Lost Road...

video upload by Craig Sue Sound

"An ambient synthscape of lots of textures & favourite synth sounds to images of cityscapes and a solitary figure... This track was performed with real analogue & digital equipment, as well as some in the box... headphones a must for the imaging & bottom end in this piece... enjoy..."

"Equipment used in this piece includes Moog Voyager, Roland VP-330, Yamaha SS-30, Arp Odyssey mk3, System 100m, Waldorf M, Arturia Microfreak.

Effects included the Chase Bliss CXM1978, MXR Flanger/Doubler, E.H. Small Stone, Hologram Microcosm. Software used N.I. Kontakt.

Headphones a must for lots of movement in the mix as well as low frequencies… Enjoy :)"

And a MATRIXSYNTH T :)

GoFundMe for Keyboard Magazine's Former Editor Stephen Fortner

It has come to my attention that Keyboard Magazine's former editor-in-chief (2009 through September 2015), Stephen Fortner has suffered a stroke. His wife has set up a GoFundMe to help with his recovery (click through for details). She also has a YouTube channel with progress updates here.

I grew up reading Keyboard Magazine and still have my original collection. Keyboard Magazine is what many of us grew up with before the age of the Internet.

Stephen has been featured here on MATRIXSYNTH countless times.

We send him and his wife our best wishes to a full and speedy recovery.

Meet the M0SS 101 Synthesizer by Andrew John March

M0SS 101 DEMO video upload by Andrew March

"A quick demonstration on how to build a patch with the M0SS-101 synthesizer."

From the creator of WVR, the the M0SS 101 virtual analog monosynth is currently seeking funding on Kickstarter.

"M0SS-101 is a virtual analog monosynth built for a pure, hands-on subtractive synthesis, packed into a compact, rugged guitar pedal enclosure.

With 26 buttons and a single encoder, M0SS-101 gives you intuitive access to a deep 42-parameter virtual analog synthesis engine. Press a button to select a parameter, turn the encoder to modify it, and monitor your signal flow via the LED system.

Using a MIDI controller, you can map any parameter via simple MIDI learn, making it easy to integrate into your setup. Up to 17 presets can be saved and recalled for quick access to your favourite sounds.

The 26 RGB LEDs use colour and brightness to represent signal flow, modulation paths, settings and selections. A separate row of 11 LEDs at the bottom gives you instant visual feedback on the currently selected parameter. I aim to offer an affordable, compact, and versatile instrument, without sacrificing features, ergonomics, or most importantly, fun. I hope you'll enjoy playing this synth as much as I have :'-)"

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Ultra-rare Waldeck 70s US Synth

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

via this VEMIA listing

Click the auction link on top when you get there for additional listings.

VEMIA is Peter Forrest's auction house. He is the author of The A-Z of Analogue Synthesizer Books.

Pics of the inside below.

"One of the rarest synths ever - this one is serial number 7 out of about 10 that were built. They were designed in the late 70s by Steven Waldeck, professor at the Art Institute of Chicago. Although there are so few of them there is a good deal of information gathered at the excellent matrixsynth site: https://www.matrixsynth.com/2016/05/more-info-on-vintage-waldeck.html?m=1 We had this example imported from the USA with the aim of having Dani at Hideaway do her magic - but sadly she has too many other projects on the go, and could give no idea of how many hours it would take - and how economically viable it would be. She did check it for electrical safety: 'If it was a 240V piece I'd say it would need some serious attention to detail and most definitely grounded - at 120V, I would say at the very least it should be checked over properly and some addition of sleeving/insulating sheet of the mains wiring on the transformer, fuse and switch terminals.' Bear that in mind along with Mark Verbos' honest appraisal of another example from the matrixsynth page, and consider it a fascinating project, inspired by the VCS3 but definitely not a VCS3. Good for sound effects and weirdness, but not accurately pitched notes. Dani's general verdict as it stands: 'This was clearly intended to be aimed more at making sound effects than to be used as a well calibrated and stable musical instrument - the whole thing is extremely drifty with very narrow usable control ranges on the oscillators - there is a fair amount that doesn't work but I still had some fun making some sort of recording with it to mark the occasion.' https://soundcloud.com/hideaway-studio/1978-waldeck-on-the-waldeck/s-2j3HAUd60BE (corrected URL!)"

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ONE STOP SHOP FOR ALL THINGS SYNTHESIZER | THAT SYNTH SHOW LIVE

video upload by SYNTH SAMURAI

Browsing MATRIXSYNTH with SYNTH SAMURAI. :)

This one was sent my way via HanzVolt, aka SYNTH RENEGADE MAFIA.

MERCH SHOP
https://synth-samurai-shop.fourthwall...
If you like what I am doing and want to support the channel buy me a beer
https://www.buymeacoffee.com/synthsam...

Dr T's "M" Midi Music Software for the Atari ST Brochure / Ad

This one is in via plantssystem.

Click the pics for the full size shots.

See see this previous post for some additional info on the software including a demo. You can find additional demos in previous videos by plantssystem featured here on MATRIXSYNTH.

Emu 70s modular university/Pat Gleeson?

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

via this VEMIA listing

Click the auction link on top when you get there for additional listings.

VEMIA is Peter Forrest's auction house. He is the author of The A-Z of Analogue Synthesizer Books.

"This interesting E-mu modular started out life at an American university, at a time when E-mu were happy to sell circuit boards and sub-modules to individuals as well as manufacturing the systems themselves. Because this was built by two people, they were completely familiar with the layout (even though they decided in a few respects to make changes to the design to improve the layout of, for instance, the Universal Active Filter). That meant that they had no lettering on the panels (as well as none of the distinctive blue edging that E-mu themselves use on modules). Further research: according to a post for an auction in 2014, it was actually built by Pat Gleeson and a PhD student, and there were some pencil markings on the panel which have since worn off. Search the wonderful matrixsynth for Early Vintage E-mu Modular for Sale . Here's the link: https://www.matrixsynth.com/2014/05/early-vintage-e-mu-modular-for-sale.html. The most likely supposition is that this was built for Cal State East Bay (then known as Cal State Hayward), but we're trying to find out more.

In the interests of intelligibility by someone not intimately involved in its creation, we decided that it needed labelling. We did this with cheap tape, and a Brother printer. The results are more useful than beautiful. (If it was partly Pat Gleeson's work, the lettering and blue tape could easily be removed if you wanted.) Cosmetically it is generally good - the knobs have started to discolour a bit after nearly 50 years, but are still nice to use. One silver top is missing.

Working order: every module has been checked out as 100%. Three of them needed some expertise from Tony Wride, who used E-mu parts where possible and Pioneer Tribute parts where not. Altogether this modular is probably about 97% E-mu and 3% Pioneer. As this process has taken a year or two to complete, and the modular hasn't received the regular playing it deserves, some pots may be scratchy when first used.

Check the pics for what you will get. The UAF needed a replacement wooden piece in the cabinet to screw into, so hadn't been connected when we took the pics. Packing 30GBP."

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MOTM / Synthesis Technology's Paul Schreiber Has Passed Away

Paul Schreiber at CONTROL in 2018


It has come to my attention that Paul Schreiber has passed away.

Pictured: Paul Schreiber at the 2006 NAMM show. Top from this previous post (pic by fr1zz), and bottom from this post (pic by Synthtopia) - this is the first image of Paul on the site. There is one comment in that post: "He's a good guy." Indeed.

Readers of the site should be familiar with his work. He was the man behind MOTM and Synthesis Technology.

To say Paul was one of the greats to influence the synth community would be an understatement. He was pivital to the rebirth of modular synthesizers. He started when modular as we know it today was in its infancy, as one of a very small group of large format DIY modular manufacturers along with Blacet, Modcan, Cynthia, Wiard, Oakley, STG, Catgirl/CGS, Tellun/Lower West Side Studio YuSynth, Jurgen Haible, and of course DIY staples like Thomas Henry/ MFOS, Ray Wilson and PAiA (see this post for some modular formats back in 2007). I focused mainly on those offering DIY. There were other manufacturers including Synthesizers.com, Club of the Knobs, MOS-LAB, Moon Modular, MacBeth, CMS, and more. Feel free to mention others in the comments. This post is about Paul, but I think it's important to reflect on some of the large format modular manufactures he was amongst at the time.

Paul created the MOTM format of 5U modules in 1998. MOTM stood for Module of the Month offering monthly DIY kits. From Wikipedia: "MOTM was created by Paul Schreiber in 1998. The system was created in part due to the renewed interest in large-format analog modular systems that occurred in the late 1990s. Between 1998 and 2021, over 8000 modules were sold. The company, Synthesis Technology, also offered a limited number of modules in Eurorack[2] and Frac[3] format."

He was also helped design the Moog/Realistic MG-1. From Wikipedia: "In 1980, Moog Music was seeking to contract manufacture a mass-marketable synthesizer which could be sold via a large retailer. Moog representatives secured an appointment at the Radio Shack corporate offices for a 5-minute demonstration. Radio Shack approved the concept, and Paul Schreiber (then employed by Tandy Systems Development) worked together with Moog on the synthesizer's design to achieve Radio Shack's price requirements.[2][3]"

He later joined the eurorack scene with Synthesis Technology branded modules. FYI, his site for MOTM was always http://www.synthtech.com/, short for Synthesis Technology. The first post to mention Paul and MOTM was posted just under twenty years ago here on MATRIXSYNTH back on August 26, 2005. If you click through you will see it was a post announcing the MOTM/synthtech.com site was going down for the weekend. He announced he was retiring from the synthesizer business in August of 2023.

I beleive the first synthtech eurorack module was the MOTM E340 Cloud Generator. The first demos were posted on July 14, 2009, followed by a mockup of the front panel on July 20. The first post to mention Synthesis Technology was an Epic Son track by John L Rice in August of 2011. Since then there has been approximately 845 posts to feature MOTM, and at least 398 Synthtech.

You can find a number of interviews with Paul in previous posts here.

It's worth repeating, Paul Schreiber was one of the key figures that brought modular back to the masses. He was both respected and loved by the synth community. It's impossible to overstate his influence. He will be missed.

The following are the first the last video interviews with Paul to be featured on the site:

The SynthSummitShow Episode 2: Paul Schreiber (Synthesis Technology) and A.Dapt (music producer) ...

Streamed live on Oct 2, 2015 Flux302 of Fluxwithit.com. Details previously posted here.

SysEx Dumpster - Episode 44 - a conversation with Paul Schreiber
video upload by Sysex Dumpster on Jul 30, 2023. Details previously posted here.

The first videos to feature Paul presenting a module was back on January 3, 2010, and the first interview on SoundCloud in 2013, and he was of course featured in the modular documentary film I Dream of Wires.

Custom Patches for Novation Summit synthesizer - Dirty & noisy pads and soundscapes - No talking!

video upload by copenhagennoiselab

"Playing through 38 presets I have made for my Novation Summit... I bought the Summit after a few years with the Novation Peak. And while I have kept the Peak, I hav not used it since. All in all, this used to be my favorite synthesizer. It can be clean, and it can be nasty and everything in between. It is quick to work with, and it has that snappy character if needed.

The best thing about it is likely that it plays well in a context with other instruments - I usually turn it on as a drone or an arpeggio playing while playing piano. It works great. I feel like Nils Frahm or Hania Rani instantly... ;)

Anyway. The Arpeggiator on this thing is the best I ever used...

If you are interesting in getting the patches, please let me know, and we can likely work something out.

If you want some custom written soundtracks, get hold of me.

Anyway. If you like the sounds, please click like and subscribe or leave a comment. It means a lot to me. :)

There is no external processing going on, so the only FX you hear is the diffusion delay that is built in.

#novation #novationmusic #novationsummit #novationpeak #peak #summit #synthesizer #polyphonic #ambient #soundscape #patches #synthsounds #analog #analogsynthesizer #analogsynth #synth #synthesiser #analoguesynth #matrixsynth #demo #vcf #chrishugget #oscar #arpeggio #arpeggiator #compenhagennoiselab #custompatches #patches"

METAMORPHEUS Soundset for Oberheim TEO-5

video upload by James Dyson

"METAMORPHEUS Soundset for Oberheim TEO-5
128 deeply programmed Presets included covering all musical taste and styles.
No added FX or Processing."

Email firestormer2010@yahoo.co.uk for details on the soundset. Please note MATRIXSYNTH has no way of verifying this is legit, but has no reason to assume otherwise. As always just be careful. You are free to share your experience in the comments below.

Oberheim TEO 5 Synthesizer Soundset Sounds and Sound Design


video upload by James Dyson

Additional posts here

Roger Linn, Creator of the Original Namesake LinnDrum on Behringer's New LmDrum

The following is Roger Linn's statement on Behringer's LmDrum, written Jan 4, 2025, saved here for the MATRIXSYNTH archives:

In December 2024, Behringer released their "LmDrum", which is described on their site as:

"If you are looking for a drum machine that can recreate the classic sound of the 80’s, look no further than the Behringer LM DRUM. This amazing drum machine features an authentic 8/12-bit sampling sound engine that captures the essence of a hundred legendary 80’s drum sounds including those designed by Roger Linn such as the LM1*, LM2*, LM9000* and more. You can even record and store your own samples using the integrated line input."

Uli Behringer kindly sent me an LmDrum in August of 2024, giving me a chance to try it out. What do I think? I think it's a bit of a head-scratcher. It is clearly intended to evoke my 1982 "LinnDrum" drum machine, borrowing its visual style, control layout, colors and logo style, as well as copying its sounds and those of my LM-1 and Linn9000 drum machines. I took it apart and it even copies much of my LinnDrum sound generation circuit, even my bad ideas like the inability to tune any drums except the snare, toms and congas.

However, it uses an entirely different operating system and user interface, one that is based on earlier Behinger drum machines. Personally, I found it somewhat confusing and difficult to use, though I was given an unfinished manual. I'd imagine they will improve both the software and manual over time. I suspect the designers found it difficult to find a balance between 1) the impression of a LinnDrum clone, and 2) the addition of modern features, given that the 1982 LinnDrum's feature set is woefully inadequate by today's standards.

It's worth noting that Uli never asked my permission to either copy my visual design or my drum sounds. Though in 2020, he did kindly invite me to collaborate on a future drum machine, and I respectfully declined because of concern about Behringer's past business ethics and legal practices.

How do I feel about the LmDrum? My feelings are mixed. On the one hand, it's not unusual for companies to borrow ideas from older products in order to inspire a new and innovative design, which I've done in past. Plus, my old drum sounds are all over the web, controlling copying is difficult, and I don't enjoy legal stuff so I've generally ignored the issue so far. Also, the value in those old sounds is probably due more to Art Wood (the drummer who played the sounds, and my friend of many years), and to artists like Prince, Michael Jackson, and others, who made those sounds famous on their hits. Finally, I must admit that I've never cared much about the past, because I find the future far more exciting.

On the other hand, even if we discount the copying of the visual design, logo style and sound circuit of LinnDrum, the LmDrum copies my sounds. So I'd have preferred for Uli to ask my permission. Even if he thinks it is legal, I question whether it is ethical.

I find it interesting that the LmDrum is being sold in the U.S. for only $399. Having taken it apart and seeing how complex the copied old circuitry was to reproduce, I doubt Behringer is making any money from it. I suspect that they originally intended to sell it for much more, then discovered that while many people may say they want a LinnDrum clone, few are willing to pay more than a low price for it.

On a related topic, GForce Software has recently released their "IconDrum" software drum sound generator. Like the LmDrum, it copies the LinnDrum's visual design, logo style, and drum sounds, but has no sequencing. Unlike Behringer, GForce did say they wouldn't release the product if I objected, but they seemed like good people so I turned a blind eye. They also offered to pay me an insignificant royalty for my association with the product and perhaps to use "LinnDrum" name, but I declined because of the low compensation and because I thought it was misleading to call a product "LinnDrum" that wasn't a drum machine but rather only played my copied drum sounds.

One last comment. What's the big deal about nostalgia? I can understand that some people value analog synthesis, though I find the many types of innovative software synthesis created in recent decades to be far more capable, versatile and interesting. But even if people value vintage analog synths, why vintage digital drum machines? I ask this because an old bit is no different than a new bit. Our collective love of nostalgia brings to mind an old Douglas Adams quote from Salmon of Doubt:

"I've come up with a set of rules that describe our reactions to technologies:
1. Anything that is in the world when you’re born is normal and ordinary and is just a natural part of the way the world works.
2. Anything that's invented between when you’re fifteen and thirty-five is new and exciting and revolutionary and you can probably get a career in it.
3. Anything invented after you're thirty-five is against the natural order of things."

As a guitarist, I recall having endless discussions in my youth about "good distortion". :)

- Roger Linn

Oberheim Matrix 6 w/ Original Box

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

via this listing

Pics of the inside below.

The following listing description is uncannily describes describes my own situation back in 1985/1986, hence the matrix alias and MATRIXSYNTH.

"It's Christmas, 1985. Long before the days would come when you would begin to notice the world ending right in front of your eyes. Choose your own adventure:

1. The DX-7 is cool - but somehow not your thing. Yeah it's amazing, but sounds a little cold? You saw the magazine ads, and now - after months of saving you can actually afford to buy the brand new analog Oberheim 6-voice. It's finally out, and you just got it home from the store...

2. You're in high school, getting your first band together. Studying is for nerds. Synths are as cool as lead guitar right? Your parents are rich. It's Christmas morning, and there's a large rectangular box under the tree. Well, no car this year. But it could be something cool?...

Mint condition Oberheim Matrix 6 analog polyphonic six voice synthesizer, made in Japan. Boxed complete retail package with original manual, cassette, pedal footswitch, warranty card and promo brochure as pictured. Original CEM3396 voice chips dated to late 1985. Perfect operation and looks and plays like new. Manual is in Japanese, but English PDF downloads are available in various places online. A very rare chance to go back in time. You won't find a nicer one anywhere."

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The Mirage MegaBank & TRANSONIQ HACKER - The Independent Newsletter for Ensoniq Users

This one is in via M Me.

Note the Megabank cart requires separate power. If anyone knows the power and polarity required for the plug please leave a comment, or send email to matrixsynth @ gmail.com so I can pass it on to M Me.

MegaBank info starts on Page 3 below.

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Randomwaves Drumboy & Synthgirl Kickstarter Goes Live

Randomwaves Drumboy & Synthgirl Kickstarter campaign is now live.

Click through for full details.

See the Randomwaves label for additional posts here on MATRIXSYNTH.


Drumboy - 24-bit Drum Machine

video upload by Randomwaves

Synthgirl - 24-bit Wavetable Synthesizer

video upload by Randomwaves

Keith McMillen Has Passed Away

Some sad news in via Keith McMillen Instruments

"It is with heavy hearts that we announce the passing of Keith McMillen.

Keith McMillen, a pioneering force in audio and music technology, passed away this week leaving behind a legacy of innovation and a profound impact on the music industry. Born July 10, 1957 in Bermuda, Keith dedicated his life to revolutionizing how live interactive music is played and experienced.

A passionate advocate for the intersection of technology and music, Keith’s academic foundation was laid at the University of Illinois, where he earned a BS in Acoustics under the mentorship of James Beauchamp. He further honed his skills in classical guitar and composition under the guidance of Herbert Brun, Scott Wyatt, and Sal Martirano. Over the years, Keith developed MAPPS, an integrated computer composition, notation, and performance system that became the bedrock of his group TrioMetrik.

Keith’s professional journey began in 1979 when he founded Zeta Music, a company that would become synonymous with the modern violin. His revolutionary electronic instrument designs set new standards in the music industry, creating a market that continues to influence musicians today.

In 1992, as Vice President at Gibson Guitars, Keith founded G-WIZ, an R&D lab where he developed ZIPI, a groundbreaking musical instrument control language that evolved into the Open Sound Control (OSC) protocol and lay the foundation for MPE and MIDI 2.0.

In 2005, Keith founded Keith McMillen Instruments, a company that quickly became known for its cutting-edge approach to musical technology using patented Smart Fabric sensors. Keith established the company to bring his innovative vision to life, and under his leadership KMI introduced groundbreaking products that combined Smart Fabric with musical artistry, including the K-Bow, QuNeo, QuNexus and K-Board Pro. These instruments, recognized for their versatility and advanced capabilities, reflected Keith’s dedication to pushing the boundaries of what was possible in music technology. His work through the company solidified his reputation as a pioneer in the field and left a lasting impact on the music industry.

In 2014, Keith founded BeBop Sensors with a mission to expand Smart Fabric applications into the fields of wearable sensors and haptics. This led to the development of several products and patents, including virtual reality gloves and insole sensors. This work inspired Keith to form Sensible Robotics, a new company where Keith focused his full attention on Making Robots Feel Better™ by using Smart Fabric to develop robotic skin.

Keith McMillen’s work exemplified a lifelong commitment to exploring how computer intelligence and user interface can enhance and expand musical performance. His passing is a great loss to the world of music and technology, but his innovations and achievements will continue to inspire and shape the future of both fields."

His instruments have been featured throughout numerous posts here on MATRIXSYNTH (271 posts to date including this one). You can find a handful of posts featuring Zeta here.

BIAS BNT-6 “NIGHT TRAINING” 6-Channel Drum Synth Brain

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

via this listing

"Amazing rare japanese drum module with 6 voices of (I’d say “CR-sounding” smooth / tight) analog drums. Eurorack friendly triggers (⅛” input jacks even!). Check YouTube for sound examples. Fully functional, in great shape. Includes power adapter.

Quote from MATRIXSYNTH (posted here): 'Very cool 6 channel Japanese analogue drum synth - controls for Volume, Attack (Snappy for snare) and Pitch (Decay on hats), Input Sensitivity. Capable of some pretty decent drum sounds - especially if you drive it with another drum machine and turn up the Sensitivity - overloads the signal and the source sound can bleed through adding extra dirt and colour.'"

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SynthAddict Studio Tour at CLOWNFEST 13

CLOWNFEST 13 DAY 2 THE STUDIO TOUR DAY video upload by pierrot the acid clown

A quick tour with supporting member SynthAddict, who's numerous videos you've seen here on MATRIXSYNTH. His custom MATRIXSYNTH hat makes an appearance along with a mention of the site at 3:26.15. Note the video is set to start with SynthAddict at 3:17:30. You can use the player controls to skip around or to the beginning of the full four our show if you want to. Thank you to SynthAddict for the MATRIXSYNTH plug and for supporting the site!

And a prior studio tour from 10 months ago:

PtAC - CLOWNFEST XI - SYNTH ADDICT CRIB

video upload by pierrot the acid clown

Please Consider Supporting the Site

If you enjoy the site and have the means, please consider supporting the site for as little as $2 a month or a one-time donation. You can find details on how to support the site here: https://www.matrixsynth.com/p/support-matrixsynth.html.

Supporting the site currently helps keep it pop-up-ad free. You might notice intrusive pop-up and video ads on other sites. I'd like to keep MATRIXSYNTH free of such ads, however, if not enough support comes in, I may have to enable them at some point. This site is a full-time job, so every bit of support helps.

If you are a manufacturer, maker, or anyone who profits from having your products and videos promoted here on MATRIXSYNTH, please consider supporting the site. Every post that features your content promotes your content.

Supporting members are also able to submit their synth content for posts. Please note not everything goes up, however. I try to keep the site free from politics, hate, and discrimination, and only synth content goes up. No offense to other gear, but this site is exclusively about synths. Also, please do not support the site if your intent is to promote another site. This site is about this site and the content featured on it. It's ideal for people promoting sample packs that demonstrate specific synths, or people making videos showcasing various synths and modules. Just skip through posts to get an idea of what's featured here on MATRIXSYNTH. Finally, supporting the site would allow me to cut back on auction posts by limitting them to suporting member listings, sponsors, and only the rarest of the rare synth items.

That said, thank you to all of my current supporters and sponsors! Running this site takes a ton of work in more ways than one. As the saying goes, it can be impossible to make everyone happy. You are so appreciated and help keep the site going.

Update: Thank you for everyone donating. For the one-off donations, shoot me an email at matrixsynth @ gmail.com, or leave a comment below if you'd like to be added to the support page.  I don't share email aliases w/o permission for privacy reasons, so let me know what alias to list.  If you prefer not to be listed and just want to make a donation, thank you! 

New Moog Muse Details

Some new details on the upcoming Moog Muse have been shared online and have been added to this post. They appear to be from a Norweigan shop, and appear to be legit, however, we won't know for sure until Moog officially announces the Muse, of course. Some slightly larger pics have been added there as well, however, they are still pretty blurry. They do, of course, give you the gist of it. Click here for the update.

A note on leaks: please note MATRIXSYNTH does respect embargos, and only shares what has already been leaked online as once the news is out, the news is out. This is a synth news site and synth leaks are news. Not keeping up-to-date would essentially make the site irellevant. If you are a manufacturer, my recommendation is to NOT release images or details to anyone, including shops, until you are ready to formally announce the product. The majority of leaks come from online shops that either fail to keep things private, or leak it on purpose to get pre-orders in ahead of others. This is one of the reasons I do not link to shops that leak gear, as it only encourages them.

Please note as a courtesy to sponsors and supporting members of the site, I will reach out if I do spot a leak, prior to posting. If you have any questions or concerns, please reach out.

Ghirardelli MATRIXSYNTH

Custom MATRIXSYNTH cap in front of Ghirardelli Square, San Francisco in via SynthAddict.

Taken "after heading to Ghirardelli Square in SF for a nice ‘end of the day’ hot fudge sundae.

You can see the sunset on the left, coming from the direction of the GG Bridge. 😀🍨🌉"

Cheers to that. :)

Synth Addict