The Korg Poly-800 is a synthesizer released by Korg in 1983. Its initial list price of $795 made it the first programmable synthesizer that sold for less than $1000, it featured a 49 key non-velocity sensitive keyboard, two buttons for data entry, a joystick controller, which could modulate the DCO pitch or the VCF. Though the Poly-800 had MIDI, it did not feature MIDI SysEx functionality, patches had to be backed up to cassette tape, it had 8-voice polyphony with one DCO per voice. It could be switched into double mode which stacks two DCOs for a fuller sound, but reduces the polyphony to 4 voices, it featured one analog resonant low-pass VCF with 24 dB/oct, shared for all voices. Like a monophonic synthesizer, the filter was switchable between multiple modes. In single mode, the first key pressed triggers the filter envelope, unless all keys are released, the filter does not re-trigger. In multi mode, each key pressed in turn triggers the filter envelope if other keys are still pressed down. Further it had three digital envelope generators, a noise generator, an LFO, a chorus effect.
The Poly-800 could be run off batteries and had guitar strap pegs, allowing a performer to wear it like a guitar. It was available with reversed-colored keys, which gave an appearance similar to a Vox Continental organ, it sported a simple built in 256 step sequencer. About a year after the Poly-800 was introduced, a keyboardless, rackmount/tabletop version, called the EX-800, was released, adding limited MIDI SysEx capability. After production of the original keyboard ended in 1985, the enhanced Poly-800 MkII was released, it featured a digital delay instead of a chorus effect, included limited MIDI SysEx functionality. It was produced until 1987. Siel produced an identical synthesizer, the DK-70 around the same time period; the low price for a used unit and partial analog design of the Poly-800 made it appealing for modification by hobbyists. There is a modification that adds two knobs to the VCF, increasing the filter's range and expressiveness, known as the Moog-Slayer filter modification, it is possible to install an additional EPROM containing the firmware of the EX800.
That way it is possible to receive MIDI-sysex data, but keyboard-functionality will be disabled. Before powering up the synthesizer users can select the firmware of choice by using a selective switch; the most recent modification to the Poly-800 family is the Hawk-800 Firmware upgrade, both a hardware and firmware modification, radically updating the features and capabilities of the synthesizer. There is the AtomaHawk-800 which adds software and MIDI control to the more popular hardware modifications. Synth Museum Vintage Synth Explorer Yahoo! group for users and abusers of KORG POLY 800 and EX800 synths Korg poly800 resource info, pictures and mp3 demo New patches from AnalogAudio1 for the Poly-800 II
Yamaha Corporation is a Japanese multinational corporation and conglomerate with a wide range of products and services, predominantly musical instruments and power sports equipment. It is the world's largest piano manufacturing company; the former motorcycle division became independent from the main company in 1955, forming Yamaha Motor Co. Ltd, although Yamaha Corporation is still the largest shareholder. Nippon Gakki Co. Ltd. was established in 1887 as a piano and reed organ manufacturer by Torakusu Yamaha in Hamamatsu, Shizuoka prefecture and was incorporated on October 12, 1897. The company's origins as a musical instrument manufacturer are still reflected today in the group's logo—a trio of interlocking tuning forks. After World War II, company president Genichi Kawakami repurposed the remains of the company's war-time production machinery and the company's expertise in metallurgical technologies to the manufacture of motorcycles; the YA-1, of which 125 were built in the first year of production, was named in honour of the founder.
It was a 125cc, single cylinder, two-stroke, street bike patterned after the German DKW RT125. In 1955, the success of the YA-1 resulted in the founding of Yamaha Motor Co. Ltd. splitting the motorcycle division from the company. In 1954 the Yamaha Music School was founded. Yamaha has grown to become the world's largest manufacturer of musical instruments, as well as a leading manufacturer of semiconductors, audio/visual, computer related products, sporting goods, home appliances, specialty metals and industrial robots. In 1988, Yamaha shipped the world's first CD recorder. Yamaha purchased Sequential Circuits in 1988, it bought a majority stake of competitor Korg in 1987, bought out by Korg in 1993. In the late 1990s, Yamaha released a series of portable battery operated keyboards under the PSS and the PSR range of keyboards; the Yamaha PSS-14 and PSS-15 keyboards were upgrades to the Yamaha PSS-7 and were notable for their short demo songs, short selectable phrases, funny sound effects and distortion and crackly sounds progressing on many volume levels when battery power is low.
In 2002, Yamaha closed down its archery product business, started in 1959. Six archers in five different Olympic Games won gold medals using their products, it acquired German audio software manufacturers from Pinnacle Systems. In July, 2007, Yamaha bought out the minority shareholding of the Kemble family in Yamaha-Kemble Music Ltd, Yamaha's UK import and musical instrument and professional audio equipment sales arm, the company being renamed Yamaha Music U. K. Ltd in autumn 2007. Kemble & Co. Ltd, the UK piano sales & manufacturing arm was unaffected. On December 20, 2007, Yamaha made an agreement with the Austrian Bank BAWAG P. S. K. Group BAWAG to purchase all the shares of Bösendorfer, intended to take place in early 2008. Yamaha intends to continue manufacturing at the Bösendorfer facilities in Austria; the acquisition of Bösendorfer was announced after the NAMM Show in Los Angeles, on January 28, 2008. As of February 1, 2008, Bösendorfer Klavierfabrik GmbH operates as a subsidiary of Yamaha Corp.
Yamaha Corporation is widely known for their music teaching programme that began in the 1950s. Yamaha electronics have proven to be successful and respected products. For example, the Yamaha YPG-625 was awarded "Keyboard of the Year" and "Product of the Year" in 2007 from The Music and Sound Retailer magazine. Other noteworthy Yamaha electronics include the SHS-10 Keytar, a consumer-priced keytar which offered MIDI output features found on much more expensive keyboards. Other companies in the Yamaha group include: Bösendorfer Klavierfabrik GmbH, Austria. Yamaha Motor Company Yamaha Fine Technologies Co. Ltd. Yamaha Golf Cart Company Yamaha Livingtec Corporation Yamaha Metanix Corporation Yamaha Music Communications Co. Ltd. Yamaha Pro Audio Kandō is a Japanese word used by Yamaha Corporation to describe their corporate mission. Kandō in translation describes the sensation of profound excitement and gratification derived from experiencing supreme quality and performance; some reasonable English synonyms are "emotionally touching" or "emotionally moving".
The Yamaha Music Foundation is an organization established in 1966 by the authority of the Japanese Ministry of Education for the purpose of promoting music education and music popularization. It continued a program of music classes begun by Yamaha Corporation in 1954. Yamaha expanded into product groups; the first venture into each major category is listed below. 1897 Keyboard instruments 1903 Furniture 1914 Harmonicas 1922 Audio equipment 1942 Guitars 1955 Yamaha Motor Company 1959 Sporting goods 1959 Music schools 1961 Metal alloys 1965 Band instruments 1967 Drums 1971 Semiconductors 1984 Industrial robots 2001 Yamaha Entertainment Group 2010 Applications Yamaha announced the singing synthesizer Vocaloid for the first time at the German fair Musikmesse on March 5–9, 2003. Yamaha began to get involved with the sale and production of Vocaloid applications themselves with Lily being the first, their involvement continued
Sébastien Érard was a French instrument maker of German origin who specialised in the production of pianos and harps, developing the capacities of both instruments and pioneering the modern piano. Érard was born at Strasbourg. While a boy he showed great aptitude for practical geometry and architectural drawing, in the workshop of his father, an upholsterer, he found opportunity for the early exercise of his mechanical ingenuity; when he was sixteen his father died, he moved to Paris where he obtained employment with a harpsichord maker. Here his remarkable constructive skill, though it speedily excited the jealousy of his master and procured his dismissal instantly attracted the notice of musicians and musical instrument makers of eminence. Before he was twenty-five he set up in business for himself, his first workshop being a room in the hotel of the duchesse de Villeroi, who gave him warm encouragement, he built his first pianoforte in 1777 in his Paris factory, relocating fifteen years to premises in London's Great Marlborough Street to escape the French Revolution - his increasing fame and several commissions for the likes of Louis XVI and Marie Antoinette having placed him at risk.
Returning to Paris in 1796, he soon afterwards introduced grand pianofortes, made in the English fashion, with improvements of his own. In 1808 he again visited London, two years he produced his first double-movement harp, he had made various improvements in the manufacture of harps, but the new instrument was an immense advance upon anything he had before produced, obtained such a reputation that for some time he devoted himself to its manufacture. It has been said that in the year following his invention he made harps to the value of £25,000. In 1812 he returned to Paris, continued to devote himself to the further perfecting of the two instruments with which his name is associated. In 1823 he crowned his work by producing his model grand pianoforte with the double escapement. Érard died at Passy, located in the XVIe arrondissement on the Right Bank. In November 1794 Érard filed the first English patent for a harp, a refined single-action instrument that could be played in eight major and five minor keys thanks to its ingenious fork mechanism which allowed the strings to be shortened by a semitone.
Érard's "double movement" seven-pedal action for the harp allows each string to be shortened by one or two semitones, creating a whole tone. This mechanism, still used by modern pedal-harp makers, allows a harpist to perform in any key or chromatic setting, it was such a popular innovation that Érard sold £25,000-worth of harps in the first year of the release of the new instrument. One of these harps can be seen in the Museum für Kunst und Gewerbe in Hamburg in Germany. Érard's grand piano action is the predecessor to those used in modern grands. The repetition lever in these "double escapement" actions allows notes to be repeated more than in single actions, it is just one of many Érard innovations still found on modern pianos - for example, Érard was the first maker in Paris to fit pedals on the piano, his instrument had several pedals. There was the usual sustaining pedal, an action shift, a celeste, a bassoon pedal. A knee lever moved the action further than the action-shift pedal, making the hammers strike only one string.
Other Érard piano patents deal with technicalities of the keyboard action and tuning mechanism. Érard's pianos were widely appreciated by the foremost musicians - Charles-Valentin Alkan, Chopin, Fauré, Herz, Mendelssohn, Wagner and Ravel are just a few of the famous composers who owned Erard Pianos. Mid-career, Paderewski traveled on concert tours with his own Érard piano. Franz Liszt is said to have played a six-octave Érard piano in Paris in 1824. Érard put him under contract from about this time until 1825, so when he toured England they sponsored him and he played their pianos. The Érard Grand piano has been featured as part of the story line in The Piano Tuner by Daniel Mason. Men and Pianos. A Social History by, 1954 Pianos and their Makers, 1972, chapter 3, p. 251–4 In Flaubert's Madame Bovary, Emma gives up playing piano when she realizes that she will never be able to play a concert on a "piano d'Erard," which Francis Steegmuller translates as "grand piano". Grout/Palisca, A History of Western Music A History of Sébastien Erard Pictures of Érard Pianos-scroll to bottom of page Photos and mp3 recording of 1890 Erard grand Centre Sébastien Erard Erard Pianos - The Piano in Polish Collections
An electric organ known as electronic organ, is an electronic keyboard instrument, derived from the harmonium, pipe organ and theatre organ. Designed to imitate their sound, or orchestral sounds, it has since developed into several types of instruments: Hammond-style organs used in popular music genres and rock bands. HarmoniumThe immediate predecessor of the electronic organ was the harmonium, or reed organ, an instrument, popular in homes and small churches in the late 19th and early 20th centuries. In a fashion not unlike that of pipe organs, reed organs generated sound by forcing air over a set of reeds by means of a bellows operated by pumping a set of pedals. While reed organs had limited tonal quality, they were small, self-powered, self-contained; the reed organ was thus able to bring an organlike sound to venues that were incapable of housing or affording pipe organs. This concept played an important role in the development of the electric organ. Pipe organIn the 1930s, several manufacturers developed electronic organs designed to imitate the function and sound of pipe organs.
At the time, some manufacturers thought that emulation of the pipe organ was the most promising route to take in the development of an electronic organ. Not all agreed, however. Various types of electronic organs have been brought to market over the years, with some establishing solid reputations in their own niche markets. Electricity arrived on the organ scene in the first decades of the 20th century, but it was slow to have a major impact. Electrically powered reed organs appeared during the first decades of electricity, but their tonal qualities remained much the same as the older, foot-pumped models. Thaddeus Cahill's gargantuan and controversial instrument, the Telharmonium, which began piping music to New York City establishments over the telephone system in 1897, predated the advent of electronics, yet was the first instrument to demonstrate the use of the combination of many different pure electrical waveforms to synthesize real-world instrument sounds. Cahill's techniques were used by Laurens Hammond in his organ design, the 200-ton Telharmonium served as the world's first demonstration of electrically produced music on a grand scale.
Meanwhile, some further experimentation with producing sound by electric impulses was taking place in France. After the failure of the Telharmonium business, similar designs called tonewheel organs were continuously developed. Built in Belleville, the Robb Wave Organ predates its much more successful competitor Hammond by patent and manufacture, but shut down its operations in 1938 due to lack of funding; the first widespread success in this field was a product of the Hammond Corporation in 1934. The Hammond organ became the successor of the reed organ, displacing it completely. From the start, tonewheel organs operated on a radically different principle from all previous organs. In place of reeds and pipes and Hammond introduced a set of spinning magnetic wheels, called tonewheels, which excited transducers that generated electrical signals of various frequencies that were mixed and fed through an amplifier to a loudspeaker; the organ was electrically powered, replacing the reed organ's twin bellows pedals with a single swell pedal more like that of a pipe organ.
Instead of having to pump at a constant rate, as had been the case with the reed organ, the organist varied the position of this pedal to change the volume as desired. Unlike reed organs, this gave great control over the music's dynamic range, while at the same time freeing one or both of the player's feet to play on a pedalboard, unlike most reed organs, electronic organs incorporated. From the beginning, the electronic organ had a second manual rare among reed organs. While these features meant that the electric organ required greater musical skills of the organist than the reed organ had, the second manual and the pedalboard along with the expression pedal enhanced playing, far surpassing the capabilities of the typical reed organ; the most revolutionary difference in the Hammond, was its huge number of tonewheel settings, achieved by manipulating a system of drawbars located near the manuals. By using the drawbars, the organist could combine a variety of electrical tones and harmonics in varying proportions, thus giving the Hammond vast "registration."
In all, the Hammond was capable of producing more than 250 million tones. This feature, combined with the three-keyboard layout, the freedom of electrical power, a wide controllable range of volume made the first electronic organs more flexible than any reed organ, or indeed any previous musical instrument except the pipe organ itself; the classic Hammond sound benefitted from the use of free-standing loudspeakers called "tone cabinets" that produced a higher-quality sound than small built-in speakers. The sound was further enhanced by rotating speaker units manufactured by Leslie; the Hammond organ was adopted in popular
The microKORG is a MIDI-capable virtual analog synthesizer/vocoder from Korg featuring DSP analog modelling. The synthesizer is built in such a way that it is a Korg MS-2000 with programmable step arpeggiator, a less advanced vocoder, lack of motion sequencing, lack of an XLR microphone input, in a smaller case with fewer real-time control knobs; the microKORG was released in 2002 and is still in production as of 2018. It is considered one of the most popular music synthesizers in recent history, with estimated 100,000 units sold as of May 2009. In September 2007 Korg released a limited edition of the microKORG with reverse-color keys although the functionality was otherwise unchanged. At NAMM 2008, a successor called. Available since early 2009 it uses MMT Multi Modeling Technology from Korg's newer and more powerful Radias/R3 synthesizers; the microKORG uses DSP technology to emulate the sounds of an analog synthesizer using firmware, is based around the same engine found in the Korg MS2000.
The fundamental unit of sound is, in Korg's terminology, a "timbre". This is generated with a pair of multi-function oscillators. Two timbres can be combined to create a four-oscillator "layer"; this can be used to create more complex sounds, although it halves the polyphony from four notes to two. A single timbre can be played in four-voice. Oscillator one can produce one of several fundamental waveforms, including saw, square and sine waves. Alternatively, OSC1 can produce a vox wave, white noise, one of 64 different digital waveforms that were created by harmonic additive synthesis; some of these 64 waveforms were featured in the Korg DW-8000 digital synthesizer of the mid 1980s. The second oscillator is limited to saw and triangle waveforms; each waveform on OSC1 has a unique modulation feature, including wave morphing, Pulse-width modulation, FM. OSC2 can be detuned, and/or ring-modulated with OSC1 in order to create more complex sounds. OSC1 can be replaced with the signal from one of the line-level inputs on the back of the unit, allowing external signals to be processed with the effects and filters of the microKORG, or ring-modulated by OSC2.
The microKORG utilizes filters such as Low Pass, Band Pass, High Pass. The microKORG uses effects such as flange, ensemble and digital delay, which can be applied to external signals; the unit features two independent LFOs, with six different waveforms, which can be used to create more complex modulations. When playing a single timbre, the keyboard utilises four-voice polyphony. In layer mode it has two-voice polyphony, although one combination of polyphonic/mono layers allows for three-voice polyphony of the second timbre; the microKORG groups its 128 factory preset sound patches into 8 groups: Trance Techno/House Electronica D'n'B/Breaks Hip hop/Vintage Retro Special Effects/Hit VocoderA large knob changes the selected sound group. Each group has 16 different patches, selected by the eight lighted buttons on the front with a side A/B button to toggle between sets of eight. All patches are user editable, do not have to follow the groupings listed on the face plate; the direct successor to the microKORG, the microKORG XL, utilises MMT Analog modelling, is based on Korg's own R3.
The XL features a brand-new LCD display, two Program Select knobs for easier access. The microKORG XL groups its 128 factory preset sound patches into 8 groups: Vintage Synth Rock/Pop R&B/Hip Hop Jazz/Fusion TechnoTrance House/Disco D'N'B/Breaks Favouriteand several sub categories: Poly Synth Bass Lead Arp/Motion Pad/Strings Keyboard/Bell Special Effects/Hit Vocoder Notably, the microKORG XL features 17 different KAOSS derived effects, including phaser, decimation, vibrato and retrigger; the XL features several included PCM Waveforms, including Piano, Brass Ensemble, nine Electric Piano and Clavinet, seven organ sounds, a full String Orchestra, two variable formant waves and more than 32 digitally generated waveforms The XL adds two additional Waveform Modulation types: Phase Modulation and Unison The Unison Simulator is similar to the Supersaw waveform on the Roland JP-8000. The included "OSC MOD WAVEFORM" and "OSC2 SYNC" controllers are reminiscent of the Poly-Mod feature in the Sequential Circuits Prophet-5.
The microKORG XL includes a waveshaper which will morph the current waveform into an approximation of the waveform desired, resulting in a harsh sound. The waveshaper includes a third oscillator Additional improvements include: Polyphony increased up to eight notes Vocoder increased to 16 bands, but still supports the 4 note polyphony USB connector for MIDI over USB operation "Split" and "Multi" added to Voice modes The option to use ten scales, including one defined by the user. "Analog Tune" simulates the pitch instability and oscillator “drift”, characteristic of vintage analog synthesizers In 2014, Korg announced the RK-100S keytar, a 37-key "keytar" version of the microKORG XL+, with many external differences and only two internal differences. On the inside, it sports the same exact features as the MicroKorg XL+, except it has 200 program storage instead of 128, allowing for the long ribbon controller to serve as a modulation source. Ext
The Korg MS2000 is a virtual analog synthesizer produced by the Japanese electronic musical instrument manufacturer Korg. The synthesizer was offered as either a 44-key board or as a rack module, the latter being controlled by an external keyboard controller, hardware sequencer or a computer, making use of the system's complete MIDI implementation, it was intended to bring the sound and basic functionality of the MS-10 and MS-20 back into the keyboard market, but with the updated technology of Virtual Analog Synthesis. The extensive number of onboard knobs and buttons could be used to dynamically edit many of the parameters while playing, as well as be used as a control surface for other synthesizers and sound modules; this capability was the attraction of many analog synthesizers of the past and that real-time editability became the cornerstone of contemporary VA synthesizers. At the time of the release of the MS2000, Korg was competing directly with synthesizers such as the Clavia Nord Lead and Roland's JP-8000 and JP-8080.
While both of these VA machines were powerful in their own right, they were expensive. Korg had to make some sacrifices to be able to offer the much simpler MS2000 at a more reasonable price; the most prominent limitation was the synthesizer's polyphony of only 4 voices. One feature overcame the limited polyphony. If one connected the rack and keyboard together via the MIDI ports, the two devices could be set to produce notes offset to one another, this turning the combined system into a semi-8-voice synthesizer controllable using either of the control surfaces, although it was that most players used the keyboard surface as the master control. Sounds are initiated in the MS2000 in a somewhat standard synthesizer manner, routed in various ways to produce the final sound. All sounds in the MS2000 consist of the following steps and path: OSC1/OSC2/NOISE, MIXER, FILTER, AMP, EG, LFO, VIRTUAL PATCH, MOD SEQUENCE, EFFECTS and ARPEGGIATOR. If the voice mode is Single, only TIMBRE 1 will sound. If the voice mode is Dual or Split, both timbres TIMBRE TIMBRE 2 will sound.
TIMBRE 1/2 OSC1/OSC2/NOISE OSC1 allows one to select from eight different oscillator algorithms, including basic analog synthesizer waveforms such as SAW and PWM, Cross Modulation, Korg's proprietary DWGS developed for the Korg DW-8000 synthesizer. A signal such as a mic, instrument or line input from the AUDIO IN 1/2 jacks can be processed. OSC2 allows one to select from three types: SAW, SQU, TRI, it can be used as an oscillator for the Sync or Ring modulation. NOISE produces white noise which can be used for sound effects and introducing harmonic distortions to waveforms; the 64 single-cycle, wavetable-like internal waveforms that can be used in the oscillator 1. Taken from mid-80's Korg DW-8000 synthesizer, these waveforms allow the creation of bell and electric piano-like sounds. Ring modulation and sync are available as modulation sources to generate sweep and vintage lead sounds. MIXER Used for adjusting the levels of OSC1, OSC2 and NOISE; the combined signal is sent to the FILTER. FILTER The FILTER cuts or emphasizes frequency components of the signal from the oscillator, affecting tone and brightness.
Three primary types of filtering are available: –12 or –24 dB/oct LPF, –12 dB/oct BPF, or –12 dB/oct HPF. Using EG1 to create time-variant changes in cutoff frequency adds a fourth type of filtering. AMP The AMP stage consists of AMP, DIST, PAN. AMP sets the volume, PAN sets the sound's location in the stereo field. Using EG2 can create time-variant changes in volume. Quite harsh tones can be created by turning DIST on, adjusting the filter cutoff and resonance, higher-pitched rings and tonalities are created with various harmonics layered on. EG1/2 The Envelope Generator applies a time-variant change to each timbre parameter. On the MS2000/MS2000R, there are two standard. EG1 is assigned as the envelope source that produces time variant changes in the FILTER cutoff frequency, while EG2 is assigned as the envelope source that produces time variant changes in the AMP volume; the MS2000's VIRTUAL PATCH module can be used to assign EG2 to other parameters. LFO 1/2 The LFO applies cyclic change to sound parameters.
The MS2000/MS2000R provides. LFO1 is assigned as the modulation source for OSC1. LFO2 is assigned as the modulation source for the pitch modulation controlled by the modulation wheel; as with the EG's, VIRTUAL PATCH can be used to assign LFO2 to other parameters. VIRTUAL PATCH VIRTUAL PATCH allows the use of not only EG or LFO, but keyboard velocity or keyboard tracking as modulation sources which can be assigned to sound parameters for greater freedom in timbre editing and sound creating. Four routings can be specified for each timbre. MOD SEQUENCE MOD SEQUENCE is a step sequencer that lets you apply time-variant change to various sound parameters in a way similar to analog synthesizers of the past; the sixteen knobs on the main panel can be used to set the value of each step and the sequence is played back. The sound can be further modulated by the arpeggiator and by VIRTUAL PATCH; the knobs can be operated in realtime, their movements recorded in each step. Since each timbre can have up to three sequences complex tonal changes can be obtained.
EFFECTS Each program can have a modulation effect, stereo delay, equalization. For
The Korg DW-6000 is a six note polyphonic hybrid synthesizer with two single-cycle digital waveform oscillators and one analogue lowpass filter per voice. As basic material, eight digital wave cycle waveforms were available to the user through a system Korg called DWGS for Digital Waveform Generator System; the DWGS system can be thought of as an early sample playback system where only short, single cycle waveforms are stored on four 256 Kilobit ROM chips, played back through the two digital oscillators and processed by familiar subtractive synthesis facilities. Patch editing is performed by the typical method of selecting a parameter using a single data slider to increment or decrement the value. Curiously, the factory patch names are written on the front panel, a trait more apt to be found on consumer keyboards rather than professional synthesizers. Another trait that belies the DW-6000's "budget" role, relative to its more capable and expensive fellow Korg unit Korg DW-8000, is the lack of velocity sensitivity or aftertouch capabilities.
Korg Poly-61 Korg DW-8000 "DW-6000/8000". Korg Museum. Korg. Vintage Synth Explorer Synthesizer Database