10 years on from the Vintage Keys module, Emu are looking to repeat its success, this time with 128-note polyphony, 32 MIDI channels and 32MB of sample ROM. But is it a fine Vintage, or past its best?
Emu's synths may have broken no new ground since the 1999 launch of the Proteus 2000, but the new 2500 plays to their strengths, offering the best of their sound library, plus excellent sequencing and real-time control capabilities, at a very attractive price.
Emu's eye-catching new Command Stations repackage the sounds of their MP1 and XL1 sound modules, adding hands-on sequencing and real-time controls. Can the company win fans with these late entries to the groovebox market?
The latest in Emu's range of style-specific sound modules is bright purple, stuffed with 32Mb of 'street' sounds, and bristling with urban attitude. Paul Farrer takes a closer look.
Continuing their tradition of themed rackmount modules, Emu have unleashed a 128-voice virtual orchestra in a box. A virtuoso endeavour or virtual insanity?
Built in to the same box as Emu's flagship Proteus 2000 comes the Xtreme Lead 1, a dance-based 64-voice, 16-part multitambral sound module with 32Mb of onboard sampled ROM sounds. But is it as powerful as it is bright? Paul Farrer finds out.
Emu Systems have been synonymous for so long with samplers and sampling that it may surprise some to learn that they started out making analogue synthesizers — and that through the '70s and early '80s, they produced some of the biggest, most sophisticated modular synths ever made. Simon Lowther gets out his patch cords...
When Emu launched their flagship Proteus 2000 sound module last year, they promised a further range of cheaper 'P1K' modules which would cater for special needs, but be expandable to full Proteus 2000 spec. The first of these modules to appear aims to recreate the classic Hammond tomewheel organ sound. Nick Magnus is impressed.
Is it a synth, a sequencer or a sampler? The answer to all three questions is an emphatic 'yes', as Paul White finds out when he takes the E4XT Ultra into his studio.
The streamlined '90s exterior of Emu's Audity 2000 claims to hide a virtual modular hybrid, harking back to the company's own lost '70s analogue megasynth.
Paul Wiffen continues to examine transitional synthesis, covering the Wave Sequencing facility, first introduced on the innovative Korg Wavestation, and concluding with Emu's Z-plane technique, which may be regarded as bridging the gap between S&S and today's physical modelling.
Given the size of the Spanish-speaking world, it makes good commercial sense to produce a Latin-style sound module — but only if it's sufficiently authentic to sell to those in the know and sufficiently versatile to be attractive to other musicians simply looking for a bit of spice in their rack. Chris Carter and Joe Ortiz play with fire...
Emu's latest swingbeat sample player is home to a colony of wicked sounds for hip-hop, trip-hop and acid jazz fans. Dominic Hawken puts on his space suit to explore this strange new world.
Emu's Vintage Keys module offered a tempting selection of sounds sampled from the cream of desirable analogue synths. Now the same concept has been remodelled, with a lower price tag to appeal to a larger range of musicians. Gordon Reid assesses the Classic Keys.
Imagine a synth which is a cross between the best of Emu's Proteus and Proformance modules, and also includes the Z-plane filters of the Morpheus. No further need to imagine; it's here, in the form of the new UltraProteus. Julian Colbeck checks out this impressive multitimbral module.
The Proteus series of sound modules have gained a reputation for being all things to all musicians — but they've never had on-board effects. The newest addition to the family takes care of that. Nigel Humberstone checks it out.