514:
836:
was the E5000 Ultra, which was limited to four output jacks, could not accept the voice upgrade, and was unable to write sound ROMs. The E6400 Ultra (now with a capital "E") was a basic model but with full upgradability, the E-Synth Ultra (rack only) refined the previous E-Synth models (since referred to as "Classic"s) with one or two new 16 MB sound ROMs, and the E4XT Ultra was the top model with the full 128 voices, digital audio inputs and outputs, 32 MIDI channels, and an ASCII keyboard input for remote control. The final Ultra sampler, called the E4 Platinum, was loaded with the RFX effects card and every option.
742:
predecessors, with quieter outputs and more reliable filter chips produced by CEM. However, the
Emulator III was considerably less popular than its predecessors, largely because of its price; at a time when manufacturers such as Akai, Ensoniq and Casio offered samplers at less than $ 2,000, the Emulator III's use of high-quality components resulted in a price as high as $ 12,695 for the 4 MB model and $ 15,195 for the 8 MB model. E-mu had previously been able to sell its samplers in the $ 10,000 range because the only alternatives were the $ 30,000–$ 200,000
133:
793:
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27:
807:
378:
425:, as he was a longtime E-mu modular-system owner, but Wonder's greater fame moved him to the top of the list. In 1982, the Emulator was updated to include a VCA envelope generator and a simple sequencer, and its price was lowered. Approximately 500 units were sold before the unit was discontinued in early 1984. Other users of the original E-mu Emulator were
501:
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digital-to-analog converters and a 27.7 kHz sample rate. It also allowed more flexibility in editing and shaping sounds, as resonant analog filters (provided by longtime E-Mu collaborators SSM) were added. The EII also featured greatly improved real-time control. Its price was similar to that of
835:
In 1999, the final EIV samplers were marketed with the Ultra designation. The Ultras featured a fast processor and upgraded analog output stages, as well as the ability to install the RFX dedicated high-quality effects processor and ultimately run the very final version of EOS. The entry-level model
320:
from 1981 until 2002. Although it was not the first commercial sampler, the
Emulator was innovative in its integration of computer technology and was among the first samplers to find widespread usage among musicians. While costly, its price was considerably lower than those of its early competitors,
713:
557:
and third-party sample libraries were developed for the
Emulator II, including orchestral sounds. Many of the EII's original library sounds were sampled from the more expensive Fairlight and Synclavier workstations (for example, the Fairlight's "Sarrar/Arr1" choir sample is called "DigiVcs" in the
827:
The e64 was launched in 1995 and, in order to meet a lower price point, was limited to only 64 voices and a maximum 64 MB of memory. It was joined in 1996 by the E4K, essentially an E64 with a 76-key weighted keyboard, although it could be expanded to 128 voices and 128 MB of memory and
406:
generator. It was produced in three forms: a two-voice model (only one of which was ever sold), a four-voice model and an eight-voice model. The keyboard was designed to be played in split mode with one sample on each side, so playing the same sound on the full keyboard required loading the same
831:
A second series of rackmount EIV was launched in 1997 with the E4X Turbo as the new 128-voice flagship model. The E4X (without Turbo) and e6400 offered only 64 voices and fewer options in order to meet lower price points, although unlike the e64, it was fully upgradable. E-mu also released the
832:
E-Synth in both rack and keyboard form, with both models including a 16 MB sound ROM and an optional 16 MB "Dance" factory-installed sound ROM that would be accessible immediately upon startup of the unit. The E-Synth
Keyboard was the final Emulator keyboard model to be produced.
741:
It featured four or eight megabytes of memory, depending on the model, and it could store samples in 16-bit, 44 kHz stereo, which was equivalent to that of the most advanced, professional equipment available. The
Emulator III's sound quality was also improved greatly over that of its
385:
Finally released in 1981, the
Emulator was a floppy disk-based keyboard workstation that enabled the musician to sample sounds, recording them to storage media and allowing them to be played as musical notes on the keyboard. The
819:
The
Emulator IV (EIV or E4) series of samplers was introduced in 1994. The new, proprietary operating system used in the EIV was known as the Emulator Operating System or EOS. The flash memory in these models was expandable.
823:
The
Emulator IV was the first to be released, a rack sampler that featured 128 voices and memory expansion up to 128 MB. Options included a multi-effects processor, additional output sockets, and 32 MIDI channels.
526:
Released commercially in 1984, the
Emulator II (or EII) was E-mu's second sampler. Like the original Emulator, it was an eight-bit sampler, but it delivered superior fidelity by employing
738:
The
Emulator III was introduced after the discontinuation of the Emulator II in 1987, and was manufactured until 1991. A rack-mountable version was introduced in 1988.
550:
mu-255 companding, divider-based variable sample-rate principle and analog output stages featuring SSM2045 24 dB/oct analog four-pole low-pass resonant filters.
399:
The original Emulator was a very basic eight-bit sampler with only a simple filter, and it only allowed for a single loop. The initial model did not include a
535:
7,995 for a regular model and $ 9,995 for a "plus" model featuring extra sample memory. Several upgrades, including a second floppy drive, a 20
333:, digital scanning keyboards and components for electronic instruments. Licensing revenue for this technology afforded E-mu the ability to invest in
1390:
396:" floppy disk drive enabled the owner to build a library of samples and share them with others, or to purchase prerecorded libraries on disk.
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321:
and its smaller size increased its portability and, resultantly, practicality for live performance. The line was discontinued in 2002.
750:
system. However, as technology had advanced and become increasingly accessible, E-mu faced great difficulty remaining competitive.
539:
hard drive, and a 512K memory upgrade were also available. Despite the EII's price, it was considered a value in comparison to the
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337:, and it began to develop boutique synthesizers for niche markets, including a series of modular synthesizers and the high-end
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1980s Interview with Philip Oakey from the Human League about the use of computers and the Emulator in pop music
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when the titular character plays samples of coughing and sneezing in order to feign illness over a phone.
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system, of which only one prototype was produced. In 1979, founders Scott Wedge and Dave Rossum saw the
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at a convention, inspiring them to design and produce a less expensive digital sampling keyboard.
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37:
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471:, who had received the fifth Emulator produced, used the instrument extensively on their album
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417:, received the first unit (serial number 0001). The first unit had originally been promised to
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Series II, the most basic model of which was priced at $ 30,000 upon its initial release.
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The following musicians have played an E-mu Emulator series sampler in their recordings:
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Although the Emulator III did not prove a great success, it may be heard in the music of
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for its keyboard design, which prompted E-mu to release the Emulator commercially.
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584:, every instrumental sound on the track was produced with an Emulator II.
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used Emulator I, II and III in studio recordings and in live performances
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mentioned his Emulator II in the 1985 documentary about the creation of
1019:"E-mu Emulator II: How I upgraded a 1984 sampler for modern production"
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included the effects processor and other previous options as standard.
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Musicians who used The Emulator II in the 1980s includes early adopter
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704:, a song in which a note of a French horn was included in the single.
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E-mu originally considered selling the design for the Emulator to
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158:$ 7,995 (Emulator II in 1984) equivalent to $ 23,447 in 2023
907:
688:'s films in the 1980s. The Emulator II is featured in the film
178:
437:, and it was among the instruments used in the production of
360:
synthesizer. However, Sequential Circuits ceased paying E-mu
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872:
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295:
1590:. No. 32. Future Publishing. June 1995. p. 57.
1563:. No. 32. Future Publishing. June 1995. p. 35.
1536:. No. 43. Future Publishing. May 1996. p. 48.
228:
24 dB/octave resonant analog low pass (Emulator II)
329:
E-mu Systems was founded in 1971 as a manufacturer of
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The Emulator II offers a unique sound because of its
413:, who gave the sampler a glowing review at the 1981
455:used the original Emulator on his productions from
51:. Unsourced material may be challenged and removed.
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1314:"E-mu Emulator II | Vintage Synth Explorer"
356:, which was using E-mu's keyboard design in its
1122:"Vangelis scoring Blade Runner | (Page 3 of 4)"
566:on "Sledgehammer" and by Enigma on their album
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1331:
1477:"E-mu Emulator III | Vintage Synth Explorer"
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1147:"E-mu Emulator II | Vintage Synth Explorer"
1097:"Mole Trilogy – Historical – The Residents"
1061:
186:Emulator, 8-part Multitimbral (Emulator II)
131:
962:purchased the first production Emulator I
839:The EIV series was discontinued in 2002.
415:NAMM International Music & Sound Expo
111:Learn how and when to remove this message
1366:"E-mu Emulator | Vintage Synth Explorer"
1072:"Synthmuseum.com – E-mu : Emulator"
711:
499:
376:
16:Series of digital sampling synthesizers
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1502:"E-mu ESI-32 | Vintage Synth Explorer"
1232:from the original on December 22, 2021
782:
258:512 kB to 1 MB (Emulator II)
196:8-bit 27 kHz sample (Emulator II)
1016:
1623:E-mu Emulator II demo & pictures
1222:"Emu Emulator II Sound Library Demo"
49:adding citations to reliable sources
20:
580:". According to the Pet Shop Boys'
572:, and the Marcato Strings heard on
558:E-mu library). Samples include the
13:
1523:
1017:Wyeth, Stefan (October 16, 2021).
889:used Emulator I, II and III models
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773:, who used it on their 1990 album
14:
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928:Orchestral Manoeuvres in the Dark
316:storage that was manufactured by
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407:sound from disk into each side.
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1633:Emu E4X – Sound On Sound review
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746:and the $ 75,000–$ 500,000 NED
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36:needs additional citations for
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1:
1649:Samplers (musical instrument)
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716:E-mu Emulator III (1987–1991)
485:in London and used it on the
1584:"Retro review: Emulator 1".
1397:. April 1995. Archived from
998:Sampler (musical instrument)
7:
1628:E-mu E4XT Ultra Demo Part 5
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447:album. Composer and writer
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367:
10:
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731:E-mu Emulator IIIXP (1993)
661:Terminator 2: Judgment Day
531:the original Emulator, at
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1412:Paul Wiffen (July 1995).
1391:"Emu Systems Emulator IV"
464:Don't Disturb this Groove
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1443:Paul Wiffen (May 1997).
691:Ferris Bueller's Day Off
672:'s film scores (such as
658:It was also used on the
335:research and development
163:Technical specifications
798:E-mu e6400 Ultra (1999)
504:E-mu Emulator II (1984)
474:The Tunes of Two Cities
308:is a series of digital
137:E-mu Emulator II (1984)
976:Yellow Magic Orchestra
812:E-mu E4XT Ultra (1999)
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505:
423:Captain & Tennille
382:
217:Sample-based synthesis
173:8 voices (Emulator II)
1126:www.nemostudios.co.uk
715:
503:
380:
1506:www.vintagesynth.com
1481:www.vintagesynth.com
1370:www.vintagesynth.com
1318:www.vintagesynth.com
1151:www.vintagesynth.com
1048:www.soundonsound.com
701:Tears Are Not Enough
684:) and nearly all of
381:E-mu Emulator (1981)
331:microprocessor chips
126:E-mu Emulator series
45:improve this article
946:used an Emulator II
935:used an Emulator II
783:Emulator IV and EOS
481:had an Emulator at
354:Sequential Circuits
312:synthesizers using
244:Velocity expression
1197:"Emulator Archive"
1172:"E-mu Emulator II"
971:Margita Stefanović
718:
506:
433:and Tony Banks of
383:
1654:E-mu synthesizers
1414:"Emu Systems E64"
1228:. March 8, 2009.
1101:www.residents.com
1044:"30 Years Of Emu"
903:Jean-Michel Jarre
637:Jean-Michel Jarre
574:the Pet Shop Boys
519:E-mu Emulator II+
302:
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278:Left-hand control
247:Yes (Emulator II)
239:Yes (Emulator II)
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1401:on June 7, 2015.
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1557:"Emulator IV".
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1524:Further reading
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1252:"Famous Sounds"
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431:Tangerine Dream
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60:"E-mu Emulator"
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101:September 2014
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589:Stevie Wonder
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564:Peter Gabriel
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541:Fairlight CMI
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469:The Residents
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411:Stevie Wonder
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343:Fairlight CMI
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298:(Emulator II)
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62: –
61:
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56:Find sources:
50:
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39:
34:This article
32:
28:
23:
22:
19:
1587:Future Music
1585:
1560:Future Music
1558:
1533:Future Music
1531:
1530:"E-mu E4K".
1509:. Retrieved
1505:
1496:
1484:. Retrieved
1480:
1456:February 24,
1454:. Retrieved
1448:
1425:February 24,
1423:. Retrieved
1417:
1407:
1399:the original
1394:
1385:
1373:. Retrieved
1369:
1323:February 14,
1321:. Retrieved
1317:
1259:. Retrieved
1255:
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1234:. Retrieved
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1100:
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1075:
1051:. Retrieved
1047:
1038:
1026:. Retrieved
1023:gearnews.com
1022:
1012:
955:Brian Wilson
944:Simple Minds
893:Philip Glass
867:Depeche Mode
846:
838:
834:
830:
826:
822:
818:
774:
771:Depeche Mode
763:Lynda Thomas
752:
740:
737:
708:Emulator III
699:
696:David Foster
689:
679:
673:
659:
657:
649:Stevie Nicks
597:Depeche Mode
586:
582:Neil Tennant
567:
552:
545:
525:
488:Blade Runner
487:
483:Nemo Studios
472:
462:
456:
442:
419:Daryl Dragon
409:
398:
384:
351:
328:
318:E-mu Systems
305:
303:
263:Input/output
149:E-mu Systems
144:Manufacturer
107:
98:
88:
81:
74:
67:
55:
43:Please help
38:verification
35:
18:
1206:February 1,
1181:February 1,
1156:February 1,
1053:February 1,
1028:February 1,
857:David Bowie
666:Brad Fiedel
621:David Bowie
496:Emulator II
449:David Frank
314:floppy-disk
233:Aftertouch
184:Monotimbral
1643:Categories
1604:1032779031
1577:1032779031
1550:1032779031
1511:January 5,
1486:January 5,
1375:January 5,
1106:January 5,
1081:January 5,
1004:References
918:Mr. Mister
883:Tony Banks
755:Tony Banks
748:Synclavier
681:Highlander
668:, many of
653:Mr. Mister
569:MCMXC a.D.
560:Shakuhachi
528:companding
490:soundtrack
453:the System
282:Pitch bend
235:expression
192:Oscillator
179:Timbrality
71:newspapers
1596:0967-0378
1569:0967-0378
1542:0967-0378
1445:"Emu E4X"
993:E-mu Emax
923:New Order
878:Front 242
862:Daft Punk
767:808 State
605:New Order
601:808 State
593:Front 242
427:New Order
362:royalties
358:Prophet-5
347:Linn LM-1
286:mod wheel
207:Sine wave
169:Polyphony
1261:July 27,
1236:July 27,
1230:Archived
987:See also
950:Vangelis
776:Violator
629:Vangelis
553:Several
479:Vangelis
444:Thriller
404:envelope
373:Emulator
368:Products
345:and the
310:sampling
306:Emulator
269:Keyboard
1226:YouTube
887:Genesis
759:Genesis
613:Genesis
435:Genesis
391:⁄
325:Impetus
273:61 keys
253:Storage
85:scholar
1602:
1594:
1575:
1567:
1548:
1540:
1131:May 9,
908:Kitaro
339:Audity
255:memory
224:Filter
87:
80:
73:
66:
58:
458:Sweat
155:Price
92:JSTOR
78:books
1600:OCLC
1592:ISSN
1573:OCLC
1565:ISSN
1546:OCLC
1538:ISSN
1513:2020
1488:2020
1458:2024
1427:2024
1377:2020
1325:2023
1263:2016
1238:2016
1208:2023
1183:2023
1158:2023
1133:2023
1108:2020
1083:2020
1055:2023
1030:2023
873:Enya
769:and
678:and
651:and
548:DPCM
533:US$
304:The
296:MIDI
64:news
966:Yes
885:of
852:ABC
757:of
645:OMD
641:Yes
609:ABC
591:,
576:' "
555:OEM
461:to
451:of
441:'s
421:of
401:VCA
202:LFO
47:by
1645::
1598:.
1571:.
1544:.
1504:.
1479:.
1466:^
1447:.
1435:^
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1063:^
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1021:.
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