Stage orgulje sa dvostrukom 61 dirkom ! Kao dodatak višestruko dokazanoj 2-Vase III organ tonskom generatoru i Vox, Farisa i sakralnim orguljama ovaj model od sada donosi širi i fleksibilniji spektar dodatnih zvukova. Ovi vintage usmereni zvukovi odišu kvalitetom i sa samopouzdanjem. Bitni parameteri poput ekvalajzera, overdrive efekta i reverba su podesivi putem odvojenih kontrola, sve detaljnije postavke definšu se putem ekrana. Ovaj instrument teži svega 16Kg, tako da je ovaj model izuzetno mobilan. Piano i vintage zvukovi, 63-notna polifonija (za orgulje) i 8-notna polifonija za pedale, 9 kliznih potenciometara (upravljivi za gornji, donji manual i za pedalu), 6 ručnih postavki selektivno: B-Type 1, Type B-2, Mellow, Vx, Farf, Pipe, 4 pedal postavki može biti odabrano: Normal, Muted, Synth1, Synth2. Integrirani Leslie efekt, 10 preset zvukova + 100 korisničkih zvukova.

Nadogradite svoj XK-5 u dvostruku klavijaturu Hammond XLK-5 Lover Manual (donja klavijatura) je donja komponenta tastature XK-5 koji je ponos Hammond kompanije. Ovaj sistem je idealan za touring klavijaturiste kojima je potreban potpuno prenosiv, moderan B-3. XLK-5 Lover Manual je opremljen istim ključem i višekontaktnim sistemom kao i XK-5, a ima i isti kvalitet rada kućišta kao glavna jedinica, sa vertikalno proširenim bočnim panelima koji čvrsto drže vaš XK-5.

SPECIFIKACIJE: Four sound engines which can be used separately or in any combination - all samples are at a higher resolution than the previous SK series Drawbar organ section derived from the top-of-the-line XK-5 Virtual multi-contact keyboard New digital Leslie Expanded transistor ("ACE") and classical pipe organ voices (including 32' pedal and theatre pipe organ voices) Piano section with a wide variety of keyboard instruments including hi-res grand and electric piano sounds New "S" style grand piano (legendary European instrument) Ensemble section with essential brass, reed, string, choir and percussion instruments Analog-modeled mono synth section Pitch bend and modulation wheels Real AC connection, no wall wart Multiple, assignable outputs with discrete organ and bass outputs 11-pin Leslie jack Onboard bulk storage for all programming A & B USB ports (for storage and MIDI-Over-USB functions) Seamless switching of tones while playing Patches, combinations, and centrally located FAVORITE/ALLOCATE buttons allow quick and easy access to performance needs Large color display with essential information gives the player instant status of the instrument

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 Rev2 Specifications OSCILLATORS 2 digitally controlled analog oscillators (DCOs) per voice (plus sub octave on oscillator 1) with selectable sawtooth, triangle, saw/triangle mix, and pulse waves (with pulse-width modulation) Glide (portamento): separate rates per oscillator White noise generator Analog VCAs Hard sync FILTERS 1 analog Curtis low-pass filter per voice, selectable 2- and 4-pole operation (self-resonating in 4-pole mode) ENVELOPES 3 envelope generators: filter, VCA, and assignable (four-stage ADSR + delay); Envelope 3 can loop. SEQUENCER Polyphonic step sequencer with up to 64 steps (6 notes per step), and ties and rests. Separate 16 x 4 gated step sequencer. Each layer can have a separate sequence. LFOS 4 LFO’s with key sync per LFO MODULATION 8-slot modulation matrix 22 sources 53 destinations 5 additional dedicated sources: mod wheel, pressure, velocity, breath controller, footswitch ARPEGGIATOR Programmable 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 CONTROLS 5-octave keyboard with semi-weighted action, velocity, and aftertouch 55 knobs and 35 buttons enable deep and comprehensive editing with little to no menu diving. Spring-loaded pitch wheel and assignable mod wheel 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 Main stereo audio output: 1/4″ unbalanced Output B stereo audio output: 1/4″ unbalanced Sustain pedal input: accepts normally on or normally off momentary footswitch. Pedal/CV input: responds to expression pedals or control voltages ranging from 0 to 5 VDC (protected against higher or negative voltages). 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: 22 watts maximum (17 watts for 8-voice configuration; 22 watts for 16-voice configuration) PHYSICAL SPECS Oiled African mahogany wood end panels Dimensions: 12.70″ (32.26 cm) W x 35.12″ (89.20 cm) L x 3.80″ (9.65 cm) H (2.30″ at front edge; the feet account for 0.25″ of the total height) Weight: 20.5 lbs. (9.3 kg)

MODX7+ is a compact, lightweight, 76-key synthesizer with all the sounds, splits, zones and layers keyboardists need to stand out on stage, studio or stream. Dimensions Width 1,144mm (45-1/16") Height 134mm (5-1/4") Depth 331mm (13-1/16") Weight Weight 7.4 kg (16 lbs 5 oz) Control Interface Keyboard Number of Keys 76 Type Semi-weighted Keyboard Initial Touch Yes Aftertouch No Tone Generator Tone Generator Motion Control Synthesis Engine AMW2: 8 Elements FM-X: 8 Operators, 88 Algorithms Maximum Polyphony AWM2: 128 (max.; stereo/mono waveforms) FM-X: 128 (max.) Multi Timbral Capacity 16 Parts (internal), Audio Input Parts (A/D*, USB*) *stereo Part Wave Preset: 5.67 GB (when converted to 16 bit linear format), User: 1.75 GB Performance 2,227 Filter 18 types Effects Reverb x 12 types, Variation x 88 types, Insertion (A, B) x 88 types*2, Master Effect x 26 types *2 A/D part insertion x 83 types (Preset settings for parameters of each effect type are provided as templates) Master EQ (5 bands), 1st part EQ (3 bands), 2nd part EQ (2 bands) Other Controllers Master Volume, AD Input Gain knob, USB Volume, Pitch Bend wheel, Modulation wheel, Control Sliders x 4, Knobs x 4, Super Knob, Data dial Display 7" TFT Color Wide VGA LCD touch screen Connectors [USB TO DEVICE], [USB TO HOST], MIDI [IN]/[OUT], FOOT CONTROLLER [1]/[2], FOOT SWITCH [ASSIGNABLE]/[SUSTAIN], OUTPUT [L/MONO]/[R] (6.3 mm, standard phone jacks), [PHONES] (6.3 mm, standard stereo phone jack), A/D INPUT [L/MONO]/[R] (6.3 mm, standard phone jacks) Power Consumption 16 W (when using PA-150B AC adaptor) Accessories AC adaptor (PA-150B or an equivalent recommended by Yamaha*), Owner’s Manual, Cubase AI Download Information *May not be included depending on your area. Check with your Yamaha dealer. Live Sets Preset: 256 and more, User: 2,048 Performance Recorder Note Capacity Approx. 130,000 notes Storage Size Approx. 520,000 notes (for Patterns) and approx. 520,000 notes (for Songs) Note Resolution 480 ppq (parts per quarter note) Tempo (BPM) 5 – 300 Songs 128 songs Tracks 16 Sequence tracks Recording type Real time replace, Real time overdub, Real time punch in/out Patterns 128 patterns Arpeggio Parts: 8 Parts simultaneous (max.), Preset: 10,239 types User: 256 types Sequence formats MODX original format, SMF formats 0, 1

MODX8+ is a compact, lightweight, 88-key weighted action synthesizer with the piano, instrument and synth sounds pianists need to stand out on the stage, studio or stream. Dimensions Width 1,333mm (52-1/2") Height 160mm (6-1/16") Depth 404mm (15-7/8") Weight Weight 13.8 kg (30 lbs 7 oz) Control Interface Keyboard Number of Keys 88 Type GHS Keyboard Initial Touch Yes Aftertouch No Tone Generator Tone Generator Motion Control Synthesis Engine AMW2: 8 Elements FM-X: 8 Operators, 88 Algorithms Maximum Polyphony AWM2: 128 (max.; stereo/mono waveforms) FM-X: 128 (max.) Multi Timbral Capacity 16 Parts (internal), Audio Input Parts (A/D*, USB*) *stereo Part Wave Preset: 5.67 GB (when converted to 16 bit linear format), User: 1.75 GB Performance 2,227 Filter 18 types Effects Reverb x 12 types, Variation x 88 types, Insertion (A, B) x 88 types*2, Master Effect x 26 types *2 A/D part insertion x 83 types (Preset settings for parameters of each effect type are provided as templates) Master EQ (5 bands), 1st part EQ (3 bands), 2nd part EQ (2 bands) Other Controllers Master Volume, AD Input Gain knob, USB Volume, Pitch Bend wheel, Modulation wheel, Control Sliders x 4, Knobs x 4, Super Knob, Data dial Display 7" TFT Color Wide VGA LCD touch screen Connectors [USB TO DEVICE], [USB TO HOST], MIDI [IN]/[OUT], FOOT CONTROLLER [1]/[2], FOOT SWITCH [ASSIGNABLE]/[SUSTAIN], OUTPUT [L/MONO]/[R] (6.3 mm, standard phone jacks), [PHONES] (6.3 mm, standard stereo phone jack), A/D INPUT [L/MONO]/[R] (6.3 mm, standard phone jacks) Power Consumption 16 W (when using PA-150B AC adaptor) Accessories AC adaptor (PA-150B or an equivalent recommended by Yamaha*), Owner’s Manual, Cubase AI Download Information *May not be included depending on your area. Check with your Yamaha dealer. Live Sets Preset: 256 and more, User: 2,048 Performance Recorder Note Capacity Approx. 130,000 notes Storage Size Approx. 520,000 notes (for Patterns) and approx. 520,000 notes (for Songs) Note Resolution 480 ppq (parts per quarter note) Tempo (BPM) 5 – 300 Songs 128 songs Tracks 16 Sequence tracks Recording type Real time replace, Real time overdub, Real time punch in/out Patterns 128 patterns Arpeggio Parts: 8 Parts simultaneous (max.), Preset: 10,239 types User: 256 types Sequence formats MODX original format, SMF formats 0, 1

How do you reproduce the warm, authentic sound of an organ in a stage keyboard? You build an organ engine the Yamaha way, from the ground up. Yamaha puts your favorite classic organ sounds in one powerful, stage keyboard. YC models three organ vintages - just out of the box, well-traveled and character-rich vintage. Need more? Go under the hood to adjust key click, leakage, rotary speaker speed and more to get the one-of-a-kind organ tone you've been searching for. YC brings you the authentic sounds of classic rotary speakers with no maintenance required. Choose from two faithfully modeled rotary speaker profiles - warm and full or dirty and aggressive - and adjust top or bottom rotor speed for total control. [New to OS v1.2] Based on your feedback, we’ve added a new “Studio” Rotary Speaker, featuring a wider stereo field, increased low rotor and high horn separation, as well as an increased presence to cut through mixes. VCM re-creates the sound and behavior of vintage effects and high-end studio signal processors by modeling the circuits down to the original analog component level. In 1983, Yamaha introduced the iconic sounds of FM (Frequency Modulation) synthesis to the world with the launch of the synthesizer DX7. Now YC brings FM synthesis to the organ for a new generation of players. Simply switch to FM Organ and your drawbars control 8 FM Operators that send a pure sound with massive low end. Add rotary speaker or amp sim effects for character and vibe. Intuitive controls make it easy to discover new sounds. Or recreate classic transistor organ tones from warm to reedy to buzzy by choosing one of three popular FM Organ modes. [New to OS v1.2] Helping to broaden your creativity are three new FM organ types – titled F4, F5, and F6. These delve deeper into FM synthesis by adding modulators – or operators – that add upper harmonics to carriers, yet do not sound. The user interface of drawbars, coupled with modulators, create vastly new approaches to the traditional drawbar organ experience, bringing the traditional drawbar concept into the 21st century. The authentic Waterfall keyboard action of the YC61 was created by painstaking research into traditional organ keyboards and constant feedback from top keyboard artists. The result is a keyboard that not only provides the distinctive touch of an organ, it gives artists new ways to express themselves on acoustic and electric pianos, synth leads, brass sections and more. Keyboard Number of Keys 61 Type Semi-weighted Waterfall keyboard, initial touch Voices Tone Generation Tone Generating Technology VCM Organ, AWM2, FM Polyphony Number of Polyphony (Max.) [VCM Organ + AWM2]:128 *Total of VCM Organ and AWM2, [FM]:128 Number of Live Set Sound 160 (Preset Live Set Sounds:136) Number of Voices 190 (Organ:9 / Keys:181) Effects Types Insertion Effect Organ 1 systems (Pre Drive) / Key A 2 systems (1: 35 types, 2: 35 types) / Key B 2 systems (1: 35 types, 2: 35 types) Effect 35 types Speaker/Amp 7 types (Rotary Speaker: 3 types, Amp: 4 types) Reverb 1 type Master EQ 3 band (with sweepable Mid) Connectivity Connectors Line Out OUTPUT [L/MONO]/[R] (6.3 mm, standard phone jacks, UNBALANCED) Headphones [PHONES] (6.3 mm, standard stereo phone jack) Foot Controller FOOT CONTROLLER [1]/[2], FOOT SWITCH [SUSTAIN]/[ASSIGNABLE] MIDI MIDI [IN]/[OUT] USB USB [TO HOST]/[TO DEVICE] AUX INPUT [L/MONO]/[R] (6.3 mm, standard phone jacks) Other Connectors [AC IN] Display Full Dot LCD (128 x 64 dots) Additional package contents Owner’s Manual x 1, Power cord x 1 Size/Weight Dimensions Width 896 mm (35-1/4") Height 108 mm (4-1/4") Depth 309 mm (12-3/16") Weight Weight 7.1 kg (15 lb, 10 oz) Packing Box Width 1,035 mm (40-3/4") Height 240 mm (9-7/16") Depth 444 mm (17-1/2")

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”.

Explore::Create::Perform Sound 256 Voices of V.A.S.T. Polyphony! More polyphony from our acclaimed V.A.S.T. engine than any product in Kurzweil history! 2 Gigabytes of Factory Sounds! Over 1000 hand-selected factory presets organized into 13 Categories of Programs (Piano, E. Piano, Clav, Organ, Strings, Pad, Synth, Brass/Wind, Ensemble, Hybrid, Guitar/Bass, Drum/Perc, Misc) and featuring our optimized German 9 ft. and vintage Japanese 7 ft. concert grand pianos. Patented FlashPlay® Technology Flash-Play® provides the PC4 with a staggering amount of horse-power; 2 GB sample content with zero-loading time, and ultrafast performance. 2 Gigabytes User Sample Memory Load up to 2 GB of your own custom samples into non-volatile flash memory. Supported sample formats: .WAV, .AIF (up to 16 bit / 96kHz) and Kurzweil formats (.P3K, .KRZ, .K25, .K26). V.A.S.T. Editing Deep native editing? Look no further. The PC4 grants full access to Kurzweil's legendary Variable Architecture Synthesis Technology directly from the front panel. With 32-layers per program, each offering its own signal path and a host of modular DSP tools, the PC4 offers a wealth of sound creation and modification that is truly immense. 6-Operator FM Engine 6 Operator FM Engine with the ability to load original FM SysEx files. CC Sequencers Add sonic animation to your sounds via 16 simultaneous MIDI CC Step Sequencers for modulation sequencing. KB3 ToneReal™ Organs Modeled after classic organs. A full compliment of tonewheel controls are immediately accessible including 9 realistic drawbars, rotary speed, chorus/vibrato, brake, percussion and more. Powerful FX Engine Award-winning Reverbs, Delays, Choruses, Flangers, Phasers, Distortions, Rotary Amplifiers, Compressors and more - all fully editable from the user-interface. The PC4 also offers a global Master FX section featuring 3-band EQ and Compression. K.S.R. - Kurzweil String Resonance Piano string resonance modeling for enhanced acoustic piano performance! Performance 88-Note Hammer-Action Keyboard Every sound within the PC4 is perfectly matched to its 88-note fully-weighted hammer-action keyboard with aftertouch. 16-Zone Multi Controller Mode Construct massive sonic combinations via Kurzweil's renowned Multi mode (aka Setup mode) offering 16 zones of unparalleled MIDI controller capabilities. 16-Track Sequencer The PC4 features a 16-track internal sequencer to record/edit/mix/produce your own tracks - all in the box. Import MIDI (.mid) files as well as Kurzweil PC3-family songs. 16 Simultaneous RIFF Generators Trigger and manipulate up to 16 simultaneous MIDI sequences on the fly. Select from an internal library of patterns or record/import your own! 16 Simultaneous Note Arpeggiators Looking for a pulse? Activate up to 16 independent Arps (1 per program, 16 per Multi) and discover the new 'Step Sequencer' environment! Live Audio Input w/ FX Plug in and jam along with your favorite music player via 1/4" pair and/or 1/8" (3.5mm) audio input. The input bus sports its own dedicated real-time FX. Sweeten your backing tracks for live performance and internally mix the signal with the PC4's own output. Controls Front Panel Master Transport Controls Use the buttons in the TRANSPORT section to control recording and playback of the on-board 16-track sequencer. 36 Programmable Physical Controllers 9 Sliders, 9 Knobs, 10 Switches, 2 Wheels, 2 Switch Pedal* Inputs (which support half-damper for pianos), 2 Continuous Control Pedal Inputs, Aftertouch and Ribbon controller input**. *1 sustain/switch pedal is included; half-damper pedal sold separately **ribbon controller sold separately. Easy Access Transpose Controls Dedicated -/+ transpose controls conveniently located right above the LED backlit pitch/modulation wheels (LED lights can be disabled). User interface Widescreen Color Display Navigate the PC4 with a 4.3” 480x272 widescreen color LCD display. Categorized Sound Selection Easy Category and Program/Multi selection featuring customizable category defaults. Features 256 voices of polyphony 2GB of factory sample content plus 2GB of user storage FlashPlay technology with zero load time 1000+ factory programs NEW 6-operator FM Engine with the ability to import original '80s and '90s FM SysEx files KB3 ToneReal Organs with realistic drawbars, rotary speed, chorus/vibrato, brake, percussion 9 sets of programmable knobs, sliders, and buttons 88-note fully-weighted hammer action with velocity-sensitive keys and aftertouch Extensive native V.A.S.T. editing capabilities 16-track Sequencer with dedicated front-panel transport buttons 16 Arpeggiators (Classic or Step sequencers) with dedicated front-panel controls NEW 16 MIDI CC Step Sequencers 16 Riff Generators Dedicated front-panel transposition and tempo controls Ribbon connector input MIDI I/O, USB/MIDI, USB-to-device 2 x 1/4 inch audio input connectors Stereo 3.5mm audio input jack with FX 2 pairs of stereo outputs 4 switch pedals (via 2 stereo jacks) 2 CC pedal inputs Specs Keyboard: RPHA: Real Piano Hammer Action / 88-note, fully-weighted hammer-action with velocity and aftertouch sensitive adjustable keys Display: 480 x 272 pixel high resolution color LCD with adjustable brightness Polyphony: 256 Voice Polyphony, dynamically allocated Multitimbral: 16 parts (one per MIDI channel) Architecture: Dynamic VAST: Powerful synthesis engine, with user programmable DSP algs and routing. More DSP power than even our K Series instruments. 6-Operator FM Engine VA1 Inside: anti-aliasing, power-shaped oscillators and DSP processing from Kurzweil's VA1 concept synth, capable of delivering authentic analog emulations as well as incredibly complex new sounds. Cascade Mode: lets the user route one layer through the DSP of any other layer within a program - up to 32 consecutive layers deep! Sample Flash Memory: 2 GB of re-loadable, non-volatile, user flash memory Factory Programs: 1000+ User Programs: 4096 Factory Multis: 50+ - featuring up to 16 independent zones User Multis: 4096 General MIDI: No Kurzweil String Resonance: Yes Master EQ/Compressor Section: Yes Effects: Over 1000 complex effect chains, incorporated into programs featuring our award winning effects - reverbs, delays, chorus, flange, phaser, EQs, distortions, rotary speaker simulators, compressors, and more 32 total FX units Controllers: 1 pitch wheel 1 modulation wheel 9 front panel sliders 9 Knobs 9 switches (assignable/zone mutes/KB3 control) 1 variation switch Tempo Controls w/ tap tempo 2 transpose switches Arp Controls Transport Controls 2 continuous control pedal inputs Monopressure (aftertouch) Ribbon input (ribbon controller sold separately) Sequencer: 16 Tracks; 960 PPQ resolution. Song editing functions include both event and track-based tools like quantize, swing, remap, controller scaling and more. MIDI CC Step Sequencers: 16 simultaneous RIFFs: 16-per Multi Note Arpeggiators: 1-per Program, 16-per Multi Analog Outputs: Four (2 pairs) 1/4" balanced TRS analog (32-bit DACs) Automatic mono switching on main outs +21dBu maximum output 50Ω balanced source impedance Audio Inputs: Two 1/4" inputs One stereo 1/8" input (each with FX) for connecting your favorite MP3 player or other audio source for accompaniment playback Headphones: 1 back panel 1/4" headphone output 130mW into 32 ohm headphones MIDI: In, Out USB: Two USB ports (one A port / one B port) Complete MIDI functionality over USB User program/multi file backup via USB drive Operating System updates via USB drive Software Editors: External editors for Mac OS X, Windows PC and iOS* devices (*coming soon) FREE OS Updates: OS updates via USB drive Included Accessories: Power cable, Switch pedal, USB cable Height: 6.5" (16.51 cm) Depth: 14.75" (37.46 cm) Length: 50" (127 cm) Weight: 28.7 lb (13.01 kg) Power: External 15VDC 2.5A Power Supply