"Which live performer doesn't know this situation: You build the tension to immeasurable heights, add another filter here, three more effects there, hands go up in the air, everyone's waiting for the big drop... and then you realize: You can't find your way out of the chaos you've created!
The sweat on your forehead drips onto your equipment, and in a firework of spraying sparks, your devices and your fans say goodbye forever...
"Amazing reissue of a rare classic. I bought it a few months ago, somewhat on impulse, and it hasn't found its way into my setup. It is in immaculate, like-new condition without a single blemish and everything works as new. I'm very particular about my gear and always handle it carefully and take good care of it. The unit has always been stored, covered when not in use, in a smoke/pet free climate controlled studio.
This thing is built like a tank (very solid and heavy), has great connectivity options and, most importantly, sounds incredible!"
"Today, before bed, I laid with my family on my bed, listening to the downfall of rain on the roof. I loved every second of it. My kids? It scared them for some reason. Undoubtedly, some day they will look back and think 'I can't believe I was so scared of that gentle rain on the roof... I missed the opportunity to just relax with my papa and mama.'
Of course, not a day goes by that I don't look back at the end of the day and wish I had been more present. Who knows what other adventures I'm missing out with them by being just so stuck in my head.
Well - as for this track, I was trying some new things, using the Machinedrum instead of the Nord Drum 2, and stacking the Poly Evolver and P10. I didn't really enjoy the experience of either. I know some people fill their rooms with synths and Jasper's stands, but I think it just kills the creativity. Maybe my constant unhappiness with my studio keeps me writing more and more?
"What if your synth reshaped reality?
Alice-9 is the next-generation sample-based synthesizer forged from the chaos of the unknown and built for creators who refuse to follow.
Powered by SCO technology, and infused with analog soul, AL9 isn’t here to emulate.
It’s here to change the rules.
🎛 Real movement, deep stereo placement, aging imperfection, and punchy compression.
🎶 Every preset is a twist. Every sound a move. Every session, your next breakthrough.
This isn’t just another synth.
This is the edge of synthesis.
Choose your sound. Be the one who rewrite the rules.
Alice-9 (AL9) is a next-generation sample-based synthesizer in the digital domain, part of the Marea virtual instrument series, and powered by the innovative MUST (Modular Unified Synthesis Technology). Early testers have described it as an instrument with a deeply organic and varied sound palette — evocative of iconic synthesizers from the 1990s and early 2000s. AL9 redefines what a sample-based synth can be, merging analog realism, playable feel, and modern digital power into a single instrument. Available in VST3, AU, and AAX formats, ensuring integration with all major DAWs. Use code: ALICESPECIAL at checkout for 41% off until August 31, 2025!
The first users compared AL9 to walking into a music store in the 1990s, hearing a synth that delivers something new and inspiring with each preset. That rare sensation of immediacy, depth, and musicality — the feeling of a “real instrument” — is the essence of AL9.
Made to Inspire The architecture of AL9 goes far beyond sample playback or wavetable synthesis. Its sound engine is built around SCO (Sample-Controlled Oscillator), a high-resolution resampling system capable of reproducing natural analog behaviors such as frequency drift and evolving dynamics. Unlike typical static samplers or rigid waveforms, AL9’s oscillators breathe and shift like their analog ancestors.
This realism is further enhanced by the proprietary Superstereo system for natural stereo placement , the Age control that adds subtle imperfections, emulating the warmth of aged hardware and Integrated multiband dynamics processor inspired by the popular OTT compression paradigm, delivering musical glue and energetic punch.
Whether you're chasing nostalgia or forging new paths in sound design, AL9 provides an inspiring playground that rewards musicianship and creativity.
Beyond Emulation The idea for THING originated during the development of Thing (TH8 – TH5) — an emulation of a classic 1980s DCO synth. During that process, a question arose: what if, instead of replicating digital waveforms, we could capture and reproduce the actual behavior of an analog VCO? What if we could push timbral diversity beyond the limitations of traditional synthesis methods?
"Updated demo video showcasing L-Fusion Modular Analog Kicks Eurorack module with walkthrough through all the parameters, also tips how to get most of it using filtering and EQ. For best listening experience use studio headphones/speakers that can handle the low end.
808 kick generates softer more boomy kick sound while 909 outputs more aggressive punchy kick often used for making techno. Built using modern components – Audio grade Burr-Brown OpAmps, low noise transistors as well as quality capacitors including legendary WIMA German ones where larger values are needed - module provides two clean analog sound outputs with dynamic range of over 90dB.
808 kick is based on T-Shape resonator, often used in Electro/Acid tracks. It has decay, pitch and tone knobs. The circuit has been modified for longer maximum decay.
909 kick is more complex, it generates more aggressive punchy kick sound often used making techno, its core is based on integrated triangle shape oscillator. This kick drum can be controlled with original attack, decay, tune, tune decay potentiometers. Original 909 circuit has been improved for longer maximum decay, we have also integrated extra potentiometers for soft clipping distortion and fast decaying attack noise control."
"Introducing new kick drum module with famous 909 and 808 base kick drums based on on original discrete transistor circuits. 808 kick generates softer more boomy kick sound while 909 outputs more aggressive punchy kick often used for making techno. Built using modern components – Audio grade Burr-Brown Opamps, low noise transistors as well as quality capacitors including legendary WIMA German ones where larger values are needed - module provides two clean analog sound outputs with dynamic range of over 90dB.
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.
Pics of the inside below.
"One of the rarest synths ever - this one is serial number 7 out of about 10 that were built. They were designed in the late 70s by Steven Waldeck, professor at the Art Institute of Chicago. Although there are so few of them there is a good deal of information gathered at the excellent matrixsynth site: https://www.matrixsynth.com/2016/05/more-info-on-vintage-waldeck.html?m=1
We had this example imported from the USA with the aim of having Dani at Hideaway do her magic - but sadly she has too many other projects on the go, and could give no idea of how many hours it would take - and how economically viable it would be. She did check it for electrical safety: 'If it was a 240V piece I'd say it would need some serious attention to detail and most definitely grounded - at 120V, I would say at the very least it should be checked over properly and some addition of sleeving/insulating sheet of the mains wiring on the transformer, fuse and switch terminals.'
Bear that in mind along with Mark Verbos' honest appraisal of another example from the matrixsynth page, and consider it a fascinating project, inspired by the VCS3 but definitely not a VCS3. Good for sound effects and weirdness, but not accurately pitched notes.
Dani's general verdict as it stands: 'This was clearly intended to be aimed more at making sound effects than to be used as a well calibrated and stable musical instrument - the whole thing is extremely drifty with very narrow usable control ranges on the oscillators - there is a fair amount that doesn't work but I still had some fun making some sort of recording with it to mark the occasion.' https://soundcloud.com/hideaway-studio/1978-waldeck-on-the-waldeck/s-2j3HAUd60BE (corrected URL!)"
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.
"SCHOBER TUNESMITH (new start price to allow bids from outside the seller's tax region) Very rare monophonic transistor synth, single oscillator, circa 1968, sold as a kit or pre-assembled. The voice switch activates different static filters, providing 6 markedly different tones from bright sawtooth to mellow triangle. This short video [posted here] of the same model clearly shows the sounds ---- I read that the keyboard is a Pratt-Reed that uses series resistance rather than a matrix. This model for auction has clear strong sound with almost no hum whatsoever. The main problem is the tuning is way off, and some notes glitch a little. Not difficult to repair, I would think. Also the vibrato is not working, probably just a bad resistor, should be easy to fix. Body is solid and in good condition for a 57-year old instrument, so it hasn't been knocked about. Keyboard and control panel are very clean, almost no scratches. Mainly home or studio use, probably. The three tools contained inside the lid are a complete mystery, which may be solved once you look inside the unit! While this is offered as a 'project' the encouraging thing is how bright and clear it sounds, and once tuning and vibrato are fixed, you have a very playable instrument similar to a Clavioline. It's a worthwhile project, I would say. Power is 105-120V 50/60 cycles, with a 2-pin US-style mains plug. I've given it a very low start price. SHIPPING: This Tunesmith is located in Japan, and weighs (packed) approximately 7kg. Discounted shipping to UK/Europe/USA will be £30 surface, £80 air. For other countries, please enquire."
"Updated demo video showcasing L-Fusion Modular Analog Kicks Eurorack module with walkthrough through all the parameters, also tips how to get most of it using filtering and EQ. For best listening experience use studio headphones/speakers that can handle the low end.
808 kick generates softer more boomy kick sound while 909 outputs more aggressive punchy kick often used for making techno. Built using modern components – Audio grade Burr-Brown OpAmps, low noise transistors as well as quality capacitors including legendary WIMA German ones where larger values are needed - module provides two clean analog sound outputs with dynamic range of over 90dB.
808 section outputs classic boomy kick based on T-Shape resonator, often used in Electro/Acid tracks. It has decay, pitch and tone knobs. The circuit has been modified for longer maximum decay.
909 kick is more complex, it generates more aggressive punchy kick sound often used making techno, its core is based on integrated triangle shape oscillator. This kick drum can be controlled with original attack, decay, tune, tune decay potentiometers. Original 909 circuit has been improved for longer maximum decay, we have also integrated extra potentiometers for soft clipping distortion and fast decaying attack noise control."
"Here’s a URSA MAJOR SPACE STATION SST-282 that was just restored here at the shop. These sound so amazing and I hope I find one for my studio someday. They’re like having a Roland space echo without the tape/noise and sound incredible!
When it arrived, it wasn’t outputting any delay/reverb signals at all.
Repairs done:
-Found 3 blown Tantalum caps, replaced with new Tantalum caps.
-Rebuilt PSU (had leaking Filter capacitors)
-Replaced stuck/broken Power Switch
-Replaced all bad electrolytic capacitors and tantalum’s throughout.
-Replaced a bad RED square LED
-Replaced faulty/old ribbon connector and installed a machined 16 dip socket"
"In the latest instalment of my "If You Want A Short, Splashy, Gotcha Video This Isn't For You" series I noodle about in lengthy detail with sounds on the Modor DR-2. The idea here isn't a quick showcase of wondrous sounds, it's to give you a genuine feel for what it's like to use the DR-2. That means transiting through hundreds of gradations and flavors of a sound. No doubt sometimes you'll hear your preferred sound pass by as I adjust a parameter too far or wind back something too hard. Watching this back I can see points at which I should have stopped but instead kept tweaking. The filtered clap for example sounded pretty good after about 10 seconds but I kept flogging it death :D But that's the essence of this video - as the old saying goes it's the journey not the destination.
A quick note on the audio track: The Modor's buttons are very loud and clicky. It gives them a satisfying sureness in the studio but means they're quite intrusive on video. I did my best to EQ them out, gate them out, and manually mute them when possible. The result in headphones may sound slightly choppy (and somewhat mangled my voice) but I wanted to make sure you could hear the Modor's sounds properly rather than being mixed with room noise and button clicks.
I hope here I've got across the fact that the DR-2 is beautifully crafted to deliver a massive range of customizable sound. It's easy to dial in the basics of an excellent sound, and then have the controls you need to zoom in on what you want. The main problem is when to stop noodling.
Despite the length of this video I only touched on a tiny fraction of the Modor's sounds. If you're interested in hearing more, or any particular types of sound, please let me know.
Finally, Mr Modor if you're reading this: Please make an all-black version with second-layer subtext on the knobs.
BIG BEAT is the latest in our series of excavatons into the Optigan Archives in search of material that was left on the cutting room floor. The working title for this disc was “Motown 1 - Big Beat.” Previously only heard on the song “How Do You Feel?” by Optiganally Yours. The keyboard sound is also sourced from the Optigan Archives- we mixed several different solo trombone and trumpet scales to form a brass section. A version of this sound previously appeared on our Orchestron "Brass Ensemble" disc.
Special note: This groove was recorded at a slower tempo than usual, so turn your Optigan's Tempo knob down to achieve concert pitch."
POLYRIMBA is based on the 5-against-3 polyrhythm. The basic sound is the classic DX7 Marimba preset. Individual notes are steady pulses with accents in counts of 5 or 3. Holding down chords creates an ever-shifting series of syncopated rhythmic patterns. If you count these in 4/4, you'll perceive longer rhythmic cycles that won't repeat for 15 bars. Adding delay will create even more complex patterns. Also, try it with the Panoptigon’s hall reverb turned up, and the main volume knob turned all the way down, to get an interesting ambient pad sound.
POLYRIMBA can only be played on Panoptigon, and is not compatible with Optigan or Orchestron.
Conceived, arranged, and mastered by Pea Hicks
Disc design and mastering by Robert Becker
Jacket label art direction and layout by Michael Buchmiller
Important Note:
All discs are subject to the following licensing arrangement.
You MAY use any and all sounds on our Optigan/Orchestron discs to create derivative works for commercial or private use without any further licensing fee beyond the original purchase price of the discs. No credit to optigan.com is required. If your Optigan/Orchestron resides in a commercial studio which you operate, this license also extends to your clients.
You MAY NOT simply copy the sound contents of the discs and distribute the material directly as sample loops, either commercially or privately.
You MAY NOT make physical copies of the actual discs themselves, other than for private use/experimentation.
"My family and I went on vacation this week and had a great time. Some things came up at work and frustratingly, I feel I wasn't entirely as present as I'd have liked to have been. Kind of ruined a lot of things for me, but, despite that we had fun.
My oldest daughter, as usual, wanted a stuffy. We went to a store and she decided she wanted to wait to get something at a different place (because she usually liked the stuffed animals there. So later that day we drove down and - to her dismay - the new stuffed animals there were for little kids. We asked how she could tell, but she said she could. She did not want them. But we didn't have time to go back to the other place (since this was a restaurant and we were going to be eating dinner and the other place would be closed). I drove back up afterwards, looking for any place that might sell something similar, but nowhere did. The next day we knew a snow storm was coming in, a huge one. So she was very sad that we wouldn't be able to go back - but I was proud of her for two reasons: 1) She was able to hold off getting something now for the hopes of something better. 2) She didn't just grab something at the second place, because she knew she didn't want those. And although she cried and was very sad, she did not get something there. I was proud of her for that.
The next morning, we decided to go out in the storm and we did end up getting that stuffy for her. I got her something extra too because I was proud of her for waiting.
As for this track - well, I'm trying to see - do I really need that SX-240? Just because it's pretty? Basically, I have found the Prophet 10 actually does sound almost identical to the SX-240. As cool/nice as it is, I can't just keep all this stuff. There's just too much stuff here and I can make the same or better stuff without some of these synths in my studio.
Sequential Prophet 10 REV4 Rhodes Electric Piano MKI Fractal Audio FM3 for FX"
"It’s the synth that started it all and the legendary secret sauce of all the 70s’ greats – It’s the Behringer 2-XM!
2-XM is a classic polyphonic analog synthesizer with 4 VCOs, 2 multi-mode VCFs, 2 LFOs and 4 envelopes in a Eurorack format."
"Classic Polyphonic Analog Synthesizer with 4 VCOs, 2 Multi-Mode VCFs, 2 LFOs and 4 Envelopes in Eurorack Format
2-XM
It’s the polyphonic synth that started it all and one that’s sure to jumpstart your legendary synthesizer adventure! The Behringer 2-XM is a classic polyphonic analog synthesizer inspired by iconic '70s designs used by the greats such as Vince Clarke, Jan Hammer, and Vangelis.
Faithful Recreation and More
The original design consisted of two single-voice modules coupled together. With its 37-note keyboard, it was a considerable size but introduced a feature no other synth was capable of at the time: polyphony. The 2-XM combines all the features of the original with all the awesome stuff that we’ve all come to love in modern synths, such as MIDI and USB implementation, stereo, as well as a ton of CV and GATE ins and outs that’ll allow you to transform and shape sounds any way you want!
Double Everything!
The 2-XM comes with 4 VCOs, 4 envelope generators, 2 LFOs, and 2 multi-mode VCFs across two synthesizer expander modules. These two voices can be combined for some sweet two-voice polyphony, split, or have the 4 oscillators in unison for some truly intricate layering and rich, vintage analog tones!
Starting Your Sonic Sculpture
Each VCO can be shaped in many different and exciting ways with their adjustable frequency, modulation and pulse width controls. And when you want a spicy lead sound, the oscillators can be synced to add even more nuance to your waveforms.
Just the Right Frequency
Of course, the 2-XM doesn’t stop there. The VCFs provide another slew of adjustable settings! Aside from the Frequency, Modulation and Resonance controls, each VCF comes with an amazing multi-mode filter; turning the knob all the way to the left selects the low-pass filter, turning it the other way selects the high-pass filter and setting it at 12 o’clock selects the notch filter. You can even set the VCF to band-pass mode with the flip of a switch.
Quadruple Envelopment!
Along with all the controls at your fingertips the 2-XM also includes a total of four envelope generators to help further craft your sound and introduce subtle nuance or percussiveness with the included Attack, Decay and Sustain controls. In addition, the VCA switch allows you to toggle between envelope control or VCA which overrides ENV 1. You can even plug in an external VCA control to really dial it in.
2-Channel Mixer
Speaking of dialing it in, we’ve also included a 2-channel mixer section where you can control level and pan controls for each module. They even feature a portamento function for some cool pitch gliding effects.
Extensive Modulation
With all the 2-XMs extensive controls, we just couldn’t help but add more, and we mean a lot more! Each module comes with a huge amount of CV and GATE Ins and Outs as well as extensive modulation capabilities from both internal and external sources. And because the 2-XM is so compact, you can easily integrate it into your existing setup, patching in your favorite modules to create some awesome waveforms!
Eurorack Ready
Designed to handle the rigors of life on the road or in the studio, your 2-XM can easily be transferred into a standard Eurorack case for the perfect integration into your existing system."
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.
"Here is a rare chance to get a rare 'TV front' Selmer CLAVIOLINE in near mint conditions ! The Clavioline have been seriously serviced last year, and sound amazing, and stay tuned for all octaves ! Vibrato needs to be serviced (according to the tech, easy to do as it is condenser component to change. He moved far from my studio, and don't have time to bring it back) All in all, you won't be disappointed as the Clavioline is in really excellent conditions, and play so well"
"It's been a while since the last video...
While I have continued to do my musical experiments I have not been able to find the time to record and edit these videos.
During this time I have sold a large part of my collection of pedals to keep those that I consider essential, or at least those that I enjoy the most. Which has led me to want to start exploring another vast world, which is that of modular synthesizers.
Since I smell that this is another drug worse than pedals, I have limited myself to a 62u Intellijel 'skiff'. I have a very clear and concise setup idea: a sampler (Arbhar) and modules that complement it, whether control (Pamelas's New Workout at the moment) and effects (for now I don't have any, I'm processing the sound in the Octatrack and Ableton). The idea is to be able to capture any sound from the studio in the Arbhar and use it as a starting point for granular synthesis.
In this particular clip I'm using a voice sample, another metallic percussion sample, and a Subharmonicon drone. I couldn't resist and added a lead on the Matriarch and acoustic guitar. It's probably the starting point of a more complete song but we'll see.
"The other night - I learned about the Yamaha CP-70. Now I want one. They sound so good. I can't usually play acoustic piano on my main floor because my kids are around and I'll be distracted. I can't play at night because they're sleeping - so I kind of wanted an acoustic piano in my studio... Of course, from what I hear, the CP-70 is very big. It seems like it's about the same size as my rhodes, but deeper. I would probably have to part with my Rhodes to get the CP-70. I'm not sure what to do....
On another note, yesterday I started to realize that I'm embarrassing my daughter. I was dancing with my younger daughter, and my older daughter wanted nothing to do with it or me. It was a realization that those fun days making her laugh, dancing with her, playing with her, are coming to an end. It made me really sad.
Rhodes Electric Piano
Kawai SX-240
Fractal Audio FM3 pedal for FX (for both instruments)"
"Don’t have a real Buchla 200 (cloned) and Yamaha DX5 to hand? No worries! Just put this video on in the background (in full-screen mode), and have the next best thing 😁
Here is 10 minutes of self-playing modular synthesiser randomness. Why not put it on loop - then you can have it bubbling away in the background while you do other things
A note on the patch: The DX5 is being triggered and pitched from the Buchla 200 modules (mostly a 280 in cycle mode and 262 Source of Uncertainty, plus some MARF) using a Kenton CV to MIDI Converter. The DX5 is programmed to make a percussive drum-like sound using six operators. The DX5 audio signal then goes back into Buchla modules - mainly the 277 and 288 Delays, which are being fed back on themselves to create the bowed-string-like sounds. The Dodeca module provides mixing, random panning and reverb. The SOU sends random voltages to the 280 so it cycles irregularly. The whole patch has a cybersynthetic nature because it is always on the edge of going chaotic with the feedback to the delays, but it keeps itself under control by injecting new DX5 sounds into the path just in time to settle it back down before it happens again"
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.
"KORG Mono-Poly & Kovari Midipoly retrofit 372767 Original Korg Mono/Poly with Kovari MIDI retrofit - specifications available online New baseboard and custom plywood side panels Very tidy - camera shows every speck of dust Front panel Excellent All pots clean and noise free Voices fully functioning but will require calibration to ensure optimal output
DESCRIPTION: I acquired this fully functioning MonoPoly some years ago, but the case was in terrible condition. I cut a new baseboard from MDF, and then cut and installed new marine grade plywood side panels. The front panel is in great condition, but there is a slight defect on the mod wheel assembly panel as per the condition I acquired. All pots are noise free, as are the outputs. She sounds amazing in Poly Unison mode, but the individual voices do drift a little. She would benefit from a comprehensive voice calibration, but I don't have the instruments required to do so. Once she is fully calibrated, she will sound even more awesome. She comes with the Kovari MIDI retrofit, which allows her to integrate in to any modern MIDI studio. Very sorry to see her go, but I just don't have the space for my full hardware studio any more."
"One of the rarest synths ever - this one is serial number 7 out of about 10 that were built. They were designed in the late 70s by Steven Waldeck, professor at the Art Institute of Chicago. Although there are so few of them there is a good deal of information gathered at the excellent matrixsynth site: https://www.matrixsynth.com/2016/05/more-info-on-vintage-waldeck.html?m=1
We had this example imported from the USA with the aim of having Dani at Hideaway do her magic - but sadly she has too many other projects on the go, and could give no idea of how many hours it would take - and how economically viable it would be. She did check it for electrical safety: 'If it was a 240V piece I'd say it would need some serious attention to detail and most definitely grounded - at 120V, I would say at the very least it should be checked over properly and some addition of sleeving/insulating sheet of the mains wiring on the transformer, fuse and switch terminals.'
Bear that in mind along with Mark Verbos' honest appraisal of another example from the matrixsynth page, and consider it a fascinating project, inspired by the VCS3 but definitely not a VCS3. Good for sound effects and weirdness, but not accurately pitched notes.
Dani's general verdict as it stands: 'This was clearly intended to be aimed more at making sound effects than to be used as a well calibrated and stable musical instrument - the whole thing is extremely drifty with very narrow usable control ranges on the oscillators - there is a fair amount that doesn't work but I still had some fun making some sort of recording with it to mark the occasion.' https://soundcloud.com/hideaway-studio/1978-waldeck-on-the-waldeck/s-2j3HAUd60BE (corrected URL!)"
"SCHOBER TUNESMITH (new start price to allow bids from outside the seller's tax region) Very rare monophonic transistor synth, single oscillator, circa 1968, sold as a kit or pre-assembled. The voice switch activates different static filters, providing 6 markedly different tones from bright sawtooth to mellow triangle. This short video [posted here] of the same model clearly shows the sounds ---- I read that the keyboard is a Pratt-Reed that uses series resistance rather than a matrix. This model for auction has clear strong sound with almost no hum whatsoever. The main problem is the tuning is way off, and some notes glitch a little. Not difficult to repair, I would think. Also the vibrato is not working, probably just a bad resistor, should be easy to fix. Body is solid and in good condition for a 57-year old instrument, so it hasn't been knocked about. Keyboard and control panel are very clean, almost no scratches. Mainly home or studio use, probably. The three tools contained inside the lid are a complete mystery, which may be solved once you look inside the unit! While this is offered as a 'project' the encouraging thing is how bright and clear it sounds, and once tuning and vibrato are fixed, you have a very playable instrument similar to a Clavioline. It's a worthwhile project, I would say. Power is 105-120V 50/60 cycles, with a 2-pin US-style mains plug. I've given it a very low start price. SHIPPING: This Tunesmith is located in Japan, and weighs (packed) approximately 7kg. Discounted shipping to UK/Europe/USA will be £30 surface, £80 air. For other countries, please enquire."
"Here is a rare chance to get a rare 'TV front' Selmer CLAVIOLINE in near mint conditions ! The Clavioline have been seriously serviced last year, and sound amazing, and stay tuned for all octaves ! Vibrato needs to be serviced (according to the tech, easy to do as it is condenser component to change. He moved far from my studio, and don't have time to bring it back) All in all, you won't be disappointed as the Clavioline is in really excellent conditions, and play so well"
"KORG Mono-Poly & Kovari Midipoly retrofit 372767 Original Korg Mono/Poly with Kovari MIDI retrofit - specifications available online New baseboard and custom plywood side panels Very tidy - camera shows every speck of dust Front panel Excellent All pots clean and noise free Voices fully functioning but will require calibration to ensure optimal output
