Rhodes Chroma Synthesizer, Restored & Upgraded

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

via this Reverb listing

Video in the listing previously posted here.

"This Rhodes Chromas is in perfect working order, sounds absolutely great, and has been thoroughly updated & reconditioned:

• CC+ Kit Installed – The original CPU board has been removed and replaced with the fabulous CC+ kit. The Chroma CC+ Kit (CPU Plus) significantly upgrades the original Rhodes Chroma synthesizer by adding essential modern features like integrated MIDI, much more program storage (200 programs in 4 banks) instead of the original's limited space, better control over parameters, and expanded MIDI functionality. It essentially modernizes the vintage keyboard, making it fully controllable via MIDI and allowing for complex patch management. It also replaces the original battery-backed memory with non-volatile RAM, eliminating the need to replace the batteries, and removing the danger of battery acid damage.

• MIDI Adapter Included – The Chroma can now send and receive MIDI. With its wooden, velocity-sensitive keyboard, it becomes a fantastic MIDI controller.

• New Power Supply Installed – The original power supply included a large, heavy transformer, and generated a lot of heat. The new switching power supply, designed in Italy specifically for the Chroma, is energy-efficient, reliable, and regulated, ensuring that the Chroma will be stable and noise-free.

• Serviced – All voice cards have had new capacitors installed. All faulty 4000-series logic chips have been replaced, along with several faulty op-amps. Faulty traces and connectors have been replaced.


All voices pass auto-tune test and play perfectly. We’ve burned in the Chroma for 8+ hours and it works perfectly and stays in tune. All keys have been removed and cleaned, and the action feels great. All key contacts have been cleaned and work correctly, with good velocity response.

Cosmetically, the Chroma has some scratches and marks from its 40+ years of use, but overall it’s quite presentable as you can see in the photos.

The Chroma includes the original flight case – however, the foam has gone bad, and has been removed. The flight case would need to be re-foamed to be used to transport the instrument.

The Chroma is available for pickup in Las Vegas, Nevada. We can also personally deliver the Chroma to the Los Angeles, Phoenix, or St. George areas for $150.

The attached video demonstrates the Chroma playing three of the factory preset sounds.

I also have a video showing all 8 voice cards (16 oscillators, 16 filters, 16 VCAs) passing auto-tune without any errors that I can send upon request."

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FARFISA POLYCHROME (1979)

video upload by Vintage Audio Institute Italia

"Chapters
..................
00:00 Musical Interlude 1
01:29 description
02:08 Vocal Chorus (Chor) section
04:00 Strings section
04:45 Musical Interlude 2
05:11 Ensemble (polyphonic Synth / Brass) section
05:51 Modulation (chorus)
06:12 Phaser
07:40 Musical Interlude 3
08:40 General Controls (double octave, white noise and after touch)
10:48 Percussive (Piano) section
12:15 Muscial Interlude 4

FARFISA POLYCHROME - 1979
A gigantic instrument with an equally huge sound - was this the ultimate string machine of the era? With 4 independent sections of Divide Down-based instruments with lots of modulation capabilities - our bets are in. The Polychrome uses octave-divider technology to achieve full polyphony meaning you can effectively play a 61 note chord.

It's a big-boned piece of gear, wide and surprisingly deep - it shares the same measurements as the ELKA SYNTHEX but adds a couple of kilos of weight - this to comfortably fit all the circuit boards inside.

We have an additional unit available for purchase - in excellent condition with the original carrying bag included - if you're interested please don't hesitate to contact us for more info, price and photos.

Most of the Farfisa Polychrome specifications are in the video as text already but a quick spec sheet would look like this :

There are four main instrument groups with individual preset sounds that are selectable one at a time

1. Percussive - 6 presets in. all (Piano, Harpsichord, Clavichord and the latest in modern piano emulation - Honky Tonk). This section is equipped with a dedicated filter with Brilliance, Decay and Emphasis parameters, effectively it doubles as a polyphonic synthesizer section.

2. Strings - 1 single preset with 3 octaves selectable simultaneously to form a massively huge string section.

3. Ensemble - 3 Brass preset sounds with an expanded filter section of brilliance and emphasis filter as well as attack and decay controls. There's an error in the video text here : all presets are "free" - meaning you can adjust the parameters of all sounds. You can get a wide variety of sounds here, from synth leads to basses, brassy chords, you name it.

4. Vocal Chorus - Now this is special : 3 haunting choir preset sounds with an additional free mode, with access to Resonance and Cutoff parameters."

Pits Playground & Perfect Pads 2 - Soundsets for Waldorf Iridium & Quantum synthesizer.

video upload by WaldorfMusicChannel

"https://waldorfmusic.com/produkt/soun...

With loving attention to detail, Pit created 69 patches that showcase the extensive synthesis capabilities of the Iridium/Quantum family. The sound set combines analogue warmth with digital precision. Special emphasis was placed on the interaction between playing and sound generation: thanks to extensive modulation routings, an organic flow is created that makes playing inspiring and lively. Ideal for losing yourself completely in the sound.

The sound palette includes Moog-style leads and basses, assertive brass and poly synths, PPG and Prophet VS-style wavetable sounds, as well as digital pads and atmospheric textures. Pre-made sequences, arpeggios and overloaded effects have been deliberately omitted. Instead, you get dynamically playable instruments that enrich your musical expression.

A real playground for lovers of ‘real’ synthesizer sounds.

Pit is a real synthesizer freak. He discovered his love for synthesizers and electronic music back in the early 80s. His collection includes legendary synthesizers such as the EMC Rehberg VCS3, Oberheim OB8, Minimoog and Memorymoog, to name but a few. And of course an Iridium Keyboard."

Perfect Pads 2 - Soundset for Waldorf Iridium & Quantum synthesizer.

video upload by WaldorfMusicChannel

"https://waldorfmusic.com/produkt/soun...

The second edition of the Perfect Pads collection, this time with 34 brand new meticulously crafted pad patches for the wonderful Iridium & Quantum synthesizer.

This pack makes use of the various native sound engines of the Iridium/Quantum, which are blended with high-quality recordings of some of the fantastic analog pad synths like the OB-X8 and ISE-NIN.

The result is another highly usable pack of presets with some of the widest and warmest pads available on the Iridium & Quantum, immediately usable for many different music genres or a great starting point for further tweaking."

Omnisphere 3 - Melodic Techno soundbank by NatLife | Anyma, Argy & Afterlife style

video upload by NatLife Sounds

"Get Melodic Techno for Omnisphere 3 here: https://natlifesounds.com/product/mel...

Melodic Techno by NatLife for Omnisphere 3 is a masterwork of sound engineering. To create this library, I integrated hardware powerhouses like Novation Peak, Access Virus B, and Deepmind 12D. This pack delivers raw, high-velocity sounds inspired by Anyma, Afterlife, Stephan Bodzin, and Rüfüs Du Sol.

What's inside:

22 Analog Basses & Stabs
9 Specialized Leads & Supersaws
5 Exclusive Angelic Vocal Patches
5 Creative FX & 4 Atmospheric Pads
2 Professional Arps & 2 Synths/Plucks

Timecodes:

00:00 - Demo 1 (Blade-Runner Melodic Techno atmosphere, NatLife nu-style Stabs, Elena Vocals, Stephan Bodzin's & Ben Böhmer ARP-Leads)

01:58 - Demo 2 (NatLife nu-style Stabs & Leads, Anyma Stabs, Argy style Voices, Rüfüs Du Sol Atmospheric Pads ) Chapters"

A new Minimoog VST controller: SFC-mini V4 Intro

video upload by mylarmelodies

"The SoundForce SFC-mini V4 is a new dedicated physical hardware controller for Minimoog-style VST plugins. This video introduces the device and how it works, what's new in this model, the special bonus features that work with the Arturia Mini V4 plugin, and much more.

This video serves as an official intro to the SFC-mini V4, and was funded by SoundForce. Based in the Netherlands, SoundForce have been in business for more than 10 years making controllers and eurorack modules."

CHAPTERS:
00:00 - Why Does this Exist?
02:23 - Minimoog: From Bass to Pad
04:39 - Whats new in V4?
06:59 - Build and Feel
07:25 - How does the integration work in a DAW
08:02 - Mini V4 Smoothing Catchup
08:55 - Mini V4 Jump & Pick-up Catchup Modes
09:43 - Hopping between plugin instances
10:28 - How do you set up a Plugin?
10:52 - UA Minimoog
11:34 - Dump (Manual Control)
11:56 - UA Minimoog Play
14:01 - Extra Control at the Bottom
14:54 - Changing Presets (Mini V4)
15:46 - User 1 & 2 Mapping
16:41 - Mapping Another Plugin (MS-20)

Press release follows:


SoundForce is introducing the SFC-Mini V4, a high-end, dedicated MIDI controller designed for the world’s leading Minimoog software emulations. Featuring more than 65 hands-on controls arranged in an authentic Minimoog-style layout, it delivers a true analog-inspired workflow for modern producers. Representing over a decade of SoundForce MIDI-controller innovation, the SFC-Mini V4 is the most advanced and accurate Minimoog-focused controller yet.

Build quality
The SFC-Mini V4 is assembled in the Netherlands using high-quality components sourced from Europe and Asia. Its case is built entirely from powder-coated sheet metal. Both sides are fitted with elegant 8 mm walnut wood panels for a vintage-inspired look.

Backed by over ten years of MIDI-hardware expertise, the SFC-Mini V4 is part of SoundForce’s newest generation of controllers. Its pots, sliders, and switches were chosen after extensive research and experimentation to deliver outstanding tactile response, long-lasting performance, and rock-solid reliability during assembly.

Plugin support:
Because the SFC-Mini V4 outputs standard MIDI CC messages, it can be paired with any software or hardware that supports MIDI CC mapping. However, since each plugin has its own UI and MIDI implementation, the firmware provides dedicated plugin modes to ensure proper integration. The SFC-Mini V4 has specific plugin modes supporting the following plugins:

Arturia Mini V4 (incl 2-way)
Arturia Mini V3/iMini
GForce Minimonsta 2
Cherry Audio Miniverse
UA Minimoog
Softube Model 72
NI Monark
Synpase Audio The Legend HZ
Plugiator Minimax

2-way communication:
Two-way communication means the SoundForce controller and a supported plugin can talk to each other in both directions, instead of the controller only sending MIDI data one-way. At this point, this feature is supported with the Arturia Mini V4.

In practice, that creates a far more “hardware-like” experience when using software synths. Change a preset, load a new instance on another track, move a parameter with your mouse and the controller automatically syncs its LED switches, and ingest the pot data in memory. When the received pot data from the plugin differs from the actual pot position on the controller, 3 options similar to Ableton take over modes can be chosen from: jump, pick-up and smoothing.

For more technical details: consult the manual.

Where to buy:

EU: SoundForce store

UK: Signal Sounds

US Perfect Circuit

Introducing SQUID-3 by Acustica Audio

video uploads by Acustica Audio

Playlist:

1. SQUID-3 - You don’t need make-up when the sound is this good.
2. SQUID-3 Explained | Complete Walkthrough

Quick No-Talk Synth Demo

video upload by Autodafe

"Here’s a fast, no-talk demo of SQUID-3 (SQ-3), the new synth by Acustica Audio. This video is all about listening: no voice-over, no explanations — just sounds and visuals so you can get a first impression of what this synth can do.

In this demo I’m simply showcasing a selection of patches and musical textures. I’m not going into technical details or deep sound-design features this time — think of this as a relaxed, musical overview rather than a tutorial.

If you’re curious about the engine, workflow, or a more in-depth breakdown, feel free to leave a comment and I may cover it in a future video. For now, just sit back and enjoy the sound."

SQUID-3 is a forward-thinking synthesizer born from Acustica’s groundbreaking MAREA series, available in VST3, AU, and AAX formats. Built to respond better than a real instrument, SQUID-3 gives you the speed to create instantly, and the depth to design without limits. It’s fluid, focused, and sonically honest.

This isn’t a vintage emulation, or a collection of pretty presets under reverb.

SQUID-3 fuses algorithmic modeling with advanced convolution, capturing the behavior of analog gear - better than gear does.

SQUID-3 is not another virtual synth.

It’s a new breed - designed to sound finished, even before the FX.
Every stage of its engine, from oscillator to output, was built to make raw synthesis sound like a mastered record.

SQUID-3 is available in two separate editions:

• the Standard (3-D, multi-page) edition, hardware-inspired interface with depth, lighting, and tactile realism for an immersive studio feel.

• a Flat (2-D version, single-page) edition, A clean, flat design optimized for speed, built for maximum graphic efficiency, where all controls are summarized on a single page"

You can find additional details at https://www.acustica-audio.com/shop/products/SQUID3

Selmer Companion Electric Reed Organ SN 152

Note: links to listings are affiliate links for which the site may be compensated.
video upload by riffers

via this Reverb listing

"Selmer Companion reed organ from the 60s. In tune and wonderfully “parlour-harmonium”: bright, reedy mids with a gentle breathiness on the attack, then a steady, organ-like sustain from the blower. The chord buttons give an instant drone bed with that slightly nasal, woody timbre that cuts through without ever getting harsh. Think small chapel/folk harmonium vibes—perfect for drones, hymnal pads, psych-folk textures, lo-fi soundtrack cues, and vintage pop hooks. Hear it in the demo (skip to last photo). Typical vintage tuning and keybed feel; expect minor variance vs modern concert pitch.

Features

Classic electric reed organ with compact keyboard and built-in blower/speaker
Left-hand chord section: Major & Minor buttons (C, G, D, A, F, B♭) for instant accompaniment
On/off/level control, integrated flip-up music rest in the lid, suitcase-style cabinet with carry handle 1960s/70s Italian vibe: gold fascia, cream case, and period hardware
Sounds exactly like you want a small electric harmonium to sound—see the demo"

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Minimal House with Modular Click Textures and SIRIN Bass | Weird Receipt 2025-12-16 by atnr

video upload by atnr

"This piece was created using ‪@MoogSynthesizers‬ SIRIN, ‪@RossumElectroMusic‬ Assimil8or, and Mutable Instruments Plaits.

It is a minimal house track built on an even four-on-the-floor kick, with fine-grained rhythmic details layered on top.

Both the modular system and the SIRIN are triggered via MIDI from Ableton.

On the Moog SIRIN, the bassline is performed while the filter cutoff is continuously adjusted to shape the tone.

The Assimil8or receives MIDI from LOCUTUS to generate rhythmic parts. Some sounds are modulated with CV from a Quad LFO, turning them into click-like textures.

Effects are occasionally applied using CLOUDS. The kick and clave are routed through separate outputs: the clave passes through ‪@ChaseBlissAudio‬ LOST+FOUND, the click sounds through MOOD MKII, and the kick through a Bass Driver DI.

The Plaits module plays harmonic elements, which are also occasionally processed through a CLOUDS clone. The output is routed through the ‪@strymon‬ blueSky to add reverb"

Toto’s Steve Porcaro Shows How He Created the Synth Sounds on Africa, Human Nature, Rosanna, ...

video upload by Anthony Marinelli Music

"In this monumental video, I’m sitting down in Steve Porcaro’s studio for a rare, up-close demonstartions at how one of the true synth legends created some of the most iconic sounds in music history.

What makes this so special is that Steve takes us step by step through the exact synthesizer techniques he used on massive hit records — including Michael Jackson’s 'Human Nature,' Toto’s 'Africa' and 'Rosanna,' as well as classic tracks for Hall & Oates, Don Henley, Donna Summer, and more. He also recreates these sounds on the same model vintage synthesizers he used on the original recordings.

As we dig in, Steve shares his personal approach to synthesis, how he builds multi-dimensional sounds, thinks about atmosphere and texture, and shapes parts so they serve the song emotionally, not just sonically. He also reveals how he writes out synthesizer parts on score paper, treating synths like orchestral instruments and arranging them with real intention.

This isn’t a preset rundown or surface-level demo. It’s a candid, in-studio conversation about process, musical thinking, with hands-on demonstrations from someone who helped define the sound of an era. If you’ve ever wondered how these legendary synth parts were truly made, now you can get it straight from the source, this is a moment you don’t want to miss!"

F*ck With Sound ships Break On Through and Bring It On Eurorack Modules

Press release follows:

F*ck With Sound ships Break On Through and Bring It On, debuting dedicated DACS Audio brand with extraordinary Eurorack modules living up to noteworthy name

GATESHEAD, TYNE AND WEAR, UK: having opened ears in October when debuting during the Bristol, UK-hosted Machina Bristronica 2025 event showcasing electronic music culture and technology, dedicated DACS Audio brand F*ck With Sound is proud to ship Break On Through and Bring It On — opening an absorbing new chapter in the award-winning high-performance, well-engineered product producer’s four-decade-spanning design and manufacturing history with a FET distortion unit (based on an extension of what was originally a microphone level limiter) and a ring modulator boasting a super-smooth sound, really low breakthrough, and switchable WEIGHT and EDGE controls (which will both be familiar to users of DACS Audio’s legacy FwS FREQue, much-lauded as a 2U rack-mount, two-channel ring modulator outboard effect), respectively, representing extraordinary Eurorack modules living up to the newly-launched brand’s noteworthy name — as of December 15…

As a FET distortion unit based on an extension of what was originally a microphone limiter, the basic circuit behind F*ck With Sound’s Break On Through module has been used — and abused! — by producers for years, more recently emulated as a plug-in, before being effectively adapted to join the ranks of the ever-expanding Eurorack marketplace. Maintains DACS Audio Managing Director Dr Douglas Doherty: “After reading about Soundtoys’ Devil-Loc plug-in, I was intrigued. We were looking for a distortion unit to go in a mic pre under development. I had heard about Tchad Blake’s work with the original Shure Level-Loc — particularly on drums, and this seemed like a bit of serendipity that had to be acted upon! The perfect fit. In the end, we didn’t proceed with the mic pre, but it was clear that this would be ideal for modular system users.”

Bringing Break On Through to market as a 14HP-sized Eurorack module — based on a classic analogue microphone limiter design that was, according to legend, hijacked by an electronics-savvy record producer, and used on numerous records for ‘breaking through’ with drums and percussion, particularly — was easier said than done, however. “As always, there were many hurdles,” admits Dr Douglas Doherty, before continuing: “The original circuit was for microphones, so it had to be upped for line level; it was single voltage rail, so had to be adapted for dual voltage rail; the interaction of the threshold and input gain needed some tweaking; and we wanted to adjust the release. After a few prototypes, we arrived at the current unit, which is very responsive and versatile. Control-wise, it has an input gain [IN GAIN] and a threshold setting, which we call BREAK; as well as the manual BREAK control, there is also a CV input [IN] to modulate the threshold. There is a variable RELEASE control that can produce some very interesting results, depending on the nature of the input. On the output, we also have gain [OUT GAIN], and a CV input [IN] to modulate the output level [GAIN MOD].”

Musically speaking, the end result “…is a brick wall limiter that can — by upping the input level — be pushed into distortion,” describes Dr Douglas Doherty, justifiably proud of the fact that F*ck With Sound successfully upgraded and updated the circuit concerned to produce a colouring block with a vast pallet. “With dynamic material such as drums, it can be set for only peaks to distort — the rest remaining clean. That quality was commented upon by a couple of distortion aficionados atMachina Bristronica.” Break On Through features — hitherto unmentioned — worth highlighting here include: LED indication for distortion; solid metal sleeve jacks for longevity and stability; and custom DACS Audio aluminium knobs.

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Hexdrums: First Noodle (No talk, no drive)

video upload by Richard DeHove

"You want easy? Hexdrums is easy. The sounds are whatever the knobs are on. There are no hidden extra sound controls. The sequencer is wonderfully straightforward yet has the options to create long and complex passages on a single pattern.

This is my first pattern with Hexdrums and I created it to learn the options, so it contains a little bit of everything. Voices 1, 3 and 6 run for 24 steps; most of the others are 16 or 64; there's shuffle on voices 3 and 4; and about half the steps on voice 4 have some microtiming. Many voices use the 'play once in 4' or similar settings applied to various steps and I activated the option for those to affect the last time around rather than the first. Various voices also have accents on different steps. I replaced the cymbal samples with my own samples which is what you hear on voices 9 and 10.

I used the individual outs on the back to send the snare to the Echolocator and the low boom sample on voice 9 to the Nightverb. MIDI out on the Hexdrums controls the Echolocator clock. By that stage it was all feeling full so I didn't want to artificially squeeze in the hats so I left them for next time. Many people like to immediately apply loads of drive to the sound. I love drive, saturation, dirt, gain and distortion. But there's none here. Another thing for next time. Likewise only a tiny touch of compression. With me applying 'test amounts' of all these options, usually at random, it's a miracle it sounds as coherent as it does. Even so rolls and hits do appear at odd intervals, the result of the 24 vs 16 step interplay and the 1-in-4 steps.

Not surprisingly then I thought it best to leave the knobs alone and concentrate on muting parts to create this little demo. Obviously it's all a single take and has not been enhanced, edited or remixed in the DAW. Stupidly I had a loose cable going into the Echolocator which created a bit of hum which I did try to eliminate in the DAW.

My one sentence review so far: Hexdrums is incredibly easy to use with loads of effortless thump and a deep sequencer.

Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/"

Korg Polysix PS-6 Analog Synthesizer SN 461833

Note: links to listings are affiliate links for which the site may be compensated.
video upload by Liam

"This unit is currently available for sale on Reverb, Ebay and local selling websites. If the listings are up, it's still available."

via this eBay listing, also on Reverb

"Original Korg PolySix from 1981 in Very Good condition, everything working, no yellowing. Originally bought from Japan.

No MIDI upgrade. All original hardware. Every key works with no problems and every function throughout the entire unit is in good working condition.
Wood panels in good condition, natural wearing on some corners and a few nicks on the bottom but overall very good for it's age.
Metal panel on front has light scratch on the left side (pictured) and a few nicks on the edges towards the back, but overall nothing huge cosmetically. Key bed in good shape, almost mint condition. Used very lovingly for about a year, many recordings done with it.

It's very good for gritty 80's sounds, people often compare it to the Juno but I'd more so compare the sound to that of something by Sequential Circuits like the Prophet series, with a key bed that feels like a Juno, while any remaining character is completely it's own. It even gives some effects to play with that come from the turn of a knob, letting you enable Chorus, Phaser, or both while letting you change the intensity via the knob next to it.

I've included a demo of what this particular unit sounds like, playing Eyes by Clio, produced by Roberto Ferrante who also used only a Korg Polysix for the synth tracks.

Some other notable uses of this synth off the top of my head are Faces (Clio, 1985), Start Of The Breakdown (Tears for Fears, 1983), Subways Of Your Mind (FEX, 1984), Till The End Of Time/Animal In Me (Affair, 1984), Under The Ice (Topo & Roby, 1984), and just any underground European artists from the early 80s."

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Analogue Solutions Ample Desktop Monophonic Synthesizer

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

via this Reverb listing

"Mint condition...... And heck if a lot of fun and sounds awesome.

comes with all accessories (matrix pins/cables/power)

In perfect condition, everything works like it should. 2 to3 day shipping...

Ample combines the best elements of several of our recent products.

The sound elements of Fusebox
Jack patch points of Concussor Eurorack
Patch pin matrix of Vostok
Echo from Dr Strangelove
Sequencer and CV touch pads of Generator
It shares all this yet still has its own sound!"

Ample can be as complex or as simple as you want it to be

We have given this synth a large and diverse number of controls, that along side the patch sockets, will give even the best and experienced synthesist endless possibilities.

We have presented the controls in a user friendly and familiar synth layout that, together with this manual and other resources, enable even the new guy to get great sounds.

SYNTH – PERCUSSION – AUDIO PROCESSOR

Ample is a compact analogue synthesizer. Analogue - as in really analogue. Aside from the MIDI chip (which has to be digital), everything else is totally analogue using real transistors and op-amps. There are no CPU stabilised and quantised circuits, no DCOs, no digital LFOs and no digital EGs, as found on other so called analogue synths. The circuitry is based on designs dating back to the mid-1970s. So Ample has a genuine old sound.

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Turismo - Iterative Drone Composition

video upload by ALM TV

"Our Eurorack modular workstation the 'Turismo' is well suited for sequencing beats and groove box style patching but the versatile system can fit equally well into less structured environments. In this patch we explored using the Turismo for iterative drone composition, making use of the system's stereo line input and output and flexible set of modules to generate, record and reprocess sound in combination with a 4 track cassette recorder.

Check with dealers on the right for availability.

Additional details via ALM:


Our Eurorack modular workstation the 'Turismo' is well suited for sequencing beats and groove box style patching but the versatile system can fit equally well into less structured environments.

In this patch we explored using the Turismo for iterative drone composition, making use of the system's stereo line input and output and flexible set of modules to generate, record and reprocess sound in combination with a 4 track cassette recorder.

To start we connected the line out of the Turismo to the first 2 tracks of the 4 track, to capture our patch. We inserted a cassette tape and began recording a prepatched droning ambient soundscape to tape. The patch took full advantage of the system's collection of modules to generate and process the sound. Over the course of recording, we made some tweaks to the patch to subtly evolve our sounds. After a few minutes of recording we faded the sounds out and stopped the tape.

Reprocessing
Next we reset the system and rewound our tape, then repatched the output of the 4 track directly to the stereo line input of the MEGA MILTON utility module so we could reprocess our original patch back through the Turismo in a unique iterative compositional process.

We connected the amplified left and right outputs of the MEGA MILTON directly to channels 1 and 2 of the MEGA-TANG mixer and VCA, increasing their levels and hard panning them left and right. We set the tape to play at half speed, then began playback. The full system was then available to process the recording.

We connected the FX send of the MEGA-TANG to the record input of the Squid Salmple and returned the output for channel 6 back to the MEGA-TANG. Outside of conventional sample playback, the flexible Squid Salmple can be used like a live processor similar to a delay. To set this up, we started by creating a record buffer. We entered the record menu and locked recording to channel 1 by holding the Chan button and pressing the Rec button. We also set the record mode to 'overdub' for a smoother sound. Next we connected a x1 clock output from Pamela's PRO Workout to the record gate input to continuously trigger recording.

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The SpaceBass Polyphonic Guitar Shaped Synthesizer

Note: links to listings are affiliate links for which the site may be compensated.
video upload by TronixSynth

"24 touch sensors. Polyphonic. Play in any key and octave. Includes FM synthesis, PWM, Ring Modulation, built-in effects and filters.
Can operate with 9V Battery or 9V power adapter.
*For Sale On Ebay"

via this eBay listing

"SpaceBass - Professional Polyphonic Touch Synthesizer

Handcrafted Electronic Musical Instrument by TronixSynth.com

Unique capacitive touch-controlled synthesizer with professional sound quality and studio-ready features.

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KEY FEATURES:

Dual Touch Controller System:
- 24 capacitive touch pads
- Full synthesis with effects processing
- Bass PWM engine with punchy, clean output
- Guitar-style layout for intuitive playing
- Polyphonic - play multiple notes simultaneously

Four Synthesis Engines:
1. Analog Synthesis - Classic subtractive with three oscillators
2. FM Synthesis - Frequency modulation with adjustable ratio and index
3. PWM Synthesis - Dual pulse-width modulation with dynamic sweeping
4. Ring Modulation - Metallic, bell-like tones with carrier and modulator control

Professional Effects Suite:
- Reverb with room size, damping, and mix controls
- Chorus with adjustable rate and depth
- Flanger with feedback and mix parameters
- Dynamic filtering for expressive sound shaping

Musical Features:
- 7 musical scales: Major, Natural Minor, Dorian, Mixolydian, Lydian, Pentatonic Major, Pentatonic Minor
- Key transposition (+/- 11 semitones)
- Octave shifting
- Portamento/glide with adjustable time
- Detuning for thick, chorused sounds
- LFO modulation with rate and depth control

Sound Design Controls:
- ADSR envelope (Attack, Decay, Sustain, Release)
- Ladder filter with cutoff and resonance
- Multiple waveforms: Sine, Sawtooth, Square, Triangle, Pulse
- Independent sub-oscillator with level control
- Master volume control

Interface:
- 20x4 LCD display with clear parameter feedback
- Rotary encoder for parameter adjustment
- 8 preset slots with save/load functionality
- Visual feedback with progress bars and real-time values

Audio Outputs:
- Studio-quality 16-bit/44.1kHz audio
- 1/4" Audio Output Jack

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SAVE SETTINGS:

- Audio Memory: Optimized for low-latency performance
- Display: I2C LCD 20x4 characters with backlight

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PERFECT FOR:

- Electronic music producers and performers
- Bass players looking for unique synthesized tones
- Experimental musicians and sound designers
- Modular synth enthusiasts
- Studio production and live performance
- Chip music and retro-electronic artists
- Synthesizer collectors

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ABOUT THE BUILDER:

Created by Tony of TronxSynth.com, inventor of the AxeSynth (2004) and numerous experimental instruments including the Space*Synth, Lunar Module, and Sonic DrumAxe. Instruments have been used by professional bands including Mutemath and Velva. Each unit is handcrafted with precision and attention to detail, combining craftsmanship with innovative musical design.

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SOUND CHARACTER:

The SpaceBass excels at punchy bass tones, atmospheric pads, evolving textures, and experimental soundscapes.

*The fretboard is split into 2 sections, called Controller A & Controller B. Controller B provides immediate, unprocessed bass attack perfect for rhythmic playing, while Controller A offers lush, effect-laden sounds ideal for melodic content. The combination creates a powerful performance instrument with incredible sonic range."

Ult Sound DS 4 Percussion Synthesizer SN 812020

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

via this Reverb listing

"Exactly that YMO sound!
The ULT-SOUND DS-4 was released by Toyo Gakki in the 1980s.
It is a 4-channel analog drum synthesizer that is very famous for being used by Yukihiro Takahashi.
It is a famous made-in-Japan synth drum machine with a simple interface, yet capable of creating a wide range of sounds.

It has 4 channels: CYMBALx2, SNARE, and NOISE. You can immediately enjoy old-fashioned synth drum sounds.
Sine wave and square wave can be selected, and the oscillator with wide frequency range allows you to create a wide range of sounds by adjusting sustain, sweep, and tuning.
Not only synth drums, but also Mario jumping and intense SE sounds can be generated.

The warm, analog-like sound is sure to make you fall in love with it once you hear it!
Please experience that sound that only ULT-SOUND can produce.

* To play the sound, it is necessary to connect a drum pad for Eledora, or to trigger each channel from Para Out on a rhythm machine, etc.

All parts have been maintained.
This unit comes with a copy of the manual and a non-genuine AC adapter.
* Lid is missing.
Product Rank: B: Fairly, scratches & signs of use, but no problems in normal use applications.

Serial number: 812020
Case: No case
Manual: Copy
Other accessories: Non-genuine AC adapter
Note: Other accessories are only those shown in the picture."

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Ear Modular Introduces 暮秋 The End of Fall

video uploads by Ear Modular



"The End Of Fall is a feedback-filled effects unit in a 40hp Eurorack format.

By adding two expansion boards and replacing the front panel, it can be reconfigured as a standalone device.

The core of The End Of Fall consists of two ladder filters and two echo effects. The signal chain routes Filter A to Echo 1 and Filter B to Echo 2, with their outputs mixed together for the final output. Each filter features a CV control input for cutoff frequency, while each echo has a CV control input for delay time.

At first glance, this may seem like a basic setup, but The End Of Fall offers much more. It is filled with various feedback pathways:
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1. Internal feedback within each filter, from output back to input, creates a resonator capable of self-oscillation.
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2. The internal feedback within each echo is essential for creating the echo effect; excessive feedback results in endlessly decaying echoes.
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3. The output of Filter A is fed back into the input of Filter B, and vice versa. This design was inspired by experiments during the creation of Solar Card Type VII, where it produced unexpectedly complex and intriguing sounds on the card. This concept has been adapted for The End Of Fall.
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4. The output of Echo 1 is fed back into the inputs of both Filter A and Filter B, and similarly, the output of Echo 2 is fed back into the inputs of both filters. These two global feedback loops transform The End Of Fall into a circular structure without a clear front or back end, allowing sounds to intertwine within this loop.
​
Additional design features:
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1. Each filter and each echo has its own dedicated input. When feedback is not utilized, the feedback pathways serve as internal bridges, enabling various signal routing configurations such as echo to filter, filter to echo, echo to echo (for multi-tap delays), or filter to filter (for multi-stage filtering). With expansions, outputs can be taken from the end of any effect, allowing the unit to be used as a stereo effects processor.
​
2. The End Of Fall includes a noise source with two functions: it supplies audio to the inputs of both filters, and it serves as an oscillation source for generating internal CV signals.
​
The unit features four internal CV sources, each assigned to one of the four effects. When no external CV is present, these internal CVs provide randomly varying control voltages. If an external CV is connected, the corresponding internal CV is disconnected. These four internal CV signals are generated by sample-and-hold circuits sampling the noise source. Four knobs in the upper-right corner independently control the sample intervals of these circuits, introducing chaotic and unpredictable modulation. A CLK input can interfere with these four sample-and-hold circuits, partially synchronizing them while maintaining an underlying chaos.

There is a slight background noise from The End Of Fall when there is no output, but it does not affect normal use.​​​​​​​​​​"

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Introducing Absynth 6 – weird by design | Native Instruments

video upload by Native Instruments

"Absynth is back and better than ever. The legendary semi-modular synth built for evolving textures, immersive atmospheres, and expressive sound – now with new presets, a reimagined Mutator, Preset Explorer, surround sound and MPE support, plus much more."

And a few supporting member videos followed by the press release with images:

DATABROTH

video upload by DATABROTH

"Read my full review here: https://www.databroth.com/blog/absynt...
Join me December 12th at 9 AM PT in the Native Instruments discord as I live stream Absynth 6

check out my wavetables and presets at https://gumroad.com/databroth
join my Patreon https://www.patreon.com/databroth"

00:00 First Patch
01:21 Biolumin
02:21 Crystal Pad
03:14 Glitters
04:25 Refractions
05:41 Patch Six
06:33 Aetherized

Absynth 6 Review is Here: The King of Cloudy Pads Returns #absynth6 #absynth #nativeinstruments"

Ocean Swift / Faxi Nadu
video uploads by Ocean Swift / Faxi Nadu

Grab the Ocean Swift Absynth Collective for a huge expansion of over +780 presets! https://oceanswift.net/product/absynt...

Playlist:

1. Absynth 6 Review is Here: The King of Cloudy Pads Returns #absynth6 #absynth #nativeinstruments

"Native Instruments has finally released Absynth 6! In this exclusive first look review, we dive deep into the completely redesigned GUI, the new MPE capabilities, and the massive library of new presets Ocean Swift helped design.

After years of waiting, the legendary semi-modular synthesizer is back. As one of the external sound designers for this release, we've spent months exploring the new engine. In this video, we break down exactly what makes Absynth special and why the new UX modernization changes the game for sound designers and composers.

We cover everything from the new HD Mode and browsing workflow to the advanced envelope shapers that made Absynth famous - now easier to use than ever.

The King of Cloudy Pads Returns? Finally here!

#Absynth6 #absynth #NativeInstruments #SoundDesign #Synthesizer #MusicProduction #VSTPlugin #newgear

00:00:00 Absynth Is Back!
00:01:16 UX and UI Remake
00:03:15 Revamped Macros
00:04:22 MPE and PolyAT
00:06:22 New Synthesis
00:08:00 Browsing
00:08:27 New Presets
00:09:48 Get +780 Presets!
00:11:13 New Samples
00:13:10 In Love"

2. Absynth 6 - Design a Patch From Scratch | Layers, Clouds, Macros & Note FX #absynth6 #sounddesign

Along the way we explore the unique features that make Absynth special: working with all three layers, using per-layer envelopes, dialing in note-aware effects, assigning macros, shaping clouds and filters, and sprinkling in small tricks and workflow tidbits. By the end of the video you’ll have a clear understanding of how to approach your own Absynth 6 patch design - whether you’re after cloudy pads, moving textures or more experimental tones. If you’re just getting into Absynth 6 or want to go deeper than presets, this walkthrough will help you unlock the synth’s semi-modular possibilities and design your own signature sounds.

Press release follows:


Native Instruments makes things “Weird by Design” with the return of fan-favorite soft-synth Absynth 6

The semi-modular powerhouse, overhauled for a new generation of musicians, featuring full MPE polyphonic aftertouch, surround support and an AI-powered browser

CLICK FOR MORE »

The Most Beautiful Synth In The World?

video upload by Oscillator Sink

"Sometimes an instrument comes into your life and it feels like it was designed and built just for you. The Polygene 2 from Gene Synths, for me, is one of those instruments. An instrument that looks forwards and backwards, that sounds fantastic, demands that the player interacts with it on its own terms and, yes, looks utterly stunning.

In this video we're going to explore it together, how it sounds, how it plays and how it makes us feel!

https://genesynths.com/

FX used in the second part of the video and the intros: Hate Echo by Circuitbenders.co.uk and the GFI Specular Reverb v3.

http://www.oscillatorsink.com"

Additional Polygene posts

5 things to like about KORG monologue w/ Solidtrax

video upload by Solidtrax

"Some monologue #sounds - #tips and some things I like about this little monster, ehrm, monophonic synthesizer from ‪@KorgOfficial‬ #monologue

Read my full review of the KORG monologue here: https://solidtrax.nl/korg-monologue-r...

Consider subscribing and liking the video and leave a comment to support my channel. Very much appreciated if you decide to do so!

Do you fancy some new sounds for your monologue - consider supporting and get the 100 sounds and sequences here: https://www.solidtrax.nl/product/anal..."

Analog Singular for KORG monologue | walkthrough of all sounds | no talking

video upload by Solidtrax

"100 New and flavorful #sounds for ‪@KorgOfficial‬ #monologue - These #sounds are suitable for ambient, documentary, EDM, house, IDM, techno, trance and various sorts of electronic dance music genres.

All sounds in this video are sourced directly from KORG monologue and have a touch of delay by the rather excellent ‪@OTOMACHINES‬ OTO-BIM. No external EQ, compression or other processing has been applied."