Techno Jam with Perkons HD-01 by ‪@EricaSynths‬ 🎛️

video upload by Yan Cook and PLAY VINYL

"I want to thank ‪@playvinylua‬ for lending me this machine for several days, I'll definitely use this opportunity to sample the beast 😃

My first impression — Perkons is BIG, really built like a tank, and feels very different from any drum machine I've used before. Each press of a button and turn of a knob feels significant—like I'm operating a submarine control panel or something. The sheer hands-on joy this instrument delivers is on another level; it's a machine you need to experience in person."

‪@PlantWave‬ Meets the “Plantasia” Moog Modular | Live Jam

video upload by Anthony Marinelli Music and PlantWave

"Join me for a one-of-a-kind musical experience filmed inside the iconic Mickey Hargitay Plants in Hollywood. In this special session, I’m improvising on the legendary 1969 Moog IIIc “Plantasia” Modular Synthesizer—the same model used on Mort Garson’s Mother Earth's Plantasia—along with my Groove Synthesis 3rd Wave, while the plants themselves generate melodies through PlantWave.

How PlantWave Works
PlantWave is a bio-music device that connects to a plant’s leaves and measures subtle changes in electrical conductivity. Those fluctuations are translated into MIDI data, which then becomes musical notes, rhythms, and patterns. It’s not “the plant playing an instrument” in the human sense—it's more like the plant’s natural signals being converted into music we can hear and respond to.

The Jam
As PlantWave transforms real-time electrical signals from the plants into beautiful, evolving musical patterns, I’m tuning in, responding, and improvising on the Moog IIIc and 3rd Wave—matching their phrases with my own melodies and rhythms. Every moment emerges organically, completely unique, and impossible to recreate the same way twice.

About the Location
Mickey Hargitay Plants has been an LA landmark for decades, and creating this performance surrounded by their lush greenery made the experience even more magical.

This is a rare combination of vintage analog synthesis, modern wavetable power, plant-generated musical data, and real-time human improvisation. I hope you enjoy this unique collaboration between nature and machines."

Rare Ensoniq 14 Sound Disk Set #4-17 + Sound Lab For The Mirage NOS Sealed

Note: links to listings are affiliate links for which the site may be compensated.

via this eBay listing

This one was spotted and sent in via
M Me.

"RARE NOS 14 factory sealed (stapled) 1985 Ensoniq sound disks all featuring different sounds for the Mirage Digital Sampling Keyboard. Disks #4-17

Also included is a factory sealed Ensoniq Sound Lab for Apple Macintosh and the Mirage Digital Sampling Keyboard

All disks are 3.5” floppys"

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Microsound Magic - B00GA, HAINBACH's new Instrument with @audiothing

video upload by HAINBACH and AudioThing

"This was a long time in the making - B00GA, my new VST/AU/CLAP instrument with AudioThing is finally here! When I discoverd the HP 8006A, nicknamed "B00GA" in 2019, I was amazed by the precision funk it oozed. Making it a plugin was on my mind since 2020, but only now AudioThing and me found and approach that would make it worth as a virtual instrument. We turned it into a microsound sampler, that sequences tiny sounds and noises within the wonderful HP interface. This opens up new textures and sonic worlds to explore. We hope B00GA brings you joy!"

00:00 Intro Tune
01:33 Dry Rhythms Demo
02:43 Textured Rhythms Demo
04:09 Experimental Demo
06:05 MIDI Keys Demo
07:45 Tutorial
13:02 How To Make Banks
13:59 Hainpack Integration
20:31 Pricing and Platforms
21:29 Why Handles?

GET B00GA: https://www.audiothing.net/instrument...
AND iOS: https://apps.apple.com/us/app/b00ga-m...

"B00GA is a studio and live instrument designed to create experimental rhythms and tonal textures. Inspired by a rare piece of lab equipment, the Hewlett-Packard Word Generator 8006A, it offers an excitingly different way to sequence clicks, pulses, and noise.

Use it to create tight grooves, off-kilter beats, and forever shifting micro-sound patterns. Speed them up into rich drones and tonal structures. It comes with a suite of five vintage-flavored effects that allow for unique radiophonic effects. From brain-dance to the dance floor to advanced sound design, let’s B00GA!"

Prismatic Spray II demo video 1

video upload by Arman Bohn

"You can get on the waitlist for the Prismatic Spray II and check out my other things here:

https://distropolisgoods.com/

Hey -

It's been a while. Life is a bit crazy.

Prismatic Spray II is almost ready. Found a few more little bugs today and fixed them. Almost ready to order the printed manual!

I'm just noodling around here. I stumbled on to this rhythmic pattern that I really liked so I start with it running on both the left and right engines. I start to change the right side while leaving the left side plodding along.

Eventually, you can see me switch up the bytebeat incantation for the right side and things start to get wacky. You get a little look at one of the visualizations towards the end.

I'll post the manual before too long - but feel free to ask me about the PSII in the comments."

CS80 improvisation 1 - sit back & relax

video upload by The Synth King

"Hi,
here is my first ambient improvisation with a Yamaha CS 80. This instrument has been given to me for thorough inspection. Cosmetically the CS80 is in a quite bad shape, however, from a technical perspective it works almost perfectly. You will notice some issues with one voice distorting and not beeing consistent in volume (probably a bad VCA).
I´m working on a video showing further details on how I came to this instrument or shall I say how this CS80 found me. Stay tuned.
Bernd"

The Elmyra2 has never sounded like THIS before (version 2.4 update!)

video upload by Oscillator Sink

See the announcement post from earlier today here.

"The Elmyra2 continues to be one of my favourite, weird little drone synths, and over the last two and half years it has got better and better with each new update. Version 2.4 is arguably the best and most important update yet, not only for the huge number of sonic, creative and quality of life improvements, but it opens up an entirely new sound-world for the Elmyra for you to explore.

Transparency notice: the Elmyra 2 was kindly provided to me by Neutral Labs (back in 2023) for free for the purposes of making videos on it. No editorial oversight has been provided to Neutral Labs and no other payment has been received. As always I'm only interested in featuring instruments that I'm genuinely excited about on the channel.

Chapters:
00:00 Intro
01:16 UX Improvements
02:50 General Sound Improvements
03:20 New Improved Default Filter Model
06:11 Improved Shortcuts
07:46 New "CHRM" Shortcuts
08:58 Voice Stacking
10:38 LFO Motion Recording
12:46 Short Envelopes
15:56 New Mod Mode: Oscillator Sync
18:03 New Reverb
22:29 Comb Filter Mode (physical modelling vibes!)
27:01 A little moment of sonic chaos
28:21 Voice Following Comb Filter
31:04 Final Thoughts"

100 Oberheim Expander/Matrix12 single FX patches by Arthur Springer

video upload by Really Nice Audio

"So whilst on soak test I came across this crazy bank:
Notes from the .txt
ART SPRINGER STRIKES AGAIN (free)
Reviewed by Mike Metlay

All right, gang, I know what you're expecting in this space, so I'll oblige you and get it over with. Ready? Here goes: "WAHOOLAZUMA! Everybody's favorite twisted puppy is back from the audio torture chamber, and he's brewed up the most brain-slashing package of monstrous elektronoyze EVER! This stuff's great for warping your brain patterns, killing your cat, etc..."

Okay. Happy now? Good, now let's get serious. I heard from Art recently that he didn't get a terribly good response to his first mailing, and that few, if any, XUG members looked him up for his second set of patches

He seemed in a pretty good humor about it, but I couldn't help wondering if my presentation of his patch set didn't scare a lot of people away just by the wording. So, with a new patch set from Art (more diverse than the first two) in hand, I'd like to try again.

One of the most unhealthy trends I see in today's patch-editing software is the patch randomizer, that cute but overused utility that generates random patches at the click of a mouse. Literally thousands of these random patches are being sold by unscrupulous hackers as "original sounds," and a whole new generation of MIDI morons is springing up (pardon the pun) whose idea of "good programming chops" is the ability to tweak a randomly generated sound into something that (almost) works. No program of this type exists yet for the xpander, and I'm glad of it: the lack of computer-generated garbage on the market forces the user community to seek one another for new ideas, rather than some electronic I Ching. We come together in this Group to share ideas and learn from one another and I believe that studying another human being's work beats watching a computer coughing up random numbers. Which brings us to the music of Art Springer.

In my opinion, these patches are important. VERY important. I get so enthused about Art's work because I see in him a reflection of my college days, when I puttered about with ARP and Buchla modular monsters creating sounds for the sheer joy of it, putting together tonalities never before heard on Earth rather than trying to make a realistic shakuhachi. This was, and often still is, the meat and potatoes of electronic music to me. And when I hear Art telling me that people- Xpander users!-are returning his work because it's "too weird," I know something's wrong. The Xpander isn't a sampler or a digital piano. It's not an imitative instrument by nature. It's a powerful, multiply interfaceable modular synthesizer with a great deal of flexibility. Art Springer takes a stance on its use that no other Group member has had the courage to try: using its Power as a CV percussion device to enhance the sounds of his more traditionally oriented synths. (By the way, Lionel and I are big fans of his music ... it's not as inaccessible as you might think, and the odd tonalities make his dance pieces a lot of fun.) This is a new idea to a lot of you, and I don't blame you for being frightened. But it's better to learn from someone whose ideas differ from yours than to convince a computer to feed you something safe. I'd like to suggest something simple to start with: get one of Art's sound sets, trigger your Xpander with your drumbox, and try writing music with these sounds as part of the atmosphere rather than conventional drum noises. Or do something completely different. The important thing is to try to expand (hm) your horizons to something new. These sounds of Art's do take getting used to, but I think you'll learn a lot from them. Trust me."

Yamaha CS-01 - The Little Synth That Could

video upload by BucketBrigade

"I'm back! (A little later than planned.) Today we're looking at the Yamaha CS-01, a monosynth from 1982 that - while it can't compete with it's older bigger brother the CS80, has plenty to give - more than you may think ;) Thank you to Paul for loaning me this lovely machine.

Let me know if you owned a CS01 in the comments below, I'd love to hear your stories - and feel free to suggest any other synthesisers you'd like to see on the channel in the future.

PS: A quick note - the quality of the microphone and camera are a bit skew-whiff in this channel. Unfortunately nothing went quite as I had hoped as I didn't have my normal equipment, ran out of time and made some errors - chucking a screen with some photo references in the corner of my eyeshot reflecting the whole time being one of them. Lastly, if my voice sounds a bit weird at the start, my noise reduction plugin went a bit overboard and makes me sound like an AI voice. I'm not, I promise!!"

The Proteus 1 Synthesiser in 2025 - Any Fun?

video upload by BucketBrigade

"Today, we're looking at the original Proteus sound module by E-mu, released in 1989. These were immensely successful back in the day and this one started it all, and so I decided to have a poke around the Proteus' patches to see which ones tickled my fancy.

Again, my thanks to Jon for lending me the Proteus.

If you have any stories about the Proteus, I'd love to hear them. Feel free to leave a comment or email me using the address in my channel description.

I appreciate my playing isn't maestro level, I'm no Doctor Mix unfortunately!! Expect more coming soon :)

The dry-signal version of this video is coming soon!

All images used belong to their respective owners, all music composed by myself, except for the piece used in the 'synth for a walk' sketch"

Buchla & Tiptop Essential System 200t VOL 2

video upload by Stazma

"Today we are going to check out a selection of four modules from the 200t lines by Tiptop Audio & Buchla that to me are the four essential building block to form a small and portable system: The 258t, 281t, 292t and 266t!

I'm going to explore different setup with these four modules, different ways to control & play them."

Heavy Techno Rumble Kick from Scratch with Modular Synths (BINOME MKIII + FAILLE TEMPORELLE)

video upload by SOVAGE ENGINEERING

"Another RAW video! No edits, no post-processing, just me cooking some stuff LIVE for you so you can follow along with all the good moments and the oopsy ones too!

I’m using the BINOME DRUM SYSTAMA again, but this time we’re exploring the classic techno rumble kick, the HEAAVYYY SOVAGE way, of course!

Ingredients:
• 1x BINOME
• 1x FAILLE TEMPORELLE
• 1x FONTE (you can use any mult and inverter)
• 1x MELEE (you can use any mono mixer, but you’ll miss the extra grit)

And we jump straight into an unavoidable freestyle jam right after the setup.
Enjoy the video and feel free to copy the recipe to your own taste. Looking forward to hearing your results!

The full rig here : https://modulargrid.net/e/racks/view/2394966
All the modules : https://www.sovageengineering.com/
Instagram: / sovageengineering

00:00 SETUP
04:05 SYNCISH DELAY
04:55 SIDECHAIN
05:52 MORE GRITZ WITH MELEE AND FONTE
07:07 TWEAKING
07:32 LFO IN FILTER
08:55 DIZ IZ IT! WE READY!
09:27 FREESTYLE - JAM
14:52 PLOT TWIST!
18:55 EXTRA FREESTYLE
22:26 ADDING MODULATIONNNN !"

BugBrand Introduces TCS - Touch Control Sequencer

via BugBrand (For those in the US: check on availability with Noisebug per below)

"The 5FW design stems from ideas I used way back in the Old Blue days when I had the CTL1 Touch Panel - that design went through a few iterations during its 4 years of life, moving from just a control/preset device to incorporating some basic sequencing. Now I have taken it several steps further - expanding it out to 8 steps and increasing the control & sequencing options. The result is a powerful little hands-on sequencing hub! It can link up with other clocking devices, especially the Sequence - indeed, I'm just beginning to investigate a joiner/expander for the pair that would allow the Control link to be easily switched on/off and also incorporate a handful of other useful functions.

In the meantime, the first modules are starting to ship - they can either fit in a larger system or sit in a 5FW case - perhaps an interesting addition to other banana systems!

US shipping & Tariffs:
There has been a fair bit of uncertainty because of new tariffs on shipments into the US (10% from UK vs 20% or more from most other places), alongside the ending of the De Minimis exemption for shipments under $800. Given that I send a fair amount to people in the States, these changes have proved worrying!

Thankfully I've been able to jiggle things around and have found that I can still send things easily & affordably - indeed, often including pre-payment of tariffs while not raising the overall shipping cost, and sticking with Royal Mail who have proved so reliable over many years of use.

Noisebug:
But, alongside these changes, I'm rekindling my prior work with the wonderful Noisebug store of Pomona, California. Just today I've sent a reasonable initial load - a couple of 1Frame systems, several mini-systems and a handful of red designs.

As you know, I've tended to work directly with people worldwide, but have kept in with a very few small & specific stores - Noisebug really fit the bill here for me! So if you've got requests, feel free to get in contact with them - or continue to nudge me direct ;)"

Craig Padilla - JOURNEYS THROUGH SPACE - Live June 1990 FULL CONCERT SHASTA COLLEGE THEATRE

video upload by Craig Padilla

From below:

This music was created without the use of sequencers; all of the background music was recorded in real-time on reel-to-reel tapes. I used a Kawai K1 synthesizer, a Siel DK-80 synthesizer, and a Roland TR-505 drum machine. A Peavey AddVerb II was also used for effects. For this show, I was loaned a portable Casio Midi Controller, which I connected to the Kawaii synth to use for the song "Destiny's Flight."

"Please consider donating a much appreciated monetary tip to:
PayPal.me/CraigPadillaMusic

Notes from Craig Padilla:
This was my first public performance on June 8, 1990. It was at the Shasta College Theatre in Redding, CA, and it was my college final project for my Creative Sound Design class. Many people involved with the theater department helped out with this project.

I came from a theatrical background, and I had been used to facing the audience, which is why I performed while facing the audience during this show. My Uncle Joe saw this video and suggested that I should perform sideways so that the audience can see what I'm playing. Thanks to that advice, I've been performing that way ever since. This concert is the only time that I've performed while facing the audience.

This music was created without the use of sequencers; all of the background music was recorded in real-time on reel-to-reel tapes. I used a Kawaii K1 synthesizer, a Siel DK-80 synthesizer, and a Roland TR-505 drum machine. A Peavey AddVerb II was also used for effects. For this show, I was loaned a portable Casio Midi Controller, which I connected to the Kawaii synth to use for the song "Destiny's Flight."

Please be mindful of the visual quality of this video. It has been remastered from standard definition and upscaled to 1080p HD with audio remastered from a chrome stereo cassette tape. I am fortunate that it looks and sounds as good as it does.

The original broadcast video aired on Redding Community Access TV in 1990 and 1991. It was shot on VHS tapes from two camera angles and edited on a Super VHS tape. Unfortunately, the audio on the broadcast video was recorded from the main onboard camera microphone, which had a muddy sound. (At the time, I thought that it was better to use that audio than to have no publicity for my music.) 35 years later, thanks to current technology, the stereo audio from the master cassette tape has replaced the original audio track. It has been pitch-corrected to sync up with the video, which is something I never thought would be possible! The video was also enhanced to brighten some of the shots.

There is a small black bar on the second camera angle, and that was to cover up a graphic date that was imbedded in the video of that camera. I had decided that the black bar was less distracting than a graphic on the screen whenever I switched to that camera.

I am fortunate that I knew people who would loan me their cameras for this performance, and equally thankful to my friends who offered their time to operate the cameras!

Matt Denton, a long time friend from high school, was the main camera operator. I met Bryan Arnold while attending college. Bryan loaned me his Kawaii synthesizer for the music, and was the second cameraman who had to briefly step away to perform a song. T. Owen Smith designed the light show, and he suggested that I throw a flame out of my hand at the end of the last song. I had known Dwight Husted since high school, and he was the lighting operator who ran the light-show. My college friends, Jeff Yarnell, Karen Wodsack, and Dale Gipp, were the stage crew who also contributed the idea to use actors in body bags and dress as aliens for a song. And Dale Kilpatric helped me produce the show, and he performed with his amazing classical guitar for a song. (More people helped, and their names are listed in the end-credits of the video.)

Over 100 people attended the performance which was a benefit for the Shasta Summer Theatre Festival. I give many thanks to DJ Ron Dare for hugely promoting my music on his radio show, "KCHO's Music for A New Age" in 1989 and 1990 (and years beyond that). Also, thanks to Robert Soffian, the head of the theater department, for allowing me to not only act in his plays, but to also have me record many songs for the various theatrical productions during that time. And many thanks to everybody who helped to make this concert possible so many years ago.

Extra big thanks to everybody who supported my music then and continues to support it now.

Song list:
00:00 - KCHO DJ Ron Dare Announcement
02:30 - Shanda's Song
08:05 - Waltz of the Planets (dedicated to my friend Derrick Guderian)
14:15 - Spanish Journey (featuring Dale Kilpatric on guitar)
19:50 - Destiny's Flight (dedicated to my Grandmother)
30:43 - Path of the Falling Stars (featuring Bryan Arnold)
36:00 - UFO Theme
42:05 - Other Beings (featuring many theater friends)
47:45 - Journeys through Space

A 24-bit download of this performance will be available at www.CraigPadilla.com [https://craigpadilla.bandcamp.com] in November 2025."

Ruina Versio x BIA distortion performance on small NE case by POB

video upload by Noise Engineering and Patrick POB OBrien

"POB takes us on a distortion journey into ruin with this dark and cinematic performance with Noise Engineering modules. Patch inspired by my recent firmware video for Librae Legio. Librae is mostly a set-and-forget module for me, and I hardly ever use the CV inputs. I showed an example on the short video by throwing a gate signal into the Ceiling input, and the result was this pumping effect that occurs throughout the whole mix. Just left it activated. I'm really glad that CV input put the hook I needed.

Notes:
0:00 BIA into Ruina Versio
1:29 Introducing Debel Iteritas Alia with wide open attack, using Quantus Trajecta to create a more vocally shaped envelope in place of its own envelope.
2:13 Introducing Sinc Legio, pitched by Opp Ned's arepeggios, then distorting it through Roucha Legio.
3:07 Introducing Virt Iter Legio as the wobbly bassline using Mimetic Digitwolis' randomizing melody, being switched at times by Muta Jovis.
5:07 Switching the bypass on Roucha's filter while adjusting its frequency.
9:35 Using Desmodus Versio's built-in LFO to affect its reverb tail.
12:55 MOAR Distortion on the BIA using Ruina Versio, toggling in and out of gated Smoosh.
14:08 Using Desmodus Versio's Tone controls to filter the reverb tail.

Clocked by Horologic Solum. Mixed on Xer Dualis, then sent through Librae Legio with its Ceiling being CV-controlled by an LFO from Pons Asinorum.

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Superlative SB01 (Roland SH 101 Clone) w/ Original Box

Note: links to listings are affiliate links for which the site may be compensated.

via this eBay listing

This one was spotted and sent in via
M Me. "This is the Superlative SB01, a clone of Roland's SH101 80's mono synth. I backed this on Kickstarter many years ago, it has just arrived and I no longer have a need for it. it comes in original packaging, it's just the Synth, no cables as it does not come with any. Use any charging USB C cable to power/charge as it has a built in battery."

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Büromaschinen | What a single pattern can do | X.12 Firmware exploration

video upload by buromaschinen

"A bit late to the party.

Not a proper song, it's a single pattern first exploration to test the new sound design and manipulation possibilities of the Elektron Machinedrum unofficial Firmware ver. X.12.

It's unbelievably good.
I'm totally shocked/in awe and I think I will go MD X.12 only for a while.
It really feels like that Monomachine/Machinedrum hybrid I have been dreaming about for such a long time.

Next thing I want to do is a pure data midi2CC script that allows me to input notes and chords with a midi keyboard.

A special thank you goes to the developers, you really did an incredible job.
If I could make a little wish for a future addition: I would love to have tonal mode for the ROM machines as well, I have a huge sample library from the Amiga era that is waiting to be loaded in the UW :)

In this exploration I mainly used GND-PU and GND-SW for the melodies, all synthesis, no samples. The pulse bass/pad thing is sidechained with a NFX-CO machine and the main pads use a NFX-EV to achieve long attack/release and double stage filtering.

All the audio is coming from the main AB out, no additional audio outputs were used.

You can find my music on buromaschinen.bandcamp.com
Buromaschinen is part of the Distant Future association, distantfuture.org"

New England Digital Synclavier Brochures

Note: links to listings are affiliate links for which the site may be compensated.

New England Digital Synclavier 9600 Polyphonic Sampling System Brochure

via this eBay listing

"RARE! New England Digital Synclavier 9600 Polyphonic Sampling System Brochure

Yes, this is the 9600, and yes, this is in English.

This is THE RAREST and MOST SOUGHT AFTER of the 1989 new system brochures that that fake foreign website scanned the photos from 25+ years ago to show fake systems on the website (instead of real ones like Synclav com has shown for 20+ years). This is the original source of the scan, at least for the Synclavier 9600 model. Those photos show empty boxes. Uhm, what's holding that beige door closed (no locks)? And exactly what software generates that screen image?

This incredibly rare brochure gives all the information, and shows all the specs of the Synclavier 9600. And surprise! The maximum polyphonic sampling memory is not "1.5GB", lulz.

And, lastly, Synhouse has the Synclavier 9600 in stock (two kinds, actually). Nobody else does."

New England Digital Synclavier Brochure VPK Sample-to-Disk VT640

via this eBay listing

"This is an incredibly rare brochure from the summer of 1984 (when NED was working on polyphonic sampling Synclavier to be shown October 1984 and there was no actual system in production, the few shipped were hybrids of the Synclavier V/PK retrofitted to a Synclavier II Control Unit) that shows things that NED didn't exactly make, ever.

This was their first---and last---mention of "The Tapeless Studio" meaning the sequencer (later that meant the Direct-to-Disk system). It describes the SMPTE Reader Option without using that term because it wasn't yet available and they hadn't figured out how it would be done yet (similar to the 1987 discussion of the not-yet-released 3rd party SMPTE reader for the Linn 9000, saying they weren't sure whether or not it would require additional hardware to be added to the Linn 9000....that's the sound of someone who hasn't ever used SMPTE and doesn't know what it is), and it shows a graphical flow chart showing polyphonic sampling and multi-channel outputs (neither available then as building blocks), and is intentionally vague about the "floppy disk system" and "Winchester disks", as they didn't really have the set offering for that (high density Superfloppy, not out until 1985, and 5mb and 10mb IMI MFM Winchester drives being common, neither with SCSI until 9/1985).

It describes the Stereo Option, Sample-to-Disk, SCRIPT/MAX, and different Control Unit enclosures.

Most strangely, it shows a V/PK that never existed, with a back panel that wasn't made, with Synclavier II connectors that were never used and, sadly, an on/off power switch that they never put on this $11,000 machine.

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The Florian Schneider Collection to Be Auctioned at JULIEN*S November 19

Note: links to listings are affiliate links for which the site may be compensated.

via JULIEN*S

"THE FLORIAN SCHNEIDER COLLECTION

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

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Omnisphere 3: Overview, Review, Synth Architecture, and History

video upload by Keith Crosley

"Spectrasonics Omnisphere 3 is here, and I'm taking a deep dive into the architecture of the latest version of this legendary synth! Join me for a talky takly exploration of the sound, features, and origin of Omnisphere, and details on the newest capabilities that other synth-tubers ignore. If you're unsure if Omnisphere 3 is "worth it in 2025", I hope you'll learn something from my deep (or at least as deep as I can get in 90 minutes) dive! And, if you're an old hand at Omnisphere, I might remind you about some of the deep features that make Omnisphere a classic... So grab your rusty spoke and get ready for a POWER-SYNTH-A-GO-GO episode of your favorite talky synthesizer content show!"

You can find additional resources by Keith Crosley available at https://www.wavetables.lol.