The Make Noise Soundhack Plexiphon is a stereo, modeless spatial texturizer which allows for continuously morphing between reverberations and multi-tap echoes, the widest range of possible results being neither reverb nor echo, and all results highlighting and amplifying character previously hidden in the source material being processed.
The Plexus control simultaneously modulates the number of feedback paths in the algorithm, and their entanglement together. The Size of the paths determines the temporal relation between them, operating like a “delay time,” or a “room size,” at either extreme of Plexus.
Diffuse and Color offer softening/sharpening/darkening/brightening effects over time.
Couple and Skew are stereo operations: Couple determines to what degree the left and right sides are isolated or intermingled (from “dual mono” to fully interlaced stereo), while Skew offers simultaneous inverse or tandem control of the left and right paths on the Plexus, Size, and Color parameters.
The Send gate input (normalled high, or patchable) determines whether and when the input signal will be fed into the Plexus.
Xaoc Devices proudly debuts two new products at Superbooth 26: Skopje 1988 Dual Quantizer and Budapeszt 1972 Exploratory Stereophonic Spectral Lattice Network. Here is some information on the modules.
On the surface, Skopje is a seemingly simple compact (6HP) dual quantizer with two independent channels. However, some clever features coupled with high-precision A/D and D/A converters make it a complex (though extremely easy to use) compositional tool suitable for all kinds of musical outcomes. The user interface is similar to Zadar with frontpanel labels clearly indicating the features available for adjustment. No menu diving as the small OLED display is only used for selecting banks and scales. Each channel is able to quantize its input to a different scale from a different bank (up to 100 banks each containing up to a 100 scales - if you're deranged enough to need as many... ;-). Skopje stores its data on a regular microSD card. The module supports its own very simple scale format (a straghtforward TXT file you prepare on your computer), as well as any of the abundant SCALA files you throw at it. You can mix and match different scale format files in one bank. Various tuning systems and description formats supported. Microtonality galore! Our own scale programming system additionaly includes a few clever features, e.g., various voltage limiting settings. But there's more.
Got a lovely sounding VCO, but with volt/octave tracking leaving something to be desired? Skopje to the rescue - you can quickly calibrate any of its channels to fit your VCO like a glove for precise tracking! Other notable features include: glide, scale switching via triggers or CV (great as a performance/compositional tool with your own scales/note combinations), and transposition (including unquantized for vibrato).
Skopje is in production and will be available in June 2026.
PS Yes, this is a game of life screen saver on Skopje in one of the photos :-)
MAIN FEATURES: - dual quantizer with precision A/D & D/A converters - highly customizable - compatible with microtonal scales - OLED display for ease of use - up to 100 banks, each with up to 100 scales - VCO calibration feature - data stored on microSD card - SCALA file support - 6HP
Budapeszt is a stereo dual spectral processor built around the interference of resonant structures. It features two independently tunable comb-type filters with six distinct modes. Each filter has its own set of controls, with two separate triangle LFO's providing internal modulation (with free and synced operation, and an envelope follower mode on top). The real magic happens in the interference between two stereo filters though. The overlap of two resonant structures weaves a spectral lattice: a complex grid of peaks and voids. The final geometry of that lattice is determined by the relationship between the channels rather than by either one in isolation. To encourage experimentation and for even more sonic flexibility, multiple feedback paths are available, including cross-coupled feedback between the filters. There's also a feedback phase inversion switch for each filter.
Filter modes include delay-based, phase-based, and filterbank-based approaches to shaping the frequency domain. The first mode draws on a signal model inherited from Xaoc Devices Samarkanda, enabling artifact-free pitch behavior across the full frequency range. The remaining modes distribute resonant energy in ways ranging from the mathematically orderly to the perversely irregular. That being said, more familiar results, like flanging and chorus, are also easily attainable - delivered by Budapeszt with unusual precision.
Budapeszt is equally at ease processing oscillator waveforms and complex samples. It eagerly responds to short triggers with percussive transients whose character depends entirely on what the two channels are doing to each other. The interaction between the two channels is the instrument. Two channels agree, and the result is color. Two channels disagree, and the result is stormy weather. The space between agreement and disagreement is where Budapeszt lives.
"Flow 3 is a filter that sounds bigger than it looks. Behind the compact 6 HP front panel lies a novel variation on the classic state-variable filter topology, offering simultaneous lowpass, bandpass and highpass outputs.
But the ace up Flow 3’s sleeve is its auto-dynamic nature: it is a filter that can modulate itself. This is achieved by a combined decay generator/envelope follower circuit which controls the filter frequency over an adjustable range."
0:00 intro
3:00 filter sweeps
5:32 quadrature sine VCO
6:20 spectrum splitter
8:15 auto filter
10:52 sine LFO
12:01 pinged percussion
14:00 decay envelope
14:40 envelope follower
16:05 outro
Flow 3 is a filter that sounds bigger than it looks. Behind the compact 6 HP front panel lies a novel variation on the classic state variable filter topology, offering simultaneous lowpass, bandpass and highpass outputs. Core integrator saturation provides for a sound that’s clean, yet distinctive.
The resonance response is exceptionally smooth—and it can easily reach self-oscillation. In this mode, temperature-compensation and exact calibration make Flow 3 a reliable quadrature sine/cosine oscillator with tight pitch tracking.
But the ace up Flow 3’s sleeve is its auto-dynamic nature: it is a filter that can modulate itself. This is achieved by a combined decay generator/envelope follower circuit which controls the filter frequency over an adjustable range. Either fire decay envelopes from external triggers, or flip it to auto mode to follow along with the incoming signal’s amplitude envelope (or both, simultaneously).
"Here we have SUMP PUMP from Robots Are Red (with circuit design from Setonix Synth). It's a 6HP stereo Eurorack noise gate that can also invert its behaviour into a compressor and with the 'floor' control it can also be an expander. We've 3 umbrella sections in the video with compression, noise gate and sidechain ducking techniques. Check out the patches and let us know which is your favourite. There's also an exclusive run down of the dirty bass patch on / divkid"
*TIMING INDEX // CHAPTERS*
00:00 Intro & previews
01:00 What are we doing & feature run down
PATCHES // COMPRESSION
03:17 Setting up compression on beats
06:05 Adding excitement to thick distorted bass with expansion
08:17 Reshaping chords with compression
PATCHES // NOISE GATE
10:00 From basic to creative noise gates
13:56 “Beat density” with floor control (thanks to RAR for the idea!)
PATCHES // DUCKING & SIDECHAIN
17:48 Big dumb bass ducking - good fun & how to set it up
19:34 Creatively duck ambient FX - I love this mixing/production trick
It's a noise gate, it's a noise suppressor, it's a compressor, it's an expander, it's stereo.
The Specs and Stats:
Width: 6hp - Attack and Release knob for envelope(s)
- Threshold for suppression/compression (0V - ~8V)
- Floor controls the amount of suppression/compression from -100dB to Unity and even up to +10dB for expanding the louds louder or make the quiets a bit louder.
- Level controls your overall output level
- Gate/Comp switch: When in "Gate" mode, whenever the input falls BELOW the threshold level, the envelope will engage towards the floor setting. When in "Comp" mode, the envelope will trigger when the input rises ABOVE the threshold setting.
-Stereo inputs and outputs. The envelope follower is assigned to the Left input, so the L input can also be used as a sidechain input for a mono signal (into In-R).
- Engage input. This is a gate input for manually engaging the envelope.
- Threshold CV input. This offsets from your knob position.
- Floor CV input. This also offsets from your knob position.
- Duck CV Input. This is an envelope follower input that applies and inverted envelope to the level of the signal. Send a simple pulse or trigger, an actual kick, an envelope, or anything else into this to duck your signal.
-Envelope Output. The envelope Output does not follow the "floor" settings and always outputs a full voltage envelope.
Special thanks to SetonixSynth and many others for really helping make this module a reality.
"Musical exploration of new eurorack filter by Crazy Chicken Modular - SHRIMPY."
Shrimpy is a fully analog multimode voltage-controlled filter with three simultaneous audio outputs: low-pass, band-pass, and high-pass. It was designed with a strong focus on character rather than neutrality.
The resonance is voiced to emphasize midrange frequencies, giving the filter a present, expressive tone that cuts through a mix. At higher settings, it becomes vivid and assertive without collapsing into thinness.
At the heart of Shrimpy lies an unusual distortion chain integrated directly into the filter core. This distortion adds a pleasant crunch, enriching the sound. When pushed further, it can turn glitchy and rustling, introducing rough textures and unstable edges that make the filter feel alive. It should be noted that the distortion sound characteristics will depend on the Shrimpy settings and the input signal, since distortion occurs in the filter core itself, rather than at its input or output.
All parameters are fully voltage-controllable:
Cutoff frequency (with and without attenuator)
Resonance
Distortion amount
This makes Shrimpy a flexible yet opinionated sound processing tool, well suited for experimental patches, aggressive basses, textured leads, drones, and evolving soundscapes."
"In this review, I explore the latest monosynth from Michigan Synth Works, the MSW-820. It is an expanded form of their MSW-810, adding an extra oscillator, a 16 mode filter, and more."
Soft Memo is a hybrid stereo multi effects desktop unit with eight digital CV controlled FX programs, two analogue feedback paths and two complex voltage-controlled LFOs.
It has patch points to integrate external synthesisers and sequencers and it is designed to creatively reshape your sounds with a menu-free hands-on approach.
You can create patches by connecting inputs and outputs with eurorack-standard 1/8" jacks.
All its inputs are protected from potentially dangerous voltages.
It generates (and reacts to) control voltages in the 0-5V range: when a CV signal is patched into an input, its knob becomes an attenuator for the incoming signal.
The patch points are visually divided between inputs and outputs: the inputs are placed in the middle of a white circle while the outputs are not.
Soft Memo is powered by a 9V center-negative (500 mA) power supply, the standard PSU used with most guitar pedals.
Features:
Eight FX programs
A total of 25 patch points
Two high gain preamps
Two feedback paths made of analog VCAs and resonant analog VCFs
Two complex voltage controlled LFOs with clock division and phase offset control
An envelope follower
A→B buttons to set how the two channels controls interact with each other"
"When the Cocoquantus2 first appeared, it didn’t just find an audience—it created one. Musicians, experimentalists, producers, and curious tinkerers fell in love with its organic chaos, character, and uncanny ability to turn accidents into art. It became a modern cult instrument because you couldn’t play it without forming a relationship with it.
One of the biggest leaps is the open-source programmable engine. For the first time, players can write their own behaviors—little sonic personalities— at the Cafe modules, one for each side, and the Quantum module can carry them out by patching points. Whether it’s generative patches, evolving modulation, rhythmic structures, or strange autonomous rituals, the instrument becomes a creative partner. And thanks to the dedicated banana sockets, these behaviors integrate directly into the patch ecosystem. The Cafe module becomes a blank page for your imagination, shaped as far as your coding skills can carry you
The preamp has grown up too. Now it features a Norton gain character and adds a VCA input, making external dynamics, sidechaining, and voltage-controlled level manipulation feel effortless. On top of the newly redesigned preamp features you still have the envelope follower that opens the door to all sorts of expressive interactions between incoming audio and internal modulation.
Then comes the new magic trick: A radio-based gestural controller sits atop the entire system, allowing 4 hands-free modulation reminiscent of a theremin. Move in space, and the instrument responds—pitch, delay time, grain density, feedback paths, whatever you choose. It transforms performance from knob-twisting to full-body expression."
Instruction manuals for 100 Grit & BrainSeed pictured below.
"The 100 grit is a distortion, VCA, and low pass filter module with 8 brass touchpoints.
Features:
8 brass touchpoints 2 inputs to transistor core low pass filter Voltage control over frequency, resonance, and gain OTA VCA with soft saturation characteristics Distortion circuit based around a vintage headphone amplifier driven into instability Three position x100 gain switch with off, on, and momentary on settings Each input and cv input is normalled to a different feedback path (6 total) Seperate outputs for the VCA and distortion Can operate as a vintage voiced VCA and LPF or a screaming distortion and noise effect All analog design"
Click the auction link on top when you get there for additional listings.
"Roland System 700 main cabinet, sequencer, keyboard & ultrarare Polyfusion monophonic cv keyboard with velocity & aftertouch. The Polyfusion keyboard is connected directly to the main cabinet. There is a 1/4 patchbay to connect cv, gate trigger, velocity, pressure, etc. to make use of its extended possibilities. It has been done to make it reversible. This is a rare opportunity to own this incredibile original modular synthesizer with its sequencer. Main cabinet, sequencer & Roland keyboard are in very good shape, the Polyfusion keyboard needs (estetically) a bit TLC but it works. Famous users are Vince Clarke, Hans Zimmer, Giorgio Moroder, Aphex Twin, Richard Barbieri (Japan), Isao Tomita, Jam & Spoon, The Human League, Visage Roland System 700 main cabinet, sequencer, keyboard & ultra-rare Polyfusion monophonic CV keyboard with velocity and aftertouch. The Polyfusion keyboard is connected directly to the main cabinet. A 1/4' patchbay allows connection of CV, gate, trigger, velocity, pressure, etc., enabling full use of its extended capabilities. The modification was done in a fully reversible way. This is a rare opportunity to own this incredible original modular synthesizer with its sequencer. The main cabinet, sequencer, and Roland keyboard are in very good condition, while the Polyfusion keyboard could use a bit of cosmetic TLC but works perfectly. Famous users include Vince Clarke, Hans Zimmer, Giorgio Moroder, Aphex Twin, Richard Barbieri (Japan), Isao Tomita, Jam & Spoon, The Human League, and Visage. These are the modules: 702A VCO 702B VCO 702C VCO 708A Ring Mod / Noise 703A VCF 703B VCF 704A VCA 704B VCA 711A Rev / Pan / Phase Shifter 712A Monitor / Voltage Proc. 706A LFO 706B LFO 709A S&H 707A Amp / Env. Follower / Integrater 705A Dual EG 716A Mixer 710A Multiple Jack 718A Power Supply 717A Sequencer"
Auction to be held at Musician's Hall of Fame & Museum, Nashville, on November 19
An incredible collection of more than 450 artifacts from the life and career of Florian Schneider, co-founder of the pioneer electronic band Kraftwerk."
Pics and videos featuring some of the gear below, and his Lederhosen for good measure (thanks greg!).
Update: the post has been fully updated with all the synth related gear. This may just well be the longest post to be featured on the site. I wanted to capture all the pics for all of the details including notes, scuffs, and of course serial numbers. It's an interesting look into what he used, the condition he keped his gear, in some cases, how he actually used his gear. Note the phonetics on the keys of the Casio CZ-101 and DX-100. Note the Midi Switch Box with a built-in speaker? What's that about? Note the camouflage key strap on the Korg RK-100 Remote Keyboard. Did he pick it out himself or did the keytar just come with it? Note the repeat midi controllers and the MIDI saxaphones. Wind was his primary instrument. You'll find a ton of the acoustic gear he used in the other listings. This is a fascinating insight into both what and how he used his gear.
Side note: there is no affiliate compensation for this post. The note at the top automatically shows for all posts with the Auction label.
Rack Mount Sennheiser VSM-201 Vocoder
Starting Bid
$5,000
Estimate
$20,000 - $40,000 USD
A late 1970s Sennheiser VSM 201 Vocoder with no serial number from the personal studio and collection of Florian Schneider of Kraftwerk (see images). While it’s said that only a few dozen of these Vocoders were produced, a few examples made it into the hands of forward-thinking musical artists including Herbie Hancock, Daft Punk, and of course, Kraftwerk, who used a VSM-201 like this on their albums Man Machine (1978) and Computerworld (1981). The VSM-201 has an intelligible sound that has not yet been bested by modern gear. Includes power cable. This VSM-201 has been removed from its wooden enclosure (which bears the serial number plate) and modified with a metal rack mount casing, presumably for live use. Requires 240v, IEC power cable not included.
Dimensions: 19 x 9 x 9 inches
Category: Kraftwerk, Equipment
Provenance: PROVENANCE From the Estate of Florian Schneider
AUv3 plugin to modulate and sequence MIDI instruments and modular hardware Outputs MIDI and analog CV simultaneously for integrated hybrid setups Fully functional in software-only environments with full MIDI support Converts LFOs, MIDI notes, pitch, and control changes into control voltages Includes two LFO generators with random spline, cross-modulation and syncing Integrated envelope follower to track audio input or sidechain signal Six FLO(W) processors for combining and shaping signals with math and logic Each FLO supports 18 inputs with individual polarity, divider and multiplier Multi-out support, built-in waveform viewer, Audio FX, and MIDI FX Advanced Responsive Design, portrait and landscape views Universal Purchase: AUv3 for iOS (iPad/iPhone), macOS and Vision Pro
Where Modulation Connects
FAC Polyflo is an AUv3 plugin for modulating and sequencing MIDI instruments and modular gear via control voltage. It outputs MIDI and analog CV simultaneously, making it well-suited for hybrid setups that combine digital and analog equipment.
The plugin includes two LFO generators offering 10 waveforms, including classic shapes and random spline, with support for cross-modulation and syncing. It also features an envelope follower that tracks audio FX input or an external sidechain. The generated signals, together with the host clock and MIDI input, are fed into six independent FLO(W) processors.
These processors combine, shape, and route inputs using math operations, conditional logic, and comparators. Each FLO includes individual polarity, division, and multiplication controls, providing deep and flexible modulation that balances chaotic creativity with precise timing.
Each FLO processor output is connected to its own output bus, enabling easy integration with hardware via DC-coupled audio interfaces like the Expert Sleepers ES-9. For simpler setups, FLO outputs can be routed to the stereo output. FAC Polyflo can also convert MIDI notes, pitch, and control changes into control voltages, making it a powerful MIDI-to-CV solution.
If you prefer to work exclusively with software, the plugin runs smoothly in software-only environments with full MIDI support, making it equally suited for purely digital workflows.
FAC Polyflo works as both an Audio Unit FX and MIDI FX, featuring a clean, touch-optimized interface with precise control and waveform visualization. It’s available as an AUv3 for iOS (iPad/iPhone), macOS, and Vision Pro, and requires a compatible AUv3 host app to run.
"Since Erica Synths originated as a company that originally developed DIY kits for Eurorack modular synthesizers, we want to keep the spirit of DIY synths alive and besides our mki x es.EDU DIY series, we went full in, and set out to develop a contemporary, DIY-friendly and extended version of the Elektor Formant synthesizer, originally published as a DIY kit in Elektor Magazine late 70-ties. In collaboration with Harald Antes of haraldswerk.de we developed a modular system based on Elektor Formant designs and added several modules to take its functionality to next level
"The ADDAC220 is an analog/digital hybrid stereo/dual envelope follower designed for better dynamic range analysis!"
0:00 Intro 0:16 Audio gain 0:28 Clip LEDs 0:36 Attack and decay 0:49 Log Exp control and envelope gain 1:00 Offset 1:08 Gate out and threshold control 1:21 CV, inverted CV and average outputs 1:35 Stereo / Dual mono switch 1:47 Dynamic range 2:03 Off, dynamic and romalized mode 2:45 Auto-wah 3:53 CV and inverted CV outs together 4:30 Effect processing 5:27 Beat detection 6:24 Gate behaviour
"This is our new Stereo Envelope Follower, an analog/digital hybrid for better dynamic range analysis. The incoming audio signal gain can be set with the [GAIN] control, the signal is then fully rectified and passed through an analog envelope follower with a fixed short attack and decay.
This analog signal is then sent into a 12bit ADC (analog to digital converter) of an MCU (microcontroller unit) from here on the signal is processed digitally. Whenever the ADC detects clipping the [CLIP] led will turn On.
The digitized signal is then passed through a Savitsky-Golay filter for noise reduction smoothing the incoming signal. Next the signal is slewed using the [ATTACK] and [DECAY] controls. The MCU keeps a history of the last sampling points and detects the minimum and maximum values of the signal which reflect the current dynamic range and maps the signal minimum and maximum amplitude to 0V and the maximum voltage detected. Avoiding the discharge of the analog envelope capacitor.
This new mapped signal is then processed via the [RESPONSE CURVE] control balacing the response like one would with a standard AD envelope with LOG/EXP control. The [ENV. GAIN] attenuverter control goes up to x2 amplification and sets the attenuation / amplification factor of the output range, the red led monitors this level. The led uses pwm control for faster response and better visualization of the output signal across the full output range.
Finally the [OFFSET] allows to displace the signal’s voltage up or down.
The [THRESHOLD] control sets the level to compare to the output signal and turns the [GATE] output On when the signal is above the threshold. The [GATE LED] show the output state. The [CV OUT] carries the Envelope signal (0 to +10V) while the [INV. CV] Output carries an inversion of the signal (-10V to 0v). The [AVG. OUT] outputs the average of both Left and Right CVs (0 to +10V) while the [INV. AVG.] outputs the inverted average signal (-10V to 0v). The [STEREO / DUAL MONO] switch allows to use the left channel controls to operate the right channel for stereo operation or keep them independent in dual mono. In Stereo mode only the Right channel gain will be independent.
"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.
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.
"Like a mini German tank. Super rare these days & so badass…
comes with 230 Volt to 12 Volt DC adapter, light, stand & mini patch cables and a aluminium case for safe transport to the next Gig .
A self-contained, analog modular synthesizer from Germany, made by Anyware Instruments:
Their aim was to be as small as possible, while also offering a lot of features and of course having a great sound. They were fully modular without any internal routings, so connections had to be made with the patch wires in order to make a sound. unfortunately discontinued and therefore VERY RARE !
HERES THE CHANCE TO GET ONE !
serial number: 134
Tinysizer:
2 X voltage controlled oscillator VCO - Oberheim SEM style 3 X suboscillators 1 X waveformprocessor/waveshaper 1 X voltage controlled filter, state variable VCF - Oberheim SEM style (with 4-input mixer) 3 X low frequency oscillator LFOs (with switchable frequency ranges) 4 X CV, 6x Gate, MIDI-CV interface 2 X mixer & inverter & overload - distortion 3 X multiples 1 X white noise & pink noise 1 X ringmodulator 1 X sample & hold s+h 4 X VCAs linear 1 X envelope follower & audio gate & microphone preamp 2 X ADSR envelope generator (fast & slow) 1 X control voltage CV - source 1 X DSP effect, reverb & delay (digital) 11 X patchable auxiliary in & outputs, bi - directional (to connect external gear)
The housing was made of metal with super sturdy, panel-mounted potentiometers. The synth came with a monitor stand to prop it up at an angle and a BNC gooseneck lamp, which could be attached to shine some light for patching. Patch leads came from Conrad and the patch sockets were the kind you'd find on floppy disk drive cables. Surprisingly, even after years of patching, I still haven't worn out any sockets."
