Pics of the inside and the user manual below.
"This edition is rare, and cannot be found anywhere as a set. Made by EMS London, and works differently than the Synthi A, although it appears to be the same. Here is a breakdown of what you get below:
In addition to the power supply, new patch cables as well as the original patch cables (standard mini jack), the lid of the "suitcase synthesis" and the original manual (or textbook) are included.
The modules of the EMS Synthis work perfectly, the overall sound and especially the filter sound very high-quality.
VCO – Voltage Controlled Oscillator • with the vibration forms sine, sawtooth, triangle and rectangle with external control voltage input for pulse width modulation • VCF – Voltage Controlled Filter • Multimode filter with 12 dB slope, low-pass, high-pass, band-pass and phaser • LFO – Low Frequency Oscillator • with the vibration forms sine and rectangle • SRG – Slow Ramp Generator •
with the vibration form sawtooth • NG – Noise Generator • the noise generator offers white noise • EG – Envelope Generator (Envelope Shaper) • A-D-S-R • RM – Ring Modulator • INV – Inverter • SL – Slew Limiter (Portamento) • EF – Envelope Follower • External Audio Input • Output/Mix • Control Inputs"
"By ear cover of the awesome theme to the Amiga version of Uridium 2 by Jason Page.
The Commodore 64 version that never was . . . .
8580 SID in circuit. No midi file. No C64 original to lift hints on how to handle the voices and wave forms. Just an idea on a whim, a blank canvas and a question of how to do the four channel sample based original justice with only a potato and three voices.
Shout out to Rob Hubbard for his SID programming style, all it taught me from listening to it all before the world moved on, and studying it now for the wealth of tricks you can learn from it if you put in the time.
The human league cover that came before this was nothing more than messing around for the sake of all the meows. It was fun, but didn't offer much in the way of a challenge. This one sets the bar much higher. A 100% pass as far as stress testing the module and write routines goes.
Alleykat proves itself admirably.
From the point of view of a 80s C64 kid, it's fucking awesome 😁🔥
Cheers, Dad, for getting me the bread bin all those years ago ❤️"
Portable Legendary Analog Synthesizer with 1 VCO, Classic VCF, 1 LFO and 2 Envelopes
D MINI — MINIMOOG LEGEND, POCKET POWER
The MiniMoog is the synth that built modern music — the fattest mono lead sound ever invented. The D MINI captures that DNA in a true portable analog synth you can throw in a backpack and play anywhere. This is the sound of countless hit records, now ready for the bus, the bedroom or the beach.
A single VCO offers five selectable waveforms (saw, triangle, sharktooth, square and pulse), giving you a wider sonic palette than the original.
"Here's a fun one and something stupidly simple, really easy to use, small, affordable but way more useful than you might think. It's the Low Fat VCF from AJH Synth, which is a 2HP non resonant (it's supppppeeeer smooth) high pass filter.
I think my favourite thing is using it to pair with low pass filters and to make a variable width band pass filter. It's also nice as a simple "clean up the mix" tool, as a pseudo spectral sidechain, multiband ducking style device or just for performance sweeping low end out of things."
"The Low Fat filter packs a switchable 6dB and 12dB slope High Pass Voltage controlled Filter into a miniscule 2HP of rack space, with a very low power consumption of less than 12mA per rail.
Sometimes there is just too much bottom end in a patch and it swamps everything else, by feeding it through the Low Fat Filter we can remove some of this bottom end to balance things up.
It also makes a great companion to the MiniMod Transistor Ladder Filter and can be placed before or after this in a patch to create a Band Pass filter with a variable passband and a choice of a softly rolling 6dB slope or a stronger 12 dB slope.
It's a great way to populate one of those frustrating gaps in your eurorack modular case with something that is deceptively usefuI.
In Depth
The LOW FAT is a new 2hp Eurorack module by AJH Synth, it's a High Pass filter, with frequency control by either manual pot, and/or external CV with attenuator. It's intended to compliment other filters, particularly low pass VCF modules, in practical tasks such as removing excessive low frequencies, for example when the bass is swamping a mix. It can be switched between 6dB (1 pole) response and 12dB (2 pole) response.
By patching a CV signal to the FCV input it can be voltage-controlled and used musically as with any other VCF. When used in conjunction with a LP filter it forms a fully customisable band pass filter, allowing the range of passbands to be cherry-picked. Feeding in a 1V/Oct pitch CV and setting the FCV pot to a suitable level allows it to track an incoming pitch CV, so the amount of High Pass filtering remains constant as the pitch of the incoming VCOs traverse up and down the frequency range. This can be particularly useful in creating percussive sounds, such as snares and hats, but also on sequenced bass lines. Since it is only 2HP it's a great way to occupy one of those frustrating gaps in your eurorack modular case with something that is deceptively useful, and adds another dimension to the classic bass monster that is the Transistor Ladder Filter."
"On May 11, 2026 I premiered my piece Gradient Noise at the International Computer Music Conference (ICMC) in Hamburg, Germany. The following video represents a stereo, studio recording of the performance. The performed piece was quadraphonic and contained one to four layers of instruments with independent, corresponding, video objects.
Since 2019 I have been composing animated graphic scores for ensembles and soloists. Examples include collaborative works like Parking Ramp Project or SYNTAX, solo pieces like Rhodonea. These generative works are projected for both the performers to read and audience to experience. I write the software that generates and animates geometric forms, and then establish rules on how the forms are read, whilst allowing improvisation and the emotional response of the performer to play an integral part in each piece.
Gradient Noise, written using the Processing.org language, translates values generated by the Perlin noise algorithm into independent layers of seamless loops repeating at variable intervals. These loops are visualized as geometric forms, abstract visualizations, and evolving structures. The data generated is aleatoric, but the values can be tuned to range between slowly moving gradients or rapid, angular forms. When the sound and visuals are synchronized I respond not only to the animation but also to the changes in the timbre of my instruments."
"I'm pleased to announce that I will be performing the world premiere of my piece Gradient Noise at the International Computer Music Conference (ICMC) in Hamburg, Germany on May 11 at 9:30pm. The following video except represent the work in progress. The final piece will be 10 minutes long and contain up to four layers of instruments with independent, corresponding, video objects.
Since 2019 I have been composing animated graphic scores for ensembles and soloists. Examples include Parking Ramp Project, SYNTAX, and Rhodonea. These generative works are projected for both the performers to read and audience to experience. I write software to generate and animate the geometric forms, and establish rules on how the forms are read, whilst allowing improvisation and the emotional response of the performer to play an integral part in each piece.
Gradient Noise, written using the Processing.org language, translates values generated by the Perlin noise algorithm into independent layers of seamless loops repeating at variable intervals. These loops are visualised as geometric forms, abstract visualizations, and evolving structures. The data generated is aleatoric, but the values can be tuned to range between slowly moving gradients or rapid, angular forms. When the sound and visuals are synchronized I respond not only to the animation but also to the changes in the timbre of my instruments.
Through Gradient Noise I am rethinking the relationships between musicians and machines. By translating the properties of n-dimensional Perlin noise into a musical language, the piece presents a unified ecosystem with coordinated timbres and geometric forms. Thus generating a living environment that requires active participation and improvisation. Ultimately, the work presents a contemporary model for computer music where the performer does not simply follow a score, but negotiates a path through a responsive, multi-sensory experience.
Immerse yourself in a groundbreaking tool designed for creators of ambient, experimental, contemporary music, IDM, and electronica. This Max for Live generative sequencer fuses historical depth with cutting-edge technology, offering a unique journey through time and sound.
Historical Roots, Modern Expression
Developed over a year of intensive research, this device draws from a rich tapestry of medieval chant manuscripts and the intricate patterns of neume notation. Delve into the essence of the Church’s eight modes, enriched with the proto-characteristics of Ionian and Aeolian modes—foretelling the rise of major and minor tonalities.
Infinite Melodic Possibilities Let the sequencer generate melodies imbued with the organic flow and spiritual resonance of early music, now reimagined for contemporary creativity. Whether sculpting ethereal soundscapes or exploring experimental forms, this device breathes new life into your compositions.
Here's to you my "No talking demo" of this FREE emulation of the Kawai K1 synthesizer developed by Nils Schneider, which brings back to life this iconic synthesizer!
The Kawai K1 is a famous japanese classic from 1988 and it was a massive success with both the critics and the public. The company managed to reportedly shift around 50,000 of them. There also was a rackmount version (K1r) and a tabletop option (K1m).
The key to its popularity was certainly down to its sound, which combined single-cycle additive waves with PCM samples. There was another reason though: in the late 80's this D-50-style sample synthesis was out of reach of most musicians, but then the Kawai K1 came along and it was much cheaper than the Roland D-50!
Now you can have it in your DAW with this amazing FREE software emulation!
"Explore Deep Soundscapes, Experimental Textures & Evolving Sonic Worlds
This demo video showcases a collection of powerful creative audio tools designed for artists, sound designers, and experimental musicians. Each fragment highlights unique approaches to shaping sound - from immersive ambient atmospheres and evolving drones to glitchy rhythms, feedback‑driven textures, vintage-inspired effects, and abstract sonic structures.
These instruments and processors stand out for their high-quality sound, rich modulation possibilities, and deep experimental potential. They are perfect for crafting expansive soundscapes, cinematic backgrounds, meditative environments, noise layers, rhythmic deconstructions, and expressive electronic timbres.
Whether you create ambient, IDM, glitch, drone, noise, experimental music, or sound art, these tools open the door to endless exploration. Build evolving atmospheres, sculpt unpredictable feedback loops, transform samples into new sonic forms, or add retro-flavored character with detailed multi-effects.
If you’re searching for innovative sound design apps, ambient music tools, or experimental audio workflows, this video offers a glimpse into a world of creative possibilities.
"#alisa #1377 #alisa1377 #synth #demo
Rare USSR synthesizer restored by Alex Taber!
It was made in USSR in 1985 at Luberetskiy Military Radioplant 'Rodina' near Moscow.
ALISA synthesizers were made especially for experimental electronic music, creating of sound effects in soviet cinema and scientific acoustic researches.
This unique instrument has warm, aggressive and absolutely original analog sound!
The synthesizer has 1 OSC with 4 wave forms, ADSR , filter, various modulations, vibrato and portamento effects.
OSCILLATOR: tune; octave +1/+2; portamento; wave forms: triangle, saw, square, odd harmonics; frequency modulation (for all 4 waveforms); impulse-width modulation (for square wave form) with impulse width and depth controls; harmonics (for odd harmonics wave form). You can use individual OSC waveforms (triangle, saw, square, odd harmonics) or mix them together to get unique sounds!
FILTER: cutoff, resonance, vibrato (filter modulation), ADSR, switch between filter control- keyboard or contour OSC (ADSR). The synths filter due to it`s original architecture can be used as additional oscillator when filter`s resonance knob in self-oscillaltion position and it sounds really weird and interesting!
AMPLIFIER: ADSR, main volume, on/off synthesizer."
"Combine real-time performance with compositional polish using Aline from Tato Audio, a flexible sixteen-channel sequencer with a variety of different controls for crafting interesting sequences in moments. It uses what's called "Engines" to create these sequences; there are a variety of different Engines, but each one can be divided into two types: Imperative and Parametric. These Engines can be sequenced in tandem with each other using sequencer channels to create new and interesting kinds of sequences, which can be crafted manually by inputting values, or performed using the onboard keyboard. Imperative Engines functions akin to more standard forms of sequencing, directly defining notes, their length, velocity, etc. On the other hand, Parametric Engines center around generative forms of sequencing, allowing you to define a set of parameters and generate phrases based on those values. These sequences can be edited after-the-fact to affect their parameters and structure, or even adjust a note's pitch in real-time along with the scale your sequence is in—this gives you a lot of freedom for evolving your sequences on the fly.
Unlike most sequencers, each of the sixteen channels can be used to sequence a variety of different parameters using Engines, and those individually sequenced parameters can directly interact with each other in groups to create complex phrases that evolve and change over time. Each sequencer channel can be set to different lengths, giving you instant access to complex polyrhythmic parameter modulation for intriguing results. Bring Euclidean rhythms into your sequences, arpeggiate your chords, generate lead lines and chord progressions in an instant, and more using the variety of available Engines.
Blend external MIDI data directly into your sequences using the spectrum of available inputs and outputs; receive clock directly from a host computer using the onboard USB-C port, or integrate your external gear using the TRS 3.5mm MIDI I/O jacks. Bring the flexibility of the Aline right to your Eurorack system using the provided 3.5mm CV jacks, including a clock I/O, and two channels of Pitch, Gate, and Velocity outputs. If you're looking for a new method of creating sequences for your performance or compositions, Aline from Tato Audio is a versatile toolbox full of features for helping you craft novel and exciting sequences.
ALINE FEATURES
16-channel performance sequencer 8 different Engines for generative and standard forms of sequencing Engines are interactable with each other for complex results Sequence Saving and Recall Onboard keyboard for real-time note input Modular connectivity via 3.5mm CV MIDI via USB-C and 3.5mm TRS I/O"
"#alisa #1377 #alisa1377 #synth #demo
Rare USSR synthesizer restored by Alex Taber!
It was made in USSR in 1985 at Luberetskiy Military Radioplant "Rodina" near Moscow.
ALISA synthesizers were made especially for experimental electronic music, creating of sound effects in soviet cinema and scientific acoustic researches.
This unique instrument has warm, aggressive and absolutely original analog sound!
The synthesizer has 1 OSC with 4 wave forms, ADSR , filter, various modulations, vibrato and portamento effects.
OSCILLATOR: tune; octave +1/+2; portamento; wave forms: triangle, saw, square, odd harmonics; frequency modulation (for all 4 waveforms); impulse-width modulation (for square wave form) with impulse width and depth controls; harmonics (for odd harmonics wave form). You can use individual OSC waveforms (triangle, saw, square, odd harmonics) or mix them together to get unique sounds!
FILTER: cutoff, resonance, vibrato (filter modulation), ADSR, switch between filter control- keyboard or contour OSC (ADSR). The synths filter due to it`s original architecture can be used as additional oscillator when filter`s resonance knob in self-oscillaltion position and it sounds really weird and interesting!
AMPLIFIER: ADSR, main volume, on/off synthesizer."
"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.
"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."
Check with dealers on the right for price and availability.
"Magnolia is an eight-voice analog through-zero linear FM synthesizer. Besides the classic analog polysynth sounds, its design allows programming some less conventional timbres closer to the world of modular synthesizers, and especially of the so-called “complex oscillators.”
Magnolia allows to bring modular synthesis techniques in the world of analog polysynths, with all the known advantages of the latter: polyphony, immediacy of use, powerful sound, and those little unpredictable details generally known as “analog warmth.”
Magnolia is a highly playable instrument thanks to its expressive Fatar keyboard with polyphonic aftertouch and encourages sound exploration through its large and relaxing front panel.
"Moss Meditation is a slow, immersive ambient soundscape inspired by the quiet intelligence of moss — one of the oldest and most resilient forms of life on Earth.
This deep meditation music was created to support nervous system regulation, emotional healing, and inner stillness.
There is no rush here. No rhythm to follow. Only sustained drones, gentle harmonic movement, and spacious tones tuned to 432Hz, allowing the body and mind to soften naturally.
Like moss, this music grows slowly.
It does not demand attention.
It creates an environment where healing can unfold on its own.
Perfect for:
Deep meditation & mindfulness
Anxiety and stress relief
Nervous system calming
Emotional release and rest
Sleep, stillness, and presence
Ambient background for healing spaces
Let this music become a safe place — where breath slows, thoughts dissolve, and the body remembers how to rest.
🎧 Best experienced with headphones or a calm listening space.
🌿 Created by Bio Music Vibrations."
"At first some shaping of the different wave forms. Then I am running a sine wave through effects and a vowel filter.
Time Stamps:
0:00 Sine Wave
6:07 Triangle Wave
9:57 Saw Wave
13:49 Square Wave
17:00 Feed Wave
21:29 FOF Wave
25:13 Cymbal Wave
26:34 Sine Wave Into Chorus
28:07 Sine Wave Into Distortion
29:03 Sine Wave + Distortion + Vowel Filter
34:16 Sine Wave Into Saw Animator
35:22 Sine Wave Into Pitch Shifter"
"It's been a while since I posted the first demo and since then I've been working a lot to make LOOPA more optimized, more stable, and more ready to production. I hoped that will manage to release it till the end of 2025, but the closer I was getting to release the more challenges and uncertainties I faced. The biggest of them is I have no experience at mass-production of electronic gadgets. I also don't want to disappoint people first taking money and then delaying production for years. I've thought that it's a good idea to go for crowdfunding, but then studied some cases and I don't think so anymore, at least in my case. So I'm thinking of just launching it on my own funds and looking for potential partner or company to delegate manufacturing and distribution to someone experienced
"Sequencer: Ableton Mode https://akihikomatsumoto.sellfy.store...
Discover the Sacred Sounds of the Past: A Generative Sequencer Inspired by Medieval Chant
Immerse yourself in a groundbreaking tool designed for creators of ambient, experimental, contemporary music, IDM, and electronica. This Max for Live generative sequencer fuses historical depth with cutting-edge technology, offering a unique journey through time and sound.
Historical Roots, Modern Expression
Developed over a year of intensive research, this device draws from a rich tapestry of medieval chant manuscripts and the intricate patterns of neume notation. Delve into the essence of the eight church modes, enriched with the proto-characteristics of Ionian and Aeolian modes foretelling the rise of major and minor tonalities.
Infinite Melodic Possibilities
Let the sequencer generate melodies imbued with the organic flow and spiritual resonance of early music, now reimagined for contemporary creativity. Whether sculpting ethereal soundscapes or exploring experimental forms, this device breathes new life into your compositions.
"The Fancyyyyy K-Accumulator is a revolutionary stereo complex oscillator that combines cutting-edge synthesis techniques in an intuitive, hands-on architecture inspired by classic complex oscillators. Designed in collaboration with Grrrwaaa aka Graham Wakefield, creator of Max/MSP's gen~ platform, fans of experimental timbres and novel synthesis techniques are right to celebrate K-Accumulator's emergence into the Eurorack landscape. Seamlessly combining pulsar synthesis, phase modulation, and complex 3D waveshaping, K-Accumulator pairs its modulation and carrier oscillator pairs with an onboard function generator, pattern generator, and flexible root frequency quantization and manipulation, providing fruitful terrain for exploring captivating timbres in systems of any size.
Starting from a core sine and cosine wave, K-Accumulator provides an innovative morphing matrix architecture which progressively remaps panel controls to waveshaping positions for the carrier and modulator oscillator section. Expand tones with complex harmonic wavefolding, blended frequency shifting, and harmonic stretching. Shape tones into newly mangled forms with formant synthesis, sync damping, and asymmetric phase modulation, or invite chaotic movement and surprise with damped cross phase modulation and damped self-feedback. Even the onboard function generator can sing, enabling audio rates for pulsar synthesis that can be operated independently from the main oscillator. Despite the PhD in DSP you might need to fully understand K-Accumulator's synthesis engine, the morphing matrix architecture allows these many manipulations to be smoothly and seamlessly explored through intuitive manual control.
Even further possibilities abound when employing K-Accumulators twenty-three patchable points of external signal integration, with most primary CV inputs featuring dedicated attenuverters for precision control. In addition to CV control over the frequency, shift, depth, morph, and shape controls, the primary oscillator in K-Accumulator offers CV inputs for thru-zero phase modulation, damped/pulsar control, and an external input which can be used as an external sync source or for pitch-tracking an external source to use K-Accumulator to harmonize with external sources. Its outputs offer both the sine and cosine waves, creating unique stereo space through the phase differences on each output as it is manipulated by the waveshaping engine. Control root frequency for the oscillator section, function generator, or both, with both 12-TET and Just Intonated quantization, multiple scales of frequency control, and a dedicated detune control in the modulation oscillator for inharmonic applications.
At the left side of K-Accumulator, a highly flexible function generator is onboard for additional modulation or audio sources. Multiple unique internal trigger modes, looping capability for LFO and audio rate oscillation, thru-zero FM, and onboard waveshaping make this a potent source of signal manipulation for either K-Accumulator itself or anywhere in your system. To the right of the function generator, a Delta-Sigma pattern generator enables stepped and smooth pseudo-random pattern modulation, providing an onboard sequencer for root frequency, or any other parameter. With its immensely capable and unique synthesis engine alongside flexible and creative onboard modulation sources, Fancyyyy's K-Accumulator offers a new vision of complex oscillation for contemporary modular synthesis, translating vanguard digital signal processing into a familiar form factor for deep sonic exploration, intuitive skronking, and new musical forms yet unheard."
"This edition is rare, and cannot be found anywhere as a set. Made by EMS London, and works differently than the Synthi A, although it appears to be the same. Here is a breakdown of what you get below:
