Yamaha transverse flute, model YFL-281 S2

Analogical tank from the 1978s with which we quickly spend hours on bass sounds, with 2 synchronizable VCOs. Rare with less than 650 copies, there is a grey version OB-1A. 1750 copies in total.The 6-page Oberheim OB-1 manual is typewritten (true, it can be found on the Internet), but it is not really needed in sound design, except perhaps to position the buttons to be able to record a sound on the 8 available memories (which store the positions of 33 potentiometers or buttons, almost all of them), as this cannot be invented. The OB-1 sends heavy, even if its keyboard is very cheap and makes a hell of a noise. In any case, it can be ordered with conventional CV-IN 1 volt per octave.The pinball pitch is huge.It is recommended in the instructions for use to wait 5 minutes for the circuits to be stabilized. This is clearly another way to conceive a sound, with fabulous surprises in the percussive basses, noise, boat engine noises, factory purring. Finally, no need to look for a MIDI interface on the OB-1.Source: vintage stock copy tested, service manual.

Manufactured in the USA in 1985, the Sequential Circuits Prophet 2000 is an 8-voice polyphony sampler. 5 octaves, splitable and sensitive, it features a 4-pole low-pass VCF analog filter, a VCA analog envelope, and an arpeggiator.

The Bass Station II features two tunable oscillators with four waveforms, a sub-oscillator for deep bass, a noise generator and a ring modulator. It also features two different types of analog filters: a classic multi-mode filter (ladder) and a more acidic filter (12/24 dB), for a massive variation of the sound spectrum. And it is not left out on the saturation with a dedicated circuit more than generous to triturate the signal at will. This synth can be as sweet as it is aggressive, a real characterful rascal. It's so easy to find the sweet spot with the filter modulation to make it sing! Push the distortion and it rumbles with authority. Push the resonance to self-oscillation and it's leads will appear with rage. The Bass Station II's panel is filled with controls of all kinds, so it's a great place to explore and create. The layout of all these controls has been thought out in the most rational way, so that the sound adventure is as simple and fun as possible for the musician. The Lfo waveforms are multiple; triangle, sawtooth and square. There is also a sample and hold function and two ADSR envelopes for filter, pitch and pulse width modulation. And to put it all to music, Bass Station II is equipped with a large, velocity-sensitive 25-key keyboard with a very responsive aftertouch that is essential for expressiveness. The 64 factory patches enhance the Bass Station II's enormous sound palette. For added flexibility, 64 free slots are provided for the user's needs. So it's easy to save and load your own patches or manage them in the free library software that comes with the Bass Station II. 

Breedlove introduced the Atlas Series in 2003 with the intention of bringing the upscale tonewoods and features to the range of affordable guitars. The traits of this series are: mahogany made necks with dovetail joints, TUSQ string nuts and L.R. Baggs amplification. The Atlas Stage C25/SRe starts off with a concert cutaway body made of spruce top and rosewood back and sides. This guitar is available in natural gloss finish with a flat top bound in white. The bridge is made of rosewood with black pins. The amplification of this model is entrusted to the L.R. Baggs Stage Pro pickup with EQ, volume controls, notch filter, phase, and chromatic tuner with in-line mute. Mahogany neck has a dovetail joint and rosewood fingerboard with 20 frets and abalone inlays. 

The K2000 uses V.A.S.T. (Variable Architecture Synthesis Technology). (Variable Architecture Synthesis Technology) which allows you to take any multisample, noise or waveform and process it using just about any synthesis technique. The source of these multisamples comes from the 8MB ROM which contains tons of authentic, high quality samples. Internal processing is 32-bit with 18-bit DACs. The K2000 uses 31 sound shaping algorithms to provide a variety of resonant filters, equalizers, continuous pans, amplitude modulations, crossfades, distortions, digital envelopes, wave modulators, pulse width modulations, high frequency enhancers, low frequency oscillators, hard sync oscillators, and mixing oscillators, all with real time MIDI control.