Bjorn's 2 demos are remixes, featuring extensive MOTM signal processing (MOTM-410/420/440 VCFs and the MOTM-120 SubOctave Mux) blended with some MOTM lead sounds and a MOTM bassline. Mike's new abstract piece is a tribute to Jackson Pollock.

• Filtered drum loops, Sequential T8, Nord Lead and MOTM synth lines over MOTM bass.
• Lots of highpass filtering, funky lead break and processed Wurli and guitars.
• Lots of FM, PWM and Mike's trademark use of minimal modules.

Scott's large (over 50 modules) synth is named Darmok. Here are some amazing snippets created entirely with Darmok. No sequencers, no multitracking. Just a touch of reverb. These are "self-running" patches that go on forever.

• The carcass of a large sea creature lies dying on the beach while small flying predators pick away it's flesh
• Brave Sir Robin's minstrels, about to be slain by the Knights that say Nigh!
• Class Krautrock (needs drums). Hard sync lines with octave switching.
• Gargoyle up in the belfry. MOTM-410 with random vocal formants, modulated by MOTM-320s.
• What ever happened to SpyroGyra?

• Six MOTM-300 VCOs with Hard Sync and FM
• Swampland for sale
• Not very good jazz musicians.
• Get your hands off my synth, you dirty stinkin' ape!
• Wind chimes up in the Alps
• Toads in the woods by the babbling brook

Ken's recreation of orchestrial brass and flute is nothing short of amazing. A modified Yamaha breath controller is used for realistic phrasing.

It uses 4 oscillators tuned almost to unison (the trumpet only uses 2). 3 are sawtooths and one is pulse with a slow LFO modulating pulsewidth. 2 oscillators go into one 440 LPF and 2 go into another 440 LPF (they run in parallel). Using two 440's may not be too important but it allows for more complex breath control of timbre by allowing different breath control intensity and timbre for different parts of the sound (you'll note that in the brass MP3 I can go from full mellow sounding french horn to piercing trumpet just using breath). From there they go into an MOTM 410 Triple resonance filter. I use that like a fixed filter bank or parametric EQ to get a more realistic brass sound by tuning the three filters and using the mix knob to add that to the sound. From there it goes through a 420 LPF under breath control. This allows final tone shaping and at times a greather than 24db rolloff because it's in series with the other filters. Then from there the sound goes through a VCA under breath control and that's it. I also went through an MXR Stereo Chorus to turn a mono sound into a stereo one, and then through the crappy reverb built into my Yamaha mixer.

• French horn
• Flute

This is a portion of the track Edge of Nowhere from the CD Outpost , which is available now! A collaboration between British synthesist Ian Boddy and Robert Rich, the CD is a 'soundtrack' for a sonic journey to the remote edge of a future, lost civilization. This particular excerpt uses the MOTM modular for the main rhythm tracks, while a lap steel guitar glisses over the pulsating background. The distictive "whomps" are MOTM-300s being PWM'd by enveloped self-resonating MOTM-420 VCFs, then filtered by the MOTM-440 LP VCF. The CD is available from DIN Records in the UK and from Robert's website (click on the Artist tab, then click his picture).

Additional information on Outpost is available here.

• Track #9 from "Outpost"

Charles Stella Demos

Charles send in these longer demos in diverse styles: dub, Eno/Fripp guitar, and sci-fi effects. Crisp clean recordings with lots of MOTM-420 in HPF mode. Read more about Charles on the Artist page.

• Dub style with MOTM rhythm section [2.8MB}.
• Guitar with delay and backing ambient noises [2.2MB]
• Flying through the Wormhole [4.3MB]

Mike Marsh
Mike's an expert in squeezing out wonderful timbres with only a handful of MOTM modules. The master of sync and PWM, Mike sends in this multi-tracked madness.

• Alien Digestion [4.3MB].
• NEW! Funk techno riff [1.1MB].

From Sheffield, UK, it's the Vulture Squadron!
Paul Bower sends in two of his techno - industrial compositions. Quite different from the other demos here, which is a good thing. Warning - Brian Wilson does drop the "F-bomb" in the 2nd demo (I think this off of an old BBC interview).

• El Doon [5MB}.
• Greetings Brian Wilson [6MB]

Will Riley from sunny Hollywood CA mixes complex MOTM sounds with samples, recordings, no telling what else. Here is one example, and title is self-explanitory.