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Waldorf Crema combines string-machine sounds inspired by the Streichfett with wavetable, FM, and virtual-analog synthesis in a compact desktop instrument.

Waldorf has introduced the Crema, a polyphonic string and pad synthesizer that builds on the sound architecture of its Streichfett, while expanding into additional forms of digital synthesis.

The compact desktop instrument combines two engines: Texture, which brings together string-machine tones, wavetables, and FM sounds, and Lines, an eight-voice virtual-analog synthesizer.

A dual-effects section, dedicated shimmer reverb, and a control for introducing subtle sonic variations provide further options for creating layered pads, sustained strings, and more conventional synthesizer sounds.

Features:

• The Texture engine combines classic string-machine sounds with wavetable and FM synthesis. Its 24 sound types span the character of the Streichfett string section, digital wavetable textures, and FM tones, providing several approaches to building sustained sounds and layered pads within a single engine.
• The string section draws on the Streichfett architecture and includes orchestral-style string and ensemble timbres. Waldorf’s Streichfett Ensemble processing can be applied to the sounds, connecting Crema’s new synthesis options with the layered character associated with traditional string machines.
• The Lines engine is an eight-voice polyphonic virtual-analog synthesizer. It uses two detunable oscillators with sawtooth or pulse waveforms and includes modulation options such as vibrato, stereo tremolo, and pulse-width modulation. This engine provides a different sonic approach from Texture, covering synth leads, basses, and other sounds that benefit from more conventional oscillator-based synthesis.
• Crema includes a Flavour control that introduces subtle variations in pitch and waveform position. This provides a way to add movement and variation to sustained sounds and repeated parts without having to adjust multiple parameters individually.
• The effects section contains two processors with serial and parallel routing options. Available effects include chorus, flanger, phaser, tremolo, drive, delay, and reverb, alongside a dedicated shimmer reverb. These processing options can be used to add modulation, saturation, spatial depth, or extended high-frequency textures to strings and pads.
• Waldorf includes more than 130 factory sounds created by sound designers including Christian Kleine and LimbicBits. The instrument provides 360 preset slots, and the company’s Chutney Librarian application can be used to organize, store, and transfer sounds between Crema and a computer.
• The instrument measures approximately 252 × 170 × 48 mm, including its controls, and weighs 0.9 kg. Its compact desktop design makes it suitable for setups where a full-size keyboard synthesizer would take up too much space.
• Crema is powered via USB-C and provides MIDI over USB, along with mini-TRS MIDI input and output connections. Stereo audio outputs and a headphone connection provide monitoring and integration with external equipment.
• The instrument also supports MIDI Polyphonic Expression (MPE) and can receive MIDI control for its two engines on separate channels.

The Waldorf Crema is available now, priced at €345.45.

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Infinite is a free, open-source audiovisual workstation that connects modular synthesis, audio effects, MIDI sequencing, visual processing, and 3D graphics within a single node-based environment.

Developer Naman Soni has introduced Infinite, an audiovisual workstation designed to bring music production, visual composition, and creative coding together in one application.

Rather than organizing every process around conventional tracks and separate plugin windows, Infinite uses a node-based canvas in which users connect synthesizers, effects, modulators, visual processors, and other components.

The software includes a range of synthesis and sequencing tools, audio effects, third-party plugin hosting, and facilities for creating real-time graphics and procedural 3D scenes. Its approach allows musical signals and control data to interact with visual elements, making it relevant to electronic musicians, sound designers, audiovisual performers, and VJs working with interconnected audio and image systems.

Features:

• Infinite organizes projects around a node-based canvas. Users can add individual components and connect them with virtual cables, creating custom signal paths and modular instruments without being restricted to a fixed arrangement of tracks or devices.
• The synthesis library includes wavetable, FM, analog-style, granular, string-modeling, and other sound-generation tools. Additional options include a metallic resonator, partial-based resynthesis, and spectral processing, giving users several approaches to sound design within the same environment.
• MIDI and note-processing nodes provide tools for generating, routing, and transforming musical information. Available functions include MIDI input, arpeggiation, note sequencing, chord generation, quantization, humanization, and note routing, allowing users to construct generative patterns or build customized sequencing workflows.
• The software includes drum sequencing, sampling, and looping tools alongside its synthesizers. Users can combine these components with effects and modulation sources to build custom instruments, performance setups, and processing chains.
• Audio processing nodes include filters, equalization, dynamics, delay, reverb, chorus, phaser, saturation, bitcrushing, granular processing, and spectral stretching. These effects can be connected and controlled within the node graph rather than being confined to a conventional mixer-and-insert workflow.
• Modulation is a central part of Infinite’s design. LFOs, envelopes, random generators, MIDI control, and audio-analysis tools can influence parameters across the project. This makes it possible to connect musical activity to sound processing and visual behavior, including using audio levels or spectral information to control graphics.
• Infinite supports third-party plugin hosting, including VST3 and Audio Unit plugins on supported platforms. This allows users to incorporate external synthesizers and effects into projects alongside Infinite’s own nodes. Plugin format and operating-system compatibility depend on the host platform and build.
• Beyond audio, Infinite provides tools for image and video processing, compositing, generative effects, and procedural 3D geometry. Users can combine video sources, visual effects, shapes, particles, and 3D objects, with audio and modulation data available to influence visual parameters. These capabilities make the software suitable for developing music-responsive graphics, live visuals, and audiovisual performance systems.
• The embedded Field programming language provides a way to create custom behavior within the node environment. Instead of being limited to the built-in functions, users can write code for specialized processing and modulation tasks, extending the system for experimental synthesis, generative graphics, and other creative applications.
• Infinite also provides a library of nodes, patches, and examples, along with documentation and community development resources. Projects can be saved as portable files, making it possible to share node arrangements and creative setups with other users. The open-source codebase gives developers an additional route for studying the software and contributing to its development.

Infinite Overview:

Infinite is available free of charge for macOS 11 or later, Windows 10 or later, and Linux. The source code is available under the MIT license, while the default binary distribution includes bundled VST3 hosting components and is licensed under GPLv3; builds without VST3 hosting can be produced under the project’s MIT licensing terms. Downloads, release notes, documentation, and the source repository are available through the official Infinite website.

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Behringer shared this sneak preview of the SP1200X Sampling Workstation – an inexpensive, unofficial copy of the classic E-mu SP-1200.

The original SP-1200 is a 12-bit sampling drum machine, designed by Dave Rossum and released by E-mu Systems in 1987. The SP-1200 has been a weapon of choice for hip-hop, house, and drum-and-bass production ever since.

Behringer’s “tribute” to the classic E-mu SP-1200 sampler has been in the works since 2019, but the company didn’t publicly acknowledge the product until early 2025, when it asked users  for feedback on what kind of features they’d like to see in it.

Nearly two years later, and the company has shared an update in a Facebook post, telling its customers that it’s ‘pushing hard’ to get the SP1200X into their hands as soon as possible, and that it’s aiming for a price of only $200.

The company has yet to share any finer details on features or functionality, but the unit looks reasonably SP-1200, and seems to update the original with a larger, full-colour display, stereo sampling inputs and USB connectivity.

High-end alternatives to vintage SP-1200s are also available, including an official reissue from Rossum, and an updated version from Isla Instruments, the SP-2400.

We’re making it open source. Because creativity should have no limits, and iconic instruments shouldn’t cost a fortune,” says Behringer. “We’re not just bringing back a legend. We’re setting it free.”

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