"This is a beautiful PIN Electronic Portabella MKIII. Purchased from Sandro in 2021, and has not left the studio since. This machine is a work of art. All the beauty of the Synthi, and none of the service nightmares. It sounds absolutely insane. I have some extra pins I will include with the unit. Everything is perfectly working, and the condition is amazing."
Her life journey has been remarkable. At the end of the fifties, she studied in Paris with musique concrète pioneers Pierre Schaeffer and Pierre Henry, whom she also assisted, notably for the premiere of L'Apocalypse de Jean. During the sixties she began composing with primitive electronics (feedback and asynchronous tape loops), but found little recognition for her research in France.
In New York in the early seventies, she found understanding and emulation, exploring emerging minimalism with James Tenney, Charlemagne Palestine, Phillip Glass, John Gibson, and Steve Reich. Her absolute allegiance to electronic sounds began during this period. Since then she has composed on the best synthesizers of the time: Buchla, Moog, Serge, and then ARP, which would become her fetish instrument. She collaborated with Robert Ashley, who sang on Les Chants de Milarepa. She has composed about two dozen works, which she has presented and continues to present at numerous prestigious venues and festivals in the United States and Europe.
In 2004, upon Kasper Toeplitz´s request, she started instrumental compositions for one or more performers, with whom she works in a close collaboration during the compositional process. This work gets quickly focused on pure acoustic sounds, in an incredibly delicate timbral way, which extends, without aesthetic rupture, her electronic work. Notably between 2004 and 2009, she completed a cycle in three parts 'Naldjorlak', for Charles Curtis on cello, Carol Robinson and Bruno Martinez on basset horns. She has now stopped her electronic work."
Emmanuel Holterbach (Translation Leslie Stuck)"
The following is a collection of some of her works:
"In Buddhism, the number 9 signifies spiritual completion, ultimate enlightenment, and the highest level of consciousness (the ninth consciousness, or Buddha nature). It represents the culmination of the path to Nirvana, the 9 virtues of the Buddha, and is often associated with auspiciousness, progress, and the 9 states of delusion (nine worlds)."
Some history on Eliane Radigue via Wikipidia:
"Radigue was born in a modest family of merchants and raised in Paris at Les Halles.[5] She later married the French-born American artist Arman with whom she lived in Nice while raising their three children, before returning to Paris in 1967. She had studied piano and was already composing before hearing a broadcast by the founder of musique concrète Pierre Schaeffer. She soon met him, and in the early '50s became his student, working periodically at the Studio d'Essai during visits to Paris. In the early 1960s, she was assistant to Pierre Henry, creating some of the sounds which appeared in his works.[6] As her own work matured, Schaeffer and Henry felt that her use of microphone feedback and long tape loops (as heard in Vice-Versa and Feedback Works 1969-1970) was moving away from their ideals, though her practice was still related to their methods.
Radigue's death was announced on February 24, 2026. Her cause of death was not stated.[7][8]
Everything is recorded in and with:
@bitwig Studio - I used their excellent arpeggiator and the smooth hardware integration. More information can be found here: https://bitwig.com
@Sinevibes
I used the excellent plugins Vague, Hollow, and Integer. More information can be found here: https://sinevib.es"
"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."
"The Midimini was Studio Electronics' first series of synthesizers built from scratch. Prior to the Midimini was the Midimoog, which consisted of actual Minimoog circuit boards retrofitted into a rackmount enclosure. The Midimini does not use the original Moog circuit boards, but instead Studio Electronics designed their own boards. Minimoog users will find the layout to be quite familiar with some nice additions such as a dedicated modulation LFO, oscillator sync and switches for aftertouch control. This unit is in very good condition with a bit of rack rash on the top and bottom. If you are looking for that classic MiniMoog tone, wicked huge basses and leads.. This box delivers!"
"1980s Linn Electronics LM2 Drum Machine, fully serviced/restored in-house. Ready for studio action and sounds incredible. Serial No. 3218
Service notes:
-Disassembled and cleaned/lubricated Level and Pan faders
-Cleaned control and master volume pots
-Repaired MUX drum D/A and audio circuit
-Repaired read function for bass drum ROM
-Replaced internal memory batteries with modern type
-Replaced electrolytic capacitors on all pcbs
-Disassembled and cleaned switches on panel PCB
-Cleaned chassis and panel
-Installed complete set of freshly burned sound ROMS (31 total)
-Calibrated mux clock and set internal filter adjustments
-Cleaned IC pins and socket of CPU
-Cleaned pins and socket of 16pin DIP cable between CPU and voicing pcbs"
G-Sonique Analog Modular FX – VST / AU plug-in instrument.
Analog modular synthesizers are relatively expensive, take up quite a lot of space and creating sounds is a very lengthy process (plus it is complex and not every producer can master it).
However, their sound is unique. Compared to digital synthesizers, their sound is much more organic, expressive and punchy in the mix, even though it is often mono (unless you use some stereo parts and effect modules), it sounds 3D. Simply put, their sound is not static and cold like digital synthesizers, but constantly evolving/alive/warm - thanks to the fact that electronic components behave non-linearly and under the influence of various factors (such as heat, current) their sound modulates itself every millisecond. With digital you will probably never create such lively, organic and constantly changing sounds - such sharp, cutting filters and resonances, textures, metallic analog sounds or twisted twisted effects. The sound of modular analog synthesizers will give your songs a completely different dimension, analog color, warmth and character of something real/organic. It’s the essential tool for professional sound design and adding that sought-after vintage character to your mix.
Modular synthesizers excel mainly in the field of FX, soundscapes and experimental sounds. Producers often use them for unique tension builders and complex cinematic sound effects.
So if you don't have the space and possibilities and especially the time to spend long hours programming a single sound, don't despair. We have prepared for you a multi-octave VST / AU plug-in instrument full of banks created using analog modular synthesizers. This is your shortcut to authentic analogue synthesis, instantly available as high-quality modular samples / multi-octave multi-layer banks.
The combination of digital and modular analog is very interesting and gives tracks a completely new dimension, sound and atmosphere. Get the best of both worlds: digital workflow convenience with true analogue character.
Analog Modular FX1 is perfect for many genres from different branches of psytrance such as: darkpsy / forest psytrance, also full-on psytrance, experimental zenon style progressive psytrance, night psytrance, modern goatrance, but also hitech / hightech, psycore. However, these FX sounds can also be used in other genres, for example modern techno, which is mixing more and more with other elements. Also suitable for rave music, bolder tech house, breakbeat. Also great for experimental genres, glitch, dark ambient. Modular sounds and FX are perfect for futuristic cinematic music / video game music, thriller and horror music. The sounds can also be pre-effected, making them suitable for other genres, such as dark drum and bass, neurofunk intros/stoptimes/outros, hardcore techno, gabber, industrial techno, EBM. Use them as powerful risers, drops, and complex transitions.
Includes: Analog monster modular voices, Modular laboratory experimental bubbling experiments, Alien analog FX, Spirals, Twisters, Risers, Multidimensional resonators, Distorted screamers, Alien pipes, Analog underground pipes and tubes, Organic sweeps, High pitched howling sounds, Funky twisters, Metal FX, Acid analog rave sound FXs, analog modular textures and pads, Electrostatic pulsations, Mysterious modular atmospheres, Alchemical bubbling sounds, UFO analog patches, Extraterrestrial atmospheres, Dark atmospheric sounds, Extraterrestrial analog modular samples, Metal sounds, Nonlinear modulated twisted sounds, Short spirals and spring reverb sounds, Electron and quark sounds, Electrostatic discharges, Alien animal howling sounds and much more.
Perfect for producers looking for cinematic sound design, modular synth VST, organic analog textures, experimental plugin instruments, soundscape creation tools, psytrance sound packs, modular synth FX, atmospheric VST plugins, glitch & IDM tools, techno sound design instruments, professional sound libraries for electronic music, best vst instruments for edm, modular vst plugins for mac and windows, vst synth for ambient and cinematic music, experimental analog vst download, modular synth vst free/paid alternative.
All sounds/banks are created in a wide range of octaves, ranging from C3-C4-C5-C6-C7. This ensures maximum flexibility for your sound design needs in any DAW (e.g., FL Studio, Ableton Live, Cubase, Logic Pro, Reaper, Studio One and others).
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."
F*ck With Sound ships Break On Through and Bring It On, debuting dedicated DACS Audio brand with extraordinary Eurorack modules living up to noteworthy name
GATESHEAD, TYNE AND WEAR, UK: having opened ears in October when debuting during the Bristol, UK-hosted Machina Bristronica 2025 event showcasing electronic music culture and technology, dedicated DACS Audio brand F*ck With Sound is proud to ship Break On Through and Bring It On — opening an absorbing new chapter in the award-winning high-performance, well-engineered product producer’s four-decade-spanning design and manufacturing history with a FET distortion unit (based on an extension of what was originally a microphone level limiter) and a ring modulator boasting a super-smooth sound, really low breakthrough, and switchable WEIGHT and EDGE controls (which will both be familiar to users of DACS Audio’s legacy FwS FREQue, much-lauded as a 2U rack-mount, two-channel ring modulator outboard effect), respectively, representing extraordinary Eurorack modules living up to the newly-launched brand’s noteworthy name — as of December 15…
As a FET distortion unit based on an extension of what was originally a microphone limiter, the basic circuit behind F*ck With Sound’s Break On Through module has been used — and abused! — by producers for years, more recently emulated as a plug-in, before being effectively adapted to join the ranks of the ever-expanding Eurorack marketplace. Maintains DACS Audio Managing Director Dr Douglas Doherty: “After reading about Soundtoys’ Devil-Loc plug-in, I was intrigued. We were looking for a distortion unit to go in a mic pre under development. I had heard about Tchad Blake’s work with the original Shure Level-Loc — particularly on drums, and this seemed like a bit of serendipity that had to be acted upon! The perfect fit. In the end, we didn’t proceed with the mic pre, but it was clear that this would be ideal for modular system users.”
Bringing Break On Through to market as a 14HP-sized Eurorack module — based on a classic analogue microphone limiter design that was, according to legend, hijacked by an electronics-savvy record producer, and used on numerous records for ‘breaking through’ with drums and percussion, particularly — was easier said than done, however. “As always, there were many hurdles,” admits Dr Douglas Doherty, before continuing: “The original circuit was for microphones, so it had to be upped for line level; it was single voltage rail, so had to be adapted for dual voltage rail; the interaction of the threshold and input gain needed some tweaking; and we wanted to adjust the release. After a few prototypes, we arrived at the current unit, which is very responsive and versatile. Control-wise, it has an input gain [IN GAIN] and a threshold setting, which we call BREAK; as well as the manual BREAK control, there is also a CV input [IN] to modulate the threshold. There is a variable RELEASE control that can produce some very interesting results, depending on the nature of the input. On the output, we also have gain [OUT GAIN], and a CV input [IN] to modulate the output level [GAIN MOD].”
Musically speaking, the end result “…is a brick wall limiter that can — by upping the input level — be pushed into distortion,” describes Dr Douglas Doherty, justifiably proud of the fact that F*ck With Sound successfully upgraded and updated the circuit concerned to produce a colouring block with a vast pallet. “With dynamic material such as drums, it can be set for only peaks to distort — the rest remaining clean. That quality was commented upon by a couple of distortion aficionados atMachina Bristronica.” Break On Through features — hitherto unmentioned — worth highlighting here include: LED indication for distortion; solid metal sleeve jacks for longevity and stability; and custom DACS Audio aluminium knobs.
"Mint condition, The MPC-DSM Electronics D.S.M. 8+ drum synthesizer modules are a versatile and high-quality option for creating intricate and dynamic drum sounds. As a modular synthesizer, these modules offer the opportunity to customize and experiment with different sound design techniques. With the trusted brand of MPC-DSM, users can expect top-notch performance and reliability in their electronic music productions. Perfect for both studio and live performances, these drum synthesizer modules provide endless creative possibilities for music creators."
"The Rhythm Machine evokes the nostalgia of early 1970s preprogrammed analog drum machines, like those from Maestro, Univox, and Ace Electronics. It captures their charm and simplicity while delivering the classic sounds of later icons such as the Roland CR-78 and TR-606, all in a compact, easy-to-use pedal. Perfect for musicians chasing retro vibes without the hassle of bulky, temperamental units, it delivers instant, playable beats for live performance, practice, or recording.
The Rhythm Machine offers 10 versatile rhythms with the distinctive kick, snare, and hi-hat sounds of old-school drum machines. Each beat can be edited on the fly to mute voices, using clean switching for seamless, noise-free transitions. Modern features, such as tap-tempo control and a gate input, make it simple to integrate with your other gear. Pedalboard-friendly, sonically compatible with effects, and powered by a standard 9V supply, it delivers the iconic sounds of vintage drum machines in a stage- and studio-ready pedal that fits seamlessly into any setup."
Morphor marks upcoming availability of ECHON 6 as world’s first polysynth based around analogue BBD resonators by announcing opening of pre-orders
GHENT, BELGIUM: having twice turned heads and opened ears thanks to show-stealing showcases at SUPERBOOTH25, May 8-10, FEZ-Berlin, Germany and Machina Bristronica 2025, September 27-28, Bristol, UK, Morphor marks upcoming availability of its eagerly-awaited ECHON 6 — being billed as the world’s first polyphonic synthesizer based around BBD (Bucket-Brigade Delay) resonators, building upon the Belgium-based collective of artists, engineers, and musicians with a passion for creative sound experience and radical acoustic ideas’ illustrious Eurorack expertise in that area as its inaugural standalone (rack-mountable) desktop design — by announcing the opening of pre-orders as of October 23…
As an ANALOGUE POLYPHONIC MULTI-TIMBRAL BBD SYNTHESIZER — helpfully highlighted by the on point wording worked tastefully into its fitting front panel design’s execution, ECHON 6 brings the principals of modal synthesis into the analogue domain. Far from reimagining a digital concept with modern analogue circuitry, it readily redefines how resonance and excitation can interact. And as the world’s first polyphonic synthesizer based around BBD resonators, no less, each of its six voices features a discrete BBD RESONATOR that tracks the keyboard, producing organic overtones and complex harmonic depth. Duly allowing its users to excite those resonators in creative ways, ECHON 6 can generate anything from plucked and bowed strings over leads and basses to big pads and evolving soundscapes. Combining comprehensive multi-timbral capabilities, a 9 x 32 modulation matrix, a full analogue signal path, and a one-knob-per-function approach, ECHON 6 ultimately unites experimental sound design with classic polyphony. Indeed, its architecture invites exploration at every stage of that analogue signal path.
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
October 20, 2025 (Asheville, NC) – Musician, composer, and music technologist, Erik Norlander, is selling a collection of 40+ vintage and current synthesizers and keyboards on Reverb.com starting on October 6th. Thirty percent of the proceeds will be donated to the Bob Moog Foundation to support its work in education, archive preservation, and the operations of the Moogseum. Erik Norlander’s Bob Moog Foundation Benefit Sale can be accessed here.
Some of the notable synthesizers and keyboards for sale include: Oberheim Matrix-12, OB-Xa and OB-8 analog synthesizers, Rhodes (ARP) Chroma analog synthesizer, Rhodes Mark V and Mark II electric pianos, Farfisa Compact Duo CD/30 combo organ, Farfisa Syntorchestra, Korg Maxikorg DV800, Logan String Melody string synthesizer, Roland VP-330 MK-1 Vocoder, and the Waldorf Q wavetable synth keyboard, among many others.
“I am excited to offer part of my rather sprawling keyboard collection for sale to benefit the Bob Moog Foundation,” noted Norlander.
“I have been a supporter of the Foundation since 2007, and I strongly believe in generating funding to empower its work in education, archive preservation, and the operations of the Moogseum.”
Erik Norlander is an accomplished keyboardist, composer and producer with over 40 album credits including nine solo albums, seven with his Rocket Scientists project, and 11 albums with vocalist wife, Lana Lane. He serves as a member of the Board of Advisors of the Bob Moog Foundation. Erik toured and recorded with Asia Featuring John Payne from 2007 to 2014 and recorded two albums with the Asia spinoff project, Dukes of the Orient, in the years following. He toured extensively in the US and Europe in 2016-2018 with Last in Line featuring original Dio members Vinny Appice and Vivian Campbell. Before Last in Line, Erik toured with Big Noize, a supergroup featuring hard rock all stars, Joe Lynn Turner, Simon Wright and Carlos Cavazo. Erik also wrote the music and produced the album, Roswell Six - Beyond the Horizon, in 2009 for science fiction author, Kevin J. Anderson, in support of the first of his Terra Incognita fantasy novels.
Outside of the music world, Erik co-designed the UNO Synth analog synthesizers for IK Multimedia, carrying on the legacy of his design work on the legendary Alesis Andromeda analog synthesizer in the late 1990s. Erik also created IK Multimedia’s Syntronik virtual instrument libraries based solely on samples of his synth collection along with scores of sample libraries for SampleTank 4. Prior to that, Erik was the first synthesizer product manager for Alesis Studio Electronics and presided over the creation of the QS series of synthesizers, DM5 and DM Pro drum modules and several other products. He is currently the Director of Keyboard Product Development for Moog Music and the inMusic Family of Brands."
"The Midimini was Studio Electronics' first series of synthesizers built from scratch. Prior to the Midimini was the Midimoog, which consisted of actual Minimoog circuit boards retrofitted into a rackmount enclosure. The Midimini does not use the original Moog circuit boards, but instead Studio Electronics designed their own boards. Minimoog users will find the layout to be quite familiar with some nice additions such as a dedicated modulation LFO, oscillator sync and switches for aftertouch control. This unit is in very good condition with a bit of rack rash on the top and bottom. If you are looking for that classic MiniMoog tone, wicked huge basses and leads.. This box delivers!"
F*ck With Sound ships Break On Through and Bring It On, debuting dedicated DACS Audio brand with extraordinary Eurorack modules living up to noteworthy name
"THE FLORIAN SCHNEIDER COLLECTION
