MATRIXSYNTH: Search results for DIGITAL DREAM WAVES


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Showing posts sorted by relevance for query DIGITAL DREAM WAVES. Sort by date Show all posts

Tuesday, December 05, 2017

Arturia Introduces Virtual Polyphonic Buchla Music Easel, Fairlight CMI, DX7, Clavinet in V Collection 6


Published on Dec 5, 2017 Arturia

Playlist:

Arturia announces V Collection 6
Arturia announces CMI V
Arturia announces DX7 V
Arturia announces Buchla Easel V
Arturia announces Clavinet V

Update: tutorial videos:






And a couple of user videos followed by some details on each:

Arturia Buchla Easel V Dual S&H Sequence Sound Design

Published on Dec 5, 2017 Rishabh Rajan

"A tutorial on creating a unique Sample & Hold type melodic pattern using the Complex Oscillator and the Modulation Oscillator in the Buchla Easel V from Arturia. The Buchla Easel V is included in the V Collection software suite."

Arturia V Collection 6 vs Analog Lab 3: Review, what's new and the best way to get it

Published on Dec 5, 2017 loopop

"For over 15 years now Arturia has been recreating and then breathing new life into legendary vintage synthesizers. Both V Collection 6 and Analog Lab 3 contain a massive library of 21 instruments and over 6,000 presets. The depth they go in and care they put into these recreations is astounding. And once they've completed recreating an instrument, they take it much further adding substantially more functionality, typically including more modulations, sequencing, effects and polyphony. Since there are quite a few buying options that let you get your hands on these - in this video I'll talk about what the different software packages give you and what's the cheapest way you can get started."


"In 1980, the Fairlight CMI turned heads with the introduction of digital sampling. Now our software homage lets you turn some heads yourself.
With exotic new sound of digital samples, the promise of an all-in-one digital workstation, and a physical design right out of a sci-fi movie, the Fairlight CMI was an object of desire for most self-respecting ‘80s keyboardists. Countless musicians and producers weighed the risks of bank robbery in order to afford one. No need today. Our faithful recreation gives you the same tools that many MTV stars used to make a cannonball splash into the pool. We’ve even made lots of improvements and additions that bring added power to this keyboard legend, including an alternate additive synthesis engine and tons of new modulation options. No vintage keyboard collection is complete without the CMI V.

Now it’s your turn to experience the sound and power of the digital workstation that started it all.

The unique musical architecture of the CMI

The CMI V isn’t just a digital instrument. It’s a complete digital workstation.
Our enhanced reproduction of this keyboard superhero lets you work with 10 digital instruments of your choice at once—mixing, layering, splitting and sequencing them as you please. Each instrument can draw from three different means of sound generation. The most obvious is the sampling engine that literally first defined the term in the industry. You can also shape sounds with the original additive synthesis engine where you control each of the component harmonics over time. We’ve even spun up the propellers and introduced a newer, simpler means of exploring additive synthesis like you’ve never heard it before named Spectral Synth. You also get around 300 expertly designed presets to get you going—including the original library of sounds you’ll recognize from countless hit recordings.

The CMI V has everything you need to explore the intersection of sampling and digital synthesis."


"In 1983, the DX7 changed the world of music. Today, the DX7 V gives you the power to change it again.
Nothing says ‘80s like the sound of the DX7. Our authentic recreation gives you all the same FM digital technology and sounds that earned the instrument a revered place in the history of both keyboards and contemporary music. We didn’t stop at just replicating it, though —we re-imagined it. New operator waves, extensive modulation additions, arpeggiator and onboard FX chains enhance your sonic possibilities exponentially. For bonus points, an intuitive graphic interface makes what was once a daunting programming task a creative joy today.

We put booster rockets on the instrument that created innumerable ‘80s hits. Now you can create the definitive sounds of today and tomorrow.

Unleash your inner sound designer with expanded features

The DX7 V gives you a unique tool for customizing and creating new musical instruments and sound effects.
With its radical departure from analog designs, FM synthesis helps you chart new sonic spaces. The DX7 V is capable of producing an incredible spectrum of sounds ranging from natural-sounding instruments to unique synths to alien worlds—complete with all the crystal clarity and punchy transients uniquely associated with FM. Since having an instrument with such extreme depth and potential is the dream of every sonic explorer, we challenged ourselves to go even further. We added a host of new features including multiple waveforms, a filter and feedback loop on each operator, new modulation sources, a monster unison mode, and more.

The DX7 V is the perfect design tool for designing unique new instruments and ear candy that help you make your own distinct musical statement.

Design elegance meets sound design power

The DX7 V sports a stunning interface allowing intuitive control over all of the instrument’s dramatically expanded features
While retaining the feel of the original design, we’ve streamlined the main interface of the DX7 V to make it much simpler to use and understand. Here you’ll find an uncluttered presentation of only your everyday performance controls, as well as the fundamentals to start visualizing and exploring new sonic structures. When you’re ready to dig deeper and flesh out the detailed character and animation of your sounds, one click presents a programmer’s paradise of incisive controls and displays light years beyond the tedious original hardware interface. Balancing usability and all the added power in the DX7 V, tabbed windows easily put your fingers on logically grouped functions spanning enhanced operators, additional envelopes, matrix modulation, step sequencer, FX architecture, and more.

Whether you just want to play the extensive library sounds or program your own, the DX7 V is a dream to use."


"Buchla Easel V
WEST COAST SOUND DESIGN PLAYGROUND

The Buchla Easel V is the first recreation of Don Buchla’s iconic instrument that helped define experimental West Coast modular synthesis in the early ‘70s. Our enhancements translate to vastly expanded possibilities for sound design and avant-garde music.

You’ve always wanted to paint with sound. Now you can with the Buchla Easel V.
One look at the Buchla Easel V and you know this is a different beast. In fact, it makes you think differently about sound right from the start—and the soundscapes you can design with it are as unique as the front panel array. To put that experience at your fingertips, we meticulously recreated the rare 1973 Buchla Music Easel right down to the component level. As you’ve come to expect from our other V-series instruments, we’ve gone the extra mile by designing in an enhanced feature set including polyphony, innovative new modulation/control sources, step sequencer, effects, and more.

If you like to paint outside the lines, Buchla Easel V is the perfect artistic tool for you.

Welcome to West Coast school of synthesis

Your music breaks from the pack. So does the Buchla Easel V.
The Buchla Easel V faithfully reproduces Buchla’s Music Easel that helped define West Coast synthesis’ focus on experimentation and breaking musical norms. We’ve applied our award-winning TAE™ modeling technology from the front panel to the resistors to capture it all with incredible realism.

Complex oscillator design, AM and FM synthesis, uniquely percussive gate/filter combos, and numerous ways to modulate and clock just about every parameter, all drop you right in the middle of a sonic sandbox. Design and perform soundscapes that burble, shimmer, pulse and evolve without ever touching a keyboard or pad—unless you want to add even more control. Nearly 300 presets by expert sound designers get you started with timbres ranging from hauntingly beautiful sonorities to clangorous pokes in the ear.

Whether you’re looking to experiment with simple sounds or build complex evolving passages, the Buchla Easel V is a constant source of inspiration for sonic adventurers.

Create sounds no one has ever heard before

In addition to faithfully reproducing a classic, we’ve infused the Buchla Easel V with even more of that vintage goodness to love.

We’ve made patching even more fun and foolproof. When you drag a color-coded patchcord between patch points, only valid targets light up, saving you the frustration of making invalid connections that do nothing. The original Music Easel lacked a noise source, so we’ve added one to the preamp—handy for introducing rhythmic elements. We’ve also designed a feedback loop into the preamp, so you can really get things howling. Up to four-voice polyphony greatly enhances your performance capabilities, too.*

With our extensions to Buchla’s original design, you now have an even more intuitive programming experience paired with additional sonic options."


"May the funk be with you

Whether you love playing oldies or pioneering new musical territory, there’s nothing like the distinctive sound of the Clavinet’s hammered strings.
The unmistakable bright, punchy sound of this vintage keyboard occupies a unique sonic space somewhere between harpsichord, hammered electric guitar and slapped bass. Top keyboardists of the ‘70s used its signature bark and bite to cut through the mix while delivering some of the most authoritative percussive keyboard lines ever played. Thanks to the ultra-realistic Clavinet V, you can now command the same crisp sound that helped define funk and formed the bedrock of many pop and R&B hits back in the day. If you’re looking to add natural energy and vintage cred to your sound, the Clavinet V is just the ticket.

The Clavinet V inspires with both the sound and feel of the funkiest electric keyboard ever made. Your fingers have never danced like this before.

Ain’t nothing like the real thing, baby

Only modeling technology gives you this faithful reproduction of a vintage Clavinet.
Since the Clavinet is an electro-acoustic instrument, complete with multiple settings and a dynamic action, there are countless subtle variations during performance. By comparison, “Clav” synth patches and samples seem one-dimensional. That’s why we’ve applied our award-winning physical modeling and algorithmic emulation to give you a sound and playing experience indistinguishable from the real thing.

The Clavinet V brings all the inspiring nuances and natural goodness of the original instrument to your keyboard collection.

More than a Clavinet

Clavinet V delivers all the original features, plus new additions designed to keep your creative juices flowing.
The original Clavinet controls were simple to use, and we’ve kept them authentic. If you want to go deeper, just click the lid open and you can easily tweak exactly how your instrument sounds and behaves. The built-in collection of effects pedals—chorus, flanger, wah and more—let you easily get the rich signature sounds of the keyboardists who popularized the instrument. You’ll also find an integral vintage guitar amp, so you never have to look elsewhere to get just the sound you’re looking for. Of course, everything can be preset for instant recall.

The Clavinet V isn’t just a Clavinet. It’s a complete rig at your fingertips."

Sunday, August 21, 2022

Digital Synthesizer [Yamaha PSS-570 — 1987] Electronic, Experimental Ambient Music #fmsynth #pss570


video upload by DIGITAL DREAM WAVES

Thursday, June 13, 2013

DK Synergy II+ Synthesizer with Kaypro II PC SN 01272

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"The listing is for a Digital Keyboards Synergy II+ synthesizer with Kaypro II PC in great condition! One of the first premium digital synthesizers manufactured in the US , The synth is based on Dr. Hal Alles from Bell Labs synthesizer architecture.This model is the programmable version and has the solid wood casing which only came out with the very early serial numbers. The wood was replaced by tolex to reduce cost in following years. Approx 700 total Synergy units were made of which about 300 were said to be the upgraded programmable version.It is estimated that only 100 or so units are still operational today of which about 20% are the higher end wooden case version. When the Synergy II + hit the market in the early 80s, they were going for upwards of $10K for the wooden programmable version with Kaypro PC. The DX7 came out with their FM synthesis in 83 for $2500 and changed the entire synth industry. After that DK was dumping their units for under $7K with Kaypro and eventually went under in 1985. I payed $5,450 (including shipping) for this unit 8 months ago so for a 30 year old rare synth , it is still holding it's value.

The Synergy II+ 's Kaypro II PC is in great shape as well with two functional drives and the 1980s style green light screen resolution is still very prominent. You can find Kaypro PCs for sale on eBay should you ever need a back up. The sale includes everything you see in the photos- Synergy synth, Kaypro PC and keyboard, null modem cable to RS232 port ,original operational manual for the synth( not a copy), instructions for understanding the Kaypro and the complete Synergy library.The library includes close to 500 patches. It includes the L1-L13 FDs, VCART1-VCART6 FDs and Wendy Carlos Library( WENDY 1-WENDY3 FDs). All library, diagnostic, software systems and boot disks have been backed up with multiple copies, anywhere between 4-6 sets of each. The sale also includes a 2 hour video made by the original owner who purchased this synth as a floor model in 1983. The video on DVD is well thought out as well as his written start up instructions to get a new owner going. You definitely want to review the video and documents to understand the nuances using the synth and PC software . Included are the original documents listing the names and categories of the library disks and patches/voices in alphabetical order and by instrument or sound type. Other documents include synth schematics, pin schematics if you want to make your own null modem cables and addendum released by DK.

This synthesizer is definitely not for the touring musician or quick knob turning gratification player. This synth is typically purchased as a collectors piece or a programmers synth who enjoys sound sculpting for personal pleasure or studio recording. This synth has unique architecture and very sophisticated envelope control . What makes the Synergy II+ unique even to this day is that you voice each oscillator twice for both frequency and amplitude and you have 16 different envelope points for each envelope. So you get to control how each voice changes in response to velocity. For example, you might choose to have a phase modulated envelope that rises very sharply at low velocities and dies off fast, but at high velocity(loud notes) it rises less sharply and dies off much more slowly. Or you could do the opposite with the carrier envelope scheme which means the loudness envelope of the timbre operates normally with a sharper attack the harder you press the key but a shorter decay at louder amplitudes. Since you can define two 16 point frequency envelopes for each oscillator and you are dealing with phase modulation, you can have sound going from strictly harmonic overtones to inharmonic partials and back again over time or set it up to go inharmonic to harmonic and back again. And this effect is with just two oscillators. Typical Synergy II+ patches use 3-6 oscillators so you can also detune them to get chorus effects. Another reason to set up multiple chains of oscillators for a patch is to have different sets of overtones moving in and out of harmony against one another which gives you very complex timbral effects like you would get with real instruments. Another reason to use multiple oscillators is so you can combine additive synthesis with phase modulation to create some very realistic percussive sounds like bells or chimes using subharmonics of the fundamental of a note to create that low hum that is not harmonically related to the timbre ,but present in real percussive instruments.There is a reason that Wendy Carlos still has two Synergy GDS units among her gear of only 5 remaining keyboards.

For those not familiar with the Synergy, there is a good website if you Google DIgital Keyboards Synergy Preservation Page.Also there are several YouTube videos on this unit. However, here are the basics:

Tuesday, March 31, 2020

PPG Wave 2.2

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"This is one of my most prized and cared for possessions. If we weren't in the middle of an unprecedented financial crisis, I would prefer have this beauty buried with me. ;) It's the absolute king of wavetable synthesizers, the first and only of its kind if you ask me (and virtually anyone else who's had the privilege to use one). I've had this particular one for the better part of 20 years, and she's never let me down (unlike multiple new synths where I find myself flustered when firmware corrupts or memory erroneously wipes out); she's just been steadfast and true for her treasured time with me. Always kept in a non-smoking studio, voltage regulated and on battery backup. When I bought this beauty some 20 years ago I was under the impression the previous owner had a good working relationship with PPG when they were still in business and this was one of the first editions in circulation. This beauty was exported to the UK and found a home with one of the curators of the early 2000 (UK) PPG Conferences. With the help and guidance of PPG connoisseur, H. Seib, she was gone through with a fine tooth comb and had been swapped out with new bushings, keys and factory formatted. Since my acquisition of this unit (3rd owner by my understanding) I had created and sculpted custom waves with the Waveterm A (When it still functioned, but sadly that is now a very distant memory) and a wide range of factory sounds which are still in place. I had considered the upgrade to V8.3 to save much of the library I had created but wouldn't attempt it without the expertise and assistance of a few friends in Toronto who had years of experience working on these, but sadly that never did come to fruition. Time is always the greatest enemy, isn't she? ;) I also have the entire factory soundset from the floppy disk of the 2.3, Waveterm A and B as well as many wavetables shared on the old PPG forum so the update would probably be worth it. It's a fairly easy upgrade and still available to purchase if you're considering using the SYSEX features of V8.3. There was discussion some years ago about a virtual waveterm being available at some point (Waveterm C), perhaps a gentle nudge in the PPG discussion forum and it will eventually materialize with those DIY monowaves. ;) Until then, I leave you with one of the worlds finest synthesizers ever imagined. This is the stuff dreams are made of, not kidding. Serious inquiries only, thanks!

Sunday, July 22, 2018

Dave Smith Instruments Evolver Synth Module SN 5197

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"The Evolver’s unique tonality comes from the synergy of its two analog oscillators and two digital oscillators (which feature the waves from the legendary Prophet VS). Classic Curtis analog low-pass filters and real analog VCAs add warmth and girth to the analog section while the digital high-pass filter, tuned feedback, and digital distortion provide sizzle and grit. But what really sets the Evolver apart is the way in which the analog and digital sides of its personality mesh—in a true stereo signal path. Massive doesn’t even begin to describe the sound of the Evolver.

Imagine being able to move effortlessly from thick analog smoothness to crisp digital edge—or anywhere in between—and you begin to get the picture. The LFOs, step sequencer, and three separate delays can all be synced for complex, evolving, rhythmic, time-based effects in true stereo.

It’s a sound designer’s dream that can go from ultra creamy to ultra aggressive with the turn of a knob. If you need convincing, just listen to the demos.

Saturday, October 02, 2021

DSI Evolver SN 04422

Note: Auction links are affiliate links for which the site may be compensated.


via this auction

"The Evolver marked Dave’s Smith’s triumphant return to hardware synths and still sets the standard for sheer sonic ferocity in a monosynth. It features a plethora of Dave’s best ideas packed into a monstrously powerful instrument with a sound like no other.

The Evolver’s unique tonality comes from the synergy of its two analog oscillators and two digital oscillators (which feature the waves from the legendary Prophet VS). Classic Curtis analog low-pass filters and real analog VCAs add warmth and girth to the analog section while the digital high-pass filter, tuned feedback, and digital distortion provide sizzle and grit. But what really sets the Evolver apart is the way in which the analog and digital sides of its personality mesh—in a true stereo signal path. Massive doesn’t even begin to describe the sound of the Evolver.

Imagine being able to move effortlessly from thick analog smoothness to crisp digital edge—or anywhere in between—and you begin to get the picture. The LFOs, step sequencer, and three separate delays can all be synced for complex, evolving, rhythmic, time-based effects in true stereo.

It’s a sound designer’s dream that can go from ultra creamy to ultra aggressive with the turn of a knob. If you need convincing, just listen to the demos.

Monstrous four-oscillator voice architecture
True stereo signal path with separate Curtis analog low-pass filters in each channel
Dedicated onboard effects (feedback, delay, distortion, high-pass filter, etc.)
16 x 4 step sequencer really brings the Evolver to life with evolving “pseudo-polyphonic” sounds – you won’t believe it’s mono!
Stereo audio input for audio processing of external stereo or mono signals, enabling the synth to act as a unique stereo effects processor
Everything (sequencer, LFOs, and delay) syncs perfectly to MIDI.
Easy-to-navigate matrix-style interface for quick editing and real-time control of 8 parameters simultaneously
Multiple Evolvers can be daisy-chained for more polyphony."

Saturday, December 30, 2006

Korg DW8000


Click here for shots pulled via this auction.

Details (Regarding the PPG comments, do note that the DW8000 is not a wavetable synth like the PPG and although some of the sounds are reminiscent of the PPG, they are a bit different as would be expected. The PPG also has considerably more waveforms. Also, the digital waves in the DW-8000 were carried over to the more current MS2000 and MicroKorg line of synths):
"The DW-8000 has an old school analog sound from the early 80's, but it also excels at creating those DX-7 digital pianos and other digital timbres. (Please check out the MP3 links below!!!) It actually sounds very similar to a PPG Wave synth because it's oscillators are digital and filters are analog. If you are into the sound of Depeche Mode, Tangerine Dream or Kraftwerk, this synth is for you! This synth is perfect for emotive, organic pads, deep filter sweeps, screaming portamento leads, throbbing Moog basslines, fat burbling analog sequences, some noisy madness and sweet analog synth percussion. You can also get a nice acid sounding patches like on the Roland TB-303. The filters on the DW-8000 sound a lot like the filters on my old, school Roland SH-2 and Minimoog -- as the resonance increases, the filter screams! The DW-8000 has 8 rich analog voices, a very simple to use sequencer that syncs to MIDI, a very expressive pitch bend/mod joystick, full MIDI implementation and sysex, and a very nice sounding effects processor that allows for chorus, flange and reverb effects. It was an ingenious synth in the 80's and is now still sought after for its rich hybrid digital/analog textures ala synths like the classic PPG Wave. The DW-8000 sound is truly distinct from other polyphonic analog synths, and it makes a great addition to any synth setup!"

SOUNDS & TECHNICAL INFORMATION

* Korg DW6000 Audio Workshop MP3 (same synth as DW8000 less waveforms)
* Blue Synths DW8000 MP3 Files (free registration required)
* Seal's DW8000 Site - very nice mp3s!
* Pallium DW8000 Information Site - very technical!
* Korg DW8000 User Manual in PDF format
* Korg DW8000 Synth Users Group
* Another DW8000 Synth Users Group
Update: DW-8000 Service Manual [mirror]

Wednesday, September 07, 2011

Unlocking Yamaha E70 organ into Yamaha CS80 synthesizer


YouTube Uploaded by allvek597 on Sep 5, 2011
Re-Published on Feb 12, 2016

Update via e man in the comments: "There is no CS style VCO, it's just the VCF's and VCA's - the VCO's in the electronic design are what's used to clock the waveform data from the basic waveforms in ROM. It's like the Korg DW series, only analog on the VCF/VCA side. It has very little pitch control other than minimal glide (semitone range) and same for the vibrato (if even)... the source oscillators are purely phase locked digital constructs."

And: "There is no analog VCO in this entire synth, certainly nothing resembling the CS80 or any other CS synth - zip, nada, zilch - anyone telling you otherwise is trying to sell you swamp water. This is a giant polyphonic that has much more in common with the Korg DW series (also having crude basic waveform in rom), but very much lacking in it's ability to do any pitch control - what little there is, is a an digital approximation of minimal range. The only place you could add modulation circuitry to any great effect is the VCF and VCA section of the Orchestra Voices - pitch modulation is either limited global vibrato or equally minimal vibrato on the upper manual via wiggling the keyboard that drives a photovoltaic shutter combo, again going to a digital interface having little effect - even the glide is minimal and digital. You will never get anything properly analog out of the the Wavetable oscillator end as it's a giant digital construct with loads of sample and holds to distribute the wavetable rom voltages that approximate the basic synth waveforms (ramp, pulse, square). It's basically 3 waveform samples in ROM with very little control over pitch other than basic notes (the speed that the sample is read out from the ROM)."


The following is the original post starting with the video description:

"Mystery is resolved. Chopped and completely electronically modified analog Yamaha E70 organ into Yamaha CS80 synthesizer. What You see now is 2 fully programmable polyphonic synths 2 OSC's per voice + fully programmable 2 OCS's per voice monophonic synth in a body of Yamaha E70. Same P.A.S.S sound technology, same analog filters and same sound, same offspring of legendary Yamaha GX1.
Any questions, please visit www.alvek.us"


via this auction

"Here's one more organ from my collection: Yamaha E70 . What You see in the pictures is completely modified Yamaha E70 in body and electronically. Organ after chop work went 327lbs down to 130-140lbs(Yamaha CS80 is 242lbs) and under the hood all electronic carts are located pretty close to like inside of CS80. It's been a while people talking about E70 which has same P.A.S.S technology like CS80 and electronic carts, all wiring are practically the same like CS80. Yes, E70 has absolutely the same analog filters like CS80, same sound synthes and it does sound like CS80. This particular E70 has beed modified from organ into 2 and half fully programmable CS80. All presets still have same functions except FUNNYII preset green buttons. Those 3 green buttons(1 for upper, 1 for lower keyboard, 1 for pedal board or extra keyboard) function now differently. When You push FUNNY II E70 starts to work as most powerful and expensive programmable synth-Yamaha CS80. On left top of organ You see control box. The box has 3 sections: 1st for upper keyboard, 2nd for lower keyboard, 3rd for footpedal/or extra keyboard you can hook up. You can see all signs under the switches(3 waves forms sawtooth and 2 square waveshapes) and pots, they have same function like on CS80. So after all this E70 has 2 polyphonic 7 voices 2 OCSs per voice CS80 synths and one monophonic 2 OCS per note synth (pedal or extra keyboard which can be connected to E70 is monophonic, it's perfect for bass lines and pretty good even for leads as far as You will move 2 OCS slider from 16' up to 4'). Oscilators can be detunes between each other and between keyboard. Does E70 sound like CS80?. Yes, it does. Main different between E70 and CS80: no velocity and aftertouch on E70. Big flaw. On another hand You have 2 and half CS80 under the hood. You can build sound on upper keyboard and MIX IT with sound you built on lower keyboard. Also you can add organ/orchestral section(they all can be saved in memory-see small control panel on a botton of organ to left-very much the same look like on CS80) from upper keyboard AND organ/orchestral section from lower keyboard. Same thing can be done between lower polyphonic and monophonic keyboard/pedals: monosynth also can be played on first 2 octave of lower keyboard. Now You realize CS80 is kind of kind of behind! PLUS very powerful arpeggiator! and even cheesy drum machine and 100 lbs less. From control box You can see 3 cables coming inside of E70, each cable has 25 pins . The connector 9 pins in a middle of a back of E70 serves expression pedal. 3 inputs 1/4 on back are not hooked up. Could be 1/4main output(original main output on a bottom of organ)or sustain pedals-it's easy to hook up. Same about 6 inputs on control panel-they are not hooked up. It's your choice how to use them. I didn't connected any inputs for 1/4 jack, coz basically all extra functions are on control panel of organ. I don't play on stage, so I can turn on sustain effect simply by hand. The organ is absolutely stable in tune and doen't have overheat problems like CS80 Anyway, if you are still skeptical about what You read here, please check some INFO on line about unlocking Yamaha E70 and Yamaha CS80 both children of Yamaha GX1. And don't forget how much money you will save not buying CS80. Please check, read and watch all links below and You will see it's not a dream anymore. You can get 2 and half CS80 more than 4 times cheaper... compare to ebay price for last month. "

Update: new video and description in this post.



Sunday, October 01, 2006

PPG Wave Differences


This one in via Nikos:

"PPG front panel differences:

In the picture, the 2 upper photos are the PPG Wave 2.0: as you examine the front panels you'll find differences:

The upper one (which I call the first version because it was used for the original brochure) has no space between top legending and top flat panel. Also the legending around the LCD screen has a different configuration, compare with the second version. That usually had Moog type- chrome topped knobs, here in the pic has the standard PPG type. The second version which is more common, has a space between top flat panel and upper legend. To be more confusing, I've seen sec. ver. Wave 2.0's with chrome topped knobs! Also in the second the legending around the screen has the same configuration with the later Waves (2.2 , 2.3). Also, the top writing 'Multiple digital/analog control panel' has different placement and font size in all versions (2.0a, 2.0b) and in the 2.2/2.3 is on it's final placement. The later versions (2.2 / 2.3) had no differences between them anyway, and both had standard pitch/mod wheels, compared with the wave 2.0 single wheel with it's strange ergonomic angle - I can't tell if it's more comfortable than the usual placement - better ask a wave 2.0 owner!

A curious thing is that in almost every Wave 2.0 I've seen, the front panel paint is worn, mostly in the volume knob area and the programmer's numerical switches area. This problem is not common in later waves -maybe they improved the front's panel paint quality/sturdiness. It is reported that only 200 2.0's were made (both versions).

The main internal difference, apart from the single oscillator per voice in the 2.0, is that the filter chip was the CEM 3320 -in the Wave 2.2/2.3's used the SSM 2044 of course. As for the VCA's, in the 2.0 used the CEM 3330 (dual VCA) and in the 2.2/2.3 the VCA chip was the CEM 3360 dual VCA as well.This info is backed by service literature. Sound wise, the 2.0 was more rawer and primitive than the 2.2/2.3's, although the INTERNAL wavetable resolution in ALL Waves, was 8-bit. Things were different in 2.3's, where it had SRAM of 12-bit and thus you could play samples from Waveterm B loaded into the 2.3.

Edgar Froese of Tangerine Dream and Klaus Schulze both had the first version of Wave 2.0 and used them 'till 1983 as far as I know. In fact, E. Froese's is visible in his rig in the 'Poland' video (1983 - left) and Klaus Schulze had his own Wave 2.0 with him, when he toured Poland in 1983. You can have a very good idea how well the Wave 2.0 by listening to track 'Remote Viewing' by Tangerine Dream, from the 'Exit' LP, from the middle and on there some melodies played by Froese on the Wave 2.0 with a voice-like patch,gritty, beautiful and majestic.

PPG photos credits: top photo from ebay auction, second by Laurent Prot from Paul Maddox PPG CD-ROM, the 3d by a 'Matrixsynth' link and Edgar Froese's pic is a capture from the 'Poland' video.

That's about now,
Long live the Wave.
Nick-Greece"

Wednesday, October 28, 2020

Rob Papen Introduces Blade 2


Rob Papen



And the press release:

Rob Papen sharpens soft synth breakthrough by bringing boosted BLADE-2 to existing bundle owners and wider world beyond


ECHT, THE NETHERLANDS: virtual synthesizer, instrument, and effect plug-in developer Rob Papen Inspiration Soundware is proud to announce availability of BLADE-2 — boosting its original BLADE soft synth with fantastic features making it a dream synth for synth lovers who like to think out of the box while working in the box, and available at no extra cost to existing owners of the company’s expansive eXplorer-6 and sure-fire SoundDesign-X bundles — as of October 28…

When the original BLADE was released back in 2012, it had a unique concept — controlling the waveform harmonics (HARMOLATOR) using its recordable XY PAD, which was a very different approach to additive synthesis, and remains so to this day. Indeed, it was the first Rob Papen soft synth to include this feature, facilitating flexible sound editing, recording, and tempo-based playback. Put it this way: when putting this extraordinary combination into action, BLADE users can creatively generate very different tones — far from the sound of the subtractive synthesis crowd, and even those of other additive synthesizers.

Thursday, January 01, 2015

Happy New Year From MATRIXSYNTH! - A Look Back at 2014


Happy New Year everyone!

I want to start by thanking everyone that comes to MATRIXSYNTH and helps make it what it is - the readers, the supporters, and of course all the sponsors on the right.

THANK YOU and have a GREAT 2015!!!

This site is a labor of love and a ton of work. This site is ultimately meant to be an testament to everything synth in the making. We have over nine years of daily synth history captured here, 119,983 published posts. I can't wait to see what the future brings us in 2015!

That said, here are a few interesting bits from 2014 in the longest post of the year. ;)

Monday, October 01, 2018

New Moog One 16 and 8 Voice Polyphonic Analog Synthesizers


This one in via Soviet Space Child. Moog currently has a history of their analogy synths up on their site, but nothing on the Moog One yet.

Update: additional hi-res pics added to the bottom of this post. Click on them for the full size shots.


16 voice priced at $7999
8 voice priced at $5999

Wednesday, March 23, 2011

M-Audio Venom Review and Interview with Product Manager Taiho Yamada


A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.

Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.

*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.

Tuesday, November 14, 2023

Thief (1981) complete "Igneous" scene (music by TD)


video upload by kovalmoog

"The whole scene of Thief (1981) with TD's re-edition of 'Thru Metamorphic Rocks' theme, renamed as 'Igneous' in the OST release.
The film version is by far more extensive than Thief CD version.
Enjoy that sequence !"

TD = Tangerine Dream.

Curious what they were using back then. According to this thread, they used the following on tour during that time period:

Live in East Berlin, 31st Jan 1980

Chris Franke:
Custom modular synthesizer (comprising of about 50% Moog and 50%
Projekt Electronik):
Moog Oscx2/R.M./VCF/VCAs
Projekt Elektronik VcEnvx2 & Proj. Elek. 2VCO/W.Noise/R.M./Waves (for Drums)
Digital sequencer & trigger selector
Programmer for above (SCI model 700 programmer)
Synth sound bank (for above)
Moog 960 sequential controller x2
Projekt elektronik sequence controller x2
Moog 3-band parametric
Moog 12 stage phaser
Moog 920 programmer
Moog 16-channel vocoder
Rhythm robot sequencer
Emu Oddity voice card
12 analogue drum sounds
Drum envelope unit
Drum EPROM sampled sounds
and more...

Oberheim OB-1
Prophet 5 (rev 2)
Minimoog
Korg PE-2000 polyphonic Ensemble
Elka Rhapsody 610 string machine.

Edgar Froese:
custom Moog modular synthesizer (3 box units comprising Moog modules and sequencers plus sequence controllers from Projekt Electronic)
Prophet 5 rev 2
PPG Sonic Carrier 1003 programmable duophonic DCO/DCF/DCA based synthesizer
PPG Wavecomputer 360 polyphonic digital synthesizer
PPG 350 keyboard sequencer
Arp Pro-DGX monophonic preset synthesizer
Korg PE-2000 polyphonic ensemble
Roland MC-8 microcomposer
Roland VC-10 vocoder
Arp/Solina string ensemble
Mellotron mk V

Johannes Schmoelling:
- Minimoog
- Yamaha CP-80 electric grand
- Oberheim 4-voice
- Elka Rhapsody 610
- Polymoog
- Korg PS-3100
- Synthanorma sequencer

-----------

European tours (Nov-Dec 1980 & Jan-Feb 1981):

Equipment used:

Chris Franke:
Moog/PE modular tower as above
Minimoog
Arp Odyssey mk III
Elka Rhapsody 610
Prophet 5 rev 2

Edgar Froese:
Projekt Elektronik modular synthesizer & sequencers (used by Peter Baumann during '76 and '77)
PPG 340 A Generator Unit, PPG340 B Processor Unit, PPG380 Event Generator, PPG x 2 Terminals, PPG x 2 Computer Keyboards,
Oberheim OB-X

He may have used some more keyboards during these tours but I'm not sure which ones (possibly the Arp pro-DGX, the PPG Sonic carrier or the PPG
360 wavecomputer?)

Johannes Schmoelling:
Moog modular synthesizer (usually handled by Edgar Froese on stage)
Minimoog
Polymoog
Prophet 5 rev 2
Yamaha CP-80 electric grand

-----------

British Isles tour (Oct-Nov 1981):

Equipment used:

Chris Franke:
Moog/PE modular tower as above
Minimoog
Arp Odyssey mk III
Elka Rhapsody 610
Prophet 5 rev 2

Edgar Froese:
PPG 360 wavecomputer
PPG Wave 2
Arp Pro-DGX
Korg PE-2000 poly-ensemble
PPG 5-octave keyboard controller
Custom sequencer (by Helmut Groethe)

Johannes Schmoelling:
Minimoog
Oberheim OB-X (handled by Froese on previous tours)
Custom sequencer (like Edgar's)

Thursday, March 28, 2013

Ensoniq SQ-80 Cross-Wave Synthesizer Keyboard

Note: Auction links are affiliate links for which the site may be compensated.
via this auction

"The SQ-80 is basically a reved-up ESQ-1with a total of 75 waveforms, a 61-note keyboard with velocity & aftertouch, floppy disk drive for storing patches and sequences, and an enhanced sequencer. Great for organs, analog-type sounds, pads and sound effects. Like the classic ESQ-1, the SQ-80 functions in providing analog-type 4-pole lowpass filtering and editing of digital waveforms. Each voice can combine up to 3 of the 75 waveforms. These waveforms include multi-sampled transient attack waves such as violin bow, plectrum picks, mallet, hammer, breath attacks and percussive sounds. There are also 5 sampled drum sets. Three LFOs are onboard for some pretty wild modulation of the sounds you create or edit. Complete MIDI implementation makes the SQ-80 great for any studio or live use too.

As for playing the SQ-80, it is a dream! Its 61-note keyboard is full, responsive and has polyphonic aftertouch. Polyphonic aftertouch simply means that each key pressed will respond to aftertouch independently of the other keys. The aftertouch can be used to control a variety of modulation parameters such as the LFO. Pitch and mod wheels and plenty of front-panel buttons and a few sliders make accessing and editing fairly easy and hands-on. The keyboard can be split or layered. The pattern-based 8-track multitimbral sequencer is great for creating short to complex sequences live, or in step time with quantization, bounce-able tracks, 60 sequence patterns and 20 songs. And they can be saved to disk along with any patches you've created and any SysEx Midi data. Unfortunately, the SQ-80 has no built-in effects. The SQ-80 is certainly a classic analog/digital hybrid of the late eighties which still holds up well today."

Thursday, January 15, 2009

NAMM: Waldorf Largo Software Synthesizer

"Many producers and synthesizer enthusiasts asked for a full-blown Waldorf Synthesizer for their virtual rack. We listened, and now we proudly present Largo. Largo is the first pure software synthesizer with Waldorf DNA. And again – it is the cutting edge sound that makes the big difference.

No wonder, as Largo mirrors the technology used in Blofeld and Q hardware synthesizers. As for every Waldorf instrument, ergonomics are a core feature on screen as well. Your eyes will be pleased with a clearly structured, graphical user interface that supports your workflow intuitively.

Largo offers three fat oscillators, two of them with sub oscillators. These oscillators include models of classic analog waveforms as well as a selection of waves from the PPG and Waldorf Wave stored in two Wavetables. All these run through two Waldorf multimode filters with steep cutoff, resonance up to self-oscillation and a drive stage to add even more punch and grainyness to the sound. Ultra-fast envelope generators and flexible LFOs as well as an easy to understand, yet extremely versatile modulation matrix make for a sound designer's dream.

The filters have always been a core part of any Waldorf instrument. With outstanding expertise in both analog and digital synthesis, our developers took utmost care in developing the filters. And you can hear a significant difference when working with a Waldorf filter - they just sound right! Use the comb filters for plucked, stringed or blown sounds. Band pass, high pass, low pass and notch filters are all available with 12 dB and 24 dB slope. All of them sound extremely accurate and add pure sonic quality to the sound of your music.

Largo contains a flexible arpeggiator with 16 freely programmable steps as known from the exclusive Q synthesizer line plus an array of high quality effects such as Chorus, Flanger, Phaser, Overdrive, Delay and Reverb.

The clearly arranged user interface helps you to create your own powerful synthesizer sounds in a breeze. Oscillators and filters are always in direct access while the submodules are only a mouse click away. It has the same exclusive voice architecture as the Q and Blofeld synthesizer line, fully integrated into the total recall system of your Digital Audio Workstation.

Largo works as a VST and AudioUnit instrument.
General Features"

http://www.waldorfmusic.de/en/products/largo

Thursday, December 17, 2020

The Schmidt Returns



The Schmidt is back with a new production run. The press release follows (additional pics below):

"Schmidt-Synthesizer starts shipping fourth batch of no-expense-spared Schmidt Eightvoice Analog Synthesizer namesake

LANGENAU, GERMANY: having since sold out of its previous built-to-order batches of between 25 and 27 instruments each, the first of which followed from interest in namesake hardware and software designer Stefan Schmidt’s hand-crafted prototype unit’s show-stopping debut at Musikmesse 2011 in Frankfurt, Germany, Schmidt-Synthesizer is proud to announce that it has started shipping an eagerly-anticipated fourth batch of its no-expense-spared Schmidt Eightvoice Analog Synthesizer — available in classic anthracite- or cool white-coloured configurations with visually improved hardware operation, courtesy of cosmetic colour changes to several key knobs, and feature-enhancing firmware, currently at version 3.6 — as of December 16…

Starting shipment of the fourth (25-unit) batch of the still-sought-after Schmidt Eightvoice Analog Synthesizer has taken time with time spent waiting while production partner e:m:c (electronic music components) successfully solved procurement problems relating to hard-to-source components. “Now nothing stands in the way of further construction of these unique instruments,” says Schmidt- Synthesizer Product Manager Axel Fischer.

“From a hardware perspective, the new Schmidt Eightvoice Analog Synthesizer is identical to the previous batches, save for the fact that 11 knobs have been changed to a grey colour, making for a more clearly arranged operational layout,” Axel Fischer finally notes — not before highlighting some welcomed additions: “It includes the current firmware, which adds an easy-to-use onboard polyphonic step sequencer capable of recording 40 steps with each step made up of up to six notes — designed to be used as a live performance tool, and an arpeggiator.”

Apart from that, the beautifully-built Schmidt Eightvoice Analog Synthesizer’s specifications as an eight-voice polyphonic, true analogue dream machine with digital control and preset memories — 1,028 single sounds and 256 multi-sounds are available at any given time — are as they were before. But bearing in mind that it includes almost everything subtractive synthesis is capable of, including some truly unique features — for example, creating colder, wavetable-like sounds thanks to its chain of five ring modulators fed by six pulse-waves, each with different pulse-widths — that have never before been implemented in an analogue synthesizer let alone an analogue programmable polysynth, those impressive specifications are well worth revisiting, as highlighted here: discrete sound generation circuitry — no integrated oscillator/filter circuits on a single chip; dual and true multitimbral modes; separate audio outputs per voice, plus summing outputs and headphone output; 61 keys, semi-weighted with velocity and aftertouch; sophisticated glide/portamento capabilities; several realtime modifiers, fully programmable per preset; comprehensive MIDI (Musical Instrument Digital Interface) implementation with USB (Universal Serial Bus) port and DIN (Deutsches Institut für Normung) connectivity; adjustable-angle capacious control panel with dedicated knobs and buttons for all sound programming functions; precise information on parameter names and current values via a large LCD (Liquid Crystal Display) with changeable colour background; multi-colour LEDs (Light Emitting Diodes); internal power supply; and, last but not least — though there is clearly so much more besides, an included flight case.

As a case in point, the fourth batch of the no-expense-spared Schmidt Eightvoice Analog Synthesizer surely epitomises the age-old adage: anything worth having is worth waiting for. Indeed, it has been well worth the wait. With e:m:c recently receiving a sizeable order from the only store it supplies, anyone interested in owning a premier league instrument that will be hand crafted in Germany to meet the highest possible production standards with a metal and wood — carefully selected with a close eye on environmental sustainability — casing that is as beautiful as it is sturdy should seriously consider placing an order directly with Schmidt-Synthesizer’s production partner. After all, the Schmidt Eightvoice Analog Synthesizer is truly a subtractive synthesis world unto itself!

Schmidt-Synthesizer and production partner e:m:c (electronic music components) have had to increase pricing for the fourth batch of the no-expense-spared Schmidt Eightvoice Analog Synthesizer by approximately 10%. Within the EU (European Union) it is €21,900.00 EUR (including VAT) for one in classic anthracite, while white weighs in at €22,900.00 EUR (including VAT), with shipping costs not included. Outside of the EU it is €18,500.00 EUR (excluding VAT) for one in classic anthracite, while white weighs in at €19,300.00 EUR (excluding VAT), with customs and shipping costs not included. Interested parties should contact e:m:c here: info@emc-de.com

For more detailed information, please visit the dedicated Schmidt Eightvoice Analog Synthesizer website here: http://www.schmidt-synthesizer.com/en/index.html

Enjoy taking a Schmidt Eightvoice Analog Synthesizer ‘sneak peek’ in the suitably-impressive surroundings of the Giesshalle (casting hall) at Sayner Hütte, a German industrial heritage building in Bendorf, here:"

Schmidt Synthesizere Intro

Published Nov 9, 2017



Click the pics for larger versions.

Wednesday, July 24, 2019

Alesis Ion Synthesizer With Carrying Case, Manual, And Preset List

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

Saturday, March 11, 2023

Exploring the Magic of the 3rd Wave // The BEST Hardware Synth 4 Sound Design


video upload by Ricky Tinez

"The 3rd wave synthesizer by Groove Synthesis is a powerful digital synthesizer with some amazing analog circuitry. It's quickly become my favorite synthesizer in my studio. It allows users to create a wide range of sounds, from realistic instrument tones to complex waveforms. The synthesizer has tons of knob per function and includes really high quality built-in effects. I mean, look at this list of features JUST on the sound engine.. 32 classic, PPG-legacy wavetables.. 64 waves per table..

48 high-resolution custom wavetables with 64 waves per table.. a total of 64 high-resolution user wavetables.. 7 high-resolution modeled analog waveforms (including continuously variable color noise).. Linear FM.. a 6-stage wave envelope per oscillator with variable time and position that can be looped.. and Optional wave flow for smooth or stepped wave transitions.. That's just the beginning of the synth. Don't forget the analog filter which came from Dave Rossum, 4 envelopes, 4 LFOs, effects.. this synth is a sound designers DREAM. Easily one the best synths for Sound Design right now.

The 3rd Wave - http://bit.ly/3lcLgRX"

Friday, March 25, 2016

Last Call for The Schmidt!

If you have $25,000 to spare and want a Schmidt, now is the time! Just be sure to send some support my way for the tip.

"e:m:c calls last orders for final 25-unit production run of Schmidt subtractive super-synth

'I feel really honoured that musicians around the world love the Schmidt Eightvoice Polyphonic Synthesizer, which simply started as a small-scale bass synthesizer project before I took a chance on building the synthesizer of my dreams. That e:m:c has decided to build another 25 units of this exclusive — and expensive — instrument makes me proud!'

- Stefan Schmidt, 2016


LANGENAU, GERMANY: e:m:c (electronic music components) — German distributor of several key electronic musical instrument brands, including Mellotron (Sweden), Moog (USA), Vintage Vibe (USA), and MIDI Solutions (Canada) — is proud to announce that it is taking orders on a second self-financed (and final) 25-unit build run of the exclusive (and expensive) Schmidt Eightvoice Polyphonic Synthesizer, surely one of the most ambitious analogue synthesizer projects ever undertaken...

The no-expense-spared Schmidt Eightvoice Polyphonic Synthesizer was, without doubt, a showstopper when namesake hardware and software designer Stefan Schmidt’s hand-crafted first prototype unit debuted at Musikmesse 2011 in Frankfurt, Germany. Within a year it was being shipped Stateside for its first proper public airing at The NAMM Show 2012 in Anaheim, California. Indeed, it is somewhat fitting that following a repeat performance at The NAMM Show 2013 that same super-synth prototype made its way over to Santa Monica for an audience with none other than Hollywood hotshot Hans Zimmer, one of the most successful, influential, and prolific film composers of all time with a sumptuous synthesizer-filled studio setup second to none! It’s still there... the rest, as they say, is history.

History has it, then, that the Schmidt Eightvoice Polyphonic Synthesizer is quite possibly the most expensive analogue eight-voice polyphonic synthesizer the world has yet seen and heard. Hardly surprising given the investment involved in its drawn-out development, both in terms of funding and man hours. Hardly the stuff of commercial viability in an accepted age of market value-driven optimisation, often resulting in compromised products. Put it this way, though: this is the synthesizer that Stefan Schmidt always dreamed of, created against all odds without any compromises whatsoever (with more than a little help from friends Axel Hartmann — co-founder and owner of renowned industrial designers designbox, whose distinctive design talents took the Schmidt Eightvoice Polyphonic Synthesizer prototype to another level entirely, thanks to some serious funding from e:m:c President Stefan Hund).

But bolstered by those tradeshow successes, supported by his partners at e:m:c, Stefan Schmidt set about putting his dream synthesizer into (build-to- order) production. A limited run of 25 units was admirably announced. Anyone arguing about its ‘second-tier’ five-figure price point probably couldn’t afford one. But bear in mind that those that could were buying into a thoroughbred analogue eight-voice polyphonic synthesizer with a fully- analogue signal path (with precise digital control) that’s truly a sound designer’s dream machine.

More meaningfully, a quick glance at its complex four-oscillator structure should be more than enough to convince even the most skilled synthesist that the Schmidt Eightvoice Polyphonic Synthesizer is capable of creating complex timbres that go way beyond the capabilities of conventional analogue synthesizers. Speaking of which, Oscillator 4 is worthy of special mention. Thanks to its chain of five ring modulators fed by six pulse-waves, each with different pulse-widths, it can create colder, wavetable-like sounds — despite being fully analogue. These truly unique features are hitherto unheard of in any analogue synthesizer, let alone an analogue polysynth! Subtractive synthesis clearly knows no bounds here, helping to make the Schmidt Eightvoice Polyphonic Synthesizer a shining example of no-expense-spared synthesizer design, deploying discrete sound generation circuitry throughout — no integrated oscillator/filter circuits on a single chip, for instance — in keeping with the highest possible production standards, while each and every parameter is directly accessible via dedicated controls on a seriously spacious front panel to die for.

Fortunately, for Stefan Schmidt and his supportive e:m:c production partners, all 25 units subsequently sold; Hans Zimmer would not be the only seriously satisfied Schmidt Eightvoice Polyphonic Synthesizer owner, after all. And that could so easily have been the happy ending to this success story, with the Schmidt Eightvoice Polyphonic Synthesizer surely going down in the annals of history as one of the bravest moves in electronic musical instrument design as a bold statement that flies in the face of the fast-paced and superficial age we unfortunately find ourselves living in today.

Today, though, with 25 instruments already hand-crafted in Germany and duly delivered to seriously satisfied owners around the world, e:m:c is proud to announce that it will be building a final batch of 25 more. Maintains"

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