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The Nakamichi 610 made in Japan from the 70ties was created to fill an often expressed gap in the consumer audio market. It is a remarkably flexible control center that must be considered truly unique by any standard.

It's uniqueness stems not only from its amazing features, but from its even more amazing performance as well. It does, after all, carry the Nakamichi brand name. To some audiophiles, no more need be said. But there is more - much more.

First and foremost, the Nakamichi 610 is a state-of-the-art preamplifier. This much overused phrase can certainly be applied to a preamplifier with noise level so close to the theoretical limit and distortion so low that these parameters can barely be measured with today's best available test equipment. Specifications only begin to tell the story.

Secondly, the Nakamichi 610 is a relatively sophisticated test instrument. Built-in test tone oscillators, pink noise generator, phase checkers and precision dB meters, just to name a few, make the 610 an invaluable tool in the calibration, alignment and evaluation of stereo system components.

Special switching features facilitate the A/B comparison of phono cartridges, tape decks, power amplifiers, loudspeakers, etc. Last, but not least, the Nakamichi 610 is a mixing console. It allows 5 in/2 out mixing of any of 19 different inputs. This includes 5 wide-dynamic-range microphone inputs. One can, for example, mix two tape decks (stereo, of course) plus center channel voice onto a third tape deck, or two phonographs plus voice, or any combination of these sources. Live recording takes on a new dimension with the 610: with two left, two right and one blend microphone inputs the live recordist can produce some very professional results. The Nakamichi 610, in short, will become a must for the serious audiophile. Even the audiophile who has everything will wonder how he ever managed to do without the 610. Specifications

Frequency response: 20Hz to 100kHz Total harmonic distortion: 0.005% Input sensitivity: 0.2mV (mic), 1mV (MM), 75mV (line) Signal to noise ratio: 53dB (mic), 80dB (MM), 85dB (line) Output: 316mV (line), 1V (Pre out) Semiconductors: 2 x FET, 134 x transistors, 27 x diodes, 5 x zener diodes, 2 x IC Dimensions: 400 x 170 x 237mm Weight: 7kg

The Nakamichi 610 Pre-Amp made in Japan from the 70ties was created to fill an often expressed gap in the consumer audio market. It is a remarkably flexible control center that must be considered truly unique by any standard.

It's uniqueness stems not only from its amazing features, but from its even more amazing performance as well. It does, after all, carry the Nakamichi brand name. To some audiophiles, no more need be said. But there is more - much more.

First and foremost, the Nakamichi 610 is a state-of-the-art preamplifier. This much overused phrase can certainly be applied to a preamplifier with noise level so close to the theoretical limit and distortion so low that these parameters can barely be measured with today's best available test equipment. Specifications only begin to tell the story.

Secondly, the Nakamichi 610 is a relatively sophisticated test instrument. Built-in test tone oscillators, pink noise generator, phase checkers and precision dB meters, just to name a few, make the 610 an invaluable tool in the calibration, alignment and evaluation of stereo system components.

Special switching features facilitate the A/B comparison of phono cartridges, tape decks, power amplifiers, loudspeakers, etc. Last, but not least, the Nakamichi 610 is a mixing console. It allows 5 in/2 out mixing of any of 19 different inputs. This includes 5 wide-dynamic-range microphone inputs. One can, for example, mix two tape decks (stereo, of course) plus center channel voice onto a third tape deck, or two phonographs plus voice, or any combination of these sources. Live recording takes on a new dimension with the 610: with two left, two right and one blend microphone inputs the live recordist can produce some very professional results. The Nakamichi 610, in short, will become a must for the serious audiophile. Even the audiophile who has everything will wonder how he ever managed to do without the 610. Specifications

Frequency response: 20Hz to 100kHz Total harmonic distortion: 0.005% Input sensitivity: 0.2mV (mic), 1mV (MM), 75mV (line) Signal to noise ratio: 53dB (mic), 80dB (MM), 85dB (line) Output: 316mV (line), 1V (Pre out) Semiconductors: 2 x FET, 134 x transistors, 27 x diodes, 5 x zener diodes, 2 x IC Dimensions: 400 x 170 x 237mm Weight: 7kg

The Nakamichi 610 made in Japan from the 70ties was created to fill an often expressed gap in the consumer audio market. It is a remarkably flexible control center that must be considered truly unique by any standard.

It's uniqueness stems not only from its amazing features, but from its even more amazing performance as well. It does, after all, carry the Nakamichi brand name. To some audiophiles, no more need be said. But there is more - much more.

First and foremost, the Nakamichi 610 is a state-of-the-art preamplifier. This much overused phrase can certainly be applied to a preamplifier with noise level so close to the theoretical limit and distortion so low that these parameters can barely be measured with today's best available test equipment. Specifications only begin to tell the story.

Secondly, the Nakamichi 610 is a relatively sophisticated test instrument. Built-in test tone oscillators, pink noise generator, phase checkers and precision dB meters, just to name a few, make the 610 an invaluable tool in the calibration, alignment and evaluation of stereo system components.

Special switching features facilitate the A/B comparison of phono cartridges, tape decks, power amplifiers, loudspeakers, etc. Last, but not least, the Nakamichi 610 is a mixing console. It allows 5 in/2 out mixing of any of 19 different inputs. This includes 5 wide-dynamic-range microphone inputs. One can, for example, mix two tape decks (stereo, of course) plus center channel voice onto a third tape deck, or two phonographs plus voice, or any combination of these sources. Live recording takes on a new dimension with the 610: with two left, two right and one blend microphone inputs the live recordist can produce some very professional results. The Nakamichi 610, in short, will become a must for the serious audiophile. Even the audiophile who has everything will wonder how he ever managed to do without the 610. Specifications

Frequency response: 20Hz to 100kHz Total harmonic distortion: 0.005% Input sensitivity: 0.2mV (mic), 1mV (MM), 75mV (line) Signal to noise ratio: 53dB (mic), 80dB (MM), 85dB (line) Output: 316mV (line), 1V (Pre out) Semiconductors: 2 x FET, 134 x transistors, 27 x diodes, 5 x zener diodes, 2 x IC Dimensions: 400 x 170 x 237mm Weight: 7kg

Yamaha Electone EL-60 Organ, is an Organ made in Japan. Electone is the trademark used for electronic organs produced by Yamaha. With the exception of the top end performance models, most Electones are based on the design of the spinet electronic organ. Current models are completely digital and contain a variety of sounds, effects, and accompaniments, on top of the ability to store programming data onto memory devices. Electones built until 1983 were often similar in specifications to a small theatre organ, with a main flute group analogous to the Tibia Clausa, strings (usually at 8' and 4'), and multiple reeds at 16' and 8' pitches. The EL series started 1991, this series included an attached Music Disk Recorder which enabled players to record their registrations and performances, thus eliminating the need for extensive programming before each performance. The EL series introduced new synthesisers, filtering, and expression technologies that made instrument voices on the Electone even more realistic. Voice technology continued to be based on AWM and FM technologies. The EL-90 cost around ¥1,250,000, while the ELX-1 cost twice the EL-90 at around ¥2,700,000.

The EL-60 got ... MIDI connectivity and a Controller for VSTs or External Hardware. AWM = Advanced Wave Memory and Frequency Modolation. Has Limitless Vareity of Organ Sounds , sperate Voicings , from classic Organs from Jazz to Church, to theater, Latin, Pop and Folk Music , .... The EL-60 got ERffects on Board like Reverb, Flanger, Delay Tremelo ,,,, 66 Ryythm patterns , athentic drims and percussion Sounds. And Automatic accompaniment Functions like Auto Bass Chords , Melody on Chords, Solo Features for Backing The EL-60 got a Music Disc Recorder on Board for recording And A Rhythm Sequence Programmer so you can crate from the 32 aditional percussion Sounds your own Rhythm tracks 46 Specially programmed registrations in the Menu , for 15 different Organ combinations On the a Disk included you got Plus 80 Specially programmed registrations and 16 more Organ combinations You got a lot of Voicings like Strings, Flute, Organs, Violin, Oboe, Bass, Clarinet, Piano, Guitar, Sax, Horn, Tutti, Trumpet, Harmonica, Cosmic, Tuba, Chorus, and so on ....

Yamaha Electone EL-60 Organ, is an Organ made in Japan. Electone is the trademark used for electronic organs produced by Yamaha. With the exception of the top end performance models, most Electones are based on the design of the spinet electronic organ. Current models are completely digital and contain a variety of sounds, effects, and accompaniments, on top of the ability to store programming data onto memory devices. Electones built until 1983 were often similar in specifications to a small theatre organ, with a main flute group analogous to the Tibia Clausa, strings (usually at 8' and 4'), and multiple reeds at 16' and 8' pitches. The EL series started 1991, this series included an attached Music Disk Recorder which enabled players to record their registrations and performances, thus eliminating the need for extensive programming before each performance. The EL series introduced new synthesisers, filtering, and expression technologies that made instrument voices on the Electone even more realistic. Voice technology continued to be based on AWM and FM technologies. The EL-90 cost around ¥1,250,000, while the ELX-1 cost twice the EL-90 at around ¥2,700,000.

The EL-60 got ... MIDI connectivity and a Controller for VSTs or External Hardware. AWM = Advanced Wave Memory and Frequency Modolation. Has Limitless Vareity of Organ Sounds , sperate Voicings , from classic Organs from Jazz to Church, to theater, Latin, Pop and Folk Music , .... The EL-60 got Effects on Board like: Reverb, Flanger, Delay , Tremelo .... 66 Ryythm patterns , athentic drims and percussion Sounds. And Automatic accompaniment Functions like Auto Bass Chords , Melody on Chords, Solo Features for Backing The EL-60 got a Music Disc Recorder on Board for recording And A Rhythm Sequence Programmer so you can crate from the 32 aditional Percussion Sounds your own Rhythm Tracks 46 Specially programmed registrations in the Menu , for 15 different Organ combinations On the a Disk included you got Plus 80 Specially programmed Registrations and 16 more Organ Combinations You got a lot of Voicings like: Strings, Flute, Organs, Violin, Oboe, Bass, Clarinet, Piano, Guitar, Sax, Horn, Tutti, Trumpet, Harmonica, Cosmic, Tuba, Chorus, and so on ....

Yamaha Electone EL-60 Organ, is an Organ made in Japan. Electone is the trademark used for electronic organs produced by Yamaha. With the exception of the top end performance models, most Electones are based on the design of the spinet electronic organ. Current models are completely digital and contain a variety of sounds, effects, and accompaniments, on top of the ability to store programming data onto memory devices. Electones built until 1983 were often similar in specifications to a small theatre organ, with a main flute group analogous to the Tibia Clausa, strings (usually at 8' and 4'), and multiple reeds at 16' and 8' pitches. The EL series started 1991, this series included an attached Music Disk Recorder which enabled players to record their registrations and performances, thus eliminating the need for extensive programming before each performance. The EL series introduced new synthesisers, filtering, and expression technologies that made instrument voices on the Electone even more realistic. Voice technology continued to be based on AWM and FM technologies. The EL-90 cost around ¥1,250,000, while the ELX-1 cost twice the EL-90 at around ¥2,700,000.

The EL-60 got ... MIDI connectivity and a Controller for VSTs or External Hardware. AWM = Advanced Wave Memory and Frequency Modolation. Has Limitless Vareity of Organ Sounds , sperate Voicings , from classic Organs from Jazz to Church, to theater, Latin, Pop and Folk Music , .... The EL-60 got ERffects on Board like Reverb, Flanger, Delay Tremelo ,,,, 66 Ryythm patterns , athentic drims and percussion Sounds. And Automatic accompaniment Functions like Auto Bass Chords , Melody on Chords, Solo Features for Backing The EL-60 got a Music Disc Recorder on Board for recording And A Rhythm Sequence Programmer so you can crate from the 32 aditional percussion Sounds your own Rhythm tracks 46 Specially programmed registrations in the Menu , for 15 different Organ combinations On the a Disk included you got Plus 80 Specially programmed registrations and 16 more Organ combinations You got a lot of Voicings like Strings, Flute, Organs, Violin, Oboe, Bass, Clarinet, Piano, Guitar, Sax, Horn, Tutti, Trumpet, Harmonica, Cosmic, Tuba, Chorus, and so on ....

The Technics SM-AC30 is a PCM Orchestra is an Organ and Accompaniment Module in a Suitcase Format made by Techics in Germany from the 80ties. Specifications: One Touch Play Fullband Setting Computer Play Sequencer: bass, A, B, solo, record Voice Setting Computer: set, 1-7, cancel, 16 (rhythm) x2 combination Orchestral Conductor: A: poly, special, solo; B: poly, special, solo A Poly: piano, electric piano, harpsichord, clavi, jazz guitar, hawaiian guitar, synthe, accordeon, trombone, clarinet, strings, saxophone, organ (record, 10 organ presets), volume Tab Voices: flute 16, 8, 4, 2, volume Special: piano, electric pinao, harpsichord, clavi, jazz guitar, guitar, synthe, french horn, saxophone, trombone, trumpet, vibraphone, volume Solo: flute, pan flute, synthe, clarinet, saxophone, trombone, trumpet, violin, volume B Poly: piano, electric piano, harpsichord, synthe, jazz guitar, trombone, strings, saxophone, organ (record, 10 organ presets), volume Tab Voices: flute 8, 4, 2, volume Special: (A/B) Solo: (A/B)

Bass Tones: bass 16, bass 16 + 8, bass 8, synthe bass, acoustic bass, chopper bass, electric bass, tuba, volume

Effects: Sustain: A, A/B special, A, bass Chorus/Tremolo/Celeste: A ploy, A/B special, A/B solo, B poly Glide Techni-Chord: on, close/program, record

Auto Accompaniment Rhythm: Selectors: march, ballad, 8 beat, cha-cha, rhumba, jazz waltz, waltz, tango, samba, bossa nova, disco 1, disco 2, 16 beat, salsa, swing, shuffle Controls: tempo, synchro & break, start/stop, drums volume Fill In & Intro: 1, 2, solo Ending: on Bass & Accomp: 1, 2, melodic, accomp volume Play Mode: fingered, memory Program Chord Computer: PCC, record Transpose: control G~F Tuning: 434~440~446 Hz Mode Set: mode set, record MIDI: MIDI clock, start/stop, song relect, sunstain, effect, program change, octave Others: medley Terminals: headphone jack, input jack, output jack, separated line out (bass, drum percussion - 2 ch), ext I/O (FD) terminal, MIDI terminals (in, out, through), AC cord imput Others: power switch, main volume, initial General Power Requirement: 27W, AC 120/220/240 V, 50/60 Hz Dimensions (WxHxD): 48,5 x 18,0 x 38,0 cm"

The Powertran ETI Vocoder is a Vintage Vocoder with 14 Channels Noise Generator, Slew Rate Control, 2 Oscillators , Voice and Unvoice Detector, LED PPM Meters, Panel Size: 19" x 5.25" and Deth 12.2" 14 channel: Filters-4th order with band pass filter satV 3 octave spacing. LEDBar Display PPMs for both speech and excitation. Speechinput: amplifier: micinput: sensitivity 1mV micinput: impedance 100k lineinput: sensitivity 500mV lineinput: impedance10k tonecontrol: ±6dB Trebleboost-Basscut/BassBoost-Treble cut. excitationinputamplifier: lowinput:sensitivity 10mV lowinput:impedance100k high input: sensitivity500mV high input: impedance10k tonecontrol: ±6dBTrebleboost-Basscut/Bassboost-Treblecut Internalexcitation: pseudo-random counter noise generator 2 oscillators-range: 15Hz-250Hz pulse width: fully variable Slew rate control: 100:1 range. FREEZE by footswitch Voice/unvoiceddetector: AGConnoise generator to follow excitation signal Outputamplifier: mixing controls for vocoder, speech by pass and externalexcitation bypass Outputlevel:1V

he Moog Polymoog Keyboard (280a) is an analog synthesizer released by Moog Music in 1975. It was one of the first polyphonic synthesizers and was capable of producing up to eight notes simultaneously. The Polymoog featured two oscillators, two envelope generators, two low-frequency oscillators, and a noise generator. It also featured a unique keyboard design that allowed for the playing of chords and arpeggios. The Polymoog was used by many prominent musicians, including Stevie Wonder, Tangerine Dream, and Yes.

MOOG POLYMOOG Keyboard 280a + Polypedal 285a + original manual / 1st hand / never moved / museum condition / notes remade perfect touch! revised and clean! POLYMOOG is the first MOOG polyphonic synthesizer released in the 70's Preset Sounds - 203a: Strings, Piano, Organ, Harpsichord, Funk, Clavi, Vibes, and Brass. 280a model adds: Vox Humana, Strings 2, Electric and Honky Tonk Pianos, Brass Chorus and a Rock Organ Polyphony - 71 notes Oscillators - 2 VCO's with sawtooth and pulse / square waveforms and pulse-width modulation LFO - Rate, Amount Attack Filter - Highpass, Highpass (203a model only), 3-band EQ Memory - Model 203a: 8 Preset + 1 User Model 280a: 14 presets Keyboard - 71 keys (velocity sensitive) Control - CV / Gate Weight - 82 pounds (37 Kg) Usage area Synthesizer
Usage Design/ Form Factor With Keys
Archetype Analogue (A)
Polyphony Voices 71 Multi Timbral Capacity
Monotimbral
Tone Generator / Sound Synthesis Synthesis Method Analog Subtractive Oscillator Type VCO (Voltage Controlled Oscillator) Oscillators per voice 2 Waveform/ Spectral form (main generator) Square Waveform/ Spectral form (main generator) Saw Programs/ Voices/ Timbres Single Voice Preset 14 Filter Voltage Controlled Filter (VCF)
High-pass Filter (HPF)
Low-pass Filter (LPF)
Band-pass Filter (BPF)
24dB
Amplifier Voltage Controlled Amplifier (VCA)
Modulation LFO: LFO Count 3 LFO Waveforms: Ramp Down
Equalizer: Bands 3 Keys Type: Manufacturer part code Pratt&Reed Velocity Sensitivity
Size 6 Number of Keys 71 External controllers: CV in 6 Audio out: Mono
Analogue: 1/4" (6.35mm) 1 Case/ body: Metal&wood
Color: Black
Production start 1978 Production end 1980

POLYGENE is an all analog, class A, all-transistor polyphonic synthesizer. Inspired by the earliest polysynths of the 1970s, it is fully polyphonic (all 24 notes can be played at the same time), can be tuned to any scale or tuning, is multi-timbral and completely touch sensitive. Touching any part of the synthesizer bridges connections in the circuitry and creates a unique sound. Every area of the instrument's gold plated circuitry can change its tone. At the top, oscillator transistors can be synchronised by touching them, while below there are 24 pressure sensitive polyphonic pads and at the bottom a 24 note keyboard triggers a more familiar polyphonic synthesizer voice. All of these can be played simultaneously and there are many more effects of the circuitry to be discovered, as each of the traces react differently to the touch. 12 tuning controls allow you to tune the 12 pairs of oscillators to any scale, from a standard equal tuning to any microtonal, non-western or even unison tuning. The bottom 3 oscillators can go into the sub-bass range and using the oscillator sync method of bridging the transistors by hand, the bass oscillators can play a wider range of notes. By using transistors as the only active components in the instrument, each oscillator passes through only a handful of sound shaping components before reaching your ears. Instruments that rely heavily on transistors (like the Minimoog and EMS Synthi for example) are famous for their raw, untamed sound that has much to do with this circuit topology. The synthesizer is built into a hand-made cedar wood case. Power supply not included as power supplies vary a lot from country to country but power is standard 9v effects pedal type power. Use a good standard 9v power supply designed for effects pedals.

Specifications: - 24 note polyphonic, mutli-timbral - Hand made using quality through-hole components - Discrete analog all-transistor circuitry (no ICs, analog or digital) - 24 oscillators (12 tunable + 12 sub oscs) - 24 VC Envelope Generators - 24 VC Amplifiers - Unique diode filter with attack, lfo and cross modulation via touch pads - Oscillator LFO modulation - Touch-sensitive pitch bend - 2x 24 note gold touch sensitive mini keyboards - 2.1mm 9v centre negative power input - 6.35mm audio output - 27 x 18 x 5 cm

The POLYGENE is an all analog, class A, all-transistor polyphonic synthesizer. Inspired by the earliest polysynths of the 1970s, it is fully polyphonic (all 24 notes can be played at the same time), can be tuned to any scale or tuning, is multi-timbral and completely touch sensitive. Touching any part of the synthesizer bridges connections in the circuitry and creates a unique sound. Every area of the instrument's gold plated circuitry can change its tone. At the top, oscillator transistors can be synchronised by touching them, while below there are 24 pressure sensitive polyphonic pads and at the bottom a 24 note keyboard triggers a more familiar polyphonic synthesizer voice. All of these can be played simultaneously and there are many more effects of the circuitry to be discovered, as each of the traces react differently to the touch. 12 tuning controls allow you to tune the 12 pairs of oscillators to any scale, from a standard equal tuning to any microtonal, non-western or even unison tuning. The bottom 3 oscillators can go into the sub-bass range and using the oscillator sync method of bridging the transistors by hand, the bass oscillators can play a wider range of notes. By using transistors as the only active components in the instrument, each oscillator passes through only a handful of sound shaping components before reaching your ears. Instruments that rely heavily on transistors (like the Minimoog and EMS Synthi for example) are famous for their raw, untamed sound that has much to do with this circuit topology. The synthesizer is built into a hand-made cedar wood case. Power supply not included as power supplies vary a lot from country to country but power is standard 9v effects pedal type power. Use a good standard 9v power supply designed for effects pedals.

Specifications: - 24 note polyphonic, mutli-timbral - Hand made using quality through-hole components - Discrete analog all-transistor circuitry (no ICs, analog or digital) - 24 oscillators (12 tunable + 12 sub oscs) - 24 VC Envelope Generators - 24 VC Amplifiers - Unique diode filter with attack, lfo and cross modulation via touch pads - Oscillator LFO modulation - Touch-sensitive pitch bend - 2x 24 note gold touch sensitive mini keyboards - 2.1mm 9v centre negative power input - 6.35mm audio output - 27 x 18 x 5 cm

POLYGENE is an all analog, class A, all-transistor polyphonic synthesizer. Inspired by the earliest polysynths of the 1970s, it is fully polyphonic (all 24 notes can be played at the same time), can be tuned to any scale or tuning, is multi-timbral and completely touch sensitive. Touching any part of the synthesizer bridges connections in the circuitry and creates a unique sound. Every area of the instrument's gold plated circuitry can change its tone. At the top, oscillator transistors can be synchronised by touching them, while below there are 24 pressure sensitive polyphonic pads and at the bottom a 24 note keyboard triggers a more familiar polyphonic synthesizer voice. All of these can be played simultaneously and there are many more effects of the circuitry to be discovered, as each of the traces react differently to the touch. 12 tuning controls allow you to tune the 12 pairs of oscillators to any scale, from a standard equal tuning to any microtonal, non-western or even unison tuning. The bottom 3 oscillators can go into the sub-bass range and using the oscillator sync method of bridging the transistors by hand, the bass oscillators can play a wider range of notes. By using transistors as the only active components in the instrument, each oscillator passes through only a handful of sound shaping components before reaching your ears. Instruments that rely heavily on transistors (like the Minimoog and EMS Synthi for example) are famous for their raw, untamed sound that has much to do with this circuit topology. The synthesizer is built into a hand-made cedar wood case. Power supply not included as power supplies vary a lot from country to country but power is standard 9v effects pedal type power. Use a good standard 9v power supply designed for effects pedals.

Specifications: - 24 note polyphonic, mutli-timbral - Hand made using quality through-hole components - Discrete analog all-transistor circuitry (no ICs, analog or digital) - 24 oscillators (12 tunable + 12 sub oscs) - 24 VC Envelope Generators - 24 VC Amplifiers - Unique diode filter with attack, lfo and cross modulation via touch pads - Oscillator LFO modulation - Touch-sensitive pitch bend - 2x 24 note gold touch sensitive mini keyboards - 2.1mm 9v centre negative power input - 6.35mm audio output - 27 x 18 x 5 cm

This is the rare Korg 900PS analog Preset Synthesizer. There seems to be some confusion about the naming (sometimes called PS900), especially since the face plate says "Synthesizer Korg Preset." The 900PS is quite a basic but very interesting monosynth. The 900PS definitely 'borrowed' some ideas from the Pro-Soloist. Instant selection of 29 different tone colors. From the sweet sound of a violin to the chugging of a steam locomotive. Sensitive soft-touch switches and plentiful controls provide a wide variety of effects including vibrato, repeat, even the harmonics you need for a Hammond organ tone.

The 900PS has 29 presets: Timpani, Electric Bass, Synthe Bass, Piano, Harpsichord, Shamisen, Banjo, Mandolin, Xylophone, Tuba, Bassoon, Horn, Cello, Trombone, Saxophone, Voice, Clarinet, Accordion, Trumpet, Funky Trumpet, Synthe Trumpet, Oboe, Violin, Recorder, White Noise, Scale Noise, Harmonics I, Harmonics II, Harmonics III.

You can edit: Portamento, Repeat, Vibrato: Speed/Depth, Attack Control, Sustain Control, Harmonics Control, Traveler Control (= filter cutoff), Pitch Bend, Forte, Volume. Korg PS-900 Image There is also avery unique chromium rod 'touch bar' that runs the length of the keyboard in front of the keys to control: Repeat, Forte, Pitch, Vibrato, Portamento.

The Korg P3 Piano and Orchestra Digital Synthesizer Modules made in Japan from the 80ties. Korg put a few sampled pianos in a MIDI box and called it the P3. The P3 has Internal Pianos 1. Concert Piano with clear and brillant Sound 2. Concert Piano with soft and mellow Sound you can expend the Sounds by Memory Cards. A Digital Display where you can make all sorts of changes like Ocatve, Single Mode, Multi Mode, Output, Tune , MIDI Options .... Specs: 16 Voices 2 Programs Keys from A0 up to C8 MIDI Channels 1-16 Ch Energy DC 9V Headphones Weight: 1,9 Kg

The Korg P3 Piano and Orchestra Digital Synthesizer Modules made in Japan from the 80ties. Korg put a few sampled pianos in a MIDI box and called it the P3. The P3 has Internal Pianos 1. Concert Piano with clear and brillant Sound 2. Concert Piano with soft and mellow Sound you can expend the Sounds by Memory Cards. A Digital Display where you can make all sorts of changes like Ocatve, Single Mode, Multi Mode, Output, Tune , MIDI Options .... Specs: 16 Voices 2 Programs Keys from A0 up to C8 MIDI Channels 1-16 Ch Energy DC 9V Headphones Output, 2 Outputs, Midi Thru , Out and In, Weight: 1,9 Kg

The Korg Symphony is a basic desktop module that has 9 PCM sampled playback patches set in just 7 programs. The unit is easy to use; just press a program button to light its number on the simple LED display and it’s ready to play. The module features 16 note polyphony but with no filter, FX or envelopes to edit, sound creation is very limited. To extend the sonic pallet, users can layer and detune patches for some interesting combinations in multi-mode which can cater for up to 8 parts - each controlled via midi. System Exclusive can be used to store setups on an external sequencer. Parts can be independently routed via the two assignable jacks for mixing otherwise they function as a stereo out in basic play mode. The Symphony responds to modulation and channel after-touch for vibrato and these can be switched off if you so desire but it has an odd omission - no pitch-bend. A disappointing oversight from Korg you may think giving the fact that one of the patches is a guitar.

Most of the onboard sounds are nothing special by today's standards and hardly symphonic in a classical sense. In fact, due to the now common PCM technology used for this module, it should have been best forgotten - and it would have been if it wasn't for the Chorus patch, which is easily its signature sound. It’s a choir sound that back in 1988 must have sounded very authentic. Even today in an age of gigabyte multi-sampled sounds at our disposable putting it through a decent reverb unit still does the business. Any interested musicians/producers should really check it out as well as the Organ patches and for anyone looking for a basic 80’s drum kit well the Symphony gives you that too. The Korg Symphony is not confined to its mere 9 patches; it has a single ROM card slot that can cater for the 4 cards that were produced for it; P3 Jazzcombo, orchestral, piano and pop which can also be integrated into its multimode setup.

The Korg Symphony was marketed as an addition to Korg's Concerto digi-piano's but in 1988 its high price point and a measly number of patches put many musicians off – especially when they could easily buy the superior M1. Sadly where the M1 is easy to come by, searching for a Korg Symphony these days proves to be a little bit more difficult and with those ROM cards even more so. Fortunately, musicians still have access to its sounds as they are now in software via Korg's Legacy M1. Indeed the Korg Symphony looks like a distant cousin of the original M1, with the same shaped metal cover and black color styling.

To sum it up, you could argue that the Symphony was Korg’s answer to a digital Mellotron for the late 80s - a very portable and reliable module giving you access to basic “bread & butter” sounds whilst leaving your high-tech synths to handle the more appealing sonic landscapes in your productions. It has been used by Vangelis.

The Korg P3 Piano and Orchestra Digital Synthesizer Modules made in Japan from the 80ties. Korg put a few sampled pianos in a MIDI box and called it the P3. The P3 has Internal Pianos 1. Concert Piano with clear and brillant Sound 2. Concert Piano with soft and mellow Sound you can expend the Sounds by Memory Cards. A Digital Display where you can make all sorts of changes like Ocatve, Single Mode, Multi Mode, Output, Tune , MIDI Options .... Specs: 16 Voices 2 Programs Keys from A0 up to C8 MIDI Channels 1-16 Ch Energy DC 9V Headphones Weight: 1,9 Kg

The Korg Symphony is a basic desktop module that has 9 PCM sampled playback patches set in just 7 programs. The unit is easy to use; just press a program button to light its number on the simple LED display and it’s ready to play. The module features 16 note polyphony but with no filter, FX or envelopes to edit, sound creation is very limited. To extend the sonic pallet, users can layer and detune patches for some interesting combinations in multi-mode which can cater for up to 8 parts - each controlled via midi. System Exclusive can be used to store setups on an external sequencer. Parts can be independently routed via the two assignable jacks for mixing otherwise they function as a stereo out in basic play mode. The Symphony responds to modulation and channel after-touch for vibrato and these can be switched off if you so desire but it has an odd omission - no pitch-bend. A disappointing oversight from Korg you may think giving the fact that one of the patches is a guitar.

Most of the onboard sounds are nothing special by today's standards and hardly symphonic in a classical sense. In fact, due to the now common PCM technology used for this module, it should have been best forgotten - and it would have been if it wasn't for the Chorus patch, which is easily its signature sound. It’s a choir sound that back in 1988 must have sounded very authentic. Even today in an age of gigabyte multi-sampled sounds at our disposable putting it through a decent reverb unit still does the business. Any interested musicians/producers should really check it out as well as the Organ patches and for anyone looking for a basic 80’s drum kit well the Symphony gives you that too. The Korg Symphony is not confined to its mere 9 patches; it has a single ROM card slot that can cater for the 4 cards that were produced for it; P3 Jazzcombo, orchestral, piano and pop which can also be integrated into its multimode setup.

The Korg Symphony was marketed as an addition to Korg's Concerto digi-piano's but in 1988 its high price point and a measly number of patches put many musicians off – especially when they could easily buy the superior M1. Sadly where the M1 is easy to come by, searching for a Korg Symphony these days proves to be a little bit more difficult and with those ROM cards even more so. Fortunately, musicians still have access to its sounds as they are now in software via Korg's Legacy M1. Indeed the Korg Symphony looks like a distant cousin of the original M1, with the same shaped metal cover and black color styling.

To sum it up, you could argue that the Symphony was Korg’s answer to a digital Mellotron for the late 80s - a very portable and reliable module giving you access to basic “bread & butter” sounds whilst leaving your high-tech synths to handle the more appealing sonic landscapes in your productions. It has been used by Vangelis.

The Definitive Flatwound String for Jazz

Found on the guitars of countless jazz guitar icons, Thomastik-Infeld's Jazz Swing Flatwound Electric Guitar Strings deliver an amazing playing experience. Their polished nickel winding offers a smooth, glassy feel. And their balance of fundamental tone and overtones makes them ideal for traditional jazz. Many jazz guitarists at Sweetwater are believers in the sonic supremacy of Thomastik-Infeld Jazz Swing Flatwound Electric Guitar Strings, and we think you will be too if you give them a try on your favorite jazz box. Thomastik-Infeld Jazz Swing Flatwound Electric Guitar Strings Features:

Flat nickel winding over a round core Balance of fundamental and overtones is ideal for traditional jazz Medium light set, .012–.050

Tech Specs: Guitar Type: Jazz Guitar Number of Strings: 6 Coated: No Gauges: .012, .016p, .020w, .027, .037, .050 Core Material: Steel Winding Material: Brass plated (plain) Nickel (wound) Winding Type: Flat Wound Manufacturer Part Number: JS112

Discover the sublime harmony of tradition and innovation with the Thomastik-Infeld JS110 Jazz Swing Flatwound Electric Guitar Strings. Tailored for the discerning ear of the jazz guitarist, these strings sing with a clarity and depth unmatched in the realm of electric guitar accessories. Engineered in Austria, the birthplace of some of the most celebrated musical traditions, these strings embody the precision and craftsmanship demanded by professionals worldwide.

Designed to elevate your semi-acoustic and acoustic jazz guitars, the Thomastik-Infeld JS110 set is a testament to the brand's dedication to quality. Unlike the more common hex core strings, these strings feature a precision-made round core of high-carbon steel, a choice that allows for a more vibrant and unrestricted vibration. Wrapped with a highly-polished, pure nickel flat ribbon, they promise not only an articulate and responsive touch but also an ease of play that can transform your performance.

The set's gauges are thoughtfully selected to offer a range that caters to the nuanced needs of jazz musicians, ensuring each note is delivered with precision and warmth. Whether you're a seasoned professional or an aspiring artist, the Thomastik-Infeld JS110 Jazz Swing Flatwound Electric Guitar Strings stand as a beacon of quality, inviting you to redefine your sound.

Key Features:

• Precision-made round core of high-carbon steel for unrestricted vibration
• Highly-polished, pure nickel flat-ribbon winding for clarity and depth
• Silk-wrapped string ends to secure windings and extend playing life
• Gauges: .010, .014, .018(Wound), .023, .033, .044 for a versatile range
• Made in Austria, reflecting exceptional craftsmanship and tradition

Discover the sublime harmony of tradition and innovation with the Thomastik-Infeld JS110 Jazz Swing Flatwound Electric Guitar Strings. Tailored for the discerning ear of the jazz guitarist, these strings sing with a clarity and depth unmatched in the realm of electric guitar accessories. Engineered in Austria, the birthplace of some of the most celebrated musical traditions, these strings embody the precision and craftsmanship demanded by professionals worldwide.

Designed to elevate your semi-acoustic and acoustic jazz guitars, the Thomastik-Infeld JS110 set is a testament to the brand's dedication to quality. Unlike the more common hex core strings, these strings feature a precision-made round core of high-carbon steel, a choice that allows for a more vibrant and unrestricted vibration. Wrapped with a highly-polished, pure nickel flat ribbon, they promise not only an articulate and responsive touch but also an ease of play that can transform your performance.

The set's gauges are thoughtfully selected to offer a range that caters to the nuanced needs of jazz musicians, ensuring each note is delivered with precision and warmth. Whether you're a seasoned professional or an aspiring artist, the Thomastik-Infeld JS110 Jazz Swing Flatwound Electric Guitar Strings stand as a beacon of quality, inviting you to redefine your sound.

Key Features:

• Precision-made round core of high-carbon steel for unrestricted vibration
• Highly-polished, pure nickel flat-ribbon winding for clarity and depth
• Silk-wrapped string ends to secure windings and extend playing life
• Gauges: .010, .014, .018(Wound), .023, .033, .044 for a versatile range
• Made in Austria, reflecting exceptional craftsmanship and tradition