Mulch Box is a passive patch bay and signal multiplier that combines 1/4-inch and 3.5mm connections for routing audio between synthesizers, effects pedals, modular systems, and recording equipment
Go Outside Music has introduced the Mulch Box, a compact passive signal-routing device designed to simplify connections between electronic music equipment with different audio jack formats.
The hardware combines standard 1/4-inch connections with 3.5mm mini-jacks, allowing users to split, combine, and reroute signals without repeatedly disconnecting the main cables attached to their instruments and other equipment.
The Mulch Box features eight channels, each with one 1/4-inch jack and four 3.5mm jacks wired together. Its passive design requires no power supply, making it suitable for studio setups, modular synthesizer systems, effects-pedal chains, and portable electronic music rigs.
Features:
Passive Signal Routing: The Mulch Box uses a completely passive design and requires no power supply. Each channel’s five jacks are electrically connected, allowing signals to be routed between connected equipment using standard TS mono cables.
Eight Independent Channels: The unit provides eight channels, each equipped with one 1/4-inch jack and four 3.5mm jacks. This configuration accommodates standard instrument cables alongside the mini-jack connections commonly used by modular synthesizers and other electronic music devices.
Signal Splitting: Each channel can distribute a signal to multiple destinations, enabling parallel processing through effects pedals or routing a synthesizer output to multiple devices. Signal levels may decrease when an unbuffered source is split across multiple destinations.
Signal Combining: Multiple sources can be connected to the same channel to combine their signals. The resulting level and behavior depend on the connected equipment and its electrical characteristics, so combining outputs is not equivalent to using a dedicated mixer.
Mixed-Format Connectivity: The combination of 1/4-inch and 3.5mm jacks allows the Mulch Box to bridge equipment with different connector formats without requiring a separate adapter for every connection.
Synthesizer and Modular Integration: The device can connect conventional synthesizers and drum machines with Eurorack and other modular equipment. Its passive connections provide a way to experiment with routing audio between instruments and modular signal paths.
Effects and Recording Workflows: The Mulch Box can be used to route audio between effects pedals, mixers, recorders, and other studio equipment. Keeping primary input and output cables connected while changing the mini-jack patching can reduce the need to rearrange an existing setup.
Signal Interaction: Because the jacks are directly connected, splitting and combining signals can produce changes in level and tone. The manufacturer notes that signal loading can affect unbuffered sources, including guitar pickups, and recommends considering a buffer or boost device before splitting a signal when necessary.
Compact, Power-Free Design: The pedal-sized unit operates without an external power supply, making it easy to integrate into a desktop studio or portable equipment setup. Its passive design also avoids adding another powered device to a rig.
The Go Outside Music Mulch Box is available now for $175. The manufacturer produces the units in small batches, with an estimated fulfillment time of two to six weeks.
Portland electronic music producer Alexander Gaddis (RedtailWorks) shared these videos, documenting his concept designs for OPEN-1, an open, entry-level synthesizer that can run multiple firmware options.
Unlike the M-Vave FM-1, though, the OPEN-1 is designed intentionally to run multiple firmware options and would let you swap them on the fly.
In this concept video, the OPEN-1 runs a simulated HYP-1, in time with a real HYP-1 live take.
Open-1 Synthesizer Specs (preliminary):
480 MHz Cortex-M7 (STM32H750), open toolchain (the FM-1 runs at 240 MHz)
32 MB of working memory for long delays, loops and samples (the FM-1 has about 432 KB)
16 MB of firmware flash plus a microSD library: keep several firmwares installed, swap from the menu
24-bit stereo audio in AND out, so it can be an effects box too
MIDI in and out (3.5 mm TRS), USB-C device and USB-C host
37 RGB-lit silicone keys, 8 velocity pads, 8 endless encoders, a thumbstick and 2 spring levers
Wired only, no Bluetooth: lower latency, simpler to build
Target price: under $200
Open Synthesizer Design
The platform would include an open SDK and a browser emulator, so developers can build firmware before the hardware ships. Launch firmware would be ported from existing options for the FM-1 family: HYP-1, LOF-1, ECO-1 and GRAV-1.
At this point, the OPEN-1 synthesizer is just a design concept. You can learn more about it at RedtailWorks’ Youtube page.
COLAPSO is a software synthesizer that builds evolving timbres from the measured emission spectra of 22 chemical elements, combining additive, granular, and subtractive synthesis.
Imaginando COLAPSO uses measured atomic emission spectra as the foundation for sound generation.
Its additive synthesis engine derives oscillator partials from 422 measured emission lines associated with 22 chemical elements, with each line contributing frequency, level, and decay characteristics.
The instrument combines this approach with granular processing, nine filter circuits, extensive modulation, and built-in effects. Its Observation control explores the trade-off between time and frequency precision, allowing users to move between short, noise-like sounds and sustained, clearly pitched tones.
Features:
Atomic Additive Synthesis: COLAPSO derives its oscillator timbres from measured emission spectra rather than conventional harmonic waveforms or prerecorded samples. Each selected element supplies a collection of partials based on its spectral lines.
22 Chemical Elements: The instrument includes 22 elements whose measured emission spectra provide distinct starting points for sound design. A Mix control morphs between two elements, transitioning their partials while maintaining the played note.
Three Oscillators Per Voice: Each voice contains three oscillators, with up to 16 partials per oscillator. Their levels and frequencies can be shaped independently through the instrument’s synthesis controls.
Observation Control: The central Observation parameter explores the time-frequency uncertainty relationship. Shorter grains produce more temporally precise, broadband sounds, while longer grains produce more stable pitches. A related Planck control adjusts the degree of frequency smearing.
Evolving Spectra: Individual partials have different decay characteristics derived from measured atomic transition data. Lifetime, Cascade, and other evolution controls shape how the partials fade, stagger, and change over the duration of a note.
Plasma Controls: Temperature alters the balance of spectral partials, Field splits partials into additional frequency components, and Absorption moves the sound toward broadband noise with spectral notches.
Granular Processing: The oscillator output is divided into grains, with grain duration and rate shaping the balance between transient detail and stable pitch. Shorter grains can introduce pitch variation and additional stereo movement.
Nine Filter Circuits: Each voice includes a filter with nine available circuit types, including state-variable, ladder, comb, and formant designs. Filter cutoff, resonance, drive, and keyboard tracking provide additional sound-shaping options.
Drawable Envelopes: Four envelope generators provide editable attack, decay, sustain, and release shapes. Individual stages can be adjusted from 1 millisecond to 8 seconds, allowing users to create conventional envelopes or more complex amplitude and modulation contours.
Drawable LFOs: Four LFOs offer editable modulation shapes, with options including quantization, smoothing, tempo synchronization, key triggering, and one-shot operation. Modulation can be routed to supported parameters by dragging a source onto a destination.
Voice Modes: COLAPSO supports polyphonic, monophonic, and unison operation, with up to eight voices. Glide, legato, and detuning controls provide additional performance options.
Effects: Two insert effects can be arranged in series, with a separate effects send. Available processing includes chorus, phaser, distortion, bitcrushing, filtering, EQ, delay, and reverb. A master-bus compressor provides additional output processing.
MIDI Integration: The instrument supports MIDI learn, host synchronization, MIDI clock, and Ableton Link. Modulation sources include aftertouch, the mod wheel, four envelopes, four LFOs, and four macro controls.
Factory Presets: More than 200 factory presets provide starting points for exploring the instrument’s sound-generation methods. The software also includes a help mode explaining its controls.
Imaginando COLAPSO is available now, for macOS and Windows, as a standalone application and plugin. The regular price is €89, with an introductory price of €69 available through November 1, 2026.
