00:00 Overview and patch demos 12:10 System Architecture 15:30 New Oscillator updates 19:42 Filters improvements, types, cascading 25:20 Sequencer modulation
'The Moog One was released in 2018 to much fanfare and high expectations. By all accounts, it was the greatest analog polysynth ever made; 16 voices, 3 oscillators, dual filters, knob-per-function, and Eventide effects. On paper at least, it was unbelievable. In person, it was astounding to play. Sounds were unlike anything ever made, and it lived up to the hype. But there were problems underneath. The volume knob was an unfamiliar taper. The filters didn't really drive much. There was very little distortion because of so much headroom in the mixer. The effects were underwhelming. And the fan noise to cool all that analog circuitry was loud and omnipresent. I know all this, because I beta tested it for over a year. All told, I entered 119 bugs and feature requests. To Moog's credit, they fixed about 89 of them.
When we set out to make this the ultimate homage version, we wanted everything possible, including improvements. But that wasn't enough; it had to play my original patches, offer all the improvements we could think of, and sound exactly like the original, but better.
TL;DR: it does.
The oscillators now include all the familiar analog shapes-- with sharpening, digital wavetables (including your own if you're bold enough), drawable shapes, and much more. The filters include the originals, modelled to within a dB at all ranges, plus most classic analog synth cart type additions, learned from all our other synth models. Plus, we added patch jacks for fast modulation routes. Plus, DRIVE and analog feedback loop lifted from Minimoog circuitry. CP3 mixer technology for even more vintage clarity. Instability along the way that isn't intrusive. Freely routable better snappy envelopes. A sequencer that outputs multiple lanes that you can drag anywhere. Effects that start with what should've shipped in the original, enhanced with legendary features. And if that's not enough, you can use your own VST3 effects inside it-- a world's first! All of this wrapped up in our EZ button. Randomize your way to your next sound and get there faster than you would've guessed. And best of all--- a cooling fan that is near dead silent, measured to within .001 dB of the original, then completely cancelled out!
All new factory patches, plus my original 161 patches for your enjoyment.
"We spoke to Lorrain from the Shanghai Conservatory of Music at M-China26 about two projects developed for her undergraduate coursework. Euclidean rhythm sequencer is a browser-based piece that lets you tap to change the sequence and record your own sound. It uses web technologies, including WebAudio and WebMidi, and was running on a local network rather than as a public web service.
The second project is a visual and sound piece based around a pet cat. It uses wave terrain synthesis, with the cat chasing a light across changing terrain. The terrain height defines the waveform, and the cat's movement changes the resulting sound.
This is coursework rather than a commercial product, we wish Lorrain well in her chosen career once she graduates.
"We are developing an acoustic synthesizer built around physical lamellas that are set into vibration when a key is pressed. This gives musicians a richly tactile way to shape sound, beyond the limits of velocity-based keys.
Each key sets a thin steel reed vibrating — acoustically silent by design; it is captured by sensors that turn its motion into sound.
Physical oscillators
Each key sets a thin steel reed vibrating — acoustically silent by design; it is captured by sensors that turn its motion into sound. By pressing a key, the vibrations are felt haptically against the finger while the lamella decays at its natural rate.
Continuous control
Each lamella generates a continuous analog signal that modulates the synth engine directly. Press, pluck or strike — the gesture keeps shaping the sound for as long as the lamella rings.
Sensor array
Each lamella has its own sensor and its own signal path. The engine reads all of them at once, so every key stays live and independent."
Become a real sonic explorer by combining and layering up to four wav files to produce new audio landscapes:
Manipulate and mix four independent sound loops; apply onboard EQ and delay effects; process and mix external audio through the EQ and effects; easy firmware updates over USB-C; battery- or USB-powered (batteries not included); fits inside a real compact-cassette case! fluxMEMORY is an evocation of the old tape studios from the 50s and 60s, emulating 4 concurrent tape-loops by streaming audio files from a microSD card — it is not a sampler!
fluxMEMORY creates nothing by itself. It is up to you — the musician — to load the memory card with your own personal audio-fingerprints, whatever they might be.
The streamed audio files loop continuously, so using files of differing lengths means that a composition will evolve, with new connections tumbling over each other in a bid to be heard. It is up to the musician to carve these audio streams into a meaningful shape.
(This is the handheld version of the fluxMEMORY AE Module)"
"Hey everyone, apologies in advance, summer is just around the corner and it’s getting pretty warm in the studio, so I'm spending a bit less time up here lately. Unfortunately, I didn't get the chance to add narrations to this one. As always though, if you have any comments or questions, drop them below or send me an email, hope you enjoy this session, I go deep with this one.
"An unofficial firmware extension for the Waldorf Microwave II, XT and XTk, operating system 2.33:
Independent wavetable selection for both oscillators.
X-Mod: new Phase and Amplitude modulation modes for both oscillators (XT and XTk).
Warp: nine ways to reshape each oscillator's wave as it plays, with two new modulation destinations, W1 Warp and W2 Warp (XT and XTk).
New aliasing settings modeled after the Industrial Music Electronics Piston Honda Mk II Eurorack module.
Interpolation: optional smooth wavetable scanning as on the Synthesis Technology E352 Cloud Terrarium and the Piston Honda, with Startwave in hundredths of a wave.
FX Para 1-3: three new modulation destinations that move the effect's settings, such as its Speed, Feedback or dry/wet mix.
MPE input, with per-note pitch bend, pressure and Y.
MIDI controllers for every new setting.
The Tallent Edition Sounds: 80 Sounds and nine wavetables that use the new features.
All original features remain. On an XT or XTk, the new pages sit behind Shift with the Wavetable, FM Amount and Env Amount knobs. A Microwave II plays 8 voices and reaches the new pages with the Page dial. Waldorf's update can be loaded again at any time.
"I created a custom patch for the official 2.3.4 firmware that adds a screen saver, speed change without pitch change, vertical waveform zoom, and an easy way to reset parameters to their defaults."
Additional details via the developer:
"I’ve put together a free, unofficial customization of 1010music Bitbox MkII firmware 2.3.4, adding a few features I’ve wanted on my own module. The customized version identifies itself as 2.3.4+c.
What’s added:
Vertical waveform zoom: pinch/spread vertically to adjust waveform height from 25–3200%. This makes quiet samples easier to see and lets you shrink loud waveforms. Horizontal zoom still works normally. A stationary two-finger tap restores 100% vertical zoom and horizontal fit. This only changes the display, not the audio.
Optional screen saver: a black screen after 1, 2, 3, 5, 10, 15, 30, or 60 minutes of inactivity. It’s disabled by default, under Tools → Disp. Playback continues while blanked. The first touch, button press, or encoder movement only wakes the display, preventing accidental edits.
Optional MIDI/CV-trigger wake: choose MIDI, CV triggers, or both. MIDI clock and active sensing are excluded. Unlike physical wake controls, the first incoming musical event still performs its normal action.
Pitch-preserving Speed: 50–200% playback speed, with a dedicated SPEED dial on the Sample-mode LFO/Spd page. It supports live adjustment and the normal INFO modulation editor, including LFO/CV modulation. At 100%, it uses native playback.
Double-tap dial defaults: double-tap a numeric dial to restore its default base value. Modulation sources and amounts remain intact.
