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Basically, the Ekdahl Moisturizer is a spring reverb where the springs are exposed so they can be played/hit/fiddled with. As well as being capable of creating sound in itself, you can of course also play sound through the springs like a regular spring reverb - this makes for happy-fun-time finger-modulation of the reverb on whatever audio that's going through it. On top of this there's an analog multimode filter that can be used to attenuate or exaggerate certain frequencies in the sound, this is real handy while playing the springs as you can - for instance - cut all the highs and just make thunderous doomy sounds or do the opposite; cut all the lows and make that ear piercing high frequency special love. Also, it incorporates an LFO that's internally routable to the filter and that also has some external routing-stuff. The Ekdahl Moisturizer has tons of CV / Expression pedal options on the back for even more hillarious moments. The Moisturizer is a mono unit.

12BIT Digital drum machine from 1987 features 24 samples with separated outs and some interesting sync options. DRUM MACHINE Main panel features a basic 16 x 2 lines display, 8 velocity sensitive pads, 30 buttons and 2 knobs for volume and tempo rate. Back panel terminals connectors: - main audio out - Midi interface - headphones - metronome out - trigger out +5V - hihat pedal control - click out at 24 PPQ - tape I/O - 8 analog outs - Sync I/O at 24 PPQ. VOICE drum machine based on M50734 SP manages 8 digital voices polyphony.

STRUCTURE: each voice can play a SAMPLE with minor parameters edit (at 15 quantised levels): 1- volume 2- stereo panning 3- pitch tuning.

Produced in 1987. Despite its name, the TX802 FM Tone Generator is basically a rack-module version of the DX7mkII with full 8-part multi-timbral operation for sequencing and/or key mapping. It has 16-voices of polyphony and six digital FM Operators, the same as in the DX7mkII. There are 128 preset and 64 user patches for your sounds, as well as an external memory cartridge slot.

The KR55 was, for its time (1979), an advanced preset rhythm drum machine with up to 96 preset rhythm patterns! These patterns cover the whole gamut of presets (Waltz, Samba, Rhumba, Bossa Nova, Tango, Slow Rock, Swing, Rock, etc.). The KR55 also featured a "swing beat" control to add a variation to the groove. Each drum sound's level can be individually adjusted for each pattern. It can also be externally controlled via footswitch jack for the Start/Stop and Intro/Fill switches. The KR55B was a black-chassis version released a few years later in 1982 with twice as many rhythm patterns.

The Mu-Tron III is an envelope filter made by Musitronics Corporation. "The world's first envelope-controlled filter" was first made in 1972 by Mike Beigel and quickly became an essential effect for many funk musicians. It was taken in production again, in a modified version, in 2014.

In 1990, Opcode introduced Studio Vision (initially called 'Audio Vision'), which added digital audio recording (using Digidesign's digital audio hardware) to Vision's recording and editing platform. Studio Vision was the first-ever commercially available product integrating MIDI sequencing and digital audio editing and recording on a personal computer. Paul J. de Benedictis was the Studio Vision product manager and helped come up with the idea of audio and MIDI in the same product after speaking with Mark Jeffery, a Digidesign employee key to their software development.[5] A version called VisionDSP was released just before the company folded.

Zoom 9030 Advanced Instrument Effects Processor released in 1992.

The Micro Lynx is a high performance, integrated machine control system. The Micro Lynx system was specifically designed to handle the ever increasing machine control and synchronization requirements of the project recording studio and smaller post production facility. The Micro Lynx is a comprehensive two machine synchronizer which may be optionally expanded to three machines. The full feature Keyboard Controller provides the interface for SMPTE and MIDI time codegeneration, transport synchronizer operations, track enable, automated edit, and events control. The Micro Lynx system has two main components and four option cards.

Sequential Circuits Prophet VS Vector Synthesizer from the year 1986. - 8 Voices - 4 Oscillators per voice - 96 preset waveforms + 32 user waveforms - analog 24 dB/oct lowpass Curtis CEM3389 VCF - analog VCA CEM 3360 - Arpeggiator

The Mellotron became more popular after the Beatles used it on several tracks. It was subsequently adopted by the Moody Blues, Genesis and King Crimson, and became a notable instrument in progressive rock. Later models such as the M400, the best selling model, dispensed with the accompaniments and some sound selection controls in order to be used by touring musicians. The instrument became less popular in the 1980s due to the introduction of polyphonic synthesizers and samplers, despite a number of high profile uses from Orchestral Manoeuvres in the Dark and XTC. Production of the Mellotron ceased in 1986, but it regained popularity in the 1990s, and was used by several notable bands.

Released in 1984 the MKS-80 is basically a refined Jupiter 8 in a module. It is called the Super Jupiter and it is very fat and very analog! Its great sound is due in part to the classic analog Roland technology in its filters, modulation capabilities and a thick cluster of 16 analog oscillators at 2 per voice. It comes in a 2 space rack-module - no keyboard here. Tons of editing capabilities, although editing is tedious. It's got all the classic sounds of the Jupiter synths and so much more. An excellent choice for ambient drones, pads, blips, buzzes and leads.

The OBMx was released 1994 as a modern synthesizer module with an audio path that is entirely analog. It has an intuitive and powerful interface which makes it easy for anyone to program their own unique sounds. The OBMx claims to deliver the classic Oberheim and Minimoog sounds while being completely programmable and midi compatible. The OB-Mx was one of the few real analog synths, however, available with completely modern features. And because it comes from Oberheim, you can expect great sounds, design, and features. The OB-Mx is highly user upgradeable. Out of the box the OB-Mx comes with one two voice expansion card which contains the two oscillators, 4 multistage envelopes, 3 LFO's, and filters. Up to 6 of these cards can be easily installed sufficiently adding to the phattness of this synth and its capabilities. Unfortunately, the high cost of extra voice cards also made a fully-outfitted OB-Mx a very pricey proposition when put up against other more commonly-available digital instruments of its time.

The Oberheim Xpander is a rack version of Oberheim Matrix-12 and was an analog synthesizer launched by Oberheim in 1984 and discontinued in 1988. It is essentially a keyboardless, six-voice version of the Oberheim OB-8 and Matrix-12 (released a year later, in 1985). Utilizing Oberheim's Matrix Modulation technology, the Xpander combined analog audio generation (VCOs, VCF and VCAs) with the flexibility of digital controls logic.

Released in the mid 1980-s for Apple Mackintosh it was software based modular synth with a number of resynthesis and synthesis options and outputs to sample files. It needed special DSP hardware board developed by Digidesign.

Released in the mid 1980-s for Apple Macintosh it was software based modular synth with a number of resynthesis and synthesis options and outputs to sample files. It needed special DSP hardware board developed by Digidesign.

Released in the mid 1980-s for Apple Mackintosh it was software based modular synth with a number of resynthesis and synthesis options and outputs to sample files. It needed special DSP hardware board developed by Digidesign.

Bitwig Studio is dynamic software for creation and performance of your musical ideas on stage or in the studio. Discover the new standard in customized workflow. Bitwig Studio inspires you to take greater control of your music, giving you access to every aspect of your production. Streamline your creative process and quickly evolve your ideas into complete songs, tracks and compositions. Record and arrange, improvise and perform, or do it all at once. Choose between several display profiles. Design your own sounds with dedicated container devices. Combine built-in instruments, effects, and VST plug-ins. Bitwig Studio’s unified mapping system allows you to modulate any device or VST parameter using macro controls and modulator devices. Explore a world of creative possibilities, including audio and note expressions, histogram-based value editing, layered editing, extensive bounce-in-place functions, automatic slicing, smart controller integration, and the Open Controller Scripting API. Every feature in Bitwig Studio was developed by musicians, for musicians. Welcome to the next generation of music creation and performance software for Windows, Mac OS X, and Linux.

The Polivoks is the most popular vintage Russian synth made in the early 80's and it was among the first synthesizers produced in the USSR. It's purely analog with two voices of polyphony, two oscillators each with triangle, square, saw, two types of pulse waveforms and one noise generator, the levels of which are controlled via the internal mixer. Although the oscillators can become unstable and difficult to tune, the Polivoks is well suited for making screeching sounds and thunderous bass. You can also connect an external audio input for processing through the Polivoks' switchable dual-mode band pass/low pass filter and LFO sections. The LFO, or "Modulator" offers triangle, square, random and noise waveshapes and can be applied to the oscillator level and pitch or the filter cutoff. There are also two ADSR envelopes for contouring the oscillators and filters. Polivoks had been produced since 1982 by the Formanta electronic factory (one of the biggest at the time); it was sold exclusively in the USSR. Polivoks has its own unique electronic components including a reliable keyboard (49 notes F to E) made with magnetically controlled contacts and DIN sockets for its three outputs and one input. Its synthesis modules consist of independent circuit boards, which is convenient for maintenance and repair. In addition, Polivoks is housed in an original rugged aluminum body of uncommon design with handy controls.

The CS1x from 1996 is Yamaha's first Analog Emulation performance keyboard for electronic and dance musicians (the CS line is back!). It's a digital synthesizer that emulates analog style, sounds and controls. All controls and parameters are real-time and MIDI controllable. As well as a superb set of quality synth bass, pads, voices, leads and arpeggiated sequences there are plenty of amazing drum sounds also with analog sound and control. Some of the coolest features of the CS1x aimed at dance musicians will provide you with instant sonic gratification and hands-on real-time tweakability. There are 6 knobs for envelope attack, release, filter cutoff, resonance and 2 are assignable knobs. Two scene memories will remember the current state of the envelope and filters as set by the control knobs so they can instantly be recalled and you can even use the Mod-wheel to morph from one scene into the other, very cool! Scene Memory data is also stored with your synth patches. Built-in digital effects are great but the Arpeggiator steals the show with 30 inspirational patterns suited for techno, house, basslines and basic arpeg. patterns.

Plenty of memory (128 preset, 128 user) and MIDI control make the CS1x perfect for both live and studio use. Control the synth, arpeggiator and editing through MIDI control. The CS1x only has limited multitimbrality in which, when hooked up to a sequencer, MIDI channels 5-16 offer plain old Yamaha XG synth sounds but MIDI channel 1 holds the CS1x's main sounds and effects.

The MC-500 from 1986 is one of the best and reigning stand-alone sequencer and midi recorders around. There's 4-track recording in real or step time and 16 midi channel multitimbrality, a dedicated rhythm track, a built-in 3.5" disk drive with 100,000 note capacity and a large LCD screen. New operating systems including the newer mkII version can be loaded via the disk drive. Editing is intense and precise. The sequencer has 30,000 note capacity, track merging, microscopic editing, quantization and it's relatively simple to use.

The QX5 from 1986 is an 8-track MIDI/FSK sequencer with a feature known as 'macros' in which snippets or phrases can be thrown into a sequence live. Real and step input modes, punch in/out and precise editing control for making sequences are available. The QX5 has real-time track muting, 15,000 to 20,000 note capacity, 32 patterns, 1 song, 4 set-up memories and MIDI dumping for external storage (no disk drive). Although a mere 14 buttons make operation difficult, the QX5 is a sophisticated stand-alone sequencer with adequate live and studio uses.

The QX3 from 1987 is a suped-up version of the QX5 sequencer. It's a 16-track with real-time track muting, 48,000 note capacity sequencer with built-in 3.5" disk drive and sophisticated editing and control. Large LCD screen and more buttons make operation easy and fun. There's a feature known as 'macros' in which snippets or phrases can be thrown into a sequence live. Real and step input modes and punch in/out are available. The QX3 also features MIDI and FSK sync, sysex dumping and recording, 96 ppq resolution and more! A very professional stand-alone sequencer.

The PR-100 from 1988 is a stand-alone multitrack sequencing device. There's 2-track recording in real or step time, track merging, punch in/out and a built-in 2.8" QuickDisk drive. It has almost no edit ability however as it was intended for use as a Roland Library Disk playback device in conjunction with a digital piano or sound module. It is best suited for music education or accompaniment.

The MSQ-700 from year 1984 is an 8-track sequencer that holds up to 6,500 notes that can be stored. Several functions of the MSQ-700 include a chain function, multi-track function, overdubbing and a merge function. Use it to control your TR-909, or Juno-60 or any other MIDI equipment. The MSQ-700 is compatible with both MIDI and Roland's proprietary DCB sync methods,although it can't do both at the same time.

The MC-80 MicroComposer from year 2000 is an elegant and advanced MIDI sequencer, perfect for studio and live use. Offering the enhanced resolution of software sequencers, plus the advanced sequencing features from Roland's popular XP-Series workstations, the expandable MC-80 provides reliability, portability, and easy setup for composers, live performers, and those who need to keep things simple. It features 480 PPQN resolution, Direct-from-Disk playback, Internal 3.5-inch floppy disk drive, Grid, Shuffle and Groove Quantize options, Real-time Phrase Sequencing and onboard Arpeggiator with 33 styles, assignable footswitch for Mark/Jump, Start/Stop, Fade Out, etc., MMC and MTC compatible and two MIDI outputs for 32-channel operation. Optional internal 2.5-inch IDE hard drive or internal Zip 100 drive. Expandable with optional VE-GSPro Voice Expansion Board. Get the Owner's Manual.

The MC-300 (from year 1988) is the same as the original MC-500 sequencer in a cheaper case but is still totally compatible with the MC-500 and mkII sequencers. There's 4-track recording in real or step time and 16 midi channel multitimbrality, a dedicated rhythm track, a built-in 3.5" disk drive with 100,000 note capacity and an LCD screen. Newer operating system version can be loaded via the disk drive. Editing is intense and precise. The sequencer has 30,000 note capacity, track merging, microscopic editing, quantization and it's relatively simple to use.

The MC-50mkII was equipped with slightly advanced features for editing and general use. The MC-50 mk II can directly convert MRC files to MID and MID back to MRC while saving MID files on a DD 720 Kb diskette. For the MC-50 you need special conversion software to do this: the (free) Roland MRM-500 program. A Roland dealer could also upgrade a MC-50 towards a mkII with a special ROM containing that MRM-500 software. Get the Owner's Manual. (1992)

The MC-50 is dedicated sequencer similar to the popular MC-500 series. It featured 40,000 note capacity, up to 8 songs, 8 phrase tracks, a 3.5" DS/DD disk drive, separate rhythm track and temp tracks, 32 channel MIDI and FSK sync. Sequences could be recorded in real-time or step-time. Songs can be linked and edited and quantized in Microscopic detail. Data is compatible with the MC-300 and MC-500 sequencers.