Bernardo Azevedo

Bernardo's connection with music began early. At six years old, his father introduced him to Rendez-Vous, the 1986 album by Jean-Michel Jarre, on vinyl. The sound left a lasting impression. What began as fascination quickly turned into action: that same year, he started learning keyboard.

At eight, he was performing in school recitals. At twelve, he joined his school's instrumental group and started playing live. From that point on, music became a continuous pursuit. He explored other instruments over time, but keyboards always remained at the centre of his identity as a musician.

His path evolved from entry-level arranger keyboards into the deeper world of synthesizers, a transition that opened an entirely new dimension of sound, technology, and creative possibility. What began as curiosity became a long-term commitment to understanding not just how instruments sound, but how they are built, designed, and historically situated.

The Synth Source is a personal project born from that journey, a repository created to document synthesizers with depth, clarity, and respect for the instrument. It is not driven by marketing cycles or product releases, but by genuine engagement with the machines themselves. This site exists as a long-term archive: a place where synthesizers are documented as they truly are, through sound, design, and experience.

Deep focus on the instruments that defined electronic music — from Moog Modulars to Jupiter-8s, Minimoogs to Prophet-5s.

The people, companies, and cultural moments behind the machines. The stories that spec sheets never tell.

Patch design, signal flow, and the craft of building sounds from scratch on analog and digital instruments.

A rare dual background in electronic music culture and digital law — precision in research and writing.