"Mint condition...... And heck if a lot of fun and sounds awesome.
comes with all accessories (matrix pins/cables/power)
In perfect condition, everything works like it should. 2 to3 day shipping...
Ample combines the best elements of several of our recent products.
The sound elements of Fusebox
Jack patch points of Concussor Eurorack
Patch pin matrix of Vostok
Echo from Dr Strangelove
Sequencer and CV touch pads of Generator
It shares all this yet still has its own sound!"
Ample can be as complex or as simple as you want it to be
We have given this synth a large and diverse number of controls, that along side the patch sockets, will give even the best and experienced synthesist endless possibilities.
We have presented the controls in a user friendly and familiar synth layout that, together with this manual and other resources, enable even the new guy to get great sounds.
SYNTH – PERCUSSION – AUDIO PROCESSOR
Ample is a compact analogue synthesizer. Analogue - as in really analogue. Aside from the MIDI chip (which has to be digital), everything else is totally analogue using real transistors and op-amps. There are no CPU stabilised and quantised circuits, no DCOs, no digital LFOs and no digital EGs, as found on other so called analogue synths. The circuitry is based on designs dating back to the mid-1970s. So Ample has a genuine old sound.
"Here we have a custom circuit bent Texas Instruments Speak & Spell.
Operates as a totally normal speak and spell until you flip a glitch switch or turn a dial, etc.
Very fun to play, no right or wrong way to it, this bent talking synth is capable of tons of new sounds for you to record, sample or play live.
The added mods include:
1) Tone Oscillator button-creates a tone when depressed, the tone can then be manipulated with the theremin pitch cell, pitch dial or pitch body contacts.
2) Active Matrix Glitch-This mod opens up the membrane for random glitching dependent on where you touch the pad.
3) Ramble Glitch-Flip this switch and hit go and it will spew constant ramblings on and on and on and on.........
4) Dual voice glitch- causes it so speak In both a high and low voice at the same time.
5) Pitch Changing Body Contact-Touch this to lower the pitch, the harder you touch the further the change.
6) Pitch Changing Knob-Use this pitch control to change the pitch from incredibly high falsetto to super low, 8-Bit crushing growl.
7) Reset Button-Use this when you're ready for a change and the machine is rambling on its own, also serves as an OFF button.
8) Theremin Opto Cell Controller-Simply flip the switch, use the pitch dial to fine tune and you can play any sound emitting from the speak like a theremin, makes for some great effects.
9) Loop Switch with Advance Button-FLip this switch at any time to catch a sound that you can then mold and play with the other controls such as the opto cell and pitch dial.
10) Strobing LED for cool effect
It now features a 1/4" output jack that mutes the onboard speaker, allowing you can output this into your effects, amp, pa, etc.
These mods add tons of versatility and droning textures for your playing, recording and experimenting pleasure."
For a long time now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?"
But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic. Oddment has evolved too. Starting from one quirky product idea, in 3 years we have grown and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many.
So with much consternation, we have decided to drop the name groc. When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1.
This is the first in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off half of the encoders that control the granular synthesis engine - the PLAYHEADS function. Here you can control the level, starting point, tuning (aka pitch adjustment) and playback speed for up to 4 different granular playheads. The auxiliary functions available on the touch screen introduce random variability in different ways.
2. ODD-1 Overview: Grains
This is the second in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the second half of encoders that control the granular synthesis engine - the GRAINS function. Here you can control the size, spacing, left-right placement, and grain window shape. Each control also has a related function, introducing grain size variability, spacing jitter, binaural scatter, and a front-back bias for the window shape. The auxiliary functions available on the touch screen control a bandpass filter that can be randomized per grain and adjust whether grain size is regulated in the source sample or in the output signal, which can have a big impact on sound characteristics.
3. ODD-1 Overview: 03 Envelopes & Time Path
This is the third in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the ENVELOPES function. Here you can control the note amplitude envelope and timing, access 3 envelopes that can be used as modulation sources, and use our unique TIME PATH feature to dynamically adapt the playback speed.
4. ODD-1 Overview 04: Sample
This is the fourth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the SAMPLE function. Here you can choose a sample from the factory library or user-uploaded samples, control the playback mode and the section available for granulation, play and hold notes, set loop points and interact with pitch, tempo and channel information of the sample. We also show the auto pitch and tempo alignment features.
5. ODD-1 Overview 05: LFOs, Macros, Patching
This is the fifth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the LFOs, Macros and how to create modulation connections. There are 4 LFOs, 3 Envelopes, 4 Macros (assignable knobs), 4 Control inputs and MIDI information that can all act as modulation sources. Any parameter on the device is a parameter destination. Unlimited connections are made by holding down a destination parameter and then pressing or twisting a modulation source.
6. ODD-1 Overview 06: Filters, Saturation, Echoes
This is the sixth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the Filters, Saturation and Echoes modules. Two filters and two saturation modules per voice, both with multiple types of processing and modulatable parameters, allow for transformation beyond the granular engine. Two echoes sections with filtering and distortion in the feedback loop and fully modulatable parameters make ODD1 worthwhile just as a modular effects rack!
7. ODD-1 Overview: 07 Layers
This is the seventh in a series of videos to show all of the ODD-1's functions in more detail. In this one we show the dual Layer functionality. Essentially the entire system is duplicated so the ODD-1 is like having a dual modular systems, each with a polyphonic granular engine feeding two filters and two non-linear processors per voice, with 3 envelopes, 1 time path, 4 LFOs, 4 Macros and a independent modulation matrix per layer. In these examples we also remind that granular can easily do subtractive-style synthesis when using a basic waveform as the source sample.
8. ODD-1 Overview 08: Reverb & System
The final video in our eight-part series on the ODD-1's functions focuses on the upper-left row where we have global volume, system-level reverb and can work with banks of patches.
The reverb is a classic matrix-style parametric reverb. Think of it like a whole set of interacting delay units with slowly modulating delay times. Ok now that you have that in mind, that's it, that's what it is. It sounds sweet.
If two layers of modulating, granular goodness with a fantastic reverb on top wasn't enough, how do banks of patches to store every twist and connection sound?
And from their newsletter:
What’s in a name?
For a while now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?"
But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic.
Oddment has evolved too. Starting from one quirky product idea, we have grown in three years and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many. And with much consternation, we have decided to drop the name groc.
When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1.
And we plan to keep that off-beat attitude. We hope that brightly-colored friends, ODD-2 and ODD-3, will be along to join ODD-1 after not too long.
Build Updates
We have a lot of exciting progress to report since the last time I wrote. Hop over to our YouTube channel to check out a build update video and some in-depth functionality demos.
We debugged and fixed several problems with the circuit board including the power-up, line input and output, and noise on the control signal inputs.
We got several bids from contract manufacturers in the U.S. and around the world and selected Soldered, based in the E.U. They came highly recommended, and we think their experience will be a huge asset as we go into production.
We worked with Martyna Alexander to tweak the graphic design of the front and back panel. We are thrilled with the updates, including our new company and product logos.
We have first iterations of our custom firmware, enabling full functionality of the device and full USB connectivity to a host computer.
We have completed first versions of the software that include all audio, MIDI and system functionality we intend to support for the release. After many months of playing and testing we re-organized a few functions to expand both the number of concurrent grain “playheads”, and to support banks of patches intended for convenient switching and management in live performance.
"One Bitranger with Synapse matrix keypad, original manual and 12 DuPont pin patch cables
Excellent condition, does not include battery or PSU
The bitRanger is a patchable analog logic computer that sculpts sonic worlds ranging from data noise to melodic arpeggios. While being a handheld standalone synth, it is also right at home in the music studio. Extensive connectivity makes it so flexible that it can connect to almost anything: CV control its unique sound, sync it with drum machines and sequencers or use it as an algorithmic CV / GATE pattern generator.
Go nuts! Bit nuts!
The patchbay of the bitRanger is a place for exploration where you can simply connect outputs to inputs to see what happens. This can be done methodically or with complete experimental abandon. Go nuts! Battery Power and a built-in speaker make the bitRanger totally portable. Tweak it’s 4 knobs, 8 switches, and more than 100 patch points in the woods, on the beach, on a train, and in the studio.
Features
LFO clock oscillator for rhythmical modulation
VCO oscillator is synced to the HFO oscillator
4 modes of operation selectable by 2 switches
built-in speaker with volume control
On /Off switch
expansion connector
package includes 3 photo resistors – make your oscillators respond to light by plugging these into the Bend socket
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
See if you can spot the Matrix-6 screen. I think that was accident. Capturing it for posterity. :)
"A towering icon of analog synthesis! Nicely restored, beautifully preserved, and built to tour or record for another lifetime.
This Oberheim Matrix-12 is in very good condition, has been restored by Rosensound, with some recent restorations performed by synth legend and former Oberheim engineer Marcus Ryle. It comes in a new, custom-built, heavy-duty flight case. It’s a US version, upgraded with a new control panel overlay from Sweet Discrete (UK) for a clean, sharp aesthetic. Everything functions beautifully; a truly top-shelf example of one of the most powerful analog polysynths ever built.
Cosmetic notes: the Sweet Discrete panel overlay LED registration is a bit off in a few places, so some LEDs look slightly off center (as shown in an included close-up image). Performance is not affected. The new overlay generally looks beautiful, but not strictly 10/10. There is also some stubborn tape residue on a few of the keys which can also be seen in the photos.
Details:
12 voices, each with 2 analog oscillators, multimode filter, and extensive routing Legendary 96-point modulation matrix; no menus, just raw power Velocity and pressure sensitivity, 5-stage envelopes, and complex LFOs Massive analog presence with surgical control US voltage model (no step-down needed) New road-ready flight case included, $600+ value Restored by Rosensound and Marcus Ryle, two of the most trusted names in analog synth servicing New Sweet Discrete panel overlay from the UK; clean, legible, and sharp Used by Hans Zimmer, Keith Emerson, Depeche Mode, Pet Shop Boys, and countless electronic pioneers, the Matrix-12 is the pinnacle of analog polyphonic design; often called “the last great analog monster.”
30% of this sale supports the Bob Moog Foundation, preserving the history of synthesis and inspiring future creators."
1. Yamaha | MODX M | Elevate Expression Everywhere - Official Overview
2. Yamaha | MODX M | Sound Demo - Hear the Future of Expression
"Discover the new Yamaha MODX M Series, a next-generation synthesizer that elevates sound, control, and creativity for musicians everywhere.
Building on the DNA of our flagship MONTAGE M, MODX M delivers expressive performance and a professional workflow in a compact, lightweight design. Built for stage, studio, and beyond.
🎹 Key Features:
• Three powerful engines: AN-X (vintage analog), FM-X (modern digital), AWM2 (realistic acoustic instruments)
• Motion Control Synthesis: Shape sound in real time with the Super Knob, Motion Sequences & Envelope Follower
• High-resolution control: Smooth faders, knobs, and key response for ultimate expression
• Expanded Softsynth Plugin (E.S.P.): A virtual version of MODX M for your DAW (available early 2026)
• Compact, portable design: Perfect for working musicians on the move
🎧 Designed to inspire, wherever your music takes you."
Yamaha MODX M Synthesizer w/ KRAFT Music
video uploads by Kraft Music
Playlist:
1. Yamaha MODX M Synthesizer - Advanced Tutorial with Blake Angelos
"Yamaha has taken the brains in its flagship synth Montage M, and put it in a much less expensive package. Here are the details and comparison to MODX+ and Montage M
Get plenty of multi-samples for it, and my In-Complete Book of Electronic Music Ideas, Tips and Tricks
► Patreon: / loopop"
Intuitive Instruments improves Exquis MPE controller with firmware 2.2.0 update alongside Ableton Live, Bitwig Studio, and Cockos Reaper workflow-merging scripts
SAINT-CYPRIEN, FRANCE: Intuitive Instruments is proud to announce improvements to the award-winning Exquis MPE (MIDI Polyphonic Expression) controller with major updates coming courtesy of introducing firmware 2.2.0 alongside software scripts to merge its workflow with Ableton Live, Bitwig Studio, and Cockos Reaper DAWs (Digital Audio Workstations) — wholeheartedly representing several simultaneous steps towards the inspirational solutions for music lovers creator’s goal of ultimately making music-making seamless by turning the flagship instrument itself into the ultimate lightweight and compact creative hub — as of September 8…
Exquis enables seamless and natural interaction with all DAW software, MIDI synthesizers, and modular systems by becoming a direct extension of its user’s creativity as an expressive and intuitive MPE controller comprising a hexagonal matrix of 61 backlit soft silicon keys arranged as consecutive notes (semitones) horizontally and harmonious notes (thirds) vertically — from the lowest at the bottom to the highest at the top — that provide independent gestural control over four different dimensions: velocity (strike force), horizontal tilt (X axis — pitch bend), vertical tilt (Y axis — CC#74), and pressure (Z axis — channel pressure or polyphonic aftertouch). Alongside a namesake companion app — itself optionally offering an experience akin to traditional composition software — available on macOS and Windows with support for VST, VST3, and AUv3 audio plug-in formats, Intuitive Instruments’ flagship instrument is intended to provide musicians of all levels with a fun and intuitive way of creating melodies and progressions, fully exploiting sonic potential in the process of doing so — whether working with third-party software over the USB (Type-C) connection, third-party software or hardware synthesizers through the MIDI IN and OUT (minijack) connections, and modular synthesizers via CV (control voltage) with dedicated 0-5V (minijack) connections for GATE (V-Trigger), PITCH (V/Oct), and MOD (pressure or velocity). These top out a lightweight (600g) and compact — 36 mm (H) x 146 mm (W) x 317 mm (D) — desktop design that also incorporates four rotary/push encoders and a six-zone capacitive touch slider, plus a series of selection, undo/redo, and action buttons, providing precise and intuitive control collectively over any user’s sound while enhancing interaction with the app.
TIMELINE: 0:00 Intro 1:20 vs Live II 2:00 MPCe pads 3:20 Articulations 4:10 Touch strip 5:05 Mic test 5:30 More power 7:00 New features 7:45 I/O 9:25 Content 9:55 Using MPCe 13:00 Drum seq 15:05 Note Seq 16:40 Step edit 17:35 Last step 18:00 Automation 18:35 Other modes 19:45 Macro buttons 22:00 Clip matrix 25:20 Rec to arrange 26:15 Live looping 27:10 Snapshots 28:50 Clip settings 30:35 Sequences 31:00 Super stretch 31:50 New stems 32:30 New FX 33:20 Env follower 34:00 CV tools 35:10 MPC Desktop 35:30 Pros & cons
KEY FEATURES
[NEW] Expressive pads
16 MPCe pads with 3D-sensing technology for flexible music production and expressive performance
Update: the first user videos added below. Note: this post is pinned on top, see below for new posts going up throughout the day.]
"Fourm 4-voice analog synth with polyphonic aftertouch
Fourm is a compact analog synthesizer that invites you to play, shape, and perform with unprecedented expression. With its legendary Sequential tone, hands-on modulation, and uniquely responsive Tactive™ keybed, Fourm is a creative partner helping to bring your musical ideas to life.
Synth sounds and drums exclusively by Fourm. Composed by Peter Dyer."
See the dealers on the right of the site for availabily.
User videos:
Playlist:
1. The new Sequential Fourm in 60 seconds! #analogsynth #synth - Available at Signal Sounds 2. Sequential Fourm Analog Synth INHALT Demo & Discussion
3. Sequential FOURM Review — Classic synth sounds in a small package! - BoBeats
4. Introducing the Sequential Fourm Synth | First Look & Demo - Gear4music Synths & Tech
5. Sequential Fourm: Poly aftertouch, stacked waves, expressive arps – First look and sound demo - MusicRadar Tech
6. Sequential Fourm Performances & Overview - Sweetwater Soundcheck
7. SEQUENTIAL FOURM: the synth we’ve ALL been waiting for? - Projet Home Studio
Press release and pics follow:
Sequential Introduces Fourm: A Four-Voice Analog Synth with Polyphonic Aftertouch
A New Fourm of Expression
San Francisco, CA — September 23, 2025 — Sequential has announced the release of its most affordable, synthesizer to date. Fourm is a compact, 100% analog instrument that redefines expressive electronic performance. With its warm, organic tone, hands-on modulation routing, and a uniquely responsive polyphonic aftertouch keyboard, Fourm is ready to bring your musical ideas to life.
At its core, Fourm delivers four analog voices of genuine Sequential sound, derived from the legendary Prophet-5 — complete with dual oscillators, a classic 4-pole lowpass filter, and envelope curves modeled after the 1978 original. The result is unmistakable Sequential warmth and punch, now with overdriven feedback for a performance-ready edge.
For the first time in 40 years, Sequential has returned to polyphonic aftertouch. The team developed the new Tactive™ slim-keys poly AT keybed to work in concert with Fourm’s analog synthesis engine. Every element was co-designed and precisely calibrated to unlock new levels of expression, enabling a deeper connection to our signature sound that no off-the-shelf keybed could deliver. The result is a more expressive bond between player and instrument, energizing new modes of creativity.
“Wowww holy smokes: this thing sounds and feels amazing,” said Bryn Bliska, (keyboards for Chappell Roan, Maggie Rogers, Jacob Collier). “The polyphonic aftertouch is seriously so fun… Sequential nailed it.”
“We’re so excited to bring this innovative all-analog keyboard into the world,” said David Gibbons, Sequential CEO. “At a price-point that most people expect to pay for a monophonic synth, we think this product will invite legions of musicians who have longed for the magic of polyphonic analog sounds to start their journey of discovery with Sequential.”
Notably inspired by the Pro~One, Fourm’s top-panel modulation matrix puts deep sound design at your fingertips—no menu diving required. Modulation sources and destinations are clearly labeled, connections are made with a button press, and color-coded indicators make even complex routings easy to manage.
With its compact footprint, professional-grade build, and a sound engine rooted in Sequential’s most iconic instruments, Fourm is a powerful new voice in analog synthesis.
About Sequential Sequential has been at the forefront of synthesizer innovation since 1974, creating instruments that inspire musicians and shape the sound of modern music. With a legacy built on the iconic Prophet synthesizers, Sequential continues to push the boundaries of sound design with cutting-edge technology and exceptional craftsmanship.
"Cumulus is a versatile sample-based instrument that offers extensive ways to manipulate and play back samples across its four independent tracks. It also features a live mode for processing incoming audio and a large modulation matrix for deep sound design and creative exploration."
Unleash Your Creativity with the CUMULUS LOOPSCAPER!
The Cumulus Loopsacaper is a powerful sample-based instrument designed to transform and playback your audio with unparalleled flexibility. At its core, Cumulus consists of four independent tracks, each equipped with its own playhead, allowing for diverse and intricate manipulation of samples. Beyond sample playback, Cumulus also boasts a versatile live mode that processes incoming audio in real-time, functioning like a dynamic effect pedal.
"What happens when you program an ARP 2600 with two curious kids? A whole lot of wild and fun sounds. In this video, Anthony shows his daughters how to “Think Like a Synth” by recreating everything from a roaring lion to a 727 jet taking off — plus rain forest, crickets, birds, fire truck sirens, and even a talking synth that says “Oh yeah!”. Many of these patches are available for you to create using the ARP 2600 patch book.
This isn't just about music — it’s about learning how to shape sound, think creatively, and have fun doing it! There’s plenty of laughter, hands-on excitement, curious faces, and “wait, what?!” moments.
If you’ve ever wondered what synthesis is all about, this video shows how anyone — even kids — can dive in — and Think Like a Synth."
---
Crazy side note: when I (matrix) was in the 9th grade, I actually visted Anthony Marinelli's studio in the 80s on a mini field trip with a few studens in my Geometry class. Anthony sampled our voices and played them back on his Synclavier. Not long after, I bought my first synth, an Oberheim Matrix-6 in 1986. The matrix alias comes from the Matrix-6.
The Sequential Take 5 desktop module brings the legendary Prophet-5 sound to your mix, featuring the analog oscillators and filter that transformed electronic music. Compact and powerful, it fits seamlessly into any studio and is easy to transport for live performances. Modern effects and a powerful modulation matrix deliver sounds to transport you.
Soundtrack exclusively by Take 5. Yes, even the drums! Composed by Peter Dyer.
"The Take 5 and Teo-5 from Sequential and Oberheim make fantastic desktop units. They feel like they were made for this form factor - no compromises, simply great sounding synths in a high quality enclosure. The keyboard versions may have felt lacking in keys (even though they have a great keybed) - just a bit too short for some. I found it was quite handy having one that could fit on my rack! But with these the only decision you have to make is which one is best for you.
Luckily I'm here to confuse you further (they both sound great)! The decision will be whether you prefer the Oberheim or Sequential style of VCO programming, the filters, and the X-Mod/FM. And these just so happen to be the bits I look at in this :)"
0:00 Whoo Hoo!!
2:36 The Hardware
4:37 Quick Overview - What Are They?
6:58 Oscillators
10:20 Sync
12:31 Filters
21:08 X-Mod/FM
Press release follows:
Take Your Music to the Next Level with the Sequential Take 5 Desktop Module
San Francisco, CA – [July 1, 2025] – Sequential, a leading innovator in synthesizer technology, today announced the release of the Take 5 Desktop Module, bringing their legendary analog sound to a more compact and accessible form-factor.
Building on the success of the Take 5 keyboard, the desktop module offers the same powerful analog oscillators and filters that capture the iconic warmth and depth of the Prophet-5, enhanced with modern modulation and digital effects. The module delivers this sought-after sound in a space-saving design, perfect for studio setups and live performances where portability and efficiency are paramount.
"Ever since we launched the Take 5 keyboard, we’ve gotten repeated requests for a desktop module version, " says CEO David Gibbons. "And more recently, it seems that modules have really shot up in popularity. So, we're very excited to offer the Take 5 sound in a format that everyone seems to want."
The Take 5 Desktop Module provides the same hands-on, knob-based experience as its keyboard counterpart, allowing for intuitive sound design and real-time parameter adjustments. Users can delve deep into sound creation with controls that are simple and direct, making it fast and easy to polish your sound.
This synth fits perfectly in smaller studio or bedroom setups, and is easy to transport for live gigs, positioning The Take 5 desktop module to bring its signature Sequential sound to a wider audience than ever before. It's an instrument designed to make life easier and streamline the journey to making music and having fun.
The Take 5 desktop module is available now, with a US MAP price of $1,399.
"This basis of this project was between the new Synthetic Sound Labs 1655 Geo-Gruvn euclidean sequencer and a few different Low Pass Filter modules. The new SSL 1015 LPG with the cadmium sulfide CdS element, the Mega Ohm Audio CdS VCF/A module and the Cyndustries Quad Low Pass Gates module. The Cyndustries module was enhanced by Phil from Mega Ohm Audio to be much more responsive. A big change and very useful.
The Geo-Gruvn module from SSL is an adaption of the Hagiwo board and was also enhanced to provide a more efficient response all the way to audio rate clocking.
The main orchestration automation module in this piece was with the synthesizers.com Q170 Midi Gates module. The use of eight channels of midi gate streams from Cubase were the way each section were enabled on and off. My hands-on modulation was simplified to allow me to change timbre, filter settings and delay rates with ease.
The center section featured the Dove Mu-Seq D900 sequencer for a pattern which began by me running the sequencer in reverse and recording the track to Cubase, then reversing it back into the mix. I started with the Woven Spirits (MI Plaits) at a higher octave and drew it down until it matched the timbre for the rest of the midsection.
The last part was the dual Matrix run into a pair of quantizer modules in which I timed the pitch voltage outputs with the Geo-Gruvn gate outs. These voices were the Dotcom Q206 and Q206A modules through the Frequency Central X Series Low Pass Filter and an Empress Reverb pedal.
Other delays included the Modcan 73B dual delay with loads of modulation, and the SSL 1310 Digital Delay.
The opening drone is a feedback from the TipTop Audio Z-DSP VC-Digital Signal Processor with the Halls of Valhalla chipset in Plate Reverb mode. This drone also arose in the center section.
A pair of frequency shifter modules (Encore Electronics and Behringer Bode Clone) were used for the Snare and Hi Hats enhancement. The kit drums were the LDB-2E Analog Drums from Delptronics and the TipTop SD808. They were sequenced from the Mutable Instruments Grids module and a pair of Turing Machines and an MI Marbles module."
"The MEMS 264 quad sample and hold / polyphonic adaptor distributes a set of quantized notes randomly from the MARF to 4 oscillators. These oscillators are each hard panned to the 4 corners of the room through the 227e. The Nensen Electronics Programmable Pulse Matrix sends probability based pulses to the 264 and the 4 channels of the 281. 4 random voltages feed into the decay inputs on the 281 channels to vary the length of each percussive “hit.” A CV processor, mixed with random and a pulse output from the MARF brings in and out the 277 delay, that also has its delay time randomly bouncing between 2 different settings. The oscillator’s wave shapes are introduced half way through to give 2 saw waves and 2 square waves. Cross frequency modulation between the 4 oscillators randomly turn on and off later into the patch."
"ROM switcher boards and third-party sound ROMs are nothing new as far as the E-mu Drumulator is concerned – in fact both were available while the machine was current. JL Cooper Electronics and others made 3-kit boards, and Digidesign (who later became Avid) got their start producing alternative sound ROMs for the Drumulator under their original name of Digidrums. That said, while the various alternative ROM sets are easy to come by these days, ROM switcher boards are not, and without one it’s a total pain to keep swapping chips in and out as you have to take out 8 screws on the underneath of the thing, lift off the lid, swap 5 chips over and put it all back together again.
8 Kits
I wanted a modification very much in the same style as my TR-707 ROM expansion board, with a number of kits that you can instantly switch between. As with that project, this is done without the need for any additional switches and instead uses a microcontroller to snoop on the front panel switch matrix. Kits are selected by holding down one of the bottom row of buttons marked 1-8 and pressing the ENTER button. The selection is remembered when the Drumulator is powered off too.
The Drumulator’s sounds are stored across 4x 16kB ROM chips, although they form one continuous region of memory. Thanks to this, and due to the way that they’re selected, it’s really easy to replace all four with a single large capacity chip. The 512kB flash ROM that I used can hold 8 kits worth of sounds, which works out nicely as that’s the stock sounds plus 7 of the Digidrums kits, including the famous Rock Drums kit:
Stock kit Digidrums Alternate Drum Set 1 Digidrums Electronic Drums 1 Digidrums Electronic Drums 2 Digidrums Rock Drums Digidrums Jazz Drums Digidrums Latin Percussion Digidrums African + Misc Percussion Because each kit also has a corresponding modified program ROM (as the length of sounds, locations in memory and channel assignments are all hard-coded into the Drumulator’s firmware); the D8KM board also has an EPROM which contains the relevant OS for all 8 kits, and is connected to the Drumulator’s OS ROM socket with a ribbon cable. Fortunately the Drumulator doesn’t care if the OS ROM changes while the machine is running as long as they’re all the same version, which they are – ‘P3.00’, the final version.
MIDI
I chose also to include MIDI functionality as part of the upgrade, as most Drumulators don’t have it. E-mu did offer a retrofit, which has been cloned over the years, but it’s very basic and only does MIDI notes. The D8KM board on the other hand also offers the ability to sync the sequencer to incoming MIDI clock. Just set the Drumulator to external clock and if MIDI clock is available, it will automatically override the external clock signal and will also start and stop playback. If MIDI clock is not available the Drumulator will use the external clock signal as normal, including for the tape loading functionality."
ALAN R. PEARLMAN FOUNDATION ANNOUNCES INAUGURAL CELEBRATION OF THE CENTENNIAL BIRTHDAY OF ARP SYNTHESIZER FOUNDER, ALAN R. PEARLMAN, JUNE 7 AT THE MUSEUM OF MUSIC TECHNOLOGY
Kingston, NY - May 20, 2025 - This year marks the 100th birthday of the late inventor of the ARP synthesizer, Alan R. Pearlman. In honor of his pioneering innovations in electronic music, the Alan R. Pearlman Foundation will launch ARP@100: A Centennial Celebration of Alan R. Pearlman’s Legacy with EMEAPP at the Museum of Music Technology. A gala event kicks off a year’s worth of commemorative ARP centennial activities and takes place at EMEAPP, located in Harleysville, Pennsylvania, from 7 -10 pm.
June 7th Centennial activities at the museum include:
A live interview with the ARP Foundation’s director, Dina Pearlman-Ifil
Video excerpts from musicians, former ARP employees, and filmmaker Alex Ball’s celebrated ARP films
Performances on vintage ARP instruments by music pioneer Don Slepian and modular synthesist Ombient
The ability to try out a variety of synths
EMEAPP will unveil, at its Museum of Music Technology, a haven of vintage ARP history in which visitors will encounter an epic collection of ARP synthesizers, including the majestic ARP 2500 and a rare, early ARP 2502 with a cherry drop matrix. The iconic ARP 2600 Blue Meanie will be proudly displayed alongside an array of other ARP classics: the versatile Quadra, the expressive Soloist series, multiple iterations of the legendary Odyssey, the innovative Avatar, the powerful Chroma, the punchy Axxe, the compact Little Brother, and even a remarkable 16-Voice Electronic Piano – many of which will be playable!
Countless composers, musicians, and filmmakers worldwide have incorporated the ARP 2500 and ARP 2600 into their work, including early adopters Pete Townsend (in the “Who’s Next” album) and Elton John (in “Funeral for a Friend”). Stevie Wonder, an early adopter of the 2600, had his control panels labeled in Braille. The ARP 2600 was also responsible for the voice of R2-D2 in Star Wars films, and the 2500 was used to communicate with aliens in Close Encounters of the Third Kind.
Alan R. Pearlman’s legacy as an engineer and inventor began at an early age. A fascination with sound occupied his interest, and he spent time as a child building amateur radios. In 1948, as a student at Worcester Polytechnic Institute, he wrote, “The electronic instrument’s value is chiefly as a novelty. With greater attention on the part of the engineer to the needs of the musician, the day may not be too remote when the electronic instrument may take its place as a versatile, powerful, and expressive instrument.”
Attendees may reserve a spot at this exclusive celebration and fundraising event with a tax-deductible donation of $150 per ticket. The contribution includes complimentary wine/beer/other beverages, a selection of snacks, and a swag bag. Parking is Free.
The Museum of Music Technology/EMEAPP is located at 45 Mainland Road, Harleysville, PA 19438, just a short drive from the PA Turnpike Lansdale exits."
"Welcome to Bad Gear, the show about the world’s most-hated audio tools. In times like these when normal people try to steer clear of questionable spending habits, true synth nerds are still stockpiling esoteric Eurorack modules, vintage restoration projects and overpriced VST plugins in a box.
Speaking of which, today we are going to talk about the Waldorf Iridium range. While young producers with an actual history of releasing music are currently benchmarking a Serum 2 torrent, these futurist top shelf instruments based on German technology seem to be the last missing piece in every middle-aged synthesist collection before their careers are destined to take off.
Chapters: 00:00 Intro tune 01:03 Overview Waldorf Iridium Core 01:59 Iridium Core vs. Iridium Desktop vs. Iridium Keyboard 02:22 Wavetable Synth Engine 02:32 Virtual Analog Synth Engine 02:49 Particle ( Sampler , Granular Synth ) 03:15 Resonator ( Physical Modeling Synth Engine ) 03:26 Kernel ( FM , Modular ) 04:05 Filters, Digiformer 04:43 FX Section 04:52 LFOs, Envelopes, Mod Matrix 05:20 Bitimbrality, Touch Screen, Buttons 05:53 Sequencers, Arpeggiator 06:05 Connectivity, Pricing 06:25 Hate Screen 06:51 Jam 1 ( Fast Techno ) 07:43 Jam 2 ( Drum'n'Bass ) 08:52 Finale ( Melodic Techno ) 09:23 Verdict 10:34 Patreon Sound Design Shoutout"
Click the auction link on top when you get there for additional listings.
VEMIA is Peter Forrest's auction house. He is the author of The A-Z of Analogue Synthesizer Books.
"SCHOBER TUNESMITH (new start price to allow bids from outside the seller's tax region) Very rare monophonic transistor synth, single oscillator, circa 1968, sold as a kit or pre-assembled. The voice switch activates different static filters, providing 6 markedly different tones from bright sawtooth to mellow triangle. This short video [posted here] of the same model clearly shows the sounds ---- I read that the keyboard is a Pratt-Reed that uses series resistance rather than a matrix. This model for auction has clear strong sound with almost no hum whatsoever. The main problem is the tuning is way off, and some notes glitch a little. Not difficult to repair, I would think. Also the vibrato is not working, probably just a bad resistor, should be easy to fix. Body is solid and in good condition for a 57-year old instrument, so it hasn't been knocked about. Keyboard and control panel are very clean, almost no scratches. Mainly home or studio use, probably. The three tools contained inside the lid are a complete mystery, which may be solved once you look inside the unit! While this is offered as a 'project' the encouraging thing is how bright and clear it sounds, and once tuning and vibrato are fixed, you have a very playable instrument similar to a Clavioline. It's a worthwhile project, I would say. Power is 105-120V 50/60 cycles, with a 2-pin US-style mains plug. I've given it a very low start price. SHIPPING: This Tunesmith is located in Japan, and weighs (packed) approximately 7kg. Discounted shipping to UK/Europe/USA will be £30 surface, £80 air. For other countries, please enquire."
"Mint condition...... And heck if a lot of fun and sounds awesome.
