The RD-6, meanwhile, is a straight riff on Roland’s TR-606 drum machine. Behringer’s spin is familiar to fans of the ’80s gear on the surface and is even meant to pair with the TD-3 (a clone of the TB-303), but throws in a few helpful modern touches. You’ll find a built-in distortion unit, a depth knob on the top panel, 64-step sequencing and enough line-outs for every “voice.”

There’s no word on specific pricing or availability, but Synth Anatomy speculated that the modules will cost between $49 and $99 each like on the System 100. And when the TD-3 costs well under $200, the RD-6 could be inexpensive in its own right.

Inside the container is a green LED that’s part of the “liquid analyzer.” See, what you put inside determines the sound of your distortion. How easily it conducts your guitars AC signal determines the amount of gain and the opacity of the liquid determines the amount of treble and bass. So, depending on what you put in there, you could get a full throated roar or a narrow telephone like distortion.

Otherwise there’s not really any controls to be found on the Minibar. There’s an on off switch and a volume knob and… that’s it. All your other typical distortion controls are determined entirely by your choice of liquid. Want to know what your favorite whiskey sounds like? Or perhaps you’re partial to a nice root beer. Or, maybe, you want to get as metal as possible and buy some pigs blood from your local butcher.

The Rainger FX Minibar is available now for £99.17 or around $129.

Word is the Behringer System 100 parts will start at $50 and top out at around $99, which puts it at the extreme low end of Eurorack gear. And that’s just a fraction of a vintage Roland module, which can fetch well over $600. To start with there will be 11 modules in the line, covering everything from oscillators, to filters to sequencers — basically anything you’d need to build a complete modular synth.

Of course there’s no word on when exactly you can expect Behringer to start shipping these. And, it’s probably safe to assume it’ll be awhile. While the company has been relentless in its engineering efforts. Actually getting things into production and in consumers hands still seems to be a struggle at times. Its 808 clone for instance suffered from significant delays. And sometime plans for a new clone are announced over two years before it actually comes to market.

That being said, Behringer first teased that it was working on Eurorack versions of System 100m modules last year. And the versions in the video above look pretty final. So it might not be too long of a wait.

Obviously Behringer’s clone army will continue to rub some the wrong way. But Eurorack is a space where their race to the bottom might be welcome. Getting into modular synthesis can be daunting and expensive (even when you’re going for a self-contained system like those from Teenage Engineering and Erica Synths). Even a barebones starter kit like the NiftyBUNDLE from Cre8audio will set you back $270. And that’s extremely cheap for Eurorack.

For the full list of Behringer System 100 Models see below:

• 112 dual oscillator with 3 waveforms, PWM and two sync modes
• 121 dual filter with 3-channel mixer per filter
• 130 dual VCA, again with dual 3-channel mixers
• 140 dual envelope has 3 outputs per ADSR plus a built-in LFO that can be triggered and phase synced
• 173 gates module comes even with four gates that can switch audio and 6 quad buffered multiples
• 297 has a dual portamento controller plus two independent CV mixers
• 150 brings a ring modulator, 2 noise generators, syncable LFO and a sample and hold generator
• 172 module delivers a 6-step phase-shifter, an analog delay, an LFO and a gate delay
• 305 is an output module a four-band parametric EQ, a 4-channel mixer, line and separate headphone output and even a tuning oscillator
• 182 there is a powerful analog sequencer with either dual 8 steps or 1-16 steps and tempo, portamento and gate time controls
• 110 is a complete synth voice with VCO, VCA and filter in a single module

Lets start with Duo mode which splits the two oscillators so that you play two notes at once. Of course you can always stack them back up to get that iconic mono bass sound. There’s more headroom so that you can louder and richer clean tones, but also a retuned multidrive circuit and filter that gets you even more grit, growl and low-end harmonics than the Sub Phatty. And don’t worry, while they’ve tweaked the gain stage of the filter, it’s still 100-percent classic Moog. Even the keybed has been redesigned, though, it’s too early to tell if that’s actually an improvement.

While the improvements to the sound are clearly the highlight, there’s plenty of other changes for the better. For one, this is now Moog’s smallest keyboard synth (it has smaller keyboard-less offerings). That makes it a bit easier to take to a gig or squeeze into your increasingly crowded home studio. (GAS is a serious disease.)

You’ll also find all the modern connections and amenities you’d expect. So, while you’ll still have all the knob-per-function controls you could need for live performance at your fingertips, you’ll also have access to huge library presets and custom sounds through the Subsequent 25 Editor/Librarian app. And, in addition to traditional 5-pin MIDI ins and outs, you’ll find USB MIDI and CV jacks for talking to external gear like modular synths.

The Subsequent 25 is available now for $849.

Traditional reverb tanks — which add a sense of space to your guitar pedal — were first used in electric organs. Fender quickly added similar units to some of its guitar amplifiers, arguably redefining the sound of the era. As technology progressed, engineers created reverb effects using capacitors, rather than springs and transducers. Eventually, digital reverb became the de-facto standard. But that responsive and dynamic nature of spring reverb was lost along the way, and effects makers knew it — emulated spring reverb is a setting on most of today’s reverb pedals.

A few pedal companies like Spaceman and Crazy Tube Circuits offer miniaturized spring reverb tanks, but Gamechanger doesn’t seem interested in treading the same path. Rather than using the electromagnetic undulations of the Light Pedal’s springs, the pedal’s optical sensors — which cast a red glow — measure their nuanced movements and convert them into echoes. This process captures some of the signature timbre of a spring reverb, but don’t expect it to sound exactly like a vintage unit.

Gamechanger says that the optical components result in a more detailed signal compared to a traditional spring reverb tank — you won’t hear that typical lack of low and super high frequencies that shape the somewhat percussive sound associated with spring reverb. On the one hand, that could be a good thing: Gamechanger says that tremolo, modulation and shimmer effects can be blended with the reverb signal, so the pedal has some of the flexibility of a modern stompbox. On the other, vintage junkies may miss that lo-fi sound.

We’ll have to wait to see if the Light Pedal receives the same critical success as the Plasma Pedal and Plus Pedal — the company didn’t announce a release date — but one thing’s for sure; it’s certainly different. Many electronic musicians, meanwhile, are anticipating Gamechanger’s novel Motor Synth, which will be out in May.

The KeyStep Pro has 37 key velocity sensitive keyboard with aftertouch. But, what’s really important is that you can use those keys to play through riffs, melodies and chord progressions and save them to the polyphonic sequencer. There’s four independent sequencers on board, each of which can hold 16 patterns, up to 64 steps in length. Oh, and you can chain up to 16 of those patterns together to create entire songs. And track one can function as a dedicated 16-part drum sequencer. There are 16 pads across the front that make it easy to edit the steps in your sequence, and they should come in particularly handy with that drum sequencer. Not to mention there’s a robust arpeggiator on board.

The KeyStep Pro also continues the tradition of including as many different types of ports as possible. Each track in the sequencer has dedicated CV (control voltage) outs for pitch, mod and gate, so that you can connect modular synths and Eurorack gear. Plus there are eight dedicated drum gate outputs for controlling drum machines. But wait, there’s more: You’ll also find clock in and out ports for syncing up things like Korg Volcas, a 5-pin MIDI in port, as well as two 5-pin MIDI outs, an output just for the metronome and, of course, USB. I’m fairly certain there isn’t a piece of music gear made after 1983 that this thing couldn’t control.

In short, the KeyStep Pro combines all the best elements of the BeatStep Pro and the KeyStep in one package. And it’s surprisingly affordable too at a list price of $399. Though, we wouldn’t be surprised if the actual retail price ended up being closer to $350 when it starts shipping this Spring.

This is a 100-percent accurate recreation of the original analog circuitry found in the 1978 classic. The heart and soul is the same monophonic dual oscillator set up, each with a voltage controlled amp, filter and envelope generator. Plus a single LFO. And just for completeness sake, Korg included the ability to choose between the early model or late model style filter (the original versions were a little noisier and more aggressive).

But, there have been some concessions made to modernity. First and foremost you’ve got both 5-pin MIDI in, as well USB for connecting to modern gear and computers. Plus, the reissue comes in four colors — green, white, blue and black. Personally, I’m pretty into the green version.

All of this sounds pretty great, so what am I talking about when I say faithful to a fault? Well, just like the original this MS-20 uses larger 1/4-inch cables for patching rather than the more standard 1/8-inch you find on most modern systems (including the MS-20 Mini) and Eurorack.

There’s no word on pricing yet, but it’s safe to assume it will be at least as much as the MS-20 Mini ($460) if not more when it lands in April of this year.

The core of ZOIA Euroburo (pronounced: Euro-bureau) is the same as the OG ZOIA. Inside there’s a pretty powerful audio processor and up front a grid of RGB buttons. There’s over 80 modules (including envelopes, CV switches, slew limiters and CV loopers), not to mention over 20 dedicated effects modules on board. You can those and combine them in almost anyway you please to whip up the sound of your dreams. It can be an effect, a looper or a standalone synth — it’s similar to the Organelle in that it can do almost anything, but it’s easier to program.

Of course, being designed to talk to Eurorack means there have been some changes made. Most notably the three foot switches are gone, and instead you’ve got four assignable CV in jacks and four assignable CV out. There’s also stereo 3.5mm audio ins and outs (instead of the 1/4-inch jacks found on the pedal version) and 3.5mm MIDI ins and outs.

While the ZOIA Euroburo is built to fit inside a Eurorack skiff, there is an optional standalone enclosure if you’d prefer to use it as a desktop unit.

Otherwise there’s not many major changes here compared to the original ZOIA. Well, there is one major change — there’s now a dedicated sample player module that allows you to save and load samples to and from the SD card or even capture and play them back live. This is a feature ZOIA users have be clamoring for, so hopefully it’ll make its way to the pedal sooner than later.

There’s no word on pricing or availability just yet. But we’ll update as soon as we have more info.

The company is reissuing a model that appears to be based on the mid-period 2600P, with a gray faceplate and road case enclosure. Inside you’ll fine more or less the same set of components that made the semi-modular synth such a hit. There’s three oscillators with options for sawtooth, square, triangle, sine, and pulse that can be either an audio source or function as an LFO. There’s also a self-resonating low-pass filter, a noise generator and ring modulator, plus a spring reverb tank. And, of course, two envelope generators for controlling the attack, decay, sustain and release of your notes and filter. And since this is a semi-modular, while the various modules are all hardwired to make sound right out of the box, they can be rewired with patch cables to create unique combinations.

Now, while the classic ARP 2600 is a beast of a synth all on its own, Korg saw fit to update it for the modern age in a few ways. For one, the duophonic keyboard with 49 full-sized keys supports not only portamento but aftertouch but has its own dedicated LFO built in and an arpeggiator. There’s also old-school 5-pin MIDI in, out and thru ports, plus a USB MIDI connection.

Unfortunately we don’t know when it will ship just yet, or how much it will cost. And, while I expect it to cost less than the $10,000+ that a vintage model can fetch, I wouldn’t expect this limited edition behemoth to be cheap.

Update 01/10/20 12:30AM ET: According to Reverb, the ARP 2600 will ship in February and will set you back $3,900. We’ve reached out to Korg for confirmation and will update you when we hear back.

Both the HA-S headphone amp and the OD-S overdrive pedal are equipped with Korg’s Nutube tech. That’s the tiny vacuum tube component that drives the Volca Nubass analog synth. But even before the Nubass was announced, Nutubes were a known commodity because of the amp and pedal Korg is officially announcing today. It, or at least word of it, had made the rounds thanks to music-focused news outlets.

Neither of these two devices require any soldering to assemble, so they’re fine for novices and pros alike. For the more adventurous, there are a lot of possibilities for further modding, and Korg provides circuit diagrams to help you along the way. Plus, the Nutube in each one provides a completely analog backbone for both audiophiles and guitar players.

The HA-S headphone amp kit will be available in February for $350. Korg says the OD-S overdrive pedal will go on sale next month too, but the company isn’t announcing pricing just yet. If that sounds too pricey for you, but you still want to try your hand at DIY music gear, the NTS-1 synth is available for $100.