E-mu Emulator II
| Spec | Detail |
|---|---|
| Manufacturer | E-mu Systems |
| Year released | 1984 |
| Synthesis type | Sample-based |
| Architecture | Digital |
| Polyphony | 8-voice polyphonic |
| Notable users | Depeche Mode, New Order, Pet Shop Boys |
| Known for | The sampling workstation that defined 1980s pop production |
Overview
The E-mu Emulator II is a digital sampling synthesizer released in 1984 by E-mu Systems. It is an 8-voice polyphonic instrument that combines sampling, synthesis, and sequencing in a single workstation. Unlike earlier samplers that were costly and complex, the Emulator II was designed for musicians and studios, offering a user-friendly interface with a built-in keyboard, disk drive, and CRT display. It can record external sounds, store them on floppy disks, and play them back across the keyboard with editing options such as looping, filtering, and envelope shaping. Its sound is characterized by a warm, slightly gritty 8-bit sample playback, often enhanced by analog filters and a rich modulation section. The Emulator II became a staple in 1980s pop production, used by acts like Depeche Mode, New Order, and Pet Shop Boys. It also includes a sequencer and MIDI support, making it a central hub for music production. Although digital, its signal path includes analog components that contribute to its distinctive character. The Emulator II is not a wavetable synthesizer in the traditional sense; it is a sample-based instrument, but its ability to manipulate sampled waveforms places it in the broader category of wavetable and sampling synths. Its legacy endures as a defining tool of its era.
History & design
E-mu Systems, founded in 1971, initially produced modular synthesizers and later became a pioneer in digital sampling. The original Emulator, released in 1981, was one of the first affordable samplers, but it had limited memory and a cumbersome interface. The Emulator II, introduced in 1984, was a significant redesign. It featured 8-voice polyphony, a 5-octave keyboard, a built-in 3.5-inch floppy disk drive for storing samples and sequences, and a small CRT screen for editing. The design was informed by the needs of professional musicians who wanted a reliable, gig-ready instrument. The Emulator II used 8-bit sampling with a variable sample rate, and it included analog filters and amplifiers to shape the sound. It also had a sophisticated arpeggiator and sequencer. The instrument was expensive, but it found its way into major studios and tours. Its design influenced later E-mu products like the Emulator III and the EMAX. The Emulator II was discontinued in the late 1980s, but its impact on music technology and production remains. Its architecture combined digital sampling with analog processing, a hybrid approach that contributed to its unique sound.
How it works
The Emulator II is a sample-based synthesizer. It does not generate sounds from oscillators; instead, it plays back digital recordings of real instruments or sounds. These recordings, called samples, are stored in memory and on floppy disks. When you press a key, the Emulator II reads the sample data and converts it to an analog signal via a digital-to-analog converter (DAC). The pitch of the sample changes with the key: higher keys play the sample faster, lower keys slower. This is called pitch-shifting. The Emulator II uses 8-bit resolution, which gives a characteristic quantized, slightly noisy texture. The sample rate can be varied, affecting the bandwidth and aliasing. After the DAC, the signal passes through analog filters and amplifiers. The filters are low-pass, with resonance, and can be modulated by envelopes and LFOs. The amplifier section shapes the volume over time. The Emulator II also includes a sophisticated modulation matrix, allowing sources like LFOs, envelopes, and velocity to control pitch, filter, and amplitude. It has 8 voices, meaning up to eight notes can sound simultaneously. Each voice can play a different sample, allowing multitimbral setups. The built-in sequencer can record and play back performances, and MIDI allows integration with other gear. The sampling process itself involves recording an external sound, trimming it, looping it, and assigning it to a key range. The Emulator II's engine is thus a hybrid: digital sample playback with analog signal processing.
Signature sound
The Emulator II is known for a warm, punchy, and slightly gritty sound. Its 8-bit samples impart a lo-fi character that many producers find musical. The analog filters and amplifiers add richness and depth, smoothing the digital edges. The low-pass filter can be resonant, adding a vocal-like quality. The envelopes are snappy, making it suitable for percussive sounds and stabs. The Emulator II excels at reproducing realistic instruments like strings, brass, and choirs, but with a distinct coloration. It is also capable of creating synthetic textures by sampling and manipulating waveforms. The sound is often described as 'fat' and 'present', cutting through a mix. The built-in arpeggiator and sequencer contribute to its rhythmic capabilities. The Emulator II's output can be processed with external effects, but its raw sound is already characterful. Its 8-voice polyphony limits complex chords, but the voice stealing algorithm is musical. The instrument's sound is closely associated with the 1980s pop aesthetic, from lush pads to sharp leads. The combination of digital sampling and analog filtering gives it a unique place among synthesizers. It is not a clean, transparent sampler; its coloration is part of its appeal.
Notable users & recordings
The E-mu Emulator II was used by many influential artists of the 1980s and beyond. Depeche Mode used it extensively on albums like 'Black Celebration' and 'Music for the Masses', where its samples and textures contributed to their dark, atmospheric sound. New Order employed the Emulator II on tracks such as 'Blue Monday', although the exact gear used on that record is debated; the band did use Emulator II on other recordings. Pet Shop Boys incorporated the Emulator II into their productions, including 'West End Girls' and 'It's a Sin', where its orchestral hits and pads are prominent. Other users include Stevie Wonder, Herbie Hancock, and film composers like Hans Zimmer. The Emulator II was also a staple in the emerging house and techno scenes, with artists like Todd Terry and Kevin Saunderson using its sounds. Its samples, particularly the choir and orchestra hits, became ubiquitous in pop and dance music. The instrument's ability to load custom samples meant that producers could create signature sounds. The Emulator II's legacy is tied to the sound of the 1980s, but its influence extends into modern electronic music through sample libraries and emulations. Its use by these artists helped define the sonic palette of the era.
Legacy & influence
The Emulator II helped popularize sampling in music production. It was one of the first samplers to be widely adopted by professional musicians and producers, bridging the gap between expensive studio equipment and stage-ready instruments. Its success paved the way for later E-mu products like the Emulator III and the EMAX, as well as competitors from Akai, Roland, and Ensoniq. The Emulator II's sound is still sought after, and its samples have been reused in countless records. Software emulations and sample packs aim to recreate its character. The instrument also influenced the design of digital workstations, integrating sampling, sequencing, and synthesis. Its hybrid architecture—digital samples with analog processing—anticipated trends in virtual analog and hybrid synths. The Emulator II's limitations, such as 8-voice polyphony and 8-bit resolution, are now seen as part of its charm. It remains a cult classic among synth enthusiasts. Its impact on pop, electronic, and film music is significant. The Emulator II demonstrated that sampling could be a creative tool, not just a recording device. Its legacy is one of innovation and sonic character that continues to inspire.
Frequently asked questions
Q: Is the Emulator II a wavetable synthesizer? A: Not in the traditional sense. It is a sample-based synthesizer. Wavetable synths use single-cycle waveforms stored in tables, while the Emulator II plays back longer digital recordings. However, it can manipulate samples in ways similar to wavetable synthesis, such as looping and scanning, so it is sometimes grouped with wavetable and sampling instruments. Q: How many voices does it have? A: It is 8-voice polyphonic, meaning up to eight notes can sound at once. This can be limiting for dense chords, but the voice allocation is dynamic. Q: Can it sample external sounds? A: Yes, it has a sampling input and can record external audio, which is then stored on floppy disks. The sampling process is straightforward but limited by memory. Q: What makes its sound unique? A: The combination of 8-bit sample playback and analog filters gives it a warm, gritty character that is distinct from later, cleaner samplers. Q: Is it still used today? A: While not common in modern studios, its sounds are still used through sample libraries and emulations, and some musicians continue to use original hardware for its unique character.