Genki Instruments Katla #8 (MPE update!) | Winterdagen

video upload by Winterdagen

"Can a perfect synthesizer be made any better? Well yes, apparently it can :) The amazing people at Genki Instruments just made Katla even more expressive by adding MPE capabilities in a firmware update.

I have to say I always thought MPE was a bit gimmicky. I even had a Roli Seaboard Rise in my studio which I'd never properly used. The new Katla update was the perfect reason to change that. And oh boy have I missing out! I absolutely love being able to slide between notes and add expression with pressure and slides. I thought it'd be too complicated to play, but it actually really isn't.

It seems the team at Genki Instruments have hit a home run again. Without any real setup I got the MPE controller hooked up, and in no time I came up with this patch, which feels so expressive to play! I'm looking forward to exploring more MPE patches on Katla ❤️

A second batch of Katlas is available now at https://genki.is/"

TUBE Emulation CONCRETE / tr-808, monolit, s4 /

video upload by Light Reft [Sasha DZA]

"Use headphones 🎧

MONOLIT and CONCRETE are now available through our retailers. Please ask your nearest store for availability.

In this video, the TR-808 runs through the S-4, using only delay and reverb. ／／／／／／／／／／
Then the signal goes into CONCRETE as the master effect.

MONOLIT controls the sequence, as well as the delay and reverb parameters.

#monolit #concrete setup with #tr808 and #torsos4"

Partials & Discrepancies | Understanding Discrepancies

video upload by Unusable Engineering

"A closer look at the Discrepancies side of Partials & Discrepancies.

This is a more ad-lib walkthrough focused on what the discrepancy system actually is, what it does to a patch, and how it can be used either to add a bit of life and variation or to push things much further into chaos.

At the core of it, each voice gets its own randomized offset values for around 40 different parameters. Some of those have their own dedicated discrepancy controls, while others are grouped under broader macro-style controls. The result is that each voice can behave slightly differently, from small differences in tuning, filter, or position, up to much more obvious divergence.

The dice control generates a new set of random offsets, but those values are otherwise static and stay saved with the patch until you throw the dice again.

This video is really about understanding what the discrepancy system is, what happens when you push it, and how it can make patches feel more alive, more unstable, or just a bit less perfectly digital in a very digital synth.

More info:
www.unusable.net"

Roland TR-707(909rom) , TTMC 158 , Tokyo Gate 2 , DFG , 5Step Sequencer , 291

video upload by Tokyo Tape Music Center

Korg opsix "Materials" Sound Pack: Presets for contemporary electronic music and film scoring.

video upload by Limbic Bits and KORG

"For this Opsix sound pack, I've had the honor of teaming up with Korg. Materials is an Opsix sound pack focused on contemporary electronic music and film scoring.

It features 32 new presets with a strong emphasis on pads, ranging from warm, subtle background atmospheres to ice-cold FM textures perfect for transitions. You'll also get a selection of evolving arpeggios, powerful basses, and complex lead sounds. With musicians in mind, each preset includes carefully tailored assignments for aftertouch, the mod wheel, and velocity.

"Materials" for Korg opsix: https://korg.shop/sound-libraries/ops..."

Anybody Can Make SynthWave

video upload by HanzVolt

"This is an original song I made a few months ago...Basically mocking all these synth wave songs I have heard that are so boring and cliche.."

Sounds from the Studio

video upload by HanzVolt

"GR--MEGA, Prophet X, JE-8086, SubLabXL"

Downtempo sketch 48 (Tonverk)

video upload by Olu Ondas Studio

"BPM 60. C Lydian

First track with the Tonverk, so far am loving it.

Track 1: Pad sample (Single Player Machine) played polyphonically w/ chord mode, base width filter, little spread, Chorus, Saturator Delay, Rumsklang Reverb.

Track 2: Tonal Arp (Wavefinder Machine), Daisy Delay, Chorus, Saturator Delay, Rumsklang Reverb, bandpass filter, amp envelope, , LFO 1 Filter Envelope, LFO 2 Filter Freq.

Track 3: Texture (Single Player Machine), low pass, band pass, LFO Spread, LFO Filter Freq

Track 4: String Pulse Sample (Single Player Machine), base width filter, little Attack filter, little attack, amp filter, Saturator Delay, Rumsklang Reverb.

Track 5: Lofi Dub drum kit (Subtracks)

Track 6: Kick-BD Last June (Single Player Machine), low pass, resonance, AHD"

GreyScale-KOSMOS2

video upload by plantssystem

"KOSMOS2 — ジェネレーティブ音響エンジン、7月4日 Hamamatsu Micro Maker Faire 2026 にて初公開。
ISGK Instruments ブースにて、PRA32‑U2/M をコアにしたミニマルな1台構成のデモを展示します。

KOSMOS2 は、4パートが自律的に振る舞い、滑らかに変化し続ける音響構造を生成する新しいエンジンです。
Raspberry Pi Pico2 上で完全に動作し、外部 UI と MIDI によるリアルタイム制御にも対応しています。

今回の展示では、
1台のみのミニマルセット
PRA32‑U2/M による高品位デジタルサウンド
リアルタイムで変化するジェネレーティブ挙動の可視化
サイネージによる内部構造・生成プロセスの紹介

を通して、KOSMOS2 の“生きているような音の振る舞い”を体験できます。

浜松という楽器の街で、KOSMOS2 は初めて世界に姿を現します。
ジェネレーティブ音響の新しいアプローチを、ぜひ ISGK Instruments ブースで体験してください。"

Googlish:

KOSMOS2—a generative audio engine—will make its debut at the Hamamatsu Micro Maker Faire 2026 on July 4th. At the ISGK Instruments booth, we will present a minimalist demonstration featuring a single unit built around the PRA32-U2/M.

KOSMOS2 is a new engine in which four parts operate autonomously to generate an evolving, fluid sonic structure. It runs entirely on the Raspberry Pi Pico2 and supports real-time control via external UI and MIDI.

Through this exhibition—featuring a minimalist single-unit setup, high-quality digital sound from the PRA32-U2/M, visualization of the generative behavior as it evolves in real-time, and signage explaining the internal structure and generation process—you can experience the "lifelike sonic behavior" of KOSMOS2.

KOSMOS2 makes its global debut in Hamamatsu, a city renowned for musical instruments. We invite you to visit the ISGK Instruments booth and experience this new approach to generative audio.

Scoring films, recording synths & the advantages of hardware over software | Signal Flow Podcast Ep6

video upload by Signal Sounds, Tom Churchill, Luukke

"Luke and Tom are back with another chat about the world of synthesisers and electronic music, recorded at Signal Sounds HQ. This time, Luke discusses his work scoring short films, and the pair chat about their respective approaches to recording synths in the studio. They also cover some new arrivals at Signal Sounds HQ and discuss what hardware does better than software when it comes to making music.

Get in touch with questions, feedback and suggestions via signalflow@signalsounds.com

Gear discussed:
Fairfield Circuitry Placeholder: https://www.signalsounds.com/fairfiel...

Sixty Four Pixels CVOCD-X:
https://www.signalsounds.com/sixty-fo...

Earthlink Modular Trails:
https://www.signalsounds.com/earthlin...

00:00 Introduction
01:18 Luke on film scoring
10:46 Tom on moving his studio (and some new toys)
19:45 Luke on the Fairfield Circuitry Placeholder
21:59 Tom on the Sixty Four Pixels CVOCD-X
24:52 Tom on the Earthlink Modular Trails
27:33 Approaches to recording synths & hardware effects
36:55 Hardware vs software
49:37 Outro"

R.A. Moog Model 351 Theremin Donated to the Bob Moog Foundation Archives

via The Bob Moog Foundation

"One of the earliest R.A. Moog products, the Model 351 theremin, was recently donated to the Bob Moog Foundation Archives! Bob and his father, George Moog, a woodworker and engineer in his own right, built these theremins in the family's basement workshop in 1954. This is a 72-year-old musical instrument!

By the time Bob Moog was just 20 years old, he had already been experimenting with and creating working electronic instruments for a full decade. Three years after creating the Rensitron, Bob's very first working musical keyboard, his newly minted company, R.A. Moog Co., started selling Model 201 theremins in 1954 to a select few customers. Later that very same year, Bob and George created the Model 305 theremin and its scaled-up alternative, the Model 351.

The vacuum-tube-driven Model 351 theremin has a five-octave range and a mahogany cabinet. For its day, the tonal control was quite extensive, albeit elusive to most theremin neophytes. The comprehensive array of volume-related knobs on the left has no instructional guidance in the accompanying manual, leaving users to their own devices to adjust their settings for optimal performance.

The center switches were more self-explanatory, allowing the user to mix and match the tone quality and pitch octave in a process Bob called 'Synthetic Format.' Synthesis was already being defined and developed, as far back as 1954!"

Supporters Tammy and Phil Neimeyer generously donated this Model 351, appraised at $25,000, to the Bob Moog Foundation Archives. It was purchased around 1955 by Tammy's grandfather, James Gray Everhart, a lover of music, gadgets, and engineering. He was an early believer that R.A. Moog theremins could create beautiful music, which he would routinely demonstrate to friends and family!

To learn more about the Model 351 and see more pictures, check out our blog post on moogfoundation.org!"

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