MATRIXSYNTH: Search results for Mano One

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"A perfect working Crumar Multiman S/2, the very hard to find vintage string synthesizer designed as the successor to the Multiman-S / Orchestrator. The machine is in very good cosmetic conditions and has been recently serviced by a professional technician. Professional packaging and shipping insurance included in the shipping costs.

Released in 1977 as the successor to the Multiman-S (called the Orchestrator in US), the Multiman S/2 is a fully polyphonic multitimbral string synthesizer capable of splitting and layering sounds. Using the dedicated On/Off buttons, the included sounds can be split in the middle of the keyboard allowing you to play one combination of instruments with the left hand, and another combination with the right. -- The name "Multiman" is the combination of Multi + Man, where Man comes from the italian "Mano" (hand in English).

The Crumar Multiman S/2 features 5 splittable sounds (Brass, Piano, Clavichord, Cello and Violin) and a Bass sound assigned to only the bottom 27 notes of the keyboard. Each sound has its dedicated volume controls for left and right zones and there are 3dedicated audio outputs : Pianos/Bass + Brass + Main (all sounds).

STRINGS
The Multiman S/2 strings are raw, lush and rich with a warm lowend that fits incredibly good in a mix, a powerful sound quite different from other smooth, milky analog competitors. This section includes Cello and Violin, two sound source at different octaves with dedicated volume controls and processed by the integrated 3 line BBD chorus ensemble. The string sounds can also be altered using the global Sustain and Vibrato controls and with the dedicated String Timbre, a 6 db/oct discrete LP filter that allows to generate sounds ranging from dark pads to church-organs to massive analog strings.

BRASS
The brass section of the Multiman S/2 sounds absolutely fantastic. The core of this section is the discrete transistor ladder LP filter equipped with Cutoff, Resonance (labelled Contour & Emphasis) and filter Attack and Decay. The Cutoff and Resonance are totally Moog-style and the fast Decay coupled with the smooth Attack allow to generate a variery of fat sounds ranging from puncing basses to sweeping leads and majestic analog brasses. The Multiman S/2 brass section gives his best at the mid-low frequencies and, despite its sculpted and definite character, it works great when layered with the raw strings. The global Sustain and Vibrato controls are also available for the Brass.

PIANO
The Piano section includes Piano and Clavichord sounds with dedicated volume sliders and the global Release and Vibrato controls. The Clavichord is the classic sound implemented in all the string synthesizers, a HP filtered saw waveform designed to add extra harmonics to the main sounds. But the Piano sound in the Multiman S/2 is not the classic analog piano emulation you can find in other string synthesizers, it looks kind of low-end enhancer designed to be played together with the other sound sources.

BASS
The Bass sound in the Multiman S/2 is very, very huge. It sounds like a 808-style bass drum with a smooth, pleasant saturation. This sound has been originally designed as accompaniment instrument but it can easily find its place in modern music productions. Used in conjunction with Piano and Brass, it can generate truly earthshaking analog bass sounds.

Specifications
Polyphony - 49 notes
6 Sounds: Brass, Piano, Clavichord, Cello, Violin and Bass
Brass Filter : Attack, Decay, Cutoff, Resonance.
String Filter : 6 db/oct discrete LP
LFO : Vibrato and Depth for all sounds
Envelope : Sustain length for all sounds
Outputs : Main + Bass/Piano + Brass"

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These in via Soviet Space Child. Note the custom knobs and end panels.

Playlist:

1) Bourrée n. 1 - dalla Suite inglese n. 2 in La min.
Googlish description below.
"Tanti anni fa, un mio prozio conosceva un bravo organista della chiesa di San Bonifacio, ad Arnstadt in Germania; lo chiamavano tutti Giova' (Giovanni)... c'era anche chi lo chiamava "Sebastianoooo!!!!! O Sebastiaanoooo!!!", ma a quel nome non rispondeva quasi mai. Era un tedesco in tutti i sensi, serio e preciso. Un giorno questo mio prozio e l'organista si ritrovarono a parlare di un bravo costruttore di clavicembali (uno strumento musicale adorato dallo stesso Giova') che abitava a qualche centinaio di chilometri, precisamente a Waldorf. Si diceva che era in grado di costruire clavicembali con possibilità "sonore" mai sentite e di qualità eccelsa. Il Giovanni necessitava in quel periodo di un nuovo strumento per il suo diletto, quindi colse l'occasione per contattare questo costruttore a Waldorf e per farsi costruire un clavicembalo nuovo di zecca, con tutte le caratteristiche timbriche di cui si faceva vanto. Il costruttore disse subito al buon Giovanni che ci sarebbero voluti molti giorni per costruire uno strumento del genere, ma egli aveva una grande pazienza e poteva comunque sollazzarsi nel frattempo con gli altri strumenti che possedeva. Passarono gli anni, il buon Giovanni morì, il mio prozio ereditò da lui la commissione di ritirare questo clavicembalo una volta pronto... la commissione passò di padre in figlio nella mia famiglia.
Finché alcune settimane fa sono stato contattato direttamente da un discendente del "vecchio" costruttore di clavicembali di Waldorf: il clavicembalo era pronto!!! Come si dice, meglio tardi che mai...
In questi giorni mi metterò in contatto coi familiari del buon Giova' per sentire se qualcuno di loro vorrà reclamare la proprietà del clavicembalo. Nel caso mi sono premunito e ho pensato bene di registrare (per ricordo) una esecuzione allo strumento in questione di un pezzo composto dallo stesso Giovanni: dalla Suite inglese n. 2 in La minore, la Bourrée 1 eseguita sul clavicembalo Waldorf. Buon ascolto."

Googlish:
"Many years ago, my uncle knew a good organist of the church of St. Boniface, in Arnstadt in Germany, is worth all called him '(John) ... there were those who called him "O !!!!! Sebastianoooo Sebastiaanoooo !!!", but that name is almost never answered. He was a German in every sense, serious and precise. One day my great-uncle and the organist found themselves talking to a good builder of harpsichords (a musical instrument is worth adored by the same ') who lived a few hundred kilometers, more precisely in Waldorf. It was said that he was able to build harpsichords with possibility "sound" and never heard of excellent quality. The John needed at that time a new tool for his pleasure, then took the opportunity to contact the manufacturer to get in Waldorf and build a brand new harpsichord, with all the tonal characteristics of which did boast. The manufacturer immediately said to John that good it would take many days to build such an instrument, but he had great patience in the meantime and could still amuse others with the tools he had. Years passed, the good John died, my great-uncle inherited from him the commission to withdraw this harpsichord once ready ... The Committee passed on from father to son in my family.
Until a few weeks ago I was directly contacted by a descendant of the "old" builder of harpsichords of Waldorf: the harpsichord was ready! As they say, better late than never ...
In these days I'll get in touch with family is worth the good 'to hear if any of them will claim ownership of the harpsichord. If I were in possession and I thought it best to record (to remember) a matter of running the instrument in a piece composed by John himself: from the English Suite No 2 in A minor, performed on the harpsichord Waldorf Bourrée 1. Happy listening."

2) Domenico Scarlatti - sonata in La maggiore K 212
"Non avendo più avuto notizie dalla famiglia del Giovanni Sebastiano, mi accingo a proporvi una personale "revisione" della sonata in oggetto, opera del partenopeo Domenico Scarlatti (contemporaneo dell'organista di Arnstadt), rigorosamente eseguita al clavicembalo Waldorf.
Un po' di storia:
Scarlatti nasce nel 1685, figlio di un noto compositore napoletano ne eredita le influenze della scuola omonima, diventata famosa per le particolari soluzioni armoniche, e che si protrae fino ai giorni nostri vantando esponenti di spicco quali Nino D'Angelo, Gigi D'Alessio, Mario Merola ecc.
La sua predisposizione musicale è evidente anche in tenera età, tuttavia l'animo mediterraneo prende spesso il sopravvento portandolo a frequentare personaggi poco raccomandabili e luoghi di dubbia moralità. La passione per il gentil sesso poi lo rende tristemente "famoso": taluni narrano che abbia avuto più di 500 amanti, altri dicono addirittura 600, anche se personalmente ritengo che la ragione stia nel mezzo. Indubbiamente amatore di fama internazionale, soleva comporre dei brani per omaggiare le fanciulle che conquistava; nel giro di pochi anni si ritrovò sommerso di spartiti musicali, senza ricordarsi a chi erano dedicate le composizioni. Di certo non nutriva stima nei confronti delle donzelle, spesso le maltrattava e di norma le chiamava tutte con l'appellativo "oh sonataaaa!!!". Da qui nacque l'idea di catalogare queste composizioni e recarvi sopra un numero preceduto dall'appellativo e talvolta dall'iniziale del nome della donna cui era dedicata la composizione.
Il resto è storia nota.
Morì a Madrid nel 1757, in seguito a un regolamento di conti, per mano del marito di una delle sue molte amanti.
Buon ascolto.

P.S.: i puristi perdoneranno l'armonizzazione con progressioni per quinte e ottave."

Googlish:
"Not having heard from the family of John Sebastian, I am going to offer you a personal "review" of the sonata in question, by the Neapolitan Domenico Scarlatti (contemporary organist at Arnstadt), performed strictly at the harpsichord Waldorf.
A little 'history:
Scarlatti was born in 1685, the son of a famous Neapolitan composer inherits the influences of the school of the same name, became famous for the unique harmonic solutions, and that continues to this day boast of leading figures such as D'Angelo, Gigi D'Alessio Mario Merola etc..
His musical arrangement is also evident at an early age, but the heart often takes over the Mediterranean bringing unsavory characters to attend and places of dubious morality. The passion for the fairer sex, then sadly makes it "famous" tell us that some have had more than 500 fans, some say even 600, even though I personally think that the reason lies somewhere in between. Undoubtedly, a lover of international fame, he used to compose songs pay homage to girls who conquered; within a few years he found himself inundated with musical scores, without remembering those who were dedicated to the compositions. Certainly did not hold high regard of the maidens, often mistreated and called them all under the title "Oh sonataaaa !!!". What emerged was the idea of cataloging these compositions and go over a number preceded by the appeal from the initial and sometimes the name of the woman who was dedicated to the composition.
The rest is history.
He died in Madrid in 1757, following a settling of scores, by her husband of one of his many mistresses.
Happy listening.

PS: the purists will forgive the harmonization with progressions by fifths and octaves."

3) Allegro - dalla VI sonata per gravicembalo di Pier Domenico Paradies

"Eccomi di nuovo qui!
Dopo un periodo di intensa quotidianità ho sentito la necessità di appropriarmi di qualche minuto di relax... di uno stacco... un intervallo...
Quale miglior occasione per riproporre l'Allegro della sesta Sonata - nota anche come Toccata, data la forma musicale - adeguatamente (spero) trascritta per il mio gravicembalo Waldorf?
I molti perdoneranno le consuete progressioni, in disaccordo con la "rigidità" dell'Armonia pre-romantica, causate dalle 3 voci più percussioni a sostegno della melodia originaria, ma la necessità di sfruttare a pieno le potenzialità dello strumento in questione richiede alcune licenze.
Taluni perdoneranno altresì l'eccessiva velocità nell'esecuzione; l'intento era quello di abbreviare i tempi d'esecuzione dato che trattasi di Toccata e com'è ben noto a tutti, toccate eccessivamente lunghe possono provocare seri danni alla salute, dalla miopia all'assoluta cecità! E io già ci vedo maluccio...

Alcune note biografiche sull'autore della composizione:
Pier Domenico Paradisi nasce a Napoli nel 1707. Noto criminale appartenente alla famiglia dei Paradisi, dopo una vita di eccessi e crimini nel 1746 fu costretto a trasferirsi a Londra a causa delle continue rivalità tra i clan camorristici cui faceva parte, ove si spacciò per insegnante di clavicembalo e canto sotto il nome di Paradies, in modo da celare le sue origini malavitose. Nel 1770 ritornò in Italia e quivi morì nel 1791 nella sua casa a Venezia dopo un terribile agguato tesogli dal clan degli Scarlatti.
Buon ascolto."

Googlish:
"Here I am again!
After a period of intense daily life I felt the need to take a few minutes of relaxation ... of an ex ... a range ...
What better opportunity to present the Allegro of the Sixth Sonata - known as the Toccata, given the musical form - properly (I hope) I transcribed for harpsichord Waldorf?
I forgive a lot of the usual progressions, disagree with the "aggressive" pre-Romantic Harmony, 3 caused by percussion voices in support of the original melody, but the need to fully exploit the potential of the instrument in question requires some licenses.
Some also forgive the excessive speed in execution, the intent was to shorten lead times, and Toccata in question because it is well known to all, touch too long can cause serious damage to health, from myopia to 'absolute blindness! And I see we have this lily ...

Some biographical notes about the author of the composition:
Pier Domenico Paradisi was born in Naples in 1707. Belonging to the family of known criminal havens, after a life of excesses and crimes in 1746 was forced to move to London because of the continuous rivalry between Camorra clans which he belonged, where he posed as a teacher of harpsichord and singing under the name of Paradise , so as to hide its origins underworld. In 1770 he returned to Italy and there he died in 1791 at his home in Venice after a terrifying ambush by the clan of tesogli Scarlatti.
Happy listening."