"The C25 is our new performance synthesizer. Building on the expertise from the C15, it combines outstanding playability, an intuitive user interface and advanced signal processing.
The sound engine responds to every playing nuance with high expressiveness and has access to the huge preset library of the C15.
With the touring musician in mind, the C25 comes in a compact, lightweight and robust housing. Most of the components are manufactured in Europe with a passionate focus on durability and sustainability.
The C25 is designed to serve as a platform for future developments and will also support synthesis or effect engines from third-party developers. Therefore it remains adaptable and up-to-date in the long term.
Features
Expression
The high-quality Fatar TP/8S keybed is combined with continuous sensors developed by Nonlinear Labs. The keys become polyphonic modulation sources, offering control by the vertical position of the key, its velocity or the aftertouch pressure.
"**OUT JUNE 15TH - MORE INFO HERE & DEALERS: https://www.befaco.org/random8 ** 🙌 HELLO M8! Please meet the module I've been making with Befaco! 🟠RANDOM8 is a random voltage generator designed bring a whole modular to life, in the smallest possible space. You get 8 independent random voltage generators, with dedicated per-channel looping buttons and attenuators, in just 8HP(!) It's what I've wished I could have in my live modular for a long time - a stupid amount of per-step modulation in a small space, yet you can control the looping instantly.
RANDOM8 is previewing at the Superbooth 2026 show in Berlin May 7-9 2026, and in dealer hands for sale on June 15th. Visit Befaco's tent at Z180 to give it a squiggle!
There is a limited batch to start with and more will follow. Thank you, M8s."
"Flow 3 is a filter that sounds bigger than it looks. Behind the compact 6 HP front panel lies a novel variation on the classic state-variable filter topology, offering simultaneous lowpass, bandpass and highpass outputs.
But the ace up Flow 3’s sleeve is its auto-dynamic nature: it is a filter that can modulate itself. This is achieved by a combined decay generator/envelope follower circuit which controls the filter frequency over an adjustable range."
0:00 intro
3:00 filter sweeps
5:32 quadrature sine VCO
6:20 spectrum splitter
8:15 auto filter
10:52 sine LFO
12:01 pinged percussion
14:00 decay envelope
14:40 envelope follower
16:05 outro
Flow 3 is a filter that sounds bigger than it looks. Behind the compact 6 HP front panel lies a novel variation on the classic state variable filter topology, offering simultaneous lowpass, bandpass and highpass outputs. Core integrator saturation provides for a sound that’s clean, yet distinctive.
The resonance response is exceptionally smooth—and it can easily reach self-oscillation. In this mode, temperature-compensation and exact calibration make Flow 3 a reliable quadrature sine/cosine oscillator with tight pitch tracking.
But the ace up Flow 3’s sleeve is its auto-dynamic nature: it is a filter that can modulate itself. This is achieved by a combined decay generator/envelope follower circuit which controls the filter frequency over an adjustable range. Either fire decay envelopes from external triggers, or flip it to auto mode to follow along with the incoming signal’s amplitude envelope (or both, simultaneously).
PolyFreq pitches availability of Phonon plug-in debut as precision granular laboratory for sonic alchemy
BRISTOL, UK: boutique musical tools-maker PolyFreq is proud to announce availability of Phonon as its debut plug-in — pitched as a precision laboratory for sonic alchemy, built around a high-quality sample granulation engine with root note detection, four keyboard follow modes, and legato giving it real versatility as a playable instrument — as of May 5…
Acting as a musical synthesiser first and foremost, Phonon is designed for very intentional, controllable reconstruction of one source, leaning into synchronous granular or ‘graintable’ synthesis. Sub-sample grain scheduling and separate grain rate and density controls open new vistas of repeatable, controllable timbre and tempo across macro and micro parameter ranges. Reality dictates that where other granular synths default to randomisation or multiple sources, Phonon provides users with complete control over every grain — from classic textural clouds to malleable ‘grainwave’ synthesis. Indeed, it is equal parts laboratory and playground.
“Phonon’s development was inspired by the great creativity of early granular work from composers such as Wishart and Roads, and the deep listening of Oliveros, with a desire to make this wild, creative territory more accessible to electronic music production and sound design, without stripping away what makes it strange and inspirational.” So says PolyFreq founder Nick Mariette by way of an illuminating introduction. It aims for ease of use, with a simple drag-and-drop workflow for modulation, and most features are immediately visible, with minimal menus or hidden options. And a flexible array of audio-rate modulation sources provide huge scope for patches that respond and evolve, including LFOs (Low Frequency Oscillators), envelopes, sample metadata, sequencers, MIDI (Musical Instrument Digital Interface) control data, and various noise flavours.
Features additionally worthy of the edited highlights treatment here include Phonon’s granular engine — eight voices of polyphony with up to 256 grains per voice and sub-sample precision that bridges the gap between classic textures and sharp ‘graintable’ synthesis; effects — shape sounds with a character-driven signal chain, from saturating drive to resonant filtering, as well as a utility reverb for glue or depth; presets — easily capture, export, evolve, and share sonic creations with sample embedding and eight-way snapshots; and drag-and-drop workflow in a resizeable interface for easy enjoyment as a standalone instrument or for plug-in-based DAW (Digital Audio Workstation) production.
Phonon’s uses are almost endless — think time stretching; pitch shifting; sample mangling; sound design; classic textural, granular clouds; synchronous, tuned granular tone creation; creating a synth from any sample; rhythmic grain generation, synced to host; beat retiming and timbre distortion; and more besides. Back to Nick Mariette: “Phonon is intended for reshaping beats and designing synth leads as much as for losing time in ethereal granular atmospheres; I hope it will connect people to listening differently, discovering the sounds within sounds.”
Anyone attending SUPERBOOTH26, May 7-9, FEZ-Berlin, Germany is hereby encouraged to swing by Booth H116 there, where PolyFreq will be showcasing Phonon to the musical masses assembled and Nick Mariette himself will be on hand to personally provide a warm welcome with an open invitation to discover those sounds within sounds. Spanning chaotic clouds to precise synthesis, controllable sonic alchemy is there for the taking so why not take this hands-on opportunity to discover and delight in vibrating matter differently with Phonon!
Phonon is available to buy as a standalone or VST3 plug-in for macOS (10.13 or later) and Windows (10 or later) at a 33% launch discount — duly rising thereafter to its full price of $89.00 USD (excluding tax)/€76.00 EUR (including tax)/£68.00 GBP (including tax) — directly from PolyFreq here: https://www.polyfreq.com/products
For more in-depth information, please visit the PolyFreq products webpage here: https://www.polyfreq.com/products
"Announcing the Leveling EQ Amplifier: stereo widening, Neve 1073 style EQ, and LA-2A style optical compression in 14hp. $345 available June 30th from your favorite synth retailer."
The Leveling EQ Amplifier is an end-of-chain audio processor designed to polish individual elements of a patch, stereo bus, or full master bus.
Inspired by the simple interfaces and pleasing sounds of two cornerstones of mixing, the LA-2A optical compressor and the 1073 EQ, the LEQA combines a compressor, an equalizer, and a modern Stereo Width Processor in one 14HP package.
Rather than being fully parametric, pre-defined curves and frequency selections make the art of mixing intuitive. Very little effort is needed for great sounding mixes.
The compressor mimics optical compression, which is a beautifully simple concept that yields incredibly musical results.
The EQ section is built to help accentuate and excite your mix, clear up muddled sounds, and increase the overall headroom.
The Stereo Width Processor adjusts the stereo image, letting you dial back a wide image into a cohesive sound, or push a normal stereo signal into "super stereo" territory. When used with mono sources, it can widen mono sources into stereo using a combination of psychoacoustic techniques.
The Leveling EQ Amplifier excels in live performances, studio work, subtle utility tasks, extreme sonic sculpting, audio "glue" to hold a patch together, and as an effect in its own right.
"And finally it arrived!
A masterpiece of a special poly synth (dual module) :-)
I seriously cannot stop play the UDO synths they are just so fun and special.
These sounds are custom made and no external FX being used, not even compression just to give you a more honest point of view of this machine.
Since this is a crazy machine when it comes to signal path flexibility then patches will jump in volume from patch to patch :-)
This synth will easily push out some of my other synths with all it's right of being an engineering-art literally.
Thank you UDO team for making ground breaking machines and above all keeping your production in UK and the outstanding high quality!"
"Our good friend The Unperson returns to the Signal Sounds channel to put the Sequential Fourm through its paces.
Fourm offers the classic sound and quality of Sequential at an unprecedented price point. Drawing on some of the best synths of all time, this compact analogue powerhouse boasts some fantastic features like poly aftertouch and a flexible arpeggiator/sequencer.
"Horror inspired soundscape generator from ResonanceCircuits.
Available at:
www.resonancecircuits.com"
"The Entropy Generator: An instrument of psychological dread..
Each of the 8 selectable soundscapes serve as a gateway to a different pocket of the abyss, ominous sub-harmonics, skin crawling malevolence, aetheric whispers and rhythmic metallic shrieks curdle together into beautifully sinister atmospherics.
8 selectable soundscapes
Sounds can be momentary triggered by touching the contact plates with the crocodile clip, loop sounds by connecting to the contact plate.
CONTROLS: On/off power switch Indicator led - illuminates when a sound is triggered Reflection - echo rate control Regeneration - feedback depth control body contact - use in conjunction with the feedback control to inject varying amounts of feedback into the mix quickly. Intensity - input mix control - varies the amount of signal sent from the sound generator section into the delay circuit. Magnitude - output level control 1/4" jack output
Requires a 9v DC input (negative centre polarity) power supply, 500-800mA. Not supplied.
Oak stained and waxed wood plinth base with a black and gold control panel.
YouTube is doing its annoying voiceover auto-dubbing on my end. You can enable CC on the bottom of the player and you can mute the sound if you want. You can find the full playlist of SynthFest France 2026 Presentations here.
"Discover the latest evolutions of Heritage Modular, the polyphonic modular synthesizer with presets, with "Delicate Shadows": keyboard, Erae 2, and live coding reveal its multitimbral richness.
As with any creative endeavor, in the beginning, there is nothing… Then comes the encounter of an idea or two, or three, with the machine, THE machine, THE synthesizer that fills your sonic space with its rich sounds.
The moonlit night reveals 'delicate shadows,' like the harmonics of the Heritage Modular's sounds. From this, the track 'Delicate Shadows' was born, to expand the dimensions of the synthesizer itself, to fill the space of a room, if only for a few minutes.
It is the combination of three areas of expertise that allowed this music to come into being: the composition of a gentle, almost melancholic melody; the mastery of the code that makes the speaker diaphragms vibrate; and the electronic design that carries the electrical signal through the circuits, allowing it to vibrate freely.
Website: https://www.heritagesynthesizers.fr/
Copyright Association SynthFest France - All rights reserved."
"In this video, Enrica and Roland from Making Sound Machines play a melodic techno track, performing live with the built-in polyphonic arpeggiator and the sound modulation in Plinky 12 Chords.
Plinky 12 receives a MIDI clock signal from the Elektron Model:Samples, synchronizing tempo and transport between both devices. Model:Samples is a fantastic all-digital drum machine and provides the beats you hear in this clip. All synth sounds are produced with Plinky 12's internal synth engine.
Plinky 12's sequencer advances through a harmonic progression, while Roland performs on the touch surface, editing the polyphonic arpeggio. As the track progresses, he taps the touch surface to add or delete notes in the arp pattern.
Enrica operates the model cycles, bringing in layers of drums, while Roland manipulates the XY pad on Plinky 12, modulating the synth and effects setting. This allows them to build and adjust the arrangement on the fly.
This track was composed for a live set at Club Synth, an event our friends Stijn and Priscilla from This is Not Rocket Science are hosting and organizing quarterly at Ruigoord near Amsterdam. Thank you for inviting us and putting in the hard work to create such a lovely event!"
"In this episode, Luke breaks down his setup for a recent live performance at GLOSS (the Glasgow Library of Synthesised Sound), which involved GRM Tools Atelier, Max for Live, and a two-panel Serge Paperface system (hand-built by Tom). We also round up a few new arrivals in the showroom, including the UDO Audio DMNO, ASM Hydrasynth and Shakmat Modular Ballista Blast, and share a few recommendations.
Get in touch with questions, feedback and suggestions via signalflow@signalsounds.com
"Use headphones for this one! Animal Factory Dirty Mirror dual parallel fuzz pedal running a Korg Monologue analog synth — no talking, no post-processing, just raw tone. This was recorded in one take to bring out how the Dirty Mirror becomes an instrument in itself.
A love letter to shoegaze, noise, and harsh textures, the Dirty Mirror
pairs a modified Shin-Ei Superfuzz (the "Burn" channel) with a heavily
modded Big Muff Pi (the "Churn" channel), plus a pre-fuzz delay
modulated by an internal LFO and envelope follower. Hand-built in
Mumbai by Animal Factory Amplification and debuted at Superbooth 2025.
Here it's sculpting the Korg Monologue's aggressive analog voice into
fuzzscapes, drones, seasick vibrato, and pitch-shifted square-wave
chaos. Recorded dry — no EQ, no reverb, nothing but the pedal and the
synth. Drums from an MFB Tanzmaus (not processed)
"Use headphones or speakers with good bass! Dual fuzz chaos meets beat-driven synthesis! Watch the Animal Factory Dirty Mirror transform the MFB Tanzmaus drum machine with creative distortion and delay manipulation. This is pure experimentation—no tutorial, just sonic exploration.
Not just a shoegaze and noise rock machine - the Dirty Mirror is the perfect fuzz for musicians exploring wall-of-fuzz sounds, experimental synthesis, drum machine effects processing, and unconventional gear combinations."
"The Dirty Mirror takes these two behemoths of sonic perversion and adds an extra layer of nasty – using the core circuit of our Coma Reactor Eurorack module.
This three footswitch, 15 knob pedal looks complicated – but it’s not:
The BURN Channel (left side) is based on our Chemical Burn circuit, a nastier FY-6 variant.
The CHURN channel (right side) is based on a heavily modded Big Muff Pi.
There is a short delay circuit before the fuzz circuits.
Both the fuzz circuits can switch between the input sound, 100% wet delayed sound or a blend of wet and dry.
The fuzz circuits are then mixed in parallel into a high-headroom output section.
For added sickness, the delay time can be modified by an envelope follower or LFO.
Choose your filthy reflection – from straight dual parallel fuzz textures, to seasick vibrato to long slow quasi-chorus phasey apocalyptica.
The delay can be used on its own for slapback, chorus and vibrato effects.
Yes, it can get very noisy. No, you can’t do anything about it - so weep in pain and pleasure, and submit to the swarms of square waves that joyfully fill your room."
"Cosmic Debris is a powerful delay and reverb engine built for modular explorers who want more than just echoes. With 16 interactive delay lines, multiple performance modes, and a design tuned for live use, Cosmic Debris can move from precise rhythmic repeats to infinite atmospheric washes in an instant."
Playlist:
1. Introducing Cosmic Debris from WMD and Infrasonic Audio
2. 3 patches with WMD Cosmic Debris
3. WMD Cosmic Debris - In-depth overview and tutorial
"A collaboration born in the Denver modular community
Cosmic Debris began as a design by Nick Donaldson of Infrasonic Audio, a fellow Denver modular enthusiast we met through our monthly Freq Boutique gatherings. Nick approached WMD for advice on manufacturing, and as soon as we heard the sounds he was creating, we knew there was something special.
From there, the collaboration took off. We worked closely with Nick to refine the design, bringing in ideas to expand the feature set, streamline performance controls, and ensure the module would be rock-solid for production. The process has been as rewarding as the results: not only has Cosmic Debris grown into a truly versatile delay and reverb processor, but we’ve had the joy of building a deeper friendship through the design journey.
Cosmic Debris is a powerful delay and reverb engine built for modular explorers who want more than just echoes. With 16 interactive delay lines, multiple performance modes, and a design tuned for live use, Cosmic Debris can move from precise rhythmic repeats to infinite atmospheric washes in an instant.
At the core, Spray transforms traditional delay taps into massive ambient reverbs, while Scatter reshapes the feedback paths and interactions between lines to create ever-changing textures. Time and it's shift function SLEW take traditional modulation and flip it on its head with huge risers, crossfading delay time changes, and hands on control over the energy of the sound caught in the buffers.
A built-in band-pass filter lets you carve space in the mix or push the signal into motion with CV modulation.
Cosmic Debris is designed with performance at its heart. Blast delivers a momentary boost into the delay input as well as 100% send level (in send mode) for explosive bursts of sound with natural tails, while Send Mode turns the Mix control into a CV-controllable send/return level, perfect for insert-style processing.
Flexible sync options include clock input, tap tempo, or free-running mode, keeping you locked in rhythm or drifting into uncharted time. A dedicated Freeze function captures audio into a timeless loop, letting you hold textures indefinitely.
Three unique processing modes, Blur, Ratio, and Warp, expand the palette even further, from smearing reverbs to pitch-shifted delays. Combined with its intuitive interface and deep modulation capabilities, Cosmic Debris is equally at home in a live performance rack or a studio sound-design system."
