A faithful emulation of a machine older than your dad's synth collection.
Four oscillators, a full patch bay, and a state-variable filter with an INPUT DRIVE stage that distorts inside its own resonant loop — the original's signature scream, modeled all the way down to the resonance itself breaking up under drive. Duophonic voice architecture, a MODULATOR that goes OFF → AM → RING, a sample & hold SAMPLER clocked off OSC 1, and enough patch points to make questionable routing decisions like it's still the Nixon administration. Patch it by hand for hours, or hit EZ to find something you wouldn't have thought of in a million years.
- Four oscillators — OSC 1 steps through triangle/saw/square/pulse/sine across HI/LO range, OSC 2–4 morph continuously via COLOR — feeding a duophonic voice architecture (KB1/KB2)
In this video, I’ve tried to briefly outline the main functions of the M-Wave FM-1 synthesizer. I didn't focus on simply switching algorithm - there are plenty of other reviews covering that - but instead delved into the finer details. I also demonstrated M-Wave’s new stereo effects, showing how they work with the FM-1 and sequences using my own custom presets for the synth.
Timeline:
00:00 - 00:50 Introduction
00:50 - 04:02 Internal FX's Overview
04:02 - 04:42 Few words about Sequencer
04:42 - 06:15 External pedals M-Vave Elemental Pro & Galaxia engage in work
06:15 - 07:33 Jamming with Sequences from "Ambient & Dreams" library for FM-1
07:33 - 09:22 EDIT button & FM Operators
09:22 - 10:20 LFO funcionality
10:20 - 13:20 ARP analysis
13:20 - 13:54 Explaining the ENV (Envelope)
13:54 - 15:10 More about EDIT button & 6 Operators work
15:10 - 15:38 Ideas of sound programming for M-Vave FM-1
15:38 - 18:32 Examples of 'Ambient & Dreams' Presets & my Sequences
18:32 - My Conclusion
"This distorted acid lead is not a sample: Profligacy emulates the Korg Prophecy, the synth behind that Prodigy sound.I tested the plugin by Joe Landers in Ableton Live. CPU usage stays at just 5–8%.In this video: The Prodigy-style sounds, the automation behind them, and more presets.
🎹 What you'll get in this video:
• Profligacy: a free, open-source Korg Prophecy emulator
• CPU test in Ableton Live: 5–8% usage
• Prodigy-style acid leads and their automation
• More presets demos
• Honest limits: ROM required, alpha status, monophonic
⚠️ What you need to know:
• You need your own ROM of the original firmware. It is not included, and I don't provide or link it.
• The plugin is an early alpha version, so bugs are possible.
"The Roland D-50 and Roland D-110 both come from Roland's late-80s Linear Arithmetic synthesis era, but do they actually sound the same? In this blind comparison I play similar D-50 and D-110 sounds side by side, including warm pads, Soundtrack, synth bells, electric pianos, synth brass, Fantasia/Fantasy style patches, and dual-layer sounds, then reveal which synth was which.
The D-50 is the classic performance synth behind so many iconic digital sounds, while the D-110 is the rackmount, multi-timbral workhorse built for MIDI studios. This test is about the real character of each instrument: the modulation, the shimmer, the effects, the PCM attack, and how close the D-110 can get to the D-50 in practice.
"My free Roland D-50 Editor Librarian is a browser-based Web MIDI tool for backing up, browsing, importing and editing D-50 sounds without sending your patch data to the cloud.
In this video I show the full workflow from the YouTube transcript: connecting the D-50 over MIDI, enabling SysEx, reading the current edit buffer, opening a patch library, sending sounds to the synth, receiving a full bulk dump from the D-50, saving a library backup, importing SysEx banks, and editing classic D-50 patches such as Fantasia. The editor also makes it easier to work with the D-50's upper and lower tones, partials, PCM and synthesis structures, ring modulation, filter and amp envelopes, reverb, tuning and patch management.
The aim is to give the Roland D-50 a modern librarian/editor workflow: build a large library of card sounds and custom patches, search for sounds quickly, send patches to the edit buffer when recording, and avoid constantly swapping cards or managing small internal banks by hand.
"Ok, so maybe it's partly me. I do spend a lot of time tweaking my synth sounds to get them juuust right. Even so this box just mesmerises me when you hit the sweet spots.
ALL 88 ALGORITHMS
Every FM algorithm from the hardware, with the voiced and unvoiced operators the FS1R is known for.
THE FACTORY BANKS BUILT IN 1408 voices [patches], 384 performances and 90 formant sequences read out of the ROM, so the patch browser needs no dump of your own.
FSEQ PLAYBACK The formant sequences that made the FS1R sound like nothing else, with every loop mode, the start delay and MIDI clock sync.
THE FRONT PANEL IS THE GUI Down to the cursor stops and the controller set, read out of the firmware's own screen tables rather than off a photo.
VST3, CLAP AND STANDALONE Windows, macOS and Linux, built on every push, with no installer and no dependencies.
"I limited myself using only Stylophone Beat with Loopy Pro to make a chill lo-fi track. This little drum machine can also do neat bass sounds, which I've used to create a melody over the recorded beat.
I was usually using the Beat exactly as intended: punching in notes with its built-in sequencer (which is quantized), then jam over it with a synth or a guitar (so basically it was a groovy metronome for me). This time I wanted to try something new and use it exclusively to create something "off the grid", so I've played the Beat freely and looped it. With the use of some great effects I managed to elevate the sounds of this unit."
"This is an early exploration of the Whimsical Raps' Atrium, and a practice run of my piece "Wild Red Moon" (interesting to compare it to the final version, for variation in sound and behaviours - • Mesmerising sounds on the Atrium - "Wild R... ). [posted here]
Feel free to skip straight to the SYNTH TIDBIT, if you're not digging.
Head to my Patreon for more videos/tracks, tutorials & sound packs - / hazelmills
Note this appears to be the first post to feature the GODWIN CD2.
00:00 Setting Up 00:41 Introduction 01:28 UPPER MANUAL : organ tabs and polyphonic presets 04:13 Solo Synth 05:07 Debunking the Mystery 06:19 Drum Machine 08:26 Three Quick Improvisations 09:47 Lower Manual : organ tabs, solo synth routing and arpeggiator 11:18 Musical Interlude 12:42 Bonus Musical Interlude
"A fresh video entry in the category 'Rare as a unicorn on stilts' - this mystifying auto-accompaniment machine organ and synth from Italys' Godwin is the only one we've ever encountered.
These type of sound generators were controlled by foot pedals and electronic accordions, generally in the hands of one-man-bands providing light entertainment in places where people congregated, imbibed alcoholic liquids and sometimes even got up and danced. Remember those? Ski resorts, beach clubs, dance halls, restaurants and hotels, for drinks or dinner.
The CD2 (we're not sure what the abbreviation actually stands for but we're guessing Computer Drums) is actually more than sequenced bass lines and chords though. It's equipped with 2 separate preset- and organ sections and even a monophonic preset synth and the whole Shebang, unlike on many keyboards at the time, can be engaged simultaneously for massively wide and deep soundscapes. All those sounds need lots of circuitry safely housed in a military grade flight case. The GODWIN CD2 is well chunky, clocking in at a whopping 24 kilos.
The video explains most its specifications and includes a bit of history too but a summarisation would go something like this :
1. Sample Based Drum Machine with 16 Rhythms and 16 Drum Fills 2. Auto-Comp section with bass, chords and arpeggiator with 2 sounds 3. 2 x Organ Sections with 15 tabs total 4. 7 Polyphonic Preset Sounds 5. 7 Monophonic Synth Sounds 6. Various Chorus and Reverb Effects
If you're into rare Italian synths and drum machines you can subscribe to our channel and please check out our other videos of rare gems, but you might also enjoy the V.A.I. website, a photo book and encyclopedia Italian Vintage Synths and Drum Machines:
"Music: "Python" (C) Copyright 2026 Alfonse
Download the track here:
All sounds were generated by the Dreadbox Typhon, a monophonic analogue synth with 2 oscillators and stereo digital effects. There are conveniently sized knobs for a bunch of the key analogue parameters, including filter cutoff and resonance, and a central knob that allows you to morph between different waveform variations. Other parameters, including the effects, are adjustable using sliders on the right of the box.
"After listening the Nine Inch Noize version of Closer, I wanted to recreate one of my favorite sounds from the original track.
On the Sequential Pro 3, I designed a synth stab patch inspired by the iconic riff of this track from The Downward Spiral.
For the drums, I used the Elektron Digitakt, building a similar industrial groove using samples from my own drum library."
E-MU Ultra Proteus is one of the most unique digital rack modules of the 90s, and Morphing Worlds was created to bring out exactly what makes it special: Z-Plane filter movement, evolving pads, drones, textures, sweeps and expressive digital sound design.
This video demos Morphing Worlds, a 128-preset soundset for E-MU Ultra Proteus, built for musicians, producers and hardware synth users who want more than static preset sounds.
The Ultra Proteus is known for its PCM-based engine, its internal waveform ROM and its powerful Z-Plane filter architecture. This soundset focuses on that character, with presets designed to move, morph and respond through Modulation Wheel and Aftertouch.
"Hi everybody this time we bring you this weeks Synth Friday the M-Audio Venom The Synth with a Killer Bite!
The M-Audio Venom 49-key synthesizer combines the character of classic analog synths with modern digital processing to deliver an aggressive, infectious new sound. Whet your appetite with the included presets, then sink your teeth into creating original sounds—from atmospheric and subtle, to angry and downright nasty. Easily tweak parameters from the intuitive top-panel interface, or explore endless sound design and configuration possibilities with the included software editor. Perform bass lines, leads, and more with a full-size keyboard designed to satisfy serious players. You can even use Venom as an audio interface with Pro Tools* and other music software—forming a powerful production machine to take your music in dangerous new directions.
You can find additional M-Audio Venom posts here. It's worth noting the man behind the Vemon, Taiho Yamada, is an industry veteran who was also beind the Alesis Andromeda A6. You can find an exclusive MATRIXSYNTH review and interview with Taiho, including tips and tricks from the man himself, posted back in 2011 here.
"When I designed the control surface, I intended to use it to find a bunch of sounds and provide more presets for the mono and duo modes. And here we are.
In this video I demo Synth Strings 1 and 2, Percussive Organ, Sweep Pad, Tuba, Bowed Glass, Seashore and Breath"
In this sound demo, I’m playing several of my favorite sounds on this beautiful early-90s synthesizer, showcasing the unmistakable character and atmosphere of the Roland JD-800.
Released in 1991, the Roland JD-800 quickly became one of the most iconic digital synthesizers of its era. With its hands-on controls, powerful PCM sounds and unmistakable 90s character, it remains a favorite among synth enthusiasts, musicians and producers today.
In this video, you’ll hear the JD-800 in action through a selection of classic sounds that I personally love. No complicated technical breakdown — just the beautiful sound of this legendary synthesizer.
If you love vintage synthesizers, Roland keyboards, 90s electronic music and classic synth sounds, I hope you enjoy this little journey back in time."
"Modular Town — a synthesizer town, drawn by hand.
Modular Town is a single Amorph instrument: a hand-drawn village you scroll through, where every knob, step-sequencer and jack is mounted on a building facade wired by hand, just like real hardware.
🏭 Filter (Cutoff/Resonance) on the factoryVCO1 / VCO2 on the vending machinesDetune and Attack/Decay/Release tucked into the houses🥁 A 16-step drum machine (Drums Volume, Accent, Drive) running through its own sequencer🍜 Ramen Bass Shop, a mono bass synth with its own 16-step piano roll, playable live or sequenced. A day/night cycle you flip from a shop sign. Delay (Time/Feedback/Mix) on a canal-side wall. A full patch panel route LFO, ENV and random modulation across the whole village with real cables✨ Reverb, aged-paper texture and film grain for a sketchbook feel"
Microsonic Plug-In The same microsonic engine as the ODD-1, running in your DAW.
[ LIVE ] Use ODD-1V as a MIDI-capable live effect on your tracks. Four playheads you tune by hand. Eight-voice re-pitching from your keyboard. Full modulation on every parameter.
[ SYNTH ] Load up to eight stereo samples across two independent layers. Four playheads each, every one with its own speed, pitch and TIME PATH. Control-click any control to make it a modulation destination.
It started as a simple synth-tom experiment, but gradually evolved into a much more flexible percussion synth capable of producing deep kicks, toms, short noisy hits, laser-like sounds and all kinds of strange electronic percussion.
RudeBox is played dynamically from an external drum pad, with hit velocity affecting the generated sound. Its controls allow shaping the oscillator, pitch envelope, amplitude decay and transient click/noise:
• *Novation Bass Station II* — bass / synth lines • *Korg Volca Sample* — additional drums and samples • *Allen & Heath ZEDi-10* — mixing everything together
The idea behind RudeBox was to build something simple, immediate and playable rather than another menu-driven digital instrument. Despite running on an ESP32, it behaves much more like a small piece of dedicated hardware: plug in a pad, turn the knobs and play.
