"This listing is for a vintage 1980's Ensoniq ESQ-1 Analog/Digital Polyphonic Synthesizer Workstation that comes with an Ensoniq Sequencer Expander Cartridge and power cord. This synthesizer is in good physical and working condition. The winning bidder will receive exactly what is pictured.
The Ensoniq ESQ-1 is a 61-key, velocity sensitive, eight-note polyphonic and multitimbral synthesizer released by Ensoniq in 1985. It was marketed as a "digital wave synthesizer" but is actually an early music workstation. Although its voice generation is typically subtrative in much the same fashion as most analog synthesizer that preceded it, its oscillators are neither voltage nor digitally controlled, but true digital oscillators, provided by a custom Ensoniq wavetable chip. The signal path includes analog resonant low-pass filters and an analog amplifier.
The legendary SID chip reimagined as an expandable modular synth voice: powerful synthesis engine, animated OLED display, and polyphony-expandable.
zetaSID is a powerful eurorack modular synthesizer voice packed into just 4 HP, expandable via the new midiphy phybus backplane link. Start with a single monophonic voice controlled via CV/gate and scale it to a full polyphonic MIDI synthesizer with up to six stereo voices with MIDI control. At its core lies the legendary MIDIbox SID synthesis engine, featuring six LFOs, dual envelopes, quad wave sequencers, eight modulation paths with dozens of sources, algorithmic operations, and an extensive trigger matrix.
It ships with 100 carefully crafted patches in its ROM bank, ready to use as-is or as inspiration for your own creations.
zetaSID is an expandable powerful SID voice covering a wide range of tones and textures, from classic chiptune staples to sounds you might not expect from a SID chip.
Disclaimer I have marked this video as Paid Promotion although I was not paid to make this or any video, I was sent these to test before release.
The zetaSID modules are based on the legendary Midibox Sid Synthesizer.
They contain the lead and drum engines from the Midibox Sid and use Hermits (creator of Sid Wizard tracker) Sid emulation.
Each zetaSID contains 3 voices and filter as you would expect from an Sid chip ( The Sid chip is the sound chip from the legendary Commodore 64 home computer from the 80's )
So each zetaSID is a like one commodore 64. If you have multiple zetaSID's they can be linked together with supplied ribbon cables internally to add them to the Phybus, midiphy's way of having all modules being able to talk to each other. They then can work in unison, as stereo pairs, monophonically or for polyphony so a lot of different ways to use them. Of course I wanted to test how I could use them multitimbrally, and in this example I have them unlinked (not physically you can do it from the menus)
The midi module is Nexus Midi by midiphy and allows you to control the zetaSID's via regular midi over the Phybus (they do support cv gate also)
zetaSID 1 is using the drum engine, here I have split, kick, snare and hats over different voices on a single zetaSID, so indeed you can play a kick, hat and snare at the time time if patched this way.
zetaSID 2 is the lead sound, it is going through some hall reverb in this example. It shows off legato bends and using the impressive wave sequencer to increase vibrato over time (like tables if you are familiar with trackers)
zetaSID 3 Uses the Arp to provide classic c64 Arp sounds, I am just sending chords to this module over midi and it is handling the arps itself. It actually has 3 arpeggiators, one per voice, so a stereo pair of zetasids can run SIX arps with completely different settings at the same time from a single patch, impressive.
zetaSID 4 Is using one of the factory presets Den of Saws, I've just high passed it a bit since we are using a lot harmonically rich voices in this song.
This was midi sequenced via a Dirtywave M8 Tracker.
I will show more of the zetaSID's, as they are very powerful and very deep, the amount of modulation they have is outstanding even has Logic Gates, you can literally XOR lfo's together and I need to say if you are seeing this video and thinking you want like to write songs on these that program change isn't currently implemented, but is a high priority on the roadmap.
If you like my music I have a bandcamp here https://avrilcadabra.bandcamp.com/
And you can find me on streaming services and socials also."
"In the last video I had the DB-01 going into the Nightverb reverb and then into the Xenodrive. This time it's a more conventional routing of the LXR-02 into the Xenodrive and then into the Nightverb. With the Nightverb early reflections, a little pre-delay and a careful amount of shape,it sudden;y came together. I was setting up for a completely different video idea but just had to capture this instead.
It's not all happy accidents though. First I tried Echolocator feedback into the Xeno and then Nightverb. Mildly interesting but even the Xeno couldn't rip the Echo feedback apart. And that's how it goes sometimes - you set everything up, twiddle up to 11 and you draw a blank. Sometimes I'll chew on it for days before admitting it was a rotten idea. I wasted the best part of two weeks recently on a looper pedal I bought and just couldn't get a single thing out of it. So sometimes when I don't post a video for a couple of weeks it's not because I'm too busy with cocktails and cigars, it's because my latest great idea just didn't produce anything worth your time.
Hopefully you'll agree that this little experiment with the LXR-02 was worthwhile. The LXR-02 remains one of my favorite machines. It has its flaws and is still desperately in need of another firmware update but I think it's a brilliant machine. Six assignable LFOs and multiple filters, deep editing and a tiny footprint: So much to love.
If this were a final production drum track I would definitely add a deep and clean bass drum from Hexdrums, but as usual I like to keep things well defined. Adding an external bassdrum would sound better but then you wouldn't be hearing pure LXR-02 / Xeno / Nightverb. My aim is to show you possibilities.
Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/
My other channel "IntraCosmos" of long-play dark ambient textures: / @intracosmos"
1. 7 Channel Mixer For My Modular Synth.
2. Medusa - Sound Effects for Modular Synths
3. Buffered Multi for Modular Synths. Powered by Arduino
4. Digital Delay Module - Powered by Arduino
5. Bleep - Modular Drum Synth - powered by Arduino
6. Solar - A Modular Synth, Powered by Arduino
7. Groove Box Modular Synth - Arduino Nano
8. Freaq FM Synth. My Take on the Awesome MeeBleeps Synth
9. Mutant Generative Synth - Powered by Arduino
A few of these have been featured on the site before. You can use the player controls to skip around.
Playlist:
1. EMS Synthi with Universal Sequencer and RSF Kobol #emssynthi #rsfkobol #rolandph830
It’s a tune done on the Synthi and EMS Universal Sequencer with some help from RSF Kobol processed by Roland PH-830 phaser.
2. 2 x EMS Universal Sequencer with Roland MC-202 #emssynthi #emsuniversalsequencer #mc202
Universal Sequencer is playing a sequence on the Synthi and the 202 - that’s why it’s called “universal” as both sequence and real time layers have CV/gate outputs. No effects other than spring reverb on the Synthi.
These are the first pics of the Coupland in the flesh to be featured on the site. Previously, the Coupland has only be featured in various brochures. Be sure to see them for additional info.
"At MIM, you can see several synthesizers, including the Coupland Digital Synthesizer, which was invented by Rick Coupland in Phoenix in the 1970s. Coupland grew up playing the piano and dreamed of a keyboard instrument that could play any sound he imagined. In the early 1970s, he developed one of the first fully digital synthesizers. It offered touch-sensitive controls that could modify dozens of parameters of sound, in real time, while the player was playing.
Though the Coupland Digital Synthesizer never went into production, many of its fundamental technologies and concepts later became standard features of popular, affordable synths from major manufacturers. The original prototype, now on display at MIM’s Electronic Music exhibit in the United States / Canada Gallery, was a fascinating prediction of music’s digital future."
You can find an image of Clara Rockmore's theremin from the museum further below, however there's no additional info on it on their website.
There was also an Indonesian Yamaha PSR-A1000, pictured below, for those interested! :)
P.S. Click on the panel pics to zoom in for the parameters. Note the Harmonic Number section with Phase Angle and FOURIER button.
Note there are two versions, a synth version and accordian: http://juzisound.com. The original was in a rectangular box format as seen in previous posts here. Spotted this newer model via the listing below.
Next generation of sampler device, again specialized for playing ethno music. If you play that kind of music, this device is really the right one for you!
Model 3 is successor of Sampler 2, but the technology is much more advanced. Sampler 3 have 8 independent Uppers (synth version), read samples from Micro SD card with maximum possible speed, have SD card auto refresh function, and have best in the world 32 bit DAC for perfect audio quality. The same hardware is used with 2 independent software versions: One for use with any Synth, and second for use with MIDI accordions.
For more information, see specification and comparison table between all samplers.
The following is in via Sean Graves, who had the following to say:
"The piece, 'The 'Easel' Spirit in 3U: Rebuilding a Buchla Soul in Eurorack,' documents my five-year journey to replicate the specific workflow and 'soul' of the Buchla Music Easel using a curated Eurorack system."
"This post explores the creative power of 5-step sequencing (the 'migrating downbeat'), the 'origami' of wavefolding via the Verbos Complex Oscillator, and the organic harmonic dampening of vactrol-based Low Pass Gates. It’s a technical yet accessible look at why the West Coast workflow remains the 'holy grail' for performance - based synthesis."
The full write-up follows, with a demonstration of the system in the video above.
The “Easel” Spirit in 3U: Rebuilding a Buchla Soul in Eurorack
The Buchla Music Easel is legendary. It isn’t just a synthesizer. It’s a self-contained performance ecosystem. For many of us, the “Easel” workflow is the holy grail of synthesis. However, instead of chasing original hardware, I’ve spent the past five years rebuilding its specific soul within the Eurorack format. Because everyone deserves a hobby, right?
The Chef vs. The Sculptor Most East Coast synthesizers work like a sculptor. You start with a massive block of harmonic noise (Sawtooth or Square waves) and carve it away with a filter. The Buchla workflow is different. It’s like being a chef in your own Hell’s Kitchen. You start with basic, “bland” ingredients (sine waves) and spice them up with Frequency Modulation (FM), Amplitude Modulation (AM), your choice, and then fold until the sound sizzles.
My current rig recreates this spirit by focusing on three pillars: Uncertainty, Complex Oscillation, and the iconic Sequential Voltage Source.
Part One: The Modulators (The Brain) In a true Easel style setup, the Tokyo Tape Music Center 5-Step Sequencer acts as the brain. While most modern sequencers favor 4-8-16-32 steps, the 5-step limitation is actually a creative superpower.
"VOLTAGE IN SHADOW is a collection of 50 combo patches and patterns for a semi-modular system by Make Noise: 0-COAST + 0-CTRL + STREGA. It includes textures, basses, leads, drones, chords, percussion, and FXs. 💎 There is a wide range of timbres inside the pack: soft and bright, musical and experimental, harmonic and FX-like, cyclic and generative, slow and fast, analog- and digital-style, dry and atmospheric, clean and distorted.
🦠This is one of the most complex works I’ve done. It required a lot of time and effort, but I also received huge pleasure and inspiration while working with such interesting and unique devices. The patches turned out to be very fluid, dynamic, and non-static — largely due to the “alive” and sensitive nature of the synths. However, this also creates some difficulty when recreating the patches from images: even small changes in knob positions can affect the final result.
"In this video, I’m not in the studio — I’m in sunny California, unboxing and playing the Sequential Prophet-10 for the very first time. No setup, no deep dive, no rules… just pure, immediate interaction with one of the most iconic analog polysynths ever made.
This is a genuine first encounter: lifting it out of the box, admiring the wood, powering it on, and letting the instrument speak. You’ll hear spontaneous playing, raw reactions, mistakes, happy accidents, and that unmistakable Prophet sound in its most honest form.
This isn’t a tutorial or a technical walkthrough — it’s about feel, inspiration, and that moment when a synth completely takes over and refuses to let you play anything else.
What you’ll see and hear in this video:
Unboxing the Sequential Prophet-10
First impressions and real reactions
The build, wood, and physical presence of the instrument
Powering it on and diving straight into sound
Pure, improvised playing with no preparation
Classic Prophet tones and unexpected moments
Letting the synth lead the music instead of the other way around
A full deep dive will come later back in the studio — this one is all about instinct, emotion, and the joy of touching a great instrument for the first time."
0:00 What is it?
0:50 Panel and Controls
3:23 Patch: Exploring rhythm banks using Set switch
3:52 Patch: Using Set and Accent switches together
4:30 Patch: Adding CV to Factor and Prime fader inputs
5:08 Using Euclidian-derived rhythms with Prime fader
5:45 Configuring module for flipping module orientation
Inspired by Numeric and Zularic Repetitor, Multi Repetitor combines familiar rhythm banks with Euclidean-derived patterns, per-channel modifiers, and dynamic accent generation. With four trigger outputs, four accent outputs, faders on every channel, and CV control throughout, it’s designed to be played, tweaked, and explored in real time.
Whether you want classic grooves or evolving, unpredictable rhythms, Multi Repetitor keeps the immediacy of the originals while expanding the creative palette.
Noise Engineering announces Multi Repetitor, an algorithmic percussion sequencer designed for performance.
Los Angeles, CA — Noise Engineering, known for their unique and compact utilities, has released Multi Repetitor, an algorithmic trigger sequencer and sequel to their classic Numeric and Zularic Repetitor trigger generators.
Multi Repetitor has been completely rethought from the originals, and takes the core features of the version one designs into a whole new realm. Rhythm generation starts with the three rhythm banks: choose from Zularic, Numeric, or the newly developed Euclidean-derived linear rhythms, then use the Prime fader to scroll through base rhythms on the fly. Like its predecessors, it features four trigger outputs, now with dedicated performance faders that modify the rhythm output.
The newly rethought – and reversible – interface based adds extra parameters for more control of all four outputs. While it keeps the clock and reset inputs, Multi Repetitor also features an internal tap-tempo clock for standalone sequencing. Finally, this version adds four accent gate outputs to the interface. The impetus for these changes, according to the team, was to make the module fit better into compact percussion systems while still being a fun generative sequencer for larger systems.
While it’s possible to get deep into rhythmic modification with the extensive patterns, modification algorithms, and accent options, Multi Repetitor is designed to be a plug-and-play rhythm sequencer. Noise Engineering said that one of their goals was to make it easy to tweak parameters by ear and jam with no preparation required.
Multi Repetitor begins shipping on January 22nd at https://noiseengineering.us and at retailers globally.
Features • Standalone play: tap in a tempo, patch up the outputs, and you’ve got a groove • Sequence triggers and accents for up to four voices in your systems • Choose from Zularic, Numeric, or Euclidean-derived base rhythm banks • Select different base rhythms from the banks using the Prime fader • Use three different algorithms to modify each output’s rhythm with the performance faders • Modulate your rhythms with full CV control over faders and banks, and keep things in sync with external clock and reset inputs • Plug-and-play operation: simple interface designed for performance is easy to use out of the box
Availability and pricing:
Multi Repetitor: In stock. Shipping from Noise Engineering and retailers starting January 22nd, 2026; MSRP US$320
RORSCHACH is a video synth with "an audio output that converts the video signal into a distinctive drone voice." Full details below.
Video desciption:
"All audio from Rorschach running through a cheap delay pedal. The vertical movement on the screen is due to the faulty tracking on the TV. All patterns generated by Rorschach.
10% off pre-order.
Rorschach is available from the following places:- https://decadebridge.etsy.com/uk/list... https://lumaticvisual.com"
Rorschach by Lumatic Visual Devices is an analog-style video synthesizer designed for artists exploring video synthesis, live visuals, and audio-reactive image generation. It works equally well as an entry point into video synth hardware or as a creative expansion for experienced users.
Rorschach is well suited to live performance, with the ability to self-generate evolving patterns using its built-in randomisation features. Its functionality can be extended further by feeding control voltage, gate signals, or audio into the modulation inputs, making it easy to integrate into modular and experimental setups.
With a clear, functional, and immediate control layout, Rorschach is an excellent starting point for anyone taking their first steps into video synthesis, while still offering enough depth to remain engaging for more experienced users. Compact and portable, it also features an audio output that converts the video signal into a distinctive drone voice.
Rorschach generates its own black and white composite video patterns straight out of the box. Its functionality expands further when used alongside modular or Eurorack systems, or when audio signals or control voltage are fed into the CV and gate inputs. The focus is on experimentation, play, and hands-on control.
A dedicated random section allows the synthesizer to run freely, generating evolving patterns automatically and in real time. Leave it running during a performance, or introduce external signals such as a kick drum or sequencer to push the visuals into new territory.
Key features
Four main controls for horizontal position, vertical position, width, and height – CV inputs for all four parameters Form control selects from six pattern generator modes – Can also be modulated via audio input or control voltage Random control sets the amount of randomness applied to the four position parameters on each refresh – Independent switches and gate inputs for each random parameter – CV input for random amount Clear screen modes: – Clear / Random Clear / No Clear – Gate input for clear screen Pattern colour switching: – White / Black / Invert Horizontal and vertical mirroring switches – Independent gate input for each axis Composite video output via RCA connector Audio output allowing the generated visuals to be used as a drone sound source Power Rorschach is supplied with a 9V battery clip. If you would like to run Rorschach off a wall adapter you will need a 9V CENTRE POSITIVE adapter. Power requirements:- Minimum 70mA
'No issues. Past owner reported it had work done in the past. Right wood end has damage as shown in photo. Confusing non traditional workflow and will take time for you to understand the device. The Spectralis is a professional synthesizer, groovebox, and sequencer created in 2004 by Radikal Technologies. Contained within is a powerful monophonic hybrid synthesizer (the Asynth) composed of 4 digital oscillators that can pass through two analog filters (a 4-pole 24dB LP filter and a 2-pole 12dB multi-mode filter), a 32 stereo voice polyphonic multisampling sound engine (the Dsynth) that pass through a digital 12dB multi-mode filter, an 8 bandpass fixed filterbank a plethora of LFOs to modulate parameters, two delay effects, and an extremely complex and powerful pattern-based sequencer section to sequence internal sounds and parameters as well as external gear. The Spectralis has 32 available songs, each with 32 patterns available.
"Little sound design session on the Black Corporation Xerxes MK2 to test a lightweight recording setup directly to my phone.
No fancy post-processing, maximizing, review, just me building a pad from scratch on the wonderful Xerxes and exploring various variations of it, to give you an idea of the sound design freedom. The patch is initialized from a basic single saw wave patch and I play around with low pass and band pass filtering for the pads. Later in the recording I add some reverb from the @Strymon BigSky, which always helps on a pad.
Like most synths, a basic patch like this might not immediately sound '5K expensive' without effects, refinement and post-processing. Fortunately this versatile machine can do a lot more and is a real joy to use with all its hands-on control. Some typical Elka-features like Pulse Amplitude Modulation (PAM), sync phase control and oscillator self resonance, add to the unique character of this synth. It's a really enjoyable synth and I feel it's going to be one of my main workhorses.
I love how good a DCO-based synths can sound, and they are usually great for pads. Like on the Matrix-1000 and JX-8P, DCOs are super stable by nature, so imperfections need to be added manually. Apart from tuning tweaks/modulation, the Xerxes has a nice drift control for this.
Enjoy, and next time I'll clean the camera lens, I promise! 😅"
"2nd video with the Arturia Minifreak hybrid (digital/analog) synth, with a OneSynthOnly jam (after the first video where I used 5 instances of the Minifreak in multi-track: • Cinefreak 📽️ (Arturia Minifreak // Conduct... 😉)
Here's to you my 'No talking demo' of the amazing Cobalt 8M by Modal Electronics.
Cobalt 8 is an 8 voice extended Virtual Analog synthesiser that unlocks the full creative potential of analogue waveforms. This powerful, inspiring instrument reinvents the aesthetics of analogue sounds and invites musicians, producers and sound designers to explore a new era of virtual-analogue synthesiser textures, far beyond the limits of its analogue forefathers.
On top of the innovative oscillator engine of COBALT8, it also has a massive arsenal of inspiring morphable and static filters. Combined with Modal’s unparalleled modulation options, an inspiring real-time / step sequencer, the energising arpeggiator, MPE, studio-quality effects and MODALapp integration, COBALT8 is the perfect synth for everyone who wants a versatile electronic music instrument to play vintage synth sounds and is eager to enter new sound dimensions.
Eight true polyphonic voices tempt players to lay out wide string or rich synth pad chords, while a monophonic bass or lead patch, played with 64 oscillators can shake the walls of every stadium. And with the avant-garde sound forming features, every synth enthusiast can refine his performance with sounds that no other synthesiser is able to generate."
"You want easy? Hexdrums is easy. The sounds are whatever the knobs are on. There are no hidden extra sound controls. The sequencer is wonderfully straightforward yet has the options to create long and complex passages on a single pattern.
This is my first pattern with Hexdrums and I created it to learn the options, so it contains a little bit of everything. Voices 1, 3 and 6 run for 24 steps; most of the others are 16 or 64; there's shuffle on voices 3 and 4; and about half the steps on voice 4 have some microtiming. Many voices use the 'play once in 4' or similar settings applied to various steps and I activated the option for those to affect the last time around rather than the first. Various voices also have accents on different steps. I replaced the cymbal samples with my own samples which is what you hear on voices 9 and 10.
I used the individual outs on the back to send the snare to the Echolocator and the low boom sample on voice 9 to the Nightverb. MIDI out on the Hexdrums controls the Echolocator clock. By that stage it was all feeling full so I didn't want to artificially squeeze in the hats so I left them for next time. Many people like to immediately apply loads of drive to the sound. I love drive, saturation, dirt, gain and distortion. But there's none here. Another thing for next time. Likewise only a tiny touch of compression. With me applying 'test amounts' of all these options, usually at random, it's a miracle it sounds as coherent as it does. Even so rolls and hits do appear at odd intervals, the result of the 24 vs 16 step interplay and the 1-in-4 steps.
Not surprisingly then I thought it best to leave the knobs alone and concentrate on muting parts to create this little demo. Obviously it's all a single take and has not been enhanced, edited or remixed in the DAW. Stupidly I had a loose cable going into the Echolocator which created a bit of hum which I did try to eliminate in the DAW.
My one sentence review so far: Hexdrums is incredibly easy to use with loads of effortless thump and a deep sequencer.
"Original Korg PolySix from 1981 in Very Good condition, everything working, no yellowing. Originally bought from Japan.
No MIDI upgrade. All original hardware. Every key works with no problems and every function throughout the entire unit is in good working condition. Wood panels in good condition, natural wearing on some corners and a few nicks on the bottom but overall very good for it's age. Metal panel on front has light scratch on the left side (pictured) and a few nicks on the edges towards the back, but overall nothing huge cosmetically. Key bed in good shape, almost mint condition. Used very lovingly for about a year, many recordings done with it.
It's very good for gritty 80's sounds, people often compare it to the Juno but I'd more so compare the sound to that of something by Sequential Circuits like the Prophet series, with a key bed that feels like a Juno, while any remaining character is completely it's own. It even gives some effects to play with that come from the turn of a knob, letting you enable Chorus, Phaser, or both while letting you change the intensity via the knob next to it.
I've included a demo of what this particular unit sounds like, playing Eyes by Clio, produced by Roberto Ferrante who also used only a Korg Polysix for the synth tracks.
Some other notable uses of this synth off the top of my head are Faces (Clio, 1985), Start Of The Breakdown (Tears for Fears, 1983), Subways Of Your Mind (FEX, 1984), Till The End Of Time/Animal In Me (Affair, 1984), Under The Ice (Topo & Roby, 1984), and just any underground European artists from the early 80s."
"Spiral Motion is a collection of 64 Arp Presets for Moog Messenger. The patches cover a variety of Arp tones: mild and aggressive, deep and bright, simple and complex, soft and punchy, musical and experimental.
🧬 All sounds are very dynamic: they have synced modulations, and they are velocity-sensitive. You may hold a chord and add accents to the arpeggio with velocity, or add expressiveness via aftertouch. And, of course, you should play with Envelopes, Filter Parameters, Arp Patterns and Range, LFO Rate to get the best experience of the presets.
🧿 The soundset is universal, the Arps are suitable for all genres of electronic music, including Techno, House, Trance, Lounge, Downtempo, Funk, Disco, Pop, Acid, Hardcore, IDM, Drum'n'Bass, Breaks, Breakbeat, Trap, Electro, Ambient, Dubstep, EDM, Synth-Pop and others.
Prismatic Spray II is a deeply explorable, stereo bytebeat synth that implements many novel features. It includes a multitude of physical controls, mesmerizing visuals and full MIDI implementation. The Prismatic Spray II is an evolution of the original in the following ways:
