Elmyra 2 firmware v2.4 – new features walkthrough

video upload by nyppy

"Get the update file here: https://neutral-labs.com/elmyra2

00:00 Intro
00:13 Improved sound quality
00:30 New delay
00:58 New and controllable reverb
01:43 Comb filter
02:18 Action confirmation
02:23 New multimode ladder filter
02:45 Oscillator hard sync
03:16 Voice stacking/tune follow
03:50 Diatonic and pentatonic scales
04:01 Quick octave switching
04:15 Knob motion recording
04:40 Super short envelopes
04:59 Quick mute
05:21 Outro jam"

The Queen of Industrial Grunge Got an Upgrade — Sophisticated Dirt!

video upload by Cinematic Laboratory

"#Elmyra2 v2.4 — What’s New and Improved Sound Engine

Higher sample rate and improved wavetable resolution → noticeably cleaner top end. New wavetables added. Overall mix saturation refined, with “soft” (122) now default. Knob value stability and tuning precision improved.

Filters
New comb filter (codes 3321/3322). RESO = damping, CUTOFF = delay time, with optional pitch tracking. Ladder filter reworked — now true multimode (LP/BP/HP) with higher quality. Ladder LP (331) is the new default filter. State-variable filter retains LP/BP/HP modes (341–343) but with improved gain staging, resonance, and cutoff ranges.

Delay & Reverb
Delay fully re-implemented → cleaner feedback, no lock-ups.
Added proper reverb engine controllable with delay knobs.
Code 441 = delay (default), 442 = new reverb, 4411 = legacy lo-fi reverb.
TIME = decay, FDBK = color, MIX = blend.
Dry/wet crossfade curve improved for smoother transitions.

Modulation
New MODP: oscillator hard-sync (orange LED, position 5).
MOD controls the synced oscillator pitch.
LFO1 knob-motion recording (code 2413) — record live movement of LFO rate. Sequencer output to LFO1 possible (243v).
Per-voice sequencer clock divider (11sv).
Digitally controlled envelopes in multiple short modes (221v → very short … 224v → disable). Detune MODP range expanded.

Scales & Chromatic Mode
New musical scales for chromatic mode: major, minor, major pentatonic, minor pentatonic (CHRM + 11–14). Scale selection now unified under the CHRM button. Knob-to-pitch mapping in chromatic mode is now linear and exact.

User Interface & Workflow

LED feedback overhaul — REC and PLAY flash to confirm code entry, sequence record, mute, and drone states. Quick mute/unmute voice (MODP + PG long press). Quick octave switch (MODP + double-tap PG).
Pink MODP LED at startup identifies firmware 2.4.
Touchpad LEDs more reliable during operation.
Drone and mute response feels snappier.

Under-the-hood Fixes
State-variable filter crash fixed (previously triggered by fast cutoff modulation).
Improved detune, filter, and delay behaviors under modulation load.
Sequencer timing more consistent with internal clock."

ODD-1 Overview 05: LFOs, Macros, Patching

video upload by Oddment

"This is the fifth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the LFOs, Macros and how to create modulation connections. There are 4 LFOs, 3 Envelopes, 4 Macros (assignable knobs), 4 Control inputs and MIDI information that can all act as modulation sources. Any parameter on the device is a parameter destination. Unlimited connections are made by holding down a destination parameter and then pressing or twisting a modulation source."

All parts here

Sequential Fourm Overview and Demo

video upload by zZounds

"Explore the Sequential Fourm Compact Analog Synth! Watch this tutorial and overview to hear its rich analog tones, intuitive controls, and versatile features in action."

100 Oberheim Expander/Matrix12 single FX patches by Arthur Springer

video upload by Really Nice Audio

"So whilst on soak test I came across this crazy bank:
Notes from the .txt
ART SPRINGER STRIKES AGAIN (free)
Reviewed by Mike Metlay

All right, gang, I know what you're expecting in this space, so I'll oblige you and get it over with. Ready? Here goes: "WAHOOLAZUMA! Everybody's favorite twisted puppy is back from the audio torture chamber, and he's brewed up the most brain-slashing package of monstrous elektronoyze EVER! This stuff's great for warping your brain patterns, killing your cat, etc..."

Okay. Happy now? Good, now let's get serious. I heard from Art recently that he didn't get a terribly good response to his first mailing, and that few, if any, XUG members looked him up for his second set of patches

He seemed in a pretty good humor about it, but I couldn't help wondering if my presentation of his patch set didn't scare a lot of people away just by the wording. So, with a new patch set from Art (more diverse than the first two) in hand, I'd like to try again.

One of the most unhealthy trends I see in today's patch-editing software is the patch randomizer, that cute but overused utility that generates random patches at the click of a mouse. Literally thousands of these random patches are being sold by unscrupulous hackers as "original sounds," and a whole new generation of MIDI morons is springing up (pardon the pun) whose idea of "good programming chops" is the ability to tweak a randomly generated sound into something that (almost) works. No program of this type exists yet for the xpander, and I'm glad of it: the lack of computer-generated garbage on the market forces the user community to seek one another for new ideas, rather than some electronic I Ching. We come together in this Group to share ideas and learn from one another and I believe that studying another human being's work beats watching a computer coughing up random numbers. Which brings us to the music of Art Springer.

In my opinion, these patches are important. VERY important. I get so enthused about Art's work because I see in him a reflection of my college days, when I puttered about with ARP and Buchla modular monsters creating sounds for the sheer joy of it, putting together tonalities never before heard on Earth rather than trying to make a realistic shakuhachi. This was, and often still is, the meat and potatoes of electronic music to me. And when I hear Art telling me that people- Xpander users!-are returning his work because it's "too weird," I know something's wrong. The Xpander isn't a sampler or a digital piano. It's not an imitative instrument by nature. It's a powerful, multiply interfaceable modular synthesizer with a great deal of flexibility. Art Springer takes a stance on its use that no other Group member has had the courage to try: using its Power as a CV percussion device to enhance the sounds of his more traditionally oriented synths. (By the way, Lionel and I are big fans of his music ... it's not as inaccessible as you might think, and the odd tonalities make his dance pieces a lot of fun.) This is a new idea to a lot of you, and I don't blame you for being frightened. But it's better to learn from someone whose ideas differ from yours than to convince a computer to feed you something safe. I'd like to suggest something simple to start with: get one of Art's sound sets, trigger your Xpander with your drumbox, and try writing music with these sounds as part of the atmosphere rather than conventional drum noises. Or do something completely different. The important thing is to try to expand (hm) your horizons to something new. These sounds of Art's do take getting used to, but I think you'll learn a lot from them. Trust me."

Adventures in Audio - Yamaha PSS-130 - Simple Yet Endearing Toy Keyboard

video upload by Manitou Productions

"Adventures in Audio looks at the Yamaha PSS-130 toy keyboard from 1987. We'll explore the sounds, rhythms, and functions and take a look at the innards while we're at it. The PSS-130's older cousin, the PSS-30, makes a guest appearance.

Chapters:
0:00 No more noises please
0:22 Titles
0:29 Intro
1:24 Let's turn it on!
1:37 The sounds
5:09 The rhythms
7:08 Melody Memory
7:55 Demo song
8:21 Enter the PSS-30
9:27 Duelling keys
10:49 Buzz
11:15 Duelling rhythms
12:17 Duelling demo songs
13:14 The guts of the PSS-130
17:21 The guts of the PSS-30
18:20 Turn me off!
18:57 Outro
19:25 Ivy's Corner"

Yamaha RX 17 + Patch Bay, Pitch Control and Joystick Mods

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

via this Reverb listing

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."

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Voltage Multistage 16 : Design, Vision and Evolution

video upload by Verbos Electronics GmbH

"An inside look into the design, vision and evolution of the Voltage Multistage from Verbos Electronics designer and founder, Mark Verbos.

Video by:
‪@coquinati_music‬
@lucreziacapitanio"

Voltage Multistage 16 - Nested Loops

video upload by rbos Electronics GmbH

"In this patch, we demonstrate one way to seamlessly jump between two instances of multistage voltage, creating nested loops to manipulate and modulate."

NYX Reissue by Dreadbox

video upload by Dreadbox

"It’s been a while since we released the NYX Reissue as a DIY kit, and you loved it! So, we decided to bring it back to life. 🌌
The NYX Reissue is here!"

329.00 € exc VAT available soon

VOID9 MÕNAI

via VOID9

"MÕNAI is a standalone portable multitimbral synthesizer that goes wherever your creativity takes you. The integrated battery eliminates the need for power outlets, while the compact form factor fits comfortably in a backpack. Whether you’re sketching ideas on location or performing on stage, MÕNAI delivers comprehensive synthesis capabilities without compromise.

Planned beta version release: Summer 2026

Every control on MÕNAI is positioned for intuitive access. The 8 endless encoders provide tactile feedback without physical limits, letting you sweep through parameters naturally. Touch-sensitive strips respond to the subtlest gestures – the left strip dedicated to modulation, the right offering multi-touch control across 20cm of expressive surface. The 2-axis joystick adds another dimension of real-time control.

MÕNAI integrates seamlessly into existing setups. USB Host port accepts MIDI controllers, expanding your playing surface. Standard MIDI I/O connects to legacy gear. Four CV outputs – pitch, modulation, velocity, and gate – bridge the gap to modular systems. Line-level audio input lets you process external sources through MÕNAI’s effects. This isn’t an isolated instrument; it’s a hub that enhances your existing workflow.

A Tool for Sonic Exploration
MÕNAI encourages experimentation. The two built-in microphones capture audio for immediate processing or sampling. The pedal input adds hands-free control. The combination of traditional keyboard layout and function keys provides both familiar territory and new possibilities. This is an instrument that rewards curiosity – the more you explore, the more it reveals.

The CNC-machined aluminum enclosure isn’t just aesthetically refined – it’s engineered for durability. Sandblasted and anodized in matte black, the body resists wear while maintaining a professional appearance. The integrated battery means you’re not tethered to power outlets. Whether you’re sketching ideas on a train, performing in a park, or working in a studio without available outlets, MÕNAI adapts to your environment rather than constraining it.

The workflow is immediate. Controls are positioned for intuitive access, with visual feedback from 109 LEDs across the interface. The high-resolution display renders waveforms and parameters clearly. Multiple synthesis engines can run simultaneously, each with dedicated effects and modulation routing. Sequencers maintains precise timing whether you’re working with internal sounds or triggering external gear."

User Interface
52 keys
29 piano keyboard layout keys (2 octaves and 1/3)
23 function keys
8 endless potentiometers
2 touch-sensitive strips
Modulation (left, 8cm)
Multi-function (right, 20cm)
2-axis joystick for expression parameter control
6-axis motion sensor
Volume control knob with audio level indicator strip (stereo)
High-resolution 3.1″ LCD screen
Total of 109 LEDs: 88 RGB and 21 single-color LEDs
2 microphones for audio recording
1 USB port for battery charging and computer connection
1 USB Host port for device connection (e.g., MIDI keyboard)
Line-level audio input
2 x audio outputs
3.5mm TRS MIDI input and output
Pedal input
Sync out / in
CV outputs
CV Pitch
CV Modulation
CV Velocity
CV Gate
Dimensions: 36.5 x 12.3 x 18.7 cm

Schlappi 100 Grit, AntiMatter BrainSeed, & BASTL Instruments Dark Matter

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

Three listings from supporting member brian comnes on Reverb here.

Instruction manuals for 100 Grit & BrainSeed pictured below.

"The 100 grit is a distortion, VCA, and low pass filter module with 8 brass touchpoints.

Features:

8 brass touchpoints
2 inputs to transistor core low pass filter
Voltage control over frequency, resonance, and gain
OTA VCA with soft saturation characteristics
Distortion circuit based around a vintage headphone amplifier driven into instability
Three position x100 gain switch with off, on, and momentary on settings
Each input and cv input is normalled to a different feedback path (6 total)
Seperate outputs for the VCA and distortion
Can operate as a vintage voiced VCA and LPF or a screaming distortion and noise effect
All analog design"

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