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
"A short demo featuring a drum machine and synthesizers from the early 80's.
Instruments:
Roland TR-606 (drums)
Roland SH-09 (bass)
Korg Polysix (chords)
Sequential Circuits Pro-One (arpeggios)
Effects:
Alex Franklinos Stereo Transformer Saturator
Boss CE-1 Chorus Ensemble
Chase Bliss Audio & Meris CXM 1978
DIY Recording Equipment G Bus VCA Compressor
Electro-Harmonix Deluxe Memory Man
Fulltone Tube Tape Echo
Hairball Audio FET/RACK Revision D
Handsome Audio Zulu
Roland Dimension D SDD-320
Roland PA-120 (preamp and EQ)
"Step back to 1978 and discover the iconic Roland CR-78, the first programmable drum machine that changed the way artists approached rhythm. Before the 808 and modern drum machines, the CR-78 gave musicians the power to create and store their own drum patterns. In the hands of artists like Phil Collins, Peter Gabriel, and Blondie, it became iconic. For this Vault, we’ve preserved the much-loved character of the CR-78 and expanded its sonic potential with some tasteful effects."
The Crow Hill Company creates …RHYTHM MACHINE as latest free VAULTS… VI, preserving vintage classic’s character while expanding its sonic potential
EDINBURGH, UK: The Crow Hill Company is proud to announce availability of VAULTS - RHYTHM MACHINE as its latest VI (Virtual Instrument) release ready for all to download and make music with for free for the rest of their lives — literally preserving Roland’s 1978-vintage CR-78 CompuRhythm’s classic character as the Japanese giant of electronic musical instrument manufacturing’s first programmable drum machine (that changed the way artists approached rhythm and, in doing so, stamped its musical mark on a number of notable hit records that subsequently secured its iconic status in the annals of music technology history for all eternity), effectively expanding its sonic potential with some tasteful effects as a result — as of October 1…
Far from stretching the boundaries of truth, it is fair to say that the introduction of Roland’s CR-78 CompuRhythm changed the course of history as the first computer-controlled programmable drum machine. Most rhythm machines before its late-1978 introduction were preset-only affairs, forcing their users to pick from the likes of ‘Bossa Nova’, ‘Rock’, and ‘Waltz’ — more in keeping with the home organ-orientated terminology of the time. The CR-78, however, offered something new — namely, an ability to program rhythm patterns and store them in memory using the external WS-1 programmer optionally offered by Roland. Indeed, its 14 onboard instruments include bass drum, cymbals, hi-hats, rimshot, snare drum, and tambourine alongside several Latin-type sounds, such as bongos, claves, and cowbell — all generated using analogue circuits, giving it a distinctly warm, punchy character. Thanks to the CR-78’s analogue nature, though, the tempo control is not exactly surgical, but this foible only adds to its charm. And, as history has borne out, when placed in the creative musical hands of Blondie, Phil Collins, Peter Gabriel, and others, it became an iconic instrument in its own right.
"9/7/25 Roland System 100m & RE-301 + Lexicon PCM 70
Snoopeggio.
Testing the Roland 184 polyphonic keyboard we just got back from our tech. Here we have three of the 184’s CV outputs modulating two 112 VCOs and one 110 VCO, while three of the 184’s gate outputs modulate three 140 envelopes, which control two 130 VCAs and a 110 VCA. These three signals are mixed and panned on the 131 mixer, with its stereo outputs hard-panned on the Mackie Onyx 1640, with the “concert hall” algorithm on the Lexicon PCM 70. The 131 mono output runs to the Roland RE-301 for tape echo, which is panned mono on the Mackie. The feedback on the RE-301 is increased after the hold switch is engaged on the 184."
"We bought this Roland CSQ-600 “serviced” but there’s something wrong with it. Sometimes you go to record and it’s just silent, or the first few notes are silent. Anyways, we’ll get it fixed. Today I managed to record one sequence of notes into the CSQ-600 from the Roland System 100m 181 keyboard, then used the 181 to transpose the looping CSQ-600 sequence. This transposed sequence is modulating two 110 VCOs, and the 140 envelope is controlling the 110 VCAs. Offscreen I’m increasing the sustain and release, pretty much the whole time. The two 110s get mixed on the 130 mixer and the mono output is sent to the Roland RE-301 for tape echo, while the stereo reverb is preset 12 on the Alesis MIDIVERB II.
"I was lucky enough to see Nils Frahm on his latest tour and this is my favourite of his compositions. Whilst listening to the track build on his stack of vintage synths and keyboards (notably a Roland Juno for the main arpeggio) it occurred to me (perhaps over-ambitiously) to have an attempt at seeing how this would sound on the Circuit Tracks.
The track may be familiar to some from the 'Ad Astra' movie soundtrack (might be the best thing about the movie?!).
• Says - Nils Frahm Scene Part 2 | Ad Astra ... [below]
This time the limit was definitely not the Circuit hardware but more my own musical ability. Without a score, (and discovering that many of the versions online seem to be semi-improvised) I was left with slowing down the track until I could identify individual notes and program them in in step time….add to that the fact that the track has enormous amounts of tape echo which he manipulates in real-time.
I came to the conclusion that at best I could try and create my own ‘version’ inspired by his original. This should be viewed as a reinterpretation and not a strict cover (and I did put a rhythm track on it too).
I’ve since found other Youtubers playing versions of these but they mainly go for very simple arpeggios and I was aiming to try and capture some of the complexity of the other ‘layers’ played.
Imagine this composition then as the simplified version Nils might create for his first Café Del Mar set armed only with a Circuit Tracks…..and after someone had removed his ability to play the piano ;)
I hope some of you like it…I loved attempting this electronica classic and hope you enjoy the end result.
Everything you hear is just the Circuit Tracks. No extra synths or effects."
"Here’s a URSA MAJOR SPACE STATION SST-282 that was just restored here at the shop. These sound so amazing and I hope I find one for my studio someday. They’re like having a Roland space echo without the tape/noise and sound incredible!
When it arrived, it wasn’t outputting any delay/reverb signals at all.
Repairs done:
-Found 3 blown Tantalum caps, replaced with new Tantalum caps.
-Rebuilt PSU (had leaking Filter capacitors)
-Replaced stuck/broken Power Switch
-Replaced all bad electrolytic capacitors and tantalum’s throughout.
-Replaced a bad RED square LED
-Replaced faulty/old ribbon connector and installed a machined 16 dip socket"
The Crow Hill Company creates VAULTS - ACID SYNTH as an homage to the revered Roland TB-303 Bass Line synth and associated Acid House genre
EDINBURGH, UK: music-making community tools-maker The Crow Hill Company is proud to announce availability of VAULTS - ACID SYNTH as the latest entry into its lengthening line of free and accessible virtual instruments arising from company co-founder and composer Christian Henson effectively opening his ‘vaults’ for everyone to enjoy — this time creating an homage to the revered Roland TB-303 Bass Line, launched with high hopes in 1981 as a so-called Computer Controlled bass synth by the Japanese giant of electronic musical instrument manufacturing responsible for its creation before being deemed a commercial failure and discontinued quite quickly thereafter, though it was later instrumental in driving Acid House into the musical mainstream as a whole new EDM (Electronic Dance Music) genre and associated cultural movement, the popularity of which triggered a dramatic rise in the price of used units — as of March 19…
It is fair to say that when Roland released its TB-303 Bass Line in 1981 as a so-called Computer Controlled bass synth with the intention of mimicking the characteristics of an electric bass guitar, there were far fewer tools to create electronic music available. But buyers of the TB-303 Bass Line were possibly swayed by the fact that it could be time-synced — using Roland’s proprietary five-pin DIN sync interface (later superseded by MIDI) — to its contemporarily-released Computer Controlled sibling, the TR-606 Drumatix drum machine, making for an affordable rhythm section that could conceivably fit into a small briefcase as a beautiful backing combination for the solo gigging musician, further helped by both devices being battery operated as an attractive alternative to their (included) AC adapters… or so Roland had hoped.
Though the engineers involved tried their best to imitate the sound of an electric bass guitar with the technology of the time, the TB-303 Bass Line fell short in capturing its subtleties as an instrument, sadly, so it was discontinued within a couple of years, with Roland cheaply selling off the last of the 10,000 units manufactured. Now, normally this would be the end of the story, yet something incredible happened…
Helpfully, for the benefit of anyone not already in the know, The Crow Hill Company’s Theo Le Derf picks up what is an incredible story in itself: “DJ Pierre and his band called Phuture found a used TB-303 in a music shop in Chicago for a bargain price. They started experimenting with the bass sequencer and a drum machine while playing about randomly with the filter and resonance knobs. The sound they produced was so unique and, frankly, weird that they decided to commit the jam session to tape. With the release of this experiment on Trax Records in 1987, they unwittingly birthed a new genre: Acid House. This slimy, hypnotic, subversive sound subsequently built a cultural movement, and was the soundtrack to many illegal warehouse parties of the late Eighties — all of this from a tiny synth that was used ‘incorrectly’.”
Thanks to VAULTS - ACID SYNTH’s GUI (Graphical User Interface) being as intuitive as always, correct — or ‘incorrect’ — usage of the virtual instrument in question comes quickly. “The first large dial — CUT OFF — is a 24dB lowpass filter that controls what high frequencies you cut out, and it is automatically assigned to MIDI CC1.” So starts Theo Le Derf by way of an appropriately quick guided tour, before continuing: “RESONANCE determines the peak of the filter as it opens and closes, which creates that characteristically ‘squelchy’ sound that the synth is known for. The small dials are more concentrated effects — MOD controls how much voltage is being sent to the filter, so you can get some really interesting sounds by adjusting the CUT OFF dial and MOD simultaneously; DECAY controls the decay for all the envelopes; and, of course, there is also our standard ECHO and SPLOSH, with the SPLOSH being an algorithmic imitation of a cave, which suits this synth so brilliantly.”
It is as easy as that, though Theo Le Derf is keen to add: “Another thing to mention is that you can obviously play staccato, but when you play legato — MIDI notes overlapping with one another, you get a glide between the notes. This glide effect is another characteristic that the ’303 is renowned for.”
No need, necessarily, then, to risk dropping a bank-balance-busting four-figure sum on a decades-old Roland TB-303 Bass Line when The Crow Hill Company’s ‘tribute’ truly captures the essence of its distinctive sound for all to enjoy for literally nothing. Notes Theo Le Derf, ending on a high note: “The story arc of this synth is so amazing — from its unpromising beginning to completely defining a genre and an era, it’s so exciting to have this celebrated instrument at my fingertips for free!”
VAULTS - ACID SYNTH is free for everyone — as are all VAULTS… releases from The Crow Hill Company — from here: https://thecrowhillcompany.com/vaults/
"The SH-2 has some kind of power over me. I can't get away from it. Not that I want to!
This is the first time I've tried adding a 3rd oscillator to the SH-2 by running a single Roland System-500 512 square with PWM into the external audio input. I thought this would naturally lead to making a massive 3 detuned osc + sub monosynth sound, but instead I gravitated to something much more melodic, by setting up each oscillator at a different pitch, making chords with nice intervals. With the ability to set the bender to VCO 2 only, I can change the interval of one of the notes easily, either up or down, without disrupting the vibe at all. The T-Rex Replicator tape delay adds some echo and gritty texture, and then the Make Noise Mimeophon delay fans it out into the stereo field. The sequence of notes is a simple 4 note arp that I transpose with the NiftyKeyz. The mod wheel is assigned to tape delay time, and the arp clock output is fed into a 2HP clock divider, which drives the kick, though half a beat behind because that's how clock dividers work I guess. The kick is a simple decay envelope routed to the G-Storm Electro SH-2 VCF with a moderate amount of resonance and saturation. There's an additional percussive element with some noise going to the G-Storm SH-5 VCF, through the LP first and then the dedicated bandpass which is being swept by an LFO.
The Blade Runner-ish lead sound is of course the Black Corporation Deckard's Voice, paired with the Rachael ring modulator, though it's not being used as a ring-mod, but rather a second sawtooth oscillator. 2 saws are essential to the BR sound, and therefore the Rachael is a required addition to Deckard's Voice. The output runs into the Happy Nerding FX Aid Pro set to the Black Cloud reverb algorithm, which completes the sound.
There's just a tiny dash of master reverb in post that serves as the final glue to hold it all together."
"Rich brass and strings pads from the Roland RS-202 Synthesizer running through the dreamy tape echoes of the Roland RE-201.
Recorded on a Revox A77 MK4 reel-to-reel for that warm, vintage vibe.
Just pure analog goodness and spacey textures.
"A synthesizer / keyboard version of the Christmas carol Cantique de Noël / O Holy Night by Adolphe Adam. For the vocal melody I used a Therevox ET-4.3.
This version is inspired by the recordings and live performances of Bing Crosby, Luciano Pavarotti, Andrea Bocelli, but perhaps most of all Céline Dion (especially the vocal melody).
Instruments: Dehli Musikk 4-track Glockenspiel: Glockenspiel Dehli Musikk 4-track Music Box: Music Box Doepfer Dark Energy: Drums and Percussion Hammond C3: Organ Hohner Clavinet D6: Clavinet / Baritone Guitar Korg MS-20: Drums Korg Polysix: Synth Harp Logan String Melody II: Synth Strings Louis Zwicki Pianette: Piano Mellotron M4000D: Violins, Cello, Flute and Choir Moog Matriarch: Synth Pad Roland SH-09: Synth Bass and Drums Sequential Circuits Pro-One: Synth Brass and Drums Therevox ET-4.3: Vocals Yamaha DX7: Tubular Bells Yamaha L-20D: Harmonium
"Exploring the iconic Roland RE-501 Echo Chorus paired with the Oberheim Xpander—two legendary pieces that bring classic warmth and depth to any sound. Hear the rich, tape-echoed textures and lush chorus effects of the RE-501 in action, perfectly complemented by the powerful synth tones of the Xpander. Both available now on our website for those looking to elevate their studio with true vintage magic!"
"Connected the Therevox ET-4.3 and the Dreadbox Erebus v2 together to create 4 note chords.
The Doepfer Dark Energy creates the "drum" sounds and is triggered by its own LFO.
The Envelope output on the Erebus is connected to the Expression input on the Therevox and controls its VCA. The Ring output on the Therevox is connected to the CV input on the Erebus and controls its pitch. The two oscillators on the Erebus are 2 octaves apart and the pitch is relative to the Ring position on the Therevox. The pitch of the two oscillators on the Therevox is tuned 19 semitones (1 octave plus a 5th) above and 24 semitones (2 octaves) above, relative to the lowest C on the keyboard controller.
For example, if you play a D with the ring on the Therevox and a C and D# on the keyboard, you will get a D minor chord with the notes from lowest to highest: D, A, D and F.
The "drums" from the Dark Energy is a single track with EQ automation (mostly high-pass filter) to emulate different drum sounds.
All the instruments are recorded live and no other instrument tracks were added, just effects (delay, reverb, etc.).
Effects used on Therevox ET-4.3: Hairball Audio FET/RACK Revision D Roland Dimension D SDD-320 Electro-Harmonix Deluxe Memory Man Chase Bliss Audio & Meris CXM 1978 DIY Recording Equipment G Bus VCA Compressor
Effects used on the Dreadbox Erebus v2: Hairball Audio FET/RACK Revision D Fulltone Tube Tape Echo Chase Bliss Audio & Meris CXM 1978 DIY Recording Equipment G Bus VCA Compressor
Effects used on Doepfer Dark Energy: Hairball Audio FET/RACK Revision D Electro-Harmonix Deluxe Memory Man Chase Bliss Audio & Meris CXM 1978 DIY Recording Equipment G Bus VCA Compressor"
"A cover version of Rachael's Song / Rachel's Song by Vangelis from the movie Blade Runner. For the lead vocal part I used a Therevox ET-4.3.
Instruments: Korg MS-20: Filter and noise for vocal Korg Polysix: Synth pad Logan String Melody II: Strings Mellotron M4000D: Choir and chimes Moog Minitaur: Bass Rhodes Mark I Stage Piano: Electric piano Roland D-50: Chimes Roland SH-09: Quarter note beeps and noise Sequential Circuits Pro-One: Brass and lead synth Suzuki Omnichord OM-84 System Two: Harp Therevox ET-4.3: Vocal Yamaha DX7: Chimes
Amplifiers: Fender Twin Reverb: Rhodes Tandberg Model 2 T: Therevox
Microphones: Shure SM57 Royer R-121
Effects: Hairball Audio FET/RACK Revision D Roland PA-120 (preamp, EQ and spring reverb) Roland Dimension D SDD-320 Fulltone Tube Tape Echo Chase Bliss Audio & Meris CXM 1978 DIYRE G Bus VCA Compressor
Tape recorder: Fostex X-28H
Music: Rachel's Song from the Blade Runner soundtrack by Vangelis"
"Working on a cover version of Rachael's Song / Rachel's Song by Vangelis from the movie Blade Runner. This is the synth solo part performed on a Sequential Circuits Pro-One.
Instrument:
- Sequential Circuits Pro-One
Effects:
- Hairball Audio FET/RACK Revision D
- Roland Dimension D SDD-320
- Fulltone Tube Tape Echo
- Chase Bliss Audio & Meris CXM 1978
- DIYRE G Bus VCA Compressor
- Tape recorder: Fostex X-28H
"Some more video editing practice, this time with two full clips and two cutaways. The Roland TR-909 clap goes to the RE-301 tape echo. The kick is dry, the toms, hats, and snare get Lexicon PCM 70 (small room), and all of that gets crushed by two DBX 128 compressor expanders in series."
"Quick impro to demo the Sound Master Stix Programma ST-305 (!) analog drum machine syncing the Roland Jupiter 4 arpeggiator. The Echolette SE251 provides echo/reverb.
The ST-305 is an 80s programmable analog drum machine. Very basic, no sound editing but you get 7 sounds, an accent track, dedicated volume faders and outputs for every instrument.
And the icing on the cake is it can be synced to external gear and/or sync other gear, which is a nice feature (you can use it slaved to a sequencer and in the same time slaving a synth, so it acts as a 'through').
I did not know this one till recently and it was a pleasant surprise."
"This is quite a rare tape echo manufactured by Dynacord. It seems to be one of the very last tape echo introduced by the brand (with the Echolette Echo 400). It shares many parts with the Echocord line of delays like motor, pinch roller, heads, oscillator board etc But this one used op amps instead of only transistors for amp stages (the Echocord Super 76 also already used one op amp for the output stage).
The unit has 2 heads which you can mix with the dedicated pot. Otherwise classic features like input volume, tone, echo send level, echo feedback and echo level. In the back the original DIN socket enabled output and aux input. In this case you only get the wet signal out of the delay, which is nice in a studio environment.
Unit was fully serviced and modded: - all electrolityc caps were replaced (except 3 bipolar ones ) - original 4x op amps were upgraded to better one (TL081) - original DIN socket was replaced by 2 jack sockets, one for the output and one for the aux input. Also a pot was added to attenuate the level for the aux input - unit was meticulously cleaned - heads were cleaned, demagnetized and aligned - unit was calibrated - tape is new
The unit is in perfect working order and in excellent cosmetic condition."
"The left hand of Frédéric Chopin’s “Nocturne in E-flat major, Op. 9, no. 2” is translated into a sequence by the Akai ME20A MIDI sequence arpeggiator and played back on the Roland Jupiter 6 (cross modulation). The Jupiter 6 audio output goes into the Alesis Midiverb II, with the input overloading. Tape echo from the Roland RE-301 is applied on the Mackie Onyx 1640 mixer."
4/26/24 Chopin’s “Nocturne in E-flat major, Op. 9, no. 2” according to Akai ME20A & Roland Jupiter 6
"YLF plays the left hand of Frédéric Chopin’s 'Nocturne in E-flat major, Op. 9, no. 2' again, but this time as chords, which the Akai ME20A translates into a Bach-icized sequence. The Roland Jupiter 6 is in SOLO mode first, until it is switched to POLY-1 at 1:17, with some wiggling of filter cutoff and resonance, and the sustain and release on envelope 2, throughout the video, particularly towards the end.
"A few triggers from the Roland TR-606 driving the auto run modulation on the Simmons SDS1 with the 'bright Tom' EPROM installed. Spring reverb and tape echo by the Roland RE-301."
