Very rare synth for sale! only 50 pieces were produced
Fully working condition. The video of the work of this device is included.
The device was made by author of famous Polivoks Synth Vladimir Kuzmin.
Synthesizer Arton VS-34 (Vocal Synthesizer 3-octave 4-voice) is a modification of the Maestro synthesizer, designed specifically to imitate the timbre of the human voice.
Synthesizes the vowel sounds "A", "O", "U", "I" of the male and female voices by the formant method, can create articulatory effects. It has the same arpeggiator as the Maestro, as well as a controllable filter and a choir sound device. The joystick allows you to achieve a special expressiveness of the timbre of the voice."
"Adam Husk presents the BM-18M CLUSTER BOX, a compact modulation pedal that blends classic chorus and flanger tones with deep creative control. Switch easily between chorus and flange modes using the range rocker, then shape your sound with Drive, Output Level, and a dry/wet mix.
At Behringer, we believe in pushing the boundaries of music technology to make high-quality gear accessible to everyone. Our mission is to empower musicians at every level by delivering innovative tools at a fraction of the cost—without compromising on sound or performance."
Classic Modulation, Reimagined
The Behringer BM-18M CLUSTER BOX is a modulation powerhouse that blends the warmth of classic chorus and flanger tones with a modern edge. At its core, a simple range rocker lets you switch between lush chorusing and sweeping flange textures—but the CLUSTER BOX is anything but basic. Whether you're chasing vintage shimmer or pushing into wild, unpredictable territory, this pedal is built to inspire.
Deep Control, Limitless Texture
Beyond the familiar sounds lies an expressive control layout designed for sonic sculpting. Shape your tone with adjustable Drive and Output Level for analog-style saturation, or blend dry and wet signals to taste. A six-shape LFO selector lets you modulate Rate, Amount, Delay, and Feedback in highly creative ways—while a dedicated tap-tempo footswitch keeps your modulation locked to the groove.
Modulation Meets Modularity
From pedalboard to modular rig, the CLUSTER BOX opens up a world of routing possibilities. Control key parameters via CV, MIDI, or expression pedal, and sculpt your effects further with a dedicated feedback insert loop. USB-C integration with the Guitar Tribe App adds even more flexibility, while stereo output with DIP switch customization ensures the pedal plays nice with any setup—guitar, synth, or studio.
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."
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."
THE ELEKTRON MACHINEDRUM EXPERIENCE IN SAMPLE FORM: FROM IDM TO TECHNO
A vast collection of 987 kicks, snares, percussive elements, glitches, and synth sounds crafted from the Elektron Machinedrum. Inspired by IDM and avant-garde sound experimentation, this pack blends factory selections, TR-808/909-inspired kits, and deep explorations of the TRX, FM, PI, and E12 synthesis engines. Perfect for producers of IDM, techno, and forward-thinking electronic music.
This collection is a tribute to sound experimentation and the IDM / avant-garde electronic aesthetic, fully exploring the creative potential of the Elektron Machinedrum.
It’s divided into two main sections:
1️⃣ Kits Section – Includes a diverse range of IDM-style kits, factory kits, and TR-808/909-inspired sets, offering a balance between experimental rhythm design and classics. Inside you’ll find a massive range of kicks, snares, percussive hits, glitch elements and synhts, all processed with the Machinedrum’s distinctive digital character.
2️⃣ Synth Engines Section – Focuses on the instrument’s synthesis engines (TRX, FM, PI, and E12) to generate not only percussion but also synthesizer-style tones, textures, and FX. Each engine contributes its own flavor — from punchy analog-style hits and metallic FM tones to physical-modeled resonances and lo-fi 12-bit grit.
Altogether, this 987-sound library pushes the Machinedrum beyond its traditional role, becoming a source of innovative percussion and evolving sonic textures ideal for experimental, IDM, and modern electronic production.
All samples are provided in 44.1 kHz / 16-bit mono format, fully compatible with any DAW or sampler"
"160 New and fresh #presets for @UniversalAudio #PolyMAX - These #sounds are suitable for ambient, documentary, EDM, house, IDM, techno, trance and various sorts of electronic dance music genres.
All sounds in this video are sourced directly from UADx PolyMAX - recorded dry, using only the onboard effects of the synth. No external EQ, compression or other processing has been applied. Even the drums come straight from PolyMAX.
"Since I scratched my head if TEO-5 is analogue enough to be filling up an entire track I just had to make a rough track for each synth. My conclusion is that TEO-5 really makes a modern feel but lacks the richness from OB-6. So in my conclusion I will stick with OB-6 and perhaps in future an OBX8 for the bread and butter sounds and TEO-5 for the a bit special ones."
"Sorry for this weird video, but I had no time to record myself between each sound since I just had to create them on the fly and record them in wavelab :) Short of time today."
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"Original Sequential Circuits Pro-One synthesizer in very good condition. Only one owner since new, the Norwegian synth band Fra Lippo Lippi. The synth is considered by many as one of the best mono synths ever. It is in original form, only the power had has an upgrade (new caps), and it has been cleaned inside and outside, fully calibrated and ready for use. All knobs are original, and all functions work as they should. One slider knob has ever so slightly contacts problems, but it has been cleaned and re-lubricated, so it works fine, but care might be needed. Or it could be changed to a new one. We choose not to do that to keep the complete synth original. The keyboard is original too, and might need new bushings if you are a keyboard player. All interfaces work, and of course it sounds brilliantly!"
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"Jasper Monosynth. This is a clone of the classic EDP Wasp synth. Professionally built. Hardwood end cheeks. Inbuilt MIDI Interface. Enhanced mode option fitted (adds a slow moving PWM square wave to both oscillators) Sounds Excellent. I will include a CD with technical info. Will require a 9V DC centre positive power adapter. more info on the modwiggler forum.."
"programming session done over 3 takes, featuring some of my sounds on the alesis, fusion 6hd, One FM patch and one sample based patch, both extensively using the modular capabilities of the fusion and modified in real time. Only an external reverb was used, delays used are internal effects in the fusion."
📚 DMS Generative is a collection of 25 patches for the semi-modular system Moog Sound Studio: DFAM + Mother-32 + Subharmonicon. This genre of sound design is highly popular within modular culture, and the Moog Sound Studio offers an excellent feature set to explore it. 🎛 Controlled chaos and randomness, probability, non-repetitiveness, tempo shifts, pattern uniqueness, the alternation of short and long sounds, unexpected changes, silence and density, harmonic and FX-like tones, and glitchy bursts throughout sequences — all of these elements are part of the soundset. 🎚 Generative timbres can serve as a strong addition to, or the main element of, ambient or techno tracks, jams, and performances. You can also record fragments into your DAW or sampler, slice them into one-shots or loops, and obtain unique material for further processing.
🕹 The key idea behind the soundset is a high level of interconnection. In this patchbook, the timbres of the synths are intertwined — they cannot exist independently: 🔹 They modulate each other with LFOs and envelopes. 🔹 A sequence from one synth may change parameters on another. 🔹 Trigger interactions, clock/rhythm, and run/stop modulations break predictable patterns. 🔹 Audio signals from VCOs may be used as modulation sources to create harmonies, intervals, or wild experimental inharmonic tones. 🔹 Alternatively, they can be used as audio sources routed into another synth to be processed through its unique filter and envelope — giving the signal a “second life.” DFAM, M32, and SUBH each play distinct and defined roles — it’s not a sound mess, but a tightly integrated system where the synths work in close cooperation.
"Vintage Italian combo organ with classic '60s tone in a sharp-looking chassis. It sounds awesome, especially through FX pedals. 60s Brit pop sounds, naturally, but also early Pink Floyd psychedelic vibes. This unit needs repair, but it’s a great low-cost restoration project for someone handy!
The unit powers up and makes sounds, but the voltage to the keyboard needs adjusting. In the embedded YouTube demo video, a successful demo can be heard in the C scale, but all of the following keyboard voltage issues exist (potentially among others): C in the bass octave plays an F below; B in the bass octave plays a D# below and is too soft; G# in the bass octave is too soft.
Other issues:
Vibrato doesn't work. All Vibrato switches have some effect on the tone, but there is no actual vibrato Reverb doesn't work. Reverb has a tube preamp (cool!) Bass 16 / Strings 16 - same issues as bass octave but an octave higher Bass 16 / Strings 16 - C2 and B2 do not sound Flute 8 / All 8' stops - same issues as #6 and 7 but an octave higher again Top C note sticks mechanically This lot does NOT include the bass or volume pedals.
This organ is built in combination with its own carrying case. The top lid is removed to reveal the organ, and the bottom opens up to storage for wires and the fold-out, built-in legs (shown in some of the images). This lid is missing the suitcase-style carrying handle, which is likely easily replaceable. The case itself also has a crack on the right side.
The Farfisa Compact is known for its bright, buzzy organ tones and reedy bite, perfect for psych rock, garage, and early synth-pop textures. Whether you’re restoring it for stage use or just want that iconic combo organ flavor in your studio, this is a great piece to start with.
Details:
Multiple tone tabs for organ voices and percussion Built-in vibrato (needs repair, as mentioned) and tone booster 49 keys with bass section on lower range There is nothing like the sound of a Farfisa organ. Heard on classic tracks by Pink Floyd, The Doors, and The B-52s, these organs helped define the sound of '60s and '70s rock, and still holds its own in modern music.
30% of the sale goes to the Bob Moog Foundation, supporting electronic music history, innovation, and education."
"A rare find from Casio’s early pro line, the CT-6000 combines vintage charm with impressive flexibility. It’s got a warm, retro tone, full-size keys, and loads of hands-on control, including tone editing, auto-accompaniment, and analog-style sliders for shaping your sound. Great for beginners and collectors alike.
Highlights:
12-tone polyphony
20 editable preset tones (with manual mode for custom sounds)
Analog sliders for filter, envelope, and vibrato
Built-in rhythm and accompaniment
Built-in speakers; it’s a party in a box!
Full-size keys with a solid feel
30% of the sale will go to support the Bob Moog Foundation, helping preserve electronic music history and inspire future creators."
"VINTAGE Oberheim Two Voice. Item was recently serviced by ROSEN SOUND in July of 2025! and is MIDI capable.
This Two Voice is a piece of synthesizer history and sounds incredible.
This Two Voice has minor Tolex wear on the left side of the synth (see attached photos)which is easily replaceable. Otherwise, this synth is in EXCELLENT physical condition and absolutely mint in performance."
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
"This demonstrates a series of pad sounds you can get from this fabulous VA synth from year 2000. VA stands for virtual analog and was fairly popular at the time. Watch for more videos coming up. This is volume 2 of a series.
If you want to hear some complete songs, please check out all my channel, and like and subscribe to help me reach a wider audience."
"Restored and upgraded by noted synth tech and Alan R. Pearlman Foundation supporter, Alison Cassidy. Tested and working. Some surface scuffs here and there, particularly on the wooden end cheeks. Orange LED slider upgrade installed.
This is a classic late-'70s analog synth, known for its lush string sounds, synth bass, and that unmistakable vintage ARP vibe. If you're into prog rock, synthwave, or classic electronic tones, this thing nails it.
Special upgrades:
The LP filter has been updated and corrected to extend the high frequency range Sliders have been upgraded with sharp-looking orange LED lights Highlights:
Iconic analog string section with rich ensemble chorus
Built-in synth with classic ARP filter (low-pass w/ resonance)
Full polyphony for strings, mono bass section
Great condition for its age
30% of the sale will go to support the Bob Moog Foundation."
