- keyboards -
The 6' 11" Kawai grand piano, an extraordinary instrument, is located in the Neve Big Tracking Room.
Our 1929 Steinway with original ivory keys has an amazing warm tone that evokes emotion.
This top room of the A Studio includes original lithographs by Salvador Dalí, Joan Miró and Mark Chagall,
This pristine Yamaha Up Right, located in the Adobe Studio, has a soft touch feature and amazing action.
Our vintage Fender Tweed amps include a '59 Bassman, '59 DeLux, '58 Harvard, a '51 DeLux, a '55 Champ and a '60 VibroLux. These along with our other vintage amps have unique tones specific to them.
In addition to the Kawai Grand Piano and the vintage Hammond B3 organ Sonic Ranch offers additional vintage keyboards in excellent condition. An electric Fender Rodes, an Wirletzer piano along with a unique Srhoenhut Toy piano and a Hohner Organa organ.
The Vintage Fender Rodhes is a 1973 model, which is among is the best years for Rodhes, it is in superb condition.
The vintage Wirlitzer electric piano is a 1976 and has a texture all its own.
The Mellotron M4000D is a 24 bit digital keyboard with ca 100 Mellotron and Chamberlin sounds built in. It has a custom built full Mellotron style wood keyboard with depth sensitivity and polyphonic aftertouch out via MIDI. The front panel user inteface has 2 TFT-displays of high quality and are capable of showing pictures of the actual instruments. The M4000D is an inspiring realization of a beloved classic that adds modern conveniences while retaining the old-school magic.
The Quadra is it's a four-section synthesizer consisting of a Bass synth, Poly synth, Lead synth, and String synth. Sounds you create in any of the four sections are instantly recalled from memory by the push of a button, there are 16 program patches for storing your sounds. Other major features are the incredible phase shifter, tons of balanced audio outputs for each section, dual portamento controls and a superior arpeggiator.
The Bass synth section is monophonic and can be programmed to occupy the lower two octaves of the Quadra's 5-octave 61-note keyboard. The bass has 16' and 8' presets each for Electric and String Bass sections.
The Synthex is a classic analog 8 voice synthesizer. It has 30 knobs, 6 sliders, 80 switches and a joystick. Powerful sounds with 2 oscillators per note, separate envelope generators, chorus and even a sequencer. The use of stable DCO's (digitally controlled analog oscillators) and oscillator cross modulation of Pulse Width and a multimode filter made it unique. There is a joystick that replaces traditional pitch/mod wheels and allows for greater variable real-time control over the two LFOs, oscillator and filter modulation. The 6 sliders beside the joystick assign what (LFO, osc and filter) goes to the joystick. Voices can also be layered or split across the keyboard. Other great features include the onboard digital Ring-Modulator, Chorus effect and Dual or Layer modes available. And also a four-track sequencer rounds out this synths host of features. Two of it's tracks can output MIDI data.
Among the first in Roland's amazing Juno family, Six analog voices of polyphony and patch memory storage. The Juno-60 includes 56 patches of memory storage. It's a very rich sounding synthesizer and are great analog machine.
The Prodigy is an Bass-synth in techno and electronic music. It was designed as an dual-oscillator synth. Employs two voltage controlled oscillators (VCOs) with saw, triangle and pulse waveforms. There's a Moog 24dB / octave lowpass filter, A/D/S envelope generator, and LFO with square or triangle waveforms and routing to the VCF, VCO or both, portamento, Pitch and Mod wheels.
The Minimoog Voyager is a true analog monophonic synthesizer and is based entirely on the original classic Minimoog Model D, which was produced by Moog Music, Inc. from 1970 to 1982. It introduces many new features, including a three dimensional touch pad, MIDI I/O, extensive patching facilities, patch storage. It's cased in a beautiful, solid hardwood cabinet with a multi-position hinged control panel.
The Voyager has three analog wide-range voltage controlled oscillators, one noise source, as well as one audio preamplifier for externally-applied audio signals. Two resonant Moog-style filters are on-board and function in dual lowpass or lowpass/highpass modes and can be modulated by one of the two ADSR envelopes, the LFO, or external control. All knobs and switches can have their settings stored into one of 128 Program memories. Program Banks as well as the Voyager's Operating System can be uploaded/downloaded via MIDI SysEx. Centered on its front panel is the ominous, black 3-D (XYZ) Touch Surface which provides three continuously-variable control signals which are derived from the up-down and left-right position of the player's finger, and the amount of area with which the player makes contact to the surface.
In 2005 Dave Smith Instruments released their third Evolver, the Poly Evolver. Their flagship instrument, it's a four-voice synthesizer (essentially four complete Evolvers) with a 5-octave keyboard, pitch and mod wheels, and a ton of knobs and switches in a clean, clear, easy-to-navigate layout. It can be a four-voice poly synth, four mono synths (each with its own sequencer), or any combination in between. The Evolver series resurrects some of the oscillator, filter and other component technologies from the classic Sequential Circuits Prophet-VS and Pro-One synths.
The CS-10 makes a great electronic, dance and trance musical instrument because it is analog, monophonic, has a really cool filter and is capable of warm bubbly analog bass and lead sounds. Its very simple design and layout with plenty of knobs allows for instant gratification. It has one oscillator and a switchable low-pass, band-pass or hi-pass resonant filter. The LFO can modulate the filter cutoff, volume, pitch and VCO. External audio can also be routed through the filter and there is portamento that stretches for one octave.
Central to the warm, punchy sound of the Prophet-6 are its two newly-designed, discrete voltage-controlled oscillators (plus sub-oscillator) per voice. Continuously variable waveshapes provide the tonal palette with triangle, sawtooth, and variable-width pulse waves. There are two discrete filters per voice—a four-pole, resonant, low-pass inspired by the original Prophet-5 filter, and a two-pole, resonant, high-pass filter. Voltage-controlled amplifiers complete the all-analog signal path.
source: Dave Smith Instruments
The Prophet 12’s brand new hybrid voice has a digital front end followed by an all analog signal path output. Each voice has four high resolution digital oscillators (plus a sub oscillator), a digital character effects section, a resonant Curtis low-pass filter, a high-pass filter, a tune-able feedback circuit, a four-tap delay line with feedback per line, four loopable five-stage envelope generators, four syncable LFOs with slew and phase offset, a sophisticated arpeggiator, and a sixteen slot modulation matrix with 26 mod sources and 97 modulation destinations. The Prophet 12 is packed with a plethora of sonic potential and power!
source: Dave Smith Instruments
The Juno-106 is a six-voice polyphonic and programable analog synth with one digitally controlled oscillator (DCO) per voice. While classic monophonic synths used two or three oscillators to create a fatter sound, the Juno-106 uses built-in Chorus to fatten up its sound to dramatic effect. The nature of its DCO meant it was stable and always in perfect tune but still warm and analog. There is an excellent 24dB/oct analog lowpass filter with plenty of resonance and self-oscillating possibilities and a non-resonant highpass filter. The programable pitch/mod bender can be assigned to control the DCO pitch, VCF cutoff, and LFO amount all at once or individually.
Odyssey Mk III essentially gives you a simplified hard-wired ARP 2600 in a much smaller package. The Odyssey is a 2-oscillator analog synth (with duo-phonic capability) and it sounds really nice; the Minimoog has three oscillators and is capable of thicker sounds. The Odyssey comes well equipped with all the tweakable features and analog goodness you'd expect: a resonant low pass filter, ADSR envelopes, sine or square wave LFO, and a sample-and-hold function.
The DX7 from Yamaha, released in 1983. It featured a whole new type of synthesis called FM (Frequency Modulation). It certainly is not analog and it is difficult to program but can result in some excellent sounds! It is difficult because it is non-analog and thus, a whole new set of parameters are available for tweaking, programming is accomplished via membrane buttons, one data slider and a small LCD screen. Percussive and metallic but thick as analog at times, the DX7 was known for generating unique sounds still popular to this day. It also came with MIDI which was brand new at the time.
MPC2500 has set the industry benchmark for beat production. It features a 32-voice drum/phrase sampler with up to 128MB RAM and extensive editing capabilities. Designed for professional music-production environments as well as DJs and other live performers, MPC2500 features a time-tested drum-pad surface, twin on-board effects processors, four Q-Link controllers for real-time control, 10 analog outputs, and a S/PDIF digital output.
Every drum voice comes with a dedicated analog multimode filter and analog overdrive circuit. Reverb and delay send FX add space and depth. And the analog compressor and analog distortion of the master channel ensure proper pump and grit. Each machine generates a specific type of analog drum sound, and as several machines exist, a wide variety of sounds are within reach.
The Tempest from Dave Smith Instruments is a collaboration between Dave Smith and Roger Linn. Dave Smith is the mastermind behind the Sequential Circuits Prophet 5, MIDI, and the current DSI range. Roger Linn is the brain behind the Akai MPC, the LinnDrum, and more current offerings like the AdrenaLinn filter FX units. What they came up with draws on the strengths of each to create a hybrid of drum machine and synthesizer. In fact, the Tempest can be seen as a drum machine, drum synthesizer, polyphonic synth, and an analog groove-box—all in one desktop unit.
The TR-909 is an awesome analog drum machine! THE standard House and Techno beatbox. Sounds include kick, snare, hand clap, open and closed hi hats, low mid and hi toms, rim shot, ride and crash cymbals. Sounds are tweakable - attack, tone, tuning, decay, snap and accent. This machine does not sound like true acoustic drums, t has a unique and very loveable analog sound that's all its own!
Yamaha C-60 Electone, most Electones are based on the design on the spinet electronic organ. Current models are completely digital and contain a variety of sounds, effects, and accompaniments, on top of the ability to store programming data onto memory devices. The Yamaha Electone series debuted in 1959 with the D-1, a home instrument. By 1980, with the market waning sharply, and some manufacturers ceasing production, the Electone line embraced digital technology. This allowed Electone’s survival as the traditional home electronic organ market dried up.By the 1980s, many of the most famous names had ceased home production, but the Electone successfully transitioned to the modern world of digital synthesizers, now competing with such new electronic products as Moog Music, Wersi, and later Kurzweil. Electones were to be found not only in homes, especially in Japan and elsewhere in the East Asia, but also in bands and other solo and group public performances.
Farfisa first started manufacturing electric organs in 1964. Distribution in the U.S. was handled by the Chicago Musical Instrument Co, which also owned Gibson, and the instruments were originally known as CMI organs when first introduced there. Unlike other combo organs, such as the Vox Continental, Farfisa organs have integrated legs, which can be folded up and stored inside its base. The first models to be produced were the Compact series of organs between 1964 and 1968. The range of FAST (Farfisa All-Silicon Transistorized) organs was launched at the 1968 NAMM show and production of the Professional series appeared around the same time. Production of combo organs ended in the late 1970s after synthesizers had become more commonplace.
The Hammond B3 is a 1961 (The best year for B3s). It is in excellent condition. The Leslie is a 147.
The Hohner Organa was imported from England and with its use of air to create sound, adds something unique to a track.
The Srhoenhut Toy piano is a top of the line.