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Docteur Frog
Published on 08/28/08 at 05:24
What of course is that E-mu has always done the Samplers. From the Emulator and Emulator II (with or without HD), the Emulator III is no exception to the rule but has an additional part of publishing in terms of synthesis and the momentum that brings a real plus compared to the Emu-II HD. Compatible with readers CDRom 16Bits of the time, the Emulator III offers a real alternative in 1987-88 to Fairlight Cmi at 2X or Kurzweil K250, which in terms of cost price easily two or three times the price of an Emulator III between 650,000 and 80,000 francs at the time or more depending on options.
Eq U.S. prices:::
* EIII Rack 4MB $ 12,695
* EIII Rack 8MB $ 15,195
* Option 40MB internal hard disk SCSI and 4 MB of RAM to 8 = $ 2,500
<p class="bbcode-offtopic"> Off topic: <span>When you know that now looks euros for 5000-6000 Oasys or K2600x, a 2x Fairlight had to negotiate around 140,000 francs abroad and via the K250 is worse</span>
In fact it is the first sampler keyboard that introduced both the Pro homestudio musicians and especially the recording studios, post production and the brodcast for Jingles, classrooms electro-acousmatic conservatories "enlightened "at the time. In fact as the Emulator II was diponible musicians special occasion and we were in the era of "Tell me about how you play I'll tell you who you are", it was impressive to have an EIII and it makes sense.
In terms of look, and as at the time the manufacturers wanted to distinguish themselves through design also imposing machines (it is far from the mignaturisation e) the Emulator III shows the curves of E-II, but more streamlined, more profound and losing his gray side-armed, he sports a gray-blue beautiful and above all fantastic concert. Since the pit we see only him.
KEYBOARD:::
It will touch criticized the Emulator II (and worse, that of the first generation Emulator) and it is considering the importance of the keyboard 5 octaves of the Emulator III is new, sensitive to velocity and aftertouch . The stroke of the shallower note, it is faster to play, management of the velocity thinner (yes!).
RAM:::
Base available in 4MB or 8MB of RAM (E-mu was the only manufacturer has managed to know the internal compression of Samples having regard also to the sampling modest yet unmatched), it was possible to boost 8MB max. Amazing for its time.
HARD DISK:::
All models were available with a Hard Disk 5.25 "40 MB of evolution that were hard to recog 52.1 MB, but could be formatted to preserve disk space, 43 MB latter offered 16 or 32 banks sound-presets-sample ainsisauvegardés, uploaded and also depending on the available RAM.
SPECIFICATIONS:::
. Marketing year: End of 1986 (usa) - 1987 (Europe)
. Importer at the time: Musicland (Paris)
Keyboard:::
. 5-octave touch sensitive
. Aftertouch
Rack version:::
. 4U
----
. 16-bit Digital Sampler
. Stereo audio outputs + 16.
. 33k sampling frequency, 44.1kHz (67 seconds)
. Analog low-pass filters (huge and fat)
. VCA - ADSR envelope control
. Sample RAM memory expandable to 8 MB
. 16-channel sequencer: 100 patterns, 100 songs
. SMPTE
. 40MB Internal Hard Drive Adapter
. Latest version OS 2.42
. Old OS 2.2 Version
---
OPTIONS:::
. 4MB or 8MB RAM Sample
. Boot ROM Version 2
. External SCSI CDRom
. Internal SCSI Hard Drive
. Remote control software
. Sample Editing Software
UTILIZATION
Even simpler than Emulator II, III Emu has a features that artillery once again does not leave much room for competition Keyboard version.
(What is this white rack there ... A S900, from whom?).
But the impressive win Emulator III knows a 96dB dynamic output when it has only Asysmétriques outputs (unbalanced)! And 16 in total at that.
F Chip offers its Digital filters for the oversampling that will make it a musical revolutionary weapon.
Also this time we find a true 16-track sequencer and control the environment finally SMPTE / MIDI sync.
As between the years 1985> 1992 instead of the machines was predominantly in the musical productions, it was not uncommon to see several Emulator II or III on stage:
Depeche Mode, New Order, Prince, Van Halen, Genesis, Peter Gabriel, ... In 1988 the E-MU Emulator III Rack markets in 4U brings the same characteristics. Amazing machine but it is not the version "I move easy" but "I show what I play on." It will not sell very little Racks and especially hard to find used.
Service side: Not much to remember except that like any good American machine, she wants sensitive to heat or transportation, LCD, Floppy Disk and Hard Disk house were the first to suffer. A small kit of good user EIII existed even then.
MANUAL: UK Only.
If you want to discover What the EIII got inside: take a look on this
http://www.emulatorarchive.com/assets/PDF/Emulator% 20II%% 20Reference 20Manual.pdf ( http://www.emulatorarchive.com/assets/PDF/Emulator%20III%20Reference%20Manual.pdf )
<p class="bbcode-offtopic"> Off topic: <span>It seems there was a French version, as the first Gospel of Christ, it was not found. If an archaeologist owner of EIII in French were kind enough to come forward, it would be urban.</span>
SOUNDS
SONS side: It's great delusion. Because the E-mu EIII like the Akai S1000 (which was produced then) were the only two machines that have aroused the greatest interest by the sound designers from around the world and with his two most references CD audio in bookstores (they were consistent) have been developed and marketed and fed the music of the whole earth, and also continues through the last platforms Software Samplers, or the latest in fashion.
OVERALL OPINION
Now as always just listen to the tubes of the time to notice how the EIII was used. Depeche Mode (on tour Music for the Masses) to INXS, ZZ Top in Prince or Bowie, Niagara, etc.. The EIII was everywhere.
Even Daniel had Chenevez Niagara Midifier his Hammond B3 EIII to drive her on stage for the organ, even bigger and more vintage, scene requires.
There were three schools in 1987: E-MU Emulator II with HD or E-mu III Fairlight CMI with the 2x and the appearance of series 3, NEW ENGLAND DIGITAL with the famous Synclavier 9600 (the exit 3.2) . it was more used as a Post-Pro or Direct to Disk at major concerts (eg Genesis, Wally Badarou, Dire Straits, Bowie, Pink Floyd).
The Emulator III was the last step of the first generation of E-MU Samplers. Then a truce and the start of the generation "Cheap Sampler" with the appearance of the famous E-and E-MAX MAX II Turbo and consequently the series ESI. The E4 was the beginning of the second generation to PRO the result with the E4 PLATINUM marketed during 2001. It was the last sample of the brand before the product Hardware sad merger with Creative, which spelled the end of Rnd in E-MU and the departure of many sound designer and developer.
Each model: Emulator, Emulator II, II +, Emulator III, E-max, E-Maxii, E4, E4 Turbo, E-4 K, E64, E6400, E-Synth, E-Synth K, E-5000, E- 5000 Ultra, Ultra E-6400, E-4 Ultra, E-4 Platinum has provided a disproportionate emotion to its owner and user. I believe that no other brand that is able to teach and offer as much fun to play and compose that E-MU (Sampler is in course) in mass.
I am very sad that commercial and industrial ambitions have led Creative to abandon the hardware market. Too Expensive? Too expensive? Inappropriate?
In the meantime, anyone has the chance to approach a EIII and putting your fingers on the keyboard, be it by design, will have eyes that sparkle even before the ears hum.
Eq U.S. prices:::
* EIII Rack 4MB $ 12,695
* EIII Rack 8MB $ 15,195
* Option 40MB internal hard disk SCSI and 4 MB of RAM to 8 = $ 2,500
<p class="bbcode-offtopic"> Off topic: <span>When you know that now looks euros for 5000-6000 Oasys or K2600x, a 2x Fairlight had to negotiate around 140,000 francs abroad and via the K250 is worse</span>
In fact it is the first sampler keyboard that introduced both the Pro homestudio musicians and especially the recording studios, post production and the brodcast for Jingles, classrooms electro-acousmatic conservatories "enlightened "at the time. In fact as the Emulator II was diponible musicians special occasion and we were in the era of "Tell me about how you play I'll tell you who you are", it was impressive to have an EIII and it makes sense.
In terms of look, and as at the time the manufacturers wanted to distinguish themselves through design also imposing machines (it is far from the mignaturisation e) the Emulator III shows the curves of E-II, but more streamlined, more profound and losing his gray side-armed, he sports a gray-blue beautiful and above all fantastic concert. Since the pit we see only him.
KEYBOARD:::
It will touch criticized the Emulator II (and worse, that of the first generation Emulator) and it is considering the importance of the keyboard 5 octaves of the Emulator III is new, sensitive to velocity and aftertouch . The stroke of the shallower note, it is faster to play, management of the velocity thinner (yes!).
RAM:::
Base available in 4MB or 8MB of RAM (E-mu was the only manufacturer has managed to know the internal compression of Samples having regard also to the sampling modest yet unmatched), it was possible to boost 8MB max. Amazing for its time.
HARD DISK:::
All models were available with a Hard Disk 5.25 "40 MB of evolution that were hard to recog 52.1 MB, but could be formatted to preserve disk space, 43 MB latter offered 16 or 32 banks sound-presets-sample ainsisauvegardés, uploaded and also depending on the available RAM.
SPECIFICATIONS:::
. Marketing year: End of 1986 (usa) - 1987 (Europe)
. Importer at the time: Musicland (Paris)
Keyboard:::
. 5-octave touch sensitive
. Aftertouch
Rack version:::
. 4U
----
. 16-bit Digital Sampler
. Stereo audio outputs + 16.
. 33k sampling frequency, 44.1kHz (67 seconds)
. Analog low-pass filters (huge and fat)
. VCA - ADSR envelope control
. Sample RAM memory expandable to 8 MB
. 16-channel sequencer: 100 patterns, 100 songs
. SMPTE
. 40MB Internal Hard Drive Adapter
. Latest version OS 2.42
. Old OS 2.2 Version
---
OPTIONS:::
. 4MB or 8MB RAM Sample
. Boot ROM Version 2
. External SCSI CDRom
. Internal SCSI Hard Drive
. Remote control software
. Sample Editing Software
UTILIZATION
Even simpler than Emulator II, III Emu has a features that artillery once again does not leave much room for competition Keyboard version.
(What is this white rack there ... A S900, from whom?).
But the impressive win Emulator III knows a 96dB dynamic output when it has only Asysmétriques outputs (unbalanced)! And 16 in total at that.
F Chip offers its Digital filters for the oversampling that will make it a musical revolutionary weapon.
Also this time we find a true 16-track sequencer and control the environment finally SMPTE / MIDI sync.
As between the years 1985> 1992 instead of the machines was predominantly in the musical productions, it was not uncommon to see several Emulator II or III on stage:
Depeche Mode, New Order, Prince, Van Halen, Genesis, Peter Gabriel, ... In 1988 the E-MU Emulator III Rack markets in 4U brings the same characteristics. Amazing machine but it is not the version "I move easy" but "I show what I play on." It will not sell very little Racks and especially hard to find used.
Service side: Not much to remember except that like any good American machine, she wants sensitive to heat or transportation, LCD, Floppy Disk and Hard Disk house were the first to suffer. A small kit of good user EIII existed even then.
MANUAL: UK Only.
If you want to discover What the EIII got inside: take a look on this
http://www.emulatorarchive.com/assets/PDF/Emulator% 20II%% 20Reference 20Manual.pdf ( http://www.emulatorarchive.com/assets/PDF/Emulator%20III%20Reference%20Manual.pdf )
<p class="bbcode-offtopic"> Off topic: <span>It seems there was a French version, as the first Gospel of Christ, it was not found. If an archaeologist owner of EIII in French were kind enough to come forward, it would be urban.</span>
SOUNDS
SONS side: It's great delusion. Because the E-mu EIII like the Akai S1000 (which was produced then) were the only two machines that have aroused the greatest interest by the sound designers from around the world and with his two most references CD audio in bookstores (they were consistent) have been developed and marketed and fed the music of the whole earth, and also continues through the last platforms Software Samplers, or the latest in fashion.
OVERALL OPINION
Now as always just listen to the tubes of the time to notice how the EIII was used. Depeche Mode (on tour Music for the Masses) to INXS, ZZ Top in Prince or Bowie, Niagara, etc.. The EIII was everywhere.
Even Daniel had Chenevez Niagara Midifier his Hammond B3 EIII to drive her on stage for the organ, even bigger and more vintage, scene requires.
There were three schools in 1987: E-MU Emulator II with HD or E-mu III Fairlight CMI with the 2x and the appearance of series 3, NEW ENGLAND DIGITAL with the famous Synclavier 9600 (the exit 3.2) . it was more used as a Post-Pro or Direct to Disk at major concerts (eg Genesis, Wally Badarou, Dire Straits, Bowie, Pink Floyd).
The Emulator III was the last step of the first generation of E-MU Samplers. Then a truce and the start of the generation "Cheap Sampler" with the appearance of the famous E-and E-MAX MAX II Turbo and consequently the series ESI. The E4 was the beginning of the second generation to PRO the result with the E4 PLATINUM marketed during 2001. It was the last sample of the brand before the product Hardware sad merger with Creative, which spelled the end of Rnd in E-MU and the departure of many sound designer and developer.
Each model: Emulator, Emulator II, II +, Emulator III, E-max, E-Maxii, E4, E4 Turbo, E-4 K, E64, E6400, E-Synth, E-Synth K, E-5000, E- 5000 Ultra, Ultra E-6400, E-4 Ultra, E-4 Platinum has provided a disproportionate emotion to its owner and user. I believe that no other brand that is able to teach and offer as much fun to play and compose that E-MU (Sampler is in course) in mass.
I am very sad that commercial and industrial ambitions have led Creative to abandon the hardware market. Too Expensive? Too expensive? Inappropriate?
In the meantime, anyone has the chance to approach a EIII and putting your fingers on the keyboard, be it by design, will have eyes that sparkle even before the ears hum.