"This is a video series breaking down the Tip Top Audio Buchla 200 series of modules. Deep dives, information, patch examples."
Playlist:
1. I went all in on Tiptop Buchla. Was it worth it?
This is the first part of a video series on my new Tip Top Audio Buchla 200 series modular system. Here I describe my decision-making process and my initial impressions along with some of the history that makes this system so interesting.
00:00 Why I chose Buchla
03:20 Advantages of the system
05:13 History of the Buchla 200 series
09:56 Some disadvantages
11:38 Why bother using vintage designs?
2. The Magic of Buchla Oscillators: An Exhaustive Deep Dive on the 258t and the 259t
This is part 2 of my video series on the Tiptop Audio Buchla 200 series system. In this video I focus on the 258t Dual Oscillator and the 259t Programmable Complex Waveform Generator.
00:00 Introduction
01:20 Dual oscillator features
02:58 Dual oscillator 2 FM inputs
04:54 Buchla signal types explained
07:02 259 introduction
08:09 Principle oscillator and harmonics section
11:38 Modulation oscillator
14:58 Modulation bus
18:09 ART inputs
19:31 Example patch 1
24:01 Example patch 2
30:37 Outro
3. The Low Pass Gate: The Beating Heart of Buchla Synthesizers
This video is part of a series I'm creating highlighting modules in Tiptop Audio's line of Buchla 200 reissues. Today's episode features the 292t Quad Lopass Gate as well as a discussion of Low Pass Gates in general.
00:00 Introduction
03:09 Tour of Features
04:51 Timbre and Amplitude
07:15 Buchla Bongos
08:38 Vactrols and Pinging
13:40 Filter Deep Dive
17:05 Getting A Steeper Cutoff and Resonance
20:08 Performance Patch Example and Breakdown
"A thorough look into this widely discussed and hyped module.
CHAPTERS:
00:00 Introduction
02:29 Amplifier section
05:31 Filter resonance and pinging
07:37 Oscillator section
10:02 X' and Y'
13:44 Sum and difference outputs and frequency shifting
18:36 Time constant knob and magnitude and phase outputs
22:15 Patch example 1 (Four sine waves)
27:05 Patch example 2 (Using multiple outputs at once)
32:06 Patch example 3 (Rhythmic pinging)
35:32 Patch example 4 (Ring modulated drones) and outro"
SOMA LABORATORY AND THE MIDIUM® COLLABORATE ON LIMITED EDITION PULSAR-23
New circuits and custom aesthetic introduced, marking first SOMA partnership with US-based engineers STEVENSON RANCH, CALIFORNIA––23 JANUARY 2026––Local online family-run-and-operated synth shop and boutique, The Midium, collaborates with SOMA Laboratory to introduce the SOMA Laboratory PULSAR-23 1984 Edition. New bass drum and bass synth circuitry expand the current PULSAR-23 four-voice drum machine and synthesizer’s functionality, while a custom polished-steel chassis and red LED scheme accompany an all-black carrying case, red-white-and-black alligator clips, and typewritten certificate of authenticity.
“The SOMA Laboratory PULSAR-23 1984 Edition is a marriage of parallel ideas. While having aconversation with SOMA Laboratory US’s Kevin Flynn in early 2025, we forged the concept for a 1984-inspired aesthetic born from the times in which we live, as well as some well-known works of fiction we both enjoy,” says Cami Bitar, who owns and operates The Midium with their wife Erin Bitar and 4-year-old daughter Melody Nightingale Wednesday Bitar. “During that conversation, we decided that a polished-steel chassis and red LEDs would also give the PULSAR-23 1984 Edition an intensely industrial feel as seen in certain sci-fi movies of the 1980s. After its aesthetics were set, Kevin mentioned that he and Noah Jolly of Ground Grown Circuits had been developing prototypes for experimental boards for the PULSAR-23 synthesizer and drum machine. That’s precisely when the ‘1984 Edition’ looked like the perfect platform for their new circuitry. To complete the story and bring the ‘1984’ inspiration full circle, we saw that a stark black case and typewritten certificate of authenticity would round out the idea. Finally, having decided that we would work on this together, it was determined that The Midium and SOMA Laboratory would be the only authorized sellers of the PULSAR-23 1984 Edition.” Bitar adds that only 84 units will be made for the US market, according to SOMA Laboratory.
Kevin Flynn, who heads the SOMA Laboratory US Division, gets into the details. “The SOMA Laboratory PULSAR-23 1984 Edition marks the first time that the company has partnered with US-based engineers. Noah Jolly and I developed new circuit boards for the bass drum and bass synth modules onboard the PULSAR-23 in order to see how far we can push the PULSAR-23 platform.”
Flynn explains what makes the SOMA Laboratory PULSAR-23 1984 Edition’s sound and timbre unique.
“For instance, the bass drum on the PULSAR-23 1984 Edition introduces an oscillator design that produces an asymmetrically clipped triangle wave that can be driven to the point of becoming a square wave, which makes for a more aggressive and harder-hitting bass drum which is perfect for techno and other musical styles. The bass drum on the PULSAR-23 1984 Edition’s tuning range is now also wider than before, which also adds to its flexibility in use, and the “OMG” pin is now an AC-coupled FM input that enhances the bass drum’s sound design potential.” He ends by saying of the second modified module in the PULSAR-23 1984 Edition, the bass module, that it “now features a new filter inspired by the Polivoks, which is a classic analog synth made in the Soviet Union during the 1980s. That’s a key part of the ‘1984’ concept, and the bass module’s new filter has a similarly aggressive nature.”
The SOMA Laboratory PULSAR-23 1984 Edition is available now exclusively at TheMidium.com and EarwormLLC.com.
'No issues. Past owner reported it had work done in the past. Right wood end has damage as shown in photo. Confusing non traditional workflow and will take time for you to understand the device. The Spectralis is a professional synthesizer, groovebox, and sequencer created in 2004 by Radikal Technologies. Contained within is a powerful monophonic hybrid synthesizer (the Asynth) composed of 4 digital oscillators that can pass through two analog filters (a 4-pole 24dB LP filter and a 2-pole 12dB multi-mode filter), a 32 stereo voice polyphonic multisampling sound engine (the Dsynth) that pass through a digital 12dB multi-mode filter, an 8 bandpass fixed filterbank a plethora of LFOs to modulate parameters, two delay effects, and an extremely complex and powerful pattern-based sequencer section to sequence internal sounds and parameters as well as external gear. The Spectralis has 32 available songs, each with 32 patterns available.
Over 300 one-shot samples, 20 loops, nine sample chains and a bespoke Ableton Live instrument rack - this is my love-letter to the Erica Synths x Hexinverter HexDrums!
The HexDrums is a modern hybrid analogue drum machine released by Latvian powerhouse Erica Synths - the analogue circuits are derived from the Mutant Drums eurorack modules created by Canadian sonic maestros Hexinverter, while Erica Synths provided a version of their digital Cymbals module for maximum sonic flexibility.
The HexDrums is a punchy and performative drum machine, representing a vintage soul with modern trimmings. This pack is my attempt to squeeze every last drop of variety from each voice, allowing a sampler to act as a more flexible and economical doppelgänger for the hardware.
One-Shots (304): Recorded through high-quality preamps and encoded in 24-bit 48kHz, these individually-crafted and diverse sounds push the entire sonic potential of the device, grouped by voice type into folders:
Loops (20): A selection of click-free loops carefully recorded from the hardware through high-quality preamps, and encoded in 24-bit 48kHz and organised by BPM.
Sample Chains (9): All one-shot samples of each type contained within separate files and equally-spaced designed to efficiently work as a single ‘track’ of any sampler with a slice function but with the Elektron Octatrack in mind (16-bit 44.1kHz). Octatrack users can simply transfer each chain and corresponding (.ot) data file onto their CF cards for instant pre-sliced results.
Ableton Live Selector Kit (designed with Ableton Live 12 Suite): Designed to capture the analogue heart of the machine, this Ableton Live project houses a custom drum rack containing all the variants of the one-shots from each kit type, selectable with a macro knob and set to cycle through the different samples of each sound type, as well as individual voice settings, presets for each voice and overall kit settings including compression and EQ.
This pack aims to capture every nook and cranny of this device - each individual sound recorded with attention-to-detail and organised in a logical fashion. Enjoy!"
"Like new Noystoise TRIP drum machine / synthesizer. Runs on batteries or power supply. A work of art and a very rare collector piece. 9v power supply included.
From the manufacturer:
-Global Pitch modulation
-8 preprogrammed rhythms with start/stop, and tempo-up/down
-Two drum voices; "TONE" and "NOISE"-Two independent Envelope generators(one per voice)
-Two independent resonant Filters(one per voice)
-Two independent VCA's(one per voice)
-PT2399 Echo circuit with two independent mix knobs(one per voice)-Dual 8-step analog Sequencer with reversing clock inputs-VARI SYNC variable Sequencer Clock-ARG Attack/Release Generator-8 Roll/Flam EG trigger inputs-8 input multi-use capacitive-touch keys"
"Early British classic with that gritty, punchy analogue character. Recently serviced: every pad triggers reliably; no noisy pots. Original flat-pack box included. All-original hardware. Serial (no. 242) on chassis; “Made in England” plate intact. Set a tempo, balance the per-voice levels, and you’ve got a solid groove in seconds—no menus, no programming detours. The tactile pads invite quick ideas (fills, accents, breaks) and the adjustable pad sensitivity lets you dial in the “human” feel that helps parts sit in a song. Its distinct British analogue tone layers well with samplers/DAWs: track it straight in for gritty loops, one-shot it for kits, or re-amp it through pedals for textures. It doubles as a dependable writing click with character, so riffs and basslines arrive faster.
Fast, hands-on layout. Front-panel rotary controls are primarily per-voice level/volume (plus master TEMPO and LEVEL).
Pad feel is responsive; use the rear trimmers to dial sensitivity for dynamics or hard, machine-tight hits.
Multiple 1/4" jacks along the top panel for audio connections (see close-ups).
Power: 9V battery operation or 9V DC mains adapter (PSU not included).
Condition
Fully working. Pads all trigger; sensitivity trimmers on the underside let you set your preferred feel. Cosmetic wear from age and use: scuffs/scratches and some discolouration; a few rubber feet missing (see photos).
Included
MPC the KIT unit Original flat-pack/knock-down box"
"Starstrike module running a YM2149f with final release front panel fitted.
** MISSION COMPLETE **
The sound of victory from before the world moved on.........
3 CV inputs to the 3 voice pitches, Voice 1 CV multipled to modulator rate and one gate to the noise gen on voice 3. No cheating and trying to sound like a SID with filter support, and no VCA support so no volume control either. The skill level was set to hardcore - making it sound nice while it's acting as not much more than a 3 voice drone machine 💀😅
Modulator permanently active on voice 1 for gnarly grit pitch tracking and the ringmod near the end.
YOU HAVE ENTERED THE HALLS OF THE ALL TIME GREATEST !
This granular chord resynthesizer takes your audio, slices it into grains, and reconstructs it into chords, clusters, and shifting harmonies. Paired with a shimmering reverb that adds glowing tails and angelic overtones, Granulita can turn even a single oscillator into something lush, cinematic, or beautifully haunted.
Granulita is part of the Versio platform, so once you’ve got your hands on this module, you can swap the firmware with any other Versio effect for free. Unpower the module, plug in the USB, and visit noiseengineering.us to make the swap.
Noise Engineering announces Granulita Versio, a granular chord resynthesizer and shimmering reverb.
Contact: kris@noiseengineering.us
Los Angeles, CA — Noise Engineering, known for their innovative platform modules, has released Granulita Versio, a granular chord resynthesizer and shimmering reverb.
Granulita Versio offers a simple solution to a complex modular problem. Chords, while beautiful, are difficult and resource-heavy to patch in a Eurorack system. Granulita solves this by generating harmonies for any input signal using a unique granular process. The Chord and Voice parameters allow the user to choose a chord and the note that follows the input signal.
The unquantized Pitch parameter adds an extra layer of harmonic options via transposition, detuning or vibrato.
For fans of granular processing, the Count and Length parameters will be familiar, Granulita can generate any number of grains from zero to 32, and grains can be 16 milliseconds to four seconds long. A modal trigger input and manual button add to the granular fun: freeze grains, sync their playback to an external clock or tap tempo, or use a trigger sequence to manually fire off grain playback.
No granular module would be complete without some atmospheric effects, so Granulita also adds the simple Verb parameter to add in some space. Below noon, small echoes put a patch in a realistic space – but turn up the parameter to add in shimmering octave overtones and feedback into infinity.
Part of the flexible Versio platform, Granulita will be available as an alternate firmware for all Versio owners, completely free, at the Noise Engineering firmware app. However, Granulita breaks the mold with a limited-edition hardware release: only 100 Granulita Versios with exclusive art will be produced, the perfect purchase for collectors or, perhaps, as a holiday gift for the granular enthusiast in your life.
Granulita Versio’s limited run starts December 11th at https://noiseengineering.us and at retailers globally.
Features ● Turn a monophonic signal into a full chord with ease ● Easily create gentle or ominous timbres from any input ● Modulate between 16 resynthesized chord shapes using the CV-controllable Chord and Voice parameters ● Use Count and Length to change the number and size of grains ● Add subtle atmosphere or shimmering, infinite reverb with the Verb parameter ● Create massive soundscapes or use external triggers to fire or freeze grains ● Play grains forwards, backwards, or in random directions
Availability and pricing: Granulita Versio: Limited run in stock. Shipping from Noise Engineering and retailers starting December 11th, 2025; MSRP US$393
"ERICA SYNTHS HEXDRUMS — TWISTING KNOBS: Raw Out-Of-Box Sound Tour 🔊⚙️🎚️
No commentary — just the machine. A fast, out-of-the-box sound tour of the Erica Synths × Hexinverter HEXDRUMS.
Listen to each of the 10 voices (two kicks, Mutant Machine, snare, clap, rimshot, open/closed hi-hats and cymbal samples) as I twist knobs and show the raw character of the engine.
Perfect for synth heads who want immediate, honest sounds straight from the unit — no effects, no processing, no talk.
"(c)2007-25 by RetroSound
supported by UVI: http://bit.ly/retrosound-uvi
The unique choral textures of the Roland VP-330 are explored in this video, showcasing its potential in music production. Viewers are shown how this classic synthesizer a distinctive layer of vintage warmth.
The iconic, almost ethereal sound of the VP-330's 'choir' and 'human voice' presets, highlighting why it stood out in its era.
"Here we have a custom circuit bent Texas Instruments Speak & Spell.
Operates as a totally normal speak and spell until you flip a glitch switch or turn a dial, etc.
Very fun to play, no right or wrong way to it, this bent talking synth is capable of tons of new sounds for you to record, sample or play live.
The added mods include:
1) Tone Oscillator button-creates a tone when depressed, the tone can then be manipulated with the theremin pitch cell, pitch dial or pitch body contacts.
2) Active Matrix Glitch-This mod opens up the membrane for random glitching dependent on where you touch the pad.
3) Ramble Glitch-Flip this switch and hit go and it will spew constant ramblings on and on and on and on.........
4) Dual voice glitch- causes it so speak In both a high and low voice at the same time.
5) Pitch Changing Body Contact-Touch this to lower the pitch, the harder you touch the further the change.
6) Pitch Changing Knob-Use this pitch control to change the pitch from incredibly high falsetto to super low, 8-Bit crushing growl.
7) Reset Button-Use this when you're ready for a change and the machine is rambling on its own, also serves as an OFF button.
8) Theremin Opto Cell Controller-Simply flip the switch, use the pitch dial to fine tune and you can play any sound emitting from the speak like a theremin, makes for some great effects.
9) Loop Switch with Advance Button-FLip this switch at any time to catch a sound that you can then mold and play with the other controls such as the opto cell and pitch dial.
10) Strobing LED for cool effect
It now features a 1/4" output jack that mutes the onboard speaker, allowing you can output this into your effects, amp, pa, etc.
These mods add tons of versatility and droning textures for your playing, recording and experimenting pleasure."
"This piece was created using the @teenageengineering OP-1 field, @NordKeyboards Nord Lead, @YamahaSynthsOfficial RX17, MU15, and MOTIF-RACK ES. It combines rhythm machine beats, melodies made from sampled vocals of 重音テト Kasane Teto SV, and live bass performance.
On the OP-1 field, the sampler contains Kasane Teto’s voice, which is used to create melodic phrases. At certain points, looping is applied through the NTS-3, and the signal is processed with the @ChaseBlissAudio MOOD MKII.
The RX17 rhythm machine is recorded with an ALESIS 3630 compressor applied.
On the MU15, synth sounds are performed using its built-in keyboard, with reverb added via the blueSky.
The Nord Lead plays melodic parts in the middle section of the piece, processed through the @gfisys Specular Tempus for delay.
The bass is recorded through a SANSAMP Bass Driver DI, routed directly into the audio interface for a clean yet warm tone."
"I'm back! (A little later than planned.) Today we're looking at the Yamaha CS-01, a monosynth from 1982 that - while it can't compete with it's older bigger brother the CS80, has plenty to give - more than you may think ;) Thank you to Paul for loaning me this lovely machine.
Let me know if you owned a CS01 in the comments below, I'd love to hear your stories - and feel free to suggest any other synthesisers you'd like to see on the channel in the future.
PS: A quick note - the quality of the microphone and camera are a bit skew-whiff in this channel. Unfortunately nothing went quite as I had hoped as I didn't have my normal equipment, ran out of time and made some errors - chucking a screen with some photo references in the corner of my eyeshot reflecting the whole time being one of them. Lastly, if my voice sounds a bit weird at the start, my noise reduction plugin went a bit overboard and makes me sound like an AI voice. I'm not, I promise!!"
Click the auction link on top when you get there for additional listings.
"I was always a little surprised by how valuable these Simmons SDS3s are, and put it down to their extreme rarity and the wow factor of owning something from the Musicaid Simmons era. But I've been listening to what this machine can do, and I begin to see there is so much more. It is simply a genius design. The variety of sounds is stunning - it's almost like a fully-featured four-voice synth as well as a great drum synth. FM is brilliant, and the whole design (using permanently running ladder filters for the oscillators?) is mind-blowing.
This example, serial number 0072, is in perfect working order, after literally days of restoration by nLi. Cosmetically, the SDS3 itself looks great. The knobs are not original but look pretty nice, there are some small scrapes and marks on the panel and wood endcheeks, but overall it could be 8/10 especially given its age. The pads are very well used, but have been thoroughly restored and are totally functional and original.
To get more info about the SDS3, check out where Alex Ball has done his usual excellent rundown:" [posted here]
0:08 – Drum loop and synth with FX Track3: Drum loop with Delay FX, and Pitch Shifting. End Of Loop Pulse sent from drum loop to pulse an envelope in ENVY Machine. The envelope is patched to amplitude mod on ALGO. ALGO output is patched into Track 2, with Delay and Pitch Shift effects applied
01:07 – Ambient Piano treatment Track 1 Jazz piano loop. Tracks 2,3, & 4 are resampling from Track 1, and are set to Live Loop mode. Each track has random trigger from ENVY Machine, for resampling input from paino loop on Track 1.
01:58 – Live Keyboard loop recording, with drum loop and granular scanning trumpet solo ! Track 1: Using DAW loop style to record VECTOR WAVE keyboard sounds, then Track 2: using RETRO loop style to record bass line also from VECTOR WAVE. Drum break loaded from internal storage, Decimate FX applied. Flute sample sliced, slowed down, Wave Folded, and sliced-scanning modulated by knob recording on ENVY Machine.
"EP–40 riddim is a powerful sampler, sequencer and composer built for expressive live performance, with a powerful loop engine, and reggae-inspired FX. it comes packed with over 400 handcrafted instruments and sounds from iconic reggae producers, plus a synth engine with classic bass and lead tones and pressure-sensitive dub sirens. EP–2350 ting is a handheld performance mic with built-in effects and samples. connect it directly to riddim, or any sound system."
Riffin’ on the EP-40 Supertone - Teenage Engineering EP-40/EP-2350 Riddim and Ting
Teenage Engineering - EP-40, the newest member of the EP line is here. Now for the first time there are synthesizer engines built in. Layer all of your samples with fresh bass lines, leads and pads without losing any fidelity. There is also a new sample loop mode for toggling longer loops on and off. The ultimate layering machine!
EP-2350 Ting is a handheld vocal effects microphone and sample trigger. You can sample directly into the Riddim via Ting (or any external source)
Riddim comes stocked with almost 1,000 sounds, loops, one-shots and synthesizer engines. All sounds in this video are from the stock pre-loaded selection"
EP–40 RIDDIM is a powerful sampler, sequencer and composer built for expressive live performance, featuring tightly synced MIDI sequences, grid-synced loops, and reggae-inspired FX for real-time sound shaping. it comes packed with over 300 handcrafted instruments and sounds from iconic reggae producers, plus a synth engine with classic bass and lead tones and pressure-sensitive dub sirens.
EP–2350 TING is a handheld performance mic with built-in effects and samples. connect it directly to RIDDIM or any sound system.
product highlights: EP–40 riddim: 12 stereo / 16 mono poly voices 128MB system memory subtractive synth engine grid-synced loops 9 user-editable projects 7 main fx and 12 punch-in™ fx pressure sensitive keys and multifunctional fader sampling frequency: 46 kHz / 16-bit stereo in/out, sync in/out, midi in/out and usb-c dimensions: 240 x 176 x 16 mm | 9.5 x 7 x 0.7 in
EP–2350 ting: 4 live voice effects: echo, echo+spring, pixie, robot 4 replaceable samples to trigger straight from the mic live adjustable effects parameters line out on 3.5 mm curly cable lo-fi by design
"The Roland JX-3P is a powerful, versatile analog polysynth that blends vintage warmth with early digital control. This unit includes the essential PG-200 programmer (with cable) for full hands-on access to the synth’s architecture, bringing out the instrument’s real potential for sound design.
This example is in excellent condition, includes the original Roland cases specifically designed for the keyboard (hardshell carrying case with Roland logo) and the programmer (original vinyl slipcover with logo), and has been professionally converted to US voltage internally. Everything functions as it should, with a clean panel and smooth operation.
Key Features:
6-voice analog polyphony with 2 DCOs per voice Classic Roland chorus effect Oscillator sync, cross-mod, and LFO modulation Built-in 128-step sequencer Includes PG-200 programmer for real-time control MIDI input/output Condition Notes:
Converted to US voltage PG-200 and synth are both fully functional Cosmetic condition is excellent Original Roland case included The JX-3P was one of Roland’s first MIDI-equipped analog synths, used by artists like The Future Sound of London, Astral Projection, and Orbital. With the PG-200, it transforms from a preset machine into a true performance synth, with rich modulation, powerful sync tones, and that unmistakable Roland polish.
five voices of analogue synthesis, controlled and modulated polytimbrally. we’ve taken ideas from our decade of modular exploration, and rethought how we reach into polyphony.
each voice is shaped by its harmonic energy while three core timbre modes push into richer territory. from simple suboctave and noise waves, through frequency modulation, and landing in formant synthesis reimagined. all squeezed through a lowpass/gate combination, providing balance and occasionally emphasis.
no digital multi-effects here, just spectres in the machine. a novel configuration of three filters, two delays, and feedback. front and almost centre — this resonant body is meant to be played. sequenceable, modulatable, while feeding back not just sound, but shape for unfolding cybernetics.
and to modulate! everything mappable to everything else, tactile input extended on the fly, mapping as a performance in itself. sources are dynamically phased across voices, and stretched in relative duration. gestures captured into five recorders, extending play rather than overriding it, all twisted in time at your whim.
Atrium is deeply learnable, and for those moments of quick change, instantly recallable. extensible with usb and midi and cv input.
//
a series of improvisations, exploring but a few edges of this new instrument.
performed by Trent Gill recorded by Dani Derks projections from Sean Hellfritsch"
"RARE! New England Digital Synclavier 9600 Polyphonic Sampling System Brochure
Yes, this is the 9600, and yes, this is in English.
This is THE RAREST and MOST SOUGHT AFTER of the 1989 new system brochures that that fake foreign website scanned the photos from 25+ years ago to show fake systems on the website (instead of real ones like Synclav com has shown for 20+ years). This is the original source of the scan, at least for the Synclavier 9600 model. Those photos show empty boxes. Uhm, what's holding that beige door closed (no locks)? And exactly what software generates that screen image?
This incredibly rare brochure gives all the information, and shows all the specs of the Synclavier 9600. And surprise! The maximum polyphonic sampling memory is not "1.5GB", lulz.
And, lastly, Synhouse has the Synclavier 9600 in stock (two kinds, actually). Nobody else does."
New England Digital Synclavier Brochure VPK Sample-to-Disk VT640
"This is an incredibly rare brochure from the summer of 1984 (when NED was working on polyphonic sampling Synclavier to be shown October 1984 and there was no actual system in production, the few shipped were hybrids of the Synclavier V/PK retrofitted to a Synclavier II Control Unit) that shows things that NED didn't exactly make, ever.
This was their first---and last---mention of "The Tapeless Studio" meaning the sequencer (later that meant the Direct-to-Disk system). It describes the SMPTE Reader Option without using that term because it wasn't yet available and they hadn't figured out how it would be done yet (similar to the 1987 discussion of the not-yet-released 3rd party SMPTE reader for the Linn 9000, saying they weren't sure whether or not it would require additional hardware to be added to the Linn 9000....that's the sound of someone who hasn't ever used SMPTE and doesn't know what it is), and it shows a graphical flow chart showing polyphonic sampling and multi-channel outputs (neither available then as building blocks), and is intentionally vague about the "floppy disk system" and "Winchester disks", as they didn't really have the set offering for that (high density Superfloppy, not out until 1985, and 5mb and 10mb IMI MFM Winchester drives being common, neither with SCSI until 9/1985).
It describes the Stereo Option, Sample-to-Disk, SCRIPT/MAX, and different Control Unit enclosures.
Most strangely, it shows a V/PK that never existed, with a back panel that wasn't made, with Synclavier II connectors that were never used and, sadly, an on/off power switch that they never put on this $11,000 machine.
