"We explore the Spectral Resonator from BLEASS. This captivating effect is based on harmonic resonator banks that are excited by the spectrum of incoming signals. In some ways, it is like a vocoder, but can also act like a resonant filter bank. It can make sounds ranging from delicate chimes to metallic roars and lots in between, and can be used with a variety of sonic material like noise sources, voices, acoustic instruments and drums.
00:00 Introduction 00:29 Overview 00:53 Working with resonators 02:18 Fast Fourier Transforms (FFTs), block size, and hop size 03:39 Stretch, shift, density, and blur parameters 07:29 Filter and dampeners 08:39 Chords and MIDI note input 10:34 Unison mode 11:23 Voice demo 12:51 Bass clarinet demo 15:55 Electronic drum kit demo 18:21 Demo with drum track by G. Calvin Weston 21:23 Factory presets 24:18 Conclusion"
BLEASS Spectral Resonator conjures an iridescent palette of resonating harmonics that add colour, texture and contrast to your audio. Whatever the input, the results are rich, expressive, and deeply enchanting.
"In this video, we'll be diving deep into Doppler, a new Eurorack module from Jasmine & Olive Trees that can turn any sound source into a drum! Doppler also has an amazing new mechanism for changing firmware by simply placing an overlay panel on top of the module."
00:00 Meet Doppler
01:13 Patch previews
01:56 Automatic firmware switching
04:28 Module overview
06:18 Noise output
07:09 Kick drum sounds
09:16 Mod control
09:40 Chord mode
11:14 Doppler mode
12:13 FM mode
13:53 LPG (low pass gate) mode
14:57 Snare drum sounds
15:24 Hi-hat sounds
15:39 FM tom sounds
16:13 Chaotic textures
16:36 Full beat with Traffic
20:07 Glitchy percussion
22:49 Different transient sources
26:16 Speech sample as body input
29:44 Chord progression
32:52 Doppler jam
Includes Door, Rubin and Lichen overlays for free, the firmware is automatically swapped when placing an overlay on top of the modul.
Any sound source becomes percussion.
Feed an oscillator, a sample, or any audio signal into Doppler. It shapes it into a kick, a snare, a hi-hat, a percussion, or something else.
It morphs anything into everything. The best friend for Traffic & Prio.
All the processing moves across a continuous spectrum: from a clean signal, to a pitch envelope, into FM modulation for complex percussive textures.
Built on top of our J&OT DSP platform. Future family firmwares can be swapped for free using a simple USB cable and our J&OT web tool, no extra hardware required.
Highlights
Doppler kick engine: delay-line pitch sweep, five depths from –1 to –3 octaves
Harmonic FM: modulator tracks the spectral peak of your input, plus cross-mod chaos at the top
13 chord voicings: major, minor, sus, 6ths, 7ths, 9ths, 11ths via four pitch-shifted taps
Two inputs: Body (main signal) and Trans (transient channel with auto-tuned band-pass)
VCA / LPG modes: toggle via long-press, saved to memory
Independent noise output: dust oscillator whose density tracks input character
CV: on Attack, Decay, Mod, Amount
Smart Attack: noise decay to the left, or long swell to the right, all on one knob
"🔊 Learn how to build the Arena Digitalis, a high-performance Arduino granular audio processor for real-time glitch, shimmer, and ambient textures.
In this deep dive, we explore the Arena Digitalis—an open-source Arduino audio project designed for experimental musicians and sound designers. Granular synthesis is often gatekept by expensive hardware like the Mutable Instruments Clouds or Chase Bliss Mood.
The Arena Digitalis brings those "micro-looping" capabilities to the Arduino Nano/Uno platform using the new R4 processor.
⏱️ Chapters: 0:00 – Intro 0:30 – PCBWay Ad 0:45 – Controls 3:20 – Sound demo with Kastle ARP
Thanks to @PCBWay for sponsoring this video! Check out all their services under the following link and get 5$ new user credit. https://pcbway.com/g/1AhZrq
🔗 Resources & Links: Get the Code/Schematics: [https://github.com/SidRockett/Arena_D...]
Key Features of Arena Digitalis: Real-time Granular Processing: Low-latency audio manipulation. Arduino-Based: Highly customizable and open-source. Tactile Control: Manual knobs for grain size, spray, and pitch. Compact Design: Perfect for pedalboards or tabletop synth rigs.
✌️ I’m Sid Rockett, a designer and explorer of experimental synthesizers and custom noise-machines.
From boutique pocket synths to DIY Eurorack builds, this channel is dedicated to pushing the boundaries of compact hardware. Join me as we navigate through industrial soundscapes, deep cinematic reverbs, and the infinite feedback of outer-space delays.
"The Subsequent 37 is a (2-note) paraphonic analog synthesizer that builds upon the award-winning design of the ultra-powerful Sub 37 Tribute Edition. Its control panel is home to 40 knobs and 74 switches, placing a vast array of analog sound-design tools and onboard sequencing options immediately at your command. The Subsequent 37 improves upon its source through the implementation of a number of user-requested sonic and functional enhancements. Each enhancement maintains the magic and character of its predecessor while also providing access to new dimensions of sound and improved playability."
"Entomo- is one of the first synths that I released. I recently came across some old stock and decide to reissue these.
Entomo- is a 6 oscillator drone synth that can be powered with a 9V source or a CV signal.
Entomo- creates a wide range of drone and noise sounds. Activate the oscillators using the patch bay and included jumper wires. Cross modulate signals to disrupt and dictate the sound. From drones to noise to rhythmic chatter and glitching.
https://youtu.be/SJWycjpQpFQ
Knob style and colour may vary depending on stock. A connector for a 9 volt battery is included with Entomo-. Entomo- can also run off a 9V !!CENTRE POSITIVE!! WALL ADAPTOR.
Designed and built by hand in Cheshire England
To keep up to date with product demos, prototypes and competitions follow me here: www.instagram.com/decadebridge
"This is a homebrew from kit Paia 9710 mixer with noise source and envelope generator. It is encased in a standalone yellow box in the spirit of early Metasonix pedals.. The case also has the PAIA power supply board to power the envlope generator board.
[manufacturers description]
The PAiA 9710 is a versatile module that combines three VCAs, a white noise source, and a full-function ADSR envelope generator. It allows for mixing signals before processing with the VCA, making it a compact solution for various sound design needs.
The PAiA 9710 is a multifunctional module designed for sound synthesis, combining several key features that enhance its versatility in music production.
Key FeaturesFeatureDescription
VCAsIncludes three Voltage Controlled Amplifiers (VCAs) for dynamic sound manipulation.
White Noise SourceProvides a built-in white noise generator for additional sound textures.
ADSR Envelope GeneratorFull-function ADSR (Attack, Decay, Sustain, Release) with adjustable parameters for shaping sound.
Mixing CapabilityAllows mixing of multiple signals before processing through the VCA, streamlining setup.ADSR Specifications
Attack Time: Adjustable from 500 microseconds to 5 seconds. Decay Time: Ranges from 2 milliseconds to 7 seconds. Sustain Level: Adjustable from 0 to 10 volts. Release Time: Adjustable from 2 milliseconds to 7 seconds. Trigger and Gate Inputs: Separate inputs for re-triggering the envelope. Cycle Switch: Enables self-triggering for Low Frequency Oscillator (LFO) functionality.
The PAiA 9710 is ideal for musicians and sound designers looking for a compact and efficient solution for creating complex sounds and effects. Its combination of VCAs, noise generation, and a comprehensive ADSR envelope makes it a valuable tool in any modular synthesizer setup.
The envelop can self cycling (always on) or activated by trigger or gate voltage pulses."
"STIGMA is not just a module: it is a destructive, versatile analog sonic organism, powered by real vacuum tubes and designed to disrupt your Eurorack ecosystem.
Built with a flexible True Stereo and Dual Mono architecture, STIGMA offers total control over signal routing, allowing you to process independent sources or shape the stereophonic space with dense, harmonically rich tube saturation.
From Signal Processor to Pure Synthesizer While STIGMA is designed to filter, mangle, and brutally distort any external source (drum machines, oscillators, full mixes), it also hides an autonomous and unpredictable soul.
By driving the filter into self-oscillation, the module transforms into a fully-fledged solo synthesizer or a formidable percussive sound generator. By modulating the resonance and leveraging the lightning-fast response of its circuitry, STIGMA can sculpt devastating kicks, metallic toms, and thick, industrial percussive textures, saturated directly by the tube stage.
Key Features: True Stereo & Dual Mono: Two completely independent tube channels for maximum routing flexibility.
Warmth & Destruction: A tube saturation and distortion stage to go from subtle analog warmth to harsh, destructive clipping.
Advanced Filtering: Analog filters molded around the tube character, capable of cutting through the mix or screaming when pushed to the limit.
Self-Oscillation & Percussive Engine: Generate heavy kicks, industrial toms, and unique percussive sounds by using the circuit's self-oscillation as a sound source.
Eurorack Interface: Integrated CV controls for total, dynamic interaction with the rest of your modular system."
STIGMA – A Stop Motion Short Film by Arcaico #stopmotion #synthesizer #modularsynth #eurorack
"Welcome to Volume 34 of my Torso S-4 Explorations.
For this improvised live performance, I set a strict creative limitation: use only one single sample (a drum loop) and one single track on the Torso Electronics S-4. The goal was to push the boundaries of the S-4's granular and sound-design engines to see just how far a single piece of source audio could be stretched, morphed, and reshaped into a variety of sonic landscapes.
The performance was recorded live with only minor edits for pacing. Final audio was lightly mixed and mastered in Pro Tools."
"In this SonicLAB, we look into the @udo_audio UDO Audio DMNO, an 8-voice polyphonic binaural analog hybrid synthesizer with dynamic signal architecture.
The DMNO is sonically different from the Super Series, featuring a grittier, more aggressive sound.
With dual synth engines, though each DMNO integrates the familiar Super DDS oscillators and custom wavetables and both support both stereo and binaural modes.
With 8 voices total, when running two DMNOs in Binaural mode, in split or layer, that will reduce the voice count to 2.
The oscillators can cross mod and route with plenty of audio rate modulation , the LFO 1 also can run tracked and in Audio Rate mode too.
There's lots of configuration, routing and drive with the stereo analog filter, these have multiple modes, stereo, parallel and series routings with Frequency delta between each 'side' of the filters for some lovely formant and vowel like articulations.
Mod matrix has 7 slots plus two fixed routings for wheel and envelope velocity - perhaps the selection of source and destinations could be increased if the FPGA pathways allow for it, and it would be nice to see FX parameters as a destination at some point.
With EQ, Chorus and Drive per DMNO and a shared Delay/Reverb on send, there's some decent additional sound sculpting to be had.
Priced at £2,599, this synth gives an alternative to the other synths in the UDO range"
"Spent the afternoon sampling the excellent UDO Audio DMNO - our review is now online.
The result is 10 DMNO Samples as multi-samples instruments for our custom Decent Sampler instrument with our custom UI from @VenusTheory . Some sampled from custom patches during he review, and some of the presets already on board.
Here's the link to download them on YouTube (16-bit members)
FM-1 Features: ● Built-in speaker: No external speakers needed, turn on and play instantly, your stage anytime, anywhere. ● Built-in arpeggio: Rich rhythmic layers, giving you endless possibilities for musical performance. ● Built-in sequencer: Supports saving 16 preset sequences. ● Built-in 6-band integrated effects chain. ● Built-in rechargeable lithium battery with power indicator: Ready to use anytime, anywhere – on the street, in a cafe, or in your bedroom. ● Built-in 145-parameter FM tone editing system: Supports importing original DX7 SysEx tone files, and batch loading of single tones and entire tone sets. ● Built-in sound source: This device features a built-in sound source (FM synthesizer engine) that emulates the classic Yamaha DX-7 FM synthesizer, fully replicating 6 operators and 32 algorithms. ● BT audio function: Wirelessly stream backing tracks from your mobile phone to the FM-1 for improvisation using the built-in speakers or headphones. ● 27-key silicone keyboard, covering two octaves, offering a supple touch and rapid rebound for a comfortable playing experience. ● 1.54-inch color display screen, providing real-time display of tone, parameters, and spectrum information. ● Backlit silicone buttons for silent operation and sensitive feedback. ● 7 sets of 360-degree rotary encoders for precise and intuitive control. ● 12 function keys for one-touch access to core functions. ● OCT± octave/transposition switch, covering the full range even on narrow keys. ● 3.5mm headphone jack with automatic speaker mute when headphones are plugged in, ensuring undisturbed creative work and immersive monitoring of every detail of the tone. ● 3.5mm MIDI input jack for supporting external MIDI device control. ● USB-C interface: USB Audio + USB MIDI composite device, automatically recognized upon connection to a computer.
user video:
M‑VAVE FM‑1 Review & Sound Demo – Fun Pocket FM Synth
"How does this under‑$70 FM synthesizer perform? Check out this video for a full feature walkthrough, sound demos, and my honest thoughts.
I first spotted the M‑VAVE FM‑1 at this year's Guangzhou Musical Instrument Fair, and picked one up shortly after for about 300 RMB (around $60). The packaging is minimal, the unit itself is compact (16×9 cm), yet it packs everything you'd need. Connectivity is surprisingly generous, with both wired and wireless MIDI and audio support – really well‑equipped for its size.
Inside, you get a 6‑operator FM engine, essentially a recreation of a classic 1980s Japanese synth. It comes with 128 preset sounds, plus an effects chain, a 16‑step sequencer, an arpeggiator, and deeper editing tools. Pair it with an external MIDI keyboard and the playability expands even further.
Are there minor software quirks? Sure. But at this price, they're hardly worth mentioning. Compared to other portable sound gadgets in its class, the FM‑1 is just plain fun. And for the money, the build quality and feature set far exceeded my expectations."
"The tracks from this video are also available as a free EP on Bandcamp - https://omricohencomposer.bandcamp.co...
Check out my Modular books:
US: https://bit.ly/40armbo
UK: https://bit.ly/4rX6NeO
EU: https://bit.ly/4srcTUt
Online Courses about Modular Synthesis - https://bit.ly/learnmodular
Patch 1 - 00:00
--------
In this one, I'm using noise from Noise Plethora to excite Iroi. I'm using a band pass filter on Noise Plethora, sequencing it with the Voltage Block. On Iroi, I'm using the comb filter with internal modulation on the resonance. I'm also using the resonator with modulation on the feedback, and the echo and ambience. The levels of the resonator, echo, and ambience, are sequenced by the Voltage Block. I'm then sending Iroi to the Zagreb filter from Xaoc, using its low pass filter with noise modulation of the spread control. I'm also using the high pass output of Zagreb, sending it through the Guillotine distortion module, and from there, to the EON filter. This is going to 2 delays on Samarkanda, so only when I open the EON filter, the sound goes to the delays, and I play with the delay times.
"A pure audio demonstration of the Chase Bliss Big Time hybrid analog/digital echo, utilizing the newly released Modal Electronics Element One virtual analog synthesizer as the main sound source.
No talking, just hardware.
Designed in collaboration with John Snyder of Electronic Audio Experiments (EAE), the Chase Bliss Big Time is a true-stereo hybrid echo that revisits the mixed-up, unique circuitry found in rackmount delays from the early 1980s. In that era, advanced analog engineering was functionally used to prop up crude digital systems. The Big Time intentionally embraces and pushes this hybrid architecture to its absolute extremes.
This video showcases how the Big Time's interactive controls and dual stages of analog coloration transform incoming synthesizer signals:
• Stereo Analog Preamp (Color): Adds beautiful, warm saturation to the input stage, designed to handle a wide variety of instruments.
• Feedback Loop Limiter (State): An analog clipping limiter in the delay path that creates everything from smooth compression to crumbling, misbiased overdrive that slowly disintegrates your echoes.
• Cluster Slider: Blends in additional delay taps and diffusion, smudging and expanding the sound into rich ambient delights and multi-tap clusters inspired by vintage space station units.
• Scale & Motion: Controls creative transposition, Thermae-like musical sequencing, and stereo modulation (Sine, Square, Envelope).
Watch how the Big Time's motorized faders react and seamlessly transition through different delay modes—from tight modulations (3-46ms) to Short (46-736ms) and Long delays, across HiFi, Focus, Warm, and Analog voicings.
Providing the core audio tracking is the Modal Element One. Its 8-voice virtual analog engine, morphable filters, and rich stereo waveforms offer the perfect high-quality sonic canvas to test the Big Time's true-stereo capabilities, input saturation, and analog dry-thru.
🎧 Headphones or studio monitors are highly recommended to capture the full true-stereo imaging and analog character of the pedal.
Elastic OSC is an 8 voices polyphone macro-oscillator synthesizer based on the open-source code of Mutable Instruments Plaits. Its core idea: powerful sound design, reduced to just four main parameters: Frequency, Harmonics, Morph, and Timbre.
Key Features
• 24 oscillator models (VA, FM, wavetable, granular, drums & more)
• 8-voice polyphony
• Expressive XY control for synthesis & effects
• 4 LFOs with a unique LFO mixer
• MPE support (polyphonic expression)
• 600+ presets by renowned sound designers
• Cross-platform: iOS, Android, macOS, Windows"
Prague, Czech Republic, June 23, 2026: Beetlecrab Audio announces Tempera Firmware v2.3, a firmware update introducing cross-modulation, audio envelope follower, quad-macro control, per-emitter pitch sequencing, and numerous community-driven workflow enhancements.
Tempera is a hardware granular synthesizer built around a simple idea: eight samples laid out on a surface, with grains roaming across. At its core is a granular engine with a global pool of 4096 grains, shared across voices, and any single voice can claim the entire pool if needed. Tempera is just as happy chopping breaks and sequencing tight rhythmic patterns as it is building massive drifting clouds. Since launch it has found its way to musicians in over 60 countries, growing steadily through firmware updates shaped and steered by a community that has lived with the instrument long enough to know it inside out.
"B67 ZEN FM" synthesis engine (4 operators with linear FM + 4 wave shapes) for all Roland instruments that support the ZEN-Core standard: new editor and sound collection.
The new ZEN-Core Editor Librarian V2.0 (PC and MAC) is now available for Roland synthesizers from the Fantom, AX-Edge, and Jupiter-X/Xm.
Among many new features, it allows editing of a new synthesis engine, fully compatible with the ZEN-Core standard, which uses linear FM synthesis (4 operators) and 4 modulable operator waveshapes
The "B67 ZEN FM" synthesis engine is achieved through a special implementation of a ZEN-Core tone that allows access to only a limited number of synthesis parameters, leaving the others predefined and inaccessible (e.g., Structure 1-2/3-4 = XMOD2, Osc Type = VA).
Specifically, the modulation matrix is "locked" with predefined Source and Destination parameters to ensure correct modulations that operate on the main FM synthesis parameters.
Real-time editing is performed on a new page containing all the synthesis parameters, the operator frequencies settable via the freq. ratio parameter (0.25, 0.5, 0.78, 1, 1.5, 1.57, 1.78, 2, 3, 3.5, 4.5, etc.), the waveforms (SIN, SIN2, TRI, TRI2, TRI3, SAW, SQR, RAMP, JUNO), the graphic display of the 8 envelopes (4 for FM and 4 for shapes), a dedicated librarian (2048 sounds), 20 tone presets, 8 ENV presets, a clipboard, and the ability to copy and paste synthesis parameters.
Each sound is associated with one of the 93 MFX multi-effects, which can be edited in the dedicated section.
By applying waveshaping to the 4 operators' waveforms (via the FAT and PW parameters) and modulating them with 4 dedicated ENVs, the synthesis engine can replicate the phase distortion (PD) synthesis famous in Casio CZ synths.
When using sine wave oscillators and modulating their PW with the dedicated ADSR ENVs, the overall synthesis structure becomes similar to that of an 8-operator FM algorithm, as shown in the image: 4 operators (1, 2, 3, and 4) can have their frequencies freely configured, while the other 4 modulate the corresponding carriers and modulators with a 1:1 ratio.
Polyphony is 22 voices for all synthesizers, pianos, keyboards, wind instruments, guitar synths, and virtual instruments compatible with the ZEN-Core standard. This is reduced to 11 voices for the MC-101, MC-707, and VERSELAB MV-1 grooveboxes.
Simplified graphical editing of all parameters, sound management via the librarian, and parameter recall for subsequent editing is only possible with the ZEN-Core Editor Librarian V2.0.
The new B67 ZEN-Core Collection 3 (197 ZEN-Core tones in total) is also available, including 112 tones created with the "B67 ZEN-FM" synthesis engine.
Thanks to full compatibility with the ZEN-Core standard, these sounds can be used on all compatible instruments and virtual instruments: Zenology Pro, Zenbeats (ZC-1), FP-E50, RD-88, RD-08, Juno-D, Juno-X, V-Stage, MC-101, MC-707, Verselab MV-1, GM-800, Aerophone AE-20 Pro AE-30, GO:KEYS 5, GO:KEYS 3.
Along with the collection, the sounds with the B67 ZEN-FM synthesis engine also come with a proprietary file format that can be edited and managed within the Editor/Librarian V2.0 section, available for Fantom, AX-Edge, and Jupiter-X/Xm.
Among the various sounds in the collection, created with this synthesis, are emulations of some "classic" Yamaha DX7 sounds (Marimba, Vibe, Celesta, Bakket, Jazz Guitar, Tubular Bell, EPiano, Bowed Strings, Brass, Synth Bass, Metal, etc.) and original sounds that use FM and Wave Shape synthesis for new sounds with complex and evolving harmonic spectra.
The upgrade to version 2.0 of the ZEN-Core Editor Librarian for Fantom, AX-Edge, and Jupiter-X is free (it can be found in the Gumroad repository or through the paywall of those who purchased it).
Collection 3 (197 ZEN-Core tones, including 112 created with the B67 ZEN-FM synthesis engine) is available individually, in the "best of" version, and bundled with other collections and editors.
"We say... A pre-owned Erica Synths Bassline DB-01 in very good condition. It has no original packaging but comes with a power supply.
Manufacturer's description From basslines and rave sounds to massive drones and drums - the Erica Synths Bassline DB-01 synthesizer lets you explore new territories of sound and performance techniques and go from a melody to noise and back in no time. The DB-01 packs an analogue Erica Synths signature sound engine with an advanced sequencer on top of it.
"We say...
A pre-owned Bastl Instruments Kastle ARP in excellent condition. It comes with original packaging and accessories.
Manufacturer's description
Kastle ARP is a unique modular melody generator based on a quantized sine wave oscillator with a digital waveshaper.
The pitch selection employs straightforward concepts to unleash surprising intricacy. The quantized oscillator ensures it is always in tune, and its pitch can be selected using the NOTE and CHORD inputs. The decay envelope adds variation by occasionally skipping pitches before retriggering. The timbre control allows you to blend between noble sine waves and 8-bit chip-tunes.
"In this Signal Colors Source video, I'm taking a look and listen to the Oberheim TEO-5 - a five voice analog synthesizer with onboard effects. This thing has crazy range and sounds really good all the while."
00:00 Intro
03:21 Sound Examples
15:14 Walkthrough
37:39 Final Thoughts
"This module is an open source general-purpose Drum module based on Seeed XIAO RP2350.
Thanks to AI-friendly hardware design, it's easy to create software variations using generative AI.
With general-purpose components and a simple circuit, this module is affordable and DIY-friendly.
Metal Hit:
One-shot sound source with slash noise voice based on a deterministic 15-bit LFSR
Freshwater writes a new chapter for the legendary Fairlight CMI
Today Freshwater announces a milestone event with the release of the FI50A card for existing Fairlight CMIs series I, II and IIx. We’ve spent over a year perfecting this project and now offer CMI users a unique opportunity to extend, preserve and enhance these remarkable and era-defining machines.
Installed in an original Fairlight CMI, the FI50A makes the instrument faster, more reliable and more convenient to operate whilst bringing the legendary CMI sound into the 21st century music production environment. We are currently focused on getting these cards into the hands of users and continuing to optimise the enhanced software bundled with them.
What is the FI50A?
The Freshwater FI50A is a complete modern replacement for the original CMI computer section, including CPU, graphics display, memory and library storage. It is compatible with Fairlight CMI Series I, II and IIx systems.
The FI50A preserves the character, workflow and hardware experience of the original instrument while dramatically improving speed, reliability, storage and usability. It runs enhanced software derived from the original source code keeping the instrument recognisably and operationally a Fairlight CMI.
The card arrives pre-installed with a fully licensed original CMI sound library and adds practical modern ways to expand it, including enhanced 10-bit sampling, waveform upload over Wi-Fi, SD card and USB memory support. It also adds DisplayPort output, USB, Bluetooth and Wi-Fi while retaining support for legacy CMI keyboards, CRT/light pen operation, floppy disks, MIDI interfaces and Series I/II channel cards.
Installation is straightforward and fully reversible. Using the supplied user manual and online video guide, the original CPU and peripheral cards can be removed and preserved, the FI50A installed in their place, and the original peripherals reconnected.
For owners familiar with the CMI, the result is not a different instrument, but a transformed one: faster, easier to maintain and ready for contemporary studio use while remaining true to the original machine.
For more information, please follow the link below:
“I once said ‘one day the whole CMI will fit on one chip’. We all had a laugh at that. Fast forward 40 years and that’s the reality. By making this new board compatible with the original CMI channel cards, the bits that make the CMI sound so unique are still there, while the digital part is a zillion times more powerful, smaller,
cheaper and reliable.”
—Peter Vogel
