MOOG Subsequent 37 je monofoni analogni sintisajzer sa 2 oscilatora, 256 memorijskih preseta, 37 dirki. To je redizajn moćnog Sub 37 Tribute izdanja sa revidiranim sound engine-om. Poboljšana tastatura omogućava još bolju svirljivost i dizajn je redizajniran. Subsequent 37 ima čvrstu konstrukciju čeličnih i aluminijumskih elemenata i dva aluminijumska bočna panela sa pravim drvenim stranicama kao I tipični MOOG logo koji ističe njihov kvalitet izrade.

Sa izuzetno laganim i mobilnim dizajnom i sa svim zvukovima koji Vam mogu biti potrebni, Nord Stage 3 HP76 je zaista izuzetan instrument s nenadmašnim performansama! 5. generacija Stage serije pruža Vam višestruko-nagrađivani Nord Lead A1 Synth pogon (sa sample playbackom), slavni Nord C2D organ pogon, naprednu piano sekciju te pristup stotinama efekata dostupnih ispred Vaših ruku - sve što Vam je potrebno za odlične performanse unutar svake postavke. Glavni faktor unutar Nord "top-of-the-line" 76-notne potpuno otežane hammer-action dirke jeste njena jasnoća pri izražaju zbog koje je Nord Stage 3 HP76 vrhunska klavijatura svetskog nivo. U kompletu s klavijaturom dolazi i 2GB memorije za Nord Piano Library biblioteku zvukova.

Dve legende - Jedan instrument OB-6® je jednokratna saradnja između dva najuticajnija dizajnera u istoriji polifonih sintisajzera, Dave Smitha i Toma Oberheima. OB-6 preuzima klasičan puni Tom Oberheim zvuk - sa svojim pravim strujno kontrolisanim oscilatorima, 2-polnim filterom i pojačalima - i dodaje moderna poboljšanja kao što su efekti studijskog kvaliteta, polifonski sekvencer, arpeđator i još mnogo toga. Nijedan drugi moderni analogni poli sintisajzer se ne može pohvaliti takvim pedigreom ili takvim masivnim zvučnim potpisom.

The Pro 3 je hibrid postojanog, old-school analognog i fleksibilne digitalne tehnologije. Opremljen je sa tri oscilatora, tri vintage filtera, tri LFO-a, 4 envelope filtera, masivnim mod matrixom sa 32 slota i 16 x 16 x 4 sekvencerom. Dodajte na to i dual digitalne efekte i četiri CV outputa i pred sobom imate ozbiljan instrument kojeg je podjednako zabavno i inspirativno kako programirati, tako i svirati.

Modul Prophet-10 je desktop verzija bez dirki Sequentialovog legendarnog analognog polifonijskog synth-a. Kao i verzija sa dirkama, ovo je “najbolja od svih Prophet-5” jer utjelovljuje sve tri Prophet-5 revizije — Rev1, Rev2 i Rev3 , a koristi originalne Curtis analogne VCO-ove i filtare (kao u Rev3) kao kao najnoviji 2140 niskopropusni filteri koje je dizajnirao Dave Rossum (poput 2040 filtera koje je dizajnirao u originalnim Rev1 i Rev2). Sklopka Rev vam omogućava odabir između dva dizajna filtera. Sa mnogobrojnim audio, MIDI i pedalskim priključcima, rezultat je novog analognog klasika kakvog bis samo poželeli, sa autentičnim, debelim zvukom originala i tehničkom preciznošću najmodernijeg instrumenta.

Moog Matriarch je parafonski, polumodularni analogni sintisajzer sa četirinotnom polifonijom, 49 Fatarovih dirki, integrisanim sekvencerom, arpeggiatorom, stereo analognim delayom i 90 patch tački, kompatibilnih sa Mother-32, DFAM i ostalim Eurorack modulima. Polumodularni dizajn omogućsva stvaranje zvukova bez patch kabla tako da se sa njim može upravljati putem MIDI-ja. Muzičari, producenti i sound dizajneri zvuka radovaće se obilju sintesajzerskih tekstura i novih zvukova!

Izgrađen na inovativnim temeljima višestruko hvaljenog Novation Peak polifonskog desktop sintisajzera, Summit sadrzi tri oscilatora po glasu, 16-glasovni keyboard synth namenjen profesionalnim i polu-profesionalnim muzicarima koji traže inspirativni instrument za svirku u studiju ili za svirku uživo. Zapravo, Summit efektivno pruža snagu dva Peak syntha direktno ispod Vaših prstiju, što Vam omogućava da dva potpuno nezavisna patcha budu razdvojena ili raslojena po dirkama, ili Vam pruža mogućnost vršenja selekcije između. Ovaj synth takođe proširuje korisničko delovanje Peak modela s mnogim 'skrivenim' kontrolama i funkcijama koje su dostupne na prednjoj ploči - FM usmeravanje, LFO 3 i 4, arpeggijator postavke, itd. - plus dodatak pitch i mod kontrole. Summit takođe sadrži mnoštvo novih filter opcija, audio ulaz za obradu spoljnih izvora sa reverb, chorus i delay efektima. U samom srcu Summit syntha nalaze se tri digitalna New Oxford oscilatora po glasu smeštena unutar FPGA (Field Programmable Gate Array) čipa. Kao i generisanje autentičnih oblika u analognom stilu pri izuzetno visokoj rezoluciji, ovo takođe olakšava FM i wavetable sintezu za dizajniranje bogatih, kompleksnih i izuzetno tekstualnih sirovih tonova. Svaki glas ulazi u pravu stereo signalnu putanju koja obuhvata dvostruke analogne filtere, tri vrste analogne distorzije i analogne VCA-e; dok bogatstvo modulacijskih mogućnosti i tri šarena efekta donose pokret, život i oblikovanje Vaših patchova.

16-voice analogni synthesizer sa 61 dirkom koji nastavlja tačno tamo gde je legendarni Prophet '08 stao! Rev2 je apsolutna zver koja se ponosi svojim dvostrukim DCO-ima, sub-oscilatorom + 2/4-pole rezonantnim niskopropusnim Curtis filterima na svakom glasu. Ostale funkcije uključuju bi-trimbal mod, modulaciju talasne dužine, masivni FX engine na prednjoj ploči, napredni polifonijski linearni sekvencer, kristalno-jasni OLED ekran i USB priključak. Centralnom pozicijom dominira pravi Dave Smith keybed sa 61 premium polu-otežanom dirkom sa 5 oktava, velocity i kanalnim aftertouch osećajem.

The Drawbar Has Been Raised In the authenticity sweepstakes, the Hammond XK-5 blows away the barrier between vintage and modern, redefining the state of the art in portable digital organs. Hammond's flagship portable, the XK-5, features a ground-up design that draws on original B-3 schematics, capturing that legendary sound, feel - and soul - with unerring accuracy. Onboard, new technologies include a cutting-edge sound engine that combines modeling and sampling to reproduce every nuance of vintage electro-mechanical tonewheel generators. The new custom waterfall keybed provides the inimitable feel of a vintage B-3 and is ideal for palm slides and other classic playing techniques. Other features include four sets of drawbars plus pedal drawbars, an uber-realistic Digital Leslie, and downloadable tonewheel profiles. The foundation of Hammond's new Heritage Series, the XK-5 is modular, letting you configure as large a system as your music requires. Hammond XK-5 at a Glance: Hybrid Multiple-key Contact System for realism and versatility Redesigned Keybed gives you incredible playing feel All-new Sound Engine delivers a stunning re-creation of classic Hammonds Virtual Matching Transformer lets you dial in hysteresis and saturation Streamlined operation makes the XK-5 a joy to use Hybrid Multiple-key Contact System for realism and versatility Play a key on a classic Hammond, and you're closing nine mechanical contacts - one for each drawbar. You hear these multiple harmonics as one note, but press a key slowly, and you'll hear the harmonics come in sequentially. In normal playing, this creates a characterful, albeit subtle, slop on the slow attacks; the more drawbars you have pulled out, the more that chewy, soulful personality comes out. Hammond knows this can't be realized with a simple MIDI note-on (which is how most contemporary organ and synth actions work). Instead, they use three mechanical contacts at different locations in the key travel. Each of these, in turn, triggers three virtual contacts, giving you separate note-on connections for every drawbar frequency, after the fashion of the original 9-contact electro-mechanical Hammond organs. The payoff is a fingers-to-sound relationship that duplicates playing a vintage B - without the cost and weight. A bonus is that you can program the time spread between these note-ons, and the order in which the harmonics speak. Moreover, because the contacts receive and transmit MIDI note data, you can capture the harmonic nuances of your performance in your DAW, to which you can connect the XK-5 via USB. Redesigned Keybed gives you incredible playing feel Hammond doesn't outsource the XK-5 keyboard action - they build it in-house. Designed to replicate the bounce, heft, key dip, and multi-contact actuation of a well-maintained new-old-stock B-3, this keybed has absolutely delighted hardcore B connoisseurs here. Equipped with waterfall key fronts, this keybed facilitates palm slides and other classic Hammond playing techniques. Contrast the XK-5 playing experience with contemporary organs from other brands, and you'll see there's really no comparison. This is the real deal. All-new Sound Engine delivers a stunning re-creation of classic Hammonds Hammond's storied tonewheel generator has been digitally re-created with stunning accuracy in the XK-5. Hammond employed both modeling and sampling techniques to capture the frequencies of all 91 tonewheels found in their vintage organs, as well as other signature sonic artifacts like key clicks, harmonic percussion, vibrato/chorus, and more. Tonewheel generators left the factory all sounding the same, but after years of use, no two are exactly alike. And with the XK-5, you can program individual tonewheel behavior and generator characteristics, such as leakage and crosstalk between pickups, as well as replicate particular Hammonds, right down to the year, model, serial number, and condition. What's more, you can call up presets of your favorite Hammond artists' instruments - and Hammond will be providing additional downloadable tonewheel profiles from preeminent Hammond organists. Virtual Matching Transformer lets you dial in hysteresis and saturation The tonewheels of vintage Hammonds generated small voltages that required stepping up, and you could draw on some of the same wheels simultaneously by playing similar notes with similar drawbar settings on both manuals. All the signals from the upper, lower, and pedal manuals passed through a matching transformer that evened out the signal before it advanced to the preamp and vibrato/chorus scanner. Transformers have a "memory" based on how hard they have been driven. This is called hysteresis, and it's responsible for the organic, breathing quality you hear in vintage Hammonds - and in the XK-5. Now, as the transformer in question is digitally modeled, you have complete control over the amount of hysteresis and saturation in your sound. Streamlined operation makes the XK-5 a joy to use Hammond incorporated the best new ideas into the design of the XK-5, and naturally kept the features that made the XK-3C and compact SK series a joy to play, such as their streamlined patch naming and copying conventions. In the XK-5, the intuitive display lets you hold any button and the first page of relevant parameters pops up. For example, when you hold the Leslie speed button, you'll see all the Digital Leslie settings. Not having to deal with annoying, time-consuming menu diving when you're customizing your sounds makes for quick sound changes and an enjoyable overall playing experience. Hammond XK-5 Features: 4 complete sets of Harmonic Drawbars, plus pedal drawbars: Just like a classic B-3 12 additional virtual tonewheels dedicated to harmonically complex pedal tones: In addition to the 8' and 16' sine waves found on Hammonds starting in 1945 Custom tonewheel profiles are available for download Hammond's premium digital Leslie effect: This is no ordinary "rotary simulator" Continuously variable Digital Leslie speed 12 reverse-color keys for selecting presets Dedicated Octave Shift and Transpose buttons DSP-based overdrive assisted by a vacuum tube preamp Optimized vibrato/chorus Dedicated on/off buttons and amount knobs for Reverb, Overdrive, and assignable Multi-FX Lower B drawbars may alternatively control 9 MIDI CC messages for external gear Left and right 1/4" outputs may be used concurrently with Leslie output: Run the XK-5 through a real Leslie in parallel with monitors, sub, or house PA Manual Bass function: key-triggering modes for pedal-to-lower coupler Updatable firmware via USB flash drive or directly from your computer Crisp OLED display is readable under variable lighting conditions Hammond's XK-5: classic sound and feel, without the weight or cost!

The Next Evolution of the Prophet The Sequential Prophet X is a potent fusion of samples-plus-synthesis and is Sequential’s most ground-breaking evolution of the Prophet yet. At its heart, it’s a bi-timbral, 8-voice-stereo, 16-voice mono/stereo, 32-voice paraphonic synth with a newly developed sound engine that powers two simultaneous 16-bit, 48kHz sample-based instruments plus two high-resolution digital oscillators — all processed through analog filters. . With 150 GB of internal samples from acclaimed sound developers 8Dio, and all of the powerful synthesis tools you’ve come to expect from Sequential, the Prophet X has a musical voice uniquely its own. Sample Engine On the sample side of things, in 8- and 16-voice mode, the Prophet XL provides two independent, stereo, digitally sampled instruments per voice (4 in Stack or Split mode). The 150 GB of internal sample content was created by 8Dio, known for pioneering “deep sampling.” You’ll find a diverse collection of acoustic and electronic instruments as well as plenty of edgy ambient and cinematic effects. You can shape the samples through loop manipulation, sample stretching, and the Prophet X’s sound-sculpting modulation functions. Each sample instrument has its own Tone control for high-pass or low-pass filtering. 50 GB of additional internal storage is dedicated to importing user samples and 3rd party sample libraries. Synth Engine On the synth side, the Prophet X gives you the power of a classic Prophet, with two high-resolution digital oscillators that feature both classic waveshapes and a supersaw for more timbral possibilities. Using the Shape Mod control, you can manually dial in a desired waveshape width for any of the classic sine, sawtooth, or pulse waves, or use an LFO or other mod source for continuously shifting timbre. You can shape the raw sounds with all of the classic synthesis functions you’d expect, including 4 syncable LFOs with slew and phase offset, 4 loopable five-stage envelope generators, and a 16-slot mod matrix with dozens of modulation sources and destinations. Stereo Filters for Depth and Impact At the heart of the Prophet XL’s powerful sound are its new, 24 dB-per-octave resonant low-pass filters, which are based on a vintage design. In 8-voice mode, there are separate filters in the left and right channels for a true stereo signal path. These add exceptional presence and fullness to both the samples and the oscillators. For additional polyphony, you can switch the Prophet XL from 8-voice stereo mode to 16-voice mono/stereo mode, which is useful for stacks and splits, or 32-voice paraphonic performance mode when using a single sampled instrument and oscillator. Poly Step Sequencing The polyphonic step sequencer provides up to 64 steps and up to 6 notes per step. You can create a different sequence for each layer if working in stacked or split voice mode, making it a powerful tool for composition or performance. Sequences can have ties and rests, and can sync to an external MIDI clock. The arpeggiator features note repeats, re-latching, and can be synced to external MIDI clock, as well. Two Effects per Layer A dual effects engine provides multiple reverbs, 2 delays (standard and BBD), chorus, phase shifter, flanger, ring mod, vintage rotating speaker, high-pass filter, and distortion. In stacked or split voice mode, you can apply two different effects to each layer. Effects parameters can be modulated through the mod matrix. Road-worthy and Studio-ready With loads of sonic firepower and personality, a five-octave, premium-quality, semi-weighted keyboard with velocity and channel aftertouch, an integrated power supply, MIDI USB support, and three crisp OLED displays, the Prophet X fits into any music rig or gig — in the studio or on the road. Prophet X Specifications SAMPLE PLAYBACK 2 multi-sampled stereo instruments per voice with editable sample start, sample end, loop size, and loop center, loop on/off, sample reverse, sample stretch, bit-rate reduction, and sample rate reduction Forward and forward/reverse loop modes 150 GB of factory-installed 16-bit, 48 kHz sampled instruments created by 8Dio 50 GB of additional storage for user-imported samples or 3rd-party sound libraries High-pass and low-pass filter per instrument Instrument 1 and instrument 2 delay as mod destinations OSCILLATORS 2 digital oscillators per voice with selectable sine, sawtooth, pulse, and supersaw waves. You can vary the shape of any of the waveshapes. Glide (portamento): separate rates per oscillator; (samples can glide in Sample Stretch mode) Hard sync FILTERS 2 x analog 4-pole resonant low-pass filter per voice Digital high-pass filter in Effects section ENVELOPES 4 loopable, five-stage (ADSR plus delay) envelope generators: Filter, VCA, and two assignable SEQUENCER Polyphonic step sequencer with up to 64 steps (6 notes per step), and ties and rests. MIDI note output Sequences can be copied between Layer A and Layer B AMPLIFIER ENVELOPE Four-stage (ADSR) envelope generator Velocity modulation of envelope amount LOW FREQUENCY OSCILLATORS 4 LFO’s with key sync, phase offset, and slewing per LFO Five wave shapes: triangle, sawtooth, reverse sawtooth, square, and random (sample and hold) MODULATION 16-slot modulation matrix 28 sources 92 destinations 11 additional dedicated sources: mod wheel, pressure, velocity, breath controller, footswitch, LFO 1, LFO 2, LFO 3, LFO 4, Env 3, Env 4 ARPEGGIATOR Fully-featured arpeggiator with up, down, up+down, random, assign modes Selectable note value: 16th note, 8th note triplet, 8th note, dotted 8th note, quarter note One, two, or three octave range Re-latching arpeggiation Note repeat Beat sync MIDI note output ALTERNATIVE TUNINGS 64 preset alternative tunings Additional alternative tunings can be imported via SysEx DIGITAL EFFECTS 2 digital effects on each layer Stereo delay, BBD delay, chorus, flanger, phaser, ring mod, vintage rotating speaker, distortion, high-pass filter, spring reverb, room reverb, hall reverb, super plate reverb CLOCK Master clock with tap tempo BPM control and display MIDI clock sync PERFORMANCE CONTROLS Full-sized, semi-weighted, 5-octave keyboard with velocity and channel (mono) aftertouch Backlit pitch and mod wheels Spring-loaded pitch wheel with selectable range per program (1 to 12 semitones up and down) Transpose controls for an 8-octave range Hold switch latches held notes on Polyphonic glide (portamento) Unison (monophonic) mode with configurable voice count PATCH MEMORY 512 Factory Programs (4 banks of 128) and 512 fully editable User Programs with 2 layers (2 separate sounds) in each Program IN/OUT MIDI In, Out, Thru USB MIDI Sample import jack for USB Stick Main stereo audio output: 2 x 1/4″ phone (TS, unbalanced) Output B stereo audio output: 2 x 1/4″ phone (TS, unbalanced) Pedal/CV: responds to expression pedals or control voltages ranging from 0 to 5 VDC (protected against higher or negative voltages. Volume: responds to expression pedals or control voltages ranging from 0 to 5 VDC (protected against higher or negative voltages. Sustain pedal input: accepts normally on or normally off momentary footswitch. Sequencer: accepts normally on or normally off momentary footswitch to trigger sequencer playback. Headphone output: 1/4″ stereo phone jack. POWER IEC AC power inlet for internal power supply Operates worldwide on voltages between 100 and 240 volts at 50 to 60 Hz Power consumption: 25 watts maximum PHYSICAL SPECS Dimensions: 38.44″ L x 13.53″ W x 4.13″ H (97.6 cm L x 34.3 cm W x 10.9 cm H) Weight: 24 lbs

A Three-Generation Legacy The Sequential Pro 1 and Pro 2 mono synths achieved nearly legendary status in their time. So it was only natural that we build on their strengths with an even more worthy successor. Enter the Pro 3, Sequential’s 2-VCO + wavetable mono/paraphonic synth — a new benchmark for raw sonic power and unrivalled versatility. The Power of 3 The Pro 3 boasts three oscillators, three vintage filters, three LFOs, four loopable envelopes, a massive 32-slot mod matrix, and a 16 x 16 x 4 sequencer. Throw in dual digital effects and four control voltage ins and outs, and you’ve got a hugely powerful instrument that’s as exciting to program as it is to play. A Next-Generation Classic The Pro 3 is a hybrid of solid, old-school analog synthesis paired with versatile digital technology. Its two voltage controlled oscillators provide warmth and presence while its third wavetable oscillator provides digital edge and grit. With 32 tables of 16 waves each and wave morphing, tonal possibilities are immense. Tuned feedback with grunge, and analog distortion deliver industrial-grade nastiness on demand. Three Filters Based on Vintage Designs At the heart of the Pro 3’s ballsy sound are its vintage-style filters. Filter 1 is a 4-pole low-pass design based on the Prophet-6 filter. Filter 2 is a classic transistor ladder filter with optional resonance compensation to preserve its low-end punch. Filter 3 is a classic 2-pole, state-variable design based on the OB-6 filter that can be continuously varied between low-pass, notch, and high-pass operation, with an optional band-pass mode. An additional Drive control provides still more punch when you really want to get down and dirty. Expressive Sequencing Possibly the Pro 3’s most powerful performance tool is its sequencer. With 16 tracks, 16 steps, and 4 phrases, it features both real-time and step input, ratcheting, variable gate and sequence lengths, multiple playback modes, and paraphonic operation. It also syncs to MIDI clock and external audio input, and inputs/outputs control voltages. In addition to notes, sequence tracks can control any parameter in the 171-destination modulation matrix. Plays Well with Modulars The Pro 3’s flexible architecture opens the door to not only processing external audio, but also to interfacing with modular synths through its 4 rear-panel control voltage inputs/outputs and a dedicated gate output. Control voltages can be assigned and routed from within the modulation matrix and can run at audio rates for extreme modulation effects. Some of the many parameters that can be sent to the CV outputs include oscillators, LFOs, envelopes, and sequencer tracks, allowing the Pro 3 to become the central hub of a modular or multi-synth setup. Effects, Envelopes, LFOs, an Arpeggiator, and Extreme Modulation The Pro 3’s Effects section provides delays, reverbs, time-domain effects such as chorus/phasing/flanging and more. There are four loopable five-stage envelope generators, three syncable LFOs with slew and phase offset, a full-featured arpeggiator, and a 32-slot modulation matrix with dozens of modulation sources and over a hundred destinations. Monophonic and Paraphonic Operation The Pro 3 was designed to be a super-powerful monosynth, but it is also a versatile 3-voice paraphonic synth. This makes playing 3-note chords not only possible, but with creative use of effects and some per-oscillator modulation, very expressive. Put all of this sonic power in a three-octave, semi-weighted keyboard with velocity and channel aftertouch, add backlit pitch and mod wheels and a location-sensitive touch slider, and you’ve got one of the most inspiring synths ever made. PRO 3 SPECIFICATIONS: 3 OSCILLATORS Two analog, voltage-controlled oscillators One DSP-based digital oscillator Analog oscillators produce three classic wave shapes: (triangle, saw, pulse) with variable shape modulation/pulse width on each Digital oscillator produce 32 digital wavetables of 16 waves each with wave morphing, plus classic wave shapes (sine, triangle, saw, variable-width pulse) and super saw Digital oscillator 3 can function as an LFO for complex wavetable-based modulation White noise generator Hard sync, per-oscillator Glide, Oscillator Slop 3-VOICE PARAPHONIC PLAYABILITY 3-voice paraphonic mode with individually-gated envelopes per oscillator 3 FILTERS Three classic filter types Filter 1 is a 4-pole, 24 dB per-octave, Prophet-6™ low-pass filter Filter 2 is a classic, 4-pole, 24 dB per-octave, transistor ladder filter with optional resonance compensation Filter 3 is a 2-pole, 12 db per-octave, OB-6™ state-variable filter. It can be continuously varied between low-pass, notch, and high-pass operation, with an optional band-pass mode. 3 LFOS Three syncable LFOs with phase offset and slew per LFO Five waveshapes: triangle, saw, reverse saw, square, and S&H 4 ENVELOPES Four ADSR envelopes with delay (Filter, VCA, and two Auxiliary envelopes) Envelopes freely assignable to multiple modulation destinations All envelopes can repeat/loop DIGITAL EFFECTS Dual digital effects Stereo delay, BBD delay, chorus, flanger, phaser, ring mod, vintage rotating speaker, distortion, high-pass filter, super plate reverb FEEDBACK AND DISTORTION Tuned feedback with Grunge for extra-aggressive tonal destruction Programmable analog distortion 32-SLOT MODULATION MATRIX 32 slot modulation matrix with over 46 mod sources and over 171 mod destinations Modulation assignment buttons enable quick and easy modulation routing Mod Matrix runs at audio rates 4 CONTROL VOLTAGE INS & OUTS AND GATE OUT Four control voltage (CV) inputs and outputs for interfacing with modular synths and other CV-compatible devices Parameters that can be sent to CV outputs include oscillators, LFOs, envelopes, sequencer tracks and any other source within the modulation matrix. Runs at audio rates. Gate Out for triggering external CV-compatible devices. Any CV in can be used as a gate input. 16-TRACK SEQUENCER Advanced sequencer with three modes: normal, gated, and trigger 16 tracks and 4 linkable 16-step phrases Per-step ratcheting, duration, and velocity Multiple playback modes: forward, reverse, forward/reverse, random Supports real-time/step input, rests, and variable-length sequences Syncs to MIDI clock and external audio and CV input Sequences freely assignable to any modulation destination ARPEGGIATOR Sophisticated arpeggiator with up, down, up+down, random, assign modes Syncs to MIDI clock and external audio and CV inputs Re-latching arpeggiation Runs concurrent with Sequencer for arpeggiated patterns with parameter automation CONTROLS Over 60 knobs and 70 buttons enable deep, comprehensive editing with minimal menu diving Backlit pitch and mod wheels are easily visible in low-light situations and have a smooth, precise response. Independently adjustable upper and lower pitch wheel range Position-sensitive latchable touch slider for enhanced interactivity and control Full-sized, three-octave, semi-weighted keyboard with velocity and aftertouch MEMORY 512 user and 512 factory programs Playlist mode for generating easily accessible set lists of your favorite programs IN/OUT 1 MIDI In, 1 MIDI Out, and 1 MIDI Thru/Out 2 port USB port for bidirectional MIDI communication 4 CV inputs (4 x 1/8″ jack) with -10v to +10v voltage range 4 CV outputs (4 x 1/8″ jack) with -10v to +10v voltage range 1 Gate Out (1/8″ jack) 1 Sustain/footswitch input 1 Expression pedal input 1 External audio input (1/4″ phone jack) Main stereo output (2 x 1/4″ phone jack) Headphone out (stereo 1/4″ phone jack) POWER 1 universal IEC AC power inlet for internal power supply Operates worldwide on voltages between 100-240v, 50-60Hz, 30 watts maximum power consumption PHYSICAL SPECS Premium, 3-octave, semi-weighted Fatar keyboard 26.5″ L x 13″ W x 3.5″ H (67.3 cm x 33 cm x 8.9 cm) Weight: 16 lbs (7.25 kg)

The Beat of a Different Drum Tempest is the brainchild of legendary instrument designers, Dave Smith and Roger Linn. It’s a professional drum machine that generates its sounds using six powerful analog synthesis voices, and uses an innovative, performance-oriented operating system that permits an extraordinary level of control to create, edit, arrange, and manipulate beats in real time without ever stopping. The performance-oriented operating system, ninety panel controls, and bright 256 x 64 dot OLED display work together to provide a tightly integrated, non-stop workflow. Record a drumbeat in real-time Switch to another drumbeat and use the lit pads to record it using step programming Switch to another drumbeat and record tuned keyboard parts Use the two touch controllers to record real-time note sound animations or perform beat-wide sound changes Use the generous sound controls to edit any of the drum sounds Tweak the analog effects or drum mix Arrange beats in real time and record the live arrangement into a song And all of the above without ever stopping play Each of the six analog voices has two analog oscillators plus two digital oscillators (with a large bank of included samples), the classic Curtis analog lowpass filter with audio-rate modulation, an additional highpass filter, analog VCA with feedback, five envelopes, two LFOs, an extraordinary variety of analog modulation routings, and stunning sonic quality, warmth, and punch. Although optimized for drum sounds, it excels at tuned sounds as well, and even doubles as a six-voice analog keyboard synth. Sixteen pressure- and velocity-sensitive lit pads are arranged in a 2 x 8 configuration, providing intuitive access to all your fingers and the ideal compromise between the popular 4 x 4 pad arrangement (popular for real-time programming ) and 1 x 16 arrangement (popular for step programming) because Tempest does both. The pads can be used to play thirty-two drum sounds (two banks), mute/unmute the thirty-two sounds on playback, play and arrange sixteen beats in real time, play one sound at sixteen tunings (in a variety of scales) or sixteen velocities, or as sixteen time steps for step programming. The ROLL button permits creating drum rolls or repeated groove patterns by varying pad pressure as the beat records, and doubles as a momentary “stutter” effect when the pads are assigned to play beats. In addition to the six stereo direct voice outputs, there are stereo mix outputs and phones outputs, plus two inputs for foot switches or expression pedals, MIDI in/out and USB. Two pressure- and position-sensitive Note FX slide controllers permit real-time recording of note or beat-wide sound parameter changes into the drumbeat as you play. For example, record simultaneous filter frequency, tuning, envelope decay, and pan changes for each note. The Playback key permits using the slider to override these parameters on playback, which can be recorded back into the beat. Plus, the sliders can be used in performance to alter beat-wide sound parameters like low-pass frequency or resonance, high-pass frequency, envelope attack or decay, and more. A variety of unique effects are provided while maintaining a pure analog signal path: Stereo analog compressor and distortion circuits affect the stereo output mix Beat-synced delay is achieved by generating additional delayed note events within the sequencer A beat-synced “stutter” effect is created entirely within the sequencer by looping short portions of the drumbeat on demand The degree of swing timing can be adjusted in real time during playback. Roger used his entire bag of tricks to make the swing sound very human and natural. In short, Tempest is a well-considered professional design that could only come from Roger and Dave, with a sonic quality and natural human rhythmic feel that are second to none, all in a compact, portable unit that measures a mere 15.4″ wide by 9″ deep by 2.5″ high Tempest Specifications OSCILLATORS Two analog oscillators per voice capable of producing sawtooth, triangle, saw/triangle, and variable pulse width square waves, with hard sync Two digital oscillators per voice loaded with over 450 drum samples and waveforms One sub-octave generator per voice (one octave below oscillator 1) Glide (portamento): separate rates per oscillator FILTER One classic Curtis analog low-pass filter per voice (switchable 2- or 4-pole) with audio rate modulation, self-oscillating in 4-pole mode One analog high-pass filter per voice VCA Analog VCAs with programmable feedback level ENVELOPES Five envelope generators per voice (ADSR plus hold) LFOS 2 LFOs per voice MODULATION 8 x 8 modulation matrix CONTROLLERS 16 pressure and velocity sensitive lit pads Two pressure and position sensitive touch sliders Stunning OLED 256 x 64 display EFFECTS Analog compressor and distortion (available on Main audio outputs) SEQUENCER Sophisticated realtime sequencer Roger Linn Designed Swing modes Hardware MIDI delay per voice MEMORY

Features: Upgrade your XK-5 to a portable dual-manual organ Extended side panels make for seamless integration with XK-5 Components connect via Hammond's convenient H-BUS

Crkva nedeljom ujutro, klub subotom uveče - ove orgulje su dobrodošle na sva mesta. I nemoguće ih je uporediti s bilo kojim drugima! Clavia je razvijala ove digitalno modelirane Vintage orgulje korak po korak, približivši ih savršenstvu. GLAVNE OSOBINE: Master Level Control 126 Programskih lokacija ORGAN GRUPA * Klasični Tonewheel Organ, Vox Continental * Farfisa modeli s punom polifonijom * Pipe Organ, baroknog stila s 21 registrom * Bas modeli (tonewheel, synthbass i pipe organ bas * 20 Digitalno kontroliranih Drawbar orgulja * 6 Drawbar Preseta po programskoj lokaciji * Kontrole perkusija * Vibrato/Chorus/Tremulant kontrole EFEKT GRUPA: 3-band Equalizer * Overdrive * 3 vrste simulacije zvučnika, uključivši i Rotary Speaker s odabirom brzine * Delay - feedback & tap-tempo funkcije * Reverb s 5 algoritama KLAVIJATURA: 2 x 61 Medium Weighted Waterfall dirke * PRIKLJUČCI: Midi i USB

Specs : Keyboard: 49-Note Fatar Keyboard with Velocity and Aftertouch Polyphony: 4-Note Paraphonic Playability (Mono, Duo, 4-Note Modes) Multitimbral: Single Synthesis Method: Analog Components: Four Analog Oscillators with Selectable Waveshapes and Hard Sync per Oscillator Two Analog Ladder Filters with Parallel (HP/LP), Stereo (LP/LP), and Series (HP/LP) Modes Available Dual Analog ADSR Envelopes Dual Analog VCAs Full-Range LFO with 6 Selectable Waveshapes Simple Analog LFO (For modulating Delay, Filters and VCAs) 3 x Bipolar Voltage Controlled Attenuators with Ring Mod Capability 2 x 4 Parallel Wired Unbuffered Mults Patch Points: 90 Patch Points Effects: Stereo Analog Delay Sequencer: 256 Step Sequencer with Up to 4 Notes per Step and 12 Stored Patterns Arpeggiator: Arpeggiator with Selectable Modes (Order, Forward/Backward, Random) Inputs: 1/4" / 6.3 mm Audio Input Outputs: Stereo 1/4" / 6.3 mm Stereo 1/8" / 3.5 mm (Eurorack Compatible) MIDI Connectors: In: 5-Pin DIN Out: 5-Pin DIN Thru: 5-Pin DIN USB: USB Type-B Dimensions (W x D x H): 14.3 x 5.5 x 32" / 81.3 x 36.2 x 14 cm Weight: 24 lb / 10.9 kg Packaging Info Package Weight: 32 lb Box Dimensions (LxWxH): 35.6 x 16.5 x 7.8"

Prophet-5 je nova izvadba sintisajzerske ikone iz 80-ih. Upakovan u robusno kućište sa drvenim stranicama i klavijaturom od pet oktava, pruža sve tri revizije Prophet-5 — Rev1, Rev2 i Rev3 — korišćenjem originalnih Curtisovih analognih VCO-ova i filtera (kao u Rev3) kao kao i nove 2140 niskopropusne filtre koje je dizajnirao Dave Rossum. Prekidač Rev omogućava odabir između dva dizajna filtera. Takođe prilagođava oblik oenvelope filtera i odziv kako bi odgovarao izvornom Prophet Rev 1/2 odnosno Rev 3. Sve ostale fantastične karakteristike: four stage amplifier envelope, 3 waveshapes LFO, Poly mod, Vintage dirk, aftertouch funkcija, mesto za snimanje itd.). Rezultat je osveženi analogni klasik kakvog možete poželeti, sa autentičnim, velikim zvukom originala i ispravnošću najsavremenijeg instrumenta.

SPECIFIKACIJE: Oscillators Two authentic CEM 3340 VCOs per voice Simultaneously selectable wave shapes. Oscillator A: sawtooth, pulse. Oscillator B: sawtooth, triangle, pulse. Pulse width per oscillator Hard sync: oscillator 1 syncs to oscillator 2 Low frequency mode (oscillator 2) Keyboard tracking on/off (oscillator 2) Mixer Oscillator 1 amount Oscillator 2 amount White noise amount Low-Pass Filter Four-pole, resonant, low-pass filter per voice Switchable between authentic versions of the Prophet-5 Rev1/2 filter and Prophet-5 Rev3 filter Rev1/2 filter is a Dave Rossum-designed 2140, the modern counterpart of the original 2040 filter found in the Prophet-5 Rev1 and Rev2 Rev3 filter is a Doug Curtis-designed CEM 3320 Filter can be driven into self-oscillation with the Resonance control Keyboard tracking: off, half, full Filter Envelope Four-stage (ADSR) envelope generator Velocity modulation of envelope amount Amplifier Envelope Four-stage (ADSR) envelope generator Velocity modulation of envelope amount Low Frequency Oscillator Three wave shapes: sawtooth, triangle, square. All waveshapes can be engaged simultaneously Both Initial Amount and mod wheel control Mod destinations: oscillator A frequency, oscillator B frequency, oscillator A and B pulse width, filter cutoff Poly Mod Sources: filter envelope and oscillator B Destinations: oscillator A frequency, oscillator A pulse width, filter cutoff Vintage Knob Recreates the characteristics of various Prophet-5 models by varying the behaviour of oscillators, envelopes, amplifiers, and other parameters. Go from a very stable “4” — as in Prophet-5 Rev4, (the new version) — all the way to “1,” as in Prophet-5 Rev1, the rarest and most temperamental of all Prophet-5s. Aftertouch Channel (mono) aftertouch Destinations: filter cutoff frequency, LFO amount Performance Controls Full-sized, semi-weighted, premium Fatar 5-octave keyboard with velocity and aftertouch Mod wheel Spring-loaded pitch wheel with selectable range per program (1 to 12 semitones up and down) Polyphonic glide (portamento) Unison (monophonic) mode with configurable voice count, from one to all five voices (10 voices for Prophet-10) and key modes Preset switch: when off, the front panel is live; what you see is what you hear Patch Memory 200 user and 200 factory programs in 5 banks of 40 programs each Direct program access, including Prophet 5-style single-button access to the current set of 8 programs In/Out Mono output (1 x 1/4” phone jack) Headphone output (stereo, 1/4” phone jack) MIDI in, out, and thru ports USB for bidirectional MIDI communication Control voltage in/out (1 x 1/4” phone jack) 0- +5V input/output signal. Configured for 1-volt-per-octave operation. Gate in/out (1 x 1/4” phone jack). Accepts a 1.5 to 15-volt on/off signal to gate the envelopes of a single voice on the Prophet-5. Outputs a 15-volt on/off used to gate the envelopes of an external synth. Low-pass filter cutoff expression pedal input Volume expression pedal input Sustain footswitch input Power IEC AC power inlet for internal power supply Physical 37.5” L x 16.4 W x 4.9" H (95.25 cm x 41.6 cm x 12.4 cm) 31 lbs (14.06 kg) Roadworthy all-steel construction with premium black walnut heartwood body and trim SPECIFIKACIJE: Oscillators Two authentic CEM 3340 VCOs per voice Simultaneously selectable wave shapes. Oscillator A: sawtooth, pulse. Oscillator B: sawtooth, triangle, pulse. Pulse width per oscillator Hard sync: oscillator 1 syncs to oscillator 2 Low frequency mode (oscillator 2) Keyboard tracking on/off (oscillator 2) Mixer Oscillator 1 amount Oscillator 2 amount White noise amount Low-Pass Filter Four-pole, resonant, low-pass filter per voice Switchable between authentic versions of the Prophet-5 Rev1/2 filter and Prophet-5 Rev3 filter Rev1/2 filter is a Dave Rossum-designed 2140, the modern counterpart of the original 2040 filter found in the Prophet-5 Rev1 and Rev2 Rev3 filter is a Doug Curtis-designed CEM 3320 Filter can be driven into self-oscillation with the Resonance control Keyboard tracking: off, half, full Filter Envelope Four-stage (ADSR) envelope generator Velocity modulation of envelope amount Amplifier Envelope Four-stage (ADSR) envelope generator Velocity modulation of envelope amount Low Frequency Oscillator Three wave shapes: sawtooth, triangle, square. All waveshapes can be engaged simultaneously Both Initial Amount and mod wheel control Mod destinations: oscillator A frequency, oscillator B frequency, oscillator A and B pulse width, filter cutoff Poly Mod Sources: filter envelope and oscillator B Destinations: oscillator A frequency, oscillator A pulse width, filter cutoff Vintage Knob Recreates the characteristics of various Prophet-5 models by varying the behaviour of oscillators, envelopes, amplifiers, and other parameters. Go from a very stable “4” — as in Prophet-5 Rev4, (the new version) — all the way to “1,” as in Prophet-5 Rev1, the rarest and most temperamental of all Prophet-5s. Aftertouch Channel (mono) aftertouch Destinations: filter cutoff frequency, LFO amount Performance Controls Full-sized, semi-weighted, premium Fatar 5-octave keyboard with velocity and aftertouch Mod wheel Spring-loaded pitch wheel with selectable range per program (1 to 12 semitones up and down) Polyphonic glide (portamento) Unison (monophonic) mode with configurable voice count, from one to all five voices (10 voices for Prophet-10) and key modes Preset switch: when off, the front panel is live; what you see is what you hear Patch Memory 200 user and 200 factory programs in 5 banks of 40 programs each Direct program access, including Prophet 5-style single-button access to the current set of 8 programs In/Out Mono output (1 x 1/4” phone jack) Headphone output (stereo, 1/4” phone jack) MIDI in, out, and thru ports USB for bidirectional MIDI communication Control voltage in/out (1 x 1/4” phone jack) 0- +5V input/output signal. Configured for 1-volt-per-octave operation. Gate in/out (1 x 1/4” phone jack). Accepts a 1.5 to 15-volt on/off signal to gate the envelopes of a single voice on the Prophet-5. Outputs a 15-volt on/off used to gate the envelopes of an external synth. Low-pass filter cutoff expression pedal input Volume expression pedal input Sustain footswitch input Power IEC AC power inlet for internal power supply Physical 37.5” L x 16.4 W x 4.9" H (95.25 cm x 41.6 cm x 12.4 cm) 31 lbs (14.06 kg) Roadworthy all-steel construction with premium black walnut heartwood body and trim

The SkxPRO Stage Keyboard SkxPRO Demo Notes The SkxPRO Demos here were recorded live and direct into ProTools or Audacity. No additional processing was applied. All LESLIE™ sounds in these demos feature the SkxPRO’s on-board Digital LESLIE™. The SkxPRO Stage Keyboard The Hammond SkPRO has quickly become the preferred stage keyboard for musicians of all genres, and we’ve heard the call for a dual manual version. No matter which style you play, the SkxPRO will meet your demands for a genuine dual-manual Hammond Organ with all the required additional sounds any keyboard player requires, for any performance or recording session. The SkxPRO shares all the sounds and features of the 61 & 73 key SkPRO. Learn about the SkxPRO Essential Features: AUTHENTIC HAMMOND ORGAN derived from our TOP-OF-THE-LINE XK-5. 3 INDEPENDENT SETS OF DRAWBARS: UPPER/LOWER/PEDAL EXPANDED TRANSISTOR and PIPE ORGAN voices (including Classical and Theatre Organ ranks) PIANO SECTION with a wide variety of keyboard instruments, including new high-resolution Grand and Electric Piano sounds, ENSEMBLE SECTION with essential Brass, Reed, String, Choir and Percussion instruments. ANALOG-MODELLED MONO SYNTH SECTION. PITCH BEND and MODULATION WHEELS. SEAMLESS SWITCHING of tones while playing. PATCHES, COMBINATIONS and CENTRALLY LOCATED FAVORITE/ALLOCATE buttons for quick and easy access to performance needs. DIRECT POWER CONNECTION (no “wall-wart” Power-adapter). MULTIPLE, ASSIGNABLE, OUTPUTS, with discrete Organ and Bass outputs. 1/8" STEREO INPUT JACK for External Audio Sources 11-PIN LESLIE JACK. ON-BOARD BULK STORAGE for all programming. USB TYPE "A" and "B" PORTS for USB MIDI and MASS STORAGE functions. LARGE COLOR DISPLAY giving essential instrument information instantly. More SkxPRO features Effects Each of the 4 Voice Sections can receive Overdrive and 2 types of comprehensive DSP Multi-Effects. All the DSP Effects listed below can be saved as part of a Patch: Overdrive: Tube, Solid, Clip, EP Amp. Multi-effect 1: Tremolo, Wah-Wah, Ring Modulator, Compressor Multi-effect 2: Phaser, Flanger, Chorus, Delay, Auto Pan Controls The SkxPRO incorporates Pitch Bend and Modulation Wheels, giving the player the ability to add full expressiveness to the music. Each Voice Section has an individual Volume Control allowing the different Sections to be “mixed” in real time. Sophisticated Design The panel of the SkxPRO is an eye-catching “British Racing Green” color that will blend in any environment. For those desiring a more traditional organ style, a set of easily self-installed walnut side panels is available as an option. (Model number: SBW-SKXPRO) Pedal/Bass Many players use the lower manual for their bass parts. The SkxPRO allows you to “couple” the Pedal part up to the lower manual. In addition to the Drawbar Pedal voices, each of the 3 other sections may be played as “pedal” voices. You can also assign the LOWER voices to the Pedal part. "Half Moon" Leslie Speed Switch The iconic “Half Moon” Leslie speed switch is available in two colors to match the side panels of the SkxPRO. CU-1 (brown) and CU-1BK (black) Connections The SKX PRO includes LINE OUT left & right jacks as well as a HEADPHONE jack and an AUX IN jack with its own volume control for connecting an external sound source such as a music player. In addition, individual outputs allow the assignment of the PIANO, ENSEMBLE or MONO SYNTH Sections to two separate audio outputs. ROTARY OUT and ORGAN PEDAL (BASS) OUT jacks are provided.

Sa gotovo pola veka dugom tradicijom koja počinje sa legendarnim Prophet-5 synthom, Sequential je primenio svoju prepoznatljivu stručnost kako bi svoje legendarne zvukove preneo na inovativni 6-glasovni synth: Trigon-6. Opremljen sa tri diskretna VCO-a po glasu, polifona izvedba je bogata , pojačana novo zamišljenim pristupom stepenastom filteru izvorno stvorenom za Pro 3 model. Raznovrsna kontrola ovalnog oblika, nisko propusnog filtra, LFO-a i parametara generatora omogućuje Vam veliko zvučno istraživanje.

XPK-250W is a 25-note radial midi pedalboard for use with the XK-System. The unit has a wooden finish that gives it a classical look.

The Skx Stage Keyboard - the smallest, lightest, full-featured dual-manual in the company’s history. Evolving from the highly successful line of Sk series Stage Keyboards, the Skx has embraced design recommendations from Professionals and Hobbyists alike. The result is a comprehensive instrument combining an authentic Hammond Organ featuring 3 sets of Harmonic Drawbars™, Vibrato-Chorus, Touch-Response Percussion™, and digital Leslie™; with a complete array of the most desired Keyboard Voices, such as Grand Pianos, Electric Pianos, Clavs, Orchestral and Percussive voices, and more. These may be combined with the Tonewheel voices, or with each other, in the twin Extravoice divisions. The Organ division is further equipped with 32 ranks of Hi-Def Classical Pipe Organ voices, and accurate models of the two most popular combo organs of the Sixties, which may be registered and played exactly as the originals. Further improvements are found in the expanded Voice Library memory allowing users to install their choices of custom voices obtained without charge from the Hammond Website. Multiple banks of favorite preset collections are now standard, as is a new set of factory presets created by Hammond’s Artist Roster. New to this instrument is the traditional 11-pin Leslie jack for connecting a Leslie™ Speaker cabinet. The classic “Half-Moon” switch (optional) can be added to control the speed of either the onboard digital Leslie or external Leslie Cabinet. More about the Skx THREE SETS OF DRAWBARS The Professional Organist desires an independent set of DRAWBARS for each Manual as well as the Pedal clavier, The Skx offers exactly that: REAL Drawbars in the style and operation of every classic HAMMOND ORGAN, allow you to register each manual and the pedal in the traditional manner. DUAL INDEPENDENT EXTRA VOICE DIVISIONS The Skx features TWO independent EXTRA VOICE Divisions, allowing you to layer different voices on one Manual, or assign a different voice to either Manual. You may also combine the EXTRA VOICES with the Tonewheel, Transistor or Pipe Organ voices. Balance between the chosen EXTRA VOICES is easily controlled with a dedicated MIX/BALANCE knob. EASY TO PLAY, READY FOR THE STAGE The Skx is designed for smooth use onstage and off. Define your 10 most-used patches from the 100 “User” and 100 “Factory” patches and assign them to the 10 “Favorite” quick-recall buttons on the Skx control panel. Adding even more versatility, there are now 10 “banks” of “Favorites” available for instant recall. The Skx also has an expanded EXTRA VOICE LIBRARY storage memory, allowing the installation of more downloaded voices from the HAMMOND website than previous models. THE VINTAGE SOUND, WITH NO MOVING PARTS The Skx’s authentic HAMMOND tone is produced by a “Virtual Tonewheel” Generator closely following Mr. Hammond’s original design, but executing it in the Digital Realm, without moving parts. This provides all the characteristics, and yes, all the imperfections that have come to define the classic HAMMOND sound. “Out of the box”, the Skx is set to the same factory tolerances a B-3 was set to during its production run, but the Digital control allows you to tailor nearly every aspect of the tone to your personal taste. Our Wave Composition™ system adds popular “Transistor Combo Organ” Voices, which you can register in the original fashion, plus 32 ranks of High-Definition Digital Classic Pipe Organ Voices. The SKX is perfectly at home in all types of music, from Blues to Rock to Jazz and Sacred, and all points in-between. PERCUSSION Hammond’s exclusive Touch-Response Percussion™ as found on vintage Hammonds is included, and its parameters are user-tweakable. CHORUS-VIBRATO As the Virtual Tonewheel Generator provides tonal accuracy, the classic “Mechanical Scanner” is precisely Digitally-Modeled, providing the timeless Hammond Chorus-Vibrato effect. The effect may be applied independently to each Manual, and again, nearly every aspect of the effect can be tailored to your taste, including the characteristics relating to “age and wear” so desired by discerning players. DIGITAL LESLIE™ Over 80 years of building Don Leslie’s Masterpiece has given us the edge in developing its 21st Century Digital Edition. The HAMMOND’S essential partner is yours at every moment, with 8 factory profiles of the most famous Leslie models (122, 147, et. al.), and 8 User-definable profiles allowing you to tailor the response matching the Hammond you create with its perfect mate. The accuracy of sound is remarkable. Of course, should you wish to hook up a physical Leslie Cabinet, the traditional 11-pin jack is located on the rear panel, and the onboard controls (including the optional CU-1 “half moon” switch) perform exactly as you expect. THE EXTRA VOICE DIVISION The inclusion of Hi-Definition Acoustic and Electric Pianos, Clav, Bass, and Accordion voices compliment the Organ tones, and create in the Skx a comprehensive foundation keyboard, the backbone of any serious keyboard rig. The Skx’s keying system replicates the feel of a weighted keyboard when playing piano-type voices, yet remains supple and responsive to every Hammond Organ technique. Stepping further, the most-wanted Orchestral Voices-Strings, Woodwinds and Brass are represented, many featuring Hammond’s exclusive ProChord™, which brings complex voicing to single key play based on the chords YOU provide. An extensive Library of elective EXTRA VOICES is available without charge from www.hammondorganco.com, to expand the Skx in directions YOU choose. DSP EFFECTS Two independent high-quality DSP units are aboard to provide Overdrive and other multi-effects to both the Organ and Extravoice Divisions. ●Overdrive ●Tremolo ●Auto Pan ●Wah-Wah ●Ring Modulator ●Phaser ●Flanger ●Chorus ●Delay ●Reverb PERFORMANCE OPERATIONS • OCTAVE Digital Control allows flexibility of performance a Vintage Hammond is incapable of. You may independently raise or lower the Upper and Lower Manual’s range by one octave, allowing greater comfort of playing. • PEDAL SUSTAIN A popular option for playing the Pedals or Manual Bass is Pedal Sustain, which allows the Pedal voice to smoothly decay upon release, much in the manner of a string bass. • MANUAL BASS Allows the PEDAL part to be played on the LOWER manual of the Skx.(AKA "Manual Bass") You can choose from 3 modes,: Lowest played note only / Chord / Root notes as discriminated by chord played. The "F-Bass" Bass Guitar voice is now a part of the "Pedal" division. You no longer need to devote an EXTRAVOICE to have this desirable feature. • LOWER to PEDAL Couples the LOWER manual registration to the PEDAL Part. • TRANSPOSE Allows you to shift the entire pitch of the keyboard to match singers, soloists and the other instruments, or to simplify key changes. • MASTER EQUALIZER Bass/Mid Gain/Mid Frequency/Treble • PROCHORD Certain Extra Voice instruments are enhanced with the ProChord™ function. This allows complex voicings to be played with one finger, based on chords played on the lower manual. 26 distinct chords are “parsed” by the ProChord™ function, with proper passing tones provided to insure proper enharmonic continuity. • MIDI MASTER KEYBOARD External Zones are available to enable the Skx to be used as a MIDI master keyboard. 3 on the Upper Keyboard, 2 on the Lower Keyboard, and 1 on the Pedal Clavier. • USB TYPE “A” PORT A USB Type “A” port is included, intended for saving/loading setups, system updates, downloaded Extra Voice libraries, and the music player. The Music Player allows WAV/MP3 audio files to be controlled and played through the Skx Audio Outputs. • LESLIE 11-PIN JACK A standard 11-pin Leslie jack is included on the rear panel. Attaching a Leslie here disables the Digital Leslie effect from the output, and allows the Leslie Cabinet to respond to the onboard Leslie Controls. If the attached Leslie is a 1-channel Model, the EXTRAVOICE Division remains at the LINE OUT Jacks. (requiring an additional non-rotary keyboard amplifier.)

SPECIFIKACIJA: Dual-manual - 2 x 61 keys With Hammond drawbars Piano and vintage sounds Sound production: Organ Section 2-VASE III 8-Fold polyphony (for pedal) 63-Fold polyphony (for organ only) 9 Drawbars, assignable for Upper, Pedal, Lower Voicing Manual: 6 Settings selectable -B-Type1, B-Type2, Mellow, Vx, Farf, Pipe Pedal: 4 Settings selectable -Normal, Muted, Synth1, Synth2 Integrated effects Equalizer Internal Leslie 100 Preset and 100 user patches Integrated Wav- / MP3 File Player Display Dimensions (W x H x D): 944 x 454 x 170 mm Weight: 16.9 kg Includes power supply Connections: USB port for external storage medium MIDI input and output Line output: L / R 6.3 mm Headphone jack 11-Pin Leslie connector Footswitch, damper and expression pedal connector

Hammond SK2 Instrument Keyboard Burgundy & Black (Dual Man 61 Note) We thought about calling this the “Have Your Cake And Eat It, Too” but that would look silly on the back. We agreed on calling it the HAMMOND Sk2 and when you play it you’ll see that first name is indeed appropriate. For many years, HAMMOND has been asked to make a truly portable double 61 note instrument that didn’t share the gross weight of a Refrigerator. The Sk2 can do it all. HAMMOND Drawbar voices up top, Grand Piano on the bottom-or vice versa. Manual Bass and Organ comp on the bottom, Horn section up top for accents. And yes, you can play the Sk2 as a double manual HAMMOND Organ in the traditional fashion, the Pipe Organ voices, too. Add one of our optional pedalboards, and you’ll have the pro rig you’ve always dreamed of, but didn’t have the roadies or van to realize. At A Glance/By The Numbers Genuine & Authentic Hammond Organ – Authentic Chorus-Vibrato/Touch Response Percussion/Overdrive – 12 Hammond Macro Profiles with 17 Tweakable Parameters – 96 Individually Adjustable, Voiceable Digital Tonewheels – Create Your Perfect “B-3” From Showroom New to Road Worn Vintage Digital Leslie 8 Leslie Macro Profiles: – Type 122 – Type 147 – Type 31H (or “TallBoy”-the first Leslie Speaker released in 1941) – Type 722 (Mid 70’s “Home Organ” Model) – Type 760 (Late 70’s Solid State “Combo” Model) – Type 825 (1970’s Solid State Single Rotor Model) – ROCK TYPE (Early 70’s Model 925 High-Power “Combo” Model) – PR-40 (Non-Rotary Vintage Hammond Tone Cabinet) 17 Tweakable Leslie Parameters Create Your Perfect Leslie-Store it in any of 8 User Profiles. Combine The Hammond Organ of Your Choice With The Leslie of Your Choice To Complete Your Dream Rig! 1000’s of Combinations Possible. 32 Ranks of Authentic Pipe Organ Each Rank Adjustable for Custom Voicing Vox & Farfisa Combo Organs 37 Hi-DEF Extravoices with 114 variations – Yamaha C-7 Acoustic Grand – Upright Acoustic Piano – Yamaha CP70 Electric Grand – Rhodes Suitcase Electric Piano – Rhodes Stage Electric Piano – Rhodes Bass – DX7 Piano Electric Piano – Wurlitzer Electric Piano – Harpsichord – Clavinet D6 – Lowery Holiday Organ (“Lucy”) – Clavioline (“Don’t Run”) – Vintage Hammond Extravoice (“Blue Star”) – Suzuki A-120 Accordion – Vox Jaguar Organ – Trumpet – Mute Trumpet – Trombone – Mute Trombone – Flute – Alto Sax – Tenor Sax – Baritone Sax – Glockenspiel – Vibraphone – Solina String – Hammond SX String – Synth String 1 – Synth String 2 – Synth sweep Pad – Synth square Lead – Sawtooth Lead – “Funny” (from vintage Japanese Organ) – Synth Harp Digital Tonewheel Generator Choosing An Organ Laurens Hammond’s original Organ (invented in 1935) had an intricate electro-mechanical mechanism that used 96 Quarter-sized wheels spinning on driveshafts powered by his patented synchronous motor. The wheels were notched according to pitch, and an electromagnetic pickup (much like that on an Electric Guitar) sensed those notches and rendered a musical note. The Drawbars combined those harmonic tones to produce the inimitable Hammond Organ sound The Modern Hammond Organ’s Sk Series’ VASE III “Engine” uses the exact model of Laurens Hammond’s design, executing it in the digital realm, with no moving parts, retaining all of the nuances, imperfections and idiosyncrasies of the original. The wheels are always “spinning”. When a note is played, the tones pass, just as water through a faucet. The random starts of each wave played allow for phase interaction, producing the rich tone so prized in the vintage Hammonds The Digital realization of Laurens Hammond’s System allows sophisticated control of every facet. Each Digital Tonewheel can be voiced for Volume, Timbre, Motor Noise and Leakage; enabling the musician to tailor the Modern Hammond to match the characteristics of any Vintage Hammond, or to create their own vision. Twelve Macro Profiles allow the user to quickly select the most popular “kinds” of Hammond, from Showroom-New to Road-Worn Antique and all points between At our website, You may now download and install custom Tonewheel sets provided by some of our Artists, as well as other vintage Hammond Organs as cloned by our in-house expert staff Classic Hammond Components The Tonewheel Generator wasn’t the only great invention of Laurens Hammond, and no Hammond Organ would be complete without the full spectrum of ingredients that comprised Mr. Hammond’s genius design Drawbars Mr. Hammond used the Pipe Organ Design concept of “Unification” in creating the iconic Drawbars of his Electronic Organ. This concept allowed one or more keyboards to control the pitches of many pipes within one set or “rank” of pipes. Adopting the harmonic standards and nomenclature of the Pipe Organ, Mr. Hammond’s design assured that any organist would be able to play his instrument without a steep learning curve. Unlike the Pipe Organ, Mr Hammond’s design allowed variable volumes of each Harmonic represented by each drawbar. This variation gave the musician millions of combinations of harmonics, and assured that every Hammond player would be able to summon a unique voice. An extra level to the expression a Hammond Organist had at their fingertips was added because the Drawbars could be manipulated in real time. The Sk Series features real drawbars in the size, shape and configuration of Vintage Hammonds. The Drawbars also serve the Combo and Pipe Organ divisions, but with a slightly different function Vibrato/Chorus One of the most distinctive parts of the Hammond sound is the shimmering “Chorus Vibrato”. It adds a silken quality to the sound by adding a second, slightly detuned pitch to the original in the Chorus Mode, and repeat-modulating the pitch slightly in Vibrato mode. Mr. Hammond’s original design used an electromechanical apparatus that looked much like the distributors you would find in the automobiles of the day, and ran off the same synchronous motor that powered the Tonewheel Generator. The Sk’s Chorus-Vibrato is executed in the Digital Realm, without moving parts, and works under the same model. The classic V1/V2/V3/C1/C2/C3 controls are familiar to anyone who has ever played a Hammond. As with the Tonewheel Generator, Digital control allows a wide range of adjustment that was simply not possible on the original. As the Antique organs aged, the components acquired their own unique qualities. Digital control allows the user to shape the Chorus/Vibrato’s various facets, with the added ability to “age” the effect-with the resulting treble emphasis and subtle distortion that marks the organs that develop this patina as “sweeter” than others. The new “Mix” control allows you to temper or boost the Chorus/Vibrato creating the sound of a Vintage Hammond whose Chorus/Vibrato has dimmed with extensive use, or has grown overly intense through the years. These adjustments are saved per preset. Touch-response Percussion The chief feature of the Hammond B-3 upon its release in 1955 was the inclusion of Touch-Response Percussion (Perc). This effect added a high “attack” to the Organ tone at either the octave or the twelfth, with a fast note decay. This sound was reminiscent of an xylophone or clave, and became immensely popular, immediately. Perc gave the Organ a bright highlight, and every generation of music has embraced this sound. Controls for the Perc have the classic nomenclature, familiar to anyone who has ever played a Hammond. On the Sk series, Perc is executed in the Digital realm, allowing a wide range of controls the organists back in the day did not possess. The 1′ drawbar muting, characteristic of the Vintage Organs can be defeated, as can the drop in Drawbar volume level that accompanied the engaging of the Percussion voice. You can control the volumes and decay times as well. Key Click In order that every key (and pedal) of Laurens Hammond’s Organ could access every Tonewheel as predicated by the Drawbar settings, an electro-mechanical apparatus lurked behind the keyboards, with 9 contacts corresponding to each drawbar for that keyboard and a series of contacts attached to each key. As a key was depressed, the contacts sequentially touched, and the circuits were completed to produce the Organ tone registered by the Drawbars. The very nature of Electric circuitry dictated a click could be heard at the top of each note played when the current-carrying key contacts touched. Laurens Hammond considered that click to be a nuisance, and worked to no avail in order to rid his organ of that imperfection. The jazz players who embraced the Hammond Organ, however, found the click to be a percussive highlight, and wanted nothing to do with its eradication. To make matters worse, as the Vintage Hammonds aged, the click became more pronounced, and by the Rock and Roll era, Key Click assumed a role of importance that Laurens Hammond could never imagine. The Sk series allows you to adjust the intensity of the key ON click, and the key OFF click. The timbre of the click may also be adjusted. Mr. Hammond would have greatly approved of the Sk, as you can turn the click all the way off if you desire, creating a Vintage Hammond Organ that could not exist in the physical world. The “tone” Control The inclusion of this obscure feature demonstrates the commitment to authenticity Hammond has brought to the Sk Series. Inside the Vintage Hammond B-3, on one side of the tube preamp, there was a “Screwdriver Pot” with the engraved legend “Tone”. It was introduced as a part of Mr. Hammond’s crusade to temper “key click”, but this was never made clear to the public. The “company line” was this control was to be adjusted by the Technician installing the organ in order to tame the treble response in the instance of the organ’s installation in a Church or Mortuary, where a more “muted” organ was desired. The control was a cocktail of upper Mid and High frequencies (the proportions of which were, until recently, held secret.) The “Tone” control was basically a “hi cut” control and only went “down”. That this control’s presence and location were obscured goes a long way in explaining why there was such a variation in sound among Hammonds. Further, You could not direct the control to go “up” for “boost”. The TONE control is included in the Sk’s menu with the added benefit of being able to BOOST the unique blend of frequencies, which adds a nice “edge” to the Sk tone, if desired. Digital Leslie Chicago Engineer/Inventor Don Leslie bought a Hammond Organ not long after its introduction in 1935, but felt the instrument lacked the warmth of the Mighty Theatre Pipe Organs he so loved. The main difference between Church Pipe Organs and Theatre Organs was the deep Tremulant that took the edge off the Theatre Organ’s pipes and made them emotionally “sob”. Making use of an acoustic phenomenon called the “Doppler Effect”, Mr. Leslie constructed a speaker cabinet that used a simple system of rotating horns and baffles to give the Hammond tone “motion” and “depth”. This created a different instrument altogether, one that could play “Popular” music. Mr. Hammond intended his organ for the Church and Classical Music, looking at “Popular” Music with disdain-he wanted nothing to do with Mr. Leslie’s invention when Mr. Leslie demonstrated it. The public however, took the combination of Hammond and Leslie to heart, and so it remains to this very day. It is difficult to think of one without the other, although Mr. Hammond never allowed Hammond Dealers to sell Leslie Speakers. After Mr. Hammond’s death, the two companies became partners, and now Hammond owns and manufactures Leslie Speakers. For both Hammond and Leslie, the golden goal was to produce a Leslie that did not require motor-driven speakers, and the goal has been reached in the Sk series, with the finest Digital Leslie we have ever produced. Now the elusive effect can be had where space and mobility have heretofore denied it. As an added benefit to being produced in the Digital realm, many aspects of the effect can be adjusted and tailored to ones own taste and requirement. Slow and Fast Rotor speeds, “Ramp Up” and “Ramp Down” speeds, Speaker Size, Amp type, Virtual Mic Placement and other parameters may be combined into “Cabinet” Macros which then may be assigned to any Organ Preset. In addition, 8 factory Cabinets, comprising the most popular Leslie Models like the 122, 147, 760, Vintage 31-H, and others are available for instant choice. There is even a model of the original PR-40 (Non-Rotating) Hammond Factory Tone Cabinet. A button on the Control Panel allows the bypass of the Digital Leslie circuit and sends the Organ tones directly to the Stereo Outputsof the original PR-40 (Non-Rotating) Hammond Factory Tone Cabinet. A button on the Control Panel allows the bypass of the Digital Leslie circuit and sends the Organ tones directly to the Stereo Outputs Vintage Combo Organs At the dawn of the Rock and Roll age, many groups could not carry the 500 pound Hammond Console Organ and 450 pound Leslie Speaker. The advent of transistor electronics brought forth smaller, more affordable portable Organs. The Thomas Organ Company in the U.S. and Italy’s Farfisa were at the vanguard of their design, and the Rock and Roll community embraced their instruments fervently. Thomas sold their Combo organs under the Vox name and their premier offerings were the “Continental” and the budget priced “Jaguar”. Farfisa’s organs became Rock icons, and the marque reached its height with its “Professional” model. The sound of the transistor Combo Organ never went out of style, and has even flourished in the “Indy” scene of the 21 st Century. The sounds of all three classic instruments are faithfully reproduced in the Sk series, with the ability to register them in the exact way you were able to on the originals. All three models employed a variation of Hammond’s Drawbars, and an accompanying legend on the control panel marks the functions for each drawbar, for each model. Pipe Organ Division The compact Sk series has a mammoth heart, with the inclusion of 32 Digital Ranks of Classical (Church) Pipe Organ derived from our Flagship 935 Church Organ. The Pipe Organ division uses the Drawbars as Drawknobs to select the stops you choose. Now you can take this majestic sound wherever you desire, whether it is to accompany Worship, Perform Classical Organ Literature, or Practice with Headphones in your Dormitory Room. Progressive Rock groups have relied on the sounds of Classical Pipe Organs, and have had to compromise with the few inflexible samples contained in Synthesizers and Samplers, but now the sky is the limit with a Classical Pipe Organ that can be registered in the traditional manner. As is customary with Hammond, each rank of pipes may be voiced independently to the user’s specification, and stored for instant recall. Your Sk-series instrument has a total of 20 Pipe voices – nine (9) for the Upper Manual, nine (9) for the Lower Manual and two (2) for the Pedals. Below is a list of the voices and the screen abbreviations: Upper – Bourdon 16′ (“Bourdn16″) – Open Diapason 8” (“OpnDiap8”) – Gedeckt 8′ (“Gedeckt8”) – Voix Celeste 8′ (“VnCelst8”) – Octave 4′ (“Octave 4”) – Flute Dolce 4′ (“FlDolce4”) – Flute 2′ (“Flute 2”) – Mixture 3 ranks (“Mixt.III”) – Hautbois 8′ (“Hautboi8”) Lower – Principal 16′ (“Princi16”) – Principal 8′ (“Princi 8”) – Melodia 8′ (“Melodia8”) – Rohr Flute 8′ (“RohrFl.8”) – Prestant 4′ (“Prestnt4”) – Flute 4′ (“Flute 4”) – Super Octave 2′ (“SupOct 2”) – Mixture 4 ranks (“Mixt. IV”) – Trompette 8′ (“Trompet8”) Pedal – Sub Bass 16′ & Bourdon 8′ (“Bass16+8”) – Principal Chorus 8′ & Mixture IV’ (“PC4+Mixt”) Organ Division Dsp and Other Features The Drawbar and Combo Organ Divisions have a number of effects that may be applied. 4 different types of Overdrive, Phase, Flange, Chorus (Stomp Pedal Style-separate from Hammond Chorus), Auto Pan, Ring Modulator, Wah-Wah, Delay and Tremolo. A 3-band EQ is available with Shelf Lo and Hi with sweepable Mid control. Prochord Hammond’s exclusive Prochord feature is added to a number of sounds, on the Sk series. With it, you play a chord on lower keyboard (with the keyboard split function engaged on the Sk1/Sk1-73/Sk1-88, and on the actual lower keyboard of the Sk2) and by playing a single note on the upper keyboard, you will hear complex harmonic voicings based on the chord that you are playing. With this feature, you can instantly produce a foolproof, professional sounding “horn section”, or other unique arrangements. This is not an “auto play” feature you might find on non-pro instruments, but a powerful tool that can add great color to your playing. The instances of Prochord in conjuction with the Symphonic Strings Library voices add another component, that of leading voices in perfect enharmonic form. This allows you to create a rich, orchestral score “on the fly”, playing one finger with playing chords on the lower manual. Extravoice Pianos/Clav/Harpsichord Even at Hammond, we realize that Musicians don’t live on Organ alone. There is a set of keyboard sounds that is basic to every genre of music, centered mostly on the Piano, acoustic and electric. Our goal in designing the Sk series was to create a foundation instrument providing the basic building blocks of a comprehensive keyboard rig, and that meant a serious Piano voice. Acoustic Grand Piano Our engineers meticulously developed the Sk’s Acoustic Grand Piano with the target being the Yamaha C7 Grand, perhaps the most widely admired Acoustic Piano in the World. It was engineered to respond to every nuance a player could ask of it, through all styles of music. It also had to have a comfortable playing feel in sight of the Sk’s Waterfall Keyboard which is a hallmark of Hammond Organs, and make an instant transition between “Organ Feel” and “Piano Feel” should the player make such a program change. One touch of the keyboard confirms and verifies the research and development that went into it. It’s one of the best sounding and playing Pianos anywhere-with a genuine Hammond Organ a switch press away. Electric Pianos After the Acoustic Grand, the next essentials are a pair of instruments that also have found their way into most every corner of music, the Rhodes and Wurlitzer Electric Pianos. These electromechanical instruments are great as rhythm voices, but are equally hot in the solo spotlight. Especially adaptable for many DSP effects, these two voices are tonal chameleons. If you can’t find something to play in a song, chances are a Rhodes or Wurlitzer will fill the void. The Sk features two variations of the Rhodes voice recalling their “Stage” and “Suitcase” models. Your playing velocity will reveal the depth of Hammond’s engineering, as greater velocity will call the various “artifacts” and noises that come with this electromechanical instrument. The Wurlitzer Electric Piano used vibrating metal “reeds” in place of the “tines” used by the Rhodes. The Wurlitzer was lighter in weight and sound than the Rhodes, but only until the Amps were cranked up, then the Wurlitzer became a rock/funk/blues beast. All flavors of the Wurlitzer are available in the SK series. It is difficult now to think of a time when Digital Pianos were not widespread, but it wasn’t long ago if you wanted the sound of a Piano, you either had to move one (insanity for a small band), or hope the venue had one (and it was well enough in tune…). In the late 70’s and 80’s, Yamaha came to the rescue with their ubiquitous CP-70 Electric Grand. Not quite a “real” Piano, but close enough; it became an iconic sound in and of itself. The Sk has captured this sound perfectly for your use. The other dominant keyboard sound in the 80’s was the “FM piano”, used in so many ballads and R&B songs. It, too is at your fingertips in the Sk’s palette Clavs Hohner’s Clavinet was essentially a solid body guitar played with a keyboard. It was a European curiosity for many years until artists like Stevie Wonder and Billy Preston got hold of it and made keyboard history. Funk, R&B and Disco were practically defined by its sound, most often heard with Phaser or AutoWah, usually both. Nearly every modern keyboard has a “Clav” stop, but few offer all the pickup positions and the wide range of sounds they cover. The Sk has all the combinations along with a CryBaby Wah model that morphs any volume pedal attached into a Wah Pedal. Harpsichord The Harpsichord may not be a first call Rock and Roll or Jazz instrument, but is an important part of many other genres. Like most of the Keyboards contained in the Sk, you are able to register the Sk’s Harpsichord traditionally, with a Lute stop available. Use An External MIDI Keyboard You can hook up an external MIDI keyboard to the Sk, such as a weighted 88 note controller, assigning all the Pianos, etc., to that keyboard and maintain the Sk’s keyboard as a dedicated Organ. This gives you a full keyboard rig that is very mobile, yet complete. Extravoice Accordion Like the Hammond Organ, the Accordion is an instrument found in many genres, with few modern keyboards accurately delivering the voice. The Sk features the entire range of a Suzuki 120 Accordion, with spot-on accurate and authentic registration capability. The unique symbols for Accordion registration appear in the display window, and a Musette setting is available as well. Extravoice Orchestral and Synth The Sk is designed to be a comprehensive foundation keyboard, providing the “meat and potatoes” for any performance, but Hammond adds a selection of Orchestral and Synth Instruments for added versatility. Trumpet, Trombone, both also with Mute, Flute, Alto, Tenor and Baritone Sax are offered in solo and ensemble voicings. Glockenspiel and Vibraphone voices are also on the menu. String Synth and Synth A selection of String Synth and Traditional Synth voices are available on the Sk. Like all of the Sk’s Extravoices, they may be played solo or in combination with any of the Drawbar, Pipe or Combo Organ tones. Extravoice Dsp and Other Features The Extravoice division has a DSP independent from the Organ division. 4 different types of Overdrive, Phase, Flange, Chorus, Auto Pan, Ring Modulator, Wah-Wah, Delay and Tremolo. A 3-band EQ is available with Shelf Lo and Hi with sweepable Mid control. Preset, Favorites, and Backup The Sk series has 100 Factory ROM Presets and 100 User-adjustable Presets. A Manual button on the control panel renders the entire control panel current. The ten buttons in the center of the control panel are assignable to any of the 200 presets for instant recall of your favorites. The same panel may be switched to a numeric input pad for direct selection of presets. The entire Sk setup may be saved to a common USB “Thumb Drive” for backup or restoration. Midi Controller Up to three external MIDI zones may be controlled by the Sk, with all settings saved as a preset. You can play these external zones with or without the Sk voices sounding. Other Features The Sk has an onboard Music Player that reads Mp3 or .WAV files stored on an attached USB “Thumb Drive”, and plays the audio signal along with the SK’s output through the Stereo ¼” outputs. A discrete volume control for the player and start/pause controls are located next to the Master Volume control. There is a system-wide reverb available, also a system-wide Equalizer. The Reverb parameters are saved within each preset, but the system-wide EQ is independent of the Presets, its settings remain unchanged regardless of Preset choice. System Upgrades are issued through this Website, and are installed via a USB “Thumb Drive”.

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