11 synthesizers, basses, strings and keys as SoundFonts you can play in any sampler. Listen to each one play its demo, then download it as SF2 or SFZ. Free, no account needed, and yours to use in your music, including commercially (Terms).
Yamaha's 1977 flagship: two complete filter layers per voice, ring modulation and an ensemble, with weight and movement no single-layer synth reaches. Brass swells, choirs and cinematic pads.
6 key zones, 1 velocity layer, 3 s samples, mono 48 kHz
Demo: CS-80 Swell (Am), played through this SoundFont.
Nine tonewheel partials at their tempered ratios, drawn in the panel order an organist writes registrations in. Jazz comping, gospel swells and rock stabs — clean, so it wants a Leslie and a bit of drive.
6 key zones, 1 velocity layer, 3 s samples, mono 48 kHz
Demo: Vinyl Séance: Pluck Modern Arp, played through this SoundFont.
The measured JP-8000 supersaw: seven saws on Roland's own detune curve, the centre falling away as the sides bloom. Festival-sized leads and pads that read as one huge saw rather than a chorus.
7 key zones, 1 velocity layer, 3 s samples, mono 48 kHz
Demo: Neon hook (Am), played through this SoundFont.
A fretted electric bass with TWO independently blendable single coils, bridge and neck, summed when both volumes are open — measured peaking 400-600 Hz higher than a Precision's one pickup (3.1-3.3 kHz against 2.7 kHz), with the two positions' blend giving it a more vocal, present top end. Punchier highs and a scooped, funkier midrange: the slap and fusion bass voice.
4 key zones, 1 velocity layer, 3 s samples, mono 48 kHz
Demo: Jazz Bass — Funk Groove, played through this SoundFont.
Wintergatan's machine: a struck resonant bar, a metallic FM clang, and the click of the marble landing. Mechanical, wooden, and rhythmic by nature.
6 key zones, 3 velocity layers, 3 s samples, mono 48 kHz
Demo: Marble Machine Ostinato (Em), played through this SoundFont.
Three drifting oscillators into a Moog ladder, overdriven at the mixer. Fat mono leads and basses with the thickness that comes from oscillators that never quite agree.
8 key zones, 1 velocity layer, 3 s samples, mono 48 kHz
Demo: Meridian bass — verse (Gm), played through this SoundFont.
A fretted electric bass with ONE split, hum-cancelling pickup — the whole string sensed through one electrical network, measured peaking at 2.7 kHz. Thick, punchy and singular: the backbone bass tone behind decades of R&B, soul and rock, built for a part that sits under everything rather than cutting through it.
4 key zones, 1 velocity layer, 3 s samples, mono 48 kHz
Demo: Precision Bass — Motown Groove, played through this SoundFont.
A bowed-string physical model — one bow, one string, continuously excited rather than struck. Expressive as a line, and honest about being one instrument rather than a section.
5 key zones, 1 velocity layer, 3 s samples, mono 48 kHz
Demo: Solo Violin Bow Ride (D), played through this SoundFont.
The same measured JP-8000 oscillator, voiced tighter and brighter for a lead line that cuts through a busy mix.
9 key zones, 1 velocity layer, 3 s samples, mono 48 kHz
Demo: Festival lead (Cm), played through this SoundFont.
The choir half of Roland's VP-330 — a divide-down organ pushed through seven fixed vowel bands that never move with the note, then the machine's own ensemble. Cold, wordless massed voices: the sound of a late-70s sci-fi pad rather than of a real choir, and better for it.
6 key zones, 1 velocity layer, 3 s samples, mono 48 kHz
Demo: Meridian choir — verse (Gm), played through this SoundFont.
The PPG Wave 2.3: two 8-bit wavetable oscillators per voice, scanned through thirty tables by the envelopes, into an SSM2044 lowpass. Stepped, grainy digital timbres that MOVE — the 80s hybrid sound.
7 key zones, 1 velocity layer, 3 s samples, mono 48 kHz
Demo: Wavetable drift, played through this SoundFont.
Each SoundFont is recorded from one of Headphonaut's instruments by its own audio engine: the keyboard is measured, split where the sound changes, and every zone and velocity layer is rendered as a sample. The demo you hear is the instrument's own demo clip played through the SoundFont itself, so it is what you download. Instrument names are trademarks of their owners; these are recreations, not recordings of the original hardware.
Every SoundFont here comes from an instrument you can play live in the Studio, with all its knobs. The Studio's SoundFont Player loads SF2 and SFZ files too.
Drum, bass, melody and chord loops made with the same engine, to listen to and download.
Are these SoundFonts free? Yes. Every SoundFont downloads free, without an account, as SF2 and as SFZ.
Can I use them in my own music? Yes, including commercially and with no credit required. You may not resell or redistribute the SoundFonts or their samples, or use them to train AI models. See the Terms.
Which players can load them? The SF2 loads in any SoundFont 2 player, such as FluidSynth, Polyphone or a DAW's SF2 sampler. The SFZ loads in sfizz and other SFZ samplers. Both also load in the Studio's SoundFont Player.
Are these samples of the original hardware? No. Each one is recorded from Headphonaut's own recreation of the instrument, note by note, by its audio engine. The instrument names are trademarks of their owners.