Back at it again- Live looping in the studio 2025 and an Interview with MR TUNA Music

video upload by MR TUNA Music

"My friends I am sorry to leave you hanging all summer with no jams, but its a beautiful sunny world out there and I've got to be out IN IT! So in the meantime I have a few jams backlogged that have **never before been released** and expect some weird b-sides that I was too embarrassed to post when I had content to spare !

Anyways- lots going on here, we got some Hydrasynth deluxe, classic analog pads from the JX-8P... and lots of super pump-jumping with the MX-1 sidechaining and doing some beat effects. Jupiter-80 muted trumpet is the funnest sound in the world.

Stay a while, and listen!"

---

And an interview with MR TUNA Music by Ivan Trajkovic aka dejayiwan editor and journalist (and sometimes producer and DJ):

Q: Have computers and DAWs, in a sense, destroyed creativity – why do we have so many “DAWless” setups today?

A: I think a really big part of it is a desire to get away from 'the screen'. Staring at a computer all day for work, clicking away on a mouse and keyboard can become exhausting after a long day, and to break away from the rigidity and comforts of software simply makes it more fun.... and thats a really big part of why I do what I do. There is some minor advantage to the near-unbeatable quality of analog circuitry you cant quite replicate working purely within a DAW, but that point is being made more and more moot by incredible emulations and virtual analog softsynths.

Q: Today we have apps like BandLab that are complete studios on a phone – have we reached “peak technology”?

A: It staggers me to think about what the future might hold now that music production can be with someone anywhere anytime so long as they have their phones. You can literally be on the bus making a hit track with your thumb. That’s crazy. But I don’t think it’s peak.... Tech is always moving and it doesnt stop for anyone... AI is going to be the next big thing whether we like it or not and we need to find a way to keep in check so we're still doing the creating and imagining and the technology is just an extension of that.

Q: Why are new producers so mesmerized with 80s synths and samplers, even though they’re obsolete tech?

A: Things were built differently. Things were built for professionals. Instruments had a quality of sound and build that is still unmatched today. Some of my gear is 40+ years old and sounds better than the stuff from 2025 thats trying its best to emulate it all today. Why dont we build synths like that anymore? Because its all about money and the manufacturers want to make as much of it as possible while spending the least amount.

Q: With so much new electronic music today, how can anyone “find” an audience?

A: Maybe it's lame to say, but the best path is to be authentic to yourself. When i started finally sharing my music it was more of a personal diary than something i was using to 'get famous' or 'find an audience', but by being true to what I wanted and my own personal vision (and having trust in that over some time), people started to see what I was doing and it all came together. People connect with personality, but it's obvious when you're not being yourself... not just tracks. Its routine to say because its true: be consistent, put your stuff out there. The internet is huge — your crowd is out there, just waiting to stumble onto your page at 3AM.

Q: You have one of the most interesting studios – what was the idea behind its creation?

A: My studio was built with one idea in mind... live looping. When I started dreaming up how I *wanted* to make music there wasnt even the right tools to do it properly.... sequencers were still fairly limited and there wasnt a lot of people in the live-looping jam space. I was really discovering it all and making it work on my own. It all came together with the introduction of the Squarp Pyramid sequencer--- what it allowed me to do, the freedom it allowed me to create with... it was the breakthrough piece of gear I needed to bring everything together and start building and building... and BUILDING. I love the music I get to create, but I am more proud of my studio as a form of art in the beauty of it's function and how it's designed to jam with friends, than I ever have been of the music that I create in it.

Q: What’s the future of electronic music – maybe apps and DAWs in virtual reality?

A: The virtual space is here to stay and it will only get more and more indistinguishable from the real world.... We might be already living in that simulation, but like I said earlier I think the real future is going to be (for better or for worse) in AI production techniques, editing, and complete song production. We're already at the point where AI can create a song for us instantly with our own voices, but how long will it be before AI is doing our chores and boring tasks so that we are free to be creative and put our energy into real art rather than the opposite world we live in now! AI should save us from the hard stuff and let us work on the 'fun stuff', the worthy stuff, the music stuff!

Donner L1 vs SH-101: How close can we make it?? Sound design and comparison

video upload by MR TUNA Music

"In this video, we are putting the new Donner L1 analog synthesizer head-to-head with the original legendary Roland SH-101 to see just how close we can get! From pulsewaves to bass patches, we’ll break down the oscillators, filters, envelopes, and modulation to find out whether the Donner L1 can really capture that classic SH-101 sound. (spoiler: it can)

🔊 Expect A/B sound demos, patch design walkthroughs, and my honest thoughts on where the L1 nails it— and where the SH-101 still reigns supreme.

✨ If you’re curious about:

-Donner L1 sound demo
-Roland SH-101 comparison
-Analog synth sound design
-Best affordable SH-101 alternative

…this video is for you!"

Ocean Swift Announces big NKS Update with 50% Off Sale

"Ocean Swift announces a big NKS compatibility update and a 50% Off sale on updated preset packs and preset bundles for Roland JV1080, Roland Juno 60, Plugin Alliance DS Thorn, D16 Lush 2 and more! Discount offer is available until September 10, celebrating their newest NKS update.

The developer quotes:
"We’ve just shipped a major update: every pack below is now fully NKS-compatible - even though these synths aren’t NKS-native, we went through all our packs converting the presets, creating parameter mappings, tagging and inserting audio previews. To mark the occasion, all of them are 50% off right now!"

Offers:
Dreamers Stash (for Roland Cloud JV1080): 12.50€ (reg 25€)
Goa Memoria (for Roland Cloud JUNO-60 and JUNO-106): 13.50€ (reg 27€.)
Mind Benders Collection (for D16 Lush 2): 15€ (reg 30€.)
Thorn Preset Collection (for Plugin Alliance DS Thorn): 48€ (reg 96€.)
Hybrid3 Preset Bundle (for Air Hybrid3): 41€ (reg 82€.)
Triple Cheese Pizza (for U-He Triple Cheese): 5€ (reg 10€.)

LINK: https://oceanswift.net/sales/"

Hyper Arpeggio | Roland JP-8080

video upload by Akihiko Matsumoto



"Roland JP-8000/8080 | A Convergence of Sonic History and Future Innovation

Greetings, fellow sonic architects.

In the relentless pursuit of unparalleled sound, we often find ourselves drawn to the very essence of what makes a waveform resonate with unique character. It is within this spirit of exploration that we wish to share a recent development, an evolution in the very fabric of digital sound design.

Before we delve deeper into the intricacies, allow us to present the coordinates for this journey:

Explore the evolution: JP-8000 - 8080 (Sample Pack) ver.3.5: https://akihikomatsumoto.sellfy.store...

The Genesis of Texture: Reimagining Digital Warmth

For decades, the digital realm has strived to replicate the organic nuances of analog synthesis. Yet, a select few instruments from a pivotal era achieved a distinct warmth, a "softness" that modern software often struggles to emulate. This unique sonic signature, characterized by a rounded edge in its harmonic contours, defines a particular epoch of electronic music. It is a sound that transcends mere emulation, rooted in the very architecture of its digital modeling.

Consider the foundational elements of electronic music: the driving pulse, the atmospheric expanse, the melodic narrative. Each requires a specific textural quality to truly captivate. Our ongoing research and development in this domain have led to a significant refinement of a collection dedicated to these very principles. This material is meticulously curated for beatmakers operating within the intricate landscapes of Neo Trance, Future Garage, Wave, Hardwave, and Witch House, where the precise articulation of sound is paramount.

An Unveiling: Hyper Arpeggio and Beyond"

Our latest iteration, designated as version 3.5, introduces a novel element that pushes the boundaries of rhythmic and atmospheric integration: the Hyper Arpeggio. These are not merely sequences; they are high-velocity, BPM-agnostic drones, meticulously crafted to emphasize the distinct, almost liquid phrasing inherent to the original sound source. This particular characteristic, a unique "rounded edge" in its articulation, is a direct consequence of the original hardware's design, a feature that remains remarkably difficult to replicate with contemporary synthesis methods. It is a testament to the enduring legacy of instruments like the Roland JP-8000 and JP-8080, progenitors of the legendary Super Saw, whose influence continues to shape the sonic landscape.

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Yamaha CS-80

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

via this Reverb listing

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Dave Smith Prophet Rev 2 8-Voice Keyboard

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via this Reverb listing

Additional CONTROL Listings

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Moog Minimoog Voyager XL Analog Keyboard Synthesizer (40th Anniversary Tolex Edition)

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via this listing

Additional Perfect Circuit listings

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Sound Charts Minimoog Synthesizer by Tom Rhea

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via this eBay listing

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Macbeth Micromac D

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via this Reverb listing

"3 oscillator semi-modular synth, complex modulation capabilities, MIDI & CV control.

Probably no other monophonic analog synth has this amount of sound-bending capabilities at your fingertips on an ultra-compact footprint. Directly prepatched and switchable are:

VCO2 synchable to VCO1
VCO3 can modulate either VCO2 (only) or VCO1 + 2
VCO3 can modulate the filter
VCO3 can be taken out of the audio path completely, becoming an 'invisible' source for modulation only
the filter envelope (VCF) can modulare VCO2 ('sweep VCO')
VCF has two modes of keytracking
both LFOs can control VCOs AND filter cutoff at the same time and with independent settings
LFO1 can do S&H by sampling LFO2 (making them interdependent) or the noise generator
oh, there actually is an "OSC4" which is white noise (with its own level control), in addition to the white noise setting on VCO3 and the white noise setting on LFO2. That's 3 noise generators in just one synth.
glide function
VCA switchable positive / negative
envelope trigger switch
...
In addition, there are the patch points which add PWM modulation, external audio insert points, individual VCO outs, V-gate in on LFO1 +++

Condition:
Fully functional. Great overall cosmetic condition. Very few signs of use. A very few light marks – see photos."

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Roland System 100m module 150 LFO Ring mod noise S&H

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via this Reverb listing

"Original vintage Roland System 100m modulation generator Module 150; ring modulator, Sample and Hold, noise, and LFO, with cable, excellent condition."