Under the brand name VERMONA, the state-owned enterprise VEB Klingenthaler Harmonikawerke developed and manufactured a wide range of electronic instruments and effects. Following the reunification of Germany, these devices were largely displaced by major Western brands—sharing the same fate as many East German consumer goods, vehicles, and food products.

Nevertheless, these instruments have stood the test of time, and exceptional pieces continue to resurface, finding dedicated new owners and collectors. From a technical standpoint, these devices were highly competitive and were regularly exported. The available product range was so comprehensive that it was entirely possible to produce fully-fledged musical pieces using Vermona equipment alone.

The Profen Banquet Hall now offers the unique opportunity to experience an almost complete lineup of the Vermona range in a public exhibition. All devices are fully functional and ready to be explored hands-on by visitors. The exhibition features keyboard instruments such as e-pianos and organs, rhythm machines, and effects units. These specific units come directly from working studio inventories and continue to be used for various music productions.

The Profen Banquet Hall (Festsaal Profen), which features an attached catering service, is located in the municipality of Elsteraue (district of Profen, Markt 14) and has been family-run by the Köllner family for over 30 years. The KÖLLNER Gastronomie team will be handling the on-site hospitality and guest services.

Interested visitors are welcome to explore the exhibition at their own pace. Guided tours are also available, which are highly recommended for larger groups, school classes, or clubs. During a guided tour, individual devices will be demonstrated, and visitors are welcome to ask questions. Please note that guided tours require an advance booking. Your exhibition visit can be perfectly paired with a meal at the Gasthof Zur Eiche restaurant, located directly beneath the banquet hall.

For inquiries, please email: post@zur-eiche-profen.de

Opening Date: June 12, 2026

Featured Instruments on Display:

• Vermona E-Piano
• Vermona SANDY Combo Organ
• Vermona Piano Strings
• Vermona Synthesizer
• Vermona DRM Drumcomputer
• Vermona ER9 Rhythm Machine
• Vermona Formation 1 Organ
• Vermona VM30 Guitar Amplifier
• Vermona regent 1060 Mixing Console
• Vermona E2010 Equalizer
• Vermona Phaser 80
• Vermona DEG500 Delay Effect
• Vermona PDD501 Delay Effect
• Vermona SK86 Digital Keyboard

Additional classic gear from other manufacturers:

• Tesla Studioecho AOS 191 Tape Delay
• PLANET Echo Tape Delay (One-of-a-kind custom unit)
• eko Orchestra Keyboard
• Monacor Reverberation Spring Reverb
• Gefell PM 750 Microphone

• Timeless Sound Aesthetics: The sound palettes of these instruments are meticulously designed, offering a wide array of sounds that blend harmoniously into a variety of musical genres. Whether it is warm, analog basses, sparkling arpeggios, or atmospheric pads—these synthesizers offer a sonic diversity that even modern software instruments often fail to achieve.
• Solid Construction: 1990s synthesizers were often built with robust components, contributing to a long lifespan.
• Deep Synthesis Architectures: The complex synthesis engines of these instruments allow for precise sound design and offer numerous possibilities for modulation and sound shaping.
• The Nostalgia Factor: For many musicians, these synthesizers are linked to specific musical eras and evoke nostalgic feelings. The characteristic sound of these instruments is often perceived as authentic and unmistakable.

Popular Models and Their Strengths

• Korg M1: The M1 is renowned for its versatile sound library, which covers a wide range of instruments and effects. Its AI (Advanced Integrated) Synthesis allows for flexible sound shaping and seamless integration of samples.
• Roland JD-800: The JD-800 stands out with its warm, analog-like sound and extensive modulation capabilities. It is particularly famous for its thick basses and its capacity for dramatic sound transformation.
• Roland JV-1080: The JV-1080 offers a combination of analog and digital sound generation and is well-known for its versatile effects and massive sound library.

Why Are These Synthesizers Still Relevant Today?

• Complementing Modern Workflows: Classic synthesizers can complement modern, DAW-based productions with unique tonal colors and character.
• Inspiration for New Music: The sound of these instruments can serve as inspiration for new musical ideas and lead to innovative productions.
• Collector’s Value: Some models hold high collector’s value and are highly sought after by both musicians and collectors.

Conclusion

Synthesizers from the early ’90s are more than just historical artifacts. They are powerful tools that continue to play an important role in modern music production. Their combination of classic sound, solid construction, and deep synthesis makes them indispensable companions for any musician searching for unique and inspiring sounds.

We see things differently.

We have been working with Cubase since 1998. Recently, we retired a system that accompanied us in daily production for 17 years without a single system crash. Why do we do this? And why have we now, in the year 2026, created a solution that deliberately relies on Windows XP and optimized hardware? A look behind the scenes of our “mindset.”

The Trap of Permanent Innovation

Most creative studios spend 20% of their time on updates, troubleshooting after system migrations, and searching for missing files. Those who constantly switch from Mac to PC, or from Logic to Studio One, lose the most important asset: muscle memory.

Our workflow has been finely tuned for decades. When we have an idea, technology never gets in our way. We don’t have to think about where a function is hidden—our fingers find the shortcuts blindly. This system stability is the foundation of our speed in the B2B sector.

The “Dell Concept”: Rethinking the Proven

No one today would officially recommend setting up a state-of-the-art Dell workstation with an operating system from 2001 and software like Cubase SX3. Yet, that is exactly our solution for the coming decades.

• Sovereignty through Specialization: Through targeted hardware modifications—such as utilizing SSDs and disconnecting unnecessary interfaces—we have created an environment that responds faster than most modern “bloatware” computers.
• Archive Security: We have access to over 600 projects and thousands of sound designs spanning three decades. Because we keep our system stable, we can open a sketch from 2004 today in a matter of seconds and finalize it at a professional level.
• Independence: We do not depend on a cloud server to validate our license, nor do we worry about an update making our old plugins useless. We own our tools—we don’t rent them.

What Does This Mean for Our Customers?

When you hire us, you are not buying the “latest software version.” You are buying experience and guaranteed results.

Whether we are developing an industrial soundtrack or executing a complex orchestral composition, we never start from scratch. We draw upon an organic, digital ecosystem that we maintain ourselves. Our “license to solder” guarantees that we won’t fail due to a faulty cable or a software update while your deadline approaches.

We have regained mechanical control over our production. While others are still configuring their new systems, we are already delivering the first results.

True professionalism doesn’t need version numbers. It needs a foundation.

Wir gehen einen anderen Weg. Unser Studio beherbergt eine der größten privaten Sammlungen von Vermona-Instrumenten – den legendären elektronischen Geräten aus der DDR. Aber wir sammeln sie nicht für die Vitrine. Wir benutzen sie.

Das Vermona-Erbe: Einzigartigkeit als Asset

Während andere den „Sound von der Stange“ liefern, bieten wir Zugriff auf ein klangliches Ökosystem, das im Westen oft völlig unbekannt war und heute als absoluter Geheimtipp gilt. Die Geräte aus Klingenthal haben einen Charakter, der sich durch kein Plugin der Welt ersetzen lässt.

• Vermona Synthesizer: Ein monophoner Kraftprotz, dessen Filter-Charakteristik eine ganz eigene, fast schon organische Wärme besitzt. Perfekt für markante Leads, die sich im Mix durchsetzen, ohne aufdringlich zu sein.
• Pianostrings: Die Antwort auf die String-Ensembles des Westens, aber mit einem rauen, melancholischen Timbre, das in modernen Trailern oder Sounddesigns sofort eine Gänsehaut-Atmosphäre erzeugt.
• DRM (Digital Drum Machine): Eine analoge Perle. Ihre Percussion-Sounds sind trocken, druckvoll und besitzen eine klangliche Signatur, die sich wohltuend vom hundersten 808-Klon abhebt.
• Phaser 80: Ein Effektgerät, das keinem Standard folgt. Die Phasenverschiebungen sind tief, lebendig und verleihen selbst sterilen digitalen Signalen eine analoge Seele.

Was unsere Kunden davon haben

Warum investieren wir so viel Zeit in die Wartung und Pflege dieser Raritäten? Weil wir für unsere B2B-Partner einen Klangvorteil generieren wollen.

1. Unverwechselbarkeit: Wenn wir ein Sounddesign für eine Software oder ein Spiel entwerfen, nutzen wir Quellen, die Ihre Konkurrenz nicht hat. Ihr Produkt klingt nicht „wie soundso“, sondern nach sich selbst.
2. Handwerkliche Tiefe: Die Arbeit mit diesen Geräten erfordert Disziplin und technisches Verständnis. Diese „Lizenz zum Löten“ – das Wissen um die analoge Schaltungstechnik – fließt direkt in die Qualität unserer Produktionen ein.
3. Emotionale Resonanz: Vintage-Technik transportiert eine Geschichte. In einer Welt voller steriler Samples liefern unsere Vermonas die nötige Reibung und Tiefe, um den Hörer emotional zu binden.

Tradition trifft Produktion

Wir feiern den Minimoog als Meilenstein der Geschichte, aber wir arbeiten mit dem Vermona-Bestand, um die Zukunft Ihrer Projekte zu gestalten. Unsere Sammlung ist kein Archiv der Vergangenheit, sondern ein aktiver Teil unseres Workflows.

Wir bieten Ihnen Zugriff auf ein klangliches Spektrum, das von technischer Präzision bis hin zu nostalgischer Wärme reicht. B2B-Produktion mit Charakter – handgemacht, rar und absolut exklusiv.

Our best example: The Yamaha PSS-390.

From Childhood Bedroom Memory to Sound Design Tool

In 1991, priced at 399 DM, the PSS-390 was a classic home keyboard for beginners. When we later upgraded to professional workstations like the Yamaha SY55 or the Korg X3, the little plastic device vanished from our radar—just as it did for so many others.

Yet years later, our professional foundation reminded us of the architecture slumbering beneath that unassuming plastic housing: a pure, two-operator FM synthesis engine with sliders for direct access to the frequency spectra.

Old Knowledge as an Effect Catalyst

We went out of our way to reacquire a PSS-390 a few years ago. Not out of nostalgia, but as a precise tool for modern sound design. The trick isn’t just the device itself, but the way we integrate it into our signal chain:

• The Chain: The signal from the “cheap” keyboard is routed through a high-end, analogue effects chain.
• Vintage Refinement: We utilize genuine vintage phasers, analogue delays, and a physical spring reverb.
• The Result: By combining the sharp digital edge of FM with the harmonic distortion of rare analogue gear, we create sounds that come dangerously close to a legendary Yamaha DX7—but with a texture and unpredictability that no standard preset in the world can replicate.

What Does This Mean for Our B2B Clients?

This approach is the ultimate expression of our philosophy: technical expertise trumps big budgets.

• Exclusive Sound Assets: We deliver sounds that cannot be found in any commercially available sample pack. We “build” sounds from sources that others have long since thrown away.
• Efficiency Through Knowledge: We know exactly which frequencies of a budget microchip need to be boosted to make them shine in a professional production (e.g., for software notification sounds or gaming atmospheres).
• Creativity Without Limits: We refuse to be restricted by industry standards. If a 30-year-old toy keyboard provides the perfect fundamental tone for your project, we will use it—and refine it with the expertise gained from three decades of audio production.

In the end, the only thing that matters is what comes out of the speakers. Whether the source was a €5,000 synthesizer or a 399 DM home keyboard is irrelevant, as long as you master the mechanics behind it.

We hear the potential where others only see plastic.

This Device is Not a High-Fidelity Wonder

…but rather an experimental sound station. It delivers metallic, dense textures that are perfectly suited for industrial, ambient, or percussive experiments (like our condom samples).

Materials (Shopping List) for the €50 Plate Reverb

Wood & Metal:

• Wooden slats: approx. 3–4 pieces (Dimensions: 2 x 50 x 200 cm)
• Trapezoidal metal roofing sheet: 100 x 100 cm (aluminum or galvanized steel)
• Accessories: Wood screws, metal brackets, 4 tension springs with eyelets, 4 screw hooks (with wood thread), metal screws, and nuts.

Electronics & Audio:

• 1 surface transducer (Exciter): 20 to 30 watts (acting as the “transmitter”)
• 2 to 6 piezo pickups: (acting as the “receivers”)
• Connectors: Several jack sockets (mono), some wire/stranded wire, adhesive tape.

Tools:

• Cordless screwdriver, drill, soldering iron, pliers.

DIY Guide for the €50 Plate Reverb

Step 1: The Frame (The Skeleton)

First, build a sturdy frame from the wooden slats with an inner dimension of 110 x 110 cm.

Screw the slats together using metal brackets.

Stability Trick: Screw short cross-pieces (feet) onto the underside of the frame. This keeps the frame stable and prevents the wood from warping easily.

Step 2: The Suspension (The Decoupling)

Screw the 4 screw eyes (hooks with wood thread) into the inside corners of the frame.

Drill a hole into each of the four corners of the corrugated/trapezoidal sheet metal.

Hang the sheet metal inside the frame using the tension springs.

Important: The metal sheet must swing freely and must not touch the wood anywhere. The springs ensure that impact noise from the floor is minimized and allow the metal sheet to develop its own resonance.

Step 3: The Driver (Input)

Drill a hole into the metal sheet (in the center, or slightly offset for different resonance modes).

Screw the surface transducer (tactile transducer) firmly onto the metal sheet.

This is your “Input.” The signal from the mixing console (Aux Send) is fed in here. Since the transducer requires power, it is recommended to place a small, inexpensive Class-D amplifier in between.

Step 4: The Pickups (Output)

Now the piezos come into play.

Attach the piezo elements to various spots on the metal sheet using tape.

Experiment here: It will sound different in the troughs of the corrugated sheet compared to the ridges.

Solder the piezos to the jack sockets, which you can mount on a small wooden board attached to the frame.

The Concept: Shaping Sound Through Density

The unique aspect of this setup is the use of multiple piezos. Because the corrugated sheet metal generates complex reflection patterns due to its shape, each piezo captures the reverb with a time delay and a distinct tonal character.

Pro Mixing Tricks:

Route the individual piezo signals back into your mixing console separately.

• Panning: Pan two piezos hard left/right to create a wide stereo image.
• Summing: Blend multiple piezos together to “thicken” the density of the reverb.
• EQ Ducking: Since corrugated metal is prone to metallic “clattering,” slightly cut the midrange frequencies on your EQ to simulate a deeper, darker space.

Don’t expect a Lexicon-style reverb. What you get instead is a unique, mechanical effect that is alive. It reacts to the dynamics of your music, physically vibrates in the room, and gives your productions an organic texture that no plugin can “easily” replicate. It is ideal for anyone looking for the beauty in imperfection.

The Nerd Trap: When Technology Devours Creativity

We live in an era where “creativity” is frequently confused with “consumption.” The modern audio nerd often defines themselves by the size of their hard drive. They possess terabytes of meticulously curated string libraries from London studios and emulations of mixing consoles they will never see in real life.

In this world, success is measurable: whoever owns the most expensive software is deemed the most “creative.” But when a project suddenly appears that uses a mundane condom, a cardboard tube, and a healthy dose of experimentation to generate sounds that no €500 library can replicate, that worldview collapses. It is an encounter with genuine creativity—and for the average forum user, that poses an existential threat.

The Silence of the Lambs: Envy as a Crime of Omission

Why does no one react to the unconventional? The answer lies in cognitive dissonance. The forum elite is programmed to argue over the nuances of compressor algorithms. That is safe, that is measurable, and that is where one can play the “expert.” A sampled condom, on the other hand, defies categorization. There is no manual for it.

The lack of reaction here is not a sign of disinterest, but rather a form of collective envy management. Acknowledging a truly original idea would mean admitting that one’s own expensive equipment cannot replace a single good idea. Silence is the safest wall to protect one’s own lack of imagination.

Everyday Satire: Mainstream with an “Alternative” Sticker

It is the great irony of the internet: everyone wants to be “unique,” as long as that uniqueness exists within approved boundaries. People want to be the “crazy rebel” who uses a slightly different plugin on their snare drum—but heaven forbid someone actually uses their brain and everyday household objects.

Forums have degenerated into digital supermarkets where desperate users search for the “magic ingredient” to breathe life into their boring tracks. The truth that this life might be sitting in a drawer from 15 years ago, in the form of a simple latex experiment, is a reality too painful to comment on.

What is the Community Worth?

When a forum dedicated to audio art responds to true sonic innovation with zero reaction, it no longer deserves its own name. At that point, it is merely a waiting room for people waiting to be told what to buy next in order to feel “artistic.”

Real creativity doesn’t need applause from the echo chamber of conformists. The silence of the nerds is, fundamentally, confirmation that you have found a “glitch in the Matrix.” Anyone who overwhelms the masses has achieved at least one thing: they have stopped being part of the herd.

In February 2011 , we did something curious and fun. When you try to produce unusual sounds, you come up with all sorts of ideas. There was a condom lying around in the studio. Somehow , the idea arose of how long you could stretch it. Suddenly , the thing looked like a guitar string , and it was plucked. Basically , it was already clear what was coming next.

We sampled the condom in every possible way. Since 1997, we ‘ve been releasing techno in all its variations under the project chrom.o.som , and this led to a track consisting solely of this sampled condom . For some reason, this idea was shelved. After a few years, we researched whether a condom had been sampled in the music world, where by then everything seemed to be sampled. We found nothing. Even today, in 2026, no one has copied it. Therefore, it was a unique idea.

There is a “Free Sample Pack” with 22 sounds available for download. Download

The complete version “Condomophone Sample Pack – 53 Sounds (9.00 EUR)” can be ordered on the “ Download ” page.

One of chrom.o.som ‘s first tracks was “chromosom” from 1997. This track is also a kind of artwork with special characteristics, as new versions are released at longer intervals.

If you are tired of sterile VST reverbs and looking for a shimmer that sounds like a haunted industrial hall, this project is for you. We are building a “Plate” Reverb using affordable materials from the hardware store. It’s not a Lexicon, and it’s not meant to be—it’s an electromechanical instrument designed for experimental textures and metallic grit.

The Concept

Most professional plate reverbs use a massive, flat steel sheet. We are breaking the rules by using a Trapezoidal Roofing Sheet. The ridges change the way sound waves propagate through the metal, resulting in a complex, dense, and slightly “trashy” reverb tail that is perfect for industrial, ambient, or lo-fi productions.

Shopping List & Tools

Hardware Store Materials:

• Wooden Slats: (e.g., 2x50x200 cm) for the frame.
• Corrugated Trapezoidal Sheet: (100×100 cm, galvanized steel or aluminum).
• 4 Tension Springs: With loops/eyes.
• 4 Eye-Bolts/Hooks: With wood thread.
• Metal Brackets & Wood Screws: For frame stability.
• Machine Screws & Nuts: To mount the transducer.

Electronics:

• 1 Surface Transducer (Exciter): 20W to 30W (This “plays” the audio into the metal).
• 2 to 6 Piezo Pickups: (These “capture” the vibrations).
• Mono Jack Sockets: (6.35mm / 1/4 inch).
• Hook-up Wire & Electrical Tape.

Tools:

• Cordless Drill & Metal Drill Bits.
• Soldering Iron.
• Screwdriver.

Step-by-Step Construction

1. The Heavy-Duty Frame

Build a square wooden frame with an inner dimension of 110 x 110 cm. This ensures a 5cm gap on all sides for the 100×100 cm plate.

• Stability: Screw short pieces of the slats to the bottom corners as “feet” so the frame stands vertically.
• Bracing: Use metal brackets to ensure the frame doesn’t warp under the tension of the springs.

2. Suspending the Plate

The goal is to let the plate float so that vibrations don’t escape into the floor.

• Drilling: Drill one hole in each of the four corners of your trapezoidal sheet.
• Hooks: Screw the 4 eye-bolts into the inner corners of the wooden frame.
• Tension: Attach the springs between the frame hooks and the holes in the plate. The plate should now hang freely in the center of the frame. It should “ring” when you tap it.

3. The “Voice” (Input)

We use a surface transducer (exciter) to turn the plate into a speaker.

• Drill a hole in the middle (or an off-center position for a different character) of the plate.
• Bolt the Transducer firmly to the metal.
• Note: You will need to send your “Reverb Send” signal from your mixer into a small power amplifier (like a cheap Class-D amp) to drive this transducer.

4. The “Ears” (Output)

Instead of one microphone, we use multiple Piezo Pickups.

• Tape the Piezos to different spots on the plate using strong adhesive tape.
• Because the trapezoidal sheet has ridges and valleys, every position sounds different.
• Pro Tip: Place two Piezos on opposite sides for a wide (though phase-coherent) stereo-ish effect.

5. Wiring & Final Touches

• Mount a small wooden board to the side of the frame to hold your jack sockets.
• Solder the wires from the transducer and the piezos to these jacks.
• Keep your wiring neat with tape to avoid “rattling” against the frame.

How to use it in your Mix

1. Send: Auxiliary Send -> Small Amp -> Transducer.
2. Return: Piezos -> Mixer Inputs (Use high-gain/Hi-Z inputs if possible).

The Magic of Multi-Tracking: Since you have up to 6 Piezos, don’t just use one. Bring them all into your mixer on separate channels. Each Piezo captures a different frequency resonance of the trapezoidal sheet. By mixing these signals, you can “thicken” the reverb tail or EQ the “metal” out of specific channels to create a dense, shimmering atmosphere.

Don’t expect a pristine hall. This device is alive. It hums, it rings, and it has a soul. It is a physical object that reacts to your music. For experimental sound design, it’s an absolute goldmine.

Happy Building! Let us know how your “Trapezoidal Reverb” sounds!

Building on your DIY Plate Reverb, the leap from a “science project” to a studio-ready tool often lies in the impedance matching and shielding. Piezos are high-impedance devices; if you plug them directly into a line input, they will sound thin (no bass) and act like giant antennas for hum.

Here is the technical follow-up in English, designed for a blog or forum.

Part 2: Taming the Noise – Pre-Amps & Hum Reduction

If you’ve connected your Trapezoidal Plate Reverb and noticed it sounds “tinny” or suffers from a constant 50/60Hz hum, don’t worry—that’s normal for high-impedance (Hi-Z) DIY builds. Here is how to fix it with a simple Pre-Amp circuit and a grounding strategy.

1. The Simple “Buffer” Circuit

Piezos need a high input impedance (at least 1–10 $M\Omega$) to capture the full frequency range of the plate. Without a buffer, you lose all the beautiful low-end resonance.

The Schematic Concept (JFET Buffer):

You can build a simple “JFET Buffer” using a single transistor (e.g., J201 or 2N5457).

• Components: 1x JFET Transistor, 1x 10 $M\Omega$ Resistor (Input), 1x 10 $k\Omega$ Resistor (Source), 1x 10 $\mu F$ Capacitor (Output).
• Power: 9V Battery (cleaner than a cheap power supply).
• Result: This converts the weak, high-impedance Piezo signal into a strong, low-impedance signal that your mixer loves.

Pro Tip: If you don’t want to solder a circuit, use a DI Box with a high-impedance input or a cheap Acoustic Guitar Pre-amp pedal for each Piezo.

2. Reducing Hum and Interference

Since your metal plate is basically a massive antenna, it will pick up electromagnetic interference (EMI) from your lights, computer, and monitors.

A. The “Grounding the Shield” Method

The most important step is to turn the plate itself into a shield.

1. Ground the Metal Plate: Take a wire and connect it from the metal plate (use a screw/washer) directly to the ground/sleeve of your output jacks.
2. Shielded Wiring: Use “shielded” audio cable (coaxial) for the run between the Piezos and the jacks. Do not use simple copper wire for long distances.

B. The “Hum Destroyer” Circuit (Differential Pair)

If you are using two Piezos, you can wire them in a Pseudo-Balanced configuration to cancel out hum:

• Wire Piezo A to the “Hot” (+) of your XLR or TRS jack.
• Wire Piezo B (flipped upside down) to the “Cold” (-) of the jack.
• Interference that hits both Piezos simultaneously will be cancelled out by the phase inversion, while the mechanical vibration (which hits them slightly differently) remains.

3. Mechanical Hum (Isolation)

Sometimes “hum” isn’t electrical—it’s the sound of your building!

• Soft Mounting: Ensure your wooden frame sits on rubber pucks or old carpet.
• Tension Check: If the springs are too tight, they can transmit vibrations from the frame to the plate. They should be just tight enough to keep the plate from sagging.

Summary of the “Silent” Build:

1. Piezo -> Shielded Cable -> JFET Buffer -> Mixer.
2. Plate -> Earth/Ground.
3. Exciter -> Separate Power Supply (keep the amp power away from the Piezo lines).

With these steps, your experimental reverb will move from “noisy junk” to a “boutique lo-fi processor.” It will still have its unique, dark character, but without the annoying buzz of the modern world.

Forget expensive synthesizer presets. The most exciting sounds of our time are hiding in the garage, the hardware store, or the storage closet. In our latest sound experiment, we transformed everyday objects into complex resonant bodies to create a sample pack that sets new benchmarks in terms of texture and punch.

The Setup: Physics Over Software

Over the past few weeks, our studio looked more like a workshop. We worked with materials that usually serve as packaging or household helpers, but are completely underestimated acoustically:

• Plastic canisters and bottles: Our source for organic impacts and dry bass impulses.
• Carboard carpet tubes: Several-meter-long hollow bodies that act like natural low-pass filters.
• Vacuum cleaner hoses: The secret weapon of this project. The ribbing of the hoses generates unique overtone series when blown through or struck.

The Method: “Internal Recording”

The crucial trick in this experiment was the microphone placement. We positioned highly sensitive microphones directly inside the vacuum cleaner hoses and at the end of the long cardboard tubes.

Tubes and Canisters for Percussive Sounds

Because of this setup, the object itself acts as both a filter and an amplifier. When you create a sound at one end of the tube, the sound travels through the long body, refracts off the walls, and arrives at the microphone as a “fat drone” or a metallic, diffuse reverb. The result is a sound with enormous spatial depth, without having to add any artificial reverb.

From Noise to Instrument

In post-production, we divided the raw recordings into two categories:

• Industrial Percussion: By systematically tapping and striking the canisters, we created hard, percussive sounds. Using transient-heavy processing, we shaped them into kicks and snares that possess an unmistakable “plastic snap.”
• Cinematic Drones & Atmospheres: The recordings from inside the hoses and tubes provided us with massive, droning soundscapes. Through extreme time-stretching and pitch-shifting, simple wind noises inside the hoses became dark, cinematic pads.

The Sample Pack: Ready for Production

We have professionally processed all of this material. Each sample has been carefully cut, normalized, and cleaned of unwanted interfering frequencies—without losing the raw, honest character of the original source.

This pack is designed for producers who are tired of clinically clean sounds and want to give their tracks a physical presence. Whether it’s hard techno, experimental IDM, or atmospheric film music—these sounds really bite into the mix.

Available Now

The complete sample pack made from canisters, tubes, and hoses is available for download right now. Bring the resonance of the real world straight into your DAW.

Download page here