The Yamaha QY70 is a 16-track MIDI sequencer with AWM2 synthesis, 519 voices, 20 drum kits, and XG editing for ADSR, cutoff, and resonance. It runs two hours on batteries. Its screen is Game Boy–sized. It is portable, self-contained, and limited to MIDI — no audio I/O, no extended runtime, no large interface.
The KR-55 is a fixed-rhythm drum machine from 1979. It plays 48 preset patterns across genres including Waltz, Samba, Rhumba, Bossa Nova, Tango, Slow Rock, Swing, and Rock. It uses sample-based synthesis for 12 drum tones. It has individual level controls per drum sound per pattern. A dedicated swing knob alters groove feel. A footswitch jack enables external Start/Stop and Intro/Fill control. It has no keyboard, no pattern editing, no MIDI, no sync outputs beyond footswitch, and no individual drum outputs.
The Boss SP-303 is a 2001 digital sampler with eight pads, four soundbanks, three minutes and twelve seconds of sampling, twenty-six internal effects, and a built-in pattern sequencer. It was used by J Dilla, Madlib, Animal Collective, Panda Bear, Four Tet, and Moka Only. Dilla used it with a 45 record player to make 29 of the 31 tracks on Donuts while hospitalized. Madlib used it with a portable turntable and cassette deck to produce most of Madvillainy.
The Streamer bass is a functional, ergonomic, and legally contested instrument. It does one thing well: deliver focused low-end articulation in a comfortable, German-built package. It does nothing else — no tonal flexibility, no innovation, no independent identity in its first years. Its history is defined by imitation, negotiation, and eventual divergence — not invention.
The LS3/5A is a compact BBC-designed studio monitor built for broadcast consistency, not domestic indulgence. Its revisions track component supply — not artistic evolution. It excels in transparency but fails at bass, volume, and modern amplifier compatibility.
The Millennia HV-3D is a solid-state mic preamp built for fidelity, not flavour. It gives you three transparent gain stages per channel, 1.5 dB stepped gain, phantom power, no phase flip, and eight channels in two rack units — all on internal power. It excels on strings, voice, and piano. It fails on distorted guitar and bright cymbals. It is not subtle. It is literal.
The Neve 31102 is a UAD-exclusive software graphic EQ. It has no published technical specifications. It offers fixed-band EQ only. It requires UAD hardware to run. It makes no claim to model any specific Neve hardware circuit.
The Revox PR99 is an analog multitrack recorder with no published technical specifications. Its function is limited to basic tape-based multitrack recording and playback — but without documented parameters, alignment, or service history, it resists reliable use or evaluation.
The Allen & Heath Xone:62 (Old Design) is a rack-mountable analog DJ mixer with twelve inputs, six channels, four balanced XLR outputs, per-channel analog high-pass/band-pass/low-pass filters, six channel sends, a four-band EQ whose knobs do not fully cut the signal, and a crossfader that does not fully cut the signal.
The Empirical Labs Distressor is an analog VCA compressor introduced in 1995. It has a fixed threshold, soft knee, and variable ratio, attack, release, input gain and output gain. At 10:1, it uses a photoresistor-based optical emulation circuit. It includes tube and tape distortion emulations, side-chain high-pass filtering, and on the EL8-X model, British Mode and Image Link. It was inducted into the TECnology Hall of Fame in 2016 and has sold an estimated 40,000 units.
The ARP Odyssey is a duophonic analog synthesizer introduced in 1972. It was designed as a portable, performance-oriented alternative to the Moog Minimoog.
The Trace Elliot AH250 is a bass guitar amp head made by Trace Elliot. No technical specifications are available for it.
The Studer A807 is an analog multitrack recorder. No technical specifications exist for it. That absence defines it.
The Cirklon is a hardware sequencer. It outputs MIDI, audio (HP), and optionally CV/Gate. It produces no sound. Its clock accuracy and track synchronisation are exceptional. All data saves to flash memory and survives power failure. It operates in step and real-time modes, organising music into SONGs and SCENES.
The Chandler Limited Germanium Compressor is a mono, 1U, all-analog FET compressor using germanium transistors. It offers a ratio range of 1.5:1 to 10:1 and a Clean/Dirty switch that toggles between low-distortion (0.2–0.5%) and higher-distortion (2–5%) modes. It has symmetric XLR I/O, is rack mountable, and linkable for stereo or surround use. It delivers fast, coloured compression — but gives up timing control, metering, and multi-channel operation to do so.
The RCA Type 77-DX is a 1954 poly-directional ribbon microphone with mechanical pattern control, low-tension 2.5-micron ribbon, and user-selectable impedance and low-frequency rolloff.
The Gibson Les Paul Junior is a stripped-down, single-pickup electric guitar introduced in 1954 as Gibson’s affordable entry into the solid-body market. It features one P-90 'dog-ear' pickup at the bridge, one volume and one tone control, no binding, and no carved top. A double-cutaway version launched in 1958 nearly doubled sales. The original run ended in 1963. Its raw, overdrivable tone made it a favourite among rock and blues players in the 1960s and 1970s.
The Roland System 100 is an analog semi-modular synthesizer introduced in 1975. It consists of discrete rack- and keyboard-mounted units (101, 102, 103, 104, 109), each independently powered, supporting patch-cable reconfiguration of an otherwise fixed signal path. It forms an expandable two-oscillator monosynth with sequencing and effects, uses 1V/oct control, and avoids fixed oscillator footages for enhanced sound design flexibility.
The Boss VB-2 Vibrato is an analog foot pedal that modulates pitch — not volume — for electric guitar and other electronic instruments. It uses depth, rate, and rise time controls, plus a mode switch. It has no MIDI, no rack mounting, and no presets. Its strength is expressive, natural-sounding vibrato. Its weakness is inflexibility and a learning curve. It belongs in the hands of players who value analog immediacy over convenience.
The Alesis Quadraverb is a rack-mount digital multi-effects processor introduced in the early 1990s. It focuses on reverb and delay but also offers pitch, EQ, and 'Change' effects. It runs up to four effects simultaneously in stereo or mono, covers 20 Hz–20 kHz, and connects via 1/4" stereo I/O and MIDI. Users value its lo-fi character—not its fidelity—for feedback loops and textural layering.
The Roland JV-2080 is a rack-mount, sample-based MIDI sound module released in early 1997. It supports 768 internal patches and can be stacked up to eight units for 512-voice polyphony.
The Fender Starcaster is a semi-hollowbody electric guitar introduced in 1975. It features a bolt-on neck with a three-bolt joint, an offset body, maple fretboard, and a master volume control — distinguishing it from typical semi-hollow designs.
The Yamaha SPX900 is a 1U digital multi-effects processor with analog-only I/O, 16-bit/44.1 kHz processing, and 99 fixed presets. It delivers studio-ready reverb, delay and modulation in a compact, MIDI-controllable package — but offers no digital connectivity and no on-the-fly parameter editing.
The Eventide Orville is a dual-DSP, 24-bit digital audio processor with fully flexible I/O routing, near-three-minute sampling (DSP A), 40-second delay on both engines, UltraShifter™, DistortionCurve™ analog distortion modelling, and Predictive Vocoder™ based on a high-resolution physical model of the vocal tract. Firmware updates require Windows XP and a USB-to-serial adapter—and delete all User Programs unless backed up.
The Ibanez TS808 Tube Screamer Reissue is an analog overdrive pedal in the Tube Screamer series. It has three knobs: tone, level, and overdrive. It uses the JRC4558 chip. It runs on a 9-volt battery or AC adapter. Its metal housing is 4.9" x 2.8" x 2" and weighs just over a pound. It delivers warm, smooth, mid-heavy overdrive suited for solos and blues-rock—not high-gain riffing. It is very strongly built.
The Pioneer DJM-909 is a 2-channel DJ mixer built for live blending, EQ, and effects. It has no published technical specifications. Pioneer manufactured it. User reviews highlight transparency and effective equalization—but give no data on filter slope, latency, or headroom. It does not integrate with software or offer recallable settings. It belongs in a booth, not a studio rack.
The Otari MTR-10 is an analog multitrack recorder. No technical specifications are available. It is also referred to as 'mtr 10' or 'mtr10'.
The Eventide Omnipressor 2830 Au is a studio compressor. No technical specifications are available. It belongs to the studio compressors category.
The MOTU 2408 is a discontinued PCI/ISA rack-mount soundcard built for multitrack recording and mixing in home and project studios.
The JBL 4430 is a 2-way active monitor built for studio monitoring. It delivers stable, wide, non-directional dispersion and excellent overall homogeneity. Its horn is more neutral than predecessors like the 4331 and L200 — eliminating long repetitive directional artifacts. It lacks the top-end finesse of the 2405 tweeter. Bi-amplification enables sonic evolution, but mechanical decoupling from the floor is mandatory. It was produced continuously for 20 years with iterative hardware updates: the 1-inch compression driver shifted from aluminum diaphragm and alnico magnets to titanium and ferrite. Each unit supports up to 80 kg.
The Rane MP2016 is a 3U rack-mount DJ mixer with six inputs — four phono/line, two mic/line — each with bass/mid/treble and gain. Master/House and Booth outputs each have a 3-band EQ. It delivers crystal-clear sound with no noise or bleed. It has no built-in effects.
Braids delivers radical timbral variety in minimal space—but with no internal editing, no tuning stability guarantees, and no analogue circuitry. It is a selector, not a synthesizer.
The Ibanez AR300 is a 1981 Japanese-made, violin-shaped electric guitar with a glued-in neck, two humbuckers, 22 frets, and four dedicated controls. It weighs like a vintage Les Paul and plays with warmth and authority in blues and jazz—but resists speed, modern ergonomics, and tonal neutrality.
The Genelec 1031A is a large, active, self-powered studio monitor built for stationary use in professional recording studios. It delivers full-spectrum sound with strong low-end presence and tight high-end response. It plays loudly without colouration and reveals fine audio detail. Its built-in amplification is highly effective. Its size and sonic neutrality make it unsuitable for small rooms or home studios. Users report it excels in medium-to-large spaces and is trusted for critical mixing and tracking.
The Fostex E-16 is an analog multitrack recorder. No technical specifications are available for it.
The Electro-Harmonix Polychorus Mk2 is a stereo analog stomp-box modulation pedal for guitar. It offers chorus, flanger, double track, and filter matrix modes via toggle switches. It has one input and two outputs. It requires 24V power. It has no preset memory.
The Duo-Sonic is a compact, fixed-bridge student guitar built for physical accessibility — not sonic flexibility.
The Maestro FZ-1 Fuzz-Tone is the first widely marketed fuzz effect. Introduced in 1962. Achieved mainstream impact in 1965 via Keith Richards on 'Satisfaction'. Uses three germanium transistors. Powered by two 1.5V batteries (later one). Responds directly to input amplitude. Temperature sensitive. Delivers brass-like tones. Integrated into Gibson EB-0F basses circa 1964. Revised as FZ-1a in late 1965.
The AKG C12 is a large diaphragm condenser tube microphone designed for studio recording. It requires a dedicated power supply. It captures a wide frequency range. It is exceptionally high-performing but delicate and unsuitable for live use.
The Mesa Boogie Mark I Combo is a late-1970s tube guitar amplifier built for players who wanted controlled, responsive overdrive from a compact combo. It was not originally exported, later adapted for 220 V use in France.
The Xone:V6 is a 4+ channel analogue DJ mixer from Allen & Heath. It routes four main sources plus an effects return. It has no digital features, no software, no built-in effects. It delivers clean, hands-on control—nothing more, nothing less.
A transparent boost pedal built for signal integrity, not tonal manipulation.
The MXR Dyna Comp is a guitar compressor pedal introduced in the 1970s. It has two controls: Sensitivity and Output. It produces a non-tone-neutral, colour-rich compression effect. It became a Nashville standard. It smooths out volume differences between notes, especially in chicken picking. It was one of the six original pedals in the MXR Series 2000 line.
The Drumulator is a fixed-sample, floppy-driven drum machine built to undercut the Linn LM-1 — not match it. It gives you eight gritty 12-bit hits, real-time or step sequencing, and Apple II editing. It withholds sound editing, velocity, swing, and any expansion beyond its ROM.
The Morphagene is an effects module for modular synthesizers made by Make Noise. It belongs in the 'Effects modules for modular synthesizer' category. It does not function as a sampler, sequencer, or DAW plugin — it transforms audio live using tape-style operations. Its design gives immediate, irreversible, hands-on manipulation. It withholds saving, syncing, and visual feedback.
The Prophet-T8 is an 8-voice analog polysynth released by Sequential Circuits in 1983. It features digital control of analog sound, a 76-key weighted keyboard with velocity and aftertouch, full MIDI implementation, split/layer/double/unison modes, and a real-time sequencer. Its tone resembles the Prophet-5. It was Sequential’s finest analog synthesizer—but faced commercial pressure from the Yamaha DX7.
The SH-2000 is a 1973 monophonic analog preset synthesizer. It is Roland’s second synth and a simplified version of the SH-1000. It was built for home organists needing expressive, portable tone colour without synthesis theory.
The Eventide SP2016 Reverb plug-in is a faithful software recreation of the 1982 hardware unit. It gives users six algorithmic reverbs — Room, Stereo Room, and Hi-Density Plate, each in Vintage and Modern variants — with authentic early reflections, evolving echo density, and smooth decay. It prioritises immediacy and character over flexibility or physical accuracy.
The Yamaha DX100 is a 1986 FM synthesiser with 49 mini-keys, eight-voice polyphony, four operators per voice, eight algorithms, 192 presets, 24 RAM-storable user sounds, cassette-based patch storage, and the YM2164 chip. It was the cheapest user-programmable FM synthesiser of the 1980s.
The Vox AC30 is a valve-powered guitar amplifier introduced in 1959 to provide higher wattage and greater volume than the AC15. Its class AB operation, cathode-biased EL84 push-pull output stage, and Celestion Blue speaker pairing produce a jangly, mid-forward, high-clarity tone with limited low-end at low volumes but strong headroom and smooth overdrive. It is not synthesizer-based and does not employ digital or solid-state synthesis methods.
The Sony DTC-1000ES is a DAT deck in Sony’s DTC series. No technical specifications are available. Nothing else is verifiable.
A tube overdrive pedal built around one 12AX7 tube. Metal case. Own power supply. High output. Creamy distortion. Nearly a decade of field reliability. No EQ. No blend. No compromise on toughness.
The Boss SP-202 is a portable sampling workstation released in 1998. It succeeded Roland's MS-1 Digital Sampler. It has eight pads, four banks, two control knobs, a built-in microphone, six built-in effects, BPM-based looping, user-selectable sampling grade per pad, and sampling capacity of 4 minutes 20 seconds internally or up to 37 minutes with a SmartMedia card. It was built for club DJs, hip-hop and dance music artists.
The EMT 250 was the first digital reverberation device to create ambience through a purely electronic system. The Universal Audio plug-in models that hardware exactly — including its single reverb program, five additional effects (Delay, Phasing, Chorus, Echo, Space), lever-driven interface and all its limitations: non-linear-phase anti-aliasing filters, system latency, input clipping and limited frequency response. It uses the exact same algorithm as the original, captured from Allen Sides’ unit and re-engineered by Dr. Barry Blesser.
The Tube-Tech CL 1B MKII is a Universal Audio software compressor plugin. Nothing more is verified.
The QMMG is a filter module for modular synthesizers. That is all the sources confirm. It is made by Make Noise. It belongs in the category 'Filter modules for modular synthesizers'. Nothing else is verified.
The EMS Vocoder 5000 is classified as an 'Other Effects Processor'. No technical specifications are available for it.
The Gibson Victory Bass is a four-string solid-body electric bass designed by Wayne Charvel for Gibson from 1981 to 1986. It shares its lineage with the Gibson Victory, uses fixed materials (maple body, three-ply maple neck, rosewood fingerboard), and offers a fretless option — but nothing more. It was not a successful model. No evidence confirms distinctive tone, player adoption or recorded use.
The Epiphone Sheraton is a thinline semi-hollow body electric guitar introduced in 1958 under Gibson’s ownership but exclusively manufactured by Epiphone. It was reworked from Epiphone’s Century archtop and shares its body design with Gibson’s ES-series. Key spec changes include the 1958 twin-pickup configuration, 1961 switch to mini-humbuckers, and 1970 shift to full-sized humbuckers and Japanese production.
The AKG C414 EB is a large diaphragm condenser microphone. It is one of 13 products in the AKG C414 series. No technical, historical, or functional detail beyond that is provided in the source material.
The Boss CE-2 Chorus is an all-analog stomp box introduced in the early 1980s. It has two controls: Rate and Depth. It was Boss’s first compact chorus pedal and the first they housed in a stomp box. Production ended in 1990. It runs on 9V battery or transformer. It was made in Japan.
The Curve Bender is a software parametric EQ made by Softube. It costs $299 including VAT. It does not claim to be hardware. It does not add dynamics, M/S, or analysis. It does one thing: shape tone with four bands, modelled on Chandler’s approach.
The Audio Electronics EchoCzar does not exist in the provided material. The instrument named is the Toneczar Echoczar. Audio Electronics is not mentioned anywhere in the sources.
The Synton Fenix is a rare, handbuilt modular synthesizer from 1997 — 75 units total — designed by Marc Paping and Bert Vermeulen to include only the vintage-analogue features they personally valued, and nothing more.
The Neve 33609 is a dual-channel, all-analog studio compressor and limiter occupying two rack units. Each channel contains independent compressor and limiter sections. The compressor section provides threshold, recovery, gain, ratio, and bypass. The limiter section provides threshold, recovery, fast/slow attack, and bypass. It supports dual-mono or stereo operation with per-channel gain reduction metering.
The Korg Electribe ES-1 is a sampling sequencer built for live beat construction and loop manipulation.
The Publison Infernal Machine 90 is a 3U rackmount analog/digital multi-effects processor built for video post-production. It delivers delay, echo, harmonizer, sampler, reverb, transposition, time compression/expansion, and DVR-style long-sample playback — all synchronised to SMPTE timecode. All programs are editable on-device; no external editor exists. It excels at frame-accurate effect triggering in film dubbing. It fails for anyone needing patch libraries, remote editing, or non-video workflows.
The Waves V-Series is an effects bundle with no published technical details. It offers no verifiable functionality, no documented use cases, and no basis for evaluation beyond its category label.
The Dynaudio Acoustics BM15A is an active studio monitor designed for nearfield monitoring. It integrates amplification, reproduces down to 45 Hz at 0 dB, and complies with EU and FCC electromagnetic shielding standards. One unit exhibited unintended FM radio reception at 104.1 MHz — isolated to the right channel. Users report no distortion or hum, even at maximum volume. No information is given about music, artists, or recordings made with it.
The Fender Champ 5F1 is a tube combo guitar amplifier made from 1958 to 1964. It has volume and tone controls only. It uses a single 6V6 power tube driving an 8-inch speaker. It breaks up early and stays simple. It does not offer clean headroom, effects, or expandability.
The KP1 is a 1999 touch-driven effects box for DJs. It runs six effects at once. It has no sampling. It has no synthesis. It has no presets. It has no deep editing. It has a pad, four buttons, and a fader. It rewards gesture over precision. It belongs on a deck, not in a DAW.
The Roland S-760 is a 1990 rackmount sampler. It samples at 44.1 kHz or 48 kHz with 16-bit stereo resolution. It supports 24-voice polyphony across 32 multitimbral parts. It uses no synthesis method beyond sampling. It has built-in filters but no effects.
The Moog synthesizer is a modular, voltage-controlled analog synthesizer invented by Robert Moog in 1964. It was the first commercial synthesizer and established the analog synthesizer concept through its use of patch-cord-connected modules—including voltage-controlled oscillators, filters, envelope generators, and amplifiers—to implement subtractive synthesis.
The OB-X was Oberheim’s first OB-series polyphonic analog subtractive synthesizer. Introduced in June 1979 to compete with the Prophet-5, it replaced modular SEM-based systems with a unified design built around interchangeable voice cards. It offered 4-, 6-, or 8-voice configurations, 32 user-programmable presets, and automated tuning via a Z-80 microprocessor. Its architecture prioritised stability and integration over flexibility or expressivity.
The Digidesign Pro Tools|24 Mix + is a discontinued PCI DSP board for Pro Tools|24 systems. It requires Pro Tools 6.4.1 and Mac OS 10.3.8. Installation is difficult. Setup is simple. Once running, it performs reliably and professionally.
The Moog Taurus is a foot-operated analog synthesizer introduced in 1975. It uses an organ-style pedal board. It is monophonic, with a single voice generated by two oscillators and one VCA. Taurus I and III offer only a distorted sawtooth wave. Taurus II introduced a pulse wave. All models use a 24dB/octave resonant low-pass filter with key tracking. Early models lack an LFO; Taurus III includes one routable to oscillator pitch or filter frequency.
The Minimoog is an analog keyboard synthesizer introduced by Moog in 1970. It was built as a portable, affordable alternative to modular systems — the first synth sold in retail stores. Its three unsynchronised analog oscillators, unique voltage-controlled filter, and pioneering pitch wheel give it immediate, expressive, monophonic voice — but no chords, no presets, no stability. It made blistering funky bass blurps and spacey whistle leads — not because it was precise, but because it wasn’t.
The Neve BCM10/2 Mk2 is an analog mixer made by AMS-Neve. No technical specifications are available. Nothing else is verified.
The Epiphone PR-100 is a Chinese-made, US-designed dreadnought acoustic guitar with 22 frets, a mahogany neck, rosewood fretboard, and plastic bridge. It has no electronics or controls. It is built for unamplified play only.
The Aphex 204 Aural Exciter is a two-channel hardware processor that enhances bass tone while preserving attack and avoiding speaker damage. It uses optical low-end enhancement and aural excitation to deliver creamy, fat sound with sleek tone and crystal-clear attack. Users report success in loud live contexts with drums and distorted guitars — the bass remains powerful yet clear and defined. It pulls clean, fat low-end from existing bass amplifiers and speakers, eliminating the need for bulky speaker upgrades. It does not address midrange or high-frequency detail beyond attack preservation. Bass players using standard rigs in loud live settings should use it. Studio engineers seeking surgical EQ or harmonic control should not.
The Neve 8068 is a 1970s large-format analog console with 32 fully equipped channel strips—24 on the left, 8 on the right—each featuring a mic preamp, parametric EQ in the standard Neve style, and routing options. Its sound is defined by strong low-mid response and a balance of clarity and warmth. It is exceptionally difficult for beginners but familiar to experienced Neve users.
The AMS-Neve Capricorn is a digital mixer. That is all the source confirms. No specifications. No year. No sound. No interface description. No user reports. No cultural footprint. It exists only as a category entry.
The Roland SH-3A is a monophonic analog synthesizer introduced in 1975. It supports both subtractive and additive synthesis. It includes two LFOs and a unique sample-and-hold section. It was Roland’s first non-preset based synth. It uses a transistor ladder-filter to produce Moog-like sounds.
The Coles 4038 is a BBC-designed ribbon microphone from 1953. It uses a bi-directional polar pattern and has a flat frequency response from ~30–15,000 Hz. High-frequency attenuation reduces sibilance but also reduces detail. Its technical specifications have remained unchanged since its design in the 1950s.
Gretsch is not a guitar brand by origin. It is a Brooklyn drum and percussion company founded in 1883 that added guitars late—and only committed to them after Chet Atkins demanded a hum-free hollowbody. The Filter'Tron pickup solved a real problem: 60-cycle hum in live and studio settings. But it did not solve feedback, sustain, or tonal flexibility. Its value lies in what it removed—not what it added.
The Technics SL-1300 is a Hi-Fi turntable made by Technics. It has no stated technical specifications, no DJ features, and no digital functionality. Its design prioritises mechanical stability over versatility.
The Gibson Super 400 CES (2011) is a discontinued hollow/semi-hollow electric guitar. Its name, category, and discontinuation are the only verified facts. It has no technical specifications, no availability, and no documented use. It does not function as an instrument today.
The Roland Juno-2 (Alpha Juno-2) is an 80s hybrid synth: analog filters and voice path, digital control over oscillators, envelopes, LFO, PWM, and chorus. It has 64 factory and 64 user patches, a velocity-sensitive 61-key keyboard, and a single digital wheel for editing. It lacks computer update capability and rack-mounting. Real-time sound switching is slow. It was built for studio use — not live performance.
The API 3124+ is a 1U, 4-channel analog microphone preamplifier using the 2520 op-amp and classic console circuit. Each channel has gain, polarity, phantom power, 20 dB pad, mic/line selection, and a VU meter. It accepts XLR inputs at the rear and unbalanced 1/4" inputs at the front. It delivers high headroom and consistent colour across all four channels — but offers no impedance control, channel linking, or digital integration.
The MXR Flanger is a guitar flanger pedal. No technical specifications are available. It belongs in the category of flangers for guitar. That is all the material confirms.
The Roland MC-8 Microcomposer is a pioneering CV/Gate sequencer from early 1977. It uses an Intel 8080A CPU and 16 KB RAM to store up to 5,300 notes. It enables polyphonic sequencing via CV/Gate allocation and precise, rapid control of VCOs, VCFs, and lighting. It was designed for large modular systems like the System 700 and System-100M. It does not support real-time recording well and lacks modern interface conveniences.
Fender amplifiers are electric instrument amplifiers produced by the Fender Musical Instruments Corporation. The first guitar amplifiers attributed to Leo Fender were manufactured by the K&F Manufacturing Corporation (K&F) in 1945. Later, Fender began building its own line of electric guitars. Fender amplifiers would become favorites of guitarists like Jimi Hendrix, Eric Clapton, and Stevie Ray Vaughan, also known in these cases for playing Fender guitars. Fender amps have come in many configurations and styles. The early K&F and Fender amplifiers relied upon vacuum tube circuitry, with solid-state models appearing in the late 1960s. Fender frequently updated the internal circuitry of its amps, and changed their appearance throughout its history.
The M-Audio Delta Audiophile 24/96 is a PCI/ISA sound card for Windows-based music production and amateur vocal recording. It connects MIDI controllers and turntables. It supports 24-bit/96 kHz audio when host software allows. Latency drops to 4ms with buffer reductions. It runs silently in Cubase VST, Pro Tools, Fruity Loops, and six other DAWs. Recordings are clean. Softsynths sound great. Wave Table Synthesis is absent — but users found it unnecessary. I/O is limited. Modern OS support is not provided.
The Tascam Portastudio 424 is a cassette-based four-track recorder and mixer. It uses type II (CrO2) tape. It has two inputs — XLR and 1/4 inch — and supports tape speeds of 9.5, 4.75, and 2375 cm/s. dbx type II noise reduction is permanent. Each input has gain, three-band EQ, and panning. It has main stereo outputs and a headphone jack.
The Boss BF-2 Flanger is an analog stomp-box flanger pedal sold from June 1980 to December 2001. It has 1/4-inch inputs and outputs, four controls (Manual, Depth, Rate, Res), and runs on 9V battery or AC adapter. It is not rackable. It was succeeded by the digital BF-3.
The Maton BB1200 is a discontinued hollow or semi-hollow electric guitar. No technical specifications are provided. It is not currently available for purchase. Nothing else is confirmed.