"At this year’s SynthFest France, Cornel Hecht and Dr Walker from the Liquid Sky artistcollective go full in.
They will present a prototype of the PPG Modular 300.
A cult classic reborn
Like the legendary PPG 1002 Mk2, the PPG 300 is built entirely by hand, one unit at a time.
Each component is carefully selected, not just by specification, but by ear.
Every vco is individually tested and matched, acknowledging the subtle variations that make analog circuits come alive.
The team promises finest analog sound:
Raw, deep, and precise enough to satisfy the most demanding ears.
Visitors are invited to experience the instrument in person at the Liquid Sky booth, talk to the Liquid Sky family, and dive into their universe of music / experimental films / trees and dada art.
If you can’t make it to Synthfest France, the PPG 300 sound monster will appear live at the 303 Years of Liquid Sky Cologne at Artheater Cologne Ehrenfeld on may 30.
505 String Machine is the definitive ultra-deep sampled (UDS™) string machine. The most detailed sampling of the legendary RS-505 Paraphonic ever done.
The secret weapon of Vangelis. While the CS-80 became the icon, the RS-505 was the warmth underneath, equally present across his most celebrated work. Essential on records by The Police, Depeche Mode, The Cure, New Order, Jean-Michel Jarre, and Herbie Hancock. The string machine that shaped the sound of an entire era.
505 String Machine includes expertly crafted programs built from extensively UDS™ sampled parts, capturing every nuance of the original hardware’s divide-down oscillators and analog ensemble chorus. That constantly shifting, organic phase movement that makes the RS-505 impossible to replicate with synthesis is preserved in full detail. Expanded with our custom 505 C.A.F™ modeled filter for deeper sound design while staying true to its analog soul. The result is instant tone and deep creative flexibility.
"Ben Roidl-Ward: bassoon - Stelios Giannoulakis: EMS Synthi100
Free Improvisation at ΚΣΥΜΕ/CMRC, Athens 27 Nov 2025
A frequency-to-voltage converter and two envelope followers allow Ben's bassoon to drive voices from the synth, while Stelios radically adjusts parameters and adds elements with the joysticks, the faders, and the other controls. No other sources or effects were used.
Recognized by the Washington Post as one of the artists “changing the sound of classical music,” Ben Roidl-Ward stands out for his technical and expressive versatility. He is an Associate Professor of Bassoon at the University of Illinois and Principal Bassoonist in three symphony orchestras. He collaborates with the Ensemble Dal Niente and the Lucerne Festival and has participated in over 180 premieres. He studied at Northwestern, Rice, and Oberlin, mentored by prominent bassoonists. On 27 November 2025, together with the Composer Niki Charlafti, Ben visited CMRC to present the project Building Bridges. Stelios Giannoulakis is a Greek composer and engineer playing with modular and circuit-bent devices. While teaching Electroacoustic Composition and Creative Music Technology at ΚΣΥΜΕ, he has been fortunate to become familiar with the historic EMS Synthi100 analog synthesizer.
from the event:
'Tο ΚΣΥΜΕ φιλοξενεί τον Αμερικάνο φαγκοτίστα Ben Roidl-Ward (Assistant Professor of Bassoon at the University of Illinois Urbana-Champaign) και την Ελληνίδα συνθέτρια Νίκη Χαρλάφτη (PhD in Composition and Music Technology, Northwestern University) με το project Building Bridges. Παρουσίαση και συζήτηση πάνω στην δημιουργική και εκπαιδευτική προσέγγιση της ομάδας, εκτέλεση έργων για σόλο φαγκότο των Μηχάλη Παρασκάκη, Στρατή Μηνανάκη και Νίκου Χαριζάνου, αυτοσχεδιασμός με το EMS Synthi100 από τον Ben Roidl-Ward και τον Στέλιο Γιαννουλάκη. Το Building Bridges έχει σκοπό την ανάθεση, εκτέλεση και προώθηση τολμηρών νέων έργων για φαγκότο από Έλληνες συνθέτες σε διεθνές επίπεδο, όπως και την εκπαίδευση και διασύνδεση διαφορετικών ομάδων ακροατών'"
"We say... A pre-owned Sequential Trigon-6 in very good condition. It comes with original packaging and power cable
Manufacturer's description Experience the Power of Three Oscillators and a Ladder Filter with the Trigon-6 Module
The Sequential Trigon-6 desktop module delivers the same massive sound and hands-on sonic control as the Trigon-6 Keyboard. It features the same pure analog signal path with discrete oscillators and filters, and the same high-quality digital effects. It also has the same intuitive layout with full-sized knobs and switches that make it quick and easy to shape new sounds.
The Trigon-6 module sounds huge — just like the keyboard, because it is the same six voice polyphonic instrument, just in a smaller form factor. And if you want even more polyphony, you can use the poly chain feature to link any two Trigon-6s for a stunning twelve-voice synth!
A Sound That is Bold and Familiar
The Trigon-6 is Sequential’s polyphonic take on the classic, thick and creamy, 3-oscillator-plus-ladder-filter analog sound that defined the dawn of the synth era. It’s a sound that bridges genres and styles — now refined and redefined with Sequential’s own modern imprint.
We say... A pre-owned Sequential OB-6 Desktop in very good condition. It has a few dings to the wooden side cheeks. The outer packaging is slightly worn but original and it comes with the power supply and manual
Manufacturer's description Classic Oberheim Sound — Made Portable The OB-6® desktop module is just as powerful and easy to use as its counterpart, the OB-6 Keyboard. The module has all of the same controls as the keyboard version and provides the same immediacy and ease of use. As with the OB-6 Keyboard, all parameters are at your fingertips, with full-sized knobs and switches and a comfortable, intuitive layout.
How does it sound? Massive — just like the keyboard, because on the inside, it’s exactly the same. The same analog signal path with discrete VCOs and VCFs. The same high-quality digital effects. The same classic Oberheim sound that has been earning raves from musicians around the world.
"A performance and reflection on what it means to truly play.
In a world of presets, screens, and precision, this is an exploration of something more fragile — and more human.
Using the Cyma Forma ALT, a 5-voice analog instrument designed for improvisation, I move between structure and freedom, control and surrender.
This is not about building a track.
It’s about being present while sound unfolds.
Improvisation becomes a practice —
of listening, reacting, and letting go of the need to know where you’re going.
No presets. No fixed outcomes.
Just gesture, attention, and the moment."
"New Uses for Old Circuits is a series looking at linear and nonlinear processes in the modular system.
In this video we look at simple feedback systems and explore linearity and nonlinearity. We see how basic audio feedback through a linear system (basically a volume knob) can accentuate or attenuate what is already present in a sound. But sending the feedback through a nonlinear system transforms the sound into something else entirely."
"3 brand new patch banks for the Korg DW-8000/EX-8000 and FB-7999 plugin.
Contact me on email and I'll even give you a little discount if you buy directly from me.
Or get them here: https://thepatchbay.io/product/korg-d...
Price is $15USD for all three banks which is a pretty sweet deal.
3 full banks of 64 patches each are included in the download. P11-88
Bank 1 Luxury Vanilla Bank - 64 different pads, strings, bells and other glossy and slick sounds
Bank 2 Bass Bang Bank - 64 different bass patches, many of them really cuts through a track
Bank 3 Adventurous Bank - 64 different many patches suited for more experimental electronica
The download comes with 3 sysex banks you can import straight into your DW-8000/EX-8000 and also the Full Bucket FB-7999 free plugin emulation of the DW-8000.
If you're using the FB-7999 exclusively I've also included the banks as *.FXB so you can have the benefit of the STEREO tweak parameter not present in the hardware. I have adjusted many of the patches for the FB-7999 to take advantage of just that.
In the demo you hear only the patches coming out of the FB-7999 plugin, played from the DSS-1. All banks have been tested and verified on the hardware.
In the demo I also use some external effects, mostly so in the demo song in the beginning.
The drums (and NASA talking) in the demo song are of course not part of the download. All other patches/sounds are.
I have a video on my channel about how to get your sysex banks into a hardware DW-8000 and EX-8000.
Finally, as an arranger and producer, I make patches that are mostly meant to be used together with other sounds. How a sound or patch sound in isolation is rarely relevant. It's how they build up texture when combined with other sounds that is important to me.
Like in the Bass bank, many of the bass patches are meant to be part of the low end, together with a kick. That's why many of them might seem bland or plain in isolation, but put them into a production and layer them correctly and they'll give you a solid low end with definition, like the demo track. I use 3 different bass patches from this download to have that solid, slick yet defined bottom end."
Click the auction link on top when you get there for additional listings.
"Probably one of the best examples of the classic Studio 440 anywhere. Sampler/sequencer/drum machine from Sequential Circuits, circa 1987. S/N 582. The present owner bought this from Wine Country in 2007. It has version 2.30 (SCSI) operating system by Pointsource, 512K RAM, 12-bit sampling, up to 35 seconds sample time (at 16kHz, max rate is 44kHz), 50,000 note sequencer capacity, 8-note polyphonic, stereo audio outputs as well as individual track outputs 1 to 8. And, of course, it has MIDI – very easy to sequence up other synthesizers.
Quite a lot of functionality in a single box and easy to operate. The Studio 440 is fairly rare (about 600 made through 1986, ’87) and considered one of the pioneering forerunners to the later MPC units of the nineties.
This unit is in excellent condition – the cosmetics are very good, with tiny scratches around some of the edges of the enclosure. The main panel paintwork, graphics, knobs and switches are like new. No known issues operationally. Disks load fine, sound configuration, sampling, sequencing and audio all good, menus look normal. Display backlight is good, all hardware good. An easy instrument to get to know and operate, and sounds pretty good for a 12-bit sampler. Includes original manual (NOS from Wine Country), some service data, a number of sample disks, head protector disk (this will have to be ejected following transit) and a survival kit consisting of 8 spare touch pads (unused), two NOS pots, one switch module, one I-624 voice chip. The mains connection is standard IEC socket. The buyer will have to acquire their own mains cord that suits their country and change the internal voltage setting if necessary (explained in the manual. The present setting is 230V).
Weighs 10kg. Unit measures approximately 60x30x16cm (including manual, disks and spare parts). Packaged up, will be maybe 10% larger and heavier. The item is located in New Zealand. Examples of approximate door to door air-freight shipping costs, including insurance, at the time of writing, are: UK/Europe, 300GPB/Euros. USA, $500USD (US tariffs may change at short notice). Australia, $250AUD. Costs to be confirmed upon sale. Importing customs charges and tax are buyers responsibility. You're welcome to find alternative shipping at your expense and risk."
"Messing about with noise and random voltages. This patch is just various noise sources through various filters, frequency-modulated by sample & hold, with envelopes controlling amplitude (VCA) or affecting filter frequency. No sequencer was harmed in the making of this video.
The @solidstatelogic BigSix is used to mix all 4 sounds, with the @vermonagear DSR-3 providing stereo spring reverb for the drone and occasional sound.
Video & performance by @DreamsOfWires
Patch Breakdown:
Drone: This is just pink noise going into the FIXED FILTER BANK 914, but with an LFO from the DUAL RVG modulating the mix between the left and right bands of the Filter Bank, creating that slow, breathing effect. The AJH SYNTH 914 has built-in, voltage-controllable mixing/cross-fading functionality, which wasn't present in the original Moog 914 on which it is closely based.
Percussion 1: White noise going to the SONIC XV Diode Ladder Filter, using its band pass output. One channel of the DUAL RVG is sending random voltages to the Sonic's Filter Frequency/Cutoff, whilst a DH-ADSR envelope generator controls its audio level in the TRIPLE CROSS (being used as a triple VCA).
Percussion 2: This starts with noise generated by the LUNAR MODULE - this has 2 noise sources with different character and tone control, and built-in distortion. Its output goes to the MATRIX VCF, which has 16 different filter modes, which I cycle through manually during the video. See out User Guide video for more information: • NEW MODULE! MATRIX VCF User Guide - Vintag...
Occasional Sound: Here I'm using the SAMPLE & HOLD module to randomly trigger the MULTI BURST ENVELOPS module. The Colour control on the Sample & Hold determines the range of random voltages generated. It is a combination of Low Pass and High Pass filter over the onboard noise that is used to derive the voltages, so turning it anti-clockwise from the centre acts as a low pass filter, reducing voltages produced to be in the lower range, whereas turning it clockwise of the centre position acts as a high pass filter, meaning voltages in the higher range. Since it is generating lower voltages here, it is only occasionally producing enough of a voltage change to trigger the Multi Burst Envelopes. If I raise the Colour control it will trigger more often.
The Multi Burst Envelopes produces a chosen number of bursts of the selected envelope shape. The built-in LFO controls the speed of the bursts, as does the Clock input, but both can be used together or independently. I'm using it to control the frequency of the ENTROPIC DOOM's low pass filter, to generate an occasional burst of filtered noise."
"Musical exploration of new eurorack filter by Crazy Chicken Modular - SHRIMPY."
Shrimpy is a fully analog multimode voltage-controlled filter with three simultaneous audio outputs: low-pass, band-pass, and high-pass. It was designed with a strong focus on character rather than neutrality.
The resonance is voiced to emphasize midrange frequencies, giving the filter a present, expressive tone that cuts through a mix. At higher settings, it becomes vivid and assertive without collapsing into thinness.
At the heart of Shrimpy lies an unusual distortion chain integrated directly into the filter core. This distortion adds a pleasant crunch, enriching the sound. When pushed further, it can turn glitchy and rustling, introducing rough textures and unstable edges that make the filter feel alive. It should be noted that the distortion sound characteristics will depend on the Shrimpy settings and the input signal, since distortion occurs in the filter core itself, rather than at its input or output.
All parameters are fully voltage-controllable:
Cutoff frequency (with and without attenuator)
Resonance
Distortion amount
This makes Shrimpy a flexible yet opinionated sound processing tool, well suited for experimental patches, aggressive basses, textured leads, drones, and evolving soundscapes."
"I present to you a demo of synthesizers made by French luthiers, for whom I develop and explore musical possibilities. Whether they are Moog clones or modern analog instruments, the idea is to rediscover the possibilities of the old modular synthesizers, the sound, and the pleasure.
The Ancestor Moog NRsynth is extremely sensitive and features the original VCOs (3), filters (1 Moog + 1 Steiner Parker), VCAs, and mixers. It also has 2 LFOs + 1 noise generator.
The SynthR 4 is a semi-modular multi-tasker, equipped here with a Moog Ladder filter and the famous 4012 ARP (Moog clone). 3 LFOs + 2 noises... it also has 4 VCOs and 2 SUB VCOs.
The whole thing is controlled in real time through the powerful SynthR4 sequencing software.
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]
Recreated by Eric Frampton, a lifelong Memorymoog owner who has maintained and performed on the instrument for over 35 years, this collection faithfully rebuilds the entire Memorymoog factory library inside Moog Muse. In this video, hear side-by-side comparisons and explore how these classic sounds translate to Muse’s modern workflow and performance controls.
Using Muse’s modern architecture, each sound goes beyond the original with velocity, aftertouch, macro controls, effects, and expanded modulation, while preserving the three-oscillator polyphonic character that made the Memorymoog legendary.
From Moog’s first true 3-oscillator polyphonic synthesizer in 1982 to today’s 8-voice analog flagship, this preset pack bridges past and present in one playable library."
"13-16/11/2025
Gearing Space in 798 Art District, Beijing, China
Modular synthesizer live performance
Photographer: 包子
Camera operator: Tabriss, 千两道化,翰海, 孙太阳, Moy
Recording/Mastering: Ocicat
Video edit: @tamiX-tamiX
About MCV:
Machine Control Voltage 「MCV」.Chaos is an unknown sequence. Sound artist/visual artist. The extremely minimal simplified electronic-acoustic and experimental chaotic dissonance constitute various forms of sound spaces and all unknown occurrences. She’s sound art works often present non sustained experimental sound field transitions, exploring between silent restraint and extreme chaos."
"The Korg Phase8 has been present in the collective synth-nerd consciousness for a few years, as Korg’s Berlin skunkworks department have slowly released details and demo’d prototypes, most notably at the last two Superbooth events. An iconic, mainstream synth manufacturer like Korg, exploring and experimenting with an entirely new concept in how synthesis can be used was an exciting prospect, and captured a lot of people’s imaginations - mine included.
I was lucky enough to find time to explore those prototypes at the previous two Superbooths, and even more lucky to have Korg approach me with a completed production model to make a video about.
The final model is an impressive physical instrument, with Korg Berlin’s industrial design chops on display, but I’m here mostly to talk about the sound and the functionality of the Phase 8, so in this video I’ll explore how it operates solo, how it can be integrated into a larger setup, try out some “extended techniques” and discuss where I feel the Phase 8 could be pushed further.
Transparency notice: Korg kindly sent over the Phase8 to make videos about. They haven't requested or been granted any oversight of the contents of the videos. I haven't otherwise been paid, but I do get to keep the unit shown in this video."
Chapters: 00:00 Intro 01:04 What is Phase8? 03:36 Voices, Resonators and Tuning 06:17 The voice controls 07:58 The Air Control 09:03 The Mod Effects 12:44 The Sequencer 17:51 "Strum" 18:57 Control Voltage and Sync 22:13 MIDI control and CC 27:25 Can it DRONE? 29:35 Acoustic Feedback 31:53 Phase8's Untapped Potential 40:30 Final Thoughts
"Cric is a fully-analogue patchable synthesiser, designed to showcase our approach and attitude towards subtractive sound synthesis. It is not a clone or derivative of a pre-existing musical instrument, nor is it simply our Eurorack modules cased up in a box. Whilst some of Cric's functionality descends directly from our experience in designing modular synthesiser components, it has been designed as a fully fledged, standalone instrument, which can easily be introduced into an existing electronic music studio, or even form the heart of an entirely new set-up.
Rock solid voltage-controlled oscillators give the user both pitch precision and FM flexibility. A comprehensive filter section affords timbral sculpting from basic filtering to total transformation of incoming tones. Four cyclical function generators can be used as envelopes, LFOs or even audible VCOs. Pin matrix patching allows for the synthesiser to be configured as a standard triple-VCO subtractive synth, or a paraphonic synth, or a drum machine, or a noise box, and so the list goes on. Four inputs and outputs allow for audio processing, external CV control, feedback routing and more - there's even a microphone pre-amp on input 1. Steel casing, Mirrl -clad HIMACS end-cheeks and hand assembly and testing ensure a rugged and durable build quality.
Technical specifications:
Oscillators : Three SSI2131-based analogue VCOs in Recombination configuration, white noise generator Filter : SSI2164-based 18dB/octave state-mixable analogue VCF, with wave-folding, based on the Timbral Sculptor Dynamics : SSI2164-based VCAs present in DNA oscillators, filter section and as a standalone VCA Modulation : Sample and hold + four cyclical function generators offering AD and ASD envelope configuation, cycle mode, and slope and pulse sources Routing : 24 source x 32 destination active pin matrix allowing for splitting and summing of all signals I/O : Four DC-coupled inputs and outputs for multi-channel audio and CV use. Microphone pre-amplifier assigned to In 1. Headphone amplifier on Out 1 Dimensions : 550 x 310 x 80 mm, 5.3 kg Power : +12VDC (centre positive, 2.1mm barrel jack connector), 2.5A, PSU included"
Yep - we're headed back to California for NAMM - and more! Here's the scoop:
Events
Thursday January 22:
Registration opens for our NAMM giveaway!
Friday January 23:
Anthony Marinelli at our booth
Blue Meanie All Day: See the rarest ARP there is! Nicknamed the "Blue Marvin" after ARP's CFO, Marvin Cohen, due to its bright blue metal case and unique features - while the actual name was "Blue Marvin," the nickname "Blue Meanie" stuck! Only about 25 were made in 1971, making them highly sought after.
ARP 2600: Drew Schlesinger demonstrates patches using the 2600 software included in the Korg Collection VST
Saturday January 24
Artists at our booth - TBA
Giveaways at 4:00pm:
Poster signed by Martin Gore
Soul of the Machine CDs
And one lucky person will win the full Korg Collection 6:
Magical sounds, authentically re-created by KORG.
The ultimate synthesizer suite for the ages.
The KORG Collection is a suite of software synthesizers that methodically and accurately recreates the authentic sound and behavior of legendary KORG synthesizers for the present day and beyond. The KORG Collection project began with analogue synths such as the MS-20, Polysix and Mono/Poly, and has steadily evolved to include digital synths such as the world’s most popular synth, the legendary microKORG, the workstation classics M1 and TRITON, and physical modeling synthesis from the renowned Prophecy. The KORG Collection even includes the ARP ODYSSEY and ARP 2600, both revived for the 21st century by KORG.
In 2025, KORG added three legendary instruments to the KORG Collection – each an icon of its era, celebrated for their distinctive presence and heard over decades in countless classic tracks. The TRINITY, PS-3300 and SGX-2.
As if NAMM weren't enough all on its own - there's Buchla & Friends on Sunday, January 24.
Buchla & Friends is January’s biggest two-day collection of hands-on synths on the West Coast! If you love creative sound, you need to be here. With a pre-party on Thursday, afterparty on Saturday, and two days of exploring all the greatest gear, Buchla & Friends is an essential start to the new year.
They're gathering over 90 synth makers in one awesome Downtown Los Angeles location so you can learn, listen, and live the latest in electronic music sound production. This hands-on, headphones-only gathering gives you a chance to hear the best sounds science has ever created. From additive to subtractive, analog to digital, keyboards to breath, audio to visual, modular to full-size polyphonic, eurorack to Serge to Buchla, you’ll meet synth makers and synth enthusiasts alike.
"Vintage PAiA 4700 Series Modular Analog Synthesizer with Keyboard – Needs Repair
Offered here is a PAiA 4700 Series Modular Synthesizer, produced between the early 1970s and early 1980s. This system is being sold as-is and will require service to be fully operational.
Functional Status
VCO 1: Powered and producing signal. Can be patched through the filter and mixer and triggered via the keyboard.
VCO 2 & VCO 3: Not producing output. Both modules are not connected to power or ground.
Sequencer (4780): Does not power on or respond. The power and ground wires are present on the bus but not connected to the sequencer module.
Filter (4730): Produces sound when triggered through the mixer.
Keyboard / Pitch Tracking: Synth triggers properly, but pitch does not track consistently across notes within the same octave and will require calibration or service.
Internal Condition
Power and ground wiring for the sequencer, VCO 2, and VCO 3 are disconnected internally.
Loose wire ends have been insulated.
Reason for the disconnections is unknown.
Included Modules
4720 VCO (x3 total)
4730 VCF
4740 Envelope Generator (x2)
4710 Balanced Modulator (x2)
4711 4/2 Mixer
4712 Reverb
4770 Watt Block (x3)
Control Oscillator
4761 Wing
4780 Sequencer
Notes
No patch cables included
Vintage condition with cosmetic wear consistent with age
Not fully functional and sold as-is for restoration, repair, or knowledgeable users
The PAiA 4700 is a historically interesting DIY-era modular synthesizer with a distinctive analog character. This example will appeal most to technicians, restorers, or modular enthusiasts comfortable with vintage electronics."
"The Aion Modular Model 15 provides everything you need for a Moog-style modular system in a Eurorack format. The filter section, the backbone of the Moog modular, includes both the classic low pass filter, passive lowpass and high pass, and a fixed filter bank, providing a myriad of sound sculpting possibilities. Three oscillators are available, two from the voltage controlled oscillator bank and another from the wide ranging voltage controlled oscillator. In addition, two noise sources, white and pink are present for adding texture or a touch of unpredictability. Two classic ADSR envelopes provide modulation and are perfectly paired with the two VCAs or with the filters. Two four channel CP-1 mixers are present at the bottom of the Model 15, which can be used to both mix channels and add pleasant warmth to them. In addition to all this analog goodness, a MIDI to CV/gate converter is included to sequence the Model 15 from external MIDI devices. The Model 15 brings the classic parts of a modular synthesizer into one package that sounds just as rich as the original
Model 15 Features
Modular system Moog-style design Two 902 VCAs 907A Fixed Filter Bank 904A Voltage Controlled Low Pass Filter Two 911 Envelope Generators 921ABB Voltage Controlled Oscillator Bank 921 Voltage Controlled Oscillator 955 Attenuators 923 Noise/Filters Two CP3 Mixers MIDI to CV converter Case includes lid and carrying handle"
