ARP Foundation - Starpath Vol.1 - 200 Exclusive Patches for Korg ARP2600 VST

video upload by

"These will not be sold on my normal site, they are available to purchase directly from The Arp Foundation Store, Ensuring all proceeds to directly to them. - https://alanrpearlmanfoundation.org/p...

I would like to give special thanks to Korg for donating the 2600 vst licences for James & I to carry out the programming of this bank!

STARPATH VOL.1 – 200 Sounds. One Cause. Endless Inspiration!

Scott McAuley & James Dyson are incredibly excited to announce the release of STARPATH VOL.1 – an exclusive, custom-designed sound bank featuring 200 carefully crafted sounds, created to inspire your next musical journey.

Packed with an extensive collection of sounds, STARPATH VOL.1 brings together everything from deep, powerful Basses, atmospheric Pads and expressive Leads, to evolving Arps, driving Sequences, cinematic Strings and so much more. Whether you're looking to spark a new idea, add something special to your productions or discover your next signature sound, there's plenty here to explore.

The demo showcases just a selection of what's included, with 50 sounds demonstrated to give you a taste of the collection. But that's just the beginning – the full STARPATH VOL.1 bank contains 200 exclusive sounds, ready for you to drop straight into your next big production.

But this release is about more than just music.

100% of all proceeds from sales of STARPATH VOL.1 will go directly to The ARP Foundation, a non-profit organisation. This means every purchase helps support a cause that matters, while giving you access to a completely custom collection of sounds.

We're incredibly proud to bring this project to life and grateful to everyone who chooses to support it.

Thank you!

© Scott McAuley. All rights reserved."

And via the Alan R Pearlman Foundation

ARP Foundation Releases Starpath Vol. 1 for the KORG ARP2600 VST

Scott McAuley Sounds and James Dyson created 200 patches for the software synthesizer, with all proceeds supporting the Foundation’s archives and ARPs for All program.

Kingston, NY, November 10, 2026 —The Alan R. Pearlman Foundation announces Starpath Vol. 1, a collection of 200 original patches for the KORG ARP2600 VST. Created by Scott McAuley Sounds and James Dyson, the sound bank will be sold exclusively through the Foundation for $39.99. All proceeds benefit the Foundation’s work to preserve Alan R. Pearlman’s legacy and expand public access to his instruments.

Purchase STARPATH

The original ARP 2600 laid out its signal path on the front panel so players could see how its modules worked together and use patch cables to change those connections. Starpath Vol. 1 gives musicians 200 ways into that same architecture in KORG’s software instrument. Each preset can go straight into a session or serve as a starting point for tracing a signal path and reshaping the sound.

The collection spans basses, leads, pads, keys, arpeggios, sequences, and strings, with sounds for electronic dance music, film scoring, and other productions. Most patches are programmed for polyphonic aftertouch, so players using a compatible controller can shape individual notes by varying the pressure on each key. The bank takes advantage of KORG’s software recreation, which offers up to 16 voices of polyphony.

The Foundation will receive 100% of the proceeds to support its archiving work and ARPs for All, a program that gives musicians hands-on access to rare vintage ARP synthesizers.

CLICK FOR MORE »

Making a track with found sounds + FLpad

video upload by Novation

"Shop our Holiday Sale here - https://novationmusic.com/categories/...

After receiving some holiday foley from our friends at Focusrite, check out how Kody uses FLpad and FL Studio to turn them into a track. If Ableton Live is your DAW of choice, take a look at how CALC creates a track with the same sample pack using Novation Launchpad Pro. If you want to download the pack yourself, visit https://novationmusic.com/articles/fl....

If you want to see how these holiday found sounds were recorded, check out:

We mic’d up a Christmas cracker and made it into a snare | Here's how it sounds

video upload by Focusrite

"See how to record Foley and turn found sounds into your next track. We captured festive sounds through a Scarlett 2i2 and a Scarlett microphone.

Wrapping paper became our kick drum, a Christmas cracker took the snare, and scissors filled in on hi-hat.

Download the found sounds and see what you can make with them: https://brand.focusritegroup.com/shar..."

"If you want to see Calc use these holiday found sounds on the FLpad, check out the video here:"

Making a track with found sounds + Launchpad Pro

video upload by Novation

"Shop our Holiday Sale here - https://novationmusic.com/categories/...

After receiving some holiday foley from our friends at Focusrite, check out how CALC uses Launchpad Pro and Ableton Live to turn them in to a track. If FL Studio is your DAW of choice, take a look at how Kody creates a track with the same sample pack using Novation FLpad. If you want to download the pack yourself, visit https://novationmusic.com/articles/fl..."

Eurorack MIDI-BLE: USB, Bluetooth & Hardware MIDI in One Module

video upload by

"Meet the Deftaudio Eurorack MIDI-BLE Interface, a compact 4HP MIDI hub that connects your computer, hardware synthesizers, and wireless MIDI controllers into one unified setup.

Three MIDI connections, one module

USB MIDI 3×3
Connect directly to your computer or iPad. Class-compliant operation means no special drivers are required.

2x TRS MIDI ports
Connect your favorite hardware synthesizers, sequencers, and controllers. Each port can be configured for TRS MIDI Type A or Type B.

Bluetooth LE MIDI
Connect wirelessly to iPhone, iPad, Mac, Android, and Linux BLE-MIDI applications. Play from your tablet or controller without running another cable.

Smart MIDI routing

Two operating modes let you configure how your equipment communicates:

Green mode: Direct USB-to-TRS routing with a shared wireless and USB MIDI connection.

Red mode: Merges the two TRS MIDI ports so connected hardware can share MIDI data.

Just 4HP of Eurorack space

Product page: https://deftaudio.com/store/tproduct/...

Hardware design and firmware: https://github.com/Deftaudio"

CLICK FOR MORE »

Ambient with Prophet-10, OP-1 field, and reface CS | Superposition 2026-11-10 by atnr

video upload by atnr

"Ambient music where repeating phrases overlap with reverberant synthesizer performances.

This piece was created with the Prophet-10, OP-1 field, and reface CS.

On the Prophet-10, a slightly modulated synth pad is performed and processed through the blueSky with reverb.

On the OP-1 field, a phrase is played using the built-in ENDLESS sequencer. The MOOD MKII is used to occasionally shift the pitch, while the MICROCOSM adds the MICRO LOOP effect and reverb.

On the reface CS, a single-note phrase is performed using the FM oscillator. The output is processed through the NIGHTSKY with reverb and filtering.

The piece begins with the OP-1 field phrase. The reface CS is then layered over it, followed by a low synth pad from the Prophet-10.

🎵 [Gear Used in This Video]

Synthesizers
Sequential Prophet-10
Teenage Engineering OP-1 field
Yamaha reface CS

Effects
Strymon blueSky
Chase Bliss MOOD MKII
Hologram Electronics MICROCOSM
Strymon NIGHTSKY

☕ [Support & Listen to atnr]

Music Software: https://store.atnr.net

Bandcamp: https://atnr.bandcamp.com"

Schmidt-Synthesizer waves Auf Wiedersehen to The Schmidt

Press release follows:

Schmidt-Synthesizer waves Auf Wiedersehen to striking Schmidt with The Final Series in numbered all-black limited-edition livery

LANGENAU, GERMANY: Schmidt-Synthesizer, Powered by e:m:c (electronic music components), is proud to announce availability of The Final Series of its impressive Schmidt Eightvoice Analog Synthesizer in numbered all-black limited-edition livery — lovingly devised by go-to industrial designer Axel Hartmann as an appropriately named series limited to 20 units, each featuring a gold plaque bearing the corresponding serial number alongside crediting its creators by name as the ultimate goodbye gesture to one of the most striking analogue instruments ever conceived, subsequently set to cease production after 15 years — as of November 10…

It is fair to say that the response to the Schmidt Eightvoice Analog Synthesizer was overwhelming following its introduction at Musikmesse 2012 in Frankfurt, Germany. After all, it had been many years since an analogue synthesizer of its immensity — let alone a polyphonic one featuring so much in the way of hands-on control — had been available. As such, it also turned heads when (ad)venturing across the pond for a repeat performance at The 2013 NAMM Show in Anaheim, CA, USA. Ultimately, the decision was made to bravely build an initial production run of 25 units, although, as it happened, this was far from the end of the story… the rest, as they say, is history.

Having decided that the Schmidt Eightvoice Analog Synthesizer should be entirely manufactured in Germany, regardless of running the risk of incurring high production costs by building it in a distinctly non-compromising ‘old school’ way — without specialised components and using a through-hole construction method to ensure straightforward repairs in the long term, in other words, a great success story subsequently transpired.

The Schmidt Eightvoice Analog Synthesizer boasts some truly unique features — for example, creating colder, wavetable-like sounds courtesy of its chain of five ring modulators, fed by six pulse waves, each with different pulse-widths — that have never before been implemented in an analogue synthesizer let alone an analogue programmable polysynth. Indeed, its striking sonic personality is forged from a sound generation engine featuring almost everything that subtractive synthesis has to offer, such as an oscillator section providing functions for shaping seriously complex sounds that are unlikely to have made an appearance in the analogue domain thus far, a powerful filter section akin to a fully-programmable modular synthesizer system, and modulation routings exceeding anyone’s wildest dreams. Dual and true multitimbral modes; sophisticated glide/portamento capabilities; and several realtime modifiers, fully programmable per preset all add to its appeal. And it looks as amazing as it sounds, its spacious front panel design — helpfully hinged to aid accessing an array of tactile controls — even extends as far as to include a large LCD (Liquid Crystal Display) with changeable colour background and associated multi-colour LEDs (Light Emitting Diodes).

It is also fair to say that the hundred or so discerning individuals fortunate enough to own a beautifully-built, beautiful-sounding Schmidt Eightvoice Analog Synthesizer so far as a substantial five-figure-priced instrument of proven pedigree will also have taken pleasure in reading its in-depth user manual’s introductory wording (with its tongue not entirely out of its cheek): In an ideal world, Schmidt is the synthesizer you have always been dreaming of. Well, anyway, this is the synthesizer Mr Stefan Smith… err, Schmidt — the creator of Schmidt — has always dreamed of. And — again, in an ideal world — you and Mr Schmidt are sharing the same dream (in terms of synthesizers, of course). Rest assured, we know that synthesizer players like you tend to have really wild dreams. Sometimes you even get up late at night to tweak some controls, don’t you? See, this is how well we know you!

Yet technological developments and rising costs associated with manufacturing complex devices worldwide have culminated in the way that Schmidt-Synthesizer beautifully builds its striking Schmidt Eightvoice Analog Synthesizer being no longer viable in the long run, sadly. So what better way for its creators to wave Auf Wiedersehen to the impressive instrument that has served them so well for so long than by introducing The Final Series in an all-black limited-edition livery lovingly devised by Axel Hartmann — himself famed for being the go-to industrial designer in the music industry for over 30 years — as an appropriately named series limited to 20 units, each featuring a gold plaque bearing the corresponding serial number alongside crediting its instigators by name — specifically, CREATED BY STEFAN SCHMIDT, INDUSTRIAL DESIGN BY AXEL HARTMANN, and MANUFACTURED BY e.m.c. STEFAN HUND — as the ultimate goodbye gesture.

After all, Axel Hartmann was responsible for the Schmidt Eightvoice Analog Synthesizer’s distinctive design in the first place, readily recalling, “We chose the highest-quality synthesizer keybed available from the Fatar catalogue. Indeed, it is comparatively high, which was not a problem since we needed to provide a lot of space within the case to accommodate the amply-dimensioned voice boards. Also, a Minimoog-like hinged panel would be nice, as would lots of wood. Since the Schmidt Eightvoice Analog Synthesizer is a powerful instrument in all respects, we would not even attempt to hide this with the design, which was generous in all respects, relying on the contrast between lavishly-built real wood elements and an anthracite-coloured control surface that would be familiar from the established analogue synthesizer world. Since Stefan Schmidt had already set all the positions of the control elements on the panel before we started, this resulted in extremely matter-of-fact product graphics that take up its specified horizontal and vertical planes for the knobs and buttons. Indeed, its modules are delineated by simple lines and clearly labelled. Everything that lights up can continuously fade through all the rainbow colours, a notable feature that is used by most users.”

All are still present and correct in The Final Series units, of course. Credited with product management at Schmidt-Synthesizer, Axel Fischer ends proceedings on a high note: “I think this special edition is a fitting conclusion to this wonderful project that we started many years ago.” And when those 20 units — and the last of the so-called Classic versions of the striking Schmidt Eightvoice Analog Synthesizer — are gone… So long, farewell, Auf Wiedersehen, good night somehow springs to mind, musically. Thereafter, those still dreaming of owning a Schmidt Eightvoice Analog Synthesizer — The Final Series or otherwise — could consider satisfying their sonic yearnings with Schmidt-Synthesizer’s just-released Schmidt Vi virtual instrument plug-in since it is — to all intents and purposes — a Schmidt Eightvoice Analog Synthesizer in software, allowing anyone to appreciate authentic and sophisticated sounds, as well as integrate them into the digital music production realm, all at a comparatively pocket-friendly price. Perhaps they, too, will get up late at night — to tweak some Schmidt Vi controls!

Priced at €18,900.00 EUR (including VAT), The Final Series of the Schmidt Eightvoice Analog Synthesizer in numbered all-black limited-edition livery — lovingly devised by go-to industrial designer Axel Hartmann as an appropriately named series limited to 20 units — are available to order directly from the new Schmidt-Synthesizer website (https://www.schmidt-synthesizer.com), where the last remaining units of its so-called Classic Schmidt Eightvoice Analog Synthesizer are also still available, priced at €17,900.00 EUR (including VAT).

For more in-depth information, please visit the new Schmidt-Synthesizer website here: https://www.schmidt-synthesizer.com

TrackWerk 0.9 — One Jazz Find, Two Grooves | Hip-Hop & Drum and Bass

video upload by Kid Bunka

Formerly Pocket Tracker Extreme

"One archive find. Two grooves. A handheld tracker built for making music.

Follow a complete jazz phrase from TrackWerk’s Source Sampler into a laid-back hip-hop arrangement and a rolling drum & bass flip. Hear the original bass and harmony breathe while newly programmed drums give the same passage two different rhythmic roles.

The film follows search, preview, IN/OUT, WAV import and phrase audition, then visits the synth controls, categorized presets, FX rack, Punch banks, Drumlab and internal resampling. The two arrangements play through TrackWerk’s native engine. The workflow is edited for clarity; the gentle, pitch-preserving 85-to-86 BPM sample preparation was done outside the app. Studio browsing is separate from the continuous musical playback.

TrackWerk 0.9 beta is free and open source. The illustrated English guide covers supported Android handhelds, Trimui Brick with KNULLI, Miyoo Mini and Miyoo Mini Plus with Onion OS. The normal Mini is offline; Mini Plus uses the separate online build. See device notes for tested behavior and remaining checks.

DOWNLOADS, TUTORIAL AND COMPATIBILITY
https://kidbee85-beep.github.io/Track...

SOURCE CODE / RELEASE
https://github.com/kidbee85-beep/Trac...

SUPPORT THIS FREE PROJECT
https://www.paypal.com/donate/?busine...

CHAPTERS
00:00 Archive to instrument
00:27 Keep the musical phrase
00:40 The hip-hop groove
00:56 Studio presets and FX
01:18 Drumlab and double time
01:36 Ghost notes and another engine
01:52 Performance tools and resampling
02:04 Save the take

CLICK FOR MORE »

Anukari 1.1: Strings, Tubes, Wind, and 1,000+ New Presets

video upload by Anukari 3D Physics Synthesizer

The Making of the Modulosphere: Behind the Springs

video upload by Anukari 3D Physics Synthesizer

Press release follows:

Anukari 1.1 Brings Strings, Tubes, Breath, and Over 1,000 New Sounds to the 3D Physics Synthesizer

The first major update since launch is built almost entirely from user requests, and it's free for every existing owner

PRESCOTT, Ariz., Nov. 10, 2026 -- Anukari, the synthesizer that makes sound from a real-time 3D physics simulation, today released version 1.1, its first major update since leaving beta in June. Where Anukari 1.0 let musicians build instruments from masses, springs, and mallets, 1.1 adds resonating strings, bars, plates, membranes, tubes, bells, a mouthpiece that lets players blow into their creations like a wind instrument, more than 1,000 new factory presets, and dozens of other additions. The update is free for everyone who already owns Anukari.

Almost everything in the release started as a request from someone playing Anukari. Resonators were the most-asked-for feature by far.

“After 1.0, I read every message people sent me, and the same ideas kept coming up,” says Evan Mezeske, Anukari’s founder and creator. “Version 1.1 is basically that list. Resonators were at the top of it, but nearly every feature in this release exists because a user asked for it.”

Resonators are virtual objects that ring like real ones do: a string that can be plucked or bowed, a metal bar, a plate, a drum membrane, a tube, a bell. Each one can be struck, rubbed, or blown, and each can be wired into the mass-and-spring contraptions Anukari users were already building. So, a bouncing weight can drum on a plate, or a swinging structure can vibrate a string.

“The palette of sounds in Anukari just got dramatically bigger,” says Mezeske. “Between the resonators and the mouthpiece, there are so many kinds of sounds and crazy ideas you can explore now that simply weren’t possible before. And because resonators connect to the mass-spring systems people already know how to build, it isn’t additive, it’s multiplicative. Every old idea suddenly has a hundred new versions.”

The new mouthpiece exciter brings breath into the picture, letting players drive tubes and other resonators with air, the way a player’s breath drives a clarinet or a trumpet. New spring types let objects collide and bounce off one another or hold rigid shapes, which opens the door to things like wind chimes, rattles, and clattering machines. The bow, mallet, and plectrum all gained new, much richer physical models as well.

Mezeske’s own favorite addition is the Modulosphere, a sphere that can float through the scene and change whatever it touches. “Anukari has this whole 3D space, and the Modulosphere is the perfect expression of that,” he says. “It’s a way of shaping sound that only makes sense in three dimensions. It really takes advantage of Anukari’s virtual 3D world in a unique way.”

Big ideas in Anukari can mean big structures, and building them by hand can be painstaking. Version 1.1 adds tools that generate whole shapes and duplicate pieces in patterns. It also lets musicians bring their own AI assistant. Anukari has no AI built in, but anyone who already uses an AI assistant on their computer, such as Claude or ChatGPT, can now connect it to Anukari, describe the contraption they have in mind, let the assistant build it, and then see and hear the result in a fraction of the time.

“Some of the most fun things to make in Anukari are huge and complicated, and that can be incredibly involved,” Mezeske says. “If you already use an AI assistant, you can now point it at Anukari, describe whatever you’ve dreamt up, and hear how it sounds much sooner. There’s no AI inside Anukari; it just gives your assistant the controls. It’s a tool for exploring crazy ideas faster. And if you’re not a fan of AI, I completely respect that. You don’t need to use it. The new pattern duplication is super powerful on its own.”

To show off the new possibilities, 1.1 ships with more than 1,000 new factory presets across four new banks, including a collection of orchestral instruments built entirely from physics, along with a redesigned preset browser with search, filters, and favorites to make them easy to find. Playing has improved too, with legato and glide, editable envelope and velocity curves, and steady, incremental reductions in CPU use.

Since 1.0, Anukari has also arrived on Linux, fully supported alongside macOS and Windows, and gained gravity and turbulence controls that let structures fall, sway, and drift.

Anukari 1.1 is available now from anukari.com as a VST3, AU, AAX, and LV2 plugin, and as a standalone app for macOS, Windows, and Linux. It is a free update for all existing owners. To celebrate the release alongside Black Friday, Anukari is 50% off through December 4. The free 7-day demo has also been reopened for everyone, including people who already used up their trial on an earlier version, so anyone curious about what’s changed can try it again.

NRNSS is mixing it all | Eurorack Jam

video upload by Ghost In Translation

"Jamming with ‪@GoPlayAllDay‬ patching every audio sources from our two racks to NRNSS for the final stereo mix… featuring PlayFader for modulations.

NRNSS is available here:
https://www.ghostintranslation.com/nrnss

#eurorack #stereo #eurorackmodular"

What are precision adders in Eurorack?

video upload by Noise Engineering

"A precision adder is a utility that combines pitch control voltages while keeping them perfectly in tune.

This video supports the Noise Engineering blog on the same topic here: https://noiseengineering.us/blogs/loq...

Unlike a standard CV mixer, a precision adder is designed specifically for pitch, so when you combine multiple melodic signals, your sequence stays accurate. Precision adders use extremely high-quality components in their signal path so that voltages at the inputs are reproduced with great accuracy.

In this patch, we're using Quantus Pax to combine two pitch sequences. The first sequence plays our melody, while the second acts as a transposition sequence. As the second sequence changes, the entire melody shifts up and down in pitch while staying perfectly in tune.

Precision adders aren't just limited to combining sequences…

Here, we'll patch a slow LFO into another input on Quantus Pax. With just a small amount of attenuation, the LFO creates a subtle vibrato, adding movement and expression to the voice without changing the melody itself.

Whether you're transposing melodies, combining multiple sequences, or adding expressive pitch modulation, a precision adder is a great tool whenever you’re striving for an accurate pitch.

Join us on Discord! Invite link: / discord"

Rite of the Oracle is coming 12/5

video upload by Eternal Research

"KCRW & Eternal Research present Rite of the Oracle. This one of a kind event is headlined by renowned singer-songwriter Zola Jesus in a rare solo performance on piano and voice. Co-headliner, Fierra Ex Machina will premiere Rite of the Oracle, a story of ancient and modern visionary women who meet across space and time, told through immersive, multidisciplinary modern dance, and live scored by the ensemble with bespoke electro-acoustic instruments. The evening opens with a solo performance by the enchanting harpist, Nailah Hunter.

Renowned darkwave and experimental electronic artist Zola Jesus headlines the evening with an intimate fusion of solo piano orchestrations, haunting operatic vocals, and raw, cathartic energy. Known for exploring the boundaries of human emotion, dark textures, and cinematic soundscapes, her live performance anchors a night dedicated to the transcendent and unseen, and embodies the spirit of women connecting through their voices across time.

Fierra Ex Machina performs live alongside an immersive multidisciplinary dance piece created by musician Alexandra Fierra and choreographer Lauren Auyeung. A synesthetic retelling of ancient prophetic visions through live-scored music, movement, and film, Rite of the Oracle invites the audience into a visceral conversation with the unseen and unheard made vividly audible and visibl

e. Driving the sonic landscape is The Demon Box—Eternal Research’s flagship instrument, serving as the primary electronic catalyst by capturing ambient electromagnetic fields and translating this invisible energy into live audio and driving modular synthesis. Operating in dialogue with this central hardware is a suite of custom-built, handcrafted instruments—including the polyphonic Demon Harp, the melismatic Demon Viola, and the ghostly Demon Bells forged from repurposed artillery shells. Combined with motion-reactive live projection and audio-reactive lighting, the performance amplifies the timeless conversation between ear and instrument, the aether and ourselves.

Opening the ceremony is Los Angeles-based composer, vocalist, harpist, and multi-instrumentalist Nailah Hunter. Blending ethereal harp arpeggios, lush ambient synthesis, and mystical world-building, Hunter’s soothing yet uncanny compositions set an enchanting, contemplative foundation for the evening.

Following 4 sold out performances in Los Angeles, New York City (2x), and San Francisco, Rite of the Oracle is Eternal Research’s most dynamic show yet, melding impassioned voices with cutting-edge transmedia and instrumentation to offer the key to the Oracle of Delphi’s origin: the powers of embodied vision. Stay in touch with the latest Eternal Research events and instruments by following @eternalresearchmusic on Instagram or visiting eternalresearch.com."