Moog’s DFAM has become almost a genre of instrument — like the Minimoog architecture or original Moog modular. Look no further than this delight from Rainbow Circuit. On the surface, it looks like another model of the percussion synth (Mom!). But it sounds like nothing else, and if you’re looking for more synthesized, sequenced percussion to infuse a smile into your day, Motherly is like uncut dopamine.

This is not granular. This is all sampler, unison. And so it sounds like things that even granular can’t do. Vara Osiria Belich is this week’s sound design inspiration, with her bonus gestural spell casting with gen-1 Leap Motion. (Remember?)

How far MadMapper has come. The tool, built as a collaboration between Swiss GarageCube and French studio 1024 architecture, helped define projection mapping for a generation of visualists. It has matured into a broadly versatile media tool, and v6 brings timelines, montage tracks, clips, audio features, and more to manage your project work, all wrapped into a new UI. Here’s the quick rundown.

The Hewlett-Packard Word Generator 8006A has become an unintentional legend of sound lovers, transforming this obscure lab equipment into a kind of instrument. So you knew that a Hainbach/AudioThing collab to produce a software version was inevitable. B00GA is available now as a macOS, Windows, or Linux plug-in, or an iOS/iPadOS AUv3 plug-in or app.

Those sprawling synths are great, but when it comes to exploring a sound design idea compositionally, there’s nothing quite like a modular patch. I’ve long admired Adam Pietruszko’s work for AAS, so it’s a treat to watch him break down a patch and hear what he did on Rotors, bringing those leftfield sounds to dancefloor contexts.

In a single, fader-covered box with a capacious patchbay, Alt brings together creative, generative sound worlds beneath a unified interface. FM, dual filters, random slew, scales, light sensors, a mic: it’s not every day you see a device so obsessed with exploration. And now it’s in preorder mode, shipping in December, making me wish for a residency somewhere in a cozy arctic cabin or something.

It’s the full SuperCollider synth, without the installation. You can add it to any site (self-hosted). It performs seamlessly via WebAssembly. But most importantly, it’s fun, colorful, and comes with examples and an OSC API so it can interface with live coding tools like Tidal (or your favorite). And you can mess around with it right now, for free.

It might be a funny intersection of interests. But developer Matt Greenwood built a macOS-native clone of the legendary Winamp in Swift, MIT-licensed, with MP3 and FLAC playback and Milkdrop visualization support (including fullscreen).

Composer Annie Hui-Hsin Hsieh, known for her concert outings, shifts to a lushly organic electronic album in flowing, humming, fragmented electronics for her debut album as a producer. And it comes with an interactive music video powered by Max and RNBO, so if you’re in the mood to VJ yourself, flying around some Gaussian splats, here’s your chance.

For the final episode in this trilogy on learning Max for Live and Ableton DSP Objects, we’re going to keep the focus on working fast. We’ll learn how to use Ableton DSP to prototype instruments quickly, play expressively, and hack them with some tricks and mods beyond what the stock Live Instruments provide.