"This particular example is in awesome condition. Rare to find such a classic SH in this condition.
Great bass / lead machine. So many hits made with this beast. Has a great sequencer / arpeggiator plus CV I/O. Use it as a sequencer for your other analog CV synths!
Comes with power supply. Check out the YouTube video attached to see and hear what this SH101 is all about."
"Swells is a multi-model reverb module, with a built-in modulator we call the 'Swell Generator'.
Some feature highlights of Swells include:
Nine unique studio-grade reverb models
Fully stereo signal path
Eight reverb parameter sliders
Ebb & Flow - two per-model parameters
Swell Generator - aka envelope follower with four modes.
LO-FI with Min & Max setting
Freeze, Reverse and Burst FX
20HP Module"
"Four mostly ambient pieces with Intellijel's new reverb and other hardware.
Fair warning: Intellijel sent me the Swells and Jellymix. Take that as you will. Considering how much other Intellijel stuff I use, and considering how much I'm a sucker for reverb, I was excited to try this one out.
Undoubtedly, we're living in a golden era of reverb hardware. I've got more reverb than one human needs, but I love it so much. One thing that means, though, is that I'm looking for reverb that does new things, that isn't just good but different and textural and interesting in and of itself.
In that respect I've been very happy with Swells, and am planning to use it a bunch after this. Swells can play it straight, but the combination of self-generated modulation and great colouration options means Swells can draw attention, add unique character, and fill a role more than simply adding space. I've particularly liked pairing it with Jellymix, using Swells as a send and then using varying amounts of wet/dry across multiple instruments, creating a shared reverb environment that feels pretty glued. It's a great combo.
So do you need another reverb? Probably not. You don't need anything in hardware, honestly. But if you're looking for a hardware reverb that makes you think differently about time-based effects, and if you're looking for a reverb that sounds good in new ways, I think Swells is worth checking out.
"Welcome to Bad Gear, the show about the world’s most-hated audio tools. Teenage Engineering is a great company, not only because they are the most reliable ragebaiters in the synth world but also because they are among the few manufacturers of overpriced music toys I have no interest in spending money on.
Today, however, we are going to talk about OP-XY and I’m still doing a pretty good job at convincing myself that I don’t want this."
0:00 intro
1:05 the interface
5:00 Envelopes… they drive the sequencer
7:55 Sequencer Patterns and Lengths
9:33 A note on Modulation
11:10 Quantisation, MIDI, BPM, voice modes
12:06 MIDI Control
13:22 Load/Save
14:10 Genius or Insanity?
"In this deep-dive demo and review, I break down what this mad-looking, semi-modular digital synth actually does — and more importantly, how to use it musically. Combining additive + subtractive synthesis, generative sequencing, and BPM-linked envelope timing, this thing is capable of everything from controlled melodic patterns to chaotic, evolving textures.
If you’ve ever wondered how far modern digital synthesis can go — this is it.
Rather than just listing features, this video explains the concept behind Kaleidoscope — how its AD envelope “period” drives sequencing, how voices interact, and how you can build complex evolving patches from simple ideas.
🔥 What You’ll Learn
How Kaleidoscope’s generative sequencer actually works
The role of AD envelope periods in rhythm + timing
Creating evolving patches using voice interaction + end-of-cycle triggers
Using additive, subtractive & wavefolding synthesis together
How modulation, quantisation, and patterns shape musical output
🎛️ Key Takeaways
This isn’t a typical synth. It’s closer to a self-evolving modular system in a box, where:
Timing is musical, not arbitrary
Events trigger other events
Chaos can still stay in key
As mentioned in the video, this is not beginner gear — but if you like to go deep, it’s incredibly rewarding"
"In this Signal Colors: Layers, I'm pairing up the Strymon BigSky MX and the Vongon Paragraphs II - a massively spacious reverb processed through an atmospheric panning stereo filter. These two heavy hitters are a powerful duo. Hang out with me while I pair them up with the Teenage Engineering OP-XY!"
Join me today as we dive into the Antilope from Manifold Research Centre – the wild Anti-Drum Machine!
Instead of regular drum sounds, this unique machine creates organic, aggressive and sometimes truly bizarre rhythms using its resonant filter and wild feedback path – all from a single device.
Eight completely different beats, made only with the Antilope, with no external effects and no audio post-production. Everything raw and straight from the machine. Use headphones for full experience;-)"
Go inside the making of one of the most iconic string machines ever captured.
Troels Folmann and Dan “Chimy” Chmielinski break down the process behind 505 String Machine, from obsessive ultra-deep sampling to preserving the raw character of the legendary Roland RS-505 String Machine. This is more than a recreation. It is a deep dive into the philosophy, detail, and decisions that bring a classic instrument back to life.
Used by artists like Vangelis, The Police, Depeche Mode, The Cure, New Order, Jean-Michel Jarre, and Herbie Hancock, the RS-505 helped define the sound of an era. Often living in the shadow of the Yamaha CS-80 synthesizer, it was the evolving texture underneath. The movement, the depth, the feeling."
Created with Game Boy, OP-1 field, OP-1, and MOTIF-RACK ES.
On the Game Boy, sequences run in LSDj while delay is added with MOOD MKII. Micro loop textures are layered, and reverb is applied using blueSky.
On the OP-1 field, a recorded 16 bar harmony is looped while the sampler is performed by hand.
On the OP-1, a beat runs in a loop using the ENDLESS sequencer while the built in CWO effect is adjusted. The output is processed through LOSSY with reverb and filtering to create variation.
A distorted bassline is played on the MOTIF-RACK ES and recorded in a DAW."
KOSMOS features a custom timing architecture that delivers an extremely stable, ultra‑low‑jitter MIDI Clock (24ppqn). Whether you use DAWs, hardware sequencers, drum machines, or modular gear, KOSMOS provides a rock‑solid master tempo designed for professional, performance‑ready synchronization.
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🎛 Key Features of MIDI Sync Mode - Microsecond‑accurate MIDI Clock Built on the RP2040’s dual‑core architecture, the clock engine is fully isolated from UI tasks, ensuring stable timing with no drift.
- Transport Control Support - Start (0xFA) - Stop (0xFC) Use KOSMOS as the master clock to control external devices with a single command.
- BPM Color Feedback (Visual State Indicator) - Green = Idle - White = Playing - Red = Stopped A minimal, intuitive UI that shows the system state at a glance.
- Perfect DAW Integration Works seamlessly with Ableton Live, Renoise, Logic, Elektron gear, Volca series, and more.
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🌌 What is KOSMOS? KOSMOS is a minimal, RP2040‑based Generative MIDI Instrument designed to create smooth, deep, expressive musical motion. Floating passages, bouncing phrases, rotating patterns—KOSMOS generates music that feels alive.
MIDI Sync Mode extends this expressive engine to your entire hardware ecosystem.
📦 Open Source KOSMOS is an open‑source project. Source code, documentation, and the latest releases are available on GitHub. https://github.com/plantssystem/KOSMOS"
