Video in the listing for another mod previously posted here.
"One-of-a-kind modified Yamaha RX 17 1987 12-bit programmable drum machine featuring two ROM modulation patch bays, a joystick for performance control of four pre-set effects (which may also be combined on the diagonal axes) and pitch control. These modifications generate an array of bit crushed, flanging, glitching, distorted, delayed, tonal effects, flams and digital noise. Five patch cables included- these can be 'stacked' for even deeper audio manipulation. The unit functions as normal when the patch bay is not in use. Only one available.
13 pads: tom 1/conga 1, tom 2/ conga 2, hi hat open/bongo high, ride/agogo high, cowbell/whistle, timbale high/ cuica high, bass drum/ tambourine, snare/rim shot, tom 3/conga low, hi hat closed/ bongo low, crash/agogo low, clap/shaker, timbale low/cuica low.
Accent, level, pan for each sound.
User Patterns: 999.
User Songs: 10.
Tempo Range: 40 - 240 BPM.
MIDI in/ out.
ROM Size: 26 PCM waveforms at 12-bit resolution.
Screen: 16x2 character display.
Weight: 1.5 kg."
"The Take 5 Poly Chain OS update is free to download! Link two units together for a massive 10-voice polysynth, explore 10 new arpeggiator modes like Spiral and Leapfrog, and experience Whiplash arp timing for dynamic rhythmic transformations. Plus, dive into fresh sound design possibilities with selectable violet noise for shimmering, airy textures. This update is all about bigger chords, deeper creativity, and inspiring new sonic landscapes! It's your Take 5 to the power of 10.
Synth sounds and drums exclusively by Take 5. Music composed by Peter Dyer.
"Elevate your TEO-5 with the new Poly Chain OS update! Link two TEOs together for a lush 10-voice Oberheim experience, explore 10 inspiring arpeggiator modes like Spiral and Leapfrog, and add rhythmic drama with Whiplash arp timing. Plus, expand your sound palette with violet noise for shimmering and airy textures. Step up to bigger chords, deeper creativity, and fresh sonic possibilities!
"First look at the brand new firmware update for the Oberheim TEO-5 & Sequential Take 5. This update adds Polychain, new arp modes, noise options, and more — giving these synths a serious upgrade. In this video I’ll walk through what’s new and demo some of the new sounds in action."
Press releases follow:
Sequential Announces Free OS Update for Take 5 Synthesizer — Adds Poly Chain and More
OS Update introduces 10-voice Poly Chain, new arpeggiator patterns, Whiplash arp timing mode, and violet noise.
San Francisco, CA — November 6, 2025— Sequential today announced a major OS update for its popular Take 5 polyphonic synthesizer, delivering powerful new features that expand its creative capabilities. This update is free for all Take 5 owners and is available now from the Sequential website.
The centerpiece of the update is Poly Chain, which allows two Take 5s to be linked for a fully integrated 10-voice instrument. This means players can perform bigger chords and more complex arrangements without worrying about voice stealing. All front-panel controls are mirrored from one unit to the other for seamless sound tweaking, as if they were a single, expanded synth.
The arpeggiator gets a serious creative boost with 10 new play modes designed to inspire fresh rhythmic and melodic ideas. Modes like Spiral and Leapfrog introduce surprising new musical elements, creating parts that feel alive. These patterns go beyond simple up-and- down motion, using virtual “playheads” to weave intricate note paths, adding new flavor to your compositions.
Another standout feature is Whiplash, a new timing mode that keeps each arpeggiator cycle the same length regardless of how many notes you hold. The result? Notes bunch together or spread apart dynamically, producing rhythmic tension and release that stays in-step with the overall bar-length of your composition.
Finally, the update also adds violet noise, which emphasizes high frequencies while reducing low-end content. This opens up new possibilities for sound design, from smooth and shimmering textures to airy percussive layers.
"Musicians love the sound of Take 5, and we get asked regularly for ways to expand the polyphony," said David Gibbons, CEO of Sequential.
"This new software makes it possible to use it as a massive 10-voice synth — while also adding some fun and creative new capabilities."
The Sequential Take 5 combines classic Prophet-5 tone with a compact, portable design and an intuitive layout that feels great to play. With five voices of polyphony (and now ten with a desktop module companion), authentic analog oscillators, the iconic Prophet-5 filter, and deep modulation options, it’s the perfect gateway to Sequential’s legendary sound.
Oberheim Releases Free OS Update for TEO-5 Synthesizer — Adds Poly Chain and More
OS Update introduces 10-voice Poly Chain, new arpeggiator patterns, Whiplash arp timing mode, and violet noise.
San Francisco, CA — November 6, 2025— Oberheim today announced a free OS update for its acclaimed TEO-5 synthesizer, adding powerful new features that make the instrument even more versatile and inspiring. The update is now available for download from Oberheim's website.
The highlight of the update is Poly Chain, enabling two TEO-5 units to be linked for a fully synchronized 10-voice Oberheim experience. This allows for complex chords and lush textures without compromise, and all panel controls are mirrored across both units for consistent sound and performance.
Additionally, the arpeggiator now includes 10 new play modes that go far beyond traditional patterns. Modes like Spiral and Leapfrog introduce new rhythm and melody, creating parts that twist, turn, and evolve in ways that spark creativity.
Also new is Whiplash, a timing mode that keeps each arpeggiator cycle the same length no matter how many keys you hold. This means the note values shift dynamically, producing rhythmic tension and release that stays in-step with the overall bar-length of your composition.
To round out the update, violet noise joins the sonic palette. With its emphasis on high frequencies and reduced low-end content, violet noise is ideal for creating smooth shimmering textures, airy effects, and unique percussive elements.
"TEO-5 was designed to bring the classic Oberheim sound to more players," said Tom Oberheim. "This update pushes that vision further — adding features that make it even more useful and inspiring."
TEO-5 combines authentic Oberheim tone with modern creative tools. With true analog oscillators, the legendary SEM filter, linear through-zero FM, and a deep modulation matrix, TEO-5 offers a vast sonic palette in a compact, performance-ready design. Take the next step with TEO-5 and download the Poly Chain OS Update today.
"In this video, Patterning : Drum Machine developer Ben Kamen demonstrates using Patterning 3 as a MIDI sequencer to control a Eurorack modular synthesizer and builds drum and percussive sounds from the ground up. Starting from basic kick and tom patches, learn how to shape hi-hats with noise sources, add punch with pitch envelopes, and introduce melodic variations using MIDI.
If you love modular synth sound design, this one’s for you.
⸻
⏱️ Timestamps:
00:00 — Introduction: Using Patterning 3 with Modular Synths 00:35 — Oscillator + VCA Basics 00:50 — The Tiptop Low Pass Gate Setup 01:02 — Envelopes and Volume Control (Quadra) 01:12 — Making Drum and Tom Sounds 01:26 — Creating Hi-Hat Sounds with Noise Sources 06:57 — Adding Punch with Pitch Envelopes 07:20 — Shaping Kick Drum Dynamics 07:37 — Experimenting with Attack and Decay 08:04 — Modulating Hi-Hat Envelopes for Variation 09:10 — Exploring Plonk and Cowbell Sounds 10:41 — Randomized Melodies from MIDI Pitch Data 11:38 — Building a Complete Modular Pattern 12:28 — Wrapping Up and Final Jam"
"The Mutable Challenge is a tribute to the late, great Mutable Instruments, the most innovative of all Eurorack makers, who ended their journey in 2022. In this challenge, participants start with a rack entirely filled with Mutable Instruments modules and have one hour to create anything they like—be it a tune, a riff, a sound effect, or even pure noise—to showcase the unique and creative potential of these iconic modules. With official Mutable patch cables and just two other pieces of gear allowed—an Arturia KeyStep 37 and a Cre8audio Assembler mixer—participants are free to let the Mutable magic unfold.
*utility cables kindly provided by Synthcables.com
Big thanks to Tom Kirton for Yarns and to MonoJack from BeepBoop for the kind loan of Edges"
The Gaz Williams' Mutable Challenge/Tribute - Row 01
"Let's just all celebrate Mutable Instruments. I met Gaz Williams @GazWilliams on Dutch Modular Fest (2025) a week ago. I couldn't do the test myself, but I was really inspired by his inititative. Mutable is probably the most influential brand in Eurorack and beyond. You can easily find clones that suit your budget, and nearly all modules are available in VCV. If you feel like patching along, I will share a few tips and tricks (trips) and hopefully help you find a few new happy accidents.
"Crumar Spirit by Cherry Audio captures the unique sound and features of the exceptional analog monosynth from 1983, originally designed by some of the most legendary figures in the synth industry. Spirit is a gateway to sonic experimentation. It is not a polite instrument. Nor is it clean, safe, or obvious. However, twist a few knobs and it will reward you with some of the most colorful sounds you have ever heard from a virtual analog software synthesizer.
"100 additional presets for Cherry Audio's Crumar Spirit synthesizer by James Dyson that showcase its darker and more atmospheric side in nine categories. Explore more advanced modulations, integrated effects, rhythmic arpeggios, and aftertouch performance features.
"We are proud to preset the new Crumar Spirit by Cherry Audio, a meticulous software recreation of the unique, quirky and elusive Crumar Spirit analog synthesizer from the early 1980s. This is a two-part series. In Part 1 we go over most of the original-instrument features (minus the arpeggiator).
Part 2, covering the remaining features and exploring factory presets, will be released soon.
00:00 Introduction
00:34 A brief history
01:54 Overview of Crumar Spirit by Cherry Audio
02:35 Oscillators
09:59 Upper filter
12:41 Lower filter
20:02 Noise generator
23:43 Shaper Y (and Shaper Y audio path)
33:24 Mod X
41:24 Conclusion"
Crumar Spirit by Cherry Audio is a meticulously crafted virtual recreation that captures the unique and captivating features of the exceptional analog monosynth from 1983, originally designed by some of the most legendary figures in the synth industry. In collaboration with Crumar, we have reopened a time capsule to revive this Italian cult classic and thoughtfully elevated it with Cherry Audio's signature style.
Spirit is a gateway to sonic experimentation, whether you are after wild, unpredictable timbres or warm, analog tones. It is not a polite instrument. Nor is it clean, safe, or obvious. However, twist a few knobs and it will reward you with some of the most colorful sounds you have ever heard from a virtual analog software synthesizer.
Crumar Spirit includes over 430 sensational presets in 12 categories
Producers will find immediate inspiration in Spirit's extensive preset library, created by a talented sound design team led by veteran sound designer James Terris. And don't miss the Spectres for Spirt Preset Pack (sold separately), featuring an additional 100 additional presets by James Dyson.
A "Little Synth" Designed by Legends
Crumar S.P.A., based in Castelfidardo, Italy, was a notable player in the 1970s musical instrument industry, specializing in home organs, digital pianos, and multi-sound keyboards, and with a significant focus on the U.S. market. Sante Crucianelli, the son of the owner, became the driving force behind Crumar's design and strategies. Crumar became known for its open lab culture, frequently allowing competitors to test instruments, a rare practice for the time. Another key figure during this period was Luciano Jura, a designer, musician, and programmer. Luciano became crucial as Crumar's point of contact with synth pioneer Bob Moog, which led to a collaboration that resulted in the creation of Crumar's Spirit synthesizer.
Although many details have been lost due to the passing of key figures and the closure of Crumar, the development of the Spirit synthesizer in the U.S. is well documented. Key contributors to the project, codenamed "Little Synth," included Moog engineer Jim Scott, Moog clinician and electronic music historian Tom Rhea, and Bob Moog himself. The project likely began around 1980 or 1981, and incorporated elements from earlier projects by Scott and Moog. Rhea played an essential role in defining the Spirit's key features, such as the keyboard scanning setup, panel layout, functional architecture, and technical documentation. The Crumar Spirit went into production and was released in late 1983.
"NINA's multi track sequencer firmware 2.1 is out now, NINA is no longer just a synthesizer — Unlock a standalone groovebox for beatmakers, producers, performers and sound designers. A groovebox for dynamic and expressive performance anywhere - studio or stage. Great for generating quick new ideas or work some amazing complexity into your music. This is all powered by NINA's raw analog oscillators, ladder filter and wavetable oscillator. Not forgetting the revolutionary motorized knobs that snap to life for hands-on, tactile interactive control, now you can feel your sound. Whether you’re crafting beats or complex melodic patterns, this next-gen groovebox workflow unlocks a completely new way to create.
All sounds and patterns in this video were created solely using NINA.
Key Features of the Multi-Track Sequencer: • 4-Tracks—up to 64 steps with independent length per track, for polyrhythmic sequencing. • Per-step Automation—front panel parameters can be locked per step. • Polyphonic Sequencing — up to 12 voices available spread across 4 tracks. • 64 Noise types — percussive hits, metallic textures, buzzes and digital percussion. • Motorized Automation— you can see the front panel move, turn automation on/off. • Time-based features —shuffle, micro-timing, clock multiplication, variable gate lengths, and probability. • Perform patterns—recall and chain up to 16 patterns. • Internal Storage for more than 4,000 patterns. • Save a pattern with all sound and sequencer data in save into a single file. • Standalone operation— no other gear required. Of course NINA works well with other gear too! • New features include: timing quantization, clear notes and clear steps.
Thanks to all the artists who contributed to this video, follow them here: 00:42 The Unperson @TheUnperson 01:28 Oora @OoraMusic 01:57 Tom Hall / tomhallsonics 02:33 Honeysmack / _honeysmack_ 03:23 Tomo in der Muhlen / tomo.raw 03:59 Jonti / jontidanimals
This sample pack is built for those who push the boundaries of bass music.
Designed with a deep commitment to textural detail and aggressive sonic character, it blends digital precision with raw analog energy.
From acid-drenched 303 lines to modular basses that bend perception, this is a toolkit for producers who are not afraid of intensity, noise, or nuance.
Over 1,100 loops and 150 one-shots are included, covering: Acid 303s, FM basses, OTT-processed synths, and modular rigs Granular textures from Morphagene and Syntrx setups Electric and acoustic hybrid drum kits, cowbells, snares, and toms Rare instruments like JX-8P, JD-800. Drones, pulses, glitches, pads, and noise-infused layers All sounds are royalty-free and crafted for high-resolution use in contemporary electronic production. Perfect for genres like deconstructed club, experimental trap, post-dubstep, leftfield bass, or anything that lives between established categories.
This is not a static pack. Buyers receive free lifetime updates with new content added regularly. Recent additions have already expanded the pack for previous customers. If you're new to this series, now is the best time to jump in.
Every file is curated for producers who value tone, risk, and originality. If you're chasing the sound of the future, it's waiting here."
"The TEO-5 desktop module delivers the same signature sounds and synthesis features as its acclaimed keyboard counterpart. With genuine analog oscillators, the Oberheim SEM™ filter, and an intuitive knob-based interface, it fits seamlessly into your setup, offering powerful, hands-on control in an even more compact size.
Compact Creativity: Redefine Your Studio with the TEO-5 desktop
San Francisco, CA – [July 1, 2025] – Oberheim is proud to announce the release of the TEO-5 desktop module, a compact yet powerful addition to their venerated line of synthesizers. Designed for musicians and producers who want the iconic Oberheim sound in a space-saving format, the TEO-5 desktop module delivers all the same signature sounds and synthesis features as its sibling, the acclaimed TEO-5 keyboard.
TEO-5 boasts genuine analog oscillators and the legendary SEM™ multimode filter, allowing users to recreate the classic Oberheim sounds that have shaped decades of music. With extensive modulations, including linear, through-zero FM, and modern effects, the TEO-5 desktop module offers new sonic frontiers to explore.
The intuitive knob-based experience of its keyboard counterpart is also carried over into the TEO-5 desktop module. And all synthesis features are still easily accessible from the top panel, allowing users to make the real-time adjustments needed to fine-tune their sound with ease. This hands-on approach ensures that musicians can quickly dial in the perfect Oberheim tone for their music.
Ideal for synthesists with limited studio space, the TEO-5 desktop module provides all the exceptional presets and sonic control of the keyboard version in a footprint that's less than half the size. This compact design allows the TEO-5 desktop module to fit seamlessly into any creative workflow, making it a versatile addition to any setup.
“The meaning of the word ‘module’ has changed quite a bit since I first designed my Synthesizer Expansion Module or SEM back in 1974,” said Tom Oberheim. “But even back then, musicians appreciated getting tons of great sounds in a compact package. The TEO-5 keyboard has already gone farther and wider than SEM, and I’m excited to see this desktop module version introduce even more people to the magic.”
The TEO-5 desktop module is available now, with a US MAP price of $1,399.
"Updated demo video showcasing L-Fusion Modular Analog Kicks Eurorack module with walkthrough through all the parameters, also tips how to get most of it using filtering and EQ. For best listening experience use studio headphones/speakers that can handle the low end.
808 kick generates softer more boomy kick sound while 909 outputs more aggressive punchy kick often used for making techno. Built using modern components – Audio grade Burr-Brown OpAmps, low noise transistors as well as quality capacitors including legendary WIMA German ones where larger values are needed - module provides two clean analog sound outputs with dynamic range of over 90dB.
808 kick is based on T-Shape resonator, often used in Electro/Acid tracks. It has decay, pitch and tone knobs. The circuit has been modified for longer maximum decay.
909 kick is more complex, it generates more aggressive punchy kick sound often used making techno, its core is based on integrated triangle shape oscillator. This kick drum can be controlled with original attack, decay, tune, tune decay potentiometers. Original 909 circuit has been improved for longer maximum decay, we have also integrated extra potentiometers for soft clipping distortion and fast decaying attack noise control."
"Introducing new kick drum module with famous 909 and 808 base kick drums based on on original discrete transistor circuits. 808 kick generates softer more boomy kick sound while 909 outputs more aggressive punchy kick often used for making techno. Built using modern components – Audio grade Burr-Brown Opamps, low noise transistors as well as quality capacitors including legendary WIMA German ones where larger values are needed - module provides two clean analog sound outputs with dynamic range of over 90dB.
"In the latest instalment of my "If You Want A Short, Splashy, Gotcha Video This Isn't For You" series I noodle about in lengthy detail with sounds on the Modor DR-2. The idea here isn't a quick showcase of wondrous sounds, it's to give you a genuine feel for what it's like to use the DR-2. That means transiting through hundreds of gradations and flavors of a sound. No doubt sometimes you'll hear your preferred sound pass by as I adjust a parameter too far or wind back something too hard. Watching this back I can see points at which I should have stopped but instead kept tweaking. The filtered clap for example sounded pretty good after about 10 seconds but I kept flogging it death :D But that's the essence of this video - as the old saying goes it's the journey not the destination.
A quick note on the audio track: The Modor's buttons are very loud and clicky. It gives them a satisfying sureness in the studio but means they're quite intrusive on video. I did my best to EQ them out, gate them out, and manually mute them when possible. The result in headphones may sound slightly choppy (and somewhat mangled my voice) but I wanted to make sure you could hear the Modor's sounds properly rather than being mixed with room noise and button clicks.
I hope here I've got across the fact that the DR-2 is beautifully crafted to deliver a massive range of customizable sound. It's easy to dial in the basics of an excellent sound, and then have the controls you need to zoom in on what you want. The main problem is when to stop noodling.
Despite the length of this video I only touched on a tiny fraction of the Modor's sounds. If you're interested in hearing more, or any particular types of sound, please let me know.
Finally, Mr Modor if you're reading this: Please make an all-black version with second-layer subtext on the knobs.
"On The Run" de Pink Floyd avec un clone amélioré du module SEM d'Oberheim, fabriqué par NRSynth, une lutherie éléctronique made in France #pinkfloyd #ontherun #oberheim #sem #NrSynth
2. Tangerine Dream Intro "Ricochet Part 1"
Le module SEM de NRSynth est vraiment parfait pour reproduire l’intro de « Ricochet Part 1 » de Tangerine Dream. https://nrsynth.fr
3. Module SEM NrSynth Démo 1
00:00 Midnight Express
00:57 Star Cycle
01:41 Dervish D.
02:06 Stranger Things
02:44 Il était une fois le Prophet
4. Module SEM NRSynth Démo 2
00:00 Basse 1
00:13 Basse 2
00:26 Fun For Me
00:38 ABACAB
00:54 Welcome To The Machine
01:24 Caverne
02:33 Tange FX
02:49 Chinox
03:04 Percox
5. Tangerine Dream « Monolight (Part 2) » With the Sequential Prophet 6 & Korg Kronos
Oberheim Legacy: In 1974, Tom Oberheim imagined a small synth as an accessory to his DS-2A digital sequencer. But it was Dennis P Collins, a gifted ARP engineer, who designed the multimode filter of the Synth Expander Module (SEM). This unique filter is a 12 db filter that cannot deny its lineage with the ARP 1047 (ARP 2500) and ARP 2023 (white Odyssey MK1) filters, 12 db filters also designed by Dennis P Collins. With two very fat VCOs and a devastating sync (also close to the Odyssey VCOs), the small SEM offers a powerful sound, very present in the mix and very different from Moog and other synths with 24 db filters. So despite its simplicity and a filter that does not enter self-oscillation, we can get a lot of sounds out of it. Accessible and easy to use, the SEM is a success. In 1975, Tom paired first two, then four, into a huge keyboard case, creating the first "true" polyphonic instrument in history, the "Four Voices." In 1976, the SEM was even expanded to eight. Nicknamed the "White Elephant," its sound was as enormous as the instrument itself! But in 1978, the brilliant Prophet-5 made it obsolete, and Tom designed the OB-X, whose channel cards were also clones of the SEM. Subsequently, the OB-XA and OB-8 used Curtis chipsets and no longer had quite the same sound. In 2010, Oberheim reissued the SEM identically, but with all surface-mount components. In 2011, the SEM PRO added just a MIDI interface.
NRsynth "Solo": This is an "extended" version of the SEM, handcrafted with traditional through-hole components. Only the envelopes have been modified for a punchier result; the rest is identical to the original synth. Additionally, the Solo features a sub-oscillator, a glide, white noise, and many more modulation options than the SEM. MIDI velocity is also supported. Finally, the white metal case gives way to a luxurious, classically crafted cabinet with waxed oak sides and black tolex, similar to a Marshall amp.
A patchbook of all Séraphin Palmeri's sounds is included with the device.
Specifications:
VCO: Two discrete VCOs with hard sync, saw, pulse + PW (same as SEM)
Sub-oscillator: Pulse wave – 1 octave below VCO1.
Noise: 100% analog white noise
Multimode 12 dB filter: Same as SEM with LPF, HPF, notch, and bandpass mode. VCA: Analog (same as SEM)
LFO: Analog, triangle wave (same as SEM)
Envelopes: Analog (same as Pro-1) with deactivatable "Release".
Digital LFO: 8 waveforms + tilt, 3 frequency ranges, sync.
Sample and Hold: Analog, sync.
Glide: Analog portamento circuit at the input.
Patchbay: 15 I/O points on 3.5mm jacks (Eurorack compatible).
Rear Connections: Audio I/O and sync on 6.35mm jacks. Reset button.
Dimensions: 30x24x15 cm
Since they look so similiar it was too tempting to compare those 2 classic rhythm units. Despite their similar design they are quite different, and the comparision is not really fair to the Korg since the Roland has programing abiltities. The CR-5000 would have been a closer contender but I don't own one so it is the 8000.
Though the Korg Rhythm 55 has less features and sounds than the Roland it has more patterns (48 patterns wheras the Roland features 24 preset patterns and 8 user ones) and a tighter, punchier sound.
Overall I prefer the Roland, especially for percussive sound (cowbell, claves, tom, rimshot and that amazing clap) but the kick, snare and hi hats of the Korg are very nice.
The Korg was fitted with a 24 ppq clock input so it can easily be synced to other gear in the studio, as it is the case here, slaved to the Roland.
The Roland had it's Kick, Snare and Toms sounds modified slightly. The kick is lower and boomier than it originally is and the snare is way snappier than it originally is. The Tom had the white noise part removed to have a more round sound."
Unit was serviced and is in fully working order.
It was fitted with a 3,5mm jack clock input. It works on 24 PPQ so like most of the gear you will have in your studio and much easier to sync than the 8 PPQ the unit internally runs on. Check the video, as it is synced to the Roland CR-8000
Cosmetic is fair with some cracks on the case and bumps here and there, see pictures."
"It's been six months since episode 03 (The Road to Berlin). This is mainy because I make videos as I go and as I learn. The Leibniz system, by itself is not difficult to use, but in the audio domain it's impossible to bypass the 8-bit sound quality and harsh noise is inevitable. I needed to take many breaks to make this video and I had to get my knowledge from the manuals and the excellent works of Tom Churchil. I never fully realized you need to make loops for best results and I didn't know how important 'reclocking' is. I experimented with external VCO's before I realized Berlin and Poczdam offer their own Leibniz clocks to manipulate and 'reclock' the datastreams.
I had many 'I did not know' moments while making this video, and often I had to reshoot stuff that did not make any sense anymore. I wanted this episode to be a 'Leibniz Unleashed' experience, showing off some amazing patches that have a lot to offer and complement what's already out on YouTube.
I guess a logical followup for Episode 05 is to explore musical applications some more, especially in the audio domain. Leibniz is just great for CV and rhythms, but (at first glance) not so great in the audio domain (unless you fancy glitch, noise and other raw genres, it excels here).
I hope this video will help you get more production value from your Leibniz set, or help you decide if it's something of interest. Modular is too expensive to just do a leap of faith and figure it out later. It can take a year before it starts to make sense. But it's been a great year!
00:00 Introduction
00:13 Drezno Recap
02:56 Chains and Loops
04:27 Berlin and Jena
08:44 Odessa and Ostankino (expander for Moskwa II)
11:47 Generating rhythms with Lipsk, Erfurt and Gera
15:26 Re-clocking with Drezno II, Rostock, Buchla TTA 258t (20 kHz) and NE Sinc Iter (+4 MHz)
17:43 Re-clocking with Poczdam
19:36 Routing and re-clocking with a full Leibniz System"
"A historical and technical deep dive into the synthesizer designs and ideas that influenced the development of the Make Noise x Soundhack Spectraphon, featuring excerpts from an interview with Tom Erbe.
Spectraphon is an oscillator for Eurorack modular systems that allows you to analyze and resynthesize sonic characteristics of OTHER sounds, using those characteristics to create unique waveforms and timbres…with the ability to continuously transform them into something new. It’s Erbe’s unique take on the concept of a harmonic oscillator—inspired by some of instrument designer Donald Buchla’s work from the 1970s and 1980s.
Erbe and Make Noise specifically name three Buchla instruments as important inspirations: the Model 259 Programmable Complex Waveform Generator, the Model 296 Programmable Spectral Processor, and the Touché, a hybrid keyboard instrument developed in collaboration between Don Buchla and David Rosenboom.
This video unpacks each of these instruments in turn, examining how their innovative approaches to timbre control and spectral manipulation influenced Spectraphon’s design.
Special thanks to Tom Erbe for sharing his insights on Spectraphon’s development and its relationship to these historic Buchla instruments, and to the Buchla Archives for providing images.
Buchla Touché footage made possible by the Buchla Archives—check out Buchla Archives website: https://www.buchlaarchives.com/
Watch my Spectraphon Overview + Exploration video:" [posted here]
"Demo video showcasing L-Fusion Modular Analog Kicks module with walkthrough through all the parameters, also tips how to get most of it using filtering and EQ. For best listening experience use studio headphones/speakers that can handle the low end.
808 kick generates softer more boomy kick sound while 909 outputs more aggressive punchy kick often used for making techno. Built using modern components – Audio grade Burr-Brown OpAmps, low noise transistors as well as quality capacitors including legendary WIMA German ones where larger values are needed - module provides two clean analog sound outputs with dynamic range of over 90dB.
808 section outputs classic boomy kick based on T-Shape resonator, often used in Electro/Acid tracks. It has decay, pitch and tone knobs. The circuit has been modified for longer maximum decay.
909 kick is more complex, it generates more aggressive punchy kick sound often used making techno, its core is based on integrated triangle shape oscillator. This kick drum can be controlled with original attack, decay, tune, tune decay potentiometers. Original 909 circuit has been improved for longer maximum decay, we have also integrated extra potentiometers for soft clipping distortion and fast decaying attack noise control."
"The Beanie Bunnie Moo Moo is a Eurorack dual oscillator made by the Chinese designer and musician Jeanie. It consists of two identical analogue VCOs with through-zero FM, plus a noise source and a bunch of other smart features that open up a huge sound palette. It's a fantastic analogue patching playground!
"A short video with the Behringer Wave, also briefly demonstrating the difference of the oscillator modes and playing some sounds.
Some reverb was added, but no EQ or compression."
"Lublin [ˈlublin] is a dual, DC-coupled, high-quality VCA module with exponential control characteristics. It features a gain control circuit that prevents distortion from excessive amplification, which is common with traditional VCAs.
Besides audio and CV inputs, it features additional pinging inputs that use an elaborate analog circuit to model the dynamic behavior of vactrols, allowing you to trigger a carefully crafted gain response that mimics the natural decay of plucked and struck acoustic instruments.
Note that despite this emulation, Lublin is not a lowpass gate type module as it retains the full frequency bandwidth when reducing gain. Unlike many modules that use vactrols, Lublin's dynamic profile can be varied within a wide range.
Dual Voltage-Controlled Amplifier ∙ High quality, low noise and distortion, DC-coupled signal path ∙ Ping inputs for emulating vactrol response ∙ Three variants of ping response ∙ Exponential CV response with adjustable sensitivity ∙ Gain limiting circuit for protection against signal clipping
Chapters:
00:00 Intro & patch previews
01:24 Lublin overview
02:46 Twin VCA with pinged envelopes
07:56 Patching a low pass gate
12:07 Dialling in the perfect kick drum
16:34 Creating vintage hi-hats
19:08 Stereo plucked chords
Xaoc Devices Lublin: pinging for the new era, or strike your VCA!
They say you can never have too many VCAs. So we decided to make another one, actually two in one. After our modern classic that is Tallin, lauded for its inimitable saturation circuit, it's time for Lublin [ˈlublin]! Lublin is a high-quality dual VCA module with exponential CV inputs. On top of that, its two identical channels feature additional inputs for pinging. These inputs use an elaborate analog circuit to model the dynamic behavior of vactrols, allowing you to trigger a carefully crafted gain response that mimics the natural decay of plucked and struck acoustic instruments. Unlike lowpass gate modules though, Lublin reduces gain while retaining the full frequency bandwidth, so it is perfect for harmonically rich signals, like our Odessa additive VCO. The vactrol-like behavior is just a starting point as the envelope may be varied within a wide range using a switch (natural, shortened and prolonged response) and a potentiometer, so you are not stuck with one decay characteristic. Therefore, you can use it not only to create bongos, but also for fat compressed kicks! The built-in gain control circuit (saturating CV instead of the audio signal) prevents distortion from excessive amplification. Lublin is DC-coupled, so you can use it to process CV as well as audio signals.
Notable features: - Dual Voltage-Controlled Amplifier - High quality, low noise and distortion, DC-coupled signal path - Ping inputs for emulating vactrol response - Three variants of ping response - Exponential CV response with adjustable sensitivity - Gain limiting circuit for protection against signal clipping
1. Bristronica 24: MyVolts The Silent Alchemist Nears Shipping
We caught up with Caroline who gave us the latest update to the *Silent Alchemist*, a versatile power hub designed for musicians. Featuring five isolated USB-C outputs and a high-wattage sixth output capable of delivering 100 watts, the device can power a Mac with the remaining outputs providing 20 watts each. Its independent circuits ensure noise-free operation, catering to a variety of devices including the Dreadbox module and Sysmo slope generator.
The Silent Alchemist uses innovative step-up power tips to convert USB-C input to the correct voltage for various devices. There's also new feature: an uninterruptible power supply allowing seamless transition between wall and power bank sources. Also introduced were updated cables, such as silver candy cords and floating ring TRS to TS cables, expanding connection flexibility. The Silent Alchemist is expected to be available in December with a competitive pricing strategy.
At Bristronica 2024, we caught up with the creator of the *ML2M*, who introduced us to the latest version. The ML2M is a compact Eurorack module with Wi-Fi capabilities, allowing seamless synchronization with Ableton Live, Bitwig Studio, and iOS music apps using Ableton Link without the need for cables. It either connects to an existing network or creates its own, ensuring robust sync even in environments with unreliable Wi-Fi. The module, which retains its 2HP size, now features MIDI integration through TRS jacks. Users can access a web interface to configure each output for different clock divisions and reset triggers, making setup straightforward and flexible.
Alongside the ML2M, there's also the Missing Link Junior. This desktop version offers the same functionality but in a box format, complete with MIDI and CV clock outputs. Both products are now accessible, with a starting price of $250.
At Machina Bristronica 2024, we caught up with Arran from @archaea_modular_synthesis who presented the *Exchange Module*. This programmable patcher, a year in the making, evolved from its early prototype stage to a fully functional module. Arran explained how the Exchange can route synth voices via a beam controller and three exchange modules installed within the skiff, allowing for versatile patching. Operating like a matrix patchbay, it enables users to select inputs and outputs with the push of a button, create presets, and chain multiple modules for synchronized patching.
Communication between the modules occurs over the Eurorack power bus as well as over MIDI via the USB-C connection. The Exchange maintains analog integrity, ensuring there’s no conversion latency. The forthcoming release expected in late November 2024, includes a USB-driven editor for enhanced control capabilities.
"One-of-a-kind modified Yamaha RX 17 1987 12-bit programmable drum machine featuring two ROM modulation patch bays, a joystick for performance control of four pre-set effects (which may also be combined on the diagonal axes) and pitch control. These modifications generate an array of bit crushed, flanging, glitching, distorted, delayed, tonal effects, flams and digital noise. Five patch cables included- these can be 'stacked' for even deeper audio manipulation. The unit functions as normal when the patch bay is not in use. Only one available.
