Category: music production

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Groove Synthesis announces the 3rd Wave 8M 8-Voice Desktop Synthesiser

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Groove Synthesis has announced the 3rd Wave 8M – a compact desktop synthesiser to a more accessible price point, without compromising on sound quality or core features.

Building on the success of the flagship 24-voice 3rd Wave models 24K and 24M, the new 8M features 8 voices of polyphony and bi-timbral operation in a streamlined desktop format. Priced at $1,999 USD, the 8M delivers the same premium sound quality and cutting-edge synthesis capabilities that have made Groove Synthesis a favourite among producers, composers, and performers worldwide.

“We created the 8M to bring the distinct 3rd Wave sonic character and sound design capabilities to more musicians and producers,” said Bob Coover, co-founder of Groove Synthesis. “This isn’t a watered-down version of our flagship 24-voice models. The signal processing chain, analog electronics, and the sound are the same as on the 24. The 8M just makes the 3rd Wave experience accessible to musicians, sound designers, and producers who don’t need the full scale system.”

The 3rd Wave 8M maintains complete patch compatibility with the 24-voice 3rd Wave models, allowing users to seamlessly integrate the 8M into existing setups or upgrade to larger models in the future. The streamlined user interface focuses on performance-oriented controls while utilizing a larger, more intuitive display for deep sound design capabilities.

Key features of the 3rd Wave 8M include:

  • 8-Voice Polyphony: Full 3rd Wave sound engine with 8 voices and three oscillators per voice
  • Complete Synthesis Toolset: Wavetable synthesis, analog-style synthesis, FM, and sampling
  • Bi-timbral: Two independent parts for layering and splitting
  • Complete Patch Compatibility: Seamless integration with 24-voice 3rd Wave models
  • 8 Analog Filters and Output Stage: The same premium analog filters and output circuit design as flagship 24-voice models, 24K and 24M
  • Streamlined Interface: Performance-oriented, expressive control set with larger display
  • Multiple Outputs: 4 balanced outputs for flexible studio integration
  • Compact Design: Smaller footprint ideal for desktop or touring setups

“As a bunch of synth enthusiasts ourselves, we know that the sound is everything,” said Andrew Silverman, co-founder of Groove Synthesis. “The 8M has the full DNA of our flagship models. We’ve carefully considered what matters most to musicians and sound designers, preserving the elements that define our sound while creating a more accessible entry point to the 3rd Wave sonic universe.”

The 3rd Wave 8M continues the Groove Synthesis tradition of combining vintage inspiration with modern capabilities. While the 3rd Wave has roots in the classic digital wavetable synths of the past, it takes that concept into the 21st century with a lush, expansive sound that’s a product of its expanded wavetables and warm, organic analog filters. The intuitive, performance-focused interface avoids menu diving for a natural control flow, preserving and adapting the vital parts of the keyboard’s controls in a compact format.

Availability

The 3rd Wave 8M is expected to be available and shipping in July 2025 for $1,999 USD. For more information and to find a dealer, visit www.groovesynthesis.com.

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Frap Tools to take on high-end keyboard synthesizer market with ‘West Coast’ MAGNOLIA

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Frap Tools, a manufacturer of Eurorack modules and accessories alongside professional audio compressors in the 500-Series format, latest venture into the world of high-end keyboard synthesizers with its introduction of MAGNOLIA — announced as an 8-VOICE ANALOG THRU-ZERO FM SYNTHESIZER built to unlock every sound associated with ‘West Coast’ modular synthesis through a classic keyboard interface.

As an 8-VOICE ANALOG THRU-ZERO FM SYNTHESIZER, MAGNOLIA unlocks every sound associated with the so-called ‘West Coast’ modular synthesis world with waveshapers, wavefolders, and, most importantly, analog linear TZFM(Through-Zero Frequency Modulation) Indeed, its intentions are made clear from the outset by the on point wording worked tastefully into its (initial) top panel design. No need to necessarily remain there, though, for fat resonant filters and powerful analogue oscillators also allow for more traditional subtractive synthesis sounds. And although a deep and flexible modulation section encourages complex patches with the push of a button and twist of a knob, switching modulations on and off with the TOGGLE function, it is always easy to keep track of what is going on thanks to the inclusion of LEDs (Light-Emitting Diodes) on every source and destination.

Digging deeper, MAGNOLIA features eight analogue voices with two oscillators — carrier and modulator — and 24 dB/oct resonant HIGH-PASS and LOW-PASS filters; the carrier oscillator has a through-zero core for precise, sideband-rich analogue FM (Frequency Modulation) sounds, so crystal-like pads to growling basses are available to all with the greatest of ease, while FM can be applied to the filters. Furthermore, sculpting sounds that have not been heard before on analogue polysynths are now perfectly possible, thanks to MAGNOLIA’s unique signal flow — think continuously variable waveform shapes and a wavefolder circuit per voice!

Those two oscillators are derived from Frap Tools’ BRENSO (https://frap.tools/products/brenso/), a Euroack module readily representing its creator’s primary analogue source of articulated waveforms whose degree of entanglement can be precisely set by the musician. MAGNOLIA’s Oscillator 1 is the ‘West Coast’ one with TZFM, wavefolder, and FLIP SYNC, while Oscillator 2 is the ‘East Coast’ one, with PWM (Pulse Width Modulation) and fine-tune. Whether wanting experimental FM sounds or punchy synth brass, they are always at anyone’s service. Speaking of Frap Tools’ unique modular soul, MAGNOLIA’s filter section is derived from CUNSA (https://frap.tools/products/cunsa/) — itself a quadruple analogue ping-able multimode resonant filter, saturator, mixer, and oscillator, no less!

Musically, MAGNOLIA sports a keyboard from fellow Italians FATAR, with polyphonic aftertouch capabilities for enhanced expressiveness, while a per-part ARPEGGIATOR and per-part 16-step SEQ (sequencer) serve to creatively complement the synthesizer still further. Features briefly worth drawing attention to here by way of ending on some more high notes include MAGNOLIA’s bi-timbral programs (with SINGLE, MORPH, DUAL, and SPLIT MODES); all-analogue signal path; three loop-able DAHDSR (DELAY, ATTACK, HOLD, DECAY, SUSTAIN, and RELEASE) envelopes; three digital LFOs (Low Frequency Oscillators); and 512 preset memory slots.

Anyone attending SUPERBOOTH25, May 8-10, FEZ-Berlin, Germany can get up close and personal with two MAGNOLIA pre-production units by swinging by Booth B049 there. Their creatorswill be showcasing them personally, eager to show the results of their hard work, while providing a passionate warm welcome. Frap Tools aim to release MAGNOLIA as a production product by the end of summer, albeit with some differences evident by then. The interface will likely be more refined, featuring digital effects, while some features currently under evaluation could conceivably be removed.

While Frap Tools’ Eurorack modules and accessories, plus professional audio compressors in the 500-Series format, are available to purchase online directly from its website (https://frap.tools/), 

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Serato & Roland announce SP-404MKII integration with Serato DJ + Serato Studio

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oday, in celebration of the 20th anniversary of the iconic SP-404 sampler, Serato and Roland have announced the official integration of the SP-404MKII with Serato DJ and Serato Studio. Roland’s free V5 update with Serato transforms the SP-404MKII into a powerful, accessible tool that bridges the gap between DJing and music production, maximising creativity for live performance while delivering powerful features for sampling and beatmaking. 

The dynamic collaboration between two legendary music brands opens up the seminal 404 beat culture to more DJs and producers than ever before. Furthermore, Serato’s support of Roland’s SP-404MKII promotes new sonic possibilities for performance, sampling and beatmaking through the fusion of Serato’s advanced audio processing and the SP-404MKII’s beloved effects. 

Roland SP-404MKII for Serato DJ: 

  • The new built-in integration with Serato DJ unlocks fresh live performance opportunities with Roland’s compact, customizable and iconic sampler. 
  • As the first DJ software to officially support the SP-404MKII, Serato DJ offers access to a portable performance machine without the complexity of a full DJ set up. 
  • Now with pre-mapped Serato controls, DJs can easily integrate their workflow and perform sets on the go with a versatile, portable DJ rig that has access to Serato Stems, looping, hot cues and much more. 
  • Enjoy smooth transitions, real-time mixing and looping, and access to both SP and Serato FX. 

Roland SP-404MKII for Serato Studio:

  • Roland and Serato’s integration advances the SP-404MKII hardware into a hands-on, pre-mapped controller and USB audio interface for Serato Studio with even deeper hardware integration. 
  • Producers now have the ability to route Serato Studio audio through the SP-404MKII’s onboard effects for real-time processing. 
  • Separate stems and trigger loops and one-shots directly in Serato Studio with the famed hardware’s 16 performance pads. 
  • With Roland’s iconic SP-404MKII, producers can utilize a portable recording studio on-the-go while tapping into Serato’s powerful software features. 

Explore integrated functionality with the SP-404MKII V5 update for Serato DJ Lite, Serato DJ Pro* and Serato Studio. *Requires a DJ Pro license. 

Serato’s official support for Roland’s internationally-renowned portable sampler launches alongside a string of global events in the vibrant cities that were vital hubs of the early 404 beat community, from Los Angeles, Atlanta, Tokyo, Berlin, London and beyond. 

Live performances, beat battles, artist panels and exclusive merchandise giveaways will unite the artists, DJs and producers who were integral to the cultural phenomenon that is the SP-404. Roland stores around the world will host in-person celebrations – from London to Tokyo – where guests can join 404 Day gear raffles for creative tools aligned with the SP-404MKII, including Serato licenses, the AIRA Compact S-1 and J-6, a limited-edition Roland graphic tee, Roland Cloud access, Melodics subscriptions and more. To join this landmark 20th year celebration of the SP-404, visit Roland’s dedicated 404 Day page here and Roland’s ultimate guide for 404 Day 2025 here. 

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WATCH: Take a look at Aphex Twin’s Theis Modular Synthesizer

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It’s not often one gets their hands on a piece of music history, but that is what music buff Alex Ball recently did when he purchased Apex Twin’s Theis Modular Synthesizer and decided to switch it on and give a little review.

For those that may not know, Aphex Twin, aka Richard D. James, is a name synonymous with the intriguingly named genre of IDM (Intelligent Dance Music). James on the label: “I just think it’s really funny to have terms like that. It’s basically saying ‘this is intelligent and everything else is stupid.’ It’s really nasty to everyone else’s music. It makes me laugh.”

Aphex Twin’s formed Rephlex Records in 1991, releasing three Analogue Bubblebath EPs under the AFX name. He moved to London in 1993, where he released a slew of albums and EPs on Warp Records and other labels under many aliases. His first album ‘Selected Ambient Works 85-92’ was an ambient affair, released in 1992 on R&S records.

In 1995 James began composing on computers, embracing a more drum n bass sound mixed with acid lines. In the late 1990s, his music become more popular with the release of “Come to Daddy” and “Windowlicker”, which James followed this up in 2001 with “Drukqs”, a 2-CD album which featured both prepared piano songs and abrasive and fast drum n bass influenced fare.

In late 2004, James returned to acid techno with the Analord series, which was written and recorded on analogue equipment and pressed to vinyl.

Some seemingly outlandish claims from interviews have been verified. James does own a tank (actually a 1950s armoured scout car, the Daimler Ferret Mark 3) and a submarine bought from Russia.

Additional unverified claims include the following: He composed ambient techno at age 13; he has “over 100 hours” of unreleased music; he experiences synaesthesia; and he is able to incorporate lucid dreaming into the process of making music.

Of course, how could we not add in this seminal classic – Come to Daddy (Directors Cut)

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Crow Hill Company creates VAULTS – ACID SYNTH as an homage to the revered Roland TB-303

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The Crow Hill Company has announced the availability of VAULTS – ACID SYNTHas the latest entry into its lengthening line of free and accessible virtual instruments arising from company co-founder and composer Christian Henson effectively opening his ‘vaults’ for everyone to enjoy — this time creating an homage to the revered Roland TB-303 Bass Line, launched with high hopes in 1981 as a so-called Computer Controlled bass synth by the Japanese giant of electronic musical instrument manufacturing responsible for its creation before being deemed a commercial failure and discontinued quite quickly thereafter, though it was later instrumental in driving Acid House into the musical mainstream as a whole new EDM (Electronic Dance Music) genre and associated cultural movement, the popularity of which triggered a dramatic rise in the price of used units — as of March 19…

It is fair to say that when Roland released its TB-303 Bass Line in 1981 as a so-called Computer Controlled bass synth with the intention of mimicking the characteristics of an electric bass guitar, there were far fewer tools to create electronic music available. But buyers of the TB-303 Bass Line were possibly swayed by the fact that it could be time-synced — using Roland’s proprietary five-pin DIN sync interface (later superseded by MIDI) — to its contemporarily-released Computer Controlled sibling, the TR-606 Drumatix drum machine, making for an affordable rhythm section that could conceivably fit into a small briefcase as a beautiful backing combination for the solo gigging musician, further helped by both devices being battery operated as an attractive alternative to their (included) AC adapters… or so Roland had hoped.

Though the engineers involved tried their best to imitate the sound of an electric bass guitar with the technology of the time, the TB-303 Bass Line fell short in capturing its subtleties as an instrument, sadly, so it was discontinued within a couple of years, with Roland cheaply selling off the last of the 10,000 units manufactured. Now, normally this would be the end of the story, yet something incredible happened…

Helpfully, for the benefit of anyone not already in the know, The Crow Hill Company’s Theo Le Derf picks up what is an incredible story in itself: “DJ Pierre and his band called Phuture found a used TB-303 in a music shop in Chicago for a bargain price. They started experimenting with the bass sequencer and a drum machine while playing about randomly with the filter and resonance knobs. The sound they produced was so

unique and, frankly, weird that they decided to commit the jam session to tape. With the release of this experiment on Trax Records in 1987,they unwittingly birthed a new genre: Acid House. This slimy, hypnotic, subversive sound subsequently built a cultural movement, and was the soundtrack to many illegal warehouse parties of the late Eighties — all of this from a tiny synth that was used ‘incorrectly’.”

Thanks to VAULTS – ACID SYNTH’s GUI (Graphical User Interface) being as intuitive as always, correct — or ‘incorrect’ — usage of the virtual instrument in question comes quickly. “The first large dial — CUT OFF — is a 24dB lowpass filter that controls what high frequencies you cut out, and it is automatically assigned to MIDI CC1.” So starts Theo Le Derf by way of an appropriately quick guided tour, before continuing:

“RESONANCE determines the peak of the filter as it opens and closes, which creates that characteristically ‘squelchy’ sound that the synth is known for. The small dials are more concentrated effects — MOD controls how much voltage is being sent to the filter, so you can get some really interesting sounds by adjusting the CUT OFF dial and MOD simultaneously; DECAY controls the decay for all the envelopes; and, ofcourse, there is also our standard ECHO and SPLOSH, with the SPLOSH being an algorithmic imitation of a cave, which suits this synth so brilliantly.”

It is as easy as that, though Theo Le Derf is keen to add: “Another thing to mention is that you can obviously play staccato, but when you playlegato — MIDI notes overlapping with one another, you get a glide between the notes. This glide effect is another characteristic that the ’303 is renowned for.”

No need, necessarily, then, to risk dropping a bank-balance-busting four-figure sum on a decades-old Roland TB-303 Bass Line when The CrowHill Company’s ‘tribute’ truly captures the essence of its distinctive sound for all to enjoy for literally nothing. Notes Theo Le Derf, ending on a high note: “The story arc of this synth is so amazing — from its unpromising beginning to completely defining a genre and an era, it’s so exciting to have this celebrated instrument at my fingertips for free!”

VAULTS – ACID SYNTH is free for everyone — as are all VAULTS… releases from The Crow Hill Company — from here: https://thecrowhillcompany.com/vaults/

VAULTS – ACID SYNTH installation and activation requires installation of The Crow Hill App — an easy-to-use app designed by the best in the business to provide seamless download, installation, integration, calibration, and organisation of The Crow Hill Company tools — available for free from here: https://thecrowhillcompany.com/crow-hill-app/

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When Ikea met Harry.

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Imagine a world where your livelihood requires boundless amounts of objects, all of which must be logged and remembered and stored as a collective body which must be accessible yet compact. These are the problems posed by those vinyl manipulators we know and love – the world of the DJ.

For Harry Love, his problems are long gone. Thanks to our favourite Swedish chaos solution, Ikea, Harry Love can now nonchalantly breeze through his catalogue of keyboards, mixing equipment and 4500 records, following an intervention by the furniture giant which de-cluttered the hip-hop producer’s operational quarters. 

The brand is tapping into audiences by encouraging them to be inventive with Ikea products – why not use a stack of shoe racks to store six keyboards? With the ‘KALLAX’ bookcase fitting conventional vinyl sleeves like a glove, Ikea are reminding the established DJ that their ever-growing collections are screaming for more regimented square storage cases.

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