"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.
"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!"
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.
"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."
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
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
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
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 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.
Pic of the inside below.
"Greetings everyone and hope you are having a lovely day. Im putting up for sale this rare very last member of Roland's fully analog drums era... 42 years ago. Instrument itself is in pretty good condition (few minor bruises and scratches, nothing major) and actual drum machine works perfectly (I cannot confirm the other features like chord or bass, since they are active only in cooperation with Roland HP keyboards). Also a sidenote, since it is a very early midi instrument and mainly designed to work with mentioned keyboards, midi works as clock in/out or start, but doesn't allow to trigger individual drums or accent. Unit was originally for Japanese 100V and has been internally switched to 240V and while I was at it, I have replaced power supply filtering capacitors with new ones for good measure. Thank you all the best."
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.
"Quite likely the best LM-1 Drum Computer on the planet, improved by Dani at Hideaway, one of the best techs in the world for this sort of classic gear.
From Dani: here is a link to test recording I made of the custom VCA retrofit I designed for this LM-1 along with a couple of pictures of my custom VCA pcb and the Kenton MIDI retrofit I installed: https://soundcloud.com/hideaway-studio/12-channel-midi-vca-test-segue-01 That mod I designed is a full blown custom pcb in there sporting a midi controlled VCA on every drum channel (which can be switched on/off if required) - its the only one of its kind to date.
In excellent cosmetic condition and perfect working order. UK voltage. Serial number 256. Ultra-careful packing 24GBP."
"'The word "pioneer' gets thrown around too liberally these days. But in the case of Wendy Carlos, the glove fits. The face of electronic music would look immeasurably different in 2025 without the American trans composer's groundbreaking achievements. Before she came along, electronic music was barely considered music at all—just "funny sounds," as Bob Moog once said.
That all changed in 1968. Produced in collaboration with Rachel Elkind, Carlos's debut album, Switched-On Bach wielded machines to produce sounds that could compete with the symphonic pop and rock of the era. The landmark LP won multiple GRAMMYs, played a key role in popularising the use of synths and became only the second classical music record to sell a million copies.
In our latest video essay, written by Sasha Geffen, we trace Carlos's story from her early experiments with Moog through to her impact on key electronic acts of the past 50 years, including Brian Eno, DJ Sprinkles and Octo Octa.
00:00 - Intro 00:54 - Switched-on Bach 01:57 - Carlos and Bob Moog 03:07 Contribution to synth development 04:36 - A Clockwork Orange Score & The Vocoder 07:20 - Personal Life 08:20 - Musical Development
Producer - Sophie Misrahi Writer - Sasha Geffen Editors - Sergey Poltorakov, Guy Clarke Motion Graphics - Sergey Poltorakov, Dan Derham
Music in order of appearance:
1. Wendy Carlos - Toccata Fugue In D Minor - Switched-On Bach 2000 2. Wendy Carlos - Air On A G String - Switched-On Bach 3. Delia Derbyshire - Quest - Electrosonic 4. Wendy Carlos - Moog 900 series Demonstration 5. The RCA Electronic Music Synthesizer - The Well-Tempered Clavier Fugue No. 2 6. Wendy Carlos - Prelude And Fugue #2 In C Minor - Switched-On Bach 7. Wendy Carlos - Title Music From A Clockwork Orange (From Purcell's Music For The Funeral Of Queen Mary - A Clockwork Orange Complete Original Score 8. Wendy Carlos - Country Lane - A Clockwork Orange Complete Original Score 9. Cybotron - Clear 10. Wendy Carlos - Genesis - Digital Moonscapes
"Here’s a new sequence, 'Drenched Sweeper' from the Analogue Solutions #TC5000 Patch Pin Matrix Synthesizer—recorded with no external instrumentation, FX, or processing.
With the TC5000’s vast sonic range, no single video can fully showcase its capabilities. We’ll share more sequences to highlight different aspects of its sound design potential.
About the Patch:
The TC5000's pin matrix provides extensive routing options, allowing for highly intricate and dynamic patches. A single pin can introduce subtle nuances or completely transform the sound.
In fact, the complexity of just one patch could warrant an entire essay!
This sequence features multiple waveforms from 3 oscillators, 2 filter types, Dual EG module 5012, Sequencer, and the Preset Voltage module 5052 (randomized with noise), along with the Mix-Sequencer module 5100 (providing the pulsating effect) -- this module is essentially two 4-input mixers. The channels, however, can be muted/switched on/off in the sequencer, in time to either an internal or external clock."
March 26, 2025 - Crows Electromusic, a small synth company from Vancouver, Canada, is thrilled to introduce Lore, a standalone all-analog tool for exploratory sound synthesis, ambient, drone, and noise music. With individual controls for each function, Lore gives direct control of two independent triangle-core oscillators and can be switched to an FM synthesis mode to unlock a wide range of complex tones. The instrument’s unique un-quantized interface is perfect for exploring pure tones, drones, and FM sound textures.
Features:
• 100% analog circuitry
• Two triangle-core oscillators
• Crossfade between triangle and square waves
• One-control-per-function interface
• Fully standalone, just add headphones
• Transparent bioplastic enclosure
• USB powered
• Handmade in Canada
Lore is our second release, building on what we’ve learned making our first product OVUM analog sound explorer. We had two goals in mind during development: first we wanted to make something that could create a harsher and more aggressive sound, and second, we wanted to see how small a synth we could make. On both fronts we think Lore is a success - it measures under 3 x 3 inches, and the FM mode gives you access to a whole range of shimmering, grinding, and metallic sounds. Just like with OVUM, we prioritized immediate control and ease of exploration. No understanding of oscillators, wave shapes, or FM synthesis is required to pick it up and start creating interesting and inspiring sound. We think people of all ages, musical abilities, and experience levels are going to love this instrument.
Lore is available now for $79 CAD / $59 USD.
Crows Electromusic is a small synth company based in Vancouver, Canada. Started by Cory Alder in 2022. Crows’ goal is to develop new hardware instruments that challenge the established ways we interact with sound and music creation. Their first product, OVUM was released in 2023, and their second product Lore is available now.
For more information, please visit Crows’ website at https://crowselectromusic.com or follow us on social media (Instagram, Bluesky) at @crowselectromusic.
"This synthesizer is the world's first programmable music synthesizer. The first piece of electronic music to win the Pulitzer Prize was made on it.
basically a two voice synthesizer with tone generation and composing in the left hand side and processing on the right hand side, including manual binary for the, uh, ordering of the effects processes. Um, which for its time, uh, essentially like a uh, touring computer. Um, uh, was it You know, one and a half tons, seven feet tall, 14 feet wide, it's quite a behemoth, but now it's a very large paperweight.
Watch the full video:" [The above comes in at 22:41 - vintage Buchla, Serge & more follow. See this post for the red Buchla LSD module]
How Technology is Changing the Way We Make Music | A Conversation with Seth Cluett
"Guest: Seth Cluett, Director of Columbia University’s Computer Music Center | On LinkedIn: / seth-cluett-7631065 | Columbia University Computer Music Center Bio: https://cmc.music.columbia.edu/bios/s...
Host: Sean Martin, Co-Founder at ITSPmagazine and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/
Show Notes
Music and technology have always shaped each other, and few places embody that relationship as deeply as the Computer Music Center (CMC) at Columbia University. In this episode of Music Evolves, Sean Martin sits down with Seth Cluett, Director of the Computer Music Center and Assistant Director of the Sound Art MFA program at Columbia, to explore the center’s rich history, its role in advancing music technology, and how it continues to shape the future of sound.
The Legacy and Mission of the Computer Music Center
The CMC is housed in the same 6,000-square-foot space as the original Columbia-Princeton Electronic Music Center, which dates back to 1951 and is one of the world’s oldest university-based electronic music research facilities. This was the birthplace of early electronic music, where pioneers learned to use cutting-edge technology to create new sounds. Many of those musicians went on to establish their own studios around the world, from Egypt to Japan.
The center has played a role in major milestones in music history, including the work of Wendy Carlos, a former student known for Switched-On Bach, the score for Tron, and The Shining. The first piece of electronic music to win a Pulitzer Prize was also composed here. Today, under Cluett’s leadership, the focus remains on creativity-driven technological innovation—allowing composers and artists to explore technology freely and push the boundaries of what’s possible in sound and music.
One of the center’s guiding principles is accessibility. Cluett emphasizes the importance of lowering barriers to entry for students who may not have had prior access to music technology. The goal is to make sure that anyone, regardless of background, can walk into the studio and begin working with 80% of its capabilities within the first 20 minutes.
Exploring the Labs and Studios
The episode also includes a tour of the labs and studios, showcasing some of the center’s groundbreaking equipment. One highlight is the RCA Mark II Synthesizer, the world’s first programmable music synthesizer. Built in the late 1950s, this massive machine—seven feet tall and weighing over a ton—was instrumental in shaping the sound of early electronic music. The system worked by punching holes into paper to control sound generation, similar to a player piano. While no longer in use, the CMC has collaborated with iZotope to model some of its effects digitally.
Changes from 1.1.0 to 1.2.0 Synth firmware 1.2 focuses on interface improvements and disabling effects when they aren’t active to free up additional CPU.
NEW FEATURES
Effects (Rev, Mod, Del) are not activated when not used in a scene Dim Mode added to the system settings. Interface improvements to help avoid clipping and distortion Master Volume now shows dB values instead of a line Mixer Level meter turns red when clipping Maximum mixer sends set to 0dB instead of +12 (Old projects will still load with the value saved at +dB settings) Added screen indicators to help troubleshoot when a Synth isn’t playing a sound Added an all note off option to stop hanging notes Access via Main Menu > All Notes Off FIXES
GRAIN Burst Ratio parameter values were playing at double the specified tempo An incorrect engine could load on when mapping PC change options if patches shared the same name Freeze when using Layout and Mode knobs on Grid page simultaneously Clicking when using crossfaders for Mod > Rev or Mod > Del could sometimes occur Aftertouch did not work if a pad was hit extremely hard Preventing hanging of held notes when Local Mode is changed to off PC change could corrupt the loaded patch and browsers The patch preview was removed from PC mapping to prevent this issue Freeze after loading a scene with PC Mappings multiple times Quickly scrolling the program change mapping list sometimes switched the active patch Switching pages would occasionally result in an empty parameter page Main Menu navigation sometimes cut off Held Notes were not highlighted after switching instruments on seq
00:00 Opening Titles
00:17 Introduction
01:26 Switched On 80s
13:36 Little Black Boxes
16:07 Commercial Break
18:42 Synthesiser Club
21:40 Patching Today
33:44 Video Lab
40:06 Outro
"Episode two 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"
"In THIS episode:
SWITCHED ON 80s - A detailed presentation on the Arp / Rhodes Chroma, the mega-poly-synth that nearly took over the world
LITTLE BLACK BOXES - A look at the Korg M3R, a slimmed down version of the biggest selling synth of all time
SYNTHESISER CLUB - a picturesque study made on the Sequential Six-track, the Drumtracks, the Prophet VS and the mighty T8
COMMERCIAL BREAK - Some adverts for Memetune-related goodies, including the new Memetune Annual 2024, the range of Memetune merchandise and Benge's seminal 13 Systems album
PATCHING TODAY - on the vintage Emu Modular, with some help from a big Modcan A-Series
VIDEO LAB - In this episode we try and use the video mixers without any external inputs - its all about self-generating feedback imagery - with a soundtrack made on classic vintage modular synths
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"
"Alan R Pearlman was responsible for some of the greatest sounding and most intuitive synthesizers of the modern age, many of which are still highly sought after or emulated to this day. Inspired, as so many were, by hearing Wendy Carlos’s 'Switched on Bach', he founded Tonus in 1969, a company that would soon become ARP Instruments, and began producing synthesizers such as the legendary ARP 2500, 2600 and Odyssey.
Since his passing in 2019 at the age of 93, his daughter, Dina, has been building the Alan R Pearlman Foundation, an organisation that seeks to preserve her father’s legacy and enable as many people as possible to get hands-on with his inventions.
As with all not-for-profits, Dina has faced numerous challenges, but with the help of the likes of Jean Michel Jarre, Herbie Hancock and many other fans of Alan’s work, the Foundation is beginning to realise its objectives with great success.
Chapters
00:00 - Introduction
01:18 - The Alan R. Pearlman Foundation
06:52 - The Main Aims Of The Foundation
09:12 - Women In The World Of Pioneering Synthesis
12:45 - Childhood Memories During The Early Days Of ARP
14:54 - Unearthed Footage Of The ARP Factory
23:27 - About ARPS For All
30:23 - The ARP Paradigm
34:27 - Collaborating With Bjooks
38:55 - Google Arts & Culture: Music Makers & Machines
40:47 - The Future For The Alan R. Pearlman Foundation
Dina Pearlman Biog
Dina is the only child of Alan and Buena Pearlman and grew up with ARP Synthesizers as a backdrop for her childhood, travelling extensively and being exposed to innovative and cutting-edge technology. In her early years, she spent time playing in rock and roll bands, as well as dance and theatre. For the past thirty years, she has worked as a versatile visual arts and design professional, creative director, and educator. She has also worked extensively in photography, graphics and web design for several decades, and has a broad understanding of visual communications media.
In the last few years before his illness, Alan Pearlman started to re-examine the brave new world of synthesizers that exists today, many decades after his iconic and groundbreaking 12 years as the inventor and founder of ARP Synthesizers. During this time, he brought his daughter into the conversation. After his death in January 2019, Dina realised the need of keeping his legacy and passion alive, and with the help and encouragement of many of his former colleagues as well as the wonderful Michelle Moog-Koussa, she started the Alan R. Pearlman Foundation and ARP Archives.
"Meet Herman Gillis, the inventor of the Sherman Filterbank, one of the most aggressive and unique filters in electronic music history! In this exclusive interview, Herman reveals how he employed Switched-Capacitor Filter (SCF) technology to create an analog powerhouse that shaped the sound of artists like The Orb, David Bowie, Human League, Ziggy Marley, and more...
What makes the Sherman Filterbank so special?
Herman takes us through the evolution of his designs, from his teenage years building guitar pedals and drum machines to his legendary Filterbank 1, Quad Modular Filter, Filterbank Compact, and the latest 500 series module, the Rodec/Sherman Minirestyler.
I’ll be performing on a Minimoog and laying down grooves with a TR-909 drum machine throughout the video—bringing Herman’s filter madness to life with some face-melting musical examples! You won’t just hear us talk about this screaming filter—you’ll experience it in all its glorious, growling, and gut-punching sound!
If you’re into synths, sound design, and legendary instruments, this deep dive into one of the most extreme filters ever built is a must-watch!"
"Une séquence très simple pour tester un quantizer que je pense adopter.
Je n'ai eu que des problèmes techniques depuis que j'ai acheté des modules et un rack Series 500. Ça a commencé avec le boitier 500 qui ne passait même pas dans le rack et ça a continué module après module (même avec du neuf qui ne fonctionnait pas et que j'ai du échanger), jusqu'au ground loop hier sur les entrée DI qui empêche tout ! Bref j'aurais mieux fait de m'en tenir à mon setup habituel, plutôt que de me lancer dans le API 500. Alors afin de me calmer, je me suis mis sur le 2500 et j'en ai profité pour essayer un quantizer (le Shakmat Bard Quartet) avec une séquence toute simple. J'ai commencé la session avec un tempo bien rapide ( • 02.07.2025 Mos-Lab & Scrotum Lab - Th... ) et puis la séquence et le tempo se sont adoucis jusqu'à cette fin de session qui aurait pu encore continuer, continuer, continuer..."
Googlish:
"A very simple sequence to test a quantizer that I think I will adopt.
I have had nothing but technical problems since I bought modules and a Series 500 rack. It started with the 500 box that did not even fit in the rack and it continued module after module (even with new ones that did not work and that I had to exchange), until the ground loop yesterday on the DI inputs that prevented everything! In short, I would have done better to stick to my usual setup, rather than launching into the API 500. So in order to calm down, I switched to the 2500 and took the opportunity to try a quantizer (the Shakmat Bard Quartet) with a very simple sequence. I started the session with a very fast tempo ( • 02.07.2025 Mos-Lab & Scrotum Lab - Th... ) and then the sequence and the tempo softened until this end of the session which could have continued, continued, continued..."
"Here's my stab at the famous violin air from Jules Massenet's 1894 opera, THAIS, using my Biopower Axe & Razor #eurorack #modular #synthesizer ribbon controller.
The ribbon controller is pressure sensitive, which I'm using to control a Plum Audio Jove filter cutoff. Two further pressure points on the stock of the instrument provide an injection of vibrato (both the frequency and amplitude of an LFO to the timbre parameter on a Plaits oscillator) and a pitch bend, mainly to get notes outside the D Major scale, which I quantized. The accompaniment is an emulated Juno 106.
I designed this instrument to bring convenient Rick Wakeman shredding within reach of all synth players -- but it can play sweetly and precisely too!
Available for purchase as built modules and DIY kits at https://www.biopoweraudio.com"
See the Biopower Modular label below for more. It looks like they switched their name from Biopower Modular to Biopower Audio. The Biopower Audio label will be used for future posts, considering.
"My first version of the OBXone went on to save an Original 4VS OBX. But when I got a Rosen motherboard as part of a trade I thought I'd make a nicer one, 2U rackmount, with double sub oscillators and all the extras."
Looks like an SEM in rack form, but appears to be based an OBX voice board according to the description above. The OB-X filter is based on the 12db Lowpass disctrete SEM filter (it's missing the variable LP -> Notch -> HP knob), while the OB-Xa switched to Curtis based filters.
Amazing analog sounds that only digital can provide - now in your DAW.
Inspired by the legendary KORG Mono/Poly, the new KORG multi/poly analog modeling synthesizer delivers breathtaking analog sounds combined with extraordinary digital power and flexibility. It's already garnering acclaim as one of the best synths of the year.
