Click the auction link on top when you get there for additional listings.
"Oberheim Matrix-6R – Classic Analog Rack Synth Great condition Matrix-6R delivering that classic Oberheim analog sound—warm pads, rich brass, and evolving textures. 6-voice polyphony 2 DCOs per voice 24dB resonant filter Deep Matrix modulation system Bi-timbral (split/layer) Full MIDI (In/Out/Thru) Fully working, studio use only. A powerful and underrated vintage synth—ideal for anyone wanting true analog Oberheim tone with serious modulation depth."
"What happens when a synthesizer completely breaks the rules? In this video, we explore the Genki KATLA — a truly unique polysynth inspired by Icelandic volcanoes, featuring a rotating voice architecture, hybrid signal path, and some of the most unpredictable sound design possibilities I’ve come across.
This isn’t your typical analog polysynth. Each of the five voices can run independently with different waveforms, octaves, and modulation — creating evolving textures, harmonic movement, and generative-style sounds that feel closer to modular synthesis than traditional keyboards.
🎛️ What makes the KATLA special? • Rotating voice polyphony (round robin-style synthesis) • Independent per-voice oscillators & tuning • Digital oscillators + analog filter signal path • Looping envelopes reaching audio-rate modulation • Phase distortion, wavefolding & multiple distortion types • Tape-style wow, flutter & pitch instability effects • Stereo voice movement & evolving spatial modulation • External inputs for processing other gear
From lush ambient pads to aggressive, evolving sequences — this synth can go places most instruments simply can’t. It’s not about recreating vintage sounds… it’s about discovering entirely new ones.
💸 At around €5000, this is definitely not a beginner synth — but for sound designers, and anyone looking for something truly different, it well worth a look."
Genki Katla Sound Design: Making sounds from scratch and exploring
video upload by MR TUNA Music
Chapters: 0:00 - Intro 0:16 - Init patch 0:44 - Filter sounds 1:26 - Raising 1 voice 1:43 - Creating a basic pluck sound 2:24 - Aftertouch controls 2:45 - Bring in a little reverb 2:56 - LFO to filter cutoff 3:16 - LFO to reverb mix 3:46 - Keyboard cutoff 4:00 - Osc 3 Square wave 4:23 - Sub oscillator 4:54 - KATLA parameters 5:01 - Rústir wavefolder 6:08 - Rökkur stereospreader 6:37 - Skriða envelope randomizer 7:27 - Aska random modulations 7:57 - Glóð tape stops and flutters 8:35 - Skjálfti ??? 9:14 - Kvika slow tape modulations 9:38 - dark pads 10:20 - Móða voice detuning 11:20 - Katla sounds with aftertouch 13:28 - Thanks for watching
"Hey guys! Very very excited to be presenting the Genki Katla to you all... I am truly in awe of the sound of this very unique and powerful instrument.
I thought the best way to get to know the synth is to start from scratch so in this video we'll go full hands-on with the Genki Katla, exploring (almost) every parameter and building sounds from an initialized patch.
From some raw drone layers and gritty textures to evolving pads, rhythmic sequences, and atmospheric beds, we will see just what this instrument can do, discover new sounds, and maybe make some friends along the way 🙏
If you're into sound design, unique synths, or just love discovering new instruments, this one is for you!
HUGE thanks to Genki for letting me a part of this with them and showing off this super cool synth.
No money was paid, no agreements were made... these are my real thoughts on this very premium synthesizer and I will be sharing lots more."
Press release follows:
Genki Instruments announces availability of Katla as Voice Rotating Polyphonic Synthesizer inspired by its natural namesake
REYKJAVIK, ICELAND: having twice blown European musical minds thanks to show-stealing showcases at SUPERBOOTH25, May 8-10, Berlin, Germany and Machina Bristronica 2025, September 27-28, Bristol, UK, before adventuring across the pond for a repeat performance at Buchla & Friends 2026, January 24-25, LA, CA, USA, Reykjavik-based instrument developer Genki Instruments is proud to announce availability of the eagerly-awaited Katla as a Voice Rotating Polyphonic Synthesizer inspired by Iceland’s largest subglacial volcano as its natural namesake — readily representing the company’s first foray into analogue synthesis, albeit one that uniquely utilises a set of wildcard parameters to infuse it with organic, unpredictable behaviour as an instrument that is worthy of that legacy, excelling at generating rich, evolving, multi-layered textures, where each note stirs, swells, and erupts in its own distinct way — as of March 31…
Clearly Katla’s inspiration runs through its ‘volcanic’ veins. After all, it is framed by side panels and knobs forged from authentic Icelandic lava, giving each instrument a tangible connection to the volcanic forces that inspired it. That this synth should surely roar is a given. Genki Instruments inevitably chose, therefore, to kit Katla out with four independent distortion destinations, the most unruly of which is a stereo CMOS (Complementary Metal Oxide Semiconductor) Drive effect — a characterful saturation stage, pushing tones from warm and rounded to fractured and snarling.
"The Replay sounds fantastic, but here it just delivered a phrase sample and is acting as a midi controller for Outgrowth, which I have just gotten around to trying. An insane tool. No other effects used here, except for some eg and limiting."
Based on the original 1978 hardware, this value-packed emulation revives the digital control and analog soul of an often forgotten landmark in synth history.
(March 31) Cherry Audio is excited to announce the release of the Crumar DS-2 synthesizer, a virtual instrument that faithfully replicates and significantly enhances the original 1978 hardware synth that was ahead of its time. This release marks the latest collaboration with Crumar Instruments, following last year’s acclaimed Spirit synthesizer, revisiting a groundbreaking Italian synth and infusing it with Cherry Audio’s signature style.
Crumar DS-2 by Cherry Audio is available now for only $59 at cherryaudio.com and through authorized resellers, bringing its rare and legendary “vintage digital” sound to the modern production environment at an exceptionally low price.
The Crumar DS-2 was a unique synthesizer that combined a monophonic Synth engine alongside a fully paraphonic Poly section. The “DS” in its name stood for “Digital Synthesizer,” and it featured two Digitally Controlled Oscillators (DCOs) designed to prevent tuning drift. However, the resulting waveforms were completely stair-stepped, giving the instrument a gritty character and wild harmonics. Together, the two sections provided the DS-2 with a distinct sound that set it apart from both early digital synthesizers and classic analog models.
Building upon the foundation of the vintage hardware, Cherry Audio’s virtual Crumar DS-2 introduces several powerful modern enhancements to expand its creative potential. The monophonic Synth section now includes unison and multi-voice modes, providing panning and tuning options, as well as polyphonic functionality with 4, 8, or 16 voices. The Poly section supports full 32-note polyphony, and DS-2 now features a keyboard split mode in addition to the layered mode.
The Synth section now includes a stair-stepped sine waveform option, and oscillator sync has been added. A third LFO has been introduced, and LFO options now include discrete delays, sync, retrigger, reverse wave, and one-shot capabilities. The five-part LFO Mixer, previously hardwired to specific destinations, now offers six assignable destinations with 33 options each, providing unparalleled modulation flexibility.
The envelopes have been enhanced with an initial delay stage (DADSR) and velocity sensitivity, and now include looping functionality. Additionally, the Poly section now features VCA release control, making it better suited to powerful string-synth sonics. Touch control has been added with four slots and simple click-to-assign functionality, supporting both channel and polyphonic aftertouch with compatible MIDI controllers.
The VCF has been upgraded to include a 12dB 2-pole in addition to the original 24dB 4-pole option, along with polarity and key-follow adjustments. Other enhancements include an assignable bend range, a dedicated mod wheel, and a dynamic arpeggiator that can be applied to either or both sections. DS-2 also offers three customizable effects chains with 20 studio-quality effects, allowing users to arrange, save, and recall their settings. Over 300 professionally designed presets are organized into 14 categories to inspire instant creativity.
Cherry Audio is also offering the Deep Space Preset Pack for DS-2 for only $9.99. This pack includes an extra 100 presets that provide an in-depth exploration of DS-2's sophisticated modulation routing, expressive performance features, layers and splits, arpeggiator, and studio-quality effects.
Crumar DS-2 reflects Cherry Audio’s ongoing dedication to delivering high-quality sound at an unbeatable price, even in uncertain times. Priced at just $59, the DS-2 is an ideal choice for synth enthusiasts who value both exceptional tone and affordability. Furthermore, until April 13th, producers can purchase the Crumar DS-2 as part of Cherry Audio’s “Build Your Own Bundle” options. Customers can select a Pick 3 bundle for $99 (regularly $119) or a Pick 6 bundle for only $149 (regularly $169), allowing you to mix and match any of their award-winning instruments for as little as $25 per plugin.
Cherry Audio’s Crumar DS-2 synthesizer is available for macOS (10.13 or later) and Windows (7 or later) in AU, VST, VST3, AAX, and standalone formats. A free 30-day demo is available. Visit cherryaudio.com for additional product details, a deep-dive introductory video, system requirements, and an extensive collection of awe-inspiring sound demos.
"This video shows some original JX-8P factory sounds. It compares the plug-in with the hardware device (revision 2 / OS v3.1). For the test, we imported the factory presets with sysex. A MIDI sequence is played alternately between the plugin and the hardware. Sometimes it clicks when the output switches and…
The demo was recorded in one take without any modifications or cuts. Don't expect identical results. DCO, LFO, and Chorus phases are freely running on both devices. The cutoff frequencies vary slightly for each voice."
0:00 Intro
0:24 1. The Oscillator Section.
03:20 2. The Filter Section.
05:28 3. The Modulation Options.
09:20 4. Individual Voice Tuning.
10:36 5. The Effects.
"TAL-J8X is an instrument plug-in that emulates the sound of the analog 80's synthesizer with additional features that add a fresh touch to this synth.
Emulation of the 80's hardware synthesizer (rev 2 / OS 3.1). Modern filter mode that allows self-oscillation. Create and play chords. Arpeggiator with different modes. High Quality EQ, Delay and Reverb FX. Aftertouch and MPE support. Microtuning support (tun file import and MTS Client). Original factory banks included. More than 600 presets by Electric Himalaya, Saif Sameer, Sound Author, Empty Vessel, VIC-20, TAL, Heat Audio, FMR and others. Individual tuning for every voice converts the synths DCO into a VCO. Reads Sysex files and Sysex MIDI from the hardware device (tone data from JX-8P, JX-10, MKS-70). Can also control a hardware device. If enabled, it sends Sysex through the plug-in MIDI output (only possible when supported by the DAW)."
"Join us for an exploration of TRAILS as part of our Pedals & Patches series of videos, exploring pedal FX with modular gear, synthesizers, around the studio and with some other instruments too. Pedals aren't just for guitarists, so lets get creative with them!
Trails offers 7 FX that make your sounds sustain and grow, there's resonators (think Rings) with sympathetic strings, bell like chord generation, live and frozen buffer granular processing, a unique distortion like nothing I've used before, micro loopers, pitch shifting delays, vinyl record emulating delays and more!"
Note the second MIDI port on back. No mention if it's MIDI In which the GR-700 lacked or a 2nd MIDI OUT/through.
This previous listing for one also has the extra port. Note the programmer port to the left is not MIDI, but for the PG-200. In this other listing it is referenced as MIDI IN port.
"The good folks behind Expert Sleepers hired me to make a video showing the Disting NT doing something interesting - but what that was, was up to me. I figured the NT should be able to power an entire small live system, replacing a boatload of modules in one. And I thought about how James Holden blends computers & analogue filters in his work. And so I built a live system that does just that. Here's it working, how it works, the challenges I had, and the solutions. NOTE: YOU CAN DOWNLOAD THIS DISTING NT PATCH BELOW FOR FREE"
"No AI here, this is a real human description in the language of English.
Think of drum loops, drones and leads from the 90s. This is an M-DC1 from Roland, which includes typical banks of patches, but also cool performance and drum modes. Many hip hop loops, trance type stuff. This is a rack module which essentially contains the dance roms that were also available for the JV series in the form of plug in cards. Except this is a standalone rack unit with a JV-esque sound engine.
The JV sound was ubiquitous in the 90s, and not to be underestimated, whether it be traditional piano/keyboard, bass, drums, or leads.
Pretty clean, even the rack ears are pretty clean, Home studio only, not dragged around. Used for supplementing tracks, and some of the drum loops were used as foundations for tracks.
you got your midi, your stereo outs etc.
midi'd it up to another roland keyboard and tested some of the performance loops, and individual patches. That worked for me."
all sequenced from logic, lots and lots of pitch bend automation... midi cv mostly coming from expert sleepers fh-2, including one converter that's just velocity information for the hihats and one that's just a monophonic gate with no pitch (for the dfam). the configurability of the fh-2 is astounding
drums: squid salmple with mostly linn samples, swapped in a 909 ride and 808 cowbell. gates from beatstep pro with aforementioned hihat velocity from the fh-2
bass: mb2s all by itself (including midi conversion)
riff that mostly follows bass: plaits (waveshaper algo) through tiptop forbidden planet though obne screen violence (disabled at first)
minor 2nd thing: qu-bit surface in one of the e piano modes
riff 1: qu-bit chord v2, a fair bit of malarky going on to get the right flavour of duophony. everything's kinda duplicated so at first it's just the first two oscillators then it gets doubled
riff 2 (first new riff in 4/4): surface again, i switch it to monophonic during the stabs
riff 3: qu-bit aurora running a dumb little oscillator firmware i wrote a few weeks ago (my first and so far only foray into writing dsp). ran it through after later stairs (stereo filter) with different lfos modulating left and right to move it around a bit. midi from beastep pro (this was the last voice i added and had used up all the outputs on the fh-2 and expander. still had the other sequencer on the bsp so i guess i could've added one more voice)
klek de machine: dfam
--
the arrangement is slightly shorter, where everything's live rather than looped i can only add layers as long as i can add voices so i focused on what seemed like the more important ones. and while i spent a long time trying to figure out all the parts i'm still not quite sure what the bass (and guitar part that mostly doubles the bass) in the last section is doing. pretty sure i'm pretty close though.
"This is one of many ideas of this type that I have in progress and it's the first that I feel is ready to use. It has developed from last week's jam using MIDIPan and MIDISID.
I played the marimba part on a keyboard, all other parts are programmed manually.
I've started bat-watching but I haven't seen/heard my first of this year yet. I have enjoyed seeing both our moon and Jupiter in a clear sky though. The mysterioso nature of this piece seems to go well with this image of the moon.
Lie back, close your eyes, let go of the world around you and if you fall asleep them my work is done.
Photo of the moon: NASA nasa, CC0, via Wikimedia Commons"
Click the auction link on top when you get there for additional listings.
"Extremely rare outside Japan - apparently Moridaira / Denki Sangyo, the firm SCI employed to make the Six-Trak, decided to make a few changes to that design and re-market it as the Pro-8 in Japan. Five octaves instead of four, eight voices instead of six, and split instead of multi-timbral. SCI then eventually made a couple more changes, and introduced it as the Split-8 in the rest of the world.
This, like all Pro-8s, started out as 100V Japanese power, but has been converted to 240V.
Lots of little points of interest: for instance, this one has a Denki maker label but also a Sequential Circuits one. They both call it Model 608, and SCI have a serial number:02033. 608 presumably because the design was changed from six to eight voices?
It's not a Prophet-5 for sure.... but if you like the Six-Trak sound you'll like this a lot. And it's rare as anything :) Plus it's probably the only synth in the world to have a scribble-strip matrix for entering your program sound names. The matrix looks unused.
"The-One by Nerve is not a replica, but a musical study inspired by the Sequential Circuits Pro-One. Available as VST3 and AU for macOS and Windows.
https://nerve-audio.com
In this video, we explore the sonic range of this synthesizer using the MP Controller.
----
MP MIDI Controller | https://www.mpmidi.com
----"
"Midi on the MulitWAVE is a big deal. It seems it just adds polyphony from your DAW or midi host, but how many keyboards do you know where you can actively control eight separate voices and put each voice in its own VCA, with its own modulation and FX? I know only one. And then you can still go hybrid and plug all kinds of CV in it.
It's also a big deal because you can make moving soundscapes which are either super hard or totally impossible with regular hardware keys. Sure you can use multiple instances of VST's in the daw, but that doesn't count because a PC is not a fair compare.
I am still waiting for my MIDI expander strip to arrive, so I 'broke the rules' by using a direct USB connection with Ground Control. MakeNoise does not support this due to all classic 'interference' problems with USB loops between controllers, hosts and output devices. The 'strip' mitigates those problems, and it offers a front panel input instead of running USB cables through places where they can't go. But this video was simply to short to wait for the strip to arrive. Next week the new GTE will also be here, so I'll stitch it up properly soon and try an MPE controller."
Click the auction link on top when you get there for additional listings.
"Arp 2600 with Kenton MIDI From the mid-1970’s, around 1974-76. It has had a full service in September 2025 by Dani at Hideaway. Some time in its history, it has been modified for the installation of the Kenton MIDI kit.
Both the 2600 and the 3620 have their lids. The keyboard lead is attached to the keyboard.
Previous incarnations of the EMW Patch Synthesizer were featured here back in 2014 and 2011.
"Discover the Patch Synthesizer, a powerful tool designed to generate and transform sounds on classic MIDI synthesizers.
In this video, I demonstrate how it works, including both Create and Modify modes, and how you can quickly explore new sounds without complex programming.
More info: info@electronicmusicworks.com
www.electronicmusicworks.com"
In this demo we walk through everything Birds offers: four generative styles (Stormo, Ostinato, Cantabile, and Puntillista), eight pitch mutation algorithms, and independent gate evolution controls that keep both the melody and the rhythm moving as the sequence plays.
The core idea is straightforward. Generate a sequence, set your Difference Limit, and Birds will drift away from that original reference and back toward it -- creating variation that stays musical. The bird-on-wire interface shows you exactly which notes are original, which have evolved, and which are inactive, so you always know where the sequence stands.
Whether you're building evolving loop beds, generating melodic material for a live set, or just breaking out of patterns you've played a hundred times, Birds gives you a sequence that works with you rather than sitting still.
Birds reads Ableton Live's scale and root key directly. Use it diatonic for in-key lines or switch scale mode off for chromatic and atonal results. Drive it from Ableton's transport or use MIDI Trigger mode to sync it to external hardware."
BIRDS BY ALESSANDRO AYLESIM MIRACAPILLO
WHAT IF YOUR MELODY COULD WRITE ITSELF?
MAKE YOUR OWN TRIPLE PACK: Buy any three or more Aylesim products at the same time and get a 20% Discount (automatically applied at checkout)
Static sequences repeat. Birds evolves. This MaxforLive instrument generates 16-step melodic sequences and mutates them in real time -- drifting away from the original idea and back again, creating melodies that breathe, shift, and surprise without losing their thread.
Inside you'll find:
Four generative styles -- Stormo, Ostinato, Cantabile, and Puntillista -- each producing distinct melodic character
Eight pitch evolution algorithms including Chromatic, Gravity, Smooth, Drift, Interval, and Rotate
Difference Limit control to set how far the sequence drifts from the original reference
Independent gate evolution with Shuffle, Density, and Chaos controls for rhythmic mutation
Generation tab with full control over density, note range, velocity range, and motif length
"Meet BLEASS Peaks, a new generation audio filter that turns traditional filtering into a fully playable performance instrument.
➡️ In Internal mode, you can shape the sound using up to 32 resonant peaks/notches.
➡️ In MIDI mode, the plug-in becomes a playable polyphonic filter, where MIDI notes control the filter frequency. You can run up to 8 filter voices at the same time.
This lets you play filter movement using MIDI notes or chords, shaping drum loops and synths in real time. You can create evolving filter patterns, rhythmic effects, and perform filtering like a musical instrument.
🎨 Additional tools include 5 FX slots (distortion, delay, compression, bitcrush, and filters), plus LFOs, envelopes, and macros.
BLEASS Peaks unites classic audio filtering with the spontaneous spirit of performance to deliver an entirely new class of creative filtering effects.
The plugin is built around BLEASS’ advanced multi-peak polyphonic filter design. When set to Internal control mode, this creates a single bell-filter curve containing up to 32 resonant peaks/notches. Details of the filter curve, such as the quantity, root frequency, and spread of the peaks/notches, are set parametrically, making it easy to shape the filter’s response and bring it to life via the plugin’s synth-style modulation sources.
BLEASS Peaks truly comes into its own when operating in MIDI mode. In this configuration, the filter’s root frequency is controlled via MIDI coming from live-played notes or a recorded track. Better still, BLEASS Peaks can generate up to eight such filters simultaneously, making this a true polyphonic filter.
MIDI control makes the filter fully playable and performable, opening up a whole new constellation of original and compelling filtering effects. Drum loops can be tuned to follow chord progressions, rhythmic harmonic pulses can be added to pads, arpeggios can be brought to life with complex frequency-shifting chorus effects… the creative possibilities are endless.
Additional colour and detail can be added to Peaks’ filtering via a set of five assignable Effects slots. These allow you to enhance the filtered sound with distortions, dynamics processors, delay, and even conventional low- and high-pass filters.
As with the filter itself, Peaks’ effects can be brought to life by the plugin’s various modulation sources, with each modulator mappable to up to four destination parameters. There are three LFOs, three envelopes triggered by the incoming audio plus a fourth triggered via MIDI, and four Macro controls. Alongside these internal modulators, the plugin also recognises various realtime MIDI CC and MPE sources.
Used as a conventional single-voice filter, BLEASS Peaks is at the top of its game, allowing easy-yet-deep control over the spectrum of your audio, and offering many ways to inject life and movement into the effect. Enabling MIDI control makes that advanced filter behave as a playable instrument, unshackling you from the limitations of conventional filtering and giving you direct hands-on control over the effect.
However you choose to use it, BLEASS Peaks is a uniquely creative, intuitive and fun tool for shaping, colouring, and injecting originality into your music.
"The first thing I like to do on a new box is make a techno rumble. I learn a lot about a machine like this as I have a goal in mind and I can explore all the options. Here is one way to do it. I also live route the Pulsar 23 Bass channel through the TOnverk and apply a bunch of effects. And then sample the Pulsar and feed the Grainer. Finally add a Pulsar snare sample and make some weird hi hats. The video starts with the final result and then the making journey. And yeah yeah, OS 1.30 but in Australia I woke up to that so this is the final video that will ever be on OS 1.21.
00:00 Intro is the final track sketch
01:08 Intro ramble - oops I bought a Tonverk
05:02 Making the rumble
14:48 Sidechaining options
20:49 Testing at a faster BPM
22:26 Routing an external synth (Pulsar 23) MIDI control and using effects
26:20 Quick techno drone test
28:41 Sampling the Pulsar and feeding the Grainer Machine
42:02 Subtracks & adding some percussion
44:33 Weird hi-hats and a random sequence
46:24 Bringing it all together - the start is the end"
