"'King Beat' Rhythm-Matic R2000 Drum Machine Vintage - Wood Finish. Likely distributed through Sears. Fully functional with a killer sound. Interesting low end that sounds killer distorted and smashed with compression. All patterns work with consistent tempo. The metronome sounds like a bass drum which is useful. Fun and straightforward machine."
Did you ever serve under #generalmidi #Roland
This is a Roland SD-35 Sound Canvas, which is a 3.5 inch GM\GS midi player. It can record also but I have not tried that.
The midi out is connected to the midi in of the SC-88vl so we are hearing its sounds.
If you have a SD-35 and wondering why you get NOP errors when trying to listening to a midi file. Try resaving the file as Format 0, make sure the tick rate is something normal like 240 or 480 and most importantly if theres no time signature event you have to add one, I use the software call Sekaiju to do this. It is windows only.
Filmed on a Sony ZV-e10 camera in 4K with a vintage Japanese made Soligor 35mm sawblade lens wide open, which gives the vintage glow.
Audio recorded on a Sony PCM-M10 which was placed in my studio were my head would be when mixing, JBL 305 monitors and a KRK sub.
Music used to demonstrate this vintage gear is The Secret of Monkey Island, by Micheal Land, property of Lucas Arts."
It was inevitable. The Metasonix S-1000 Wretch Machine is now in the 6U rack on top of the ElectroComp EML 200 stack. Just to the right of the Metasonix TM-1, TM-1 SE, TM-5, TM-2, TM-7, and Zerosum Inertia Cenotaph. We’ve tried to find a TM-6 to add to the racks for several years now, but to no avail, so why not just put the S-1000 here? Duh. This was a test video, with the EML 200 square wave driving the Synthetic Sound Labs 1600 clock divider, which triggers the S-1000 and drives the EML 200 envelope and the Analog Craftsman acRLS shift register thing, which modulates the S-1000 oscillators, pulser, and filter. Both signals get spring reverb from the EML 200. Sounds like creatures to me."
"Percussion from the Wreckage. Clank over clap. Texture over purity. 🏙 Wasteland Rhythms is a collection of 64 percussive sounds for Elektron Digitone II, crafted to evoke a sonic world where synthetic ruins meet rhythm. It includes: 17 Percs, 11 Basses 7 FXs, 7 Snares, 7 Kicks, 5 Sequences, 4 Textures, 3 Plucks, 2 Arps, 2 Hi-Hats.
🌌 Imagine broken androids tapping out messages with their worn-out joints. The textures are sharp, metallic, and decayed—yet strangely alive. From glitchy ticks to heavy, body-like hits, every sound feels scraped from a dying factory or salvaged from a forgotten drone. Inspired by cyberpunk ruins, rusted chrome, and neon-lit wastelands, this pack transforms Digitone’s FM engine into a rhythmic relic generator.
💎 Designed for producers who prefer clank over clap, and texture over purity. Try out all presets on different octaves to unlock unexpected tonalities and rhythmic artifacts. Some patches shift character dramatically—what growls low might tick high. Ideal for genres such as: Industrial Techno, EBM, Ambient, IDM, Glitch, Noise. Deconstructed Club.
Make sure you are using the latest Digitone II firmware. 💡 Compatible with Digitone 2 only. Not compatible with Digitone 1.
"This is a demo of one of my vintage modules that I just radically updated. First, a bit of history. Circa 1988, I was browsing the Hosfelt Electronics catalog, and saw a bunch of little circuit boards there that made different 'emergency' siren sounds. Of course, I couldn't resist buying all eight of them that they had, and designed a synth module around them that allowed me to switch (manually or via external signals) the audio output from any of them into the left or right channels on a common stereo mix. In addition to a linear mix, I also combined them via a chain of exclusive ORs (the VCOs on these units produced square waves), again selected by the same gates - this produced kind of a ring modulation sound (Exclusive OR's can be thought of as 1-bit multipliers). On the front panel, I also provided outputs from each oscillator independently, as well as the ability to inject independent voltage control into each oscillator.
Despite my attempts to leverage this module into different patches, it retained a distinct identity - e.g., the sound of a major urban emergency - that limited its usefulness. You can hear a short demo excerpt I recorded on it circa 26 years ago here- http://Paradiso.media.mit.edu/Outgoin... - I'm switching outputs from the alarm circuits randomly to left and right channels throughout - the first half features the linear mix and the latter half the XOR mix. You can clearly hear that this module makes a very strong statement -as such, it didn't appear much in my pieces over the years.
But I still saw big potential in it. 8 oscillators aren't much by today's digital standards, but as I can switch them into different paths dynamically, it's got promise. The main thing I had to do was to be able to turn off the LFO control of each oscillator that made the siren sounds and think about coordinated ways to control this bank.
So a month or two back, I embarked on this journey, enabling the LFOs to be switched out of the audio oscillator voltage control paths (but giving independent access to them all, providing LFO outputs on the front panel and in most cases voltage control of LFO frequencies), plus providing adjustable voltage control of each oscillator as well as different kinds of ensemble voltage control (e.g., controlling all 8, controlling the top vs bottom 4, controlling even vs odd channels), as well as being able to adjust the base frequency of the ensemble and the base for each independent oscillator. Witness the massive augmentation of the front panel, as well as the wild nest of wiring below to do this hack in the midst of this video.
But low-and-behold it's done. This isn't a voiced device - the oscillators are linear, hence don't hold tune collectively as you shift frequencies. This, for me, justified the hack - I've got plenty of oscillators that I can already voice and track harmonically - this unit is now about nudging frequencies collectively and independently to go through different kinds of dissonances and occasionally sweet spots in a deep ensemble fashion. Plus, if I want to, I can switch channels back into siren mode, or use their LFOs in more flexible ways (each of the LFOs sports a different kind of waveform).
OK, IMO it grew into the monster that I hoped it would become, as you can hear in this live recording. Here I routed both the linear and XOR outputs through different complex reverb units, fading them up in different ways and at different times, and switching the oscillator outputs dynamically into different channels using digital gates coming from other modules in my system (occasionally I would hold some or all of the gates to just let the thing drone). I also injected different kinds of ensemble control (all, even/odd, top/bottom) at different times to bend the frequencies a bit, driven by triggered envelope generators. All sounds come from this revamped 'Beeps' unit - one voice was routed through an octave divider to bring it lower, and some effects were used, plus the reverbs nicely put this beast into a dense dreamy space. Despite the complexity, it's one of the simplest patches I've made - you can see it in the little bit of pan-around video I put into the middle of the clip.
My usual disclaimer - heck, only 8 oscillators with simple control paths could be done trivially in software now (one of my hero-pieces, Dave Wessel's 'Antony', an inspiration here, used hundreds on IRCAM's 4x (or 3x back then?) circa 30-40 years ago), and there are probably Eurorack modules around like this now too, including some that I may already have. But this connects to something I made in my relative youth, turning it into the sonic tool that it wanted to be. I hope you enjoy this demo!"
"🔥 In this video, you can listen to all 28 patches 🎛️ included in the new J3PO 'Funk and Fusion Classics' patch library for the Prophet Rev2 🎹
I designed these patches for playing several shows with Herbie Hancock at the Hollywood Bowl. Sharing the stage with Herbie and the original Head Hunters was one of the most surreal and meaningful experiences of my life, a true full-circle moment as a lifelong fan.
These sounds were designed for tributes to Wayne Shorter and Weather Report, Herbie, Joe Zawinul, Stevie Wonder, Chick Corea, and more. From 'Chameleon' to 'Black Market,' these are stage-tested patches built for funk and fusion. This is the third volume in my 3-part Rev2 series, completing User Bank 4 (001–128) across all three packs. If you already have Vols. 1 and 2, this finishes the set. And if you’re new, you can now grab the full bundle. Check the link below for more info.
I also have patches available for the Omnisphere, Prophet 6, OB-6, OB-X8, Prophet 5/10, Super 6, Softube Model 84, Model 72, Arturia OB-Xa, Arturia Stage-73 and many others. I have a sample pack, "J3PO x The Ox" (hip hop and soul keyboard and drum loops) available on Splice.
About the artist: Julian “J3PO” Pollack is a Los Angeles-based keyboardist, producer, and sound designer, renowned for his virtuosic yet soulful blend of jazz, fusion, hip-hop, and electronic music. He has toured and/or recorded with legends including Marcus Miller, Terence Blanchard, Chris Botti, Herbie Hancock, Santana, Talib Kweli, and many others. He has released several acclaimed solo albums, most recently SOUL & CIRCUITRY (Ropeadope, 2025). A former guest on NPR’s Piano Jazz at just 18, Julian is also a sought-after sound designer for top synth companies like Nord, Sequential, Oberheim, and Spectrasonics.
Listen to the new album: https://lnk.to/soulandcircuitry"
"Exploring deep basslines and cinematic textures with the Teenage Engineering OP-XY – a dark synth journey inspired by Stranger Things.
There are moments like this when I feel lost.
Every time, I tell myself that I need to move on, change things up a bit, make a jam with another synth; but the Teenage Engineering OP-XY is a vortex that pulls you in once you find the right sounds, the rest just flows naturally. This happened with the Danger Things sound pack by Metropolis Border, inspired by the dark atmospheres of Stranger Things: as soon as I started listening to it, something clicked, and just dropping in a deep bass was enough to kick everything off. In the track, I also used some of OP-XY’s default presets, and I realized that with just a touch of sound design, you can bring out some really great things. At the bottom, you’ll find links to all the packs I used.
As usual, the beginning is very ambient, but the track quickly evolves, taking darker and more mysterious turns, until it reaches the rhythmic part, which is definitely more intense than usual. I only prepared the song’s scenes, but I preferred to perform it live. During the performance, I let myself go, especially towards the end, really getting into it: OP-XY’s punch-in effects are as simple to use as they are effective.
🎧 For the full experience — including subtle textures, punchy bass, and detailed drums — headphones are highly recommended.
Into synthwave, ambient vibes, and experimental grooves? Hit subscribe for more OP-XY sessions, live jams, and sound design experiments straight from the Teenage Engineering (but not only) playground."
Click the arrow in the right of the image to go through the set.
Don't miss the links further below.
"TOMITA, CASIO & THE COSMO SYSTEM: Casio collaborated with Casio way back in the early 1980’s to create the COSMO synthesizer which was a huge rack of custom devices and computer system that ultimately became the CZ-101 Synthesizer and FZ-1 Sampler…the first 16bit sampler. From what understand the CZ-101 has in its code something like 64 different waveforms of which only 8 were selected for the CZ. I’ve seen someone post about this and was trying to make them accessible. Phase Distortion synthesis is the “real” FM (again as I’ve read somewhere) and Yamaha’s FM is different though I’m not sure what those differences are. The CZ started my career as a sound designer and remains one of my Top 3 instruments though I use the Virtual CZ soft synth by Oli Larkin. I have my entire collection of sounds from all the way back to 1986 and all the ones used on my “Lost Childhood” albums that were done with just two CZ-1’s run from a Roland MC-500 MIDI sequencer in real time through a Roland R880 digital reverb direct to DAT. A fantastic and classic synth! 🎛️ 👽"
"Just a couple of first impressions of this SH101-like mono synth. I think it's got that sound going, and I like the form factor as well! Please don't ask how this compares to x or y - all I can say, I immediately like it :) Tweaks and mods coming along soon!"
"Some @rolandglobal #sh01a #sounds - #tips and some things I like about this small but fat sounding synthesizer from Roland - Shot with #nikon - Recorded in @bitwig Studio - @ArturiaOfficial keystep37
"I created a definition file for the digital synthesizer 'PRA32-U' by ISGK Instruments for the Renoise scripting tool Guru.
All sound parameters of this synth can be controlled by MIDI Control Change (CC) messages, so the mapping was very smooth. By simply associating each parameter according to the CC number, you can intuitively create sounds in real time in Guru.
This allows you to use the PRA32-U in Renoise just like a software synth, making the fusion of trackers and hardware synths even more comfortable.
It looks like it will be useful for live performances and improvisational sound design."
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.
"Crafted from the Unpredictable https://akihikomatsumoto.sellfy.store... This evolving sample pack is a curated collection of sounds generated entirely with the eccentric modular instruments of Ciat Lonbarde. Featuring raw sessions recorded with Peterlin and Plumbutter 2, it offers a unique sonic palette ranging from fractured noise textures to rich ambient drones and abstract one-shots.
116 Oneshots 30 Drones xemptyz The Handcrafted World of Ciat Lonbarde Ciat Lonbarde is the creation of instrument builder and sound thinker Peter Blasser. His designs reject conventional synthesis in favor of circuits that behave like living organisms. These instruments respond with tactile irregularity and voltage-driven nuance. This collection is not a digital imitation. It is the real analog, shaped in real time by touch and signal.
For the Forward-Thinking Producer Whether you’re working in experimental ambient, leftfield techno, cinematic sound design, or simply seeking sonic material that resists the algorithmic polish of modern production, these samples offer tactile character and genuine unpredictability. No two loops are alike. No modulation repeats.
What’s Inside Atmospheric drones Textural noise beds One-shot percussive blips and pulses Select loopable material with musical intent Files designed to inspire both immediate use and deep sampling exploration Free Lifetime Updates Your purchase is not a one-time transaction. This pack is a growing archive. New recordings are added continuously at no extra cost. Previous buyers already have access to the latest updates. If you haven’t joined yet, now is a perfect time."
Rest in Peace Ozzy
One of my favorite tracks.
Mr. Crowley by Ozzy Osbourne from the album Blizzard of Ozz (1980)
Featured the Moog Minimoog, the Logan String Melody II and the Roland VP-330
This cover song series contains my own recreations of my favourite songs from the last 50 years. The original music from which I take inspiration belong to their respective owners. I recreate tracks only for personal passion and to pay homage to these tracks.
My intention is not to create covers that sound exactly like the original (if you want to hear identical sounds, please listen the original). It's more of an inspiration with my sounds from the old synthesizers from the past and of course the great appreciation for the original performers and producers."
"A rare opportunity to buy a Fenix 2D and rare sequencer 3
The 2D signature is the best sounding one. I had the 2 as well but sold it after i heard the 2D. This one is based on cem oscillators also the delaytime is longer. Based on vactrols . it sounds amazing. i put them in beautiful walnut cases and thank god no adapters but just euro -plug. It comes with original manuals /boxes and banana-cables. Also lots of rare spare-parts for both machines. This synth had nothing to do with the PP wich has different chips and also different then the original 2.
"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!"
"As my grandmother used to advise: 'They can't shoot you for asking'. So I asked GamechangerAudio if they might send me a Plasma Voice module - and here it is.
It's easy to get started - just send it a trigger or a MIDI sequence (MIDI adaptor cable is included). From there you can get as complex as you like. In the first noodle the DB-01 is sending it a basic pattern and the Plasma Voice and DB-01 are doubled up playing it. Some synced LFO CV is switching voices in the bass and lead category. My daughter pulled a face when she heard me editing this and said it sounded 'loose', so I added some drums in the DAW. And then a few extra vocal samples for seasoning.
CV comes from the SPC Neptune 8-LFO module (currently in development). This is an early prototype but is just the thing for sending lots of synced modulation. The Plasma Voice loves being fed.
The second piece is pure Plasma Voice fed into the Nightverb. Quotes are from the original 1938 Halloween broadcast of The War of the Worlds. Again lots of CV tweaking the core sounds.
As usual the sound is not subsequently modified, EQed or processed in any way in the DAW (except the added drums in Noodle 1).
"The Moon Performance System is an innovative music creation tool launched in 2023, combining hardware and software design principles. It integrates a MIDI controller, FM synthesizer, and drum machine sequencer into a unified system. At the core of the system is its dual-circuit board MIDI controller, designed symmetrically, with the left section controlling the sequencer and the right section controlling the synthesizer. This design makes the controls more intuitive and efficient while providing aesthetic harmony throughout the controller. Furthermore, the controller’s dual circuit boards can simultaneously connect to two computers, allowing for independent control of the synthesizer and drum machine sequencer, with the ability to switch instantly and perform concurrently, greatly enhancing flexibility for live performances and music creation.
The software component of the tool is built within Reaktor, with developers utilizing its powerful modular construction tools to create highly customizable and flexible audio and control modules. The Moon Performance System’s drum machine sequencer is powerful, allowing users to adjust drum tones and pitch without needing additional sound packs. Users can select from a variety of effects and perform mixing, making it versatile for different musical styles.
The Moon FM Synthesizer is equipped with an advanced frequency modulation (FM) engine that allows modulation between oscillators for precise control of FM sound colors. The XY-axis visualization interface makes envelope and filter adjustments more intuitive, and when combined with effects like distortion, delay, and chorus, it easily creates captivating sounds. The Moon Performance System not only meets the diverse needs of music creation but is also especially suitable for live performances, as its sleek design allows creators to focus on music creation and performance without worrying about complex operations. The project won an Excellence Award in the Music Technology category at the 2024 IEMC International Electronic Music Competition, showcasing its outstanding performance in sound innovation and technological integration."
[pictured] Moon MIDI Controller Moon Sequencer Moon Fm Synthesizer
"🎵 Welcome to Cheerful Electronics OPL Studio - First Contact! 🎛️ In this sound design experiment, we dive deep into the world of FM synthesis using the powerful OPL Studio, exploring retro sounds inspired by classic OPL3 chips. Whether you're a fan of chip music, vintage FM synths, or curious about pushing the limits of sound design, this video is your perfect starting point.
Get ready for rich, textured tones and quirky sonic explorations as we showcase the raw potential of OPL Studio. This first contact session covers live tweaking, patch creation, and modulation — perfect for anyone diving into retro synth workflows or looking for viral FM synthesis content.
If you're into chiptune, retro game soundtracks, or nostalgic hardware-driven music, you'll feel right at home. Watch now and get inspired to experiment with your own OPL3-based synths and plugins!"
OPL Studio is the ultimate OPL2 / OPL3 synthesizer! It gives you almost limitless control over what you can do with the OPL3 synthesizer chip.
Features of OPL Studio
OPL Studio has a long list of features. To name a bunch of them:
Integrated patch editor to edit predefined instruments and create your own Load and save instrument banks from popular formats such as *.BNK, *.SB, *.O3, ect.
Patch linking to layer up to 4 instrument patches for even more complex sounds Polyphonic sequence editor to create up to 32 drum and 32 melody sequences Quad sequencer to live play up to four sequences
Composer module that lets you create complete songs from your sequences Midi channel mixer
"Please support my work on Patreon: / jayhosking Three song sketches featuring the Donner L1 synthesizer.
00:00 - Ambient 04:38 - IDM-ish 10:48 - Video game music
Fair warning: Donner sent this one along for free. The only stipulation I agreed to was to post this link so you could find out more about the synth, and they would know that you came from my video: https://datasink.rantion-admin.com/t/zy
It's hard to overstate how much this one appeals to me. A budget analog synth that sounds remarkably like my Roland SH-101, but has a triangle wave, second envelope, velocity options, stored sequences, MIDI, a removable keyboard, and a bunch more. The SH-101 is a simple synth, but it's one of my favourite subtractive sounds, and the L1 is the best modernized version of it that I've played. It's the kind of thing I wish Roland were making in 2025, and I would have bought it even if Donner hadn't sent it to me.
Here, I explore the L1 from a few different perspectives, showing off how I'd use it in making music, how it sounds on its own, with effects, and with other instrumentation.
Everything performed and recorded live to a stereo output, with EQ, compression, and limiting on the master.
