According to guyd2, the Model 416.3 Meta Expander is:
"A sophisticated, stand-alone expansion unit for the Buchla Music Easel.
Contains several dedicated modules : Comparators, Dividers, Boolean, VC Slew Limiter, S/H & Noise, analog ultrastable VCO/LFO, advanced Mixer w/ Comparator, and an 8-step Sequencer.
Also expands on the 208 CV I/O's, pulses I/O and Switch inputs."
"In this video we discover what the reinvented MESSOR pedal by Cosmotronic can do to a variety of sound sources. We also have a look at all the controls.
0:00 intro
2:30 features explanation
17:07 drums and loops
34:47 sidechain example
41:53 full mix and stems
55:23 closing thoughts
57:09 thank you for watching!
57:22 outro"
A COMPACT ANALOG COMPRESSOR
Messor is a fully analog stereo feed-forward VCA compressor designed for studio, modular, and live systems. The architecture is derived from the original Cosmotronic eurorack module, with extended headroom, improved channel matching, and a revised sidechain topology optimized for wide dynamic ranges.
HIGH HEADROOM
The internal ±12 V regulated power rail provides substantial headroom and consistent operating conditions for both line-level and modular-level sources. It reliably handles high-transient material from synthesizers, drum machines, and percussion-heavy sources without premature clipping. High-impedance inputs and balanced outputs simplify interfacing with modular systems, samplers, and balanced studio equipment.
Signal flow begins with a low-noise stereo preamplifier offering up to 18 dB of gain, followed by a pair of matched VCA control blocks. The feed-forward topology provides predictable transient behavior, accurate envelope shaping, and stable stereo imaging. A post-VCA conditioning stage adds tube-like saturation, introducing controlled harmonic content when driven into overload.
Chapters:
00:00 Intro tune
00:24 Overview Waldorf Micro Wave XT
00:59 Oscillators
01:56 Wave Envelope, More Wavetable Features
02:35 EVEN more Oscillator Features
03:05 Filter Section
03:41 Envelopes, LFOs
04:00 Mod Matrix
04:13 Menu Deep Dive
04:26 FX Section, Arpeggiator, Multis
04:42 What else? (Polyphony, Presets, Pricing, Thanks)
05:38 H*te Screen
06:03 Jam 1 ( Techno )
06:53 Jam 2 ( Elektro )
07:57 Finale ( Downtempo )
08:27 VERDICT
"I was skeptical when @melbourneinstruments sent me Roto-Control for Logic Pro. I've owned plenty of MIDI controllers that ended up collecting dust. But after using this for the past month, I actually reach for it.
What makes it different? Eight fully motorized control knobs with haptic feedback that adapt to whatever you're focused on in Logic Pro. You don't just see parameters change on screen - you FEEL them. End stops on a filter cutoff, notches on discrete values, center indents for faders, pans, and more.
In this review, I walk through the Logic Pro integration, the haptic feedback system, and what it's actually like to use day-to-day. I also cover the real limitations - manual plugin mapping and limited storage - that you need to know before buying."
Press release follows:
Melbourne Instruments announces advanced Logic Pro integration for ROTO-CONTROL motorised software and hardware MIDI controller
MELBOURNE, VIC, AUSTRALIA: Melbourne Instruments is proud to announce availability of advanced Logic Pro integration for its ROTO-CONTROL motorised software and hardware MIDI controller — creatively expanding upon its successful integration with Ableton Live and Bitwig Studio, demand for integration with Apple’s popular professional DAW (Digital Audio Workstation) for Mac having been strong since said controller launched to widespread critical acclaim a year ago — as of January 15, 2026…
ROTO-CONTROL readily packs eight touch-sensitive motorised knobs — brushless drone motors with Melbourne Instruments’ patented ultra-high-resolution contactless optical sensors offering a lifetime rating in excess of 50 million cycles that equates to 500 times more than conventional pots, precisely — alongside nine high-resolution IPS (In-Plane Switching) LCDs (Liquid Crystal Displays) and 16 backlit RGB (Red, Green, Blue) LED (Light-Emitting Diode) buttons into its classy, compact — 341mm/13.4” (W) x 112mm/4.4” (D) x 44mm/1.7” (H) — form factor to duly deliver haptic feedback and instant parameter recall, communicating with the outside world via MIDI (Musical Instrument Digital Interface) over USB (Universal Serial Bus) and 5-pin MIDI DIN (Deutsches Institut für Normung) IN/OUT/THRU connections. Constructed out of ABS (Acrylonitrile Butadiene Styrene) and metal, it robustly weighs in at only 715g/1.58lb, making it the perfect portable production partner for encouraging artists to use sound and music in new and exciting ways — wherever their journey might end up taking them, both creatively and geographically. Get this, though: ROTO-CONTROL now introduces a fully-tactile, motorised workflow to Logic Pro, delivering fast, hands-on control of tracks, plug-ins, Smart Controls, and automation — all thanks to a new firmware update.
MIX mode mirrors Logic Pro’s session track names, colours, and order automatically, while providing high-resolution control of volume, pan, sends, and automation alongside instant access to track selection, paging, mute/solo/arm switching, and dedicated TRACK FOCUS.
Fast, powerful plug-in control comes courtesy of PLUGIN mode, allowing users to browse and select Logic Pro instrument and effect plug-ins instantly from ROTO-CONTROL using simple touch-and-learn mapping for any parameter, with up to eight pages of controls per plug-in stored directly on the device ready for any projects, plus bypass/select controls — all mappings being saved on ROTO-CONTROL and usable across all Logic Pro projects on any computer.
Cutting-edge control continues with Logic Pro’s Smart Controls being automatically mapped to ROTO-CONTROL, controlling up to 16 Smart Control parameters instantly — perfect for working with instruments, macros, and MIDI effects, available in both PLUGIN mode and the dedicated SMART mode itself.
And as if all that was not enough to be getting on with, ROTO-CONTROL can be used to customise labels, colours, haptics, and steps for each control, while integrated transport — play, stop, record, cycle, auto-punch, and playhead — controls are all accessible from any mode.
It is fair to say, then, that Logic Pro users owe it to themselves — and, ultimately, their sound and music — to consider making some space in their creative and physical world for ROTO-CONTROL. After all, motorised and morphing controls, instant recall, and intuitive hardware are only the beginning of their journeying.
ROTO-CONTROL is available to buy at its new North American price of $399.00 USD (excluding tax) in the USA and Canada, while its RRP (Recommended Retail Price) in Australia of $619.00 AU (including GST) and MSRP (Manufacturer’s Suggested Retail Price) in the EU of €372.35 EUR (excluding VAT), MSRP in Japan/Asia of $469.00 USD, and MSRP in the UK of £389.00 GBP remains unchanged — all via Melbourne Instruments’ growing global network of dealers here: https://www.melbourneinstruments.com/dealers [check with dealers on the right here on MATRIXSYNTH]
"Noodle the second. Hexdrums plus effects. The routing here has BD1 going to Gallows for a little dirt and reverb; BD2 going to the Boss DM-2w; the machine voice 3 to the Zen delay; and everything else to the Xeno filth machine. A six-minute drum machine solo is a challenge. You're essentially making an 'accompaniment' instrument take the lead.
Here I again use the mute/unmute to create variations. That's reasonably easy on machine with ten voices. I've often thought that four voices is plenty for me. So is ten voices with mutes better than two patterns with four voices; or four voices one pattern and parameter locks? Is one more efficient than another? Is there any way to quantify such things? Just for laughs I asked Grok this exact question. Predictably (just like any forum) it started with "It really depends...". Later it said that: "In the drum machine world, parameter locks (p-locks) on a single pattern are generally considered far more powerful and creative than having multiple patterns or more voices." Hmmm. maybe. P-locks might allow more voice variation on a single pattern but then you have to program that in. With multiple voice and muting you can create multiple 'scenes'. Of course AI isn't going to tell you anything profound, it's just scraping forums.
What really strikes me with Hexdrums is that it hits hard. It's easy to get a very solid bass drum in all sorts of flavors. Why can't cheap drum machines do that? Ah, so many questions...
Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/"
Output: CV Out Hertz/Volt Analog Pitch Control (0 ~ +8V)
Output: CV Out Octave/Volt Analog Pitch Control (+1 ~ +5V)
Output: Trigger High to Ground
Output: Trigger Ground to High (+15v)
Modes: 3 Levels of Tracking Response
Range: High and Low range of operation
Output: Envelope Control Voltage
Dimensions: 283 mm (W) x 195 mm (D) x 110 mm (H)
Weight: 2.4 kg, 4W
In the late nineteen seventies, Korg was apparently determined to open the world of synthesizers to more than just keyboard players.
Introduced in 1979 just a year after the classic MS-10 and MS-20 the MS-03 converts incoming audio signals into a range of control voltage signals. The MS-03 can drive just about any monophonic analog synthesizer, with outputs that support both the Moog/Arp/Eurorack standard of one volt per octave, and the less common Korg/Yamaha standard of hertz to volts. The unit also has two different types of gate outputs.
For users of the Moog/Arp/Eurorack standard there is a tuning and width control. The tune control is used to "tune" the MS-20 to the attached synth, and the "width" control adjust the precise range of one octave.
Korg MS-20: The circuitry of the MS-03 is similar to the Pitch to Voltage circuit in the Korg MS-20, but a comparison of the two converters shows the MS-03 is faster and more accurate than the MS-20.
Korg MS-03: The MS-03 has many of the same controls as found on the Korg X911 Guitar Synthesizer without the synthesizer components. Features found on both units include footswitch-operated Portamento, Synthesizer "Hold" and "Cancel" functions.
[Condition]
This MS-03 is in perfect working condition and in Very Good condition. This unit was checked by professional technician.
"Welcome to Bad Gear, the show about the world’s most-hated audio tools.The best Christmas presents are the ones you buy for yourself - especially when you’re a synth nerd.
Speaking of which, today we are going to talk about Moog Messenger. This 2025 analog mono is a prime candidate for shameless self-gifting: Gucci-like brand identity that reminds you of simpler times, a price tag that hurts just right and features that help you convince yourself that the Moogs you already own are not enough.
But believe me: Santa says NO!!!
Chapters:
00:00 Intro tune
00:55 Overview Moog Messenger
01:38 Oscillators
02:19 Filter, The new RES BASS Feature
03:02 Modulators
03:19 Lack of FX, Menu-less Menu Diving, UI Pain
03:37 KB, S+H, Sequencer, Arpeggiator
04:13 What else? (Editor, Connectivity, Patches, Pricing)
05:11 H*te Screen
05:32 Jam 1 ( Classic Moog Tones )
06:28 Jam 2 ( Let's add a few FX )
07:25 Finale ( Pseudo Berlin School )
07:56 VERDICT"
"Welcome to Bad Gear, the show about the world’s most-hated audio tools. Today we are going to talk about TI Snow.
It is quite obvious why this menu-heavy, scaled-down and abandonware-reliant 2008 member of the otherwise revered Access Virus range made it onto this show but it also raises an unsettling question: has the market for electronic musical instruments become so irrelevant that this primordial Volca with a Napoleonic Complex is the final word in the history of one of the most successful synth families? Can it be that synths are over?
Chapters: 00:00 Intro tune 00:56 Overview Virus TI Snow 01:42 The Total Integration Concept 02:21 The Problem with the Software and a possible Solution 02:42 Synth Engine (Oscillators) 04:04 Filter Section 04:24 Modulators 04:42 Arpeggiator, FX Section, Vocoder 05:09 Presets (and a very special surprise;), Thanks, Pricing, etc. 05:59 H*te Screen 06:22 Jam 1 ( Preset Techno ) 07:10 Jam 2 ( Menu Diving Electro ) 08:07 Finale ( Old School Trance ) 08:35 VERDICT"
Video in the listing previously posted here.
"If you know, you know. These almost never show up, and there’s next to no info online. It’s one of the hardest Hohner keyboards to track down.
This unit is in excellent condition, both technically and cosmetically. The real-wood casing is beautifully preserved with only light signs of use. Keys, switches, sliders—all exceptionally clean.
Everything functions perfectly.
All sound registers can be switched or blended freely Built-in vibrato + sustain Dedicated bass voice for the lowest octave (individually switchable) Individual volume controls for each section Key contacts are flawless—no dead notes or crackle Accompaniment System: The auto-accompaniment can run silently if you want only the bass sequencing. Changing rhythms reshapes the bass pattern, making for surprisingly interesting and musical sequences. The onboard memory hold lets you tap a bass key once and have it sustained automatically—works even without the rhythm section active.
Sound Output:
Built-in speaker underneath (clean, zero distortion) Line-out on the rear for external amps Pedal input (pedal not included) Dimensions: approx. 82cm W × 19cm H × 40cm D Weight: approx. 12.7kg
A seriously rare piece—clean, fully working, and ready for a new home."
"Welcome to Bad Gear, the show about the world’s most-hated audio tools. There is no shortage of synth manufacturers offering costly top-shelf instruments: PolyBrutes, UDOs, all the old stuff but new and even Roland started channeling their inner Teenage Engineering.
Today, however, we are going to talk about Nord Modular. This range of digital high-end modular synths was introduced in 1998 and not only is there no modern successor in sight, they also made it incredibly hard to use the originals properly. This time it’s personal!
Chapters: 00:00 Intro tune 00:56 Overview Nord Modular G1 01:12 The Nord Modular Range 01:17 The Concept, UI, Computer Integration 01:43 The Software Editor Situation 02:00 Freeware Editor ( Byte Order ) 02:16 The Modules ( Oscillators, Drums, FM ) 02:54 Generative Patches vs. Normal Synth Duties 03:04 Filters 03:40 Modulators 04:08 Using it as a Groovebox ( Clock Generator, Sequencers ) 04:43 Effects (or lack thereof) 05:09 Features for Keyboardists 05:26 Even more weird Features 05:44 What else??? (Connectivity, Pricing,...) 06:10 H*te Screen 06:35 Jam 1 ( Techno Groovebox Patch ) 07:29 Jam 2 ( Many, Many Patches Jam ) 08:34 Finale ( 90s Psytrance ) 08:46 VERDICT"
"Today, however, we are going to talk about K2000. This range of Synth/ROMpler/Sampler hybrids was originally brought to the market in 1991 by Ray Kurzweil, a completely overpowered mega brain who went from being Stevie Wonder ’s custom shop to looking forward to merging with AI by 2045. No one understands this.
Chapters: 00:00 Intro tune 01:04 Overview Kurzweil K-2000 01:19 Different Models, Sampling 01:41 What the Actual...?!? (The Samples) 02:17 Keygroups 02:31 Layers, Algorithms, Synth Architecture 02:59 Sync, FM, Complex Signal Chains 03:13 Filters 03:23 Modulators, FUN, Midi Control 03:48 Problems with the Aging Hardware 03:56 Programs, Presets (No, we're still not finished) 04:31 FX Section 04:48 Patches 05:08 What else? (Outputs, Sequencer, Thanks, Pricing) 05:48 H*te Screen 06:12 Jam 1 ( Techno Preset Surfing ) 07:13 Jam 2 ( Tracker Drum'n'Bass ) 08:13 Finale ( 90s Adventure Game OST ) 08:46 VERDICT"
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
"Welcome to Bad Gear, the show about the world’s most-hated audio tools. Today we are going to talk about the Sequential Prophet REV2.
This modern analog poly was originally released under the DSI moniker in 2017 and it is guaranteed to make your janky home studio seem like a professional working environment - and make it infinitely more boring.
Chapters:
00:00 Intro tune
00:42 Overview Prophet REV-2
01:22 Interface, Bitimbrality
01:56 Oscillators
02:34 Curtis Filter
03:08 Modulations Matrix
03:23 Envelopes, LFOs
03:37 Clock, Tempo Sync, Arpeggiator, Sequencer
04:21 Unison, Chords, Pan Spread
04:45 FX Section, Outputs
05:02 Polyphony, Expansion Card, Pricing, Thanks
05:26 H*te Screen
05:49 Jam 1 ( Fast Techno )
06:39 Jam 2 ( Epic Synth Music )
07:39 Finale ( Gentrification Dance Music )
08:09 VERDICT"
"You can connect any external device to Siluria via the line input, this might be useful also if the FM broadcast is no longer available in your country.
This is the HauntBox, more info here: https://www.resonancecircuits.com/pro...
Powered by RipCord and connected with CandyCords, you can find them here: https://myvolts.com/
(no affiliation, I just think these are great products from great makers)
The sound was recorded directly in the unit - it is possible to record the resulting mix (exactly as you hear it in the headphones) to the SD card for later use.
Halloween is approaching, get your ghosts ready! :)"
"The HauntBox: Inspired by the spirit box/ghost radios used for paranormal investigation. The HauntBox from Resonancecircuits contains 10 sound banks of 'real world' evp captures, faux evp, radio broadcasts and atmospherics.
Each soundbank contains between 20-90 samples that are played back in a random order and will continuously loop until the next soundbank is selected.
Soundbanks: 0 - shortwave broadcasts and faux EVP 1 - global fm broadcasts and EVP captures 2 - AM/MW broadcasts and EVP 3 - southern preacher (CB radio) 4 - houdini's seance 5 - whispers 6 - end is near 7 - atmosphere I 8 - atmosphere II 9 - your soul
Controls: on/off power switch orange indicator led scan push button - used to select the next soundbank sweep control - sample playback rate/speed of transition between samples frequency control - pitch of samples output level control mini jack output powered by 9v DC input (negative centre polarity 300-900mA). PSU not included Closed Case Dimensions: 5.5(H) x 14.5(W) x 9.5(D)cm Dark oak stained and waxed wood casing with metal corner embellishments. Custom circuit and design by ResonanceCircuits"
