"Inspired by the legendary Buchla Music Easel. Built by a guy who lives in a wooden cabin in the mountains! Here's his website () It's not really modular or patchable but there are some switches which are based on some of this guy's favourite patches on the Music Easel.
Features
2 Oscillators: First the Mod-Osc is a triangle-wave just a bit sinefolded. Second the Complex-Osc is a sine-wave with a powerful Wavefolder. Mod-Osc can modulate the
Complex-Osc and switch between FM & AM with depth for both. Both Oscillators can be Hard sync for FM synthesis. The Mod-Osc Pitch is bipolar & can go really low to act like an LFO. The Complex Pitch is unipolar. Both have Finetune for AM and not-synced FM harmonic research or perfectly tuning them together.
• 1 LFO Can be sine-wave or random sample&hold. Can act to the pitch of each oscillators & as the clock master for the sequencer.
•2 Lowpass gate One for the Mod Osc & second one for the Complex osc.
2 Lowpass filter One for the mod Osc & second one for the Complex osc.
• 1 Attack Applied to both Osc.
4 Step sequencer Can be set to each Osc & to the Wavefolder. Can run up or up&down. All step can be switched off.
• 2 Channel mixer One channel per oscillators.
• 1 Reverb With mix & time.
•1 Touch sensitive keyboard 13 keys with octave switch up & down which can act on each oscillators.
• 3 Touch plates With their own adjustable pitch.
• 1 Arpeggiator In order mode. Can be sustained, even on several switched octaves. Can be sync to the sequencer or have his own clock"
"2nd video with the Arturia Minifreak hybrid (digital/analog) synth, with a OneSynthOnly jam (after the first video where I used 5 instances of the Minifreak in multi-track: • Cinefreak 📽️ (Arturia Minifreak // Conduct... 😉)
00:00 Opening Titles
00:17 Introduction
01:27 Switched On 80s
12:54 Little Black Boxes
17:29 Commercial Break
19:58 Patching Today
29:19 Synthesiser Club
31:59 Video Lab
36:07 Outro
SWITCHED ON 80s - This third series takes an in-depth look into six classic 80s synthesisers, selected because of their interesting and unique attributes
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
SYNTHESISER CLUB - A short musical demonstration of a synthesiser classic or three, concentrating on 'families' of synths
VIDEO LAB - A look at old video equipment and how to create experimental visuals, concentrating on a specific device in each episode
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"
See dealers on the right for availability and price.
"MANIFOLD RESEARCH CENTRE ANTILOPE
Prance with glee through the wilds of experimental sound with Antilope from Manifold Research Centre, a filter-based drum and dynamics machine designed for creative rhythms and otherworldly sound design. Based around a dual pingable resonant filter, Antilope creates plucks, bongo slaps, and ghastly squeals galore, which can be further shaped through the onboard distortion and multi-FX feedback path. In classic MRC fashion, taking this distortion and FX loop to unique extremes via feedback enables a vast timbral range, transforming the sizzling filter timbres into new and mangled shapes.
To get these sounds moving and grooving, a three-channel pattern recorder is available for patching around to Antilope's filter, distortion, and FX parameters. This provides a highly intuitive and performable interface equally suited for on-stage skronking and studio experimentalism. Each recorder can be switched between stepped voltage sequences or morphable AD envelopes, enabling both rigid beat shifting and smooth timbral changes alike.
Naturally, Antilope's 3.5mm CV inputs and outputs readily integrate into a broader Eurorack environment, opening up even more uncharted paths for sonic exploration. Likewise, the addition of MIDI clock reset and synchronization connectivity enables use in hybrid set-ups and DAW-based artistry. Using its stereo line level input on the back of the device, external sounds can be processed through the filter directly or in conjunction with Antilopes broader workflow, extending the sound world within by infinite margin.
Thanks to its dedicated headphone output and USB-C power input, Antilope's characterful design is primed for portable interaction, imbuing any journey with captivating sound. With its focused yet flexible design that collapses and reinvents percussive processing in MRC style, Antilope from Manifold Research Centre is a fantastic beast sure to inspire your trips through the creative unknown.
ANTILOPE FEATURES Desktop synthesizer for experimental rhythms and audio processing Dual-pingable resonant filter Distortion effect with 3-band tone control Multi-FX engine with feedback path for deep sound design 3-channel pattern recorder Recorder channels switchable between stepped voltages and morphable AD envelopes 3.5mm CV inputs and outputs compatible with Eurorack gear MIDI connectivity for clock, reset, and sync Stereo line level input for processing external signals Stereo line level output and dedicated headphone output USB-C power for portable operation"
Video in the listing previously posted here.
"If you know, you know. These almost never show up, and there’s next to no info online. It’s one of the hardest Hohner keyboards to track down.
This unit is in excellent condition, both technically and cosmetically. The real-wood casing is beautifully preserved with only light signs of use. Keys, switches, sliders—all exceptionally clean.
Everything functions perfectly.
All sound registers can be switched or blended freely Built-in vibrato + sustain Dedicated bass voice for the lowest octave (individually switchable) Individual volume controls for each section Key contacts are flawless—no dead notes or crackle Accompaniment System: The auto-accompaniment can run silently if you want only the bass sequencing. Changing rhythms reshapes the bass pattern, making for surprisingly interesting and musical sequences. The onboard memory hold lets you tap a bass key once and have it sustained automatically—works even without the rhythm section active.
Sound Output:
Built-in speaker underneath (clean, zero distortion) Line-out on the rear for external amps Pedal input (pedal not included) Dimensions: approx. 82cm W × 19cm H × 40cm D Weight: approx. 12.7kg
A seriously rare piece—clean, fully working, and ready for a new home."
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"Korgs classic 800DV - has been fully serviced this year which included a complete recap of all the electrolytic and tantalum capacitors. Synth was also recalibrated at the same time. Switches and sliders were lubricated. Also has the essential dual CV/Gate/Filter upgrade for independent control of both sections of the synth. Currently set to 240v - can also be switched over to continental voltage. Nice cosmetic condition too."
via BugBrand (For those in the US: check on availability with Noisebug per below)
"The 5FW design stems from ideas I used way back in the Old Blue days when I had the CTL1 Touch Panel - that design went through a few iterations during its 4 years of life, moving from just a control/preset device to incorporating some basic sequencing. Now I have taken it several steps further - expanding it out to 8 steps and increasing the control & sequencing options. The result is a powerful little hands-on sequencing hub!
It can link up with other clocking devices, especially the Sequence - indeed, I'm just beginning to investigate a joiner/expander for the pair that would allow the Control link to be easily switched on/off and also incorporate a handful of other useful functions.
In the meantime, the first modules are starting to ship - they can either fit in a larger system or sit in a 5FW case - perhaps an interesting addition to other banana systems!
US shipping & Tariffs:
There has been a fair bit of uncertainty because of new tariffs on shipments into the US (10% from UK vs 20% or more from most other places), alongside the ending of the De Minimis exemption for shipments under $800. Given that I send a fair amount to people in the States, these changes have proved worrying!
Thankfully I've been able to jiggle things around and have found that I can still send things easily & affordably - indeed, often including pre-payment of tariffs while not raising the overall shipping cost, and sticking with Royal Mail who have proved so reliable over many years of use.
Noisebug:
But, alongside these changes, I'm rekindling my prior work with the wonderful Noisebug store of Pomona, California. Just today I've sent a reasonable initial load - a couple of 1Frame systems, several mini-systems and a handful of red designs.
As you know, I've tended to work directly with people worldwide, but have kept in with a very few small & specific stores - Noisebug really fit the bill here for me! So if you've got requests, feel free to get in contact with them - or continue to nudge me direct ;)"
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."
Click the auction link on top when you get there for additional listings.
"A very well-playing and fully functional Jupiter 8 with important enhancements - a MIDI interface from Encore (which also adds an extra sound bank), a FATAR TP9 balanced keyboard, and a switched power supply from Synthronics (which does not heat up, making the instrument more stable). 14 bit DAC version.
The top panel is in worse condition, as shown in the photo, with scratches, scuffs, and dents. I have often thought about replacing it (replicas are available), but this is the unvarnished reality of how Jupiter lived the first decades of its life (since 2000, it has only been cared for in the studio).
The instrument comes with a lot of documentation, a dust cover, and I can add the original power supply and original keyboard.
Personal pickup is possible in Prague (CZ) or Essen (DE)."
"POB takes us on a distortion journey into ruin with this dark and cinematic performance with Noise Engineering modules. Patch inspired by my recent firmware video for Librae Legio. Librae is mostly a set-and-forget module for me, and I hardly ever use the CV inputs. I showed an example on the short video by throwing a gate signal into the Ceiling input, and the result was this pumping effect that occurs throughout the whole mix. Just left it activated. I'm really glad that CV input put the hook I needed.
Notes:
0:00 BIA into Ruina Versio
1:29 Introducing Debel Iteritas Alia with wide open attack, using Quantus Trajecta to create a more vocally shaped envelope in place of its own envelope.
2:13 Introducing Sinc Legio, pitched by Opp Ned's arepeggios, then distorting it through Roucha Legio.
3:07 Introducing Virt Iter Legio as the wobbly bassline using Mimetic Digitwolis' randomizing melody, being switched at times by Muta Jovis.
5:07 Switching the bypass on Roucha's filter while adjusting its frequency.
9:35 Using Desmodus Versio's built-in LFO to affect its reverb tail.
12:55 MOAR Distortion on the BIA using Ruina Versio, toggling in and out of gated Smoosh.
14:08 Using Desmodus Versio's Tone controls to filter the reverb tail.
Clocked by Horologic Solum. Mixed on Xer Dualis, then sent through Librae Legio with its Ceiling being CV-controlled by an LFO from Pons Asinorum.
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This appears to be the first one featured on the site. Pics of the inside below.
via the listing:
"SMS (Salamander Music Systems - sorry for the typo in the title) Voice 400 - Programmable analogue mono synth with 2 VCOs and analogue delay line. Seems to work all OK EXCEPT the modulation generator (LFO) is not working. Condition is average. Has USA plug on, but can be switched between 110v/240v on rear. Also see the next lot."
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Pic of the inside.
"Released in 1977, the Yamaha CS30 is the flagship of their CS Monophonic range. It is as close to a modular synthesiser that Yamaha ever made and its modulation and routing options are extensive. This one plays and sounds great. The synthesiser responds to all the pots and sliders as it should and it's ready to use and create weird and wonderful noises and textures. However, to get it to 100 percent functionality the synth requires a service to fix a few issues. Neither the combined 1+2 audio jack nor headphone output work, though the individual 1 and 2 jacks are fine. The sequencer works when switched to Manual and steps through by pushing the red button. However, the 'Clock' function only works when the synth has been powered on for a while and has 'warmed-up'.
Cosmetically the synth is in pretty good shape with nothing broken or missing. There are lots of very small dots of blistered paint, some with a hint of surface rust. The most noticeable ones are at the top of the control panel but these have not increased in size or number over the past decade-or-so. They don't look too bad, in my opinion. Inside is clean and dry with no signs of damp. One of the C keys has a cigarette burn (WHY??!!!) which has melted the plastic slightly. However, all keys are secure and function correctly. The case has a few marks here and there, but overall it looks good.
The case was designed to make servicing very easy. The front control panel is hinged at the back and can be opened by removing just two screws from each side panel. This then reveals a very neat collection of boards and wiring.
The CS30 can be easily integrated into a modern MIDI studio setup. By using an appropriate converter you can interface various features of the synthesiser via its numerous control inputs and outputs:
Foot Controller (CV) for volume in.
Sequencer CV and Trigger (gate) out.
Key Voltage (pitch CV) in and out.
Trigger (gate) in and out.
External (audio to the filter) in.
It features two voltage controlled oscillators (VCOs), two voltage controlled filters (VCFs - both featuring low-pass, band-pass and high-pass options), two voltage controlled amplifiers (VCAs) and three envelope generators. It also sports a ring modulator and a voltage controlled low-frequency oscillator (LFO).
It is fairly unusual for a hard-wired synthesizer in that it features a variety of switches which allow the user to re-route the signal flow from the usual VCO-VCF-VCA convention. For example, VCO 1 can output a square wave through VCF 1 whilst also outputting a high-pass filtered sawtooth wave through VCO 2. Another example is that the envelope generators can be assigned to any of the VCO, VCF and VCA modules and can also be inverted. Because the LFO is voltage controlled, the oscillating speed can be governed by an envelope generator and different waveforms can be applied to the other modules all at the same time. The CS30 also features an external signal input for filtering other musical instruments and audio sources, which can also be used as a modulation source. It includes an onboard eight-step analogue sequencer."
"Similis is a lo-fi synth that has several different patches. Here it is set to run a random sequence over a major or minor scale. This preset can be switched between 1 or 2 oscillators, each playing a random note independent of each other.
Pot A/CV in A sets the root note.
Pot B/CV in B sets the range of notes of the chosen scale.
Pot C/CV in C sets the rate of the sequencer (controlled using an envelope generator in this example)
Switch A sets the waveform (Sine, Saw or Square)
Switch B has 3 different settings (Stop the sequencer playback on its current note, run the sequencer, run the sequencer and add an additional synth voice.)
Switch C sets the scale."
"Similis is a lo-fi/chiptune style synth consisting of several different presets.
This Similis patch stacks 3 oscillators and detunes them against each other.
Pot A/CV in A controls the root note.
Pot B/CV in B controls the detune of the other 2 oscillators.
Pot C/CV in C controls the level of the 2 additional oscillators.
The root note pitch is being controlled by a random scale from Pam's Pro Workout.
Here an envelope generator is controlling the level of the detuned oscillators through CV in C.
Switches A B and C change each oscillators waveform (sine, saw, square)"
Pics and details below. First the video description:
"Some thoughts regarding the "Hans Zimmer - The Next Level" concert:
Amazing! Amazing! AMAZING!
I went to all shows of Hans Zimmer, some I've seen even multiple times. The sound quality of "Next Level" blew them all out of the water. It was louder, it was more intense, really top notch sound engineering. That part at 5:50 in the video was extremely intense, I have never experienced that kind of bass before. I sat close to the front, there was a line of subwoofers right in front of me, I would not be surprised if that part causes some anxiety for people, that's how intense it was.
Some pieces were re-arranged which was an interesting touch, it added a nice new dimension to it.
I can recommend it. It is expensive but a one-of-a-kind experience in my opinion."
Update: SynTesla video below added.
GIORGIO III, Hans Zimmer's monumental synthesiser manufactured by SynTesla
"SynTesla is the manufacturer of the gigantic GIORGIO III modular synthesiser commissioned by Hans Zimmer for his world tour 'Hans Zimmer Live The Next Level'. Discover the unboxing and assembly of this fabulous instrument."
"The Giorgio III is a monumental 5U Modular synthesiser created by SynTesla (Pierre-Jean Tardiveau, aka pidjyman on MW) for composer Hans Zimmer for his world tour.
This synthesizer is undoubtedly the largest modular synth in the world, consisting of 12 cabinets measuring 5 x 5U + 1 x 3U in height. Only 10 cabinets are installed on stage, with two others serving as back-up behind the scenes.
This monster represents 10 months of hard work in total. 23 types of modules were designed and produced in large numbers. To give you an example, the synth is composed of 3 separate units of 4 voices each, for a total of 12 voices, with 2 VCOs, 2 DCOS, 2 filters, 6 DADSRs, 6 VCAs, 1 resonator, 4 LFOs, buffered multis, logic, attenuators, attenuverter, mixers, wavefolders, gate delays, summing mixers, etc. etc...
The modules were manufactured in France by Syntesla and designed by Yusynth and SynTesla. They were assembled in Los Angeles at Hans Zimmer's studios and then shipped to Germany for final assembly on the tour stage.
When the synth arrived in Oberhausen, Hans Zimmer had never seen it before (he was rehearsing in London while it was being assembled in LA), and I can promise you that his smile in the photo is not fake (neither is mine).
The electrical part of the cabinets was also designed and built by SynTesla. It includes an oversized power supply with a capacity of 10 amps, an active filter that provides perfectly stable and clean voltage, and a power distribution board in SynTesla and DotCom format, as well as an integrated voltmeter and ammeter. The whole system has several levels of safety.
This made it possible to connect each cabinet to a solid-state relay socket controlled by DMX from the lighting console. The robustness of the device allows the whole or part of the system to be switched on and off in sequence, depending on the pieces being played on stage."
The GRAPHIC ENVELOPE consists of 2 separate analog envelopes each derived from stepping thru 8 levels at a shared rate. The envelope can be run as a dual 8 step or a dual 15 step envelope. Easily create and adjust complex envelope shapes with time based movement that is easily adjustable in a graphic layout. 3 usable time ranges allow for the accurate setting of specific overall envelope times. Level inputs allow CV or audio to set the level of the envelopes. 2 rate knobs set the envelope length and can be switched between via gate or CV input. The 2 envelopes can be swapped to the other's output pre- Response via gate or CV input. The HOLD STEP pauses the envelope while the gate input is high, making a playable and responsive envelope. Gate outputs pre/post the HOLD STEP, EOC and total envelope period allow for example: the switching of rate or the delayed trigger of a second envelope during the envelope cycle.
Quality all analog circuitry Gate and Trigger inputs can be used simultaneously The Gate input can hold the envelope on the HOLD STEP Gate outputs for Pre and Post Hold Step Gate outputs for End Of Cycle and envelope period CV/Audio inputs set the overall level of the envelopes 5v and 10v output level switch Row Swap gate input 2nd rate (R2) select gate input envelope smoothing 3 time ranges
"A piece created with SONICWARE LIVEN Ambient Ø and YAMAHA CS01. Quiet ambient electronica.
On the Ambient Ø, sequences are played while synth pads are performed with the built-in keyboard. The output is processed through the MOOD MKII with added delay and micro-loop effects.
The CS01 plays a sound with slow attack and release, processed through NIGHTSKY with long-decay reverb and filtering. At times, INFINITE is switched on to create sustained tones."
To keep the performance dynamic, I occasionally switched to single notes or octave lines for variation. Everything was recorded live in a single take, with only light reverb and delays applied in post-production."
"A piece created with @Dirtywave M8 Tracker Model:02 and @buchlausa Music Easel. Electronica where phrases shift and evolve through micro-loops.
The Music Easel receives MIDI sequences from the M8 Tracker, while its sliders are used to modulate oscillators. The output is processed through @ChaseBlissAudio MOOD MKII with micro-loop, delay, and reverb effects, creating variations in the phrases.
On the M8, rhythm parts and harmonies are played. In LIVE MODE, phrases are switched while occasionally tweaking the synth filter."
00:00 Opening Titles 00:17 Introduction 01:25 Switched On 80s 12:54 Little Black Boxes 15:48 Commercial Break 17:26 Patching Today 26:07 Synthesiser Club 29:19 Video Lab 33:44 Outro
"Inspired by the legendary Buchla Music Easel. Built by a guy who lives in a wooden cabin in the mountains! Here's his website () It's not really modular or patchable but there are some switches which are based on some of this guy's favourite patches on the Music Easel.
