bus is a more functional approach to the “multiple” utility of the modular synthesizer. The CV Big Bus is an evolution of the original CV Bus design from 2013 for Alessandro Cortini's personal Make Noise system. In an effort to accommodate the increased modulation density of the New Universal Synthesizer System, the CV Big Bus doubles the channel count from 4 to 8. These 8 channels are distributed across the center of the system, allowing for quick, clean, and intuitive patching. The numerical indicators are illuminated, providing visual indication of channel number, level, rate and polarity for up to 8 signals to be shared throughout a patch. This distribution method is unlike the typical multiple since the control signals will appear beneath their potential destinations, resulting in less cable mess. The color coding and visual indication makes navigating complex patches easier and more intuitive. Typically, the CV Bus would be used to share the most important control signals in a patch, such as your clock, modulation, sequence, and audio signals - any type of signal the system creates may be shared!

A high quality Stereo Line Driver converts modular synthesizer signal levels to the commonly used Line Level. There are mini-jack inputs for Left or Mono, and Right for Stereo, a single master volume control, as well as a stereo line output pair. The left output doubles as a TRS ⅛” headphone output. These outputs are capable of driving a long cable out to a PA System or a set of Headphones. They are AC coupled with a built-in limiting circuit (with visual indication) that prevents damage to ears and PA system when the patching gets experimental.

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Expressive E Osmose + GS Music e7 | Analog MPE Ambient Performance

video upload by THOMAS KESSLER_music

"A five-minute improvised ambient performance exploring two different ways of combining the Expressive E Osmose with the GS Music e7.

In the first part, an internal Osmose sound is routed through the external audio input of the e7 and becomes part of its analog signal path.

In the second part, the Osmose takes over as an MPE controller, playing an expressive patch on the e7 analog polysynth.

No sequences, no backing tracks, no computer — everything is played live.

Setup / signal chain:
Expressive E Osmose
GS Music e7
Effectrode Tube Drive
Strymon El Capistan
Strymon Cloudburst

The e7 patch is designed as an expressive instrument rather than a conventional synth preset: velocity, pressure and continuous MPE control shape dynamics, timbre and articulation directly from the Osmose keyboard.

A spontaneous studio improvisation exploring the combination of expressive digital synthesis, analog synthesis, tape-style delay and ambient reverb.

#ExpressiveEOsmose #GSMusice7 #AmbientSynth"

Ambient Electronica w/ Prophet-10 & AM Radio Noise | Three-Year Path 2026-10-01 by atnr

video upload by atnr

"Ambient electronica where a Prophet-10 performance blends with lo-fi noise from an AM radio.

This piece was created with the Prophet-10, Field Kit, and OP-1 field.

The Prophet-10 is connected to the MICROCOSM and performed with a subtle amount of the HAZE effect and reverb.

On the Field Kit, the built-in AM tuner is slowly swept with an LFO to create a regularly pulsing rhythm from the radio signal. The AUX output is sent to the monotron DELAY for delay, while the MASTER output is processed through the blueSky with reverb.

On the OP-1 field, a synth lead is performed. Delay and reverb from LOST+FOUND are used to create a lo-fi texture.

🎵 [Gear Used in This Video]

Synthesizers
Sequential Prophet-10
OP-1 field

Mixer / Radio / Processing
KOMA Elektronik Field Kit

Effects
Hologram Electronics MICROCOSM
KORG monotron DELAY
Strymon blueSky
Chase Bliss LOST+FOUND

☕ [Support & Listen to atnr]

Music Software: https://store.atnr.net

Bandcamp: https://atnr.bandcamp.com"

ZEROBOY: a Zero-input mixer demo. This time with a beat!

video upload by manmade madman

"Sometimes, you just have to have a play!

Available now at store.denversynth.com"

ZEROBOY

Zero-input mixer. DIY noise artist's playground.
A digital no-input mixer: four channels, two effect returns that are full mixer channels in their own right, db-cell running as the board's own noise floor, and a live patch bay — everything you hear starts as the board's own hiss going round a feedback loop until it finds a mode. CASCADE feeds each channel into the next, wrapping channel four back to channel one; CHEAP/SOLID decides how hard the shared power rail sags and lets every channel modulate every other one through it.

ZEROBOY plugin GUI
Four mixer channels, each with seven selectable circuit topologies and Mackie-style 3-band EQ, plus a CASCADE that feeds straight into the next channel — channel four wraps back to channel one

Reverb and delay aren't send effects — they're two more full mixer channels with their own gain, EQ, and aux sends, already wired into a two-node feedback loop with each other

CLICK FOR MORE »

LeviaSynth Deeper function ASM - Knobcon 2026

video upload by sonicstate

"Ken from ASM gave us a look at LeviaSynth, focussing on some of the nifty ways to controll all that synthesis - 16 voices with 8 oscillators, 13 envelopes per voice, 5 LFOs. Using the Bias controls, and the copy/paste settings between Oscillators for efficient navigation of this behemoth.

The signal path includes the digital filters from Hydrasynth, plus analog gain, analog saturation and an analog filter section. It supports upper and lower layers, key splits and crossfeeds, and the keyboard version includes a refined poly-touch keybed.

Ken shows us stereo mode by splitting eight analog filters left and eight right, with detuning available per side. Stereo behaviour can apply to carriers, modulation, or both. The engine includes 144 algorithms, custom algorithms and smooth morphing between algorithms, with FM, phase distortion, pulse-width modulation and phase modulation available in combination.

Pricing is around $2,499 for the keyboard and $1,999 for the desktop, with dealer pricing to confirm."

ASM Leviasynth - Sounds Only - Knobcon 2026

video upload by sonicstate

"Jim from Earmonkey Music sits down with the *ASM Leviasynth *at the Knobcon 2026 show from last week. We have him to thank for all of these videos from the show.

The Leviasynth is Ashun Sound Machines flagship synthesizer, with 16 voices, each with twin filters, (analog and digital), 8 oscillator per voice, 13 envelopes, 5 LFOs plus FX engine with multiple FX. Contolled by a polyphonic Aftertouch keybed and a ribbon controller."

VAV X-Wave: Wave-Crosser

"X-Wave is a crossover-synched signal switcher for the Eurorack modular system. It's simple to use (no knobs in sight), but it's also very powerful!

X-Wave has two Signal Inputs (conveniently named SIGNAL 1 IN and SIGNAL 2 IN). It has only one OUT, though, so it is forced to choose between the two signals you give it. To do this, it listens to SIGNAL 1 and decides if SIGNAL 1 is positive (as indicated by the little +).

If SIGNAL 1 is positive, it sends only itself to the OUT jack.

However, if SIGNAL 1 is negative, only SIGNAL 2 is sent to the OUT jack (as indicated, again, by the little -).

So, if you feed two different waveforms from a VCO into SIGNAL 1 and 2 IN (pulse on 1 and saw on 2 work very well together, for example), the result will be a wave shape that cycles between half of each waveform you provided. If you use a pulse for SIGNAL 1, you can also create wavetable-like effects by varying the pulse width of your pulse wave on your VCO.

There are two other functions on the X-Wave that greatly expand its capabilities:
You can connect a third signal to the + DETECT IN jack as an external control of the switching action. This will make X-Wave stop listening to SIGNAL 1, and listen only to the 3rd signal This is very useful for using a pulse wave with PWM to "scroll" between two other waveforms from the same VCO, inserting sub oscillators to toggle between full cycles of SIGNALS 1 and 2, hocketing effects via use of a sequencer or gate divider, non-synched interleaving and switching effects, and voltage-controlled A/B switching or muting.

You can also invert the polarity of SIGNAL 2 using the provided toggle switch. This can be used to correct unfavorable polarity alignments between SIGNALS 1 and 2 or can also be used to turn X-Wave into a full wave rectifier or external-voltage-controlled inverter if you plug the same signal into both SIGNAL IN jacks.

X-Wave can pass signals down to 0hz (DC) so it can also be used to process LFOs, Envelopes, CV Sequences, and 1V/Octave signals. It probably has other uses I haven't thought of!

X-Wave is 4HP and uses Burr Brown op amps for the main signal path alongside other high quality Texas Instruments ICs for other duties. X-Wave is not a bi-directional switch, so please be aware that the IN and OUT jack labels should be followed when patching. X-Wave uses a high impedance of 1M (10x the typical 100k) for all inputs, so multiple units can be connected via stacking cables/passive splitters (up to 10 inputs can be paralleled while still maintaining traditional Eurorack input impedance standards)."

VAV N-Wave: Middle-Out Waveshaper

video upload by Magical Synth Adventure

"Join me as I take the @control_voltage VAV N-Wave Middle-Out Waveshaper for a spin!

The N-Wave is a really imaginative waveshaper. Some waveshapers might fold over the peaks of an incoming waveform, some might rectify them - squaring things off like a fuzz pedal. N-wave keeps the peaks of waveform - like the top and bottom of a saw wave - intact, and instead lets you shape and turn up on the volume on a section in the middle of the waveform - leading to unique tones. This is especially true, as you can vary the width of this middle section!"

video uploads by control_voltage

Playlist:

1. VAV N-Wave: Step Sequenced Threshold

One fun live performance (or studio) use for the N-Wave is to connect a Step Sequencer on the Threshold CV and generate different timbres for each step in a sequence. These act as accents and add a lot of life and feel to your sequences and the feel can easily be changed on the fly using something like a Joranalogue Step 8 as your source of steps.

2. VAV N-Wave: Threshold Ring Modulation

In Part 2 of the VAV N-Wave Video Manual, we look at using the threshold control and bipolar vca cv to create new waveforms that have a mixture of normal and ring modulated (quadrature) segments.

3. VAV N-Wave Mangles a Triangle

Here, the N-Wave does quite a number on an unsuspecting triangle wave with the help of some nearby modules. N-Wave is kind of like that one kid's house where everyone hung out and cooked up weird DnD campaigns or something. But for modular signals.

"N-Wave is a novel waveshaper for the Eurorack modular format. Unlike traditional wavefolders and clippers, which operate on the peaks of a waveform, N-Wave leaves peaks intact. All you need to expand your sound palette greatly is a VCO signal and a few twists of the knobs!

Using its internal bipolar VCA (aka four quadrant multiplier, aaka ring modulator) you can apply gain reduction and polarity inversion to an inner portion of the wave slope that you define with the THRESHOLD and OFFSET controls.

All functions can also be controlled via control voltage inputs. LFOs, Audio Rate VCOs, ADSR Envelopes, 1V/Oct signals, sequenced voltages, sample and hold signals, noise, and sub octave signals are all very good choices and can produce results ranging from very musical to very strange. An external detector signal can also be applied if you don't want to trigger the detector on the waveform you're modifying.

If you like, you can also use N-Wave as a high quality bipolar VCA, attenuverter, or ring modulator with the THRESHOLD set to maximum and dynamically mute the effect by applying 0V or a negative voltage to the threshold either using a sequencer or manual control, which allows for hocketing and rhythmic effects.

N-Wave can also operate all the way down to 0hz (DC), so, in addition to audio, it can process LFOs, envelopes, 1V/octave sequences, and any other signal that varies amplitude over time (Sorry, square waves and pulse waves. Your super-sonic rise times are hard to shape in an audible way, but you do work well as control signals).

N-Wave is 10HP and uses Burr Brown op amps for the primary signal path alongside high quality Texas Instruments ICs that are carefully chosen to best fit their roles in the circuit."

Phaseburn One sound demo: everything you hear is one synth [Open Beta]

video upload by Phaseburn Music

"Phaseburn One is a synthesizer built around a phase-locked loop: the main oscillator tracks a reference signal, and whatever you patch into that reference becomes part of the sound. Everything you hear is the plugin on its own, nothing else added.

In the video: the PLL lab, the morphing oscillator and its fold, four step sequencers and four LFOs, the probability sequencer, the mixer and patchbay.

VST3, CLAP, AU and standalone, macOS and Windows, instrument or effect. Free open beta until 15 October 2026.

https://phaseburn.music"

The following is some additional info directly in via Phaseburn Music:

"I want to introduce Phaseburn One, a synthesizer we have been working on for several years, which is now in open beta and free for everyone until 15 October.

The sound is built on a phase-locked loop. One oscillator listens to another and keeps trying to match it, and the interesting part starts where it fails. When it tracks accurately the tone comes out clear and strangely alive, and when the loop is loosened you hear the chase itself: the oscillator catches up with the target, overshoots, breaks off, finds the frequency again, sometimes clinging to a harmonic instead of the note you played. PLLs are not new, they have appeared before as modules and effects, but as far as we can tell nobody has built a whole instrument around one. Four macro dials open the loop by ear, so none of the theory is needed to land somewhere usable.

Three more oscillators sit beside it: Morph, which sweeps between waveform families, a Vector shaping oscillator and a Sub. A transient module can add a click, noise or a metallic edge, or build a kick out of a sine. Around the loop there is a modular patchbay where you draw the cables yourself, a rack of seven effects and a mixer, and almost everything can be modulated from a dedicated section of LFOs and modulation sequencers.

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MemoryTone by XILS-Lab

video upload by xilslab

"MemoryTone by XILS-lab unleashes a colossal three-oscillator-per-voice analog architecture—with 16-voice polyphony and up to 18 oscillators in unison—then propels it beyond its 1982 inspiration with expanded modulation, MPE, advanced arpeggiation, integrated effects, and modern sound-design capabilities."

via XILS-Lab

MEMORYTONE: THEY CALLED IT MAGIC.

MemoryTone is XILS-lab’s exploration of one of analogue synthesis’s most ambitious instruments — a sixteen-voice polyphonic architecture built around three oscillators per voice and a 24 dB/octave self-oscillating ladder filter.

With eighteen oscillators across sixteen voices, combinable waveforms, oscillator sync, pulse-width control and a deeply interactive signal path, its character begins long before effects enter the picture. Oscillators interact. Levels influence behaviour. Voices move. The filter responds to everything that came before it.

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The M8 Tracker Continues To Blow His Mind // OS 6.6 Release

video upload by EZBOT

"Today I wanted to take a bit of time to explain my deep love for the Dirtywave M8 Tracker while going over the patch notes for the new OS that was released last week. The new OS brings a slew of upgrades to the device in both sound and presentation. Let's check it out and make some tunes."

EZBOT resources: https://www.patreon.com/ezbot, https://ko-fi.com/ezbot/, https://www.modbang.com

M8 Changelog on github

Makes for an intersting look back on the development history of the M8:

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AI250 BXR Eurorack Test Equipment Demo Video

video upload by AI Synthesis

"The AI250 BXR is a eurorack module inspired by vintage nuclear test equipment. It can be used as an audio mangler, cv generator, and VCO. The BXR is a nod to vintage Boxcar Averagers, which were designed to acquire and analyze fast signals. The AI250 specifically replicates the real-time mathematical portion of a Boxcar Averager System, and processes audio or cv signals against either another signal or its internal v/o variable wave-shape VCO."

AI250 BXR Eurorack Test Equipment Build Video
video upload by AI Synthesis

Press release follows:

Portland, OR, USA September 2, 2026 – New for Knobcon, AI Synthesis has released the AI250 BXR in both a built and guaranteed version, as well as in kit and PCB/Panel format.

The AI250 BXR is a eurorack module inspired by vintage nuclear test equipment. It can be used as an audio mangler, cv generator, and VCO. The BXR is a nod to vintage Boxcar Averagers, which were designed to acquire and analyze fast signals. The AI250 specifically replicates the real-time mathematical portion of a Boxcar Averager System, and processes audio or cv signals against either another signal or its internal v/o variable wave-shape VCO. The internal VCO has 11 different voltage select-able wave shapes and can be played v/O.

It's also our first digital module, and runs on the Daisy Patch.

Depth: 39 mm
HP: 14
-V mA: 11mA
+V mA: 120 mA

“In the year 2000, I was in college and obsessed with modular synths, but could barely afford to eat. I knew it was possible to build your own synth, but there wasn’t anyone, or anywhere to turn to for advice. In the past decade, much more information has been published online, and in 2013 I started down my path to DIY modular. Even with all of the information online, there still lacked a single, simple, comprehensive guide for those looking to build their own synthesizer. I want AI Synthesis to be that guide. Prior to building my own synth, I was a dreamer, after building my modular, I felt I had awoken. I want to help others do the same.”

-Abraham Ingle

Founder, AI Synthesis

In addition to providing step by step build instructions, schematics, and circuit explanations, the site also includes a guide for getting started in modular synthesis, and a series of DIY Guides, with information regarding how Resistors actually work, and how to integrate a $26 scope into your Eurorack system.

SynBe - Inspired by 1975 Japanese Synth Bass (demo)

video upload by Hügelton Instruments

"This series' first synthesizer simulation is of a rare Japanese-made bass synthesizer.
This synthesizer possesses features rarely seen in modern synthesizers, such as a unique traveler and simplified oscillator sources.
We has poured its passion for this hard-to-find synthesizer into this simulation software.

Features
・Monophonic synthesizer architecture
・Triangle, Square, Saw, Pulse and Phaser modes
・4’, 8’ and 16’ octave ranges
・Classic Traveler filter
・Twelve factory presets
・Full MIDI CC control
・Separate modern modification section

Available for macOS (AUv2 / VST3) and Windows (VST3).
https://hugelton.itch.io/synbe"



SynBe is a monophonic bass synthesizer inspired by a 1975 Japanese Synth Bass.

I had wanted one for a long time, but finding one is difficult. Rather than wait for the right unit to appear, I started with what was still available: surviving technical documentation, published circuit information, material from related instruments, and other technical references.

Some sections are well documented. Others are incomplete. Where the original circuit cannot be fully determined, SynBe uses the available evidence, related designs, conventional modelling techniques, and listening tests.

Features

Monophonic synthesizer architecture
Triangle, Square, Saw, Pulse and Phaser modes
4’, 8’ and 16’ octave ranges
Classic Traveler filter
Twelve factory presets
Full MIDI CC control
Separate modern modification section
2x internal oversampling
Versioned DSP kernel
Special nice & great graphics by ME!
Archaeology

Most of my previous reconstruction projects started with an instrument sitting in front of me.

SynBe did not.

The reconstruction began with surviving technical documentation and circuit information. I also studied material from contemporary and related instruments where the available information was incomplete.

The signal path was reconstructed section by section, from the oscillator and waveform circuitry through the Traveler filter and VCA.

CLICK FOR MORE »

Melt – The Core Ingredient

video upload by u-he

"MELT is a four-pole analogue low-pass filter module for Eurorack. Designed with a variable character and an extensive feature set, MELT is the ideal final stage for a traditional synth voice!
Pair MELT with your favourite oscillator plus a few modulation sources, and you have the foundation of a complete monophonic synthesizer.
The unique CORE TEMPERATURE control lets you adjust the character from soft to truly wild!"

"MELT analogue low-pass + band-pass filter with character...

An analogue filter module for Eurorack systems with an extensive feature set that makes MELT ideal as the final stage in a traditional synth voice: Pair it with an oscillator plus a few basic modulation sources, and you have the foundation of a complete monophonic synthesizer. MELT's low-pass and band-pass outputs can be used in parallel for a wide variety of tones, and the unique CORE TEMPERATURE control adjusts the character from mellow to truly wild.

'Modulate the modulation' using the built-in VCA in the FM1 cutoff CV path. A sequenced or stepped random CV modulating envelope depth here can add interesting dynamic motion to a bass line, for instance.

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Unboxing and First Impressions — ASM's Leviasynth.

video upload by Noisegate

"The ASM Leviasynth has landed at Noisegate. We first saw it at the ASM booth at NAMM and we've finally got one in the studio — so here's the unboxing, the first patches, and a proper dig through the algorithmic engine, the analog filter, the effects chain and that four-octave ribbon.

▬▬▬ SPECS ▬▬▬
16-voice hybrid (digital oscillators + analog filter)
8 oscillators per voice, 7 synthesis types, 140+ algorithms
4-pole analog low-pass filter with pre-drive + multimode digital filter
61-note Polytouch polyphonic aftertouch keybed, MPE
4-octave pitch ribbon (doubles as a sequencer step controller)
3-track sequencer + arpeggiator
8 macro controls, deep mod matrix
Pre-FX, delay, reverb and post-FX
CV/Gate I/O — assignable mod in/out, pitch, gate, clock
MIDI in/out/thru, USB, expression + sustain, front-facing headphone out
Aluminium chassis

▬▬▬ CHAPTERS ▬▬▬
0:00 Unboxing
0:31 What is the Leviasynth?
1:05 First preset, first play
1:30 Panel tour and layout
2:52 The analog filter and pre-drive
3:43 8 oscillators, 16 voices
5:24 Random patch generation
6:22 Building from an init patch
6:58 Mod matrix: LFO to oscillator feedback
8:17 How the algorithms actually work
9:35 Performance controls and patch browsing
10:41 The four-octave pitch ribbon
12:21 Arpeggiator
12:54 Signal path and effects
14:06 Delay and sync
17:53 The 3-track sequencer
19:22 Ribbon sequencer step mode
19:53 Build quality and I/O
20:30 Final thoughts"

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