Switched on Debussy & Bach on the Roland MC-202 & Roland System 100m.

video uploads by funkpirateradioscene

1. MC-202 does Switched on Bach
2. Debussy - Rêverie sequenced by Roland MC-202
3. Roland MC-202 Factory sequence data: Debussy - Snow is Dancing

"The Roland MC-202 MicroComposer originally came with a data cassette to demonstrate its capabilities as a sequencer. Since it could not retain memoy after power off, sequences had to be saved and loaded via audio inputs on the back of the machine. The sequences had one channel for the internal synth, and one channel to drive an external synth.

Here the MC-202 plays while also sequencing a Roland System 100m. Reverb and delay added in Ableton Live.

The 5 sequences from the original cassette were:
1. Invention Vol.1 – J. S. Bach
2. Invention Vol.2 – J. S. Bach
3. Dream – C. A. Debussy
4. Prelude – J. S. Bach
5. Snow Is Dancing – C. A. Debussy"

TMP-3-04 Vintage Synth TV Series from Benge

video upload by Memetune Studio

Additional episodes

00:00 Opening Titles
00:17 Introduction
01:25 Switched On 80s
13:08 Synthesiser Club
15:58 Little Black Boxes
20:05 Commercial Break
23:45 Patching Today
35:08 Video Lab
40:29 Outro

////////////////////////////////////////////////////////

Episode four of the third series of the TV program from Benge, made at his Memetune Electronic Music Studio

The series explores his passion for vintage synthesiser instruments and studio gear and how he uses them in his productions and collaborations

////////////////////////////////////////////////////////

It is divided into the following sections:

SWITCHED ON 80s - This third series takes an in-depth look into six classic 80s synthesisers, selected because of their interesting and unique attributes

SYNTHESISER CLUB - A short musical demonstration of a synthesiser classic or three, concentrating on 'families' of synths

LITTLE BLACK BOXES - A further look at some classic rack mount studio gear of the 80s and 90s

COMMERCIAL BREAK - Some shameless Memetune shilling

PATCHING TODAY - A deep-dive into vintage modular systems and how to set up a patch on them, starting from scratch, this time using Cybersynthesis techniques to bring an element of surprise to the patches

VIDEO LAB - A look at old video equipment and how to create experimental visuals, concentrating on a specific device in each episode

////////////////////////////////////////////////////////

In THIS episode:

SWITCHED ON 80s - A detailed presentation on the Oberheim Xpander hybrid polysynth from 1984

SYNTHESISER CLUB - The Emu Strut - featuring the Emulator 2, the Drumulator, the Proteus/2 and the mighty Emu Modular 2000

LITTLE BLACK BOXES - A look at the highly underrated Yamaha TX16W and its companion reverb unit, the REV7

COMMERCIAL BREAK - Some adverts for Memetune-related goodies, including the Memetune Annual 2024, the range of Memetune merchandise and Benge's FORMS series of single-synth albums

PATCHING TODAY - on the incredible ARP 2500, which I bought exactly 20 years ago this month

VIDEO LAB - In this episode we take a closer look at the Grass Valley Indigo AV Mixer, which is the central hub of the Video Lab, and provides many more ways of getting that genuinely vintage look to the Memetune video productions, in particular using its memory recall system which allows you to program complex time-based actions

////////////////////////////////////////////////////////

LINKS:

Benge's Studio Blog: http://myblogitsfullofstars.blogspot.com

Memetune Studio Instagram: @memetunestudio

Benge & Memetune Merch on Bandcamp: https://zackdagoba.bandcamp.com

////////////////////////////////////////////////////////

The MemeTune Programme Credits:
Everything in this video was created by B D Edwards (Benge)
All music, design, writing, filming and production completed at Memetune Studios, UK, 2025"

LFO/LFO (Circuit Tracks Version)

video upload by Guinan

"This week’s track is a version of the classic 1988 Warp records release ‘LFO’ by the UK Leeds band, LFO. Seen at the time as part of a genre then known as ‘bleep techno’ it was characterised by hard, uncompromising electronic minimalist industrial techno tracks such as this.

I’m hoping I’m not the only one who remembers and loves this track! If you like this try and find 'Testone/Sweet Exorcist' in a similar style - possibly one for a future cover too.

More details for synth nerds

I already had some ‘Speak & Spell’ samples I’d downloaded years ago so this was a great starting point. I had separate samples for the “L”, “F’ and “O” and I thought it would be fun to throw in one of the starting noises the toy makes when switched on. The same toy is featured on Kraftwerk’s ‘Computer World’ album so the sound will be a familiar one.

The main chord sequence comes from a Kawai K1 preset patch. Luckily there is a free fantastic software synth emulation of this keyboard available online so I was able to create a sample for the repeating chords. The emulator can be downloaded from the following page,
https://www.nilsschneider.de/wp/categ...
I’d encourage you to leave a donation for the author if you find this emulator useful.

All of these samples are sequenced alternately on the Drum 4 track.
There is a single repeating rhythm pattern using 909 samples played on Drum 1-3.
Synth 1 plays an FM-sounding bass patch, and Synth 2 is a representation of the staccato bleep sound (a small amount of pitch envelope helps recreate the original sound). Add lots of reverb and voila!"

A soundscape built around revised "Beeps" module

video upload by ParadisoModular

"This is a demo of one of my vintage modules that I just radically updated. First, a bit of history. Circa 1988, I was browsing the Hosfelt Electronics catalog, and saw a bunch of little circuit boards there that made different 'emergency' siren sounds. Of course, I couldn't resist buying all eight of them that they had, and designed a synth module around them that allowed me to switch (manually or via external signals) the audio output from any of them into the left or right channels on a common stereo mix. In addition to a linear mix, I also combined them via a chain of exclusive ORs (the VCOs on these units produced square waves), again selected by the same gates - this produced kind of a ring modulation sound (Exclusive OR's can be thought of as 1-bit multipliers). On the front panel, I also provided outputs from each oscillator independently, as well as the ability to inject independent voltage control into each oscillator.

Despite my attempts to leverage this module into different patches, it retained a distinct identity - e.g., the sound of a major urban emergency - that limited its usefulness. You can hear a short demo excerpt I recorded on it circa 26 years ago here- http://Paradiso.media.mit.edu/Outgoin... - I'm switching outputs from the alarm circuits randomly to left and right channels throughout - the first half features the linear mix and the latter half the XOR mix. You can clearly hear that this module makes a very strong statement -as such, it didn't appear much in my pieces over the years.

But I still saw big potential in it. 8 oscillators aren't much by today's digital standards, but as I can switch them into different paths dynamically, it's got promise. The main thing I had to do was to be able to turn off the LFO control of each oscillator that made the siren sounds and think about coordinated ways to control this bank.

So a month or two back, I embarked on this journey, enabling the LFOs to be switched out of the audio oscillator voltage control paths (but giving independent access to them all, providing LFO outputs on the front panel and in most cases voltage control of LFO frequencies), plus providing adjustable voltage control of each oscillator as well as different kinds of ensemble voltage control (e.g., controlling all 8, controlling the top vs bottom 4, controlling even vs odd channels), as well as being able to adjust the base frequency of the ensemble and the base for each independent oscillator. Witness the massive augmentation of the front panel, as well as the wild nest of wiring below to do this hack in the midst of this video.

But low-and-behold it's done. This isn't a voiced device - the oscillators are linear, hence don't hold tune collectively as you shift frequencies. This, for me, justified the hack - I've got plenty of oscillators that I can already voice and track harmonically - this unit is now about nudging frequencies collectively and independently to go through different kinds of dissonances and occasionally sweet spots in a deep ensemble fashion. Plus, if I want to, I can switch channels back into siren mode, or use their LFOs in more flexible ways (each of the LFOs sports a different kind of waveform).

OK, IMO it grew into the monster that I hoped it would become, as you can hear in this live recording. Here I routed both the linear and XOR outputs through different complex reverb units, fading them up in different ways and at different times, and switching the oscillator outputs dynamically into different channels using digital gates coming from other modules in my system (occasionally I would hold some or all of the gates to just let the thing drone). I also injected different kinds of ensemble control (all, even/odd, top/bottom) at different times to bend the frequencies a bit, driven by triggered envelope generators. All sounds come from this revamped 'Beeps' unit - one voice was routed through an octave divider to bring it lower, and some effects were used, plus the reverbs nicely put this beast into a dense dreamy space. Despite the complexity, it's one of the simplest patches I've made - you can see it in the little bit of pan-around video I put into the middle of the clip.

My usual disclaimer - heck, only 8 oscillators with simple control paths could be done trivially in software now (one of my hero-pieces, Dave Wessel's 'Antony', an inspiration here, used hundreds on IRCAM's 4x (or 3x back then?) circa 30-40 years ago), and there are probably Eurorack modules around like this now too, including some that I may already have. But this connects to something I made in my relative youth, turning it into the sonic tool that it wanted to be. I hope you enjoy this demo!"

Yamaha CS-80 w/ The Cox Electronics CS-80 Programmer

video upload by rimela

"Multitrack recording of the Yamaha CS-80. All sounds are made with the CS-80, except drums.
Very special thanks to Jair for lending me his CS-80 and Cox Electronics CS-80 programmer. Check out the Cox Electronics upgrade: https://cox-electronics.com"

Also see YAMAHA CS-80 Ultimate Upgrade - A Dream come true...

Pic of the programmer and details on the upgrade via https://cox-electronics.com:

"Here is a summary of features provided by the upgrade:

- 3 banks of 128 free programmable performances
- 6 banks of 128 free programmable presets
- possibility of dumping performances and presets by SysEx
- MIDI sending and receiving of almost every parameter (more then 100 CC messages)
- full MIDI support of the CS-80 keyboard's polyphonic aftertouch
- special keyboard settings like octave transpose, velocity and aftertouch response
- automatic keyboard double trigger remove setting
- programmable chord memory
- foot pedal can be programmed sending CC messages (3 simultaniously)
- possibility of manually disabling a defective voice
- autotuning possibility of all 16 oscillators
- 3 extra separate global LFOs for VCO, VCF and VCA (with MIDI clock sync)
- special playmodes providing various algorithms like voice stealing, monophonic and polyphonic in unison with detune setting
- VCF and VCA envelope time can seperately be switched to 5 times the length
- very much care has been taken so the "analog feel" of the CS-80 stays authentic to original

Also extensive service needs to be performed and lots of modifications like:

- all electrolytic capacitors will be replaced since the old ones are bad (around 450)
- all sliders and switches will be professionally cleaned (around 80)
- cleaning and readjustment of the keyboard contacts
- cleaning of the polyphonic aftertouch parts
- removal of 5 old boards, to be replaced by 7 new boards. Now the very rare YM26600 and YM26700 chips are replaced by modern electronics
- around 250 additional wires, several modifications to the boards and around 70 extra capacitors are needed to make everything possible
- complete calibration of all circuit boards
- a nice programmer is included and only one connector will be mounted on the back of the CS-80

Almost every parameter of the synthesizer can be stored in memory and can receive and send MIDI data. For only a few knobs and sliders this is not possible:

- detune CHII slider
- the four touch response sliders
- the master volume knob (exp can be controlled by footcontroller and MIDI)
- foot pedal exp/expwah switches
- sustain slider (although it can be controlled on/off by footswitch and MIDI)
- the switches and knobs of the tremolo and chorus section"

Behringer Introduces Behringer BM-13 PHASER

video upload by Behringer

"Step into a new dimension of sound as Adam guides you through Behringer BM-13 PHASER – a true analog beast brought back to life. With a powerful 12-stage phasing circuit that can be switched down to 6 stages, this unit offers a massive range of sonic textures." ⏱️ Chapters:
00:00 It’s a Phase
00:14 The story of BM-13 Phaser
01:07 What’s a 12-stage Phase?
01:55 BM-13 demo
02:20 Features
03:14 The controls + demo’s
05:50 IO connectivity + demo’s
07:01 BM-13 in stereo
08:00 Phased drum demo

The Behringer BM-13 PHASER is your new go-to box of swirling, sweeping, analog goodness. Whether you’re chasing subtle vintage shimmer or deep resonant sweeps, BM-13 delivers timeless phaser tones with powerful controls for shaping the waveform the way you want.

A Control Freak’s Dream
With hands-on control over sweep, resonance, LFO rate and amount, BM-13 is as tweakable as it is musical. Want to slow things down to a hypnotic pulse? Crank that LFO down to a lazy 0.01 Hz. Feeling spicy? Flip it into high gear for warbly, out-there textures at up to 250 Hz. Add a little grit with the Drive knob, fine-tune your output level and explore either 6-stage or 12-stage phasing – each delivering its own flavor dimension and character.

Plug In and Lose Yourself
From funked-out guitar riffs to synth pads that melt into space, BM-13 is built for exploration. Guitarists and bassists will love how it adds motion without washing out your tone, while keyboardists and synth wizards can drench their patches in analog swirl. Even in the studio, it’s a secret weapon – run vocals, drums, or entire mixes through it for instant vibe and warmth. And with stereo output capability, your sound can stretch wide across the stage or mix.

Built to Play Modulation doesn’t stop at the stomp switch. BM-13 comes equipped with expression pedal inputs, giving you full control over key parameters from modular gear or performance pedals. Whether you’re a traditional player or an experimental sound-shaper, the Behringer BM-13 PHASER invites you to dive in and make it your own.

Grab one from your nearest distributor today!

Oberheim DMX Classic Vintage 8-Bit Digital Drum Machine Unique Custom Build

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

via this Reverb listing

CLICK FOR MORE »

1969 Moog IIIP Vintage Modular Synthesizer For Sale or NYC Studio Use

video upload by tonetweakers

"The Moog modular was one of the first commercially available synthesizers. Sold in different configurations, the Moog IIIP consisted of 3 portable cabinets. Containing ten (!) 901 series oscillators, the best lowpass and highpass filters in the biz, and a magical spring reverb that makes things sound more organic, we can't think of any other synth that matches the warmth and fatness of this genuine 1969 vintage Moog modular. Wendy Carlos’s classic album Switched on Bach and I Feel Love by Donna Summer were recorded on similar Moog modular systems. We just finished refurbishing this gorgeous example (assuming we don’t find any problems as we continue to test it). Restoration was done in stages and took many months to complete. Total tech time spent was around 85 hours. We hit a snag when some parts we ordered turned out to be fakes - a sadly common occurrence these days - but we eventually managed to track down some legit replacements. We originally planned to sell this system, but after spending some time patching it, we don’t know if we can let this one go! If this system was set up in a commercial studio here in New York City where it was available for use, would you be interested? If so, please email us. Or, make us a serious offer and if it's tempting enough, maybe we'll sell it. We'd also consider trades for similar vintage modular systems (Roland System 700, Buchla 200, Polyfusion, Emu Modular, ARP 2500, etc). We have a smaller (single cabinet) real vintage Moog Model 15 that's ready for sale.

We buy sell trade refurbish vintage synths and electronic musical instruments.

Tone Tweakers Inc.
http://www.tonetweakers.com"

Crossing the threshold: New Systems Instruments’ “discrete map”

video upload by Electrum Modular

"New Systems Instruments sent me their new module, Discrete Map. It’s a deep module, with lots of potential uses, so I’ll be dedicating the next few videos to it. This first, introductory video uses it as a generative sequencer, extracting an evolving melody from a Lorenz chaos trajectory."

"Novum! New Systems Instruments has created a unique and innovative approach to generating sequences with Discrete Map.

New Systems Instruments consistently surprises with innovative designs! Discrete Map fits right in, taking a simple concept and turning it on its head. At its core, it’s an 8-step sequencer that can output a traditional step-by-step sequence. The pitch values are set using the eight upper faders, but what makes it truly special are the eight lower faders, which determine which step is played at any given moment.

The sequencer’s X input accepts any signal, a clock, an LFO, or even another sequence. The lower faders set threshold values, and the switches below them define whether they react to a rising or falling edge. This means the sequence jumps to different steps based on the incoming signal, creating a highly controllable form of randomness! The results are striking! Complex rhythms and surprising melodies that become even more dynamic when paired with the expander for voltage-controlled step selection.

Discrete Map also includes an onboard oscillator. A switch toggles between a slow and fast frequency range. When slow, it functions as a standard step sequencer. Another switch changes from Position mode (explained above) to Length mode, where the lower faders control step duration. When switched to the fast mode tho, it becomes a graphic oscillator that tracks V/Oct.

To round out the package, Discrete Map includes additional utilities for better integration with other modules. The precision adder for example allows an external voltage to transpose the entire sequence.

The A/B/C Expander further enhances functionality, adding three assignable groups for the steps. Each group gains CV-controllable threshold values and dedicated gate outputs for active steps. And because that´s not enough there's also a sequential switch. Several discrete maps and A/B/C expanders can be linked together!

Overall, an incredibly well-thought-out and entirely fresh approach to sequence generation!

Features:

8-step sequencer for a single track
Generates sequences based on any input signal
8 lower faders to position steps in time
8 upper faders to set step values
One-shot mode
Oscillator mode with V/Oct tracking
Adjustable output voltage range (-5V to 5V / 0V to 5V / 0V to 2.5V)
Precision adder for transposing sequences
Gate output
Ramp output for internal clock signal"

And an overview from DivKid:

Bend & Twist Time with Voltage Addressed Sequencing // Discrete Map from New Systems Instruments
video upload by DivKid

"Here’s the new Discrete Map and expander from New Systems Instruments. Deeply routed in influence from the Buchla MARF & a Serge Modular style approach to sequencing, coupled with a heady mix of physics and electronics (as New Systems Instruments do so well) the Discrete Map allows you to use voltages to bend and manipulate a time map across 8 stages of voltages. From basic to more advanced sequencing, unique time and rhythm creation to some bonkers graphic VCO applications there’s a lot we get into in the video."

ALM MUM M8 Now Available in VCV Rack

video upload by ALM TV

"The VCV MUM M8 brings our unique MUM M8 low pass filter into VCV. The MUM M8 is based on the 'switched capacitor' filter design used in the classic Akai S950 12 bit sampler with the addition of resonance, voltage control, clipped saturation and a dedicated VCA. Here we take a look at some patches showcasing the unique sound and features of the module.

The VCV version provides a realistic sounding emulation of the hardware module’s features with the addition of an optional clock noise setting producing increased bleed like a poorly calibrated hardware MUM M8.

The original motivation for the MUM M8 came from discussing filters in classic samplers with the artist Jack Adams – aka Mumdance. Jack suggested investigating the S950’s filter well known for its use in classic early jungle and hardcore. From that point onward Jack provided inspiration, help and feedback in the development of the filter. Big up Mumdance."

5/11/25 Slope generator and sub oscillator sequence (modules listed in description)

video upload by Cfpp0

"5/11/25 (Slope generator and sub oscillator sequence) SSL 1240 + LWSS CGS01 + Synthesizers.com Q123 & Q125 + muSonics Attenuators & Multiples & Wave Folder + Happy Nerding FM AID + Zerosum Inertia The Scorpion Tail + Blue Lantern Mixer + Alesis MIDIVERB II + ElectroComp EML 200

I spliced two takes one after the other. In the first, the 440 Hz tone from the Synthesizers.com Q123 Standards module, gated by the Blue Lantern mixer, is the constant bell-ish sound panned left. Throughout the whole video I am selecting divide or multiply on the Lower West Side Studios CGS01 Sub Oscillator, which varies the sequence. The Synthetic Sound Labs Dual Slope Generator bipolar output to CGS01 input A. CGS01 output A to .com Q123 to muSonics Multiples to Free State FX Macro Digital Oscillator V/OCT input and to Happy Nerding FM Aid CV input and to .com Q125, with Q125 output to muSonics Wave Folder CV input. Macro output to FM Aid carrier input. Macro sine out to muSonics Wave Folder to Multiples to Zerosum Inertia Scorpion Tail audio in and to Blue Lantern Mixer input 4, with spectral wave folder switched on, triggered by SSL 1240 fall gate out. CGS01 output B to CV in on Scorpion Tail. FM Aid saw out to Mackie Onyx 1640, panned right, with reverb from Alesis MIDIVERB II. Blue Lantern mixer VCA output to Mackie, panned left, with MIDIVERB II. Zerosum Inertia output panned center, dry. The drone is four VCOs on two EML 200, with internal spring reverb, modulated by their master sine waves."

Doepfer 3D Joystick

video upload by Bata

"Quick janky explanation of the Doepfer 3D Joystick A-174-4 along with some examples of how I use it and a patch breakdown of the patch I'm using it with. I plan on doing a couple more joystick idea videos that are easier to follow. Too many modules being used to list them here so just watch my Full Modular Overview video which I will link below.

There is some annoying color switching at times on the video. I think it's caused the bright white case and moving the camera too much but I'm not sure. Sorry about that.

My engineer decided to do some stereo separation with the frequency shifter track on this one. This has the advantage of a wide phasey sound but the vocally audio rate sound from the frequency shifter is less impactful than it would be if it was stacked with the dry signal in the center. Probably best to listen through headphones for this one."

Full Modular Setup Overview
"Added a couple new things and switched stuff around so decided to do a quick video explaining the rig. Could have talked for an hour or 2 about this but kept it to 10 minutes because of my phone's time limit. Will add a modular grid link below."

https://cdn.modulargrid.net/img/racks...

Meet the Cyber G: Not a guitar, but a New Way to Play

Note: Auction links are affiliate links for which the site may be compensated.
video upload by Cyber G Guitar

Spotted this one via this listing, some pics capture below. See this review on Reddit for notes on the MIDI support.

CLICK FOR MORE »

PPG's Superbooth Teaser Is for a New PPG 1002 Desktop Synthesizer

video upload by Cornel Hecht

"The PPG 1002, one of the rarest and most sought-after synthesizers in music history, is back as a original PPG hardware synthesizer. The PPG 1002 was, alongside the modular synthesizers, one of the last fully analog PPG synthesizer. It laid the foundation for later digital milestones such as the PPG 360, the Wave 2, and the Wave 2.2."

Follow-up to this post.

"Born for a new era"

"THE LEGEND LIVES ON

The PPG 1002, one of the rarest and most sought-after synthesizers in music history, is back as a original PPG hardware synthesizer.

The PPG 1002 was, alongside the modular synthesizers, one of the last fully analog PPG synthesizer. It laid the foundation for later digital milestones such as the PPG 360, the Wave 2, and the Wave 2.2.

The PPG 1002 reissue is now available for preorder and is strictly limited to only 102 units. The PPG 1002 is more than just a synthesizer – it represents a symbiosis of technology and ecological responsibility.

Based on Wolfgang Palm's original handwritten drawings, the PPG 1002 returns as an exclusive reissue – meticulously reconstructed and crafted with the highest precision.

This limited edition preserves the authentic analog circuitry of the original, bringing the legendary PPG sound to a new generation of musicians and collectors.

Unlike the original keyboard version, the reissue appears in the classic console-style housing, staying true to the design of the original 1002.

The PPG 1002 is an exclusive reissue of the legendary analog synthesizer designed by Wolfgang Palm in 1975. The total price is 9,999 Euros excluding shipping costs.

Production begins after your pre-order and a deposit of €4999.

The remaining €5000 is due before delivery."

SPECS

- 2 analog oscillators with transpose switches and mixable waveforms from triangle to saw

- Oscillator 2 also offers square wave and a sub-oscillator

- Oscillator 2 can be synchronized

- Noise generator for audio and modulation

- A ring modulator can be switched on instead of the noise generator

- Routable LFO with pulse and triangle waveforms

- 24dB low-pass filter with resonance

- Voltage-controlled amplifier

- 2 easy edit envelopes

- Switchable modulators for each module, allowing for an almost modular-like routing

- CV and MIDI inputs

- external precision low noise power supply

- Download the manual [pdf captured as images below]

www.ppgsynth.com

You can find previous posts featuring the original PPG 1002 here.

"THE PPG STORY
In 1975, Wolfgang Palm made synthesizer history with the PPG 1002. An early prototype featured retractable patch cables, but in the final production model, these were replaced with rotary switches for more versatile modulation. A key advantage of the 1002 over its competitors was its temperature-compensated VCO circuit, now further refined in this reissue, preserving its iconic sound.

The PPG 1020 (1977) introduced digital oscillators, paving the way for the 360 Wavecomputer in 1979, which marked the beginning of wavetable synthesis. This was followed by milestones such as the PPG Wave 2.3 (1984) with MIDI and the PPG Waveterm B (1985).

After PPG was dissolved in 1987, Wolfgang Palm collaborated with Steinberg and later co-developed the Waldorf Microwave (1989). In the 2000s, he released software synthesizers under his own name, including the PPG Wavegenerator, Wavemapper, Infinite Pro, and Phonem. In 2020, Palm transferred the PPG technologies to Brainworx, which became part of Native Instruments in 2023.

At the same time, Cornel Hecht, part of the PPG team since 2012, reviewed Wolfgang Palm’s original handwritten schematics of the PPG 1002. His mission: to faithfully bring the analog circuitry of 1975 into the present. The first prototype impressed Native Instruments, laying the foundation for this exclusive reissue.
Wolfgang Palm: "What's labeled PPG should also be PPG inside! That was and still is my motto. The new edition of the PPG 1002 is based on the original PPG circuitry."

But this reissue is more than just a synthesizer, it’s a fusion of technology and ecological responsibility. The PPG 1002 is produced CO₂-neutral, and every purchase supports sustainable environmental projects, such as Liquid Sky’s reforestation initiative in Portugal. This way, the future of sound remains not only authentic, but also green."

CLICK FOR MORE »

1968 RA Moog Modular IIIC

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

via this Reverb listing

"A 3-cabinet authentic, period correct all RA Moog modules system that dates from 1968.

This instrument forms a part of the RL Music Vintage Synthesizer Collection. We have managed to keep some of the very best examples of Vintage Synthesizers that have come through our business over the last 22 years which we kept for our pleasure and interest. Whilst having a privileged position as a specialist dealer in this genre of equipment, we managed to hang on to particular instruments that were interesting and inspiring. The RA Moog Modular IIIC is one of 40 instruments we have, but is the oldest and most historically important.

CLICK FOR MORE »

dreadbox Artemis Demo (No Talking) with Presets for Ambient, Electronica and Techno

video upload by Limbic Bits

"dreadbox Artemis – My 2 Cents
Artemis is a polyphonic analog synthesizer with six voices and a comprehensive effects section developed by Sinevibes. Housed in a solid desktop chassis, all potentiometers, faders, and buttons feel great, with just the right amount of resistance. On the rear, you'll find a stereo output, a separate headphone output, plus USB and MIDI connections. It doesn't offer a foot pedal input, but it supports MPE (I still need to try that with my Osmose).

Now to the most important part — the sound. It features that great vintage tone I love so much on other dreadbox devices, largely thanks to its creamy-sounding filters. Both filters offer resonance, and the low-pass filter can be switched between 12dB and 24dB slopes.

But it doesn't stop there: thanks to TZFM and filter FM (yes, noise can be a source here too), it can sound very modern as well, making it great for all sorts of electronic music. Although it offers quite a lot of modulation options, I still found myself wishing for features like key tracking for LFO rate, negative envelope amounts, noise as a modulation source in the menu, or meta-modulations. After reaching out to dreadbox about these features, they told me they are already working on them for a future update and/or will look into them. Based on my past experiences with dreadbox, I’m confident we can expect a nice firmware update for Artemis in the future.

The effects section by Sinevibes is also great — it’s just a shame that there are no external inputs like on the Typhon, as those would have made it a fantastic standalone effects unit as well. You get four effect slots (Lo-Fi/overdrive/shaper, modulation, delay, and reverb), each with several options to further tweak the sound. Here, I would love to see a bit more flexible routing, allowing changes to the effect order. But even without that, the effects section is a great addition that melts perfectly into the internal analog sound engine. I'd only recommend not adding too much, as the effects can quickly become dominant.

TL;DR: dreadbox Artemis is a sweet-spot synth that can also show its teeth when desired. Its intuitive interface and great-sounding effects unit make it an excellent companion for live performances. Definitely a highlight!"

CLICK FOR MORE »

New Eurorack Modules Coming From Doepfer

Doepfer will be showcasing the above new modules at SUPERBOOTH25. Details on each follow.
Check with dealers on the right for upcoming availability.

Module A-119-2 is kind of a dual version of module A-119 without envelope follower. Instead two amplifiers are available and the module width is 4 HP only.

The module contains two amplifiers with separately adjustable amplification levels. Each channel is equipped with an overload display. The module can be used also for stereo signals, e.g. the stereo output of a smartphone.

Controls and displays:

Level 1/2: manual control of the amplification in the range 0 - about 45.

Overload 1/2: overload LED, begins to light up for output levels beyond about 10Vpp (+/-5V)

In 1: audio input 1 (monophonic or stereophonic, see technical details)

In 2: audio input 2 (monophonic)

Out 1/2: audio output (monophonic)

Technical details:

for higher amplifications the two amplifiers can be daisy-chained

normalling options: the signal applied to socket In 1 can be normalled to socket In 2 in different ways by means of a jumper on the pc board:

socket In 1 is connected via a mono patch cable (standard patch cable) to a monophonic signal and this signal is normalled to socket In 2 (i.e. the same input signal for both sub-units): jumper on pin header JP2 in upper position

socket In 1 is connected via a 3.5 mm stereo TRS cable to a stereophonic signal and the second channel of the stereo signal is normalled to socket In 2: jumper on pin header JP2 in lower position

no normalling: jumper is removed from pin header JP2

all inputs and outputs are DC coupled. Thus the module can be used also for the amplifications of control voltages.

CLICK FOR MORE »

The Seventh of Four

video upload by davidryle

"A new project idea to use the synthesizers.com Q170 MIDI GATES module to affect broad changes to the composition within the modular system.

The Q170 has eight output jacks for sending 5V gate or trigger voltages to the modular system. I used my DAW (Cubase) to construct timings for various parts of the modular.

The first four outs were used as pulse gates for the Delptronics and TipTop drum modules. The Kick, Snare and Open and Closed HiHats.
The fifth out is to the Q169 vco's AMP input. That vco is used for the bass line so controlling the on-board vca will mute or enable the voice.
The sixth out was to enable the Dove D900 sequencer to run/stop. The sequencer is feeding pitch voltage to the Synthetic Sound Labs Woven Spirits (MI Plaits). This is the chord pad sound. I used the DAW to pulse the gate info when I wanted the sequencer to reset at certain parts.
The seventh out was to send a continuous gate to the STG Soundlabs Time Buffer. The Time Buffer is receiving a sync-bus 24 ppq clock and run signal. I have a panel access to these with jack inputs so I sent the 5V gate to the RUN input. This allowed me to use this to start and stop all sequencer motion from the DAW.
The eighth out is to a Lower West Side Studios triple switch. This switch is used to add an offset voltage to the Woven Spirits Harmonic control.
The other fun part was playing the LWSS triple attenuator. I had three parts run through the module. The pair of STG VMS sequences were percussive background parts switched in and out as needed. The third part was a pulse version of the pad sound.

The Matrix duet in the mid section was clocked from the STG Time Divider module. Both Matrix were set with very closely aligned slider settings but the "Z" sliders were offset for variety. They sent pitch voltage to the TZ-VCO's from SSL. The duet were sent through the STG Post Lawsuit Filter and an Empress reverb/delay pedal.

Other outboard effects were the Meris Hedra for the bass line and the EMX Grand Canyon for the steady pad sound."

TMP-3-03 Vintage Synth TV Series from Benge

video upload by Memetune Studio

00:00 Opening Titles
00:17 Introduction
01:27 Switched On 80s
16:14 Synthesiser Club
19:48 Commercial Break
23:57 Patching Today
35:04 Little Black Boxes
38:53 Video Lab
44:22 Outro

////////////////////////////////////////////////////////

Episode three of the third series of the TV program from Benge, made at his Memetune Electronic Music Studio

The series explores his passion for vintage synthesiser instruments and studio gear and how he uses them in his productions and collaborations

////////////////////////////////////////////////////////

It is divided into the following sections:

SWITCHED ON 80s - This third series takes an in-depth look into six classic 80s synthesisers, selected because of their interesting and unique attributes

SYNTHESISER CLUB - A short musical demonstration of a synthesiser classic or three, concentrating on 'families' of synths

COMMERCIAL BREAK - Some shameless Memetune shilling

PATCHING TODAY - A deep-dive into vintage modular systems and how to set up a patch on them, starting from scratch, this time using Cybersynthesis techniques to bring an element of surprise to the patches

LITTLE BLACK BOXES - A further look at some classic rack mount studio gear of the 80s and 90s

VIDEO LAB - A look at old video equipment and how to create experimental visuals, concentrating on a specific device in each episode

////////////////////////////////////////////////////////

In THIS episode:

SWITCHED ON 80s - A detailed presentation on FM synthesis and its history, looking at the DK Synergy (as used on the Tron soundtrack), but mainly the Yamaha DX series of synths

SYNTHESISER CLUB - a very 'timely' composition, made on Moogs; a Minimoog, a Polymoog and the mighty Moog Modular 3C from the 1960s, which was used for sequences, and also all the drum sounds

LITTLE BLACK BOXES - A look at the Roland MKS Super JX, the lushest pad-synth of them all

COMMERCIAL BREAK - Some adverts for Memetune-related goodies, including the Memetune Annual 2024, the range of Memetune merchandise and Benge's FORMS series of single-synth albums

PATCHING TODAY - on the incredible Crystal Machine - the legendary double-Synthi-A made by EMS, Tim Blake, Patrice Warrener, Graham Wood, and looked after by Lucidsounds. Plus a beautiful VCS3 Mk1 and rack of EMS peripherals for good measure

VIDEO LAB - In this episode we look at the Grass Valley Indigo AV Mixer, which is the central hub of the Video Lab, and provides many more ways of getting that genuinely vintage look to the Memetune video productions

////////////////////////////////////////////////////////

LINKS:

Benge's Studio Blog: http://myblogitsfullofstars.blogspot.com

Memetune Studio Instagram: @memetunestudio

Benge & Memetune Merch on Bandcamp: https://zackdagoba.bandcamp.com

////////////////////////////////////////////////////////

The MemeTune Programme Credits:
Everything in this video was created by B D Edwards (Benge)
All music, design, writing, filming and production completed at Memetune Studios, UK, 2025"

Vintage Moog 921A driver, 3x 921B VCOs with PSU

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

via this VEMIA listing

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.

"Four classic mid-seventies modules: one 921A Oscillator Driver, and three 921B Oscillators. Complete with an International Power switchable power supply (now more commonly badged Power One) and a wiring harness / loom wired for five modules - the four 921s here, and a fifth module - until now, the 904 in the previous lot. ***This will need encasing***, and of course the modules will need to go in a simple case or an existing cabinet. In very nice cosmetic condition, and working well. Bought by the current owner in 2003, and since lightly used in a non-smoking home studio. The power supply has a standard IEC mains socket and fused switch with power light. The fuse will need to be changed if the voltage is switched from USA, where it is currently located."

CLICK FOR MORE »