"The Novation MiniNova is a powerful, compact synthesizer known for its surprisingly deep sound engine—the same one found in the larger UltraNova. It is particularly famous for its vocal processing and "Animate" performance buttons.
Here is a breakdown of its key features in English:
Core Sound Engine Powerful Synth Engine: A versatile engine capable of up to 18-note polyphony and 5 effects per patch.
Oscillators: Features 3 oscillators per voice, including classic analog waveforms, 36 wavetables, and 20 digital waveforms.
Filters: 14 different filter types, including low-pass, high-pass, and band-pass, with various slope settings.
Modulation: 20 modulation slots to link synth modules together, plus 3 LFOs and 6 envelope generators.
Vocal Processing (VocalTune & Vocoder) VocalTune: Includes a built-in pitch correction effect to achieve that "auto-tuned" vocal sound.
12-band Vocoder: Comes with a dedicated gooseneck microphone to create classic robotic voice effects.
Voice Processor: You can also run external instruments through its filters and effects via the audio input.
Performance Controls Animate Buttons: 8 backlit "Animate" buttons that allow you to "warp" and trigger modulation in real-time.
Pitch & Mod Wheels: Tactile wheels for expressive playing.
Large Filter Knob: A dedicated, oversized cutoff knob for instant sonic control.
Arpeggiator: A built-in 33-pattern arpeggiator with real-time editing.
Hardware & Connectivity Mini-Keys: 37 velocity-sensitive mini-keys for a compact footprint.
Patch Storage: Space for 384 onboard patches (256 factory sounds included) and additional storage via computer software.
Junior is a 4-bit wavetable synthesizer based on the soundchip of our favorite vintage handheld video game console, bringing the raw and primitive tones of the original into present day.
All sounds in this video are 100% made with Junior without effects."
"Junior is a 4-bit wavetable synthesizer based on the soundchip of our favorite vintage handheld video game console, bringing the raw and primitive tones of the original into present day.
Not only is Junior the perfect lo-bit playground but also a completely unapologetic synthesizer with a unique palette that holds a very special place in many of our hearts. Perhaps it can find its way into yours too.
Based on the limitations and characteristics of the Nintendo Game Boy™ soundchip, Junior emits raw and harmonically rich 4-bit values that will cut through anything. From 0 to 15, there is nothing more and nothing less.
The tone generator in Junior plays back a custom wave buffer of 32 4-bit values which gets transformed by different sound shaping controls. Paired with a 7-bit LFSR noise generator, they form the perfect lo-bit palette.
Junior has four flexible modulators inspired by modulation sequencers often used in trackers (LSDj, Defmon, M8 ..) called Tables. The 16-step modulation table in Junior can be configured as an LFO, envelope, arpeggiator, MIDI input mapper and more.
While Junior simulates the Game Boy™ sound, it's not a strict emulation by design. It expands upon the original capabilities with a modern feature-set and control while staying true to the original. The balance between accuracy and fun is just right.
A modular synthesiser performance recorded on my terrace in Porto, built around the 4MS Spectral Multiband Resonator and the Serge Random Source Triple Waveshaper [with Play all Day's PlayFader].
This patch became something to play rather than explain, with dense cross modulation and unstable feedback paths.
Watch the companion video looking at the underlying patch structure here:"
Patch Memory #3 | Chaotic cross modulation with 4MS SMR and R*S Triple Waveshaper
"Another patch exploration video, this time focusing on chaotic cross modulation between the 4MS Spectral Multiband Resonator and the Serge Random Source Triple Waveshaper.
This is a short overview of the patch logic rather than a full performance or a repeatable recipe. The sounds are unstable by design and difficult to reproduce exactly.
Performance audio available on Bandcamp, alongside an additional piece here:
"All sounds, except for the drums, were recorded directly from the synthesizer to the audio interface and were not processed by any VST plugins. All effects are taken from the synthesizer and are contained in patches.
Was used 'Oberheim TEO-5! Modern Funk' collection of 96 custom patches
"Adventure into the creating lab and headquarters of Noise Engineering Co-Creator Stephen McCaul, where he and Kris create synthesizer modules and pedals that channel sounds from the past, future, and new dimensions. If you love synths, euroracks, modular synthesis, moog's, Wendy Carlos, and everything sci-fi, then this video is for you.
CHAPTERS:
------------------
0:00 - Intro
1:04 - Plus Synth Wall
1:50 - Jam 1 (Sax + Synths)
2:28 - Plus Wall
10:42 - Jam 2 (Sax + Synths)
11:16 - Plus Wall
13:00 - The Mothership (totally insane eurorack modular space station)
15:42 - DX7
16:00 - Fender Rhodes
16:51 - Moog Theremin Synthesizer
18:00 - More Synth Modules
18:49 - Synth Creation Lab (where everything is created)
22:37 - Jame 3 (Solo Synth)
23:07 - Pedal Land
23:43 - Custom Wood Equation Structures
24:06 - Original Designs
25:38 - Execution Space
26:15 - More Pedals (Dystorpia + Batverb)
27:17 - Closing / Thanks For Watching
------------------"
"Emax, Emax II, Casio SK-1, Roland Junos and everything mashed together with arcade sounds and kung-fu.
This is a blend of the studio production and a live performance of the track.
The track itself is called "The Kung-Fu Arcade" and is available (digital download) from me directly upon request."
"(c)2007-25 by RetroSound
supported by UVI: http://bit.ly/retrosound-uvi
One of my favorite tracks from the early 80s.
Human Nature by Michael Jackson from the album Thriller (1982)
Written by Steve Porcaro (Toto)
I used the Roland Juno-60 for the arpeggio and bass (original Jupiter-8), the Oberheim OB-Xa for pads, strings and horn sounds and the Emulator II for the Rhodes and guitar sounds."
synth tees: https://retrosound.creator-spring.com
Bandcamp: https://retrosound.bandcamp.com/
em
"Discover 158 acoustic and electronic sounds of all categories, for composing in lots of music genres! Initially designed for the dualo du-touch (https://dualo.com/dualo), the soundbank is now adapted for all MPE controllers! Requires Decent Sampler 1.13.11 or above.
MPE controls: Play with X, Y and Z axes on MPE keyboards such as Exquis (or only on Z axis on Polyphonic Aftertouch keyboards) to modulate notes individually, and play with the 4 knobs to apply effects. A certain number of sounds (especially acoustic) also react to velocity.
Exquis owner? Use presets within Exquis app (Decent Sampler V.1.15.0 required) Once you purchased Dualo Legacy soundbank, open Exquis app and scan Decent Sampler plug-in as VST3, then download the Dualo Legacy soundbank from Decent Sampler store. You will then be able to load all Dualo Legacy presets from the Presets tab. Percussion presets are automatically linked to custom key layouts for Exquis keyboard.
"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"
"Experience a complex web of audio feedback with three powerful modular systems: the Serge Paperface 50 Helios, Paris Flash, and Tempo di Roma. This video showcases their unpredictable, nonlinear behavior, producing textures and sounds that evolve in surprising ways.
All sounds featured in this video are included in the latest release of my Serge Modular Synth Sample Pack, giving you full access to these unique modular tones for your own productions.
Get the sample pack here: Serge Modular Synth (Sample Pack) https://akihikomatsumoto.sellfy.store..."
"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!"
"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."
In the 1990s, PCM synths were at their peak, but club scene artists were already searching for a more flexible, analog sound, hinting at the coming analog revival of the 2000s.
It was in this context that the Prophecy was announced in 1995, offering more flexibility and timbral capabilities than ever before heard. Defined by the cutting edge digital signal processing technology and a DSP chip formerly used exclusively for effects processing, the Prophecy Solo Synthesizer is now available as a software plugin, with the ease of use, polyphony, and modern features necessary for today’s music production.
KORG Collection - Prophecy, a legendary physical modeling synthesizer developed with the aim of offering freedom of expression beyond analog synthesizers and unprecedented sound creation possibilities, has evolved even further in its expressive capabilities. In version 1.5, the quirks of the hardware Prophecy can now be expressed even more precisely thanks to deeper creative input from the brilliant minds in the original Prophecy development team.
Version 1.5 also adds 180 new programs. This unique sound collection brings out the individuality of the Prophecy, ranging from fresh, software-only sounds to those that pay homage to the original Prophecy and pushes monophonic sound design to all new levels.
Prophecy for Mac/Win uses software to fully reproduce the original Prophecy’s MOSS (Multi-Oscillator Synthesis System) and is equipped with five of the seven total oscillator types:
Standard Oscillator for Analog Synth Sounds
Noise + Comb Filtering
VPM (Variable Phase Modulation)
Cross / Ring / Modulation and Sync
Physical Modeling (Brass Model Oscillator, Reed Model Oscillator and Plucked String Oscillator)
The sounds from each oscillator model can be processed using a nonlinear wave shaper. In addition to the oscillator and wave shaper sections, there is also a sub oscillator and noise generator.
"My first video with the Arturia Minifreak! What and amazing and versatile synth! Was really impressed of how it sounds and all the features it has in such a small form factor 🤩
As usual, I recorded this jam only a couple of hours after getting the Minifreak, it's really very easy to get started with!
However it did take me a lot of time to record all the parts in multitrack (though it is a OneSynthOnly jam), mix the audio and edit the video, really hope you'll enjoy it ☺️
Here's how I proceeded:
I first "played" the NDLR sequencer and recorded the MIDI notes on 4 different tracks for the BASS (= DRONE track on the NDLR), PADS, MOTIF-1 and MOTIF-2.
Then I sent the MIDI notes from each track to the Minifreak and tweaked the knobs etc. in real-time (except for the LEAD part which I played throughout in real-time).
** Hardware used **
// BASS, PADS, MOTIF-1, MOTIF-2, LEAD
Arturia Minifreak (polyphonic hybrid keyboard with dual digital sound engines and analog filters)
"Low Poly Synth is a generator of melodic atmospheric sounds with billions of unique timbres. https://warmplace.ru/soft/lpsynth (standalone app for all systems and AUv3 plugin for iOS)
The app is built on modified synthesis algorithms from Fractal Bits, Relic Waves, and Relic Flow, with the addition of pure tone generation code. The sound space is divided into 4294967296 presets, each corresponding to a set of 8 sample textures. The volume of an individual sample can be adjusted in the top panel or via MIDI. The bottom panel is a classic musical keyboard that sets the note for the sounds in the set. Each note triggers all 8 samples at once - together they form a complex harmonic pattern that almost never repeats over time due to the different lengths of the looped fragments.
Features: search for new sounds with three buttons: next random set, edit code, previous set; each set of 8 sounds corresponds to a code of 8 characters (you can save/copy/paste it as plain text); three types of keyboards for live performing: on-screen, PC keyboard, MIDI input; for the on-screen keyboard, you can set the number of displayed octaves and scale; 20+ parameters can be controlled via MIDI or directly through the app interface: Settings / MIDI Mapping; real-time audio recording to WAV (32-bit); export to: WAV (one file or a set), SunVox (samples + effects in one file), text clipboard; the LCK button freezes individual samples - they will not change during the search for new sets; Wi-Fi export/import; iOS: Audio Unit Extension (AUv3).
Please support my work: https://warmplace.ru/donate"
"Demonstration of all the factory preset sounds of the ARTURIA MICROFREAK synthesizer. Using a MIDI controller to make playing the synth easier as it has capacitive keys."
Lesson packs available for one-time purchase on Patreon.
"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.
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"
"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.
---
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 Memory: Optimized for low-latency performance - Display: I2C LCD 20x4 characters with backlight
---
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
---
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.
---
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."
