Messenger features a deep generative sequencer with functionality inspired by Muse. With features like Note Pool paired with Note Probability, Gate probability, and the ability to store a unique sequence per-patch, Messenger’s sequencer provides an intuitive way to build up complex melodic sequences that can spin off into new permutations at the touch of a button.
2. Messenger | Arppegiator Functionality
Messenger features an extremely flexible arpeggiator with functionality inspired by the arp found in Muse. With the ability to chose both traditional or newer advanced note movement patterns, program rhythms, and the option to store a unique arp style per-patch, Messenger’s arpeggiator is a powerful tool for music composition and developing new song ideas.
3. Messenger | Spectravox Feedback
In this video we look at how to use Spectravox and Messenger together to create feedback tones verging on the edge of destruction.
Spectravox is a flexible signal processor which adds lots of sonic character to any signal we patch into it. Using a basic sound from Messenger we can add distortion and saturation using Spectravox's pre-amp section as well as deep modulated phaser tones with its ten filters. Messenger's control voltage output allows us to control parameters of Spectravox (in this case the Spectral Shift LFO rate) using Messenger's keyboard. Later, we look at tying Spectravox and Messenger together in a feedback loop - patching the headphone output of Messenger to the Program input of Spectravox, the Program output of Spectravox to its Carrier Input, and then the output of Spectravox to the External Input of Messenger. With careful balance of the EXT IN/FB control and various parameters on both Spectravox and Messenger, a whole new world of gnarly and nonlinear feedback tones opens up.
"So whilst on soak test I came across this crazy bank:
Notes from the .txt
ART SPRINGER STRIKES AGAIN (free)
Reviewed by Mike Metlay
All right, gang, I know what you're expecting in this space, so I'll oblige you
and get it over with. Ready? Here goes: "WAHOOLAZUMA! Everybody's
favorite twisted puppy is back from the audio torture chamber, and he's brewed up
the most brain-slashing package of monstrous elektronoyze EVER! This stuff's
great for warping your brain patterns, killing your cat, etc..."
Okay. Happy now? Good, now let's get serious. I heard from Art recently that
he didn't get a terribly good response to his first mailing, and that few, if any,
XUG members looked him up for his second set of patches
He seemed in a pretty good humor about it, but I couldn't help wondering if my
presentation of his patch set didn't scare a lot of people away just by the wording.
So, with a new patch set from Art (more diverse than the first two) in hand, I'd
like to try again.
One of the most unhealthy trends I see in today's patch-editing software is the
patch randomizer, that cute but overused utility that generates random patches at
the click of a mouse. Literally thousands of these random patches are being sold
by unscrupulous hackers as "original sounds," and a whole new generation of
MIDI morons is springing up (pardon the pun) whose idea of "good programming
chops" is the ability to tweak a randomly generated sound into something that
(almost) works. No program of this type exists yet for the xpander, and I'm glad of
it: the lack of computer-generated garbage on the market forces the user
community to seek one another for new ideas, rather than some electronic I
Ching. We come together in this Group to share ideas and learn from one another
and I believe that studying another human being's work beats watching a
computer coughing up random numbers. Which brings us to the music of Art
Springer.
In my opinion, these patches are important. VERY important. I get so enthused
about Art's work because I see in him a reflection of my college days, when I
puttered about with ARP and Buchla modular monsters creating sounds for the
sheer joy of it, putting together tonalities never before heard on Earth rather than
trying to make a realistic shakuhachi. This was, and often still is, the meat and
potatoes of electronic music to me. And when I hear Art telling me that people-
Xpander users!-are returning his work because it's "too weird," I know
something's wrong. The Xpander isn't a sampler or a digital piano. It's not an
imitative instrument by nature. It's a powerful, multiply interfaceable modular
synthesizer with a great deal of flexibility. Art Springer takes a stance on its use
that no other Group member has had the courage to try: using its Power as a CV
percussion device to enhance the sounds of his more traditionally oriented synths.
(By the way, Lionel and I are big fans of his music ... it's not as inaccessible as
you might think, and the odd tonalities make his dance pieces a lot of fun.) This is
a new idea to a lot of you, and I don't blame you for being frightened. But it's
better to learn from someone whose ideas differ from yours than to convince a
computer to feed you something safe. I'd like to suggest something simple to start
with: get one of Art's sound sets, trigger your Xpander with your drumbox, and
try writing music with these sounds as part of the atmosphere rather than
conventional drum noises. Or do something completely different. The important
thing is to try to expand (hm) your horizons to something new. These sounds of
Art's do take getting used to, but I think you'll learn a lot from them. Trust me."
Instruction manuals for 100 Grit & BrainSeed pictured below.
"The 100 grit is a distortion, VCA, and low pass filter module with 8 brass touchpoints.
Features:
8 brass touchpoints 2 inputs to transistor core low pass filter Voltage control over frequency, resonance, and gain OTA VCA with soft saturation characteristics Distortion circuit based around a vintage headphone amplifier driven into instability Three position x100 gain switch with off, on, and momentary on settings Each input and cv input is normalled to a different feedback path (6 total) Seperate outputs for the VCA and distortion Can operate as a vintage voiced VCA and LPF or a screaming distortion and noise effect All analog design"
We have officially sold half of our limited edition CD; we are also going to end our introductory 'Name Your Price' for downloads on BandCamp soon, so don't hesitate to purchase today!
Praise from BandCamp (Alan R Pearlman Foundation and Projekt Records )
"A tribute to the creator of my favorite music instruments. I Like the sound of the ARPs in classical electronic albums. Great record with many great contributions!"
"No favourite track, just indulging in the sonic wash of this amazing album. Just wonderful."
"...what an AMAZING collection!! ..."
"A ritual offering—ARP as oracle, muse, and monument. The machine has a soul. And here, it sings."
"It's hard to pick a favorite track off of this compilation... Lots of groovy music by a lot of artists.I had never heard of, but there are a few artists.I am familiar with. this is pretty groovy stuff... "
"Awesome tribute and collection. Mr. Roach has somehow found time to be an archivist. would love a second volume. get this as both sampler and tribute..."
Purchase from BandCamp
"Luke Brennan, MD at myVolts giving a demonstration of how you can daisychain multiple synthesizers, from a single USB power source.
With a background in power adapters, myVolts have developed a range of solutions so you can power your synths, pedals, AV gear and more with USB. You can even power items that were previously powered by batteries. Not only that, but they have created solutions that allow you to do that without the buzz and humm usually associated with USB power.
In this video, he talks of how Step Up, a USB-C solution. With our 'Power My Gear' free webtool, you can plan out your USB power setup easily.
"A new track I put together on the Dirtywave M8 Tracker. I've been goofing around with the Lydian mode more, and finding it really inspiring. This was just a short/simple thing that came out of that. I also found a midi controlled video playback app (SmashCut for iPad) and used a spare channel to send some fun CC to make the background. The video is from the 1920 film "A Trip to the Moon"
"Here we have a custom circuit bent Texas Instruments Speak & Spell.
Operates as a totally normal speak and spell until you flip a glitch switch or turn a dial, etc.
Very fun to play, no right or wrong way to it, this bent talking synth is capable of tons of new sounds for you to record, sample or play live.
The added mods include:
1) Tone Oscillator button-creates a tone when depressed, the tone can then be manipulated with the theremin pitch cell, pitch dial or pitch body contacts.
2) Active Matrix Glitch-This mod opens up the membrane for random glitching dependent on where you touch the pad.
3) Ramble Glitch-Flip this switch and hit go and it will spew constant ramblings on and on and on and on.........
4) Dual voice glitch- causes it so speak In both a high and low voice at the same time.
5) Pitch Changing Body Contact-Touch this to lower the pitch, the harder you touch the further the change.
6) Pitch Changing Knob-Use this pitch control to change the pitch from incredibly high falsetto to super low, 8-Bit crushing growl.
7) Reset Button-Use this when you're ready for a change and the machine is rambling on its own, also serves as an OFF button.
8) Theremin Opto Cell Controller-Simply flip the switch, use the pitch dial to fine tune and you can play any sound emitting from the speak like a theremin, makes for some great effects.
9) Loop Switch with Advance Button-FLip this switch at any time to catch a sound that you can then mold and play with the other controls such as the opto cell and pitch dial.
10) Strobing LED for cool effect
It now features a 1/4" output jack that mutes the onboard speaker, allowing you can output this into your effects, amp, pa, etc.
These mods add tons of versatility and droning textures for your playing, recording and experimenting pleasure."
"This is a live performance on an original Buchla 100 from the late 1960s, using the Concrete Box™ , and TX-6 mixer
The patch uses 3 loopers and 2 delays, plus a very old Dynacord VRS23 reverb (which is adding some slightly woozy pitch-bendy-ness to the reverb)
The Buchla has a really basic patch - just one Sine-Saw VCO into the Sharp Cutoff Filter (Lowpass section). There's some cutoff mod from the keyboard capacitance voltage (which is why I'm wiggling my fingers in a rather silly-looking way)
The vintage Buchla 100 sounds so natural, rich and organic, I love it - almost like an acoustic instrument - a brassy, beautiful tone from the saw waves
Also, there's a second VCO (square) going into the HPF section of the Sharp Cutoff Filter (which is independent from the lowpass section in this mode) for the low drones
It builds up a bit like the many fallen leaves which have accumulated upon the now wintery lawn I am gazing upon"
Click the auction link on top when you get there for additional listings.
"This is a heavily modified and circuit bent Alesis HR 16. The basic idea is that you can change the eproms and then mangle the sounds into oblivion by way of the knobs and switches which create all sorts of unpredictable and fairly brutal noises. The result can be anything from utter industrial magic to unusable garbage. Comes with a number of eproms incl. Korg, Linn DMX, Roland The machine is very unstable. Sometimes it works sometimes it just doesn’t. I have no idea how to make it more stable and when it comes on and produces sound, it’s absolutely random and unpredictable. The best way to think about this is as a sample source in that you have a tape running all the time and then pick and choose the best noises that come out of it. The great thing is that you would never ever come up with these sounds if you were to program them in a targeted and controlled manner. But on the other hand, it’s of course frustrating when it doesn’t come on at all. The starting bid is set accordingly. The buyer may wish to have a technician take a look at it."
"The Akai MPC60 by Roger Linn is the machine that reshaped hip-hop, electronic, trip-hop, and rave culture.
Today, I'm diving into why this legendary sampler still inspires producers, and then I jump into a hands-on sampling session inspired by The Prodigy — 'Smack My B%tch Up' from The Fat of the Land era.
I’ll explore its story — from design breakthroughs and 12-bit grit, to the Akai drama that cut Roger Linn out of his own creation — and then I’ll show you how to sample, trim, assign pads, sequence, and jam directly on the MPC60.
What you’ll learn:
• Why the MPC60 became a classic
• How early electronic pioneers used it
• Sampling on the MPC60 step-by-step (The Basics)
• Assigning pads, bars & sequencing
• Playing & jamming the samples on the MPC
I’ll show you a simple way to start sampling and building beats on the MPC60 using The Prodigy’s iconic track as inspiration, no plugins, no DAW, just the machine."
00:00 — Intro: Why the Akai MPC60 changed music forever
00:35 — MPC60 history: specs, limitations & the Roger Linn drama
02:33 — Why producers still love the MPC60 (Dilla, Shadow, Prodigy & more)
03:28 — Sampling The Prodigy “Smack My B%tch Up” on the MPC60
05:56 — How to sample a song on the MPC60 (step-by-step)
06:15 — How to assign a sequence on the MPC60
06:41 — How to set the number of bars on the MPC60
07:00 — How to record a new sample on the MPC60
07:20 — How to set sample length (seconds) on the MPC60
07:56 — How to check recording levels (REC METER) on MPC60
08:44 — How to name and save a sample on the MPC60
09:26 — How to edit and trim a sample on the MPC60
10:19 — How to assign a sample to pads on the MPC60
10:47 — Poly vs Mono: stop samples from overlapping on the MPC60
12:28 — Playing and testing samples on the MPC60
13:10 — MPC60 live jam: “Smack My B%tch Up” Prodigy-style
15:03 — Outro & final thoughts of the MPC60
Click the auction link on top when you get there for additional listings.
Pic of the inside back below.
"Buchla / BEMI 208e rev3 module in like new condition. All is good working, better than from the factory. I installed NOS µA726 and (re)calibrated the oscillators tracking, they have similar range and track well, the CO over 4 octaves and the MO over 5 octaves. I scaled the AM so that it reaches full level with the slider all the way up (and not around mid-course like on many units, which twists the waverform and causes modulation at double frequency). I can install it in a powered boat for standalone use. I can do modifications such as stiffer pots, Rogan knobs, dedicated out for each LPG or the CO (to sync the VCS3 Card's oscillator and FM the MO), reverb mix CV input, noise generator... Happy to discuss this with the buyer."
"Just serviced by the very talented Vintage Standards in Japan October 2025. In my opinion top 3 techs in the world. PSU replaced, every pot disassembled cleaned and re lubricated, crucial caps replaced, tropical fish caps still in perfect condition, brand new Tauntek CPU board installed to keep it reliable for much longer than the original and expanding its memory to 64, uses through hole and modern components for longevity and serviceability. Crucial trimmers replaced to keep tuning and voltage stable. Keyboard cleaned and bushings replaced. Literally everything you need to do to these to keep them going for another 50 years reliably. This is the early SEM version that uses the same discrete VCA as the SEM instead of the chip based version most of them have which is more like the OB-X, love the way these SEM envelopes react. Sound is incredible and it's so awesome having instant preset recall on a SEM and a great interface to control it. These will only go up in value and im only selling because I recently obtained an TVS and its a bit over kill to have both (although awesome having a 3 voice). Selling at a loss already so please be considerate if making an offer."
"A special early synth from Roland in overall great functional condition, with two exceptions note below. Cosmetically the control panel and keyboard area are in nice shape, but the case is pretty beat up, with bad latches, missing metal piping on one side, bent piping on the other side, and a missing power cord door. According to the previous owner, this unit actually went out on tour with a pop band in the 70's, and it shows. As you probably know, the SH-3 gave way to the more common SH-3A, with the most noticeable change being the switch from the SH-3's diode ladder filter to the the SH-3A's transistor ladder filter.
I've thoroughly tested all functions, pots, sliders, and jacks and here are the two functional issues I've observed:
The output and headphone jacks are scratchy and presumably need to be cleaned. It's easy to get an output cable or headphones seated and working, however you may have to twist the plugs in the jacks or reinsert them to get a good contact. There is some bleed-through from the square/sine LFO that's present in the audio path, most noticeable at quieter volumes or at higher registers. It's not difficult to set up a sound where the bleed-through is either not noticeable or barely noticeable, particularly with everything running loud and with lower waveforms engaged. I have access to another SH-3 that has the same problem (but worse), so I suspect this may be a problem that Roland engineered out of later the SH-3A circuitry, but I can't be sure. Regardless, this is something you may want to attend to at some point should you find it bothersome. In addition, the 8' "chorus" setting on this and the other SH-3 I've played is noticeably more intense than the SH-3A's I've played, so I suspect this is another feature that Roland tweaked when shifting to the SH-3A circuits.
I recently put $730 into having the synth partially serviced by a noted synth tech, which included:
Fixing an issue whereby the waveform sliders were interacting with each other and significant bleed-through of some waveforms was present. Cleaning the keyboard and eliminating some squirrely notes and double triggering that had been present. Replacing some capacitors. Better securing base of the power cable. Cleaning a scratchy sider. So in selling this I'm mostly trying to break-even on those repairs, plus make a little to cover Reverb's fees."
via BugBrand (For those in the US: check on availability with Noisebug per below)
"The 5FW design stems from ideas I used way back in the Old Blue days when I had the CTL1 Touch Panel - that design went through a few iterations during its 4 years of life, moving from just a control/preset device to incorporating some basic sequencing. Now I have taken it several steps further - expanding it out to 8 steps and increasing the control & sequencing options. The result is a powerful little hands-on sequencing hub!
It can link up with other clocking devices, especially the Sequence - indeed, I'm just beginning to investigate a joiner/expander for the pair that would allow the Control link to be easily switched on/off and also incorporate a handful of other useful functions.
In the meantime, the first modules are starting to ship - they can either fit in a larger system or sit in a 5FW case - perhaps an interesting addition to other banana systems!
US shipping & Tariffs:
There has been a fair bit of uncertainty because of new tariffs on shipments into the US (10% from UK vs 20% or more from most other places), alongside the ending of the De Minimis exemption for shipments under $800. Given that I send a fair amount to people in the States, these changes have proved worrying!
Thankfully I've been able to jiggle things around and have found that I can still send things easily & affordably - indeed, often including pre-payment of tariffs while not raising the overall shipping cost, and sticking with Royal Mail who have proved so reliable over many years of use.
Noisebug:
But, alongside these changes, I'm rekindling my prior work with the wonderful Noisebug store of Pomona, California. Just today I've sent a reasonable initial load - a couple of 1Frame systems, several mini-systems and a handful of red designs.
As you know, I've tended to work directly with people worldwide, but have kept in with a very few small & specific stores - Noisebug really fit the bill here for me! So if you've got requests, feel free to get in contact with them - or continue to nudge me direct ;)"
Everyone wants a little power, am-I-right? Well that's exactly what we've created - easy USB power in your modular rack to power MIDI keyboards, USB lights, small fans and other things that are a hassle to easily power otherwise.
Powered - 6hp (30mm)
I know we all love cables, but enough is enough! Most of the little accessories modular systems need are USB powered, and now there is a way to cut the cabling that goes beyond your rack. Install this slim module in your rack and you can power those pesky USB things such as: MIDI controllers, USB LED lighting for night plays and small USB fans. Put in one at either end of a big system to keep the power handy. There are a few things to keep in mind. Keep the power draw down to about 1000mA total - although the module can provide it, it might not be too kind to your rack power supply (You would be surprised how much power those cheap LED light draw - trust us, we looked!). Not designed or engineered to charge a phone - they make LOTS OF NOISE on the bus!
Just like every Swizzle Circuits module, it comes fully assembled, tested and ready to go. Just take it out of the package and plug it in.
Power Plant USB Module features:
- includes modular power cable. Uses the 12v DC Eurorack supply - no 5V DC needed.
- Fits right in your modular rack to give quick USB power anywhere.
- RED LED power indicator shines through the face to let you know it's ready.
- Both twin USB jacks are back-lit GREEN to help in the dark.
- Provides (2)-twin USB jack plugs for a total of (4).
- Can provide up to 1000mA of 5VDC power - see notes above-.
This music was created without the use of sequencers; all of the background music was recorded in real-time on reel-to-reel tapes. I used a Kawai K1 synthesizer, a Siel DK-80 synthesizer, and a Roland TR-505 drum machine. A Peavey AddVerb II was also used for effects. For this show, I was loaned a portable Casio Midi Controller, which I connected to the Kawaii synth to use for the song "Destiny's Flight."
Notes from Craig Padilla: This was my first public performance on June 8, 1990. It was at the Shasta College Theatre in Redding, CA, and it was my college final project for my Creative Sound Design class. Many people involved with the theater department helped out with this project.
I came from a theatrical background, and I had been used to facing the audience, which is why I performed while facing the audience during this show. My Uncle Joe saw this video and suggested that I should perform sideways so that the audience can see what I'm playing. Thanks to that advice, I've been performing that way ever since. This concert is the only time that I've performed while facing the audience.
This music was created without the use of sequencers; all of the background music was recorded in real-time on reel-to-reel tapes. I used a Kawaii K1 synthesizer, a Siel DK-80 synthesizer, and a Roland TR-505 drum machine. A Peavey AddVerb II was also used for effects. For this show, I was loaned a portable Casio Midi Controller, which I connected to the Kawaii synth to use for the song "Destiny's Flight."
Please be mindful of the visual quality of this video. It has been remastered from standard definition and upscaled to 1080p HD with audio remastered from a chrome stereo cassette tape. I am fortunate that it looks and sounds as good as it does.
The original broadcast video aired on Redding Community Access TV in 1990 and 1991. It was shot on VHS tapes from two camera angles and edited on a Super VHS tape. Unfortunately, the audio on the broadcast video was recorded from the main onboard camera microphone, which had a muddy sound. (At the time, I thought that it was better to use that audio than to have no publicity for my music.) 35 years later, thanks to current technology, the stereo audio from the master cassette tape has replaced the original audio track. It has been pitch-corrected to sync up with the video, which is something I never thought would be possible! The video was also enhanced to brighten some of the shots.
There is a small black bar on the second camera angle, and that was to cover up a graphic date that was imbedded in the video of that camera. I had decided that the black bar was less distracting than a graphic on the screen whenever I switched to that camera.
I am fortunate that I knew people who would loan me their cameras for this performance, and equally thankful to my friends who offered their time to operate the cameras!
Matt Denton, a long time friend from high school, was the main camera operator. I met Bryan Arnold while attending college. Bryan loaned me his Kawaii synthesizer for the music, and was the second cameraman who had to briefly step away to perform a song. T. Owen Smith designed the light show, and he suggested that I throw a flame out of my hand at the end of the last song. I had known Dwight Husted since high school, and he was the lighting operator who ran the light-show. My college friends, Jeff Yarnell, Karen Wodsack, and Dale Gipp, were the stage crew who also contributed the idea to use actors in body bags and dress as aliens for a song. And Dale Kilpatric helped me produce the show, and he performed with his amazing classical guitar for a song. (More people helped, and their names are listed in the end-credits of the video.)
Over 100 people attended the performance which was a benefit for the Shasta Summer Theatre Festival. I give many thanks to DJ Ron Dare for hugely promoting my music on his radio show, "KCHO's Music for A New Age" in 1989 and 1990 (and years beyond that). Also, thanks to Robert Soffian, the head of the theater department, for allowing me to not only act in his plays, but to also have me record many songs for the various theatrical productions during that time. And many thanks to everybody who helped to make this concert possible so many years ago.
Extra big thanks to everybody who supported my music then and continues to support it now.
Song list: 00:00 - KCHO DJ Ron Dare Announcement 02:30 - Shanda's Song 08:05 - Waltz of the Planets (dedicated to my friend Derrick Guderian) 14:15 - Spanish Journey (featuring Dale Kilpatric on guitar) 19:50 - Destiny's Flight (dedicated to my Grandmother) 30:43 - Path of the Falling Stars (featuring Bryan Arnold) 36:00 - UFO Theme 42:05 - Other Beings (featuring many theater friends) 47:45 - Journeys through Space
A 24-bit download of this performance will be available at www.CraigPadilla.com [https://craigpadilla.bandcamp.com] in November 2025."
"With Theo off on hols this week Christian opens the lid on one of his favourite instruments, The Harmonium. Think Penguin Cafe Orchestra, think Jon Brion, think a leading (albeit inanimate) character in Punch Drunk Love."
Press release follows:
The Crow Hill Company announces availability of VAULTS - HARMONIUM, bringing bellows to DAWs as latest free VI abiding by its Make Music, Your Music motto
EDINBURGH, UK: The Crow Hill Company is proud to announce availability of VAULTS - HARMONIUM — bringing bellows to DAWs (Digital Audio Workstations) as its latest free VI (Virtual Instrument) monthly drop, allowing anyone to experience the timbral complexities and harmonic layers of its gorgeous and, some might say, quaint instrument namesake for the rest of their lives, abiding, as always, by the Edinburgh-based enterprise creators’ collective Make Music, Your Music motto — as of October 24…
Its iconic appearance in Director/Writer Paul Thomas Anderson’s 2002-released dark romantic comedy Punch: Drunk Love — look it up! — may make many think of the harmonium in a certain way. What is certain, though, is that the small free-reed organ was patented way before, back in 1842 by Frenchman Alexandre Debain. By being smaller and less expensive than traditional pipe organs, it quickly became popular through Europe, India, Africa, and the southern United States. Travelling through the north of the UK, harmoniums can still be found tucked away in the corners of many recording studios. Saying that, those that are there are not just set dressing; after all, the harmonium captured the hearts of artists such as The Beatles, Supertramp, Penguin Cafe Orchestra, and Tori Amos, all of whom featured it in their music.
Making music with a harmonium is easier said than done, however, since the instrument in question generates sound by pumping air — using two foot-operated pedals joined to a mechanism that operates a bellows or by pushing and pulling a handle joined to the bellows back and forth with one hand — past a thin piece of metal in a frame and making it vibrate. Vibrations then resonate through the harmonium’s wooden body, thereby producing the distinctive, church-like sound. Thankfully, The Crow Hill Company has succeeded in capturing this sound to produce VAULTS - HARMONIUM, making it much easier for many more appreciative sound-seekers to experience its musical magic.
Composer Christian Henson — original founder of The Crow Hill Company — freely admits to being a big fan: “It’s got to be one of my favourite instruments. It can bring a simplicity to music — dare I say it, a quaintness, but because of its timbral complexities, it’s also massively expressive.”
📚 DMS Generative is a collection of 25 patches for the semi-modular system Moog Sound Studio: DFAM + Mother-32 + Subharmonicon. This genre of sound design is highly popular within modular culture, and the Moog Sound Studio offers an excellent feature set to explore it. 🎛 Controlled chaos and randomness, probability, non-repetitiveness, tempo shifts, pattern uniqueness, the alternation of short and long sounds, unexpected changes, silence and density, harmonic and FX-like tones, and glitchy bursts throughout sequences — all of these elements are part of the soundset. 🎚 Generative timbres can serve as a strong addition to, or the main element of, ambient or techno tracks, jams, and performances. You can also record fragments into your DAW or sampler, slice them into one-shots or loops, and obtain unique material for further processing.
🕹 The key idea behind the soundset is a high level of interconnection. In this patchbook, the timbres of the synths are intertwined — they cannot exist independently: 🔹 They modulate each other with LFOs and envelopes. 🔹 A sequence from one synth may change parameters on another. 🔹 Trigger interactions, clock/rhythm, and run/stop modulations break predictable patterns. 🔹 Audio signals from VCOs may be used as modulation sources to create harmonies, intervals, or wild experimental inharmonic tones. 🔹 Alternatively, they can be used as audio sources routed into another synth to be processed through its unique filter and envelope — giving the signal a “second life.” DFAM, M32, and SUBH each play distinct and defined roles — it’s not a sound mess, but a tightly integrated system where the synths work in close cooperation.
"This demo was created in 2007-2008 using an early version of Pixilang 1.x. The music was written specifically for this work. But something went wrong, and the demo ended up gathering dust in the archives until 2025, when I decided to restore it, make minimal edits, and finally release it in video format. The source files will be made public later. By the way, the 'Where' soundtrack, unlike the demo, was not abandoned and was released as part of the 'Back to the Sources' album in 2009. The music, of course, was composed in SunVox."
