HOME BAKE INSTRUMENTS FM MINT mk2

video upload by HOME BAKE INSTRUMENTS

"FM MINT is a business card-sized FM synthesizer. It is equipped with a sequencer that can store 13 patterns in a 4-polyphonic sound source and an arpeggiator with 8 algorithms. In addition, the mk2 is equipped with LFOs, echoes, and choruses, and the sound quality has been improved and the behavior has been improved."

FM MINT mk2 synthesizer drones sound demo

video upload by HOME BAKE INSTRUMENTS

via HOME BAKE INSTRUMENTS

"FM MINTは名刺サイズのFM・シンセサイザーです。4ポリフォニックの音源に、１３個のパターンを保存できるシーケンサと、8つのアルゴリズムを持つアルペジエーターを搭載しています。mk2ではLFO,エコーやコーラスの搭載や、音質の向上、細かい挙動の改善が行われています。

FM MINT is a business card-sized FM synthesizer. It is equipped with a sequencer that can store 13 patterns in a 4-polyphonic sound source and an arpeggiator with 8 algorithms.In addition, the mk2 is equipped with LFOs, echoes, and choruses, and the sound quality has been improved and the behavior has been improved."

[Digital recording] YAMAHA FS1R FM/FS Synthesizer Factory Demo Song

video upload by The RISC-V Guy

"I modified my YAMAHA FS1R to add S/PDIF digital output by my self-developed digital audio transmitter board.

This modification allows user to bypass the internal DAC of the FS1R, generates 18-bit bit-perfect PCM output, resulting a more expressive, richer sound compare to the analog output.

I believe that I'm the first one to perform a digital recording of this versatile synthesizer, in fact, this video is first uploaded to Bilibili (BV1Dw411Q7et).

This board has been open source at my GitHub, my other resources for FS1R is also published at my GitHub too, you can search 'completed-fs1r', 'fs1r_firmware_RE' in GitHub to find some useful information (I cannot post the link below because I don't use YouTube frequently).

I may upload the lossless 48kHz FLAC version on Google Drive and share it in the comment below."

POLYGENE II - First Look

video upload by LA Priest

"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.

CLICK FOR MORE »

Introducing OVUM for Eurorack - Analog Oscillator Bank by Crows Electromusic

video upload by Crows Electromusic

You might remember the stand alone version of OVUM from previous posts here. OVUM has now been ported to eurorack.

Press release follows:


Introducing OVUM for Eurorack - analog oscillator bank

August 6, 2025 - Crows Electromusic, a small synth company fromVancouver, Canada, is thrilled to introduce OVUM for Eurorack, a modular adaptation of our standalone synth OVUM. OVUM for Eurorack is a powerful, all-analog, drone and modulation source designed for exploratory sound synthesis, ambient, drone, and noise music. With five individually controllable and individually routable triangle-core oscillators, OVUM for Eurorack gives you a bank of raw material ready for use in your modular system - as droning dissonance, thick chords, or slow swelling modulation signals.

Features:

• 100% analog circuitry
• Five triangle-core oscillators
• Crossfade between triangle and square waves
• Switch each oscillator to audio-rate or LFO rate
• 4 individual outputs, normalled to 1 main output
• One-control-per-function interface
• 20hp, 3U eurorack standard
• Handmade in Canada

OVUM for Eurorack is our third release, and our first Eurorack module.

It builds on what we’ve learned making standalone products; the palm-sized FM drone box Lore, and the original OVUM. The main challenge of adapting a standalone synth to modular is: how does this fit into a modular context? Five more oscillators is always useful, but with OVUM for Eurorack we’ve built something that can be more than that - an instrument with space available to interact with, either as the voice of your composition, or as the control center for your modulations. We hope OVUM for eurorack will be the place your hands go first when you’re performing a patch.

While it’s designed with ambient, experimental, noise and drone music in mind - we think OVUM for Eurorack is going to be at home in virtually any type of modular system.

OVUM for Eurorack is available now for $150 USD / $200 CAD.

Crows Electromusic is a small synth company based in Vancouver, Canada. Started by Cory Alder in 2023. Crows’ goal is to develop new hardware instruments that challenge the established ways we interact with sound and music creation. Their first product, OVUM, was released in 2023, and their second product, Lore, was released in early 2025.

For more information, please visit Crows’ website at https://crowselectromusic.com/ or follow us on social media (Instagram, Bluesky) at @crowselectromusic.

CLICK FOR MORE »

New Destiny+ arc*C (16 ideas)

video upload by kirkis

more information www.destiny-plus.com

arc*C is a 4-voice polytonal instrument in which each voice can continuously arc between two independent synthesis engines. fft based Spectral harmonic / phase distortion. Core system attributes include a 32-complex-envelope matrix, ×4 complex 3-D lattice sequencers, ×4 DSP algorithms,127 presets, a partnered drawing app to paint sound with Google Gemini API integration & a 1.91″ AMOLED display.

spectral core:

unique comb filter topologies

phase distortion core:

> 500 harmonics

for FFT stretching, warping, combing and morphing of odd / even partials.

2 large experimental LUTs each with scanning, 4-quadrant multiplication

& phase warping

Envelope matrix, 3-D Lattice Sequencers, DSP, Google Gemini API & arc*C app.
This core is built around 32 complex envelopes and an envelope matrix for all points of control and modulation within the system. These envelopes can have up to 80 break-points and the ability to control segment count, segment looping, rate, amplitude, rate modulation and cycle / trigger source. Randomise envelopes individually or the entire envelope matrix at once.

3-D lattice ×4:
arc*C also has ×4 X-Y-Z lattice Cartesian-like sequencers, represented by four mathematical shapes. Each one steers an invisible point through an 8 × 8 × 8 grid and is constrained by division, jitter, swing, stochastic ratchet/repeat subdivision, axis modulation, snake and orbit shape control, 16-scale index, and per-cell parameters (rest/ratchet %, gate %, probability). These can be the basis of chordal polymetric movements, complex spectral drum rhythms and more.

arc*C has ×4 unique DSP algorithms:

Gorbachev gas 2: 16-pole phaser with through-zero, per-stage coefficient offsets and feedback/resonance.

pnp=f: through-zero flanger.

lorax space 2: Hadamard-matrix reverb / FDN structure.

time cube: experimental 6-min regen delay."

VHIKK X by Forge TME - Why modular will always be real and digital music will not.

video upload by Cinematic Laboratory

"Modular synths are more than tools, they're reality itself.
This video explores why digital music can never truly be real, and why analog gear remains the only way to feel sound at the source.

The world is in transit, like it or not.
Music evolved from the stage into the box, from real media to streams, and now from streams into learning models, weights, and rewards.
We can endlessly debate whether AI is OK or not, but we can’t put the demons back into their bottles.

It’s a non-religious blessing to patch a real machine with real voltage.
Every sound I make is Karma: cause and effect, wrapped in a false sense of choice and control.
I love it. It’s a sanctuary.

And the VHIKK?
Everything I say about it will only give you GAS.
It’s one of the finest modules Eurorack has to offer, and currently my #1 module.
So maybe don’t watch this video if you’re on a tight budget.
Or… maybe watch it very carefully.
Because you might just build the ultimate tiny case with it.

All you need is VHIKK and Pam Pro.
Don’t forget power, but you won’t even need an output module.
VHIKK X can run on USB power.
Build a tiny wooden case. Maybe I will too.

We modular people are still a niche.
A tiny community moving upstream and uphill — while the world flows downward.
And it’s an honor to be part of it."

Check with dealers on the right for availability.

SynthAxe Demo - Full Video #sythnaxe #guitar #synth #music

video upload by natr0n

via Wikipedia

"The SynthAxe is a fretted, guitar-like MIDI controller, created by Bill Aitken, Mike Dixon, and Tony Sedivy and manufactured in England in 1985. It is a musical instrument that uses electronic synthesizers to produce sound and is controlled through the use of an arm resembling the neck of a guitar in form and in use. Its name comes from the words synthesizer and axe, a slang term meaning a guitar in rock music. The system was developed as a joint venture funded by Richard Branson's Virgin Group.

The SynthAxe itself has no internal sound source; it is purely a controller and needs synthesizers to produce sound.[1] The neck of the instrument is angled upwards from the body, and there are two independent sets of strings.

The fretboard is continuously scanned and sends signals to synthesizers which produce the sound. The left set determine the pitch played, through contact with the frets on the neck and by sensing the side-to-side bending of the string. The right set of strings are velocity sensitive; these strings can be plucked, strummed or damped in the same manner as a guitar. A keyboard made up of nine keys can also be used to trigger notes instead of the strings.[2] Design of the key toggles was done by the late David Fowler, at the time trading under BJ Hopkins Injection and toolmaking, in Littleworth, Oxford.

An electronic tremolo bar (the 'electronic wang arm') can be used for standard whammy bar effects, or can be redefined to produce different MIDI output such as filter cutoffs or volume.[3]

When originally produced, the SynthAxe was priced at £10,000[4][5] (approximately $13,000) and eventually sold for about £6,000. The instrument was built from aerospace and military grade hardware, and was such a sophisticated and expensive piece of machinery that few were sold, making it difficult to keep the company afloat. In or around 1986, Virgin Games took over the distribution but let it go after a couple of years.

Fewer than 100 SynthAxes were made,[6] and it is difficult to locate used units. Most musicians who desire a MIDI guitar controller often use other alternatives, such as Roland or Axon systems that can convert a guitar's output to MIDI via 13-pin cables and outboard devices or older systems such as the Roland GR-500."

Roland AIRA Compact S-1 Tweak Synth: Free Patterns

video upload by App Sound (by Matt Sour)

"Live Jam with some of the 32 ambient style patterns (Bank A + B) for Roland S-1. No internal reverb, replaced it with a Source Audio Ventris. The sound pack "Free Tweak" is free for subscribers of my newsletter - app-sound@com."

The Silent Alchemist sound recording test comparison - noise free.

video upload by myVolts

"Need some silence? 😃
.
At myVolts, we're not just trying to power your gear, we want to give you the best possible audio output too.
.
You may not realise it, but isolation of your power sources keeps your output clean and as you intended.
.
Have a listen (headphones recomended) to our two setups here, the first 30 seconds is USB powered from a standard AC power hub. It's not imposing itself on the sound, but if you listen to that silence at the start, you've got unwanted noise. 😢
.
In the second setup, the noise just isn't there. The Silent Alchemist helped you avoid something you now won't need to clean up afterwards.
.
We're all about simplifying your process, with solutions that just work.
.
Setup info 1:
3 X USB Power ports used
1- Digitakt with 12V Step Up.
2-Korg Volca Drum 9V+ Step Up
Our Crazychain CC47N1 converts polarity and tip size to power the Chase Bliss Onward pedal.
3-Standard USB-C cable takes 5V and Powers the Zoom L6.

Audio setup:
Digitakt connected to Zoom L6
Volca Drum output sent through CB onward into Zoom L6.

Note: we would normally give a mixer/recorded it's own independent power source, this is probably the origin of the noise in the mix. However, with the Silent Alchemist, it's not a concern, isolation means no noise, even when sharing a power source.


Setup info 2:
As above, regarding Audio.
The power setup is slightly different, each device gets it's own USB-C power source, so four in total.
.
If you would like to examine these setups, the screenshots in the video are taken from PowerMyGear, our free web tool for planning your power setup.
www.myvolts.com/powermygear

The silent Alchemist is on pre-sale now through our website

www.myvolts.com/"

Behringer HALOS – From Silence to Substance

video upload by Behringer

"Ready to explore a new kind of resonance?
HALOS is a physical modeling synthesizer by Behringer, designed to bring strings, membranes, and tubes to life — right inside your Eurorack.
🎧 From deep organic tones to shimmering, evolving harmonics, HALOS turns any trigger, envelope, or noise source into rich, expressive soundscapes.
🚀 Why HALOS?
• Inspired by Mutable Instruments RINGS*
• Three resonator modes: Modal, Sympathetic Strings, Non-linear/Dispersion
• Advanced physical modeling algorithms for strings, membranes, and tubes
• Pseudo-polyphony up to 4 notes
• High-resolution CV control with 16-bit accuracy
• Compact 14 HP format — ideal for modular rigs
✨ Perfect for experimental artists, Eurorack enthusiasts, and sound designers looking to add realism and depth to their modular system.

🎬 Watch the video. Redefine your resonance.
🎶 HALOS is here — and it’s alive."

HALOS - The Incredible Hidden Modes (Part 2)

video upload by Behringer

Akai EVI1000, EWI1000, EWV2000 Video Instruction Manual. HQ Version!

video upload by Patchman Music

"As a gift to the wind controller community, Patchman Music presents this newly restored high quality version of the excellent Video Instruction Manual for the Akai EVI1000, EWI1000, and EWV2000 wind controller system. This wonderful video guide, originally distributed by Akai / IMC Music on VHS tape, is presented by Akai EVI clinician and long time EVI player Sam Zambito and woodwind EWI1000 player J.R. Krisanda. Though released in the late 1980s, this video contains many useful tips that are very much relevant today.

We hope you enjoy this video and will support Patchman Music in return. Since 1985, Patchman Music has been THE top source of everything wind controller related with clients including Michael Brecker, Tom Scott, Bob Mintzer, Jeff Kashiwa, Nyle Steiner, Judd Miller, Steve Tavaglione, and many many others! If you are looking to purchase a new or used wind controller or have yours repaired, or if you are looking for sounds to use with your wind controller, Patchman Music is the best place to go. Patchman Music sells all the major wind controller models and has developed numerous professional sound banks for synths and soft synths specializing in sounds designed for use with wind controllers and breath controllers. For a complete list, visit: https://www.patchmanmusic.com/WindCon..."

"This video was digitized and restored by Matt Traum in July 2025 for Matt's Time Machine
http://www.mattstimemachine.com
If you have recordings or documents that need to be restored and digitized, contact Matt's Time Machine to get the job done right!"

LA67 100 Series Modular Synthesizer

Note: Auction links are affiliate links for which the site may be compensated.

via this Reverb listing

"LA67 100 Series Modular synthesizer, inspired by Buchla 100 system from 1965, one of the first available modular synthesizers.

In a beautiful wooden case, complete with power supply and power cable to connect the controller skiff to the main cabinet, this 100 Series instrument is ready to go.

With the legendary Dual Sine Sawtooth Genermayor Model 158 the sound is simply amazing. Other modules include Control Voltage Processor Model 156, Dual Square Wave Generator 144, Bandoass Filter Model 194, Six Channel Mixer Model 106, 4x Dual Voltage Controlled Gate Model 110, 2x Dual Attack Generator Model 180, Timing Pulse Generator Model 140, Sequential Voltage Source Model 123, Dual Integrator Model 155, Envelope Detector Model 130, and Touch Controlled Voltage Source Model 116.

This type of system was originally concepted by Morton Subotnick, Ramon Sender, and Don Buchla for the San Francisco Tape Music center in 1963, and the original model is still in use at Mills College, with many other similar models in use at universities and high-end studios around the world, used by artists such Chemical Brothers, Ken Kesey and the Merry Pranksters, Alessandro Cortini, and held in the archive of the Library of Congress.

This LA67 version was carefully assembled and is in great shape and working flawlessly.

Includes custom padded cover.

Can ship or local pickup in NYC."LA67 100 Series Modular synthesizer, inspired by Buchla 100 system from 1965, one of the first available modular synthesizers.

In a beautiful wooden case, complete with power supply and power cable to connect the controller skiff to the main cabinet, this 100 Series instrument is ready to go.

With the legendary Dual Sine Sawtooth Genermayor Model 158 the sound is simply amazing. Other modules include Control Voltage Processor Model 156, Dual Square Wave Generator 144, Bandoass Filter Model 194, Six Channel Mixer Model 106, 4x Dual Voltage Controlled Gate Model 110, 2x Dual Attack Generator Model 180, Timing Pulse Generator Model 140, Sequential Voltage Source Model 123, Dual Integrator Model 155, Envelope Detector Model 130, and Touch Controlled Voltage Source Model 116.

This type of system was originally concepted by Morton Subotnick, Ramon Sender, and Don Buchla for the San Francisco Tape Music center in 1963, and the original model is still in use at Mills College, with many other similar models in use at universities and high-end studios around the world, used by artists such Chemical Brothers, Ken Kesey and the Merry Pranksters, Alessandro Cortini, and held in the archive of the Library of Congress.

This LA67 version was carefully assembled and is in great shape and working flawlessly.

Includes custom padded cover.

Can ship or local pickup in NYC.

CLICK FOR MORE »

Sonicware Liven Evoke Full Tutorial - Cinematic Ambient Synthesizer

video upload by ChrisLody

"If you'd like to support the channel you can grab a 'Pay What You Want' album from my Bandcamp.
https://chrislody.bandcamp.com

Full Disclosure: I occasionally take on freelance work at Sonicware on an hourly rate producing synth & sample sound design, beta testing, checking English text and videos like this.

I've been a bit busy recently (I often say that, but more so than usual!) so this video has been a long time coming, sorry about that :)

For more information on the Liven Evoke please use these links:
https://sonicware.jp/pages/liven-evoke
Online manuals
https://sonicware.jp/pages/online_man...

CLICK FOR MORE »

KOMA Elektronik Sensei Eurorack Sensor Module

video uploads by KOMA Elektronik

The Sensei Eurorack Sensor Module complements the Koma Elektronik Field Kit Sensor Pack from six years ago:

Making Music With Sensors | Koma Elektronik Field Kit Sensor Pack

video upload by HAINBACH

"I was doubtful whether sensors would be fun tools to create music with - beta-testing the Koma Elektronik Field Kit sensors taught me otherwise. They are ideal creative tools in that they make you think differently and far out of the box. Perfect for breaking writer's block or pure musical enjoyment."



Press release for the new Sensei module follows:

"Berlin-based synth makers KOMA Elektronik introduce Sensei, a new Eurorack module designed to connect your modular system with the world around you. Whether it's light, movement, heat, or touch, Sensei lets you patch your environment.

"Originally based on the Sensor Interface from the KOMA Field Kit, Sensei is a standalone Eurorack module built for artists, experimental musicians, and installation creators who want to go „beyond the knob“.

Two sensor inputs (one for continuous signals, one for triggers and switches) allow for expressive, non-traditional control over CV and gate signals.

From subtle environmental fluctuations like heat or wind to pulsing club energy fired by strobe lights, Sensei makes your surroundings part of the music.

Users can choose from KOMA's established lineup of Field Kit Sensors currently available:

- Light
- Temperature
- Sound
- Touch
- Movement (Accelerometer)
- A Micro Sequencer with three modes
- Softpotentiometer
- Ball Switch
- Button / Jack Input
or plug in their own Arduino / DIY sensors with standard three-pin connectors.

And even without sensors, Sensei offers creative functionality: it doubles as a re-triggerable saw/triangle envelope, voltage processor with gain and offset, or a simple CV source.

Key features:

2 sensor channels: one continuous, one switch/gate style
Built-in analog processing (offset & gain)
Re-triggerable envelope mode (saw & inverse saw, gate & inverse gate)
Works with KOMA and standard 3-pin sensors
Perfect for installations, generative patches & sound experiments

With Sensei, modular becomes tactile, responsive, and alive. Your modular just grew a few more senses!

KOMA is currently running an introductory sale on their Sensors that you should grab if you are interested!

Product page and more info:
https://koma-elektronik.com/new/product/sensei

MSRP: €169,-

Available now through KOMA Elektronik and selected dealers."

CG-Products XR 22VCO, Delay 1022, Peak + Hold, sound.report (Short explanation + 15 Min sounds only)

video upload by The Green Man(TGM) + sound.report by Heiner Kruse

https://www.cg-products.de/module/

XR22 VCO FT
VCO with Ring Modulation Input and FSK (Frequency Shift Keying)

Amplitude Modulation (AM) Input
Ring modulation
CV controllable sine/triangle volume
Advanced waveform generation by AM
Rgb-LED for optical control
FSK (Frequency Shift Keying)
Pulse and ramp generation
Switching between two different frequency CVs
Advanced waveform generation by FSK
LFO-, Bass-, High- Mode
Switchable Sync-Mode (from Rev.6)

The XR22 VCO FT is a VCO with amplitude modulation option – which can be used for volume control, or ring modulation of the oscillator’s sine/triangle output. The AM-input signal is added to a DC-voltage adjustable by knob ‘Gain’ (between ca. +/-5V) and the sum voltage is being internally multiplied with the sinewave/trianglewave The result is an oscillator amplitude depending on the ‘Gain’-DC plus AM-input signal. The applied AM-input signal can be mixed to the VCO output signal (modulated or unmodulated) too – a kind of ‘dry/wet’ control with the mix provided on the sine/triangle output. With no AM-input, the XR22 VCO FT behaves like a normal sinewave/triangle VCO, then its volume is controlled by knob ‘Gain’. Whereas with the knob ‘Gain’ in center position, the oscillator tone is becoming almost muted, and the input signal on ‘AM in’ controls the amplitude of the wave completely; thus the VCO can be used as a ring modulator.

The FSK (frequency shift keying) option provides two internally switchable different oscillator frequencies F1 and F2; each controllable by the two big-sized knobs (and their respective fine-tuning knobs and CV inputs). Switching between F1 and F2 can be done manually or by a logic signal (e.g. a gate signal) applied on input ‘FSK in‘. Further, it is possible to use the XR22 VCO FT‘s squarewave output for FSK switching. This will result in ramp or sawtooth (on the sine/triangle output) and pulse (on the squarewave output) waveforms. The falling and rising edges of the of the sine/triangle signal and the duty-cycle of the squarewave output are independently adjustable, and/or controllable via CVs of F1 and F2.

Furthermore, there is a switch for linking F1 to F2. In this case, the ratio between F1 and F2 is remaining the same, independently from the frequency, and ensuring properly 1V/oct. CV tracking.

A switch allowes to enable ‘sync mode’: An applied trigger will restart the wave always at the same point, useful for synced LFO applications and more.

For optical control, the XR22VCO FT has a full-color LED for AM visualization and a 2-color LED for FSK control.

CLICK FOR MORE »

Rob Papen WirePluck Introduction

video upload by Rob Papen

"New plugin synthesizer for PC and PC.
Please note that this product is part of the eXplorer-10 bundle!"

via Rob Papen

"WirePluck is a new synthesizer created in the tradition of the Rob Papen brand, which is known for thinking outside the box with innovative musical instruments. These are all possible now due to the amazing power of today's computers!

At the heart of WirePluck are the three layers made up from four selectable source synthesis types, which allow you to create new synthesizer pluck sounds! And nope... the focus is not in recreating real acoustic instruments, but creating new inspirational sounds!

The user interface has been laid out in the Main screen in a way that allows for fast editing using the most important parameters, selecting different ARP presets, and selecting the ‘Advance’ screen on which all available parameters can be tweaked.


The 1st source synthesis type for each layer is ‘Wire’, a newly developed sound source that sounds a bit like hitting a wire.

The 2nd source synthesis type available is ‘String’, which uses a custom Karplus physical modelling synthesis.

The 3rd source synthesis type is ‘FM’, which is a 3-Operator FM (phase modulation) synthesizer. A unique addition is that each Oscillator also has a Pitch Envelope Decay control, which is uncommon in classic FM synthesis, but great to add extra pluck to the sound.

The 4th source synthesis type is ‘Wave’, which is a 1 Oscillator subtractive synthesizer lineup featuring an array of various Filter types.

All of these different sources can be combined in the 3 layers of course and each layer has its output routing.

The included FX inside WirePluck are ‘Distortion’ with various types, ‘Modulation FX’ which are Chorus, Flanger and so on, a Stereo Delay, and our top-notch Reverb!

WirePluck also features a fully featured ARP, an extensive Chord Memory section, Modulation Matrix and of course our cool ‘Ribbon Controller’.

Last but not least, we have added a bank manager, including many great presets by Rob himself and other sound designers!"

A Towel For Ms Winters

video upload by davidryle

"Large format modular synthesizer recording live in the studio.
The opening noise burst is the Dove WTF in noise mode along with the Sputnik WCRS to an Oakley SVF in band pass mode to the Modcan 73B dual Delay and Z-DSP with Halls of Valhalla reverb. Modulation to the 73B is from the STG Voltage Mini Stores for delay cv.
Noise cacophony part is a pair of STG Soundlabs Oscillators to the Oakley Sound Systems Ring Modulator to a Grove Audio LPF and a MegaOhm Audio MA20 in highpass mode. The signal is sent to a tape echo then compressor.
The echo drone bass is the dotcom Q169 vco to a Moon 517S LPF. The echo delay is a stereo Lexicon MX200.
The lower bass tone is the Woven Spirits (MI Plaits) from Synthetic Sound Labs. Straight in, no filter or envelope. The chords are a pair of dotcom Q206 vcos and a pair of Q106 vcos for four part harmony. The cv source is the dual Matrix from SSL in dorian modes. A pair of dotcom Q171 and Q172 Quantizers were used with gates from the Geo-Gruvn to time the S&H pitch voltages. Toward the latter half of the piece I was playing the quantizers to change modes from augmented to diminished and back again. The audio signals are sent through a LWSS Yusynth panning mixer then a pair of filters. The Dove D502 in low pass four pole and the Frequency Central System X in 24dB low pass mode. They are sent to the Empress Reverb pedal in blue sparkle mode.
All gate timings were provided by the SSL Hagiwo Geo-Gruvn sequencer and the STG Time Divider. Additional divider s are the Moon 564, Moon 563 and STG Trigger Mini Store.
The theme here was the well known stories of the femme-fatale-gone-awry roles Shelly Winters played in many famous movies. She was drowned a few times and it became an urban legend of sorts. A great actress that rarely was rewarded with much favor but did finally reach a celebrated status."

MEMLNaut - Total sound control with machine learning

video uploads by MEML

A 2025 MIDI INNOVATION AWARD entry

"Bring your sounds to life with the MEMLNaut, the first neural symbiotic controller for synths and effects: discover new sounds instantly, live, with any rig."

Learn more about the MEMLNaut and Musically Embodied Machine Learning: https://musicallyembodiedml.github.io/

Some info saved for the site archives:

"MEMLNaut is a musical instrument and research platform for exploration of musically embodied machine learning. It can process and generate sound, it’s extensible with a wide range of IO and interfaces, and it can optimise and run machine learning models on it’s dual core microcontroller chip.

MEMLNAut is open source, you can find all the Kicad files on our github"

"MEML is funded by the UK Arts and Humanities Research Council. It is an investigation into the musically expressive potential of machine learning (ML) when embodied within physical musical instruments. It proposes ‘tuneable ML’, a novel approach to exploring the musicality of ML models, when they can be adjusted, personalised and remade, using the instrument as the interface.

ML has been highly successful in allowing us to build novel creative tools for musicians. For example, generative models that bring new approaches to sound design, or models that allow musicians to build complex, nuanced mappings with musical gestures. These instruments offer new forms of creative expression, because they are configurable in intuitive ways using data that can be created by musicians. They can also offer new modes of control, with techniques such as latent space manipulation. Currently, to train a ML model, standard practice is to collect data (e.g sound or sensor data), create and pre-test the model within a data science environment, before testing it with the instrument. This distributed approach creates a disconnection between the instrument and the machine learning processes. With ML embodied within an instrument, musicians will be able to take a more creative and intuitive approach to making and tuning models, that will also be more inclusive to those without expertise in ML. Musicians can get the most value from ML if the whole process of machine learning is accessible; there are many creative possibilities in the training and tuning of models, so it’s valuable if the musician can have access to the curation of data, curation of models, and to methods for ongoing retuning of models over their lifetime.

We have reached the point where ML technology will run on lightweight embedded hardware at rates sufficient for audio and sensor processing. This opens up innumerable additions to our electronic, digital, and hybrid augmented acoustic instruments. Our instruments will contain lightweight embedded computers with ML models that shape key elements of the instruments behaviour, for example sound modification or gesture processing, responding to sensory input player and/or environment. This project will demonstrate how Tuneable ML creates novel musical possibilities, as it allows to create self-contained instruments, that can evolve independently from the complex data science tools conventionally used for ML.

The project asks how instruments can be designed to make effective and musical use of embedded ML processes, and questions the implications for instrument designers and musicians when tunable processes are a fundamental driver of an instrument’s musical feel and musical behaviour."

Pacific State/808 State - (Circuit Tracks Version)

video upload by Guinan

"This week’s track is another favourite Hacienda club track. This time from 1989 by the group 808 State (thanks again to Yves Big City @bigcitymastering for inspiring this series).

The original was actually recorded in January 1988 as a reply to the emerging Chicago House scene ‘Pacific State’ has been released in a number of guises. Sometimes just called ‘Pacific,’ others times being labelled numerically after other Roland machines eg. 707, 202. This version is a bit of an amalgamation of a few versions.

Worth noting too that Gerald Simpson ('A Guy Called Gerald') was originally one of the founding members of 808 State before leaving to start his solo career with 'Voodoo Ray'.

I was inspired to cover this after recently acquiring a copy of the Emulator II library disks (to recreate the Kraftwerk track, 'Tour De France' [posted here].
Among these disks, Disk 22 is entitled ‘Loon Garden’. Cited by many as the original source of the ‘Loon’ bird sample we all know and love, it also features a ‘shakahuchi’ sample familiar to anyone who’s ever heard ‘Sledgehammer’ by Peter Gabriel and is a historic piece of sound design. Once you’ve heard these samples you can’t help but hear them across the whole spectrum of popular music. If anyone knows who originally recorded these original samples (also in the Akai S900 library) please leave a comment?

As I started piecing this together I found this excellent video by @CaptainPikant
• Analyzing PACIFIC STATE - How to make clas... [embedded below]
which elegantly detailed the rhythm patterns used. I simplified these somewhat to fit the drum tracks into just 2 tracks to allow room for Sax and Sound Effects tracks (see below).

There is a small snatch of sampled 'sax' played on Logic sampler to fill in for the original sax solo played by Graham Massey from the band but otherwise everything was programmed and played on the Circuit Tracks. No extra synths or FX were used and the audio is recorded straight out of the stereo outs.

I hope you enjoy this track as much as I did putting it together and check back soon for more.

More details for synth nerds.

The bass patch was programmed into Synth 1 to serve as both bass and melody line. The pad sound on Synth 2 is yet another detuned sawtooth pad with chorus, but rolled off with a 24dB low pass filter to create a sound a bit more like the original Juno (said to have been sampled as a chord into a Casio FZ1 sampler).

The drum sounds are a mixture of various 909,707 and 727 Roland drum machine samples from the Reverb Drum Machines collection (normalised and filtered where required).

The Sax sound was played using the sampler instrument in Logic (and is just a preset). The 3 edited phrases were placed onto Drum pad slots and triggered using Drum 3 when required.

Another sample was a ‘bell’ patch created on the Tracks but sampled as a ‘glissando’ to double up the glissando played on the pad on Synth 2, as a break between sections of the song.

Finally Drum 4 was reserved for water and ‘Loon’ sound effects (plus additional 727 rhythm). Did you know the Loon is actually a Canadian diving aquatic bird somewhat like a duck and not at all exotic!

The tracks were as follows;
125BPM, Swing 59%
Synth 1 – bass and melody
Synth 2 – chorused pad chords
Drum 1 – 707 bass drum
Drum 2 – Hihat, Open Hat, Clap and Ride samples.
Drum 3 – Sampled sax lines (and Tracks synth 'bell' glissando sample in break)
Drum 4 – Sound effects, alternating with 727 percussion sampled bongo and muted conga sounds."

Analyzing PACIFIC STATE - How to make classic 909 Ambient House beats | Drum Patterns Explained

video upload by Captain Pikant

"Join us as we analyze and rebuild the unique rhythm of 808 State's timeless Ambient House classic layer by layer."

0:00 Introduction
0:46 Pattern 1
2:54 Loon
4:27 Pattern 2
5:26 Percussion Layer
6:22 One-Shot Patterns
6:49 End Jam

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