Sound Sets at a Glance				Where can I get additional free SoundFont playback applications?
How do I hear SoundFont Sounds?				How can I take advantage of the MIDI real-time control modulators?
How do I load a SoundFont?				What is a SoundFont?
E-MU Product History				What our Customers are saying
Digital Sound Factory Sound Sets at a Glance
Sound Set	Style	Mb	Presets	About the Sounds
Proteus Modules
Proteus 1	Pop Rock	4.4	128	Originated from the Emulator II Library
Proteus 2	Orchestral	8.2	128	Originated from the Emulator II Library
Proteus 3	World	4.1	128	Originated from the Emulator II Library
Vintage Keys	Keys/Synths	13.5	256	Sampled using the Emulator III
Orbit	Electronica	13.5	234	Recorded using various samplers including MPC/SP1200/ EIIIX
Planet Phatt	Hip Hop	8.5	177	Recorded using various samplers including MPC/SP1200/ EIIIX
Proteus 2000	Purpose	105	1024	Samples compiled from the vast E-mu libraires
Mo' Phatt	Hip Hop	84.5	512	Source content recorded for the Proteus sound module
Xtreme Lead-1	Electronica	64.8	512	16 mb of the samples are from Audity 2000 and 16 mb new
Planet Earth	World	86.7	512	Source content recorded for the Planet Earth sound module
Virtuoso Orchestral	Strings	32.2	128	Source content recorded for the Virtuoso sound module
Virtuoso Winds, Brass, & Perc.	Brass/Winds	32.2	128	Source content recorded for the Virtuoso sound module
Vintage Pro	Keys/Synths	85.6	512	Source content recorded for the Vintage Pro sound module
SP-1200 DJ's Tool Kit	Hip Hop	22	346	Sample content from SP1200 library
Emax Collectors Edition
Brass & Woodwinds	Brass/Winds	13.4	169	Samples recorded on Emulator II and Emax
Keyboards & Synths	Keys/Synths	22.3	285	Samples recorded on Emulator II and Emax
Guitars & Basses	Guitar/Bass	8.3	84	Samples recorded on Emulator II and Emax
Orchestral	Orchestral	15.3	136	Samples recorded on Emulator II and Emax
World	World	13.8	116	Samples recorded on Emulator II and Emax
Drums & Percussion	Percussion	9.2	82	Samples recorded on Emulator II and Emax
ESi-32
Millenium Synths	Synths	325	439	Original source synth content recorded for Extreme Lead-1
Synth Mania	Synths	9	229	The original samples used in Morpheus
Dance Factory	Synths	30.5	272	A collection of dance synths recorded to Esi-32
Emulator 4
Producer Series Composer	General	40.8	110	Sound content designed for E4 expansion libraries
Producer Series Keyboards	Keys	35.6	133	Sound content designed for E4 expansion libraries
Analogia	Hip Hop	641	551	Sound content designed for E4 expansion libraries
Steinway Grand Piano	Keys	208	18	Sound content designed for E4 expansion libraries
Old World Instruments	World	288	487	Original source content recorded for Planet Earth
Platinum Phatt	Hip Hop	704	912	Original source content recorded for Mo' Phatt
Ensoniq
ZR-76	General	91	512	Sound content designed for the ZR-76 keyboard
MR	Hip Hop/World	57	512	Sound content designed for the MR Rack and Kybd
ASR/TS/EPS - CDR-1	General	180	442	Original source content recorded ASR/TS/EPS
ASR/TS/EPS - CDR-2	General	331	280	Original source content recorded ASR/TS/EPS
ASR/TS/EPS - CDR-3	General	428	108	Original source content recorded ASR/TS/EPS
ASR/TS/EPS - CDR-4	General	255	215	Original source content recorded ASR/TS/EPS
Classic Analog Keyboards
Mellotron	Keys	146	42	Original source synth content recorded for Vintage Pro
Rhodes Electric Piano	Keys	294	13	Original source synth content recorded for Vintage Pro
OB-Xa	Synth	253	16	Original source synth content recorded for Vintage Pro
Prophet 600	Synth	128	17	Original source synth content recorded for Vintage Pro
Hohner Clavinet	Keys	225	30	Original source synth content recorded for Vintage Pro
Hammond B-3	Keys	136	48	Original source synth content recorded for B-3
Sound Effects
Rail, Air, Guns	SFX	15.5	42	Recorded in California
Out of Africa	SFX	9.8	35	Recorded in Africa
Saint Thomas Effects	SFX	44.2	41	Recorded in Saint Thomas Hall, Washington
Hollywood SFX Ambient	SFX	92.6	63	From the collection of LA Sound Effects Producers
Hollywood SFX Animals	SFX	69.6	77	From the collection of LA Sound Effects Producers
Hollywood SFX Miscellaneous	SFX	72	106	From the collection of LA Sound Effects Producers
Hollywood SFX Science Fiction	SFX	56.2	106	From the collection of LA Sound Effects Producers
Hollywood SFX Transportation	SFX	49.8	97	From the collection of LA Sound Effects Producers
Hollywood SFX Water	SFX	159	138	From the collection of LA Sound Effects Producers

 

How do I hear my new SoundFont sounds? The easiest way to hear a SoundFont bank if you have a Creative soundcard, is to open a sequencer, create a MIDI track, and load/attach a SoundFont to the application. If you don't have a Creative soundcard, most software samplers support SoundFont, and there are even free SoundFont players that will also allow you to play these sounds from within your sequencer. The various methods for loading your new SoundFont banks in different applications are described below. How do I load a SoundFont into a sampler/sound player? Emulator X/Proteus X Unzip the downloaded SoundFont file and copy to a folder
Drop the SoundFont file on to the Emulator X convertor
Open Emulator X/Proteus X and load the .exb file
Halion Unzip the downloaded SoundFont file and copy to a folder
Select the Browser
Navigate to the folder that contains the SoundFont bank or instrument you wish to load
Highlight the SoundFont and select Import
Select a the directory you wish to import the SoundFont Kontakt 2 Unzip the downloaded SoundFont file and copy to a folder
In the Files window, navigate to the folder that contains the SoundFont bank or instrument you wish to load.
Highlight the SoundFont and select Import
Select a destination folder and press convert Reason NN-XT Unzip the downloaded SoundFont file and copy to a folder
Start Reason and create an instance on NN-XT sampler
Use the button browse patch to load new sample/patch
Browse to the directory with unzipped samples and double click the samples/patch that you want to be loaded
Now you are inside of SoundFont file. Just double click "Presets"
Choose the preset/program you want to load and double click
The SoundFont is loaded
You may open NN-XT Remote Editor to get more control over sound How do I load a SoundFont into my sequencer? Cubase (with Creative soundcard) Unzip the downloaded SoundFont file and copy to a folder
Add MIDI Track
Select Devices>Creative SoundFont Synth
Select Load Bank
Browse to the drive and folder location of the SoundFont bank you wish to load
Double click
Multiple SoundFont banks can be attached to the 128 MIDI bank locations
Close SoundFont Synth window
Select Out to Creative SoundFont Synth
Select sound preset with prg arrow Sonar (with Creative soundcard) Unzip the downloaded SoundFont file and copy to a folder
Insert MIDI Track
Select Options>SoundFonts
Select Attach
Browse to the drive and folder location of the SoundFont bank you wish to load
Double click
Multiple SoundFont banks can be attached to the 128 MIDI bank locations
Close SoundFont Banks window
Select out to Creative SoundFont Synth
Select a SoundFont Channel - example CH1:SoundFont Device
Select the SoundFont bank you wish to use
Select the preset (sound) you wish to play Sonar (Software synth without Creative soundcard) Unzip the downloaded SoundFont file and copy to a folder
Select Insert Soft Synths
Open the software synthesizer
Browse to the drive and folder location of the SoundFont bank you wish to load
Double click
Select the preset (sound) you wish to play GarageBand, Logic, & Logic Express GARAGEBAND
Up Zip the SoundFont and place the file in Library\Audio\Sounds\Banks\
Open GarageBand
Double click on track
Track Info window will appear on the right
Open Details
Select Instrument Generator
Select DLSMusicDevice (If you download free players such as bs-16, SoundFontSynth, etc, they will show up here)
Click the pencil - far right of details window where Manual is displayed - this will open the DLS player
Apple Sound Bank Synthesizer - Sound Bank: - Select the SoundFont bank you wish to load
The SoundFont is now loaded into GarageBand memory

LOGIC Logic users with EXS24 Sound Player can load and play SoundFont files. Unzip the download SoundFont file to a Library\Application Support\Logic\Sampler Instruments. Open Logic or Logic Express and launch the EXS 24 Sampler. Click on the browser window and scroll to the SoundFont you wish to load. Select the SoundFont and Logic will import the file to native format. There are various AU synthesizer plugins that can also playback SoundFont files. Please see our Xtra Info page.

Where can I get additional free SoundFont playback applications? Please see our Xtra Info page.

How can I take advantage of the MIDI real-time control modulators? MIDI continuous controllers are assigned in the SoundFont programming. Similar to the way the modulation wheel and pitch wheel change parameters, MIDI continuous controllers are assigned to modulate the sound. The controllers can either be sent to the SoundFont via hardware or software. MIDI CC21 – Filter Frequency
MIDI CC22 – Filter Resonance
MIDI CC23 – Increase Attack and Release
MIDI CC24 – Effects Send

What is a SoundFont? SoundFont is a brand name that collectively refers to a file format and associated technology designed to bridge the gap between recorded and synthesized audio, especially for the purposes of computer music composition. SoundFont is also a registered trademark of E-mu Systems, Inc.. SoundFont technology is akin to software sampling. A SoundFont file, or SoundFont 'bank', contains one or more sampled audio waveforms (or 'samples'), which can be re-synthesized at different pitches and dynamic levels. Each sampled waveform may be associated with one or more ranges of pitches and dynamics. Generally speaking, the quality of a SoundFont bank is a function of the quality of the digital samples and the intelligent association of samples with their appropriate pitch ranges. Quality is also dependent on the number of samples taken for a given range of pitches.

SoundFont banks are tightly integrated with MIDI devices and can be seamlessly used in place of GM patches in many computer music sequencers. The sound quality of SoundFont banks is generally regarded as superior to standard GM banks, and many SoundFont banks have been created specifically to replace GM banks with samples of each corresponding instrument.

The SoundFont 2.1 version of the file format was introduced in 1998 with an E-mu sound card product called the Audio Production Studio. The 2.1 version added features allowing sound designers to configure the way MIDI controllers influence synthesizer parameters. The 2.1 format is bidirectionally compatible with the 2.0 format, which means that synthesizers capable of rendering 2.1 format will also by definition render 2.0 format, and synthesizers that are only capable of rendering 2.0 format will also read and render 2.1 format, but just not apply the new features.

The SoundFont 2.4 version of the file format was introduced in 2005 with the Sound Blaster X-Fi product. (There never was a 2.2 or a 2.3 version.) The 2.4 format added support for 24-bit samples. The 2.4 format is bidirectionally compatible with the 2.1 format, which makes it so synthesizers that are only capable of rendering 2.0 or 2.1 format would automatically render instruments using 24-bit samples at 16-bit precision.

The most sophisticated sound cards use wavetables to read MIDI files. MIDI files don't contain any sounds but only instructions to render them. In SoundFont-compatible software you can use SoundFonts to render your music.

This kind of synthesis offers a more realistic effect, because its based on sampled sounds of real instruments of CD Quality or better. The SoundFont bank contains not only sounds but also other characteristics such as loops, vibrato effect, volume changing, etc.

A SoundFont bank contains .wav files that are mapped to sections on a keyboard for playback. A SoundFont-compatible sound card. A computer with such a card can yield results similar to those of a professional digital sampler.

What our Customers are saying Digital Sound Factory has translated (and continues to translate!) all the wonderful sounds and samples from the classic Emulator disks and players. They load and play in all the typical sample synths. I’ve been using them – and loving them. The Digital Sound Factory patches are a great addition to my VST instrument library. I heartily recommend them. There was magic in those classic sounds and Digital Sound Factory is giving us the magic again. Many thanks to Tim and his staff for continuing to help me. - Michael Lloyd - Over 100 Gold and Platinum Awards - LA, California - June 2009

I've looked everywhere for decent sounding soundfonts and they were far and few between. After trying the soundfonts offered by Digital Sound Factory I was truly impressed. Not only are their soundfonts of the highest caliber, the selection and variety you will find nowhere else due to the proprietary sound resource of the classic EMU & ENSONIQ hardware. I am extremely satisfied not only with the soundware but also with the caring, courteous, and professional customer service. I would recommend this sound resource to both novice and professionals alike. - Lou F. NYC - April 2009

At first I was a bit uncertain as the demo on the website is quite limited, however in five minutes after loading this into my soundfont Vst plugin I was completely blown away. The sounds are recorded with such depth and sonic detail; it's hard to believe the price tag. I especially love the fact that so many actual notes are included, and that you don't cheat by letting one recording span over note after note which I find is the case with many similarly priced soundfonts. It was well worth every penny as well as the few hours it took to download this. Also, because it is a sountfont I can use this with no problem in my environment and screen reading software which, unfortunately, I cannot with any other orchestral library (plug-in or sample set) in the same price range. Once again, congratulations on such a fantastic release! I can see myself using these sounds for years to come. - Philip Bennefall - Sweden - September 2009

I have to say I’m very impressed with the quality of the Proteus 2000 SoundFont. I have the real rack, and after comparing the presets I find that the font is very close to the rack version, and easier to use. Much kudos!!!!!! I’m really, really pleased with the way you and your company handled my case. This kind of customer support is very rare and it’s a sure sign of the fact that you take your business seriously.

I received the download link for Planet Earth this morning and checked it before I had to leave for work. Planet Earth sounds fantastic! Guess what? Half an hour ago I bought your Orchestral Strings font, and that one sounds incredible too. Excellent! Very, very impressed by you guys.

It’s rare that actual reputable sites put out freebies this big anymore. Very neat. People remember stuff like that. I know I will.

I am a hip hop music producer. I recently found out about your website and your products. I think good sound design is something sorely needed in the "do it yourself" software world. Your company seems to be filling this void. I had a Proteus 1 from 1991 until two years ago when it died, and have all these tunes written for it. I have now managed to resuscitate them with your excellent sound pack. I appreciate the great amount of work that goes into implementing this kind of adaptation and commend your team on the job.

I just listened to your Saint Thomas Orchestral Strings demo, and this SoundFont sounds far more realistic and ambient than any I have heard. Nice stuff. I just happened upon your website. I can’t wait to get home and download your generous free sample library.

Thanks for your help. Everything worked perfectly. I'll be buying the Proteus 2000 volume later today. I often complain about the decline in customer service in the USA. You and your fellows are to be commended for proving me wrong in this instance. Thanks again.

One fine day I was googling for “SoundFont Proteus” and to my big surprise DSF was on the top of the results. Surprise was big because it has been ages since anything new has come up with my endless search for good SoundFonts. I found the website very easy to navigate through. The login and order process were perfectly smooth. Love the expansion packs for Cakewalk. Good stuff!!!

E-MU Product History

E-MU 25 E-MU 25 - 1971 The E-MU 25 was a precursor to E-MU’s Modular systems, featuring about twenty modules behind a single front panel, including 3 VCO's, 2VCF's, 2VCA's and two envelope generators. Unlike the “bulletproof” all-aluminum standards of the Modular systems, the E-MU 25 used cheap slide pots and plastic switches, and even sported a "vacuum cleaner" power switch! Only two units were produced; they were identical on the outside, but had completely different circuitry inside because the circuitry was evolving so quickly.

E-MU Modular E-MU Modular System - 1972 Famous for its remarkable stability, E-MU's Modular System was sturdier and would stay in tune much longer than the synthesizers offered by Moog and ARP at the time. The E-MU Modular featured the world's first microprocessor-controlled polyphonic keyboard and sequencer (control voltage, of course, as this was years before MIDI), which was also one of E-MU's first patents.

Audity Audity - launched at 1980 AES Show (never shipped) The Audity was E-MU's hybrid synth dream machine. Three Z-80 CPUs drove the polyphonic keyboard, the control module and a refrigerator-sized 8~16 voice card box. The voice cards used the same SSM synthesizer chips designed by Dave Rossum for the Prophet 5, but in a much more capable configuration. The eventual price tag of $69,200 was too high, so it was never sold. Peter Baumann of Tangerine Dream did buy a batch of voice boards however, and lessons learned during development helped launch the Emulator I. The Audity resides at the Audities Foundation in Calgary and no longer functions.

Emulator I Emulator I - 1981 With Stevie Wonder and Daryl Dragon of The Captain and Tenille as the first customers, you know this product was something special: E-MU's first sampling instrument. A 66-pound steel-clad behemoth that featured a 5-1/4" floppy drive and built-in sequencer, the Emulator I cost $10K (the joke goes that it was the first sampler under $35K - the price of a Fairlight at the time). Longtime E-MU employee, Ed Rudnick, came up with the "Emulator" name after searching the Thesaurus, and it has remained as the name for E-MU's sampler line to this day.

Drumulator Drumulator - 1983 E-MU's first ROM-based sample technology, and the first drum machine under $1000 (okay, it was $995, but five bucks is five bucks). The Drumulator was so successful that it prompted two entrepreneurs in Silicon Valley to start a firm to make after-market alternate sound chips, calling themselves Digidrums and soon changing their name to Digidesign. The Drumulator line was later extended to include the Pad Programmer real-time performance controller, and the GRC Graphic Rhythm Composer which ran on an Apple II. In those days, many instruments were built in the American factories run by the designers; so E-MU had to move to a much larger facility to accommodate Drumulator production.

Emulator II Emulator II - 1984 This product represented a quantum leap in sampling time (a whopping 17.5 seconds of memory - a huge 500KB), sound quality (8-bit at a 27.5kHz sampling rate), and cost (a mere $7,995). The Emulator II was the first product to feature SCSI as well as a SMPTE-based, multitrack MIDI sequencer, and included innovative features like analog synthesizer filters, envelopes and VCAs. Also significant is the fact that Digidesign created a software product, called Sound Designer, to support the EII - the program cost $995 and ran on a new fangled computer called the Macintosh. Combining a Mac with an EII and Sound Designer software made sampling an incredibly powerful technology and the first integration between computer and digital audio sampler.

E-drum E-drum - 1984 The E-drum was actually developed by Clavia DMI in Sweden, and provided drummers with a single, touch-sensitive pad drum module that offered 40dB of volume range with internal sounds generated from a removable cartridge (containing from one to four 8-bit samples on a 16kB EPROM). A variety of different sound cartridges could be purchased and interchanged in the E-drum, and an optional hardware assembly allowed modular construction of entire drum kits.

SP-12 SP-12 - 1985 World's first sampling drum machine that stored sounds in battery backed RAM which could be saved to the world's slowest disk drive - the Commodore 5.25" serial floppy drive (the base model had 1.2 seconds of sampling time while the Turbo model offered 4.6 seconds total sampling time). The SP-12 also featured velocity sensitive pads, 24 ROM samples (Prairie Prince from the Tubes played the samples!) and 12-bit linear sampling. The SP-12's incredibly easy-to-use interface and cutting sound made it an instant hit.

SP-1200 SP-1200 - 1987 The SP-1200 was the first sampling drum machine with integrated floppy (10 seconds of sampling) and featured the same 12-bit sampling and analog filter technology of the SP-12 to create a signature sound that is still favored by many Hip-Hop producers to this day.

Emulator III Emulator III - 1987 The EIII was 16-bit linear and featured E-MU's first custom IC - the F-Chip - offering variable sample rate pitch shifting (like the EII). The F-Chip greatly improved audio quality and allowed more downward pitch transposition. The Emulator III was also the first sampler to offer a large sample libary on CD-ROM, and has been heard on countless hit records and movie soundtracks.

Emax Emax (Keyboard and Rack) - 1988 This sampler became the low cost leader in high-quality sampling, and was E-MU's first rack sampler (Emulator 1 and 2 were not available in racks). The Emax featured 12-bit DACs, 8-bit sampling, and was designed to be a cost-reduced version of the EII, but used constant sample rate pitch shifting and digital data compression performed by the E-Chip.

Proteus I Proteus 1 - 1989 World's first 16-bit, 32-voice stereo rackmount sample playback module. The Proteus quickly established itself as a standard while also defining a new category of music instruments. All this and more for under a grand, thanks to E-MU's new G-Chip (which provided incredibly high-quality pitch shifting with a 10 octave range).

Emax II (Keyboard and Rack) - 1989 First product to use E-MU's new H-Chip (digital filter chip featuring ultra-low noise and super-high resonances while retaining the warmth of analog filters). This sampler offered CD-quality, 16-bit linear sampling and was the best selling sampler at the time.

Proteus 3 Proteus 2 (Orchestral) - 1990 PROformance (Grand Piano) - 1990 Proteus 3 (World Instruments) - 1991 Procussion (Drum/Percussion) - 1993 The first family of Proteus products, these variants offered genre specific soundsets that offered more sounds beyond the general soundest of the Proteus 1. By now, E-MU, Emulator and Proteus were household names.

Proteus MPS Proteus MPS - 1991 Proteus 1 and 2 soundsets embedded in a five octave keyboard with aftertouch and velocity.

Vintage Keys Vintage Keys - 1993 The first product in E-MU's second line of sound module development, Vintage Keys offered a soundest of sampled analog synths and classic keyboards. More importantly, Vintage Keys was the first E-MU module to feature digital filters, and digital synthesis that included a dedicated AHDSR envelope generator, two independent LFO's, and an auxiliary envelope generator (DADHSR) which could be patched into the instruments, low pass filter or DCA.

Emulator IIIXP Emulator IIIX - 1993 The return of E-MU to sampling after a few years' hiatus. Originally supported digital sampling only (EIIIXP) and eventually supported analog sampling as well (EIIIXS). Several firsts with this product include the 32MB RAM capacity and 32 voice polyphony, and it was the first sampler to support digital audio input and output. Incorporating the G and H Chips design meant it was extremely well received by professionals around the world.

Morpheus Morpheus - 1993 The world's most advanced synth, the Morpheus took H-Chip filter technology to the limit in the form of "Z-Plane" synthesis, featuring 197 filter models, up to 14-pole filters and 3 control axis: X, Y, Z. The incredible filter technology pioneered in the Morpheus has since migrated into E-MU samplers, and has become a cornerstone of E-MU's sound.

Classic Keys Classic Keys - 1994 A cost-reduced version of the popular Vintage Keys module made possible by taking out the expensive digital filter chips, putting in two low cost FX chips and reducing the number of analog outputs to two. Unlike the Vintage Keys, Classic Keys was not expandable.

Proteus FX Proteus FX - 1994 A combination of the Proteus 1 and Proteus 2 soundsets, and PROformance piano sample made possible by lower memory prices, plus a new dual effects chip.

ESI-32 ESI-32 - 1994 Essentially a cost reduction of the EIIIX sampler (EIII software ported to new hardware), this two rack space sampler broke the price barrier for high-quality sampling. Thirty-two voice polyphony, 32MB of RAM and a huge sound library made this E-MU's best selling sampler of all time.

Ultra Proteus Ultra Proteus - 1994 The Ultra Proteus offered 16MB of sounds and combined E-MU's various technologies into one product with greater control over parameters and sounds via MIDI. The Ultra Proteus also allowed users to add presets (but not samples) via a front panel card slot.

e64 Emulator IV - 1994 e64 - 1995 Based on a new family of VLSI chips (G 2.0), and featuring 128 voices (e64 offered 64 voices), up to 128MB of RAM, a graphical user interface, and all sorts of expansion options, the Emulator IV was an instant success and offered new features - some of which are still state of the art to this day. The EIV has long been considered the best hardware sampler in the world, as is evident from its many awards and 'Who's who' list of users.

Darwin Darwin - 1996 The Darwin hard-disk based eight track, 16/44.1K~48K recorder was a departure from E-MU's instrument-based development strategy. After years of intense work by a dedicated team, the Darwin emerged as a very stable machine featuring an internal digital mixer, ADAT and external sync capabilities, stackability and E-MU class sound quality. The front panel included graphic playlist editing, and GO-Chip-managed HD I/O. But it arrived too late to make a large impact on the already burgeoning HD recorder market. Despite its excellent performance characteristics, this Darwin became extinct a few years after its introduction.

E4X and E4K E4K Keyboard - 1996 E4X Turbo - 1996 E4X - 1996 e6400 - 1996 E-Synth Keyboard - 1997 E-Synth Rack - 1997 This second generation of E4 samplers offered a more modular architecture, allowing e6400 owners to upgrade all the way to the E4X Turbo spec. The E4K was a 76-note keyboard variant of E-MU's E4 and introduced a new FX card (available as a retrofit to the older EIV) as well as an on-board sequencer. The E-Synth keyboard and rack featured a basic internal soundset stored in ROM, alongside the usual sampler functionality of loading sounds into RAM. Despite hardware differences, the updated Emulator Operating System would run on all of the existing Emulator 4 products.

Orbit, Planet Phatt and Carnaval Orbit (Techno/Electronica) - 1996 Planet Phatt (Hip-Hop) - 1997 Carnaval (Latin) - 1997 Offering the features of the Ultra Proteus plus an assortment of user-controllable beats (BEATS mode), the brightly colored Orbit, Planet Phatt and Carnival were the first single rack space modules dedicated to specific music genres. These products (especially Orbit and Planet Phatt) were an instant success, and their BEATS mode provided plenty of inspiration composers around the world.

ESI-4000 ESI-4000 - 1998 The successor to the popular ESI-32, the ESI-4000 features more filters, 64 voices of polyphony, and an optional Turbo Option Kit that provides 6 more outputs, reverb and digital I/O.

Audity 2000 Audity 2000 - 1998 A synth module that uses samples together with E-MU's powerful digital filters and modular synthesis (much of it derived from the Emulator IV). The Audity 2000 also introduced a syncable, 16-channel arpeggiator and offered four programmable real-time control knobs on the front of the unit. And finally! E-MU ships an Audity after all... for a greatly reduced price 70 times less than the first, legendary Audity.

Audio Production Studio E-MU Audio Production Studio - 1998 E-MU's first audio interface, the APS featured the custom EMU10K1 multimedia audio processor, a custom chip designed to handle wavetable sampling/synthesis, streaming digital audio, sample rate conversion, and simultaneous multi-effects processing. The Audio Production Studio consisted of a main PCI card with S/PDIF and balanced analog I/O, as well as an Audio Access Bay with additional S/PDIF, selectable mic/line inputs, and headphone output.

EMU8710 PS EMU8710 PS - 1998 A PCMCIA card for laptop PCs, the EMU8710 PS featured 16-bit, 44.1kHz stereo playback and recording, hardware DSP effects and analog and digital I/O via a MIDI/Audio Breakout Box.

ESI-2000 ESI-2000 - 1999 Cost reduced version of the successful ESI-4000 sampler featuring a silver faceplate.

Proteus 2000 Proteus 2000 - 1999 Built on the developments that went into the Audity 2000, the Proteus 2000 was the world's first 128-voice sound module, expandable to up to 128 MB of sounds with genre-specific expansion ROMs. The Proteus 2000 also offered 32 MIDI channel support, 6 analog outputs and an S/PDIF digital output.

Sound Modules B3 (B3 Organ) - 2000 Mo'Phatt (Hip-Hop) - 2000 Virtuoso 2000 (Orchestral) - 2000 Xtreme Lead-1 (Techno/Electronica) - 2000 Planet Earth (World) - 2000 Orbit 3 (Synthesizers) - 2001 Proteus 1000 (Pop/Rock) - 2002 Turbo Phatt (Hip-Hop) - 2002 Vintage Pro (Classic Keyboards) - 2002 These modules were genre-specific versions of the Proteus 2000. A cost-reduced hardware platform was developed and used for the B3, Mo'Phatt, Xtreme Lead-1, Planet Earth, and Proteus 1000 that offered 64-voice polyphony, two internal sound slots, two analog outputs and no digital output (a hardware upgrade to the full Proteus 2000 spec was available at the factory).

E4XT Ultra E4XT Ultra - 1999 e6400 Ultra - 1999 E5000 Ultra - 1999 E4 Platinum - 2000 The Emulator 4 Ultra line of samplers featured updated hardware built around a new Motorola Coldfire processor. EOS was updated, but now came in two versions - Ultra (for the new hardware) and "Classic" (for the older E4 hardware variants). Other hardware changes included moving to internal IDE drives (previous E4's featured SCSI only), and support for the new RFX-32 FX/mixer card (which started shipping in 2000). The E5000 was a cost-reduced version limited to 64 voices, while the e6400 Ultra was fully upgradable to a full 128 voices. The E4 Platinum was the flagship of E-MU's Ultra sampler line - basically an E4XT Ultra with almost every option available, RFX-32.

MP-7 XL-7 Command Station (Techno/Electronica) - 2001 MP-7 Command Station (Hip-Hop) - 2001 PX-7 Command Station (Drum/Percussion) - 2003 Proteus 2500 - 2001 These three products combined the sound engine of the Proteus 2000 family, genre-specific soundsets, a new touch-pad controller interface and powerful onboard sequencer. The four-rackspace Proteus 2500 sound module offered all of the features of E-MU's Command Stations minus the drum pads.

PK-6 PK-6 (Pop/Rock) - 2001 XK-6 (Techno/Electronica) - 2001 MK-6 (Hip-Hop) - 2001 Vintage Keys (Classic Keyboards) - 2003 These keyboards combined the sound engine of the Proteus 2000 with a 61-note keyboard, and featured 64-voice polyphony, four internal soundROM slots and four analog outputs.