KORG Nu:Tekt NTS-4 Performance Mixer, A Small Mixer for a Small Setup

I’m still working on a smaller and more portable setup that I can put in a corner of the living room. 

Nothing too complicated, just something I can use to work out small ideas, experiment with patches, or figure out new modules before they find a place in my main system.

So when KORG announced the NTS-4 Performance Mixer Kit in July of this year, it immediately caught my attention. 

It's a compact analog performance mixer, designed for setups using things like the volca series, NTS instruments, Eurorack modular gear and desktop synths.
And that was pretty much what I was looking for...

I was too late for the first batch, but ToneControl in Haarlem had put me on the waiting-list and they shipped it (sooner than I expected!) last week.
The NTS-4 is designed as a kit, and putting it together was surprisingly easy. No soldering required. In my case, it took me less than half an hour.

The small but robust Performance Mixer has six channels: two mono inputs and four stereo inputs, all using mini-jacks, and can handle up to 10 audio signals, which is quite a lot for such a small mixer.

Each channel has its own CUE and MUTE button, which is especially useful when experimenting with different sounds. There are also dedicated stereo SEND and RETURN connections if you want to use an external effects unit. The main left and right outputs are standard unbalanced ¼” jacks.

But the built-in effects are probably the most interesting part for me.
Every channel has its own SEND FX control, with seven effects to choose from: delay, ping-pong delay, two hall reverbs, two slap reverbs and chorus.

There is also a second effects engine on the main output. The TOTAL FX section has ten options, including low-pass and high-pass filters, isolator, flanger, phaser, decimator, drive, distortion, compressor and limiter.

So you actually have two independent stereo effect engines running at the same time.

SEND FX adds some space or depth to individual channels, while the TOTAL FX can be used to shape the complete mix.

Another nice feature is the USB-C connection that can handle both power and audio, with 48 kHz / 24-bit audio to a Mac, PC or mobile device.
That means I can also record a performance directly to my phone, stream a live set, or use the NTS-4 as part of a computer-based setup. There is even a dedicated MIDI OUT connection for sending MIDI from my DAW to other hardware. 

And you know you can never have enough extra MIDI outputs....

For my little living-room setup, that combination of small size, multiple inputs, effects and USB audio makes a lot of sense.

I don't need a huge mixer sitting there permanently. 

I just want to be able to connect a few pieces of gear, switch things around and start making sounds.
And that is exactly what I’m hoping to do with the NTS-4.

For more information about the NTS-4, visit KORG NTS-4.

Doepfer A-198-2: The Ribbon Controller Gets an Upgrade

After a bit of delay... Doepfer has finally released the new A-198-2 Trautonium / Ribbon Controller module.

The original A-198 was released in early 2003, and  this re-design is a big improvement from that first version.
The new module features a clear backlit screen, and in performance mode you can easily select one of the 9 user programmable Quantize modes that are stored in memory by pressing buttons that will light up when selected. This looks pretty useful in the dark.

Although the new version is 2 HP smaller than the old one, Doepfer still managed to put 2 more connections on the frontplate.
Besides the CV and Gate-signal for the pressure-sensor and the CV and Gate output from the position-sensor there are two more sockets; 
Switching between quantized/not quantized can be performed on the module or via external control voltage input Qnt, which can be controlled from for example a foot switch (module A-177-2) or any other trigger, for dynamic quantize switching while playing.
Switching between retrigger on/off can also be done on the module or via external control voltage input Rtr.

The position CV range across the 60 cm ribbon controller manual is adjustable in 5 steps from 1 octave up to 5 octaves range, while the pressure sensitivity is also adjustable in 7 steps.

The direction of the manual is also selectable.

There is an optional Midi output signal available (instead of the input socket Rtr or via passive breakout module).... I will probably build a simple 2 HP wide breakout panel with a MIDI out socket after my holiday break next week.
All parameters can also be stored nonvolatile (incl. 9 quantizations), but i haven't figured out if there is a way to re-call the factory-settings yet.

The Ribbon manual itself hasn't changed since the update it got in 2005 (it has a more sensible pressure sensor and the improved sensor works even along the entire manual since then).
The (1Kg heavy) metal ribbon controller bar with the pressure-sensitive ribbon feels solid, but the USB connection on it still feels a bit wobbly... I was hoping a new kind of USB connector would be used in newer models. (this is my third Ribbon already)

I don't know yet if there will also be a new version of the (stand-alone) R2M.

The old (left) and the new A-198 

The main reason why I bought this module was mainly because of the space it saves in my mobile eurorack setup. The 2HP less width is a plus, but I also do not need an external Quantizer anymore. I did have the A-156 (Dual) Quantizer in combination with the old Ribbon controller manual, but this combo seems obsolete now.

Ofcourse I do like the new A-198-2, the bright screen, the hands-on control and easy switching between modes, but the settings menu's feel a bit overkill (to me), although these fine-tune settings will probably improve the precicion of the module) .
I would have rather seen a A-156- style quantize selection menu, perhaps even extended with a few new options? (... a 24 steps per octave (24TET) setting is/was the first thing that slipped into mind.) Microtonal music seems to be getting pretty mainstream lately.... and how about an adjustable slew limiter...

All I wanted...
A-156 Quantizer controls 

So, in the end, I’m quite happy with the new A-198-2. 

It does exactly what I was looking for: It saves a little precious space in my portable rack and eliminates the need for a separate quantizer. The extra features and deeper settings may be more than I personally need, but they certainly make the module more versatile.

And the best part is that I now have two Ribbon Controller modules. :) 

The new A-198-2 will stay in the portable rack, while the original A-198 gets a permanent place in the main studio system. That means I can simply move the controller between the two rooms and plug and play, which, for me, is probably the most useful upgrade of all.

Source: https://www.doepfer.de/a1982.htm
....more A-198 posts by PatchPierre HERE 

Hey bro, help me out! by Lucid Modular Debuts at Dutch Modular Fest

It's always nice to hear that there is another new Dutch Eurorack Modular Manufacturer...

The Hey bro, help me out!, by Lucid Modular, is a specialized Sequencer Controller Module for Eurorack, but this nifty module is mainly meant to work as an extension for the Moog DFAM, their semi-modular analog percussion synthesizer (Drummer From Another Mother)

Hey bro, help me out! by Lucid Modular

Last year Lucid Modular already presented a prototype model, but will be presenting and selling their first finished batch of modules at the Dutch Modular Fest in WORM Rotterdam today. (https://www.dutchmodularfest.com)

" On its own, DFAM plays forward, one step per clock. That's part of its charm — and part of what keeps it separate from everything else in your rack.
Hey bro, help me out! drives that sequencer for you. Run speed and triplets, direction, burst, grooves, and a trigger input for every individual step — available on the panel and under CV at the same time.

Output B takes it further. Lock a second 8-step sequencer to DFAM and it runs in step with it, giving you a whole extra sequencer's worth of control over DFAM. In that configuration, it behaves somewhat like the Traffic module from Jasmine & Olive Trees, synchronized with the DFAM. 

The HOLD button queues your changes. Flip any switch as you like while it's held, and they take effect at the start of the next bar.

You keep the immediacy that made DFAM worth owning, and gain a module that speaks to the rest of your system. It works with DFAM and other compatible 8-step sequencers."

Hey bro, help me out! works with sequencers that advance one step per incoming trigger and can keep up at high clock rates. A list of compatible and tested sequencers is on the LucidModular webpage, and Robbert told me that he is still expanding this list and working on an in-depth video tutorial. A second batch of PCB's is already being produced. 

Find Lucid Modular at the Makers Market today at DMF, Make sure to swing by and give it a spin.

The expected price will be € 249 incl. VAT, plus shipping from the Netherlands

Source and more info:

https://lucidmodular.com/products/eurorack/hey-bro-help-me-out/
https://www.instagram.com/lucidmodular/

Demo video's will follow soon at https://www.youtube.com/@LucidModular

Dutch Modular Fest 2026

Dutch Modular Fest 2026 will be held this next weekend on the 28th of August.

Dutch Modular Fest is a one-day event dedicated to modular synthesis and DIY electronic music culture. 

Artists, instrument builders, and enthusiasts from the Netherlands and abroad gather for live performances, hands-on workshops, and a curated market of gear, makers, and independent creators.

When: Saturday, 29 August 2026
Where: WORM, Boomgaardsstraat 71, 3012 XA Rotterdam, The Netherlands
Opening hours:12:00 – 22:00

There will be live performances by modular and electronic artists throughout the day. The musical program features Titanic Ambient with T.Raumschmiere ( I once saw him perform a raw Techno-set at the Eindhoven Klokgebouw, but this will be completely different), and performances by Raaf and Estroe, KROON, Numbers Station, Alberta Balsam, and Colloid.

In the DIY area there will be workshops & talks by Jeroen Visser and This is Not Rocket Science, workshops by Jan de Block, Roey Tsemah and Lavendel Kranz, and a curated market with modular synthesizers, electronic music gear, DIY projects, makers, and independent creators.
Full list of exhibitors: https://www.dutchmodularfest.com/market-2026/
This is your annual chance to connect with the community and hang out with builders, artists, and fellow enthusiasts.

More info at https://www.dutchmodularfest.com/

and even more on Instagram: http://instagram.com/dutchmodularfest/

Check the WORM website to get your tickets HERE!

 

The new DMF logo 🧐 

For the first time, Dutch Modularfest will also host a pre-party on August 28 from  19:30 – 23:30.

This evening brings together people involved in the festival for a program of short sets, demonstrations, experiments, and encounters, featuring Synthux Academy / Roey Tsemah, Casperelectronics / Peter Edwards, Sonoscopia / João Ricardo, Schreibmachine, Jeroen Visser, Klemtoon, and Yapace & Pakkadej.

The preparty is free for everyone with a ticket for the Saturday festival, without a festival ticket, entry is only 6.00 €

Tickets and full info on this event are available at

https://worm.org/production/preparty-dutch-modular-fest/

 I will (sadly) not be attending this year again.... I'm a year in recovery now, and still not fit enough for a full day/weekend out and meeting too many people at once... 

The Quiet Return of the Legendary Celluloid Records Label

While much of the world seems caught up in the recent Angine de Poitrine hype, there’s another development that has largely slipped under the radar. Few music journalists are paying attention to the subtle return of Celluloid Records, the label that once played a crucial role in shaping underground music culture.

If you spent any time on dance floors in the early eighties like me, chances are you crossed paths with at least one of their 12-inches.
Back then, I was mainly into Hip-Hop and Electro and while working in a club at 16, I learned the basics of mixing and scratching. It was there that DJ Frank Deibert handed me a copy of the RAP IT compilation album.

My Celluloid collection... Really fresh stuff... 

That record turned out to be a treasure trove; It featured tacks like Grandmaster DST Cuts It Up, Smurf for What It's Worth, The Escapades of Futura 2000 (with The Clash!), and even two versions of Change the Beat.

Yet ironically, most attention went to just a few seconds at the very end of the B-side. That now-iconic vocal snippet “Ahhh… this stuff is really fresh” became one of the most sampled and scratched sounds in DJ culture.The album itself, complete with artwork by Keith Haring, felt ahead of its time in every sense.

Behind all this stood Jean Karakos, the founder of Celluloid Records. The label built its reputation on unlikely collaborations and a fearless approach to genre. It wasn’t just influential within Hip-Hop, it left a deep imprint on the broader New York underground club scene from the late ’70s through the ’80s. 

" Celluloid’s catalog was as eclectic as it was forward-thinking.

Early releases ranged from no wave and avant-garde pop, featuring acts like Métal Urbain, Mathematiques Modernes, James Chance, and Alan Vega, to licensed works by Soft Cell, Cabaret Voltaire, and Tuxedomoon.
Through its connection with ZE Records, co-founded by Michael Zilkha and Michael Esteban, artists such as Was (Not Was), Suicide, and Lydia Lunch moved fluidly between both imprints, sometimes even appearing on dual-branded releases.

With Bill Laswell taking on a central role, Celluloid’s catalogue quickly expanded around 1982 into early hip-hop territory. Projects linked to Afrika Bambaataa (RIP), alongside artists like Fab 5 Freddy and Grand Mixer DST, were often recorded at Martin Bisi’s Brooklyn studio and shaped by Laswell’s group Material. 

At the same time, the label kept pushing boundaries with releases like Konk Party, while Laswell balanced outside success, such as his work with Herbie Hancock by ongoing contributions to Celluloid projects, including Material’s One Down, featuring an early appearance by Whitney Houston.
Under Jean Karakos, the label also broadened its scope, connecting with artists like Manu Dibango and Ginger Baker while maintaining a prolific and genre-blurring output throughout the mid-eighties."*

Audio interview with Jean Karakos:

This hard-to-find Mixcloud episode from 2011 features a deep-dive interview with Jean Karakos (RIP 2017), founder of Celluloid Records, who discusses his experiences navigating the early 1980s music scene and building the label's signature sound. Hosted by Ross Allen, the special highlights the intersection of punk, funk, and early hip-hop, featuring anecdotes about collaborations with figures like Bill Laswell and tracks from artists such as Time Zone and Fab 5 Freddy.

And now, since 2025, Celluloid Records is quietly back in motion. No loud announcements, no hype machine....just a legacy resurfacing, waiting to be rediscovered.

I have been following their new path over the last half year, and the new directions does still feel authentic, experimental, intuitive and at times psychedelic. They have been doing a few label parties throughout France and I've seen many interesting things so far. Some beautiful collaborations with female vocalist Orphee and Pleasure Principle, for example, who are all worth following on their social medias.
Today the label had their 2nd official release, "Dissociate" by Honk Gong, the new track has some serious Beta Band vibes, mixed with a deep and dubby sauce... it al sounds very nice and still sounds original...

Video: Honk Gong - Dissociate

I hope an upcoming tour brings the Celluloid Label line-up to the Netherlands later this year, there’s a certain SPOT in Amsterdam that would make the perfect photographic backdrop for this new chapter. :)

More than anything, I’m looking forward to what comes next: new re-(re-?)leases, new collaborations, and maybe a few unexpected turns.
Celluloid never followed the obvious path before, there’s no reason to expect they will now.

Follow Celluloid Records for more news via : 

BANDCAMP

Instagram

Youtube

Facebook

Listen to this compilation  with the most notable Celluloid Records releases from their archive.

Sources: * https://en.wikipedia.org/wiki/Celluloid_Records

                  https://www.karakosproductions.com/celluloid/

                  https://www.mixcloud.com/Celluloid/

AJH Synth teams up with Doepfer at SUPERBOOTH26, Celebrating Ten Years of Superbooth in Berlin ​ ​

AJH Synth will return to Superbooth 2026 with a notable collaboration: this year they will be sharing a space with Doepfer Musikelektronik in the Bungalowdorf area at FEZ-Berlin from May 7–9. 

Located at booth B031, the joint presence highlights both a long-standing relationship between the two brands and their shared roots in the evolution of Eurorack.

That connection goes back to the origins of the format itself. 

When Dieter Doepfer introduced the A-100 system in the mid-1990s, it laid the groundwork for what would become a global modular ecosystem. 

Over the years, manufacturers like AJH Synth have built on that foundation, helping to shape Eurorack into a diverse and musically driven landscape. I remember Allan reaching out to me when he released his first MINimod modules 12 years ago... time flies...

As Allan Hall notes, Doepfer’s early work played a key role in enabling a new generation of designers to move beyond DIY into fully realized instrument design.

At Superbooth 26, AJH Synth will showcase several of its latest modules, including the new Matrix VCF multimode filter. 

This module offers multiple filter types and dual resonance options, resulting in a wide range of tonal variations within a compact 14HP format. 

Alongside this, the system will be paired with Doepfer’s A-155-2 Mini Analog Sequencer 

Also on display are two modules developed in collaboration with Ian Boddy of Tone Science.

Tone Science is a musical project and record label founded by British electronic musician Ian Boddy, dedicated entirely to the world of modular synthesizers.
It began in 2016 as a solo album by Ian Boddy (titled Tone Science on his DiN Records label), featuring experiments with self-generating soundscapes. 

Boddy uses "controlled random systems" on analog modular gear to create music inspired by natural phenomena like waves and wind.

The Chance Delay introduces controlled randomness into gate and timing structures, while the Triple Cross XFader/Panner focuses on dynamic signal routing and modulation. 

Together, they reflect a continued interest in combining structured control with more generative, performance-oriented approaches.

Check out the Doepfer Superbooth 26 announcements HERE

Visitors to Superbooth can find AJH Synth and Doepfer at booth B031 in the Bungalowdorf area throughout the event.

To learn more about AJH Synth, please visit www.ajhsynth.com or to learn more about Superbooth or register for any of its compelling workshops or events, please visit www.superbooth.com.

*Source Pictures used with permission

 

Listening Tip: The Rack Pack Podcast

I only recently stumbled upon The Rack Pack Podcast, but it turns out the show has already been running for almost a year.
Hosted by five synth-obsessed friends, the podcast sits comfortably at the intersection of hardware exploration, hybrid studio workflows, and electronic music production. 

Each host brings their own perspective to the table, which makes for a dynamic mix of opinions, experiences, and the occasional friendly disagreement, exactly what you’d expect from a group deep into modular.

At its core, The Rack Pack is all about the joy (and occasional chaos) of Eurorack.
Episodes move fluidly between discussions on favorite modules, patching techniques, past and current (synth-)events and broader creative approaches.
It never feels overly technical, the focus stays on how these instruments actually function in a musical context.
Whether you’re already knee-deep in patch cables or just starting to consider your first case, this might be something for you too...

In their latest episode, the crew has a talk with Jason Lim, founder of Instruō, for a thoughtful deep dive into his design philosophy. The conversation explores how aesthetics, tactility, and musical intention come together in his work, and how that translates into the distinct identity of Instruō modules.
There’s also a closer look at his latest project; a bold quad filter that pushes both sonic flexibility and physical presence, and what it reveals about his approach to instrument design.

Along the way, the discussion opens up into broader territory: the balance between features and usability, where ideas for new modules originate, and how to maintain a sense of artistry in an increasingly crowded modular landscape. 

It’s an engaging and insightful episode, and a great entry point if, like me, you’re just discovering the show.

Video: The Rack Pack, Episode 16 - Instruo in the Rack w. Jason Lim from Instruō

Follow The Rack Pack Podcast:

YouTube: https://www.youtube.com/@RackPackShow

Spotify: https://open.spotify.com/show/3ygKUp0DtKTHAztBgZYJqZ

RSS: https://feeds.captivate.fm/the-rack-pack/

Instagram: https://www.instagram.com/rackpackpodcast/

Doepfer Spring 2026 Announcements

More than a month ahead of the annual Superbooth event in Berlin ( 7-9th of May), my favorite brand Doepfer has announced their latest batch of A-100 modules.
New Doepfer modules get me excited every time, it means spring is coming... ;) 

The overall theme seems to be Micro again, because they released four new ultra-compact modules that pack serious functionality into minimal space.

The A-140-3 Micro ADSR (4 HP) delivers a classic exponential ADSR envelope with voltage-controlled times and dual outputs, but only half the space of the original A-140 ADSR module

Module A-142-3 Envelope Controlled VCA (4 HP) combines a linear VCA with a built-in AD/AR envelope (switchable to LFO mode), making it perfect for quick percussive voices.

The A-180-6 Triple Adjustable Buffer / CV Source (4 HP) offers three buffered channels with individual level controls, ideal for multiples, level matching, or simple adjustable offsets.

Finally, the tiny A-190-9 Micro MIDI-to-CV Interface (only 2 HP) provides basic monophonic MIDI-to-CV/Gate conversion with multiple outputs.

All four modules emphasize Doepfer’s signature reliability and affordability. 

They’re excellent choices for space-saving (portable) compact racks or expanding any Eurorack system without wasting too much HP.

Besides these modules, Doepfer will probably have more news on earlier announced modules like the new A-198-2 Ribbon Controller that was announced last year.. 

It should be ready to ship any time, I guess...

I already pre-ordered mine and can't wait to get my hands on it and replace my old A-198 with this one. The display on the new one, the quantizing options and the additional outputs are a big step forward imho..

I've seen no actual changes announced to the ribbon controller manual though... It could use a better connector instead of that wonky USB connector.

Now that 104HP  (and 7U? high) is becoming kind of a standard case-size (Intellijel), it would make sense for Doepfer to investigate if it is worth to make a 1U high 104HP wide touch sensetive controller strip that would fit into such a case.

It's probably the best use for the 1U high strip after all, 7U never really made sense to me in the first place..

Keep an eye on the Doepfer website for further announcements and details about their Superbooth presence next month... 

New Patch-cables With Angled Plugs From Doepfer

Angled plugs 15,30 and 50cm

Nice... Doepfer now offers patch-cables with angled plugs too... in different sizes.

Completely 'in tune' with their own color coding system the new 15 cm cables are yellow, the black cables are 30 cm and the grey ones are 50 cm. It makes sense...

Angled plugs on Eurorack patch-cables can offer significant advantages for cable management, ergonomics, and portability by reducing the "spaghetti" of cables in dense setups. 

Orange 50cm
Angled on one side

They can keep cables close to the module panel, which keeps knobs, switches, and screens easier accessible.

I noticed that they also also still have the 50cm orange ones with only one angled plug... That one was introduced in 2010.

Details are available on the Doepfer Website in the price list section,
and you can order them at your local Doepfer dealer right now.

More about patch-cables on my website:

 https://patchpierre.blogspot.com/search/label/Cables

Inside the Studio of Dutch Synth Legend Allert Aalders by Modulogue

Another fine video from the team at Modulogue surfaced on YouTube this weekend, continuing their mission to document the stories behind the Dutch electronic music scene. 

These are the kinds of stories that don’t always get told often enough, focusing on the people, ideas, and motivations that quietly shaped a culture around sound.

This time, Modulogue visited Utrecht-based musician and event organizer Allert Aalders of Sonar Traffic, a synthesizer and electronic music studio rooted in hands-on experimentation. The video traces his journey from performing live techno as part of Human Beings to designing presets for industry heavyweights such as Native Instruments, Korg, Arturia, FabFilter, and Kilohearts, a path that bridges underground practice and professional sound design.

Video:
Inside the Studio of Dutch Synth Legend Allert Aalders // Modulogue
" We visited Dutch synth legend Allert Aalders in his studio in the woods near Utrecht. Part of iconic synthesizer act 'Human Beings' and founder of Modular Synth event: 'Modulation' and part of the Dutch Modular Fest crew. Under the name of Sonar Traffic, Allert creates presets for both hardware and software synthesizers such as Arturia, Native Instruments, Korg, Steinberg, Fabfilter and Kilohearts."

Sonar Traffic http://www.sonartraffic.nl/ 
Human Beings https://humanbeings.bandcamp.com/
Modulation / modulationutrecht
Dutch Modular Fest https://www.dutchmodularfest.com/

Bringing modular artists, developers, makers, and creative minds together is at the core of Modulogue’s work. Earlier this year, they also sat down with Tim Nieuwenhuis of MIDI Amsterdam to talk about the early days of Eurorack in the Netherlands. Together, these conversations offer a fascinating glimpse into how a niche format evolved into a vibrant, connected community centered around electronic music and modular synthesis.

Follow Modulogue 👇 https://www.modulogue.com/ 

/ modulogue.events 

/ modulogue 

/ modulogue