Steiner Synthacon Brochure + Minicon/SR-8 Sheets (Copies) + Bonus - 1975 - Original Vintage Synthesizer Catalog via this Reverb listing
"For sale is a vintage original Steiner Parker Synthacon Brochure from 1975. Included also are copies of the Steiner Parker Minicon and S/R-8 Sheets. As a bonus I included an original Steiner Parker newsbrief from the mid 70's.
These original Steiner Synthacon Brochure +Minicon/SR-8 Sheets (copies) are containing information and picture’s of the Steiner Synthacon, Minicon and S/R-8 synthesizers."
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Steiner Microcon Brochure - 1977 - Original Vintage Synthesizer Brochure/Catalog via this Reverb listing
"This original Steiner Microcon Brochure is containing information and picture’s of the Steiner Microcon Synthesizer from 1977.
This is a must-have for any vintage synthesizer/Steiner collector as these are getting very hard/impossible to find these days."
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Steiner EVI Brochure + EVI-II Sheet - 1975 - Original Vintage Synthesizer Catalog via this Reverb listing
"Bob Moog's First Keyboard Instrument Added to the Bob Moog Foundation Archives
Bob Moog’s earliest known keyboard instrument, the Rensitron, now resides in the Bob Moog Foundation Archives! Bob built this small electronic organ in 1951, at only 16 years of age. His Bronx High School of Science teacher, Hymen Rensin, bought the instrument from Bob for $10 ($120 when adjusted for inflation)!
The Rensitron is a two-octave electronic organ, featuring vacuum tubes, hand-carved wooden mini-keys, and a built-in 5-inch speaker with a hand-made, stylized 'R' speaker grille, all encased in a slanted wooden cabinet. If you're wondering how someone so young could have designed this, Bob had already been dabbling in electronics since age ten!
The 'chicken head' knobs on the front panel for volume, tone, and pitch are the same as those used on classic R.A. Moog synth modules, whispering hints about the world-changing instruments yet to come. Similarly portentous are two top panel labels, which read 'Rensitron' and 'Electronic Organ Made For Mr. Rensin By Robert Moog May 1951,' both of which use the same black Dymo Labeler tape as the early R.A. Moog modular systems.
Most notable up top are hand-crafted wooden keys with spring action, most likely made by Bob's father, George Conrad Moog, an engineer and woodworker. Some of the keys have less 'spring in their step' than others, but most still retain a very playable feel!
"The HUM 2 is a Sensory, multi-timbral synthesizer designed for expressive performance and sonic exploration. The synth provides three independent voices that allow you to create complex textures and control three separate sequences simultaneously.
Key Features
Multitimbral Architecture: Three voices with the ability to assign independent synthesis engines, melodies and parameters to each voice. Each voice is controlled with touchpads for expressive control.
Synthesis Engines: Features a wide range of synthesis modes, including Subtractive synthesis, FM, Wavetables, Organ and experimental engines.
Expressive Sensor Integration: the synth has six built-in sensors: Distance, Light, Tilt X/Y and Touch 1/2, mappable to any knob for interactive modulation.
Sequencing: Create generative patterns or fixed loops with three independent 64-step sequencers. Generated notes are quantized to one of the 17 scale options.
FX & Modulation: Features 4 LFOs mappable to any knob. Independent sends to the built in Delay, Reverb and Overdrive.
Connectivity: Features 3 CV outputs, 2 CV inputs. Sync In/Out, MIDI in/out. Headphone out, L/R line out and MIDI + Audio over USB
From the creator: "My name is Dani and I am about to release my first Eurorack module, which I have been working on for the last few years: it is called zerua nahasi, and it is a 4-voice granulator with multiple internal and external modulation options, various ways to combine and synchronize the 4 voices, multiple grain engine types (varispeed, (paul)stretching...), and an integrated convolution reverb with custom impulse responses. You can learn more about it at sbrkdevices.com.
The module will be released in automn this year, but in a few days I will be showing it at Superbooth in Berlin. If you plan to be there, you are more than welcome to come visit us, we are in the headphones only area, at booth W241."
zerua nahasi is a polyphonic granular synthesizer for the eurorack modular format, with a wide range of granulation possibilities. it features 4 stereo granular engines that can be used independently or in combination, opening a whole palette of possibilities. samples can be loaded from an SD card, or recorded via the stereo audio input. each granulation engine can use the same or different samples as sources for granulation. a live mode is also available, where the device works as a granular delay. zerua nahasi aims to work as a granulation l a b # r & t @ @ !.
furthermore, this device also includes a stereo convolution reverb, with some built-in impulse responses with barcelona's most iconic spaces, and the possibility to load custom IRs from the SD card.
- features -
4 stereo granular engines - each slot can hold over 20 seconds of audio.
the 4 engines can be synchronized and combined in multiple ways.
main granulation parameters with CV control and randomization: grain position, grain length, density, pitch/speed, envelope shape, stereo image.
multiple granulation modes: varispeed, stretching, and more to come.
onset/transient detection.
granulation sources: stereo input audio (live or pre-recorded), or samples from SD card.
integrated convolution reverb. IRs can be loaded from SD card.
"What an underrated beast of a synth. Everything you hear is made on an old German Groove synth built in 1996, using only the built-in 'Motivator' sequencer and the internal ROM sounds. No external FX.
Used a few tricks to get this to work. Recorded it in double-time at 87 BPM on a 32nd note grid, so that I could get round the 8 bar loop limit, and effectively record 16 bar loops. I also doubled the melody line on two tracks, panned L/R and detuned apart by 10 cents so get a wide, thick lead sound.
Apologies for the slightly rough sound quality, I just recorded with my phone between the headphones!"
"Dive into the legacy of the ARP synthesizer in this longform interview with Dina Pearlman, daughter of ARP founder Alan R. Pearlman. She shares rare insights into the history of ARP, its most famous users, and its enduring impact on today’s synthesizer design. Revisit the golden age of early synthesizer design."
"Five years ago, I already played with the idea of expanding the Morphagene into a shapeshifting creature. I used two Phonogenes to process the Morph's L and R outputs, inspired by a lo-fi Ciat-Lonbarde Cocoquantus. It was a fun experiment. This Xenomorph is different, a worthy V2. It's a custom 104 HP system I designed as a synth I did not know how to make:
Morphagene
Mult
MultiMod
PoliMaths
QXG x 2
X-PAN
Mimeophon
When used in a skiff, X-PAN is replaced by X-OH (output) and a mult. If you have stackables, you can even use the new GTE. The idea is to bring the stereo Morphagene OUTS together with the QXG outs, so you'll need to stack/mult one Morph out into MultiMod.
The 7U case obviously has the CV bus and - can / could - contain the regular NUSS layout AND the Xenomorph Granular NUSS system. Together they could hold two universes which makes it Multiversal (NMSS) which logically brought me to the name 'Nemesis'. We often assiciate that name with something bad, but after a bit of research it translates to 'the force that reveals your limitations'. So when we meet our Nemesis, the only thing we need to do is grab another patchcable and say 'why stop here?' bla, bla, bla.
Seriously. This is an amazing layout.
Even though MultiMod was never intended for audio, again it's my favorite way to use it, and now it's the core of this setup. It will take the L[mono[ channel of Morphagene as an input so it will create eight roughly independent tentacles. MultiMod has a NUSS header on the back, so without any cable clutter it connects to QXG's audio in and PoliMaths will do the envelopes. So I am basically replacing the MultiWAVE for Morph + Mod as the new sound engine.
I did not realize I'd be getting a genuine granular synth on steroids. A workstation."
"Recreating Aphex Twin’s “Pulsewidth” using modern hardware synths: the Elektron Digitakt II, Roland SH-01A, and Sequential Prophet Rev2.
This is my cover version of one of the most iconic tracks from Selected Ambient Works 85–92, carefully crafted to capture its hypnotic pulse and raw analog character.
To rebuild the drum section true to the original, I used Roland R-8 drum samples (the same machine Aphex Twin used) loaded into the Digitakt II, and programmed its sequencer for the rhythmic patterns.
And for the iconic melody the same sample Aphex used: the first seconds of the track Butterfly Holocaust by Neutron 9000."
Update: looks this one was AI generated. Leaving it up for history's sake. Thanks goes to lfrancis in the comments for catching it.
"In the 1970s, ARP Instruments ruled the electronic music world. Founded by NASA engineer Alan R. Pearlman, ARP captured 40% of the global synthesizer market. Their legendary instruments gave a voice to R2-D2, communicated with aliens in Close Encounters of the Third Kind, and fueled hits by Stevie Wonder and David Bowie. Yet, by 1981, this American tech empire was bankrupt. What went wrong?
This video explores the incredible rise and devastating fall of ARP. We uncover how the company was destroyed from the inside out by a single disastrous bet: the Avatar. Pushed through by management over Pearlman's fierce objections, this flawed guitar synthesizer suffered from crippling latency and diverted crucial funds away from keyboard innovation. Discover the tragic story of how poor leadership and a 40-millisecond design flaw silenced a historic factory, leaving behind a musical legacy that outlived the company itself."
April 9, 2026
Berklee & Friends
Honor Alan R Pearlman in Concert
A concert celebrating the
Centenary of Alan R Pearlman:
classic, jazz, pop, electronica, ambient & more!
April 9 @ 7:30 PM Boston, MA
Performances by:
Michael Bierylo • Richard Bru • Jennifer Hruska Project • Massimo Ferragamo • David Frederick Jr & David Fredericks Sr • Collin Russell • Kristina Warren
"Here we have SUMP PUMP from Robots Are Red (with circuit design from Setonix Synth). It's a 6HP stereo Eurorack noise gate that can also invert its behaviour into a compressor and with the 'floor' control it can also be an expander. We've 3 umbrella sections in the video with compression, noise gate and sidechain ducking techniques. Check out the patches and let us know which is your favourite. There's also an exclusive run down of the dirty bass patch on / divkid"
*TIMING INDEX // CHAPTERS*
00:00 Intro & previews
01:00 What are we doing & feature run down
PATCHES // COMPRESSION
03:17 Setting up compression on beats
06:05 Adding excitement to thick distorted bass with expansion
08:17 Reshaping chords with compression
PATCHES // NOISE GATE
10:00 From basic to creative noise gates
13:56 “Beat density” with floor control (thanks to RAR for the idea!)
PATCHES // DUCKING & SIDECHAIN
17:48 Big dumb bass ducking - good fun & how to set it up
19:34 Creatively duck ambient FX - I love this mixing/production trick
It's a noise gate, it's a noise suppressor, it's a compressor, it's an expander, it's stereo.
The Specs and Stats:
Width: 6hp - Attack and Release knob for envelope(s)
- Threshold for suppression/compression (0V - ~8V)
- Floor controls the amount of suppression/compression from -100dB to Unity and even up to +10dB for expanding the louds louder or make the quiets a bit louder.
- Level controls your overall output level
- Gate/Comp switch: When in "Gate" mode, whenever the input falls BELOW the threshold level, the envelope will engage towards the floor setting. When in "Comp" mode, the envelope will trigger when the input rises ABOVE the threshold setting.
-Stereo inputs and outputs. The envelope follower is assigned to the Left input, so the L input can also be used as a sidechain input for a mono signal (into In-R).
- Engage input. This is a gate input for manually engaging the envelope.
- Threshold CV input. This offsets from your knob position.
- Floor CV input. This also offsets from your knob position.
- Duck CV Input. This is an envelope follower input that applies and inverted envelope to the level of the signal. Send a simple pulse or trigger, an actual kick, an envelope, or anything else into this to duck your signal.
-Envelope Output. The envelope Output does not follow the "floor" settings and always outputs a full voltage envelope.
Special thanks to SetonixSynth and many others for really helping make this module a reality.
"What happens when a synthesizer completely breaks the rules? In this video, we explore the Genki KATLA — a truly unique polysynth inspired by Icelandic volcanoes, featuring a rotating voice architecture, hybrid signal path, and some of the most unpredictable sound design possibilities I’ve come across.
This isn’t your typical analog polysynth. Each of the five voices can run independently with different waveforms, octaves, and modulation — creating evolving textures, harmonic movement, and generative-style sounds that feel closer to modular synthesis than traditional keyboards.
🎛️ What makes the KATLA special? • Rotating voice polyphony (round robin-style synthesis) • Independent per-voice oscillators & tuning • Digital oscillators + analog filter signal path • Looping envelopes reaching audio-rate modulation • Phase distortion, wavefolding & multiple distortion types • Tape-style wow, flutter & pitch instability effects • Stereo voice movement & evolving spatial modulation • External inputs for processing other gear
From lush ambient pads to aggressive, evolving sequences — this synth can go places most instruments simply can’t. It’s not about recreating vintage sounds… it’s about discovering entirely new ones.
💸 At around €5000, this is definitely not a beginner synth — but for sound designers, and anyone looking for something truly different, it well worth a look."
Genki Katla Sound Design: Making sounds from scratch and exploring
video upload by MR TUNA Music
Chapters: 0:00 - Intro 0:16 - Init patch 0:44 - Filter sounds 1:26 - Raising 1 voice 1:43 - Creating a basic pluck sound 2:24 - Aftertouch controls 2:45 - Bring in a little reverb 2:56 - LFO to filter cutoff 3:16 - LFO to reverb mix 3:46 - Keyboard cutoff 4:00 - Osc 3 Square wave 4:23 - Sub oscillator 4:54 - KATLA parameters 5:01 - Rústir wavefolder 6:08 - Rökkur stereospreader 6:37 - Skriða envelope randomizer 7:27 - Aska random modulations 7:57 - Glóð tape stops and flutters 8:35 - Skjálfti ??? 9:14 - Kvika slow tape modulations 9:38 - dark pads 10:20 - Móða voice detuning 11:20 - Katla sounds with aftertouch 13:28 - Thanks for watching
"Hey guys! Very very excited to be presenting the Genki Katla to you all... I am truly in awe of the sound of this very unique and powerful instrument.
I thought the best way to get to know the synth is to start from scratch so in this video we'll go full hands-on with the Genki Katla, exploring (almost) every parameter and building sounds from an initialized patch.
From some raw drone layers and gritty textures to evolving pads, rhythmic sequences, and atmospheric beds, we will see just what this instrument can do, discover new sounds, and maybe make some friends along the way 🙏
If you're into sound design, unique synths, or just love discovering new instruments, this one is for you!
HUGE thanks to Genki for letting me a part of this with them and showing off this super cool synth.
No money was paid, no agreements were made... these are my real thoughts on this very premium synthesizer and I will be sharing lots more."
Press release follows:
Genki Instruments announces availability of Katla as Voice Rotating Polyphonic Synthesizer inspired by its natural namesake
REYKJAVIK, ICELAND: having twice blown European musical minds thanks to show-stealing showcases at SUPERBOOTH25, May 8-10, Berlin, Germany and Machina Bristronica 2025, September 27-28, Bristol, UK, before adventuring across the pond for a repeat performance at Buchla & Friends 2026, January 24-25, LA, CA, USA, Reykjavik-based instrument developer Genki Instruments is proud to announce availability of the eagerly-awaited Katla as a Voice Rotating Polyphonic Synthesizer inspired by Iceland’s largest subglacial volcano as its natural namesake — readily representing the company’s first foray into analogue synthesis, albeit one that uniquely utilises a set of wildcard parameters to infuse it with organic, unpredictable behaviour as an instrument that is worthy of that legacy, excelling at generating rich, evolving, multi-layered textures, where each note stirs, swells, and erupts in its own distinct way — as of March 31…
Clearly Katla’s inspiration runs through its ‘volcanic’ veins. After all, it is framed by side panels and knobs forged from authentic Icelandic lava, giving each instrument a tangible connection to the volcanic forces that inspired it. That this synth should surely roar is a given. Genki Instruments inevitably chose, therefore, to kit Katla out with four independent distortion destinations, the most unruly of which is a stereo CMOS (Complementary Metal Oxide Semiconductor) Drive effect — a characterful saturation stage, pushing tones from warm and rounded to fractured and snarling.
"We say... A pre-owned Oberheim OB-X8 (Desktop) in very good condition. It comes with original packaging and power cable.
Manufacturer's description NEW functionality now available with OB-X8 OS v2.0 featuring:
Instant binaural mode pans individual voices hard left and right for true stereo operation Simultaneously selectable waveshapes for each oscillator extends timbral variety New 4-Pole low pass filter type with fuller bass at high resonance New VCO 1 and 2 level LFO modulation destinations for independent timbral mixing Arpeggiator clock sync now has selectable note division values for expanded rhythmic control Twice the Split and Double memory locations, including program storage directly in the new banks for 512 more stored sounds Separate MIDI channels for lower/upper split bi-timbral operation Poly chain for up to 32 voices with 4 connected instruments MPE for new levels of expressiveness
These are my first "ten minutes" (okay, the video turned out a few minutes longer 😉) with the Modern Sounds Pluto semimodular synthesizer. 🎧Headphones recommended for the full sonic experience.
In this small setup Pluto is accompanied by three pedals, the Strymon El Capistan v1, the Chase Bliss/Goodhertz Lossy and the Eventide Space in ModEchoVerb algorithm, all in stereo. Pluto, this tiny little box, is such a fascinating and inspiring instrument. You can get a million and more of sounds out of it. I love how the filter of Lossy changes the overall mood of the sounds.
All sounds and video footage by The Pedalboard Orchestra.
(Disclaimer: This is a non sponsored video. All equipment is self-purchased.)
"FM Synthesis with Yamaha FS1r Synthesizer and detailed custom Controller built by by R. Skerjanc
Sorry about 20 minutes bird beeeep & bleeep.. 😹
Next time more electronic music..
Midi sequence by Roland TR-3
Check the minimal parameter changes and the sound modulations on the FS1r
Algorithm: OP7 -} OP8
Faders: Volume of Operators
Yellow: Formant Sequence Section (Delay & Speed). Delay is up to eliminate the FSeq effect..
Blue section left: parameters assigned to menu above
Purpose: try & error, exploring new possibilities & dependecies of sections in FM Synthesis, tonal discovery of sore throat birds 💥🎶😉"
"Serge Modular made the legendary VCFQ stereo. While having three inputs and six outputs, the AGC (Auto Gain Correction) and Notch out had to go. In normal operations, it's a true VCFQ which you can use in both mono and stereo patches. The AUX input can have dramatic results when self patched as feedback. I'll be using the VHIKK X in this video as the primary source, a source that doesn't need an extra filter to sound good. In fact, this creates the challenge of which module dominates which. In general, it's always the module that cuts the other one's frequency range. Finally, I'll use my mono VCFQ and the ST-VCFQ to process the X's L/R channels independently. Now the fun begins :)."
