"Introducing DrumBrute Impact 1984, a limited-edition analog drum machine that fuses a timeless look with a beefy, Brute-powered sound. With per-voice color controls, built-in analog distortion, and polyrhythmic sequencing - craft raw, punchy rhythms with ease."
Press release follows:
"The DrumBrute story began in 2016, marking Arturia’s entry into fully analog drum machines. Designed to deliver raw, unapologetic drum sequences for producers and performers alike, the DrumBrute legacy lives on and will soon be available with an iconic new design.
Today, Arturia released the DrumBrute Impact 1984. The same powerful 10-voice analog drum machine, reimagined in a timeless off-white finish. DrumBrute Impact 1984 merges in-your-face analog percussion with a polyrhythmic 64-step sequencer and modern-sounding appointments in a compact, instantly satisfying beat-making machine.
_Defiant analog sound
DrumBrute Impact 1984 is a drum machine for demanding musicians who crave raw power and monstrous tone. Tweak the Color, slam the Distortion, push the Polyrhythms further than ever before. Are you ready to make an impact?
_Brute-powered sound
From crisp, quantized hits to unquantized jamming, DrumBrute Impact 1984 adapts to your style. With multi-out, MIDI, and sync – it also adapts to any setup.
Its aggressive, tweakable sounds pack serious attitude, giving your tracks a powerful edge. Each drum voice is enhanced by the programmable 'Color' function, adding unique flair to every beat.
Redesigned look
DrumBrute Impact 1984 features a bold and nostalgic design that combines vintage-inspired aesthetics with modern functionality. Its striking off-white color makes it a standout addition to any setup.
Performance-ready
DrumBrute Impact is made for live performance, providing instant control over all sound parameters as well as features like Step Repeat, Pattern Looper, and Mute/Solo groups for evolving rhythms and enhanced expressiveness.
Powerful connectivity
With four separate audio outputs, DrumBrute Impact 1984 is a connectivity powerhouse. It syncs seamlessly with setups like Eurorack, vintage Roland gear, Korg Volcas, DAWs, and MIDI devices."
Step is the first fully programmable drum machine in pedal format. It’s an instrument, a co-writer, an accompaniment at a live performance, or a bandmate in an empty studio. Designed with the flexibility to instantly start a unique song but with deep customization options to quickly create fresh beats. Step is for everyone – everyone that isn’t afraid to experiment, take chances, try something new, and create original music.
4 Customizable Drum Tracks Step is a 4 track drum machine with a complete interface. Easily control all parameters for each of the 16 steps on the face of the pedal, no computer editor needed.
Mix & Match How about an electronic snare with a jazzy kick? With Step, with a twist of a knob, you can create your sound pack by combining sounds from different Kits.
Instant Drum Beat Generator Tap in the tempo, turn the Beat and Kit knobs to find your groove and play! There are 300 rhythms and 500 kits – it gives tons of combinations.
Modern Sound With over 2000 samples, from the sounds of classic analog machines to acoustic drums, anyone can find the sound they want. And, if you’re going to create your kits, you can easily do it, too.
Medeli makes musical moves to Medeli makes musical moves to enter US market, challenging competitors within arranger keyboard and digital piano segments
LOS ANGELES, CA, USA/HONG KONG, CHINA: Medeli — one of the world’s largest electronic musical instrument manufacturers, mostly known as a contract manufacturer for many well-known brands in the industry, as well as being the owner of music hardware brand Ashun Sound Machines (ASM), itself acknowledged as the creator of the critically-acclaimed Hydrasynth digital wave morphing synthesizer series — is proud to announce that it is entering the US market in a big way, perfectly positioned to challenge competitors within the arranger keyboard and digital piano segments, mainly, as of January 10…
It is fair to say that high-quality products at competitive pricing, a dedicated sales and support team, and the combined experience of industry veterans benefitting from serious stints at Arturia, Elektron, and Yamaha will constitute key driving forces to promptly propel the Medeli brand’s stateside success, with the following new models becoming available there throughout 2025.
SP-C121 (MAP: $399.99 USD) offers an acoustic piano feel and sound in a compact, portable design. Being built for serious beginners and intermediate players alike, it can be accessorized for home usage only, or remain in a travel-ready state, ready to make music anywhere.
SP201 PLUS (MAP: $549.99 USD) provides experienced pianists and casual performers alike with all the essentials included in a stylish and portable package.
CP203 (MAP: $779.99 USD) delivers a beautiful sound and modern look in a compact design, making it an ideal choice for pianists of all abilities who are concerned about saving space.
The following is Roger Linn's statement on Behringer's LmDrum, written Jan 4, 2025, saved here for the MATRIXSYNTH archives:
In December 2024, Behringer released their "LmDrum", which is described on their site as:
"If you are looking for a drum machine that can recreate the classic sound of the 80’s, look no further than the Behringer LM DRUM. This amazing drum machine features an authentic 8/12-bit sampling sound engine that captures the essence of a hundred legendary 80’s drum sounds including those designed by Roger Linn such as the LM1*, LM2*, LM9000* and more. You can even record and store your own samples using the integrated line input."
Uli Behringer kindly sent me an LmDrum in August of 2024, giving me a chance to try it out. What do I think? I think it's a bit of a head-scratcher. It is clearly intended to evoke my 1982 "LinnDrum" drum machine, borrowing its visual style, control layout, colors and logo style, as well as copying its sounds and those of my LM-1 and Linn9000 drum machines. I took it apart and it even copies much of my LinnDrum sound generation circuit, even my bad ideas like the inability to tune any drums except the snare, toms and congas.
However, it uses an entirely different operating system and user interface, one that is based on earlier Behinger drum machines. Personally, I found it somewhat confusing and difficult to use, though I was given an unfinished manual. I'd imagine they will improve both the software and manual over time. I suspect the designers found it difficult to find a balance between 1) the impression of a LinnDrum clone, and 2) the addition of modern features, given that the 1982 LinnDrum's feature set is woefully inadequate by today's standards.
It's worth noting that Uli never asked my permission to either copy my visual design or my drum sounds. Though in 2020, he did kindly invite me to collaborate on a future drum machine, and I respectfully declined because of concern about Behringer's past business ethics and legal practices.
How do I feel about the LmDrum? My feelings are mixed. On the one hand, it's not unusual for companies to borrow ideas from older products in order to inspire a new and innovative design, which I've done in past. Plus, my old drum sounds are all over the web, controlling copying is difficult, and I don't enjoy legal stuff so I've generally ignored the issue so far. Also, the value in those old sounds is probably due more to Art Wood (the drummer who played the sounds, and my friend of many years), and to artists like Prince, Michael Jackson, and others, who made those sounds famous on their hits. Finally, I must admit that I've never cared much about the past, because I find the future far more exciting.
On the other hand, even if we discount the copying of the visual design, logo style and sound circuit of LinnDrum, the LmDrum copies my sounds. So I'd have preferred for Uli to ask my permission. Even if he thinks it is legal, I question whether it is ethical.
I find it interesting that the LmDrum is being sold in the U.S. for only $399. Having taken it apart and seeing how complex the copied old circuitry was to reproduce, I doubt Behringer is making any money from it. I suspect that they originally intended to sell it for much more, then discovered that while many people may say they want a LinnDrum clone, few are willing to pay more than a low price for it.
On a related topic, GForce Software has recently released their "IconDrum" software drum sound generator. Like the LmDrum, it copies the LinnDrum's visual design, logo style, and drum sounds, but has no sequencing. Unlike Behringer, GForce did say they wouldn't release the product if I objected, but they seemed like good people so I turned a blind eye. They also offered to pay me an insignificant royalty for my association with the product and perhaps to use "LinnDrum" name, but I declined because of the low compensation and because I thought it was misleading to call a product "LinnDrum" that wasn't a drum machine but rather only played my copied drum sounds.
One last comment. What's the big deal about nostalgia? I can understand that some people value analog synthesis, though I find the many types of innovative software synthesis created in recent decades to be far more capable, versatile and interesting. But even if people value vintage analog synths, why vintage digital drum machines? I ask this because an old bit is no different than a new bit. Our collective love of nostalgia brings to mind an old Douglas Adams quote from Salmon of Doubt:
"I've come up with a set of rules that describe our reactions to technologies:
1. Anything that is in the world when you’re born is normal and ordinary and is just a natural part of the way the world works.
2. Anything that's invented between when you’re fifteen and thirty-five is new and exciting and revolutionary and you can probably get a career in it.
3. Anything invented after you're thirty-five is against the natural order of things."
As a guitarist, I recall having endless discussions in my youth about "good distortion". :)
This one is in via Michael Wessel [additional posts here] with some notes from him further below, but first the video description:
"Another tune using the TRS-80 Model 4(s) and the Orchestra 90, MIDI80 and classic analog tape!
Using the Technics 616 tape deck to capture audio, part 1 is composed using a TRS-80 Model 4P paired with the MIDI80, using TRACKER playing general midi drums from its onboard S2 module (Lower Computer)
The TRS-80 Model 4 is connected to the Orchestra 90 (reproduction) and George Phillips's newest update of the Orchestra 90 Organ (Available with the MIDI80 software). For the 1st part, the sound was routed through a EH BlackFinger, into a Bass Amp IR Cab.
The 2nd part is routed to a Boutique Amp IR setup, using the Mutron III as an added envelope filter for the 'jelly' sound.
Everything was fed to a digital mixer (Behringer X2222) and recorded directly to the cameras audio via USB. (No multitracking here)
I realize there are errors, clicks, hiss, pops, and all the other things we try to control from an analog perspective, but even with Dolby NR there is still some artifacts that accompany my terrible playing. Technically, you just watched me write this so, ENJOY! Thanks for watching!"
Additional videos:
Additional notes via Michael:
"A while ago, you posted about my MIDI/80 project for the TRS-80 - a MIDI sound card and MIDI interface. [posted here]
In the meantime, Joel Hilliard has been making some awesome music with his TRS-80 Model 4 and Model 4p, MIDI/80, and another extension called the "Orchestra" sound card.
He is playing the Model 4 using George Phillips' music synthesizer program for the Orchestra soundcard, "STORCH".
Back in the the day, the TRS-80s didn't really have great sound capabilities, other than their cassette interfaces which could be used for rudimentary sound output. However, this was extremely primitive in comparison to what the competition offered later (e.g., the SID in the C64, POKEY in the Atari 8bits, the AY 3-8910 in various other machines, etc.) Hence, the "Orchestra" sound card quickly became a popular add-on that added more advanced sound capabilities - basically, the Orchestra is a stereo DAC, but all the waveform generation had to be done by the CPU. Back in the day, the Orchestra was used in a "batch programming" mode where a music score was created in a textual special-purpose music programming language, that would then be "compiled" by the TRS-80 to be played back by the Orchestra sound card. Unfortunately, there was never an "interactive" music program that would allow users to use the card in an incremental way, as a musical instrument - until October 2024, when George Phillips released the "STORCH" Orchestra synthesizer program! This is what Joel playing in the video. Given that the Orchestra is a stereo DAC and all the sound generation heavy lifting has to be done by the CPU in realtime, the polyphony is limited to 2, and there are no filters, envelopes, etc. However, STORCH offers basic waveforms such as Saw, Triangle, and Sine. In addition, you can hear MIDI/80 for the the drum track - drums are coming from an S2 Waveblaster plugin, and he is using the TRACKER program on the TRS-80 Model 4p. You can find all the software in the MIDI/80 Github above."
"herre is a demo of an Elka One Man Band with custom drum sounds.
The OMB5 is a nice 4 part arranger with rhythm channel, bass channel and 2 accompaniment tracks. Sounds are FM (from the elka ER/EK/EM 44) and the drums are PCM sampled from the Drumstar 80. It has MIDI in and out so you can either control and play the different part from the keyboard or from MIDI, it syncs and transmits clock as well as single input notes or sequenced notes. I like using it with external midi controller so I can play the 3 different melodic part separately (when playing from the keyboard notes always trigger the 3 part together).
Though the drum samples are actually quite good if you like 80s sounds (especialy percussion and cymbal sounds), I decided to replace some of them with some I favor more, using sounds from LinnDrum, Oberheim DX, Roland TR808, CR8000 and TR707. I also adjusted level by using compression on some other stock sounds.
The audio format used in the OMB5 (and the Drumstar 80 which drum part is derived) is the same as in those classic 80s PCM drum machines, ie 8 bit µ-Law unsigned sample. Sample rate is 25000 hz (or so) in that one.
Replacing sound is not as straightforward as in those drum machines because instead of using 1x eprom per sound there are several samples per eprom (7x 256 kbyte eproms are used in the OMB5 to accomode for 32 sounds) so you need to edit the audio file and replace the existing sample with your own but it needs to start at the exact same adress as the original one and it should have the same length or be shorter.
So basically what you do is: read the eprom bin convert to uncompressed audio edit that file and edit/replace the sound you want making sure you dont change file size nor start adress of the sound convert the uncompressed audio to µ-law 8 bit burn the new bin file
if you're interested in getting those sound I can sell you a full 7x eproms kit ready to use. I can be fitted in the DrumStar 80 too.
here is a list of the 32 sounds, with original and replacement when there is:
"New sounds for Plinky! Ambient minimalist @grainblanc_ has created a bank of 32 presets, exploring the cinematic side of Plinky with shimmery pads, brassy leads and ghostly soundscapes. A staple of the Plinky community, Grain Blanc is known for his beautiful and haunting performances with Plinky.
The bank includes the preset file, 8 samples and individual links for the browser-based patch editor. It works for all generations of Plinky and is a free download. Find instructions on how to install the new presets at https://plinkysynth.com/presets
In this video, we give a brief no-talking demo and play through each of the new sounds - if you want to skip to a particular one, use the timestamps below.
Plinky is an expressive polyphonic touch synthesizer, designed by mmalex @bluespoonery. It is available assembled and as a DIY kit from @ThonkSynthDIY."
"This clip showcases one of our favourite modes on DivSkip, our module collaboration with @DivKid, speed ramps for triggers!
DivSkip's channel 1 is set to play a house pattern with a 4/4 kick on Out A, and a snare on the upbeats on Out B. The Kick trigger is going directly @VladimirPantelic ‘s VPME QD quad drum. The snare trigger is duplicated with Multiplikand, and used both as trigger for channel 4 and an 808 snare on Mutable Instruments Peaks.
DivSkip's channel 4 is set to ramp mode. Depending on how the knob is set, the time between two triggers will speed up or slow down. This speed ramp advances an arpeggio played on the @weareelektron8453 Model:Samples in single cycle waveform mode.
Finally, #DivSkip 's channel 2 is playing a noise model on Mutable Instruments Plaits, with the A and B outputs triggering different settings using @vaskiembedded‘s super handy ECS-4 Triggered Switch module.
Enrica mutes and unmutes each channel on the fly with a click of the push potentiometer.
DIY Kits are in stock at @ThonkSynthDIY (UK) and @NightlifeElectronics (CAN - DIY and built), and at @explodingshed5542 (EU)
Built modules are available at @signal-sounds (UK), @PerfectCircuit (US), and for preorder at @Elevator-Sound (UK+EU) and @schneidersladen_berlin (EU)"
"This Memorymoog has been loved, and it’s got the vibe to prove it—some scratches and a worn look, but it’s fully functional and ready for more. If you’ve ever played one, you know these synths are beasts, and the sound is just massive. I’ve used this on so many records, it’s time to switch things up, but if you’re after that iconic Moog tone, this thing delivers.
It’s got the MIDI kit installed, making it a breeze to hook into modern setups. The original fan? Crazy noisy, so I replaced it with a quieter modern one—now you get all the analog magic without the extra hum. It’s been serviced every six months for regular check-ups, and back in 2018, it underwent a full restoration by Rosen Sound in LA, so it’s been well taken care of.
And yeah, all six oscillators are tuned—no small feat with these machines. If you know Memorymoogs, you know the oscillators are notorious for drifting out of tune, but I’ve kept them locked in and serviced. Be very careful when getting one of these and who you are buying it from. Constant service check ups and love is key for these"
1. Bristronica 24: MyVolts The Silent Alchemist Nears Shipping
We caught up with Caroline who gave us the latest update to the *Silent Alchemist*, a versatile power hub designed for musicians. Featuring five isolated USB-C outputs and a high-wattage sixth output capable of delivering 100 watts, the device can power a Mac with the remaining outputs providing 20 watts each. Its independent circuits ensure noise-free operation, catering to a variety of devices including the Dreadbox module and Sysmo slope generator.
The Silent Alchemist uses innovative step-up power tips to convert USB-C input to the correct voltage for various devices. There's also new feature: an uninterruptible power supply allowing seamless transition between wall and power bank sources. Also introduced were updated cables, such as silver candy cords and floating ring TRS to TS cables, expanding connection flexibility. The Silent Alchemist is expected to be available in December with a competitive pricing strategy.
At Bristronica 2024, we caught up with the creator of the *ML2M*, who introduced us to the latest version. The ML2M is a compact Eurorack module with Wi-Fi capabilities, allowing seamless synchronization with Ableton Live, Bitwig Studio, and iOS music apps using Ableton Link without the need for cables. It either connects to an existing network or creates its own, ensuring robust sync even in environments with unreliable Wi-Fi. The module, which retains its 2HP size, now features MIDI integration through TRS jacks. Users can access a web interface to configure each output for different clock divisions and reset triggers, making setup straightforward and flexible.
Alongside the ML2M, there's also the Missing Link Junior. This desktop version offers the same functionality but in a box format, complete with MIDI and CV clock outputs. Both products are now accessible, with a starting price of $250.
At Machina Bristronica 2024, we caught up with Arran from @archaea_modular_synthesis who presented the *Exchange Module*. This programmable patcher, a year in the making, evolved from its early prototype stage to a fully functional module. Arran explained how the Exchange can route synth voices via a beam controller and three exchange modules installed within the skiff, allowing for versatile patching. Operating like a matrix patchbay, it enables users to select inputs and outputs with the push of a button, create presets, and chain multiple modules for synchronized patching.
Communication between the modules occurs over the Eurorack power bus as well as over MIDI via the USB-C connection. The Exchange maintains analog integrity, ensuring there’s no conversion latency. The forthcoming release expected in late November 2024, includes a USB-driven editor for enhanced control capabilities.
"Getting ready for Machina Bristonica 2024 in Bristol UK, coming up this weekend! We are having a workshop on Saturday starting 14.00 where you can build our DIY kits or a @plinkysynth with us! And on Sunday at 14.15, we will be on the DivKid stage chatting with Ben about Life, the Universe and Modular. Come meet us there, and bring your best questions!
In this last-jam-before-the-flight-leaves, we are exploring the Euclidean Modes built into DivSkip, our module collaboration with @DivKid.
Euclidean rhythms are a fun and intuitive way to generate looping musical patterns. #DivSkip has two modes that generate Euclidean rhythms. The one used here, Euclidean Split, always sets three steps and distributes them over a pattern length that can be adjusted using the knob.
In this patch, Enrica adjusts the length of the pattern which in turn advances alternating bass and chord notes played on the @WeAreElektron Model:cycles. This results in cool syncopated, rhythmic shifts throughout the sketch.
She adds a shifting pattern of ghost notes with a clock divider on DivSkip's channel 3, set to three steps. The sound is generated using Mutable Instruments Plaits, with the A and B outputs triggering alternating CV settings using @vaskiembedded's ECS-4 Triggered Switch module.
DivSkip's channel 1 is set to play a four-to-the-floor pattern on Out A and B, going to kick and snare on @VladimirPantelic's VPME QD quad drum voice.
Enrica mutes and unmutes each channel on the fly with a click of the push potentiometer.
DIY Kits are in stock at @ThonkSynthDIY (UK), @explodingshed5542 (EU) and @NightlifeElectronics (CAN - DIY and built)
Built modules are available at @signal-sounds (UK), @PerfectCircuit (US), @Elevator-Sound (UK+EU) and @schneidersladen_berlin (EU)"
Update: moving this post up once as new videos have been added. Bookmark this post for updates.
Use the player controls to skip around.
Playlist:
1.SynthfestUK 24: Knobula - Synth Modules and Toy Pianos
At SynthfestUK 2024, we met up again with Jason, who gaves us the updates in the world of Knobula. On display was the new 'dark mode' Poly Cinematic module, for more monochrome rigs ;-]
2. SynthFestUK 24: PWM - More Mantis News
At the show we made a beeline for the PWM stand, where Paul gave us the latest Mantis news.
And yes, it's out there in the world now!
3. SynthfestUK 24: Roland Unveils the Juno-D Series with Zen-Core Sound
We caught up with Andrew and Ludwig who showed us around the new updated Juno-D series: Juno-D6, D7, and D8. They have the same keyboard action as the Fantom-O series and a new colour screen, making it easier for performers to navigate on stage. And they can be powered by a USB-C mobile battery, perfect for buskers ;-)
Running Roland's Zen-Core sound engine, they also incorporates features like a 64-step sequencer and a phrase pad for live sample triggering.
Prices range approximately from £949 to £1199.
"We thought we'd try and built the smallest viable setup using DivSkip, our collaboration with @DivKid. So we set out to collect a couple of modules that pair great with #DivSkip in a tiny 48HP @4msCompany pod. It turned out really fun!
The Clock input is generated using Music Thing Modular's insanely practical startup module. Here it's used to output sixteenth note triggers. DivSkip's channel 1 is set to play a modbap pattern on Out A and B, going to kick and snare on @VladimirPantelic's awesome VPME QD quad drum voice. DivSkip's channel 2 is set to offbeats, triggering @TimoRozendal's super cool FMP drum. It's a fantastic DIY module using the @YamahaSynthsOfficial YM2413 FM chip - you need to check it out.
The Gliss module from @BelaPlatform plays back a looping CV recording, changing both the sound parameters on FMP and the pattern on DivSkip's channel 4, which in turn is generating a grooving syncopated sixteenth note sequence.
Finally, DivSkip's channel 4 sends a pattern from its Euclidean Split mode to the Karplus-Strong generator on the QD Drum.
Enrica mutes and unmutes each channel on the fly with a click of the push potentiometer.
DIY Kits will restock shortly at @thonksynth (UK), @explodingshed (EU) and @nightlife_electronics (CAN - DIY and built) Built modules are available at @signal_sounds (UK), @perfect_circuit (US), @elevatorsoundbristol (UK), @elevatorsound_eu (EU) and #schneidersladen (EU)"
"It's my absolutely pleasure to introduce you to DivSkip! An 8 mode, trigger conditioning workhorse for playability, musicality and utility.
DivSkip is a 4 channel trigger and gate processor with multiple modes, dual outputs per channel, performance mute groups and alternate gate mode. Plug in triggers or gates from a clock, logic module or sequencer and generate new rhythms and variations.
DivSkip has 8 modes including Bernoulli Gates, Clock Division, Turing, Euclidean Split, Euclidean Classic, Ramp / Gate Length, Retrigger and Pattern. All provided musical performative rhythms for your modular system.
FEATURES • 4 Channels of Triggers or Gates • push-to-mute • 8 modes per Channel • LED rings for visualization
"DivSkip is a four channel trigger / gate processor for Eurorack. Eight modes on four independent channels make this 8HP module a Swiss Army Knife to chain behind clock utilities, trigger sequencers, and logic modules. Each channel can be muted and unmuted with a click of the push potentiometer.
In this patch, Enrica is using Bernoulli mode, adding weighted probability to a swung pattern generated with Stolperbeats. An incoming sixteenth note trigger is randomly sent to either Out A or B, with the position of the potentiometer determining whether an open or closed hihat is more likely to play. This allows her to generate lively rhythmic variation on the fly.
For the cymbal sound, the same mode is patched to set whether the sound is likely to play or not. A simple trigger on the upbeats is transformed into a burst and sent to the Snare module, using #DivSkip in Retrigger mode on channel 4.
All drum sounds are played with @patchingpanda's line of drum modules, with BD-Z on Kick, Hatz on Hihats, Punch and Shuby on Snare and NVHS on cymbals. The chords are played on the @WeAreElektron modelcycles, with all voices set to the same mode."
Inventor and sound artist Rich Bernett, creator of the original Cassettone synthesizer, is excited to announce the development of the Cassettone Two—an upgraded, feature-packed evolution of the original cassette synth that gained a loyal following of DIY builders and experimental musicians around the globe.
The Cassettone Two is Bernett’s next step in redefining how cassette tapes can be manipulated into unique musical instruments. The original Cassettone, a keyboard that plays cassette loops, sparked excitement in the music-making and DIY communities, receiving widespread attention across YouTube, Instagram, and music blogs.
With its quirky design and DIY appeal, makers all over the world began building their own versions, and workshops and even social media communities sprung up around it. Now, with the introduction of the Cassettone Two, Bernett is ready to push the boundaries further.
A New Chapter for the Cassettone Synth
The Cassettone Two builds upon the foundation of the original with exciting new features designed to give musicians and builders more creative control. The most notable upgrade? Two cassette players, each with independent pitch control, that can be blended for a richer, more versatile sound. This marks a major leap forward from the original single cassette model, allowing users to create complex, layered tones.
“I wanted to address some of the challenges builders faced with the first version. With the Cassettone Two, there’s no need to hack into old cassette players anymore, which should eliminate the parts most prone to failure,” says Bernett.
Tailored for Makers and Musicians Alike
Bernett, who operates online under the name The Sound of Machines, has learned from the overwhelming interest in the first Cassettone and is implementing a rollout strategy that caters to both makers and musicians. For those who enjoy building, there will be DIY kits that include all necessary components (minus the tools). For musicians who prefer to skip the assembly, Rich plans to have a small-batch of pre-built units that will be available for purchase.
Additionally, Bernett plans to offer virtual and in-person workshops and detailed tutorials to guide makers through the building process, ensuring that anyone can successfully bring their own Cassettone Two to life.
More Features on the Horizon
While the base model of the Cassettone Two is set to feature two cassettes with pitch control, Bernett is already planning an XL model with reverse play, stereo outputs, and a brand-new “drone” mode, which he teases will be detailed in future announcements.
“Based on the popularity and community engagement with the first Cassettone, I’m aiming for a much more structured rollout this time. Whether you're a musician who wants a one-of-a-kind sound source or a maker who enjoys the build process, there will be an option for you,” says Bernett.
Limited Availability for Early Runs
Due to the anticipated demand, initial batches of the Cassettone Two will be limited. To ensure you don’t miss out, Rich Bernett encourages fans and makers to join The Sound of Machines Patreon, where he’s offering behind-the-scenes updates, production insights, and priority access to the first run of the Cassettone Two.
Subscribers will not only be the first to know when new units are available, but they'll also gain access to audio samples, exclusive tutorials, and detailed guides on building other experimental instruments from Bernett’s collection.
Join the Journey
Bernett’s journey with the Cassettone has been shaped by the creativity of the community around it, and he’s eager to see where musicians and makers will take the Cassettone Two.
To stay updated on production progress and get priority access to the first batch, join Bernett’s Patreon at Patreon.com/TheSoundofMachines and follow along on Instagram at instagram.com/thesoundofmachines.
About Rich Bernett
Rich Bernett is a sound artist and inventor best known for his boutique experimental musical instruments. Through his “The Sound of Machines” YouTube channel, Bernett shares his deep love of DIY instrument building and recording techniques, with videos that serve as tutorials for creating unique instruments from scratch. His Instagram presence, which continues to grow rapidly, has become a go-to repository for bizarre sound experiments, attracting the attention of both DIY enthusiasts and top-tier professionals in the music industry. With a dedicated community of builders and musicians behind him, Bernett continues to push the boundaries of sound design.
"How to make a thriller/slasher track with both old and new synths, samplers and drum machines. Put together and mixed as it would have sounded coming out an 80s movie. I've always been a huge fan of the "giallo" thriller/slasher movie subgenre championed by Italian directors like Dario Argento, Mario Bava, Sergie Martino and more. These movies often had absolutely mind-blowing violence topped with fantastic music. One of these composers, Claudio Simonetti did many awesome tracks for Dario Argento, and among them the themes from 'Tenebre' (Tenebrae) a thriller in the giallo style, from 1982. Another composer I draw a lot from is Fabio Frizzi. His work with Lucio Fulci has always been a great source of inspiration to me.
Midnight Drive 5 is my go at making a similar styled track. I've gone overboard with the intro which is supposed to be from a film, but these are all sound effects I've put together for this.
Find the track here:
00:00 Intro 01:25 Bass (Prophet VS) 03:00 Strings (Juno-106) 05:24 Synthbrass in the intro of the song (Prophet X) 07:16 Main Synth Theme 08:26 Counterpoint to the synth theme 09:23 Intro synth part to signal violence 10:22 Putting it all together and adding on 15:13 Making it sound like movie violence (sound effects) 18:12 The importance of reverb or NOT reverb 21:14 Drums 22:40 Bass 23:00 Strings 24:14 Vocal effects (chopped up) 26:07 Vocal choir 27:37 Counterpoint brass (Fabio Frizzi tribute) 28:37 Ending 29:59 Closing thoughs"
Sound Blocks is a groundbreaking music composition app for Mac and Windows. You simply place blocks of sound anywhere on the grid, connect them together and play!
It's a beautifully animated experience that really brings out the visual character of sounds — (kind of like synesthesia).
You can add 'Control Blocks' to your sequence that act as modifiers for speed, time, randomization and more. Using these tools, you can create intricate musical machines that loop in interesting ways.
It's a remarkably simple new workflow that removes the obstacles and steep learning curves commonly associated with conventional music production software — and by the nature of its distinct design, lets you do things that you might never think doing of with other music apps.
Who is it for? Can I use it if I'm not a musician?
Sound Blocks is for anyone who wants to dive into music production, whether you're a child, non-musician, gamer or a professional music producer — it has something for everyone. The workflow is super intuitive and playful, and you can learn to use it in about 10 seconds — no prior music experience needed.
What does it offer for skilled musicians and producers?
Sound Blocks will give you a completely new workflow to experiment and create the kind of music you might otherwise never make using a conventional DAW. The non-linear sequencing approach, alongside features like Control Blocks and asynchronous loops will open new creative avenues for some serious artistic exploration. The more funding our Kickstarter project raises, the more advanced features we'll be able to add, such as the ability to add your own samples, crazy effects pedals and much much more. We will be sharing a detailed development roadmap soon."
Thank you for watching.
My name is Meska of the statik collective . I've been making mostly "dark and expérimental" music for more than ten years now, i'v learn so much online, now it's time for me to share my knoledge, my exploration and this channel is a place to talk about the tools, sound design and techniques to make music with.
_Brute-powered sound
