Mutable Dreams for MPC | Product Preview · 3 Songs, 271 Biomes & a Playable Garden

video upload by Kid Bunka

"A garden that makes music — and an instrument you can play.

This product preview introduces Mutable Dreams for MPC by Kid Bunka: six generative tracks, playable instruments, performance pads and a botanical interface that moves with the music. This walkthrough follows three original short pieces rather than one repeated loop.

00:00 Night Garden — presets, macros and playable keys
00:33 Performance pads — textures and space
00:47 Shape, echo, hall and movement
01:20 Worlds That Think — WORLDS, LOGIC and SYNTH
02:21 Biomes and the engine-tone browser
02:36 Mutable Machines — Plaits, Braids, Rings and Elements
03:13 Modules and resonators
03:23 Clouds, Spectral and Beads
03:39 Freeze, final notes and credits

INSIDE THE PREVIEW
• 271 Biomes, 48 Worlds and 121 programs in the MPC preset list.
• Six generative tracks, or engine tones played with up to six voices.
• Playable Plaits / Braids, plus Rings and Elements instruments. Plaits offers up to 12 voices; the voice limit depends on the instrument and available DSP time.
• 16 performance pads for harmony, textures, space and form; velocity / pressure input where delivered by the host.
• Gesture capture, looping, overdub and six recallable Moments.
• Seven LOGIC rules and eight SYNTH engines.
• Warps, Rings, Clouds / Beads and Marbles integrations.
• Deep mode with stereo hall, ensemble and FM / VA unison, plus Classic mode for the earlier sound and saved projects.
• Main stereo mix and six dry track stereo pairs (14 output channels), subject to the host’s routing support.
• MPC transport, Q-Link control, MIDI input, project state and context help.

PRODUCT PREVIEW / COMPATIBILITY
This is a development preview. A public MPC release and download will be announced separately.
0.9.13 is a preview intended for Akai Gen 2 MPC models. Kid Bunka has tested and approved 0.9.13 on his Gen 2 MPC (confirmed 14 November 2026). This is not a claim that every Gen 2 model has been tested individually. Compatibility with older MPC models is still being investigated. A 32-bit file in a package is not a confirmation of older-model support. Use only a package and installation procedure confirmed for your exact MPC model and OS.

HOW THIS VIDEO WAS MADE
All music comes from the actual C++ plugin engine, rendered offline with scripted notes, pads and parameter moves. The interface is rendered on the Mac from the built plugin skin and synchronized parameter states. This is not a recording of an MPC screen or a filmed hardware performance. No voice-over.

THANK YOU
Every useful report, curious question and kind message has helped shape Mutable Dreams. I’m a beatmaker and producer building the instruments I want to play, and it means a lot that you’re exploring them with me. Thank you for helping this little garden grow.

Project: https://kidbee85-beep.github.io/mutab...
Instagram: / mutabledreams
GitHub (public FM-1 project): https://github.com/kidbee85-beep/muta...
Support development: https://www.paypal.com/donate/?busine...
Donations go into updates, new firmware and synthesizer-software development.

A friendly invitation to ‪@Akai_Pro‬ / @akai_pro to explore this independent community project. No Akai affiliation or endorsement is implied.

Credits: Mutable Dreams by Kid Bunka. Mutable Instruments DSP by Emilie Gillet and contributors, under the included licences. Built with the MPC Plugin SDK. Full licence notices accompany the plugin package.

#MutableDreams #AkaiMPC #GenerativeMusic

KORG Polysix – Vintage 80s Analog Synthesizer | Synthwave

video upload by RetroSound

"Korg Polysix + Moog Taurus = 70s and 80s vintage synths in one synthwave track

Take a journey into the cosmic side of early-1980s analog synthesis.
In this demo, I'm using only two vintage synthesizer machines: the legendary Korg Polysix analog synthesizer and the Moog Taurus bass pedals from the 70s.

No DAW. No modern plugins. Just vintage analog hardware, simple sequencing, and the unmistakable character of early-80s electronic music.

The Polysix is a classic 6-voice polyphonic analog synthesizer, featuring a VCO with sawtooth, pulse and PWM, a sub-oscillator, resonant low-pass filter, ADSR envelope, LFO, arpeggiator, chord memory and built-in analog effects.

The Moog Taurus is a analog bass pedal synthsizer from the 70s.

For this demo, I pushed the Polysix into a more cosmic, atmospheric and spacey direction, while taurus provides the deep bass foundation.

If you love vintage synthesizers, analog sound, retro electronic music, spacey synth sounds and classic drum machines, this one is for you.

Headphones recommended — turn up the volume and enjoy the cosmic analog atmosphere."

Website ► https://retrosound72.wixsite.com/home

Plinky 12 Chords, Blocks and Syntakt: Polyrhythmic Arps

video upload by Making Sound Machines

"In this video, Enrica and Roland from Making Sound Machines play a melodic house track, performing live with the built-in polyphonic arpeggiator.

Plinky 12 sends a MIDI clock signal to the Elektron Syntakt, synchronizing the tempo between both devices. Syntakt is a fantastic hybrid digital-analogue drum machine and provides the beats you hear in this clip. All synth sounds are produced with Plinky 12's internal synth engine.

Plinky 12's internal sequencer advances through a harmonic progression, while Enrica performs on the touch surface, editing the polyphonic arpeggio. First she extends the length of the loop, leading to great polyrhythmic shifts over the 4/4 house beat.

As the track progresses, Enrica taps the surface to add or delete notes in the arp pattern.

Roland operates a second Plinky 12, the Blocks panel to the left. It is configured to send MIDI messages from an XY surface to Plinky 12 Chords. This allows him to change the sound parameters remotely while Enrica performs on Chords at the same time.

This track was composed for a live set at Club Synth, an event our friends Stijn and Priscilla from This is Not Rocket Science are hosting and organizing quarterly at Ruigoord near Amsterdam. Thank you for inviting us and putting in the hard work to create such a lovely event!

CLICK FOR MORE »

Anukari 1.1: Strings, Tubes, Wind, and 1,000+ New Presets

video upload by Anukari 3D Physics Synthesizer

The Making of the Modulosphere: Behind the Springs

video upload by Anukari 3D Physics Synthesizer

Press release follows:

Anukari 1.1 Brings Strings, Tubes, Breath, and Over 1,000 New Sounds to the 3D Physics Synthesizer

The first major update since launch is built almost entirely from user requests, and it's free for every existing owner

PRESCOTT, Ariz., Nov. 10, 2026 -- Anukari, the synthesizer that makes sound from a real-time 3D physics simulation, today released version 1.1, its first major update since leaving beta in June. Where Anukari 1.0 let musicians build instruments from masses, springs, and mallets, 1.1 adds resonating strings, bars, plates, membranes, tubes, bells, a mouthpiece that lets players blow into their creations like a wind instrument, more than 1,000 new factory presets, and dozens of other additions. The update is free for everyone who already owns Anukari.

Almost everything in the release started as a request from someone playing Anukari. Resonators were the most-asked-for feature by far.

“After 1.0, I read every message people sent me, and the same ideas kept coming up,” says Evan Mezeske, Anukari’s founder and creator. “Version 1.1 is basically that list. Resonators were at the top of it, but nearly every feature in this release exists because a user asked for it.”

Resonators are virtual objects that ring like real ones do: a string that can be plucked or bowed, a metal bar, a plate, a drum membrane, a tube, a bell. Each one can be struck, rubbed, or blown, and each can be wired into the mass-and-spring contraptions Anukari users were already building. So, a bouncing weight can drum on a plate, or a swinging structure can vibrate a string.

“The palette of sounds in Anukari just got dramatically bigger,” says Mezeske. “Between the resonators and the mouthpiece, there are so many kinds of sounds and crazy ideas you can explore now that simply weren’t possible before. And because resonators connect to the mass-spring systems people already know how to build, it isn’t additive, it’s multiplicative. Every old idea suddenly has a hundred new versions.”

The new mouthpiece exciter brings breath into the picture, letting players drive tubes and other resonators with air, the way a player’s breath drives a clarinet or a trumpet. New spring types let objects collide and bounce off one another or hold rigid shapes, which opens the door to things like wind chimes, rattles, and clattering machines. The bow, mallet, and plectrum all gained new, much richer physical models as well.

Mezeske’s own favorite addition is the Modulosphere, a sphere that can float through the scene and change whatever it touches. “Anukari has this whole 3D space, and the Modulosphere is the perfect expression of that,” he says. “It’s a way of shaping sound that only makes sense in three dimensions. It really takes advantage of Anukari’s virtual 3D world in a unique way.”

Big ideas in Anukari can mean big structures, and building them by hand can be painstaking. Version 1.1 adds tools that generate whole shapes and duplicate pieces in patterns. It also lets musicians bring their own AI assistant. Anukari has no AI built in, but anyone who already uses an AI assistant on their computer, such as Claude or ChatGPT, can now connect it to Anukari, describe the contraption they have in mind, let the assistant build it, and then see and hear the result in a fraction of the time.

“Some of the most fun things to make in Anukari are huge and complicated, and that can be incredibly involved,” Mezeske says. “If you already use an AI assistant, you can now point it at Anukari, describe whatever you’ve dreamt up, and hear how it sounds much sooner. There’s no AI inside Anukari; it just gives your assistant the controls. It’s a tool for exploring crazy ideas faster. And if you’re not a fan of AI, I completely respect that. You don’t need to use it. The new pattern duplication is super powerful on its own.”

To show off the new possibilities, 1.1 ships with more than 1,000 new factory presets across four new banks, including a collection of orchestral instruments built entirely from physics, along with a redesigned preset browser with search, filters, and favorites to make them easy to find. Playing has improved too, with legato and glide, editable envelope and velocity curves, and steady, incremental reductions in CPU use.

Since 1.0, Anukari has also arrived on Linux, fully supported alongside macOS and Windows, and gained gravity and turbulence controls that let structures fall, sway, and drift.

Anukari 1.1 is available now from anukari.com as a VST3, AU, AAX, and LV2 plugin, and as a standalone app for macOS, Windows, and Linux. It is a free update for all existing owners. To celebrate the release alongside Black Friday, Anukari is 50% off through December 4. The free 7-day demo has also been reopened for everyone, including people who already used up their trial on an earlier version, so anyone curious about what’s changed can try it again.

GENE 616 - First Look

video upload by Gene Synths



GENE 616 is an all analog, stereo polyrhythmic drum machine with two independent CV / Trigger sequencers.

The upper sequencer controls the Bass Drum Generator and Oscillator 1, a Synth Drum voice with a unique architecture which can produce almost any frequency, multiple waveforms, sweet and soft or totally untamed and unhinged, and is CV controllable over a wide range of pitches, timbres and decay times.

The lower sequencer controls the Snare Drum Generator and Oscillator 2, which is the same type of Synth Drum voice but with slightly extended high frequencies.

CLICK FOR MORE »

Talk Talk (1982) | Vintage Synthesizer Cover | Oberheim OB-Xa & Simmons SDS-8

video upload by RetroSound

"Talk Talk (1982) | Vintage Synthesizer Cover | Oberheim OB-Xa & Simmons SDS-8
A tribute to the unmistakable sound of the early 1980s!

This is my cover version of the song Talk Talk by Talk Talk, originally released in 1982 as a single from the band's debut album The Party's Over.

For this version, I wanted to capture the raw energy, distinctive synthesizer sounds and unmistakable electronic atmosphere of the original recording while staying true to the spirit of the early 80s.

To achieve an authentic vintage sound, I used original hardware synthesizers and drum machines, including:

🎹 Oberheim OB-Xa (1980) – One of the legendary analog polyphonic synthesizers of the early 80s, famous for its powerful oscillators, rich analog character and distinctive sound.

🥁 Simmons SDS-8 Electronic Drum System – The iconic hexagonal-pad electronic drum system, bringing that unmistakable early electronic drum character and punchy 80s percussion to the performance.

🎹 E-MU Emulator II for the Yamaha CP-80 piano sounds

No attempt was made to recreate the song using modern software alone. The focus was on the character, warmth and personality of real vintage analog and electronic instruments.

'Talk Talk' was written by Mark Hollis and Ed Hollis and produced by Colin Thurston. Released in 1982, it became one of the defining tracks of the band's early synth-pop and New Wave period. It appeared on their debut album The Party's Over.

The song combines driving rhythms, atmospheric keyboards and the distinctive vocal and musical attitude that made Talk Talk such a unique band in the British New Wave scene.

This version is my personal musical tribute to an unforgettable era of electronic music.

If you love 1980s music, vintage synthesizers, analog sounds, New Wave, Synth-Pop and classic electronic drums, I hope you enjoy this performance!"

The Modular Controller That Keeps Getting Better: Faderpunk

video upload by SynthDad

"What happens when a synth manufacturer opens up its hardware to the community? In the case of AtoVProject’s Faderpunk, something rather exciting!

Faderpunk was already a remarkably flexible MIDI and CV controller, but with the introduction of community-developed apps, it’s becoming an even more powerful tool for modular synthesis, generative sequencing and live performance.

In this video, I explore the new community app ecosystem, show you how to install third-party apps, and dive into some fantastic musical examples.

We’ll explore FP-Grids for generative drum rhythms, TB3PO for acid-inspired sequencing, TechnoKick and TechnoHihat for instant techno grooves, Sift for evolving melodic sequences, and Heat Pump for rhythmic sidechain modulation. I’ll also demonstrate how Automator can record your fader movements and turn them into evolving modulation.

Along the way, we’ll build some musical patches, experiment with sound design, and discover a few unexpected tricks — including using Heat Pump to bring rhythmic movement to the Forge TME Vhikk X.

For me, this is a great example of what happens when developers embrace their communities and give musicians the freedom to experiment and create. And the best part? There’s plenty more to come.

CHAPTERS

00:00 Introduction - Faderpunk keeps evolving
01:16 How to install community apps
03:29 FP-Grids - Generative drum sequencing
05:12 TB3PO - Acid sequencing
07:05 TB3PO - Accents for modulation
08:34 Automator - Recording modulation gestures
09:37 TB3PO - Percussion sequencing
11:00 TechnoKick and TechnoHihat - Instant techno grooves
14:11 Sift - Generative melodic sequencing
16:47 Heat Pump - Sidechain envelopes and creative modulation
20:09 Final thoughts and what’s next

LINKS

Faderpunk official website and configurator:
https://faderpunk.cv"

Faderpunk is more than a controller

It’s a living modulation ecosystem that you can shape, build, and customize to your will Faderpunk is all about customization. You can run apps that use one or more of the channels: LFOs, CV-to-MIDI converters, MIDI-to-CV bridges, random generators, Turing machines, quantizers, sequencers, envelopes, rhythm generators, and so much more.

Modulate anything
Faderpunk is a great companion for your Eurorack and semi-modular synthesizers as it speaks all their languages. Explore lots of modulation options for your empty jacks and get inspired by combining MIDI and modular capabilities.

Whether you need modulation sources, sequencers, or automation tools, Faderpunk puts everything at your fingertips with hands-on, intuitive control.

Make it yours, truly
Using the web-based configurator you can easily add and remove apps via drag & drop. Just connect Faderpunk to your computer and go to https://faderpunk.io.

Need an app that doesn’t exist yet? Create it yourself! Faderpunk comes with a developer-friendly API, making it easy to build your own apps.

CLICK FOR MORE »

Plinky 12 Chords: 8 bit Chiptune

video upload by Making Sound Machines

"Channeling her love for chiptune music and 90ies Gameboy soundtracks, Enrica from Making Sound Machines plays a piece reminiscent of a retro 8-bit track on Plink 12 Chords.

The internal sequencer advances through an acidjazz chord progression with programmed harmonic inversions, before Enrica switches to a Piano House-style polyphonic arpeggio.

With her right hand, she plays an expressive melody on the polyphonic play surface. The notes in this view are arranged in a tetrachord layout.

The polyphonic play surface reads both play position and pressure of the touch. It enables bends and glides on the horizontal axis, while allowing for discrete arps in the vertical direction.

All sounds are produced with Plinky 12's internal synth engine.

Plinky 12 is a family of expressive polyphonic synthesizers. The three instruments are built around a shared polyphonic synth engine. Designed by mmalex, it evokes the unmistakable melancholic sounds of the original Plinky.

Each instrument is designed in collaboration with a different synth maker, lending each panel a distinct playability and unique character.

Plinky 12 Chords is a harmonic inspiration machine. It lets you improvise melodies and chords, with expressive control over voicings, progressions, and immediate musical play. Created by Making Sound Machines, Chords is the panel for finding beautiful harmonic movement quickly.

Plinky 12 Toadstep is a 4-track step sequencer built for super funky riffs, experimental self-generative melodies, and good ol' Acid. Created by Toadstool Tech, the designer behind the Ectocore Eurorack module, Toadstep is fun, immediate and easy to jam with!

Plinky 12 Blocks is an open panel built for experimentation, with monome-grid compatibility, Plinky style touch synthesis, and a browser-based coding environment just a click away. While it comes with a fully playable design out of the gate, creator mmalex invites you to build your own adventure with this panel. If you can imagine it, you can make it!"

A Golden Era of Drums in One Machine | Behringer Introduces the RD-765

video upload by Behringer

"Introducing the RD-765, a Drum Machine that packs a decade of classic Drum Machines into one box. A Hybrid drum machine with 176 drum sounds, sample recording, a 64-step sequencer and a dual-mode analogue filter.

Join Patrick as he jams it up and goes through it's features."

"RD-765
Hybrid drum machine with 176 drum sounds, sample recording, a 64-step sequencer and a dual-mode analogue filter

Classic drum sounds, plus the ones you record yourself.
The groove is nearly there. The kick sits right, but the snare needs a sound nobody else has. With the RD-765, you record that sound yourself and give it a channel in the kit.

176 sounds and your own samples
The RD-765 holds 176 drum sounds. Record new samples through the user sampling menu and assign them to an instrument channel. Tune any sample over a range of 24 semitones up or down.

Shape every hit
The Wave Designer attack control adds punch to the initial transient. The dual-mode analogue filter runs as low-pass or high-pass, and you can assign it to single voices. A bitcrusher lowers the bit depth of samples when you want grit.

Write patterns your way
Play beats in real time or set them step by step, across up to 64 steps. Swing runs from 25 to 75. A per-voice probability setting lets notes come and go, so a pattern keeps moving. Record filter cutoff moves into the pattern as you play. MIDI and USB link the RD-765 to the rest of your setup."

CLICK FOR MORE »

HALF-ALIVE - A Halloween Ghost Story from City 53

video upload by Cinematic Laboratory

One more AI horror below.

"Welcome to City 53, where humanity lives under a mysterious occupation, artificial intelligence speaks with a reassuring voice, and resistance survives in the most unexpected places.

HAL 9000 meets GLaDOS meets a dystopian Vienna (City 53). And somewhere in the alleys, The Free Man still has his crowbar.

HALF-ALIVE is an experimental AI-generated Halloween film, inspired by the Half-Life universe, classic science fiction and the increasingly blurred boundaries between human creativity and artificial intelligence. It's also a story about power, control and responsibility. Machines may execute the instructions, but humans decide what they're built to do.

The visuals were created using generative AI, animated and assembled into a cinematic world, with original sound design, music and my trusted modular synthesizers. It took me two full weeks to co-create the designs which is like one giant puzzle of images, image-to-video attempts, trying to maintain some kind of continuity, keeping faithful to the Half-Life canon while adding my own 'blood in the paint', sound design, dialogs, etc.

I can't even remember how it started, I wasn't even playing Half-Life. I think I wanted to make a dystopian city for some halloween project and make scary music for it. Then I wanted a city with classical elements like Paris. I chose Vienna. It reminded me of City 17. I remember taking a doomscroll, wondering if people who lost their jobs because of AI were making videos and sharing their real life stories. Some were heartbreaking. So it wasn't a small leap from a dystopian future to real life. But then I found different perspectives on companies re-hiring real people to clean up the technical debt left by unmanaged AI coding. It felt like a 'resistance' rising from the ashes of AI slop. The whole Ghost in the Machine story was made today, October 31st, 2026. So yeah, you can do a lot of work with some help from the Machine Ghost. But a prompt doesn't magically make a story. I defined the premise of creators trying to make an AI more human by giving it mortality, fear, pain, love, regrets and a moral conscience. At Halloween, these stories never end well.

This is a tribute to Valve, Half-Life and the wonderfully unsettling ghosts in the machines of science fiction. It's an independent, unofficial fan film / music video. Not affiliated with or endorsed by Valve. The IBM logo is used because - if you know your classics - the HAL 9000 super intelligence from the 1960's sci-fi classic 2001, A Apace Odyssee is one character away from turning H.A.L. into I.B.M. In the classic movie, HAL turned against us. In this Halloween Ghost Story, the intelligence was shoved into selfpreservation - similar to testing on animals.

#halflife2 #halloween #hal9000

00:00 A Halloween Ghost Story
09:32 ALIVE - Welcome To City 53 Music Video"

ALL'SWELL | Artificial Intellijel SWELLS | Episode 01

video upload by Cinematic Laboratory

"I am not sure how long I had Intellijel Swells lying around. As you may know I am a reverb addict, and I didn't have to think twice to order Swells. But when I got it, I got discouraged by the sheer option space, the modes, the alt modes and the countless little difference of module operation between modes, the different forms of LO-FI, the different bursts, it's almost like having nine different modules in one module. So I froze. While using a bit of AI to plough through the options I got the idea of making a video where ChatGPT would guide me into making it self-oscillate, still unaware of the fact that it's not really designed to do so called 'runaway' trails of endless decay."

Waldrof Introduces Crema String Machine

Check with dealers on the right on pricing and availability.

Playlist:

1. Waldorf Crema - Trailer
2. Waldorf Crema - Deep Dive with CTO - Rolf Wöhrmann
3. In the Studio with Maria Chiara Argirò ft. Waldorf Crema
4. Waldorf Crema // I’m having a hard time describing what kind of synth this is // Review and tutorial - loopop
5. Waldorf Crema Ensemble Synth - Sound Demo (no talking)
6. Waldorf Crema (Ambient improvisation and sound design walkthrough) - Martin Stürtzer

"Waldorf Music releases Crema, a compact polyphonic string and pad synthesizer designed for creating string ensembles, layered pads and evolving sound textures.

Based on the synthesis architecture of the Waldorf Streichfett, Crema expands this concept into the digital era.

While Streichfett captures the character of the analog string machines of the 1970s, Crema adds the digital pads of the 1980s and 1990s.

It enlarges the sound palette through wavetable, FM synthesis and dual effects, including a dedicated shimmer reverb."

Additional details and pics (click on them to enlarge and zoom in):



"Meet Crema – The Finishing Touch For Every Sound

Meet Crema, the compact polyphonic string and pad synthesizer that expands the iconic sound of Waldorf Streichfett to the digital era.

While Streichfett captures the character of the analog string machines of the 1970s, Crema adds the digital pads of the 1980s and 1990s, enlarging the sound palette through wavetable and FM synthesis, dual effects and a dedicated shimmer reverb.

Classic string ensembles, rich pads, evolving textures and the Waldorf touch. All in one little synth.

CLICK FOR MORE »

The Hidden Sounds of an Arcade | Photon Smasher Nano Listening Walk

video upload by Clip Sound and Music CIC and Frazer Merrick



"What does an arcade sound like when you listen to its light?

🔊 Music by Dayshade

Join us for an electromagnetic listening walk through Walton Pier Arcade, exploring the hidden rhythms and unexpected sounds of its colourful machines, flashing lights and illuminated displays using the **Photon Smasher Nano**.

The Photon Smasher Nano is a small, highly directional device that transforms changing light into sound. Unlike a conventional microphone, it listens to light rather than vibrations in the air, revealing a hidden world of pulses, patterns, rhythms and textures that would otherwise go unheard.

Over this 11-minute soundwalk, we get curious with the electromagnetic landscape of the arcade, moving between machines and discovering how different light sources create their own distinctive sonic signatures.

*Explore more about the Photon Smasher Nano:* https://www.shop.clipsoundandmusic.uk/

Created by CLIP Sound and Music, a social enterprise developing curious tools for creative exploration through sound, technology and play.

#PhotonSmasher #Soundwalk #ElectromagneticListening #SoundArt #FieldRecording"

BeatFriend drives the LXR-02: 10 patterns (no talk)

video upload by Richard DeHove

"As a standalone drum machine BeatFriend is instant fun. But with a limited kit range and mono output it won't suit everyone. Happily the MIDI outputs can drive other machines so here it is with the LXR-02. The tracks here are a mixture of BeatFriend output + LXR-02 output and sometimes just the LXR-02. There are no external effects or processing.

For me the LXR-02 is mainly a 'character' drum machine. It does weird sounds very well but takes a bit of work to get a really powerful driving thump - especially when raw. So a lot of what you hear are 'character' patterns. In future videos I'll be teaming it with other machines for a completely different end result. Yet even here it's amazing what a Bossa Nova can produce. The timestamp names are the pattern names from BeatFriend.

As usual with drum machines a mixture of monitor listening and headphones will show the full range of sound.

0:00 Rock Free
1:02 Bossa Nova
2:44 Tim O'Tay
4:13 Rock Free 2
5:46 Roquefort
6:45 Rock Won
7:53 Bossa Doble
9:39 Soda
10:52 Rock Too
12:44 BridesSoBros

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

Moog Model 210 & Model 112 Instrument Amplifiers | Lisa Bella Donna

video upload by Moog Music

"Meet the Moog Model 210 and Model 112 amps, two premium full-range, flat-response instrument amplifiers built for synths, keyboards, drum machines, electronic instruments, preamps, modeling pedals, and more.

All audio tracks from this video were recorded through the direct XLR outputs of the Moog Model 210 and 112.

With all-analog amplification and effectively zero perceptible latency, both amplifiers preserve the dynamics, low-frequency depth, clarity, and individual character of your instrument from the studio to the stage.

Watch and listen as sonic sorceress Lisa Bella Donna puts both models to the test with an integrated setup of semi-modular synths including Matriarch, Grandmother, Mother-32, DFAM, and Labyrinth."

Moog Model 112 & 210 Instrument Amplifiers - First Look

video upload by Kraft Music

"Find exclusive Moog Amplifier BUNDLES at Kraft Music:
https://kraftmusic.com/collections/mo...

Dave from Kraft Music takes a first look at the Model 112 and Model 210 instrument amplifiers by Moog.

Moog Model 112 and Model 210 amplifiers are designed to deliver exceptional sound across a wide range of instruments, from keyboards and synthesizers to bass and guitar preamps, modeling pedals, drum machines, and more. Featuring all-analog circuitry, these amps deliver accurate full-range, flat-response sound with effectively zero perceptible latency, preserving the clarity, dynamic response, and low-end depth of modern electronic instruments from studio to stage. In addition, both models provide essential connectivity, with a built-in 4-channel stereo mixer (with 3-band Baxandall EQ), balanced outputs, Bluetooth streaming, and Stereo Link capability.

Get more for your money with an exclusive Model 112 and Model 210 bundle from Kraft Music. These package deals include the accessories you'll need to get the most out of your new instrument amplifiers, all for one low price. If you have any questions, please contact us. Our knowledgeable sales advisors will be happy to assist in choosing the bundle that's right for you!"

Moog press release follows:


MOOG MUSIC LAUNCHES MODEL 112 AND MODEL 210, AMplifiers Designed for electronic instruments

Two all-analog FRFR systems combine full-range amplification, integrated four-channel mixing, professional connectivity, and expandable stereo operation for synthesizers, keyboards, drum machines, and modern performance rigs

ASHEVILLE, N.C. (October 27, 2026) – Moog Music® today announced Model 112 and Model 210, two full-range, flat-response (FRFR) instrument amplifiers purpose-built for synthesizers, keyboards, drum machines, and modern electronic performance rigs.

Model 112 combines a portable 12-inch format with 440W RMS bi-amplified power for studios, rehearsals, personal monitoring, and live performance. Model 210 steps up to a 550W RMS, 2.5-way design with dual 10-inch woofer and deeper low frequency extension for larger stages and more demanding performance rigs.

Both models deliver an all-analog amplification path, 4 stereo inputs and an integrated four-channel stereo mixer, balanced PA connectivity, Bluetooth® streaming, headphone monitoring, and Stereo Link for building a two-amplifier stereo system. Together, Model 112 and Model 210 extend Moog's focus on electronic performance from the instrument itself to how it is monitored and heard on stage, in rehearsal, and in the studio.

"Every great electronic instrument has its own sonic identity," said Joe Richardson, President at Moog Music. "Model 112 and Model 210 were designed to preserve that identity, not color it. From the unmistakable warmth of a Moog synthesizer to the transient snap of a drum machine, these amplifiers allow the true character of the instrument to come through. Musicians work hard to shape their sound. They deserve amplification that delivers it honestly, consistently, and exactly as intended."

MODEL 112: everyday Versatility
Model 112 delivers full-range electronic-instrument amplification in a portable format designed to move between studio, rehearsal space, performance, and personal monitoring setups. A 440W RMS bi-amplified system drives a 12-inch woofer and 1-inch compression driver with a frequency response of 40Hz–20kHz. A top carry handle makes Model 112 the more portable choice for musicians who regularly move between creative and performance environments.

MODEL 210: Command the stage
Model 210 is the higher-output system in the range, designed for larger stages and demanding electronic performance rigs. A 550W RMS bi-amplified, 2.5-way design combines a 1-inch compression driver with dual 10-inch woofers, one woofer for full range, the second focusing on low frequencies extending down to 35Hz ensuring powerful response for synthesizer bass, electronic drums, sound design, and bass modeling systems. Full-grip side handles and removable casters support transport and stage position, while two Model 210 amplifiers can be connected using Stereo Link for performance setups.

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Introducing the Microvolt 3901 Virtual Analog Synthesizer

video upload by Pittsburgh Modular Synthesizers

"Thanks to @getjervis for showing up in the proper tie."

Every Bit Analog

Microvolt 3901 is a component level emulation of the Pittsburgh Modular Microvolt 3900 plus a collection of classic Pittsburgh Modular Eurorack modules from throughout our history, together in one fully patchable instrument. The original instrument and Eurorack modules have been meticulously modeled at a component level to capture the warm sound and unique quirks of the original machines. Patch cables route audio and cv (control voltage) signals between modules to create unique, polyphonic sounds. Play it standalone or use it as a VST, AU, AUv3(iOS) plugin.

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Beijing Modular 10/26/26 Videos

video uploads by sonicstate

Latest videos for the day. See the Modular Commune label for more.

Playlist:

1. Heisenberg Zynthian Workstation- Beijing Modular 26

Jarrod from Heisenberg told us about the OFAI Music Workstation and a handmade wooden MIDI controller.

The workstation is a custom small Linux-based unit with audio outputs and MIDI. It runs open-source software from the Zynthian platform, with additional presets made by Jarrod. The hardware is a a custom development by the team, and it supports MIDI synths, plug-ins and multi-timbral sequencing.

The wooden controller works as a generic control surface and is not for sale, more just as a DIY project by Jarrod. Parameters are assigned with MIDI Learn, so knobs and buttons can control selected synth or effect parameters. In the demo, a USB MIDI cable connects the controller to the workstation. The system can run drums, hi-hats and riffs on separate tracks, and selecting a track gives access to further parameters. A MIDI latch function holds notes while parameters are adjusted.

The OFAI Workstation is sold in China for 3,700 RMB. The wooden controller is handmade and is not for sale. More Info: https://zynthian.org

2. 30k - Nyoka - Magnetic Field Noise Generator - Beijing Modular 26

Yang from 30K told us about their NYOKA Magnetic Field Noise Generator, a small experimental sound device that turns electromagnetic interference into audio control signals.

The unit senses magnetic field signals and uses them to modulate an internal oscillator. It can also be played by touch, with fingers routing signals to different points in the circuit. The device includes multiple switches for changing operating modes, selecting oscillator or inductor output, choosing where the magnetic field signal routes, and altering routing inside the oscillator.

The unit runs from USB-C power and outputs audio via a 3.5mm TRS jack. It responds strongly to nearby power sources, with different electrical equipment producing different responses. Yang also mentioned that it works well with external reverb and delay.

The device is available for 229 RMB.
He also showed a magnetic field amplifier with 1000x gain and a small Meow Box synthesizer that produces cat sounds - I mean, why not?

3. 203 Systems - Mystrix 2 MPE Grid, Cardenza - tiny hackable music computer- Beijing Modular 26

Nengzhuo Cai from 203 Systems had some pretty cool units to show, first up is about Mystrix 2, a wireless MPE grid controller, and two compact music devices. Mystrix 2 is the latest generation and runs its own OS, so applications can be installed directly on the hardware without a computer.

Mystrix 2 acts as a MIDI and control-data source. It includes MPE keyboard apps, chord, arpeggiator, scale and custom scale tools, split-screen operation, an eight-track sequencer, clip mode and a mixer. The sequencer supports 16 patterns with 16 steps. It has three full-feature USB-C ports for charging, computer connection or accessory boxes, plus CV and MIDI adapters. A hidden side touch slider supports functions such as strumming.

Next up is *Cardenza, *a $20 open-source ESP32 S3 music computer with Wi-Fi, Bluetooth 5, microphone, SD card, app installation and web coding support. You can run your own programs on it, and even browse the web (assuming you can code your own browser!)

Then the NULLperator is a tiny eight-track tracker with audio I/O, TRS MIDI I/O, microphone, speaker and battery. Mystrix 2 is expected for Kickstarter at around $500, while NULLperator is expected around $300, with free iOS and Android apps available.

More Info: https://203.io/ |--------|

4. SPI1: Mini Multi-function Game-style Modules - Beijing Modular 26

We spoke to Lei and the team behind *SPI1*, a compact modular music workstation built around a “micro universe” concept. They explained that the project uses a game-like interface for creating music, with visual design, touch controls and interchangeable hardware modules forming part of the workflow. SPI1 features a square-format touch bar with 12 control keys. Projects can start from blank templates or preset styles, and the system supports user-made templates. The team plans to release an SDK for third-party development, covering modules and internal software. The instrument includes a DSP synth system where timbres are organised as “plants”, with scale selection, generative music modes and four-channel pattern recording. A map-style interface contains sound machines, including chord and wave-based devices. External interaction comes through probes for wind, magnetic signals, audio signals and other inputs. The modular hardware includes interfaces such as joystick, DJ turntable, drum pad, fader and marble-based controllers. An audio sequencer module can trigger external devices and lights. SPI1 is currently a prototype, with a Kickstarter planned for spring next year. Pricing has not yet been confirmed.

5. Erica Synths: Graphic Sequencer - Beijing Modular 26

Ģirts from Erica Synths gave us a look at the Graphic Sequencer a new Eurorack module currently in production.

The Graphic Sequencer is a compact hub for sequencing and modulation. It has 10 steps (with a planned 16-step expander) plus CV and gate outputs and three modulation outputs. Those outputs support envelopes, delay-based envelope types, user-drawn multistage envelopes, LFOs, random walk, Euclidean sequencing and chord CV duties across multiple oscillators.

Magic mode changes an existing sequence in real time, with controls for note variation, octaves, density, gates and slides. Returning from that mode clears the edit buffer. The Euclidean section works with an 8-channel expander, and hits can be added manually with the encoder.

The module is expected in about a month, priced around €300.

6. Theresyn - Beijing Modular 26

We spoke to Nori about Theresyn, a handmade fully analogue theremin synthesizer. He explained that it uses the familiar theremin approach, with the left hand controlling amplitude and the right hand controlling pitch, but adds extra control and acoustic elements.

Xin then demo'd the pressure-sensitive touch pad, which controls oscillator amplitude and can also trigger an ADSR envelope. Theresyn has two oscillators, with mixing between the theremin voice and an internal oscillator. Antenna tracking can be set to none, partial or full, allowing one oscillator to act as a drone or follow the pitch hand.

The synth also includes selectable waveforms, filter modes including low-pass, resonance, pitch-to-filter tracking and amplitude modulation of the cutoff. Its speaker system includes a front loudspeaker and rear resonating strings, with a pickup for the string output. There is no pitch quantizer, and pitch remains continuous. The pitch range can be tuned to the player's body capacitance.

Theresyn is handmade, available to order from the website, and the full version with bag costs €3,000.

More Info: https://theresyn.com/

7. PUFF Eurorack Breath Controller - Beijing Modular 26

We spoke to the team behind Puff V3 about the Puff breath controller project, which began in 2024. They explained that the current wired V2 has the same core functions as the planned V3, while the V3 moves to wireless operation.

Puff converts breath into control voltage for modular systems and synthesizers. It can control pitch, cutoff, resonance and other modulation destinations, depending on the patch. The system supports up to four CV outputs and one MIDI output. USB-C connects to a computer or laptop for MIDI, so it can control software and hardware at the same time.

The controller is held in the mouth, leaving both hands free for instruments such as guitar or piano. The team also discussed a future mouth ring or bite control for sustain-style input. The prototype is built, with release planned for June next year, and the project launches on Kickstarter.

Pollard Industries Syndrum Twin Electronic Drum Synthesizer SN 1339

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

via this eBay listing

Additional Tone Tweakers Listings

"This unit was meticulously refurbished and is working perfectly, so buy with confidence.

We paid our tech for approximately 8 hours of skilled labor plus parts to properly overhaul this unit so it would work perfectly for its next owner and so that it will hopefully outlast others. This work included the following:

Disassembly and cleaning
Cleaned all jacks
Replaced capacitors
Removed, cleaned and lubricated slide potentiometers

One interesting thing we noticed (that most sellers wouldnt have bothered to mention) is that there are 2 different types of slide pots used in this particular unit - one type feels a bit tighter than the other and has different colored shafts. We suspect this was how it left the factory as the pot types used are identical in both the upper and lower synth sections. This unit works great and sounds amazing and should make its next owner very happy.

Each of the 2 channels of the Syndrum Twin consists of an identical synthesizer with its own trigger input and audio output. Triggers can be sent from various drum machines, MIDI to CV converters, or drum pads. Audio signals can be used as well - for best results, we would recommend using a click or very short percussive sounds (like a rimshot).

Invented by Joe Pollard and Mark Barton in 1976, this drum synthesizer found its way onto popular records by The Cars, Yellow Magic Orchestra, Sparks and Joy Division, as well as many disco hits, including “Ring My Bell” by Anita Ward, “Knock on Wood” by Amii Stewart, and 'The Second Time Around' by Shalamar. A must for anyone into drum synths, or just those who love a good pew pew sound!"

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Fingerlab Introduces BloopMachine - Acid Bassline

video upload by Fingerlab



"BloopMachine is a monophonic synth-sequencer built for acid lines, glitchy textures and generative electronic music. Inspired by the sound worlds of Aphex Twin, Autechre and Morton Subotnick, it behaves like a TB-303 pushed way past the edge: squelchy, alive and gloriously unpredictable.

Get it now for free on the App Store:
https://apps.apple.com/us/app/bloopma...

At its heart is a wavetable synth with a resonant filter, driven by a deep step sequencer that can automate every parameter. Lean into the machine's love of chaos: the Mutate function reshapes your entire patch in one tap, turning simple sequences into organic, ever-shifting patterns that always stay musical.

Shape your sound with a 5-effect FX section: Ring Modulator, Distortion, Chorus, Delay and Reverb, and sequence or mutate those parameters too, for movement and grit that evolves bar after bar.

Build full tracks with 48 patterns and a Song mode that chains them into a timeline. Save your favourite machines as presets, then capture the result with real-time audio recording.

Run it standalone or as an AUv3 plugin inside your favourite host, on iPhone, iPad and Mac.

BloopMachine is free to download and explore. Unlock the full version with a single in-app purchase to use the complete FX section, access all 48 patterns, build tracks in Song mode, save and manage your own presets, export your music with real-time recording, and enable Undo."

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Old meets New FR777 (no talking)

video upload by zafrosoundz

"This was more of an experiment rather than a finished song, I'm basically just noodling between the two. New 777 is doing the Bass part and the Old 777 is backing it up. Their tones are different and seem to compliment each other. There is some processing through the MC707, sustain effect on the new and chorus on the old, both with a bit of eq reverb and delay as well. I'm just experimenting now with the raw sound of the machines, so stay tuned!"

https://future-retro.com/

Your Drum Machine Already Has a Sequencer. Here’s Why to Use Another One

video upload by OXI Instruments

"Most drum machines come with a capable sequencer built in: probability, micro-timing, ratchets, song mode. So why add another one? Because once there is more than one instrument on the desk, every machine brings its own workflow, its own menus and its own way of thinking. Patterns get scattered across different boxes, projects are hard to recall, and the full groove is never visible in one place.

This video covers five reasons to move the writing to an external sequencer and let the drum machines do what they do best: sound great. With the OXI One MKII at the centre, every instrument is written the same way, the whole groove is visible at once, and the patterns stay with you, whatever hardware is connected.

00:00 Introduction
00:45 One way of writing music
02:30 Multitrack mode
05:07 One brain
05:38 Adding features to your instruments
07:22 Creating new kits with different instruments
08:20 Own your patterns
08:45 Conclusions"