Step inside the world of analog synthesis as we sit down with legendary electronic musician and sound designer Thomas Dolby, exploring the power and personality of Moog instruments.
A gorgeous Minimoog Voyager XL synthesizer is the grand prize for the Bob Moog Foundation's 2026 winter raffle which ends February 23. It bears Thomas Dolby's signature near the Minimoog 40th Anniversary name plate, a value of $7,500.
Help us carry Bob's legacy forward to inspire future generations through the intersection of science, music, history, and innovation."
About this Pack
This updated sample pack is composed entirely with Serge Modular Synthesizers — systems known not for emulating instruments, but for redefining how sound is shaped.
Included are raw noise textures, slowly morphing drones, and intricate one-shots captured through extensive patching with Random*Source Eurorack modules and classic Paperface 50 series panels.
Each sound reflects the chaotic elegance of analog voltages in motion. You’ll hear modulations that escape grid-bound sequencing, and timbral behaviors that emerge from complex feedback, slewing, and intermodulation — the kind of detail digital systems rarely capture convincingly.
Why Serge Matters
Serge Modular was designed in the 1970s by Serge Tcherepnin. It was created as an open-ended tool for sonic experimentation. Influenced by cybernetics and avant-garde composition, this system rejects musical hierarchies and embraces uncertainty.
In Serge, control voltages and audio signals are treated as equals. The circuits invite exploration through feedback, cross-modulation, and unpredictable interactions. Every patch is a process of discovery rather than reproduction.
This makes Serge a powerful choice for artists seeking sounds that are not pre-shaped or confined by rules. The textures you will find in this pack are unstable, alive, and deeply human.
"The CR-78 Software Rhythm Composer brings an iconic Roland instrument into the future. Designed for modern production, it delivers expressive rhythm programming with unmistakable analog character. Introduced in 1978, the CR-78 was the world’s first computer-controlled programmable drum machine, shaping the sound of pop, post-punk, disco, and electronic music with its distinctive tonal signature and human feel.
Recreated using component-level modeling, this plug-in delivers the authentic sound of the original along with modern sound-shaping and advanced sequencing tools. The CR-78 is available now with a Roland Cloud Ultimate membership or Lifetime Key purchase.
"In this video, I explore an extremely rare electronic instrument called the Touché, created by Buchla and Associates in 1980. Filmed at the Buchla Archives in Vancouver, this is a rare opportunity to hear and see an instrument that very few people have ever encountered firsthand. Only around five Touchés are known to have been built, and very few remain functional today. Because of this, the instrument has remained largely absent from public performance and documentation. This video helps bridge that gap by sharing the Touché’s sound, design, and historical context.
While Don Buchla is best known for his modular synthesizers such as the 100 and 200 Series, he also created a number of non-modular, computer-based instruments that explored new relationships between performance, software, and sound. The Touché is one such instrument. Conceived by Don Buchla in collaboration with composer David Rosenboom, it is a bi-timbral, eight-voice polyphonic keyboard instrument that combines digital sound generation, analog processing, and computer-mediated control.
The video begins with a historical overview of how the Touché grew out of Buchla’s computer-controlled instruments of the 1970s, including the 300 Series systems. From there, the video moves into a detailed walkthrough of Touché’s sound architecture, including many musical demos.
This video was created in collaboration with the Buchla Archives, an organization dedicated to the thorough and thoughtful documentation and preservation of Donald Buchla’s work.
Special thank you to Ryan Gaston and David Rosenboom for research assistance."
"This video, shot informally in the Ensemble Room at Mills College in 1983, contains the only footage known of David Rosenboom playing his 1981 composition Nova Wind from Future Travel. In it, he plays the legendary Touché—digital/analog keyboard instrument produced in collaboration with Donald Buchla in 1979-1980—, violin, piano, and ancillary electronics. A complete studio recording of Future Travel was released first on a vinyl LP by Street Records in 1981 and later on a double-CD from New World Records in 2007."
"A musical exploration of Leviasynth, Ashun Sound Machines’ successor to the Hydrasynth. Leviasynth is an 8 oscillator algorithmic synthesizer with analog and digital filters and five types of synthesis.
All the sounds featured in this video were created by me and are included in the Leviasynth factory presets (except Synfluctuate and PD keys which may be released by ASM as part of future banks). If you own or try out a Leviasynth, you can browse patches by sound designer and select Synth Universe to find all my sounds. Here I have often emphasized sounds that make use of the analog filter, showing the ability of Leviasynth to emulate analog synths, as this is one of the first things I want to know when assessing a hybrid synth. I also feature patches that highlight the other types of synthesis including FM and phase distortion.
This is a deep and powerful ‘monster’ of a synth and so far I have really only scratched the surface of its capabilities. There are too many features to list here so go to Ashun Sound Machines website to find out more.
Disclaimer: ASM sent me a pre-production unit for the purposes of sound design, but otherwise they had no input into the making of this video or the opinions expressed within.
No external enhancement or processing was applied to the sounds in this video: you are hearing them as output directly from the synth.
Note: Leviasynth does have a powerful arpeggiator and sequencer, but as they were still being finalized during the time I created these patches they are not featured in this video."
LEGEND ‘70s introduces, for the first time, the concept of MODULAR STAGE PIANO. According to your needs, you can now choose the right combination of sound generating modules with dedicated knobs and buttons. Currently the modules ELECTRIC PIANO, ACOUSTIC PIANO, CLAVI and SOUND COLLECTION are available, while many others will be available in the future, within the “ALWAYS GROWING” family. Moreover to the standard PROGRAM and EFFECTS modules an optional EXTERNAL module is available to making the instrument flexible and very powerful. The design of LEGEND ‘70s Hammer Action Keyboard perfectly matches the instrument’s sound generators. The 3 contact sensors, under each key, are able to detect the corresponding movement with the highest precision.
For the more demanding musician the LEGEND ‘70s Artist-W also offers a graded hammer arrangement where their weight becomes lighter as you climb up the keyboard.
In addition, as with the traditional acoustic grand piano, the Legend Artist-W keyboard is enhanced with real wood piano keys. These keys are made of carefully selected and seasoned wood to eliminate any defect or deformation and provide maximum uniformity and stability over time.
SYNTH-8
"A real polyphonic synthesizer with character.
Synth-8 is a two-oscillators eight-voices synthesizer with a faithful reproduction of a classic American multimode analog filter with saturation, 12dB and 24dB roll off and gritty resonance. The synth architecture is easy to understand and operate but has unique features: classical waveforms with wave shaping and detuned doubling of the oscillators with “Fat” modes, dedicated envelope for the noise, Ring Mod, Hard Sync for all oscillator modes, velocity controls for filters and envelopes.
Finally, the Unison modes allow stacking up to 8 voices: with “Fat” oscillators this makes a total of 32 detuned oscillators at once! The module panel provides quick access to user’s preferred parameters by four assignable knobs. These can be also used to tweak many other parameters arranged in rows that can be navigated through dedicated buttons.
The Legend ’70s Editor has a whole screen to control the synthesizer in real-time and make the editing of new patches simple as having a real panel in your hands.
The synthesizer comes with lots of pre-sets that can be selected and tweaked and stored in the Legend ’70s programs.
Last but not least, the Synth-8 module also offers a dedicated arpeggiator section, capable of cyclically playing the notes in the desired order, and 4×16 sequences that can be assigned to the generation parameters."
Note: links to listings are affiliate links for which the site may be compensated.
video upload by NOISEBUG
"This week we are restocking the full line of Tangible Waves, the small but mighty modular format equally powerful to its much larger counterparts.
Some incredibly unique modules exist within the Tangible Waves universe, such as the the Drone38- a bank of 18 oscillators designed for swarms, drones and lush soundscapes.
We designed a mini system around the DRONE38, which is now available on our Reverb shop - https://reverb.com/item/94056769-tang...
Look out for more mini-modular systems and video spotlights in the very near future. For more info on the most affordable way to experience modular, contact Noisebug.
"A small but powerful drone system of Tangible Waves modules, including:
POWER - the most simple base of an AE modular system. Contains the voltage regulation (5V) for the power supply of the modules, two stereo In/out-sockets (3.5mm minijack) for audio out and general in/out like CV, gate, a stereo headphone amplifier
DRONE38 - a sound generator with 18 oscillators in total, organized in six groups of three oscillators each. 12 of them can be switched between sawtooth and triangle waves, 6 are fixed sawtooth oscillators. The oscillators are not meant to be controlled by CVs, but only set static with a knob. By mixing them, very dense drones and clusters can be created.
DRONX - a special mixer designed especially for the DRONE38 module; it has 6 input channels with sound processing capabilities: a tone control with bass and treble control, a distortion, and finally a dual delay with different algorithms.
2VCA - contains two separate voltage controlled amplifiers; the classic module to shape the volume of a sound that is fed to IN by a control voltage, e.g. from an ENV to the CV input. DC/CV or audio operation modes, an additional knob per VCA for attenuation.
SVFILTER - offers control of cutoff frequency, resonance and CV attenuation; two signal inputs for different signal levels control the "drive" of the module. This filter has a significant self resonance and also a very quick response to cutofffrequency changes. LP, BP, and HP output.
LFO (2x) - generates modulation voltages mostly below the audio range. PWM modulation for the Pulse out, two frequency ranges (SLOW / FAST), three separate output signals: Square (even duty cycle), TRIANGLE/Sawtooth (switchable), Pulse
NOISE - two types of noise with A output generating analog noise (a fluctuating voltage between about 1-4V) and D output generating digital noise, (a random changing 0V / 5V). The RATE knob controls the color of the noise, which goes from almost white noise to a rather harsh and digital sound.
2S&H - "freezes" the input voltage with a trigger input. Typically used for random CV patterns if a noise signal is fed to the input and triggered e.g. by an LFO.
2ATT/CV - simple level attenuation for any kind of signal. Voltage mode switch gives manually controllable CV on the outputs, the INV outputs provide the inverted value of the input.
System is pre-built into a 1x16 Bamboo case and includes switchable 9V PSU, 2 packs of patchwire, and 1 pack of colored knobs."
In this video, we share the first real world tests of Concrete, without aiming for a polished or final demonstration.
We explore how the device works as the final stage in the signal chain, as a master effect, and within a mix on an individual instrument. Throughout the video, moments where bypass is engaged are clearly marked, so it’s easy to hear exactly when Concrete is affecting the signal.
Special attention is given to saturation. We’re exploring how different drive modes interact with dynamics, not as an obvious effect, but as an integral part of the signal path.
We also demonstrate sync mode and stereo operation. The filter reveals a particularly interesting character in stereo, where the interaction between channels adds depth, movement, and a sense of space that is difficult to achieve in mono.
Preorders for Concrete are now open on our website at a reduced price for the first drop. The price will increase for future batches.
"Concrete is a next generation compact effects processor that combines digital sound engines with a true analog filter.
Each channel features its own analog high pass and low pass filters, designed for precise and musical sound shaping.
Several drive types come preloaded, while additional engines can be downloaded from our website and loaded into free slots, allowing users to build a truly personal sound.
Channels can be used independently or linked together for cohesive stereo processing.
Concrete supports full MIDI control and naturally pairs with Monolit as part of a unified studio and performance ecosystem.
During the preorder phase, Concrete is available at a reduced price for those who want to support the project from the start.
The price will increase at release.
The first Concrete drop is planned for the first half of 2026."
"Yamaha CS70 Analog Polyphonic Synthesizer Brochure. BROCHURE ONLY. 4 glossy pages, full color, big photo of CS70 inside and on cover. Very Good to Excellent condition. Vintage original, no punch holes, no writing, no highlights, no stains. USED. Time keeps on slipping into the future."
"Here’s a fast, no-talk demo of SQUID-3 (SQ-3), the new synth by Acustica Audio. This video is all about listening: no voice-over, no explanations — just sounds and visuals so you can get a first impression of what this synth can do.
In this demo I’m simply showcasing a selection of patches and musical textures. I’m not going into technical details or deep sound-design features this time — think of this as a relaxed, musical overview rather than a tutorial.
If you’re curious about the engine, workflow, or a more in-depth breakdown, feel free to leave a comment and I may cover it in a future video. For now, just sit back and enjoy the sound."
SQUID-3 is a forward-thinking synthesizer born from Acustica’s groundbreaking MAREA series, available in VST3, AU, and AAX formats. Built to respond better than a real instrument, SQUID-3 gives you the speed to create instantly, and the depth to design without limits. It’s fluid, focused, and sonically honest.
This isn’t a vintage emulation, or a collection of pretty presets under reverb.
SQUID-3 fuses algorithmic modeling with advanced convolution, capturing the behavior of analog gear - better than gear does.
SQUID-3 is not another virtual synth.
It’s a new breed - designed to sound finished, even before the FX.
Every stage of its engine, from oscillator to output, was built to make raw synthesis sound like a mastered record.
SQUID-3 is available in two separate editions:
• the Standard (3-D, multi-page) edition, hardware-inspired interface with depth, lighting, and tactile realism for an immersive studio feel.
• a Flat (2-D version, single-page) edition, A clean, flat design optimized for speed, built for maximum graphic efficiency, where all controls are summarized on a single page"
"EML 101 brochure. Electronic Laboratories BROCHURE ONLY. Four pages. This is the very early $1,295 version to compete with other Iconic synthesizers. The EML 101 was the most function loaded analog synth in its price range. The brochure is in Fair condition due to punch holes and wear. No missing pages, intact, no writing, no highlights, no stains, no stamp. Time keeps on slipping into the future."
"This unit's been meticulously overhauled with future-proofing measures, sparing no expense, unlike the typically half-assed jobs done by most other techs/sellers (if they even bother to service theirs). The refurbishing process required 37 hours of skilled vintage synth tech labor, plus parts costs. This work is very time consuming and costly and is reflected in our price."
A Technology Preview Exploring AI, DIY Culture, and the Future of Music Creation
Los Angeles, November 11, 2025 — Roland Future Design Lab, the advanced technologies research group of Roland Corporation, announces Project LYDIA, an audio processing platform preview created in collaboration with Neutone, developers of next-generation AI tools for musicians and artists. Project LYDIA merges Neutone’s trainable AI software with Roland’s hardware expertise, using a Raspberry Pi 5 single-board computer to deliver a compact, stage-ready prototype that reimagines DIY innovation for a new generation.
Bridging AI and DIY Creativity
Roland’s legacy in DIY music creation began in 1981 with AMDEK (Analog Music Digital Electronic Kits), a line of build-it-yourself kits that encouraged musicians to experiment with technology. Today, Roland Future Design Lab revisits that spirit, asking how modern creators can explore sound through emerging AI tools.
AI for Sound Discovery and Exploration
Powered by Neutone’s Morpho technology, Project LYDIA, named after DIY and AI, uses “neural sampling” to learn the tonal qualities of any sound and apply it to another in real time, with the sonic results ranging from highly musical to exotic and surprising. The current Project LYDIA mockup houses a Raspberry Pi 5 computer running Neutone’s special version of Morpho alongside Roland’s latest ideas for a simple, tactile control panel. Audio I/O is currently managed via a USB-connected Roland Rubix interface, with future iterations aiming to fully integrate I/O for a completely self-contained device.
AI Innovation at Roland
Project LYDIA builds on Roland’s growing exploration of AI as a creative partner for musicians. In 2024, Roland and Universal Music Group (UMG) jointly introduced the Principles for Music Creation with AI, a framework outlining shared commitments to ethical and artist-centered innovation.
“Roland has taken a leadership role globally in practicing responsible development with AI for music creation,” said Paul McCabe, Senior Vice President of Research and Innovation at Roland. “Part of being responsible is getting input from creators on what they find useful, helpful, or inspiring, and what ideas may not be welcome in their workflows. Releasing Project LYDIA as a technology preview allows us to demonstrate possibilities, seek community input, optimize, and improve.”
Shaping the Future Together
Project LYDIA debuted at the Audio Developer Conference taking place November 10 through November 12 in Bristol, UK, inviting feedback from the creative community to guide future research in AI-driven music tools. Musicians and makers can share their thoughts and ideas via a short survey here.
To learn more about the inspiration and technology behind Project LYDIA, visit Roland’s feature story on Roland Future Design Lab.
"The Roland JX-3P is a powerful, versatile analog polysynth that blends vintage warmth with early digital control. This unit includes the essential PG-200 programmer (with cable) for full hands-on access to the synth’s architecture, bringing out the instrument’s real potential for sound design.
This example is in excellent condition, includes the original Roland cases specifically designed for the keyboard (hardshell carrying case with Roland logo) and the programmer (original vinyl slipcover with logo), and has been professionally converted to US voltage internally. Everything functions as it should, with a clean panel and smooth operation.
Key Features:
6-voice analog polyphony with 2 DCOs per voice Classic Roland chorus effect Oscillator sync, cross-mod, and LFO modulation Built-in 128-step sequencer Includes PG-200 programmer for real-time control MIDI input/output Condition Notes:
Converted to US voltage PG-200 and synth are both fully functional Cosmetic condition is excellent Original Roland case included The JX-3P was one of Roland’s first MIDI-equipped analog synths, used by artists like The Future Sound of London, Astral Projection, and Orbital. With the PG-200, it transforms from a preset machine into a true performance synth, with rich modulation, powerful sync tones, and that unmistakable Roland polish.
"Fire up the engine of your Korg Wavestate and ignite a time warp to the golden age of analog synths and neon-drenched aesthetics. "Synthwave" is a powerhouse collection of 40 performance-ready presets meticulously crafted for one purpose: to deliver the authentic, punchy, and nostalgic sound of the 1980s with a touch of a modern vision!
From the opening scene of a retro-futuristic thriller to the main title of your next synthwave anthem, this soundset is your all-access pass to the decade that defined electronic music. This collection is a complete production toolkit, featuring punchy basslines, driving drumloops, warm neon leads, lush keyboards, hypnotic sequences and analog-style pads!
'Synthwave' isn't just inspired by the past—it's built for the future of synthesis. Every preset leverages the Wavestate’s advanced wave sequencing, vector mixing, and motion control to create dynamic, evolving sounds that feel alive and authentically. All presets are modulation wheel - assigned. This soundset is perfect for synthwave & retrowave producers, film & game composers and every Wavestate owner ready to unlock the ultimate retro-futuristic experience!
"Very good condition, serviced by Rosen Sound, and includes a light-duty Tuff Case for easy transport!
Cosmetic notes: small chip in wood veneer edge under keybed, and the mod wheel shows a bit of wear. Both of these issues are shown in the images.
Released in 1981, the Korg Mono/Poly is known for its four VCOs, flexible modulation options, and unique mono/polyphonic switching, making it a versatile beast for both fat unison leads and unique, syncopated arpeggios. Its cross-modulation, oscillator sync, and deep routing options open the door to wild textures and sound design experimentation.
Specs & Highlights:
4 analog VCOs with independent tuning Mono, Poly, and Unison modes Crossmod, oscillator sync, and flexible LFO routing Built-in arpeggiator and chord memory Classic Korg 24dB/octave low-pass filter Full MIDI retrofit kits available (not included, but easily added) Used by artists like MGMT, Chromeo, and Jimmy Edgar, the Mono/Poly is a staple of vintage synth setups and prized for its unique voice architecture and beefy tone.
This unit was serviced by Rosen Sound, a trusted name in analog synth repair, so it’s running great and ready for action. Includes a Tuff Case (light-duty) to keep it safe during travel or storage.
30% of proceeds will benefit the Bob Moog Foundation, helping inspire future synth pioneers and preserve electronic music history."
"A rare vintage combo organ with that unmistakable Farfisa sound. Removable, fold-out bottom reveals fold-down legs (one or two screws missing but still functional) and hard-wired power cable. Cable connects to the external Farfisa F/AR unit which provides power and contains the spring reverb. This unit is functionally good but it could use some internal contact cleaning in a few areas. We coaxed some very usable tones out of it in the demo video! The case itself has been "well-loved," showing moderate surface scuffs from travel.
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This is the Compact Duo CD/30, one of Farfisa’s higher-end models from the late ’60s; basically a two-manual version of the Compact with expanded voicing and richer tone-shaping options. A favorite among garage rockers, psych bands, and analog synth fans alike.
Features:
Two manuals (upper and lower keyboards) for split/layered playing Vibrato, tone boost, and percussion controls Bass and organ voices with classic Farfisa tabs Mark I version The Compact Duo was used extensively by Pink Floyd (Echoes, etc.); a favorite for its gritty tone and punchy presence on stage and in the studio.
30% of the sale supports the Bob Moog Foundation, preserving the legacy of electronic music and inspiring future generations."
"A rare find from Casio’s early pro line, the CT-6000 combines vintage charm with impressive flexibility. It’s got a warm, retro tone, full-size keys, and loads of hands-on control, including tone editing, auto-accompaniment, and analog-style sliders for shaping your sound. Great for beginners and collectors alike.
Highlights:
12-tone polyphony
20 editable preset tones (with manual mode for custom sounds)
Analog sliders for filter, envelope, and vibrato
Built-in rhythm and accompaniment
Built-in speakers; it’s a party in a box!
Full-size keys with a solid feel
30% of the sale will go to support the Bob Moog Foundation, helping preserve electronic music history and inspire future creators."
Auction to be held at Musician's Hall of Fame & Museum, Nashville, on November 19
An incredible collection of more than 450 artifacts from the life and career of Florian Schneider, co-founder of the pioneer electronic band Kraftwerk."
Pics and videos featuring some of the gear below, and his Lederhosen for good measure (thanks greg!).
Update: the post has been fully updated with all the synth related gear. This may just well be the longest post to be featured on the site. I wanted to capture all the pics for all of the details including notes, scuffs, and of course serial numbers. It's an interesting look into what he used, the condition he keped his gear, in some cases, how he actually used his gear. Note the phonetics on the keys of the Casio CZ-101 and DX-100. Note the Midi Switch Box with a built-in speaker? What's that about? Note the camouflage key strap on the Korg RK-100 Remote Keyboard. Did he pick it out himself or did the keytar just come with it? Note the repeat midi controllers and the MIDI saxaphones. Wind was his primary instrument. You'll find a ton of the acoustic gear he used in the other listings. This is a fascinating insight into both what and how he used his gear.
Side note: there is no affiliate compensation for this post. The note at the top automatically shows for all posts with the Auction label.
Rack Mount Sennheiser VSM-201 Vocoder
Starting Bid
$5,000
Estimate
$20,000 - $40,000 USD
A late 1970s Sennheiser VSM 201 Vocoder with no serial number from the personal studio and collection of Florian Schneider of Kraftwerk (see images). While it’s said that only a few dozen of these Vocoders were produced, a few examples made it into the hands of forward-thinking musical artists including Herbie Hancock, Daft Punk, and of course, Kraftwerk, who used a VSM-201 like this on their albums Man Machine (1978) and Computerworld (1981). The VSM-201 has an intelligible sound that has not yet been bested by modern gear. Includes power cable. This VSM-201 has been removed from its wooden enclosure (which bears the serial number plate) and modified with a metal rack mount casing, presumably for live use. Requires 240v, IEC power cable not included.
Dimensions: 19 x 9 x 9 inches
Category: Kraftwerk, Equipment
Provenance: PROVENANCE From the Estate of Florian Schneider
See if you can spot the Matrix-6 screen. I think that was accident. Capturing it for posterity. :)
"A towering icon of analog synthesis! Nicely restored, beautifully preserved, and built to tour or record for another lifetime.
This Oberheim Matrix-12 is in very good condition, has been restored by Rosensound, with some recent restorations performed by synth legend and former Oberheim engineer Marcus Ryle. It comes in a new, custom-built, heavy-duty flight case. It’s a US version, upgraded with a new control panel overlay from Sweet Discrete (UK) for a clean, sharp aesthetic. Everything functions beautifully; a truly top-shelf example of one of the most powerful analog polysynths ever built.
Cosmetic notes: the Sweet Discrete panel overlay LED registration is a bit off in a few places, so some LEDs look slightly off center (as shown in an included close-up image). Performance is not affected. The new overlay generally looks beautiful, but not strictly 10/10. There is also some stubborn tape residue on a few of the keys which can also be seen in the photos.
Details:
12 voices, each with 2 analog oscillators, multimode filter, and extensive routing Legendary 96-point modulation matrix; no menus, just raw power Velocity and pressure sensitivity, 5-stage envelopes, and complex LFOs Massive analog presence with surgical control US voltage model (no step-down needed) New road-ready flight case included, $600+ value Restored by Rosensound and Marcus Ryle, two of the most trusted names in analog synth servicing New Sweet Discrete panel overlay from the UK; clean, legible, and sharp Used by Hans Zimmer, Keith Emerson, Depeche Mode, Pet Shop Boys, and countless electronic pioneers, the Matrix-12 is the pinnacle of analog polyphonic design; often called “the last great analog monster.”
30% of this sale supports the Bob Moog Foundation, preserving the history of synthesis and inspiring future creators."
