Drum machines and
Auto Units
Photography : Marina Denisova Location : C/O Bardi
Amtron Bongo Elettronico
AMTRON BONGO ELETTRONICO - 1970s -Stunningly handsome - as rare as it is odd - this device was brought to us by Amtron, a mail order company offering electronic kits to tinkering hobby engineers to be assembled at home.
You simply ordered your Bongo Elettronico by phone or written letter, sent a check or wired a money transfer. Then, the complete components would arrive in the mail after a week or so, for you to solder in place and glue together the separate components and elements according to the instructions.
Everything from radios and amplifiers to drum machines and synthesizers, this was a way to get gear on the cheap and there were quite a few of these technical equipment mail order companies back in the day, another one here in Italy was Nuova Elettronica.
The electronic bongo is essentially a very simple drum trigger device - 5 tone generators on a single circuit board. Rather than the typical beeuuuw space drum the sounds are quite rudimentary, like a short bongo hit.
Pulling the sliders up the "bongos" start to feedback continuously, so as well as operating as a percussive instrument the Bongo Elettronico can generate distorted textures and tones perfect for a noise outfit.
The pads are very responsive so drum sticks aren't actually needed but it looked good for the photo. This unit was modified to with battery power connector to lower the noise floor but it also has a power chord. It sports a mini jack audio output only.
Amtron Electronic Drums UK 263
AMTRON ELECTRONIC DRUMS UK 263 - 1970s - A pretty, yellow metal box of analog drum rhythms from Italian, electronics kit vendor Amtron.
Amtron made a few different models of drum machines, the UK 263 being top of the line or the least rudimentary one. The UK in the name does not mean it's from the UK.
It can play 15 rhythm patterns and 7 or possibly 8 analog drum sounds - what else could one need really? The sounds are classic analog types; warm, analog yet punchy, with static noise sitting in for the open hi-hat.
Some of the rhythm patterns loop after two bars instead of one, a technical feat at the time considering these were sold and assembled kits for hobbyists and not factory made.
The housing is made of sturdy metal making this a perfect device for the road.
The back sports a mono jack audio output as well as an unexpected voltage converter dial for 110/120 volt power since we're unsure this was ever exported outside Italy and its 220V power grid.
Böhm Solist 78
BÖHM SOLIST 78 - 1973 - This early, analog auto-accompaniment unit and drum machine from West Germany is the essential song-writing tool and offers useful features and some great drum sounds, chords and bass lines as well as an arpeggiator, all transposed by the control keyboard.
The one-octave keyboard controller can only operate one finger at a time - it's not made to be played, rather to indicate the desired key to the main unit. The major, minor and 7th chord options are engaged by pressing the grey side keys and the button on the right in tandem with the desired key.
Dr. Böhm named the auto-accompaniment section Böhmat - perhaps a mix of Böhm and Automat - and it has quite a lot going on considering for such an antique device: 1. A bass sound with 5 different bass lines spanning two bars. 2. 3 chord sounds with 6 rhythmic patterns 3. An arpeggiator figure and a Wah effect for the chords and arpeggiator.
The bass and chords rhythm patterns are unique to each rhythm engaged while the arpeggiator line is a single pattern for all. The tempo of the Wah-Wah LFO effect follows the main tempo.
The drum section has 24 drum rhythm patterns that can all be played at the same time if one desires. There are mute options for all but a few drums sounds, as well as a snare roll and a single, hard-wired drum fill.
The back has a DIN connector for the audio output as well as a "Steurung" (steering) DIN connector, probably for a foot switch.
Böhm Digital Drums
BÖHM DIGITAL DRUMS - 1982 - Sometimes referred to as the German Linn Drum, this auto-accompaniment machine courtesy of Herr Dr. Böhm of West Germany is capable of a range of bass, chord and arpeggiator sounds.
The drum machine section alone is very nice and punchy, with 13-Bit samples sounding not quite like any Linn Drum device to our ears, but definitely punchy and realistic. The drums section was incorporated in the Star Sound organ and was also released and re-branded as Hohner Drum Performer.
The unit comes with a staggering 180 individual auto-accompaniment arrangements, and the 4 instrument voices have more than 60 individual preset sounds in total. The mini keyboard controls the key and harmony for the accompaniment section.
If the insane amount of drum patterns and auto-comp arrangements weren't enough, these machines are also completely programmable. Both the drum patterns as well as all 4 auto accompaniment instrument voices.
This specific unit was modified with individual volumes and filter potentiometers for the Bass, as well as the Solo 1 and Solo 2 voices.
Since these were assembled as kits by a wide array of individuals you'll never know what you find inside, or connector-wise in the back. On this one we got Midi in and thru, left and right channel audio jacks as well as 8 unconnected audio jack connectors.
CRB Computer Band 2000
CRB COMPUTER BAND 2000 - 1979. One of the more feature-forward auto-accompaniment units out there, the Computer Band is comprised of an analog drum machine section and 4 separate auto-comp sections : Bass, Chord 1, Chord 2 and Arpeggio. All sections generate rhythm patterns depending on the rhythm engaged while the keyboard controls the tonality.
The drum machine offers 20 rhythms of 9 drum sounds each with its own individual mute switch. The sounds are clinical, short and sharp except the 2 longer white noise generated cymbals. There is a drum pattern variation option that adds a variation on either every fourth or eight bar, as well as a break button of another round of drum fills, effectively tripling the amount of generated rhythm patterns to 60.
Both the drum machine and the auto accompaniment sections are hard-wired - there's no Midi or program option. But the bass and arpeggio sounds are actually playable on the keyboard while the arrangement section is paused.
From right, the bass section with three sounds, decay controls and two bass line options. We then have chord sections 1 and 2 with a total of seven sounds and individual decay and volume controls. Lastly the snappy arpeggio panel with four different sounds and decay control.
The arpeggiator is where the Computer Band 2000 really makes it case - the extremely short plucky sounds fit in well in a busy mix but with the decay turned up they become rich and lush. All sounds of all sections can be engaged simultaneously.
The CRB Computer Band 2000 sport no sync options, in the back we find a single audio output jack only when separate outputs for the drums and bass would have been nice. There is also a pedal board and expression pedal connectors as well as two mysterious quarter inch ones.
CRB Computer Drums
CRB COMPUTER DRUMS - 1980 - Gorgeously rare analog and digital hybrid drum machine from Italy's Marche region. The brand name, CRB Elettronica, is an abbreviation of Costruzioni Radioelettriche Borsini.
The CRB Computer Drums is the stand-alone drum section from the mythical auto-accompaniment unit the CRB Computer Band 2000. It can also be found in the massive CRB 910 organs.
There are 20 rhythm pattern preset buttons. An additional 20 patterns are available as Variation - selectable to occur either on every 4th or 8th bar. And last but not least, a Break button with an additional 20 fill-ins making the total available rhythm patterns 60.
The Computer Drums emits 9 drum sounds in total - each with its dedicated mute dip switch. It engages one rhythm preset at a time - no mixing and matching.
The break warning light is a unique feature on the CRB Computer Drums.
In the back you find the audio output via a regular jack connector as well as a foot pedal most likely to start or stop.
EKO Rhythmaker
EKO RHYTHMAKER - 1970 - Analog drum machine from Italy's EKO, originally makers of guitars and amps, the Rhythmaker was one of their earlier attempts at drum machines that would later result in the legendary EKO ComputeRhythm.
This is a compact and slim little machine that's literally crammed with components and it produces warm, analog drum patterns and punchy sounds.
The front panel has 16 push buttons for rhythms of standard fare : Jazz, Mambo, Rock etc. These could potentially be engaged all at the same time, giving you a cacophony of poly rhythms.
We find 3 potentiometers for Volume, Tempo and Sustain, the last one is a bit of a mystery since it only seems to change the pitch of a few sounds. Quite a novelty at the time and the reason we like it so much is the individual volume control of each of its 7 drum sounds.
The individual volumes is a great feature of the Rhythmaker, making it quite versatile compared to many of the machines released back in the day but watch out - the sliders are inverted, with their maximum volume at the bottom at 0 at the top.
We find the standard low and High audio output jack connectors as well as a foot switch connector for start / stop in the back.
EKO Rhythmaker - Big Box
EKO RHYTHMAKER - 1970 - This is the stunning, big box version of the Rhythmaker analog drum machine from Italy's EKO.
As if you simply inflated the smaller version, the layout is an exact replica - but they sound quite different.
Turning it on, the rhythm patterns are unique compared to the slimmer model, it's not the same machine at all.
This model has a more industrial, electronic sound and more open higher frequencies, while the kick drum goes nice and deep into the sub range.
The individual drum volume potentiometers are longer, making it easier to dial in the mix.
The back mounts the same connectors as the smaller model.
EKO Ritmo 20
EKO RITMO 20 - 1982 - This expanded version of the Ritmo 12 is a great looking, compact, analog / digital hybrid drum machine with separate volumes for each drum sound.
20 rhythm patterns are accessible with 10 buttons containing 2 patterns each. Each of the 20 patterns has its unique fill-in plus a separate intro fill, landing us at a whopping 60 rhythm patterns in total.
There are 9 drum sounds in total : Bass Drum, Snare, Conga, Tom-Tom, Hi-Hat, Cymbal, Rimshot, Claves and Cowbell. The Ritmo 20 is not programmable.
To adjust the individual drum sounds to get a good balance there are six small volume knobs for the 9 drum sounds, a great feature and the reason we like the Ritmo 20 so much.
The unit is nice and quiet since it has a noise gate operating on the audio output signal. The Conga / Tom sustain button adds a gated type reverb to those sounds only.
The back has a conveniently amplified headphone output with its dedicated volume control, a low and high audio outputs and at last the pedal connector.
Elgam Carousel
ELGAM CAROUSEL - 1976. The Groove box that sparked todays hype of the genre - a stunningly well-designed piece of gear with a great analog vibe that stays relevant. Originally, this was the Crazy Hands section from the Elgam Broadway organ.
The Carousel is comprised of 4 sections : 1. Drum Machine 2. Bass Section - generating a choice of two bass-lines 3. Chord section - three sounds (Harpsichord, Honki tonk and Piano) 4. Arpeggio section - one sound with adjustable decay and 2 stackable harmonies.
The melodic sections change depending on the rhythm engaged and follow the tonality of the keyboard. Sonically the sounds gel really nicely, this machine is the sum of all its parts, the rhythms and bass lines are well-programmed, the bass has great lines and the arpeggiator adds that magic.
The drum section offers 15 fixed rhythms of great analog drum sounds. No individual drum sound mute options, but hey - at least you can add maracas.
You have the option to select the tonality with one finger for simple root chords and selecting minor, 7th or diminished with the foot pedal. Or you can choose to operate it in manual mode and potentially play more complicated chords.
In manual mode the bass and arpeggiator only makes sense of chords of three notes while the chord section reads all the notes at the same time. On the back we usually have a single audio output and a pedal switch connector for stop/start and minor and 7th but this one had some other mods added that were disconnected.
Elgam Crazy Band 48
ELGAM CRAZY BAND 48 - 1978 - This is the machine Elgam created to follow up on the success of the Carousel. A true unicorn - there are very few of these around - it's a similar type of auto-accompaniment and analog drum machine but with an expanded drum section. Instead of the arpeggiator of its predecessor we're blessed with a unique Auto-Melody generator.
The name Crazy Band 48 comes from the number of drum patterns - they're 48 rhythms in total since each of the 16 rhythm push buttons has 3 selectable variations. The rhythm patterns span 2 bars instead of the more common single bar so we're well covered here.
The Crazy Band 48 is comprised of 5 individual sections, each with a separate volume control. Apart from the drum section, the stand-alone keyboard controller changes the tonality and harmony of the 4 auto accompaniment voices : Bass, Chord 1, Chord 2 and Auto Melody.
The Auto Bass delivers 2 bass lines and a Auto Vari function that switches between the two. It has 4 different Bass sounds compared to the Elgam Carousels' single sound.
Both chords divisions have two, unique sounds each, while the Auto Melody flexes three. The Auto Melody generates 16 half-tempo arpeggio type melodies that vary depending on the rhythm pattern engaged.
In the back the connectors are for the keyboard controller, the foot switch and a mono audio output.
Elka Drummer One
ELKA DRUMMER ONE - 1968. One of the earliest drum machines commercially produced in Italy, it became a Kraut Rock staple in 1970s Germany, once you start listening for it you hear it everywhere.
On offer are 16 rhythm patterns triggering 9 analog drum sounds, each with its dedicated volume, a feature that gives you more control and is probably the reasons this old box is still so relevant. Multiple patterns can be engaged at the same time for more complex rhythms.
The components, signal path and old school architecture of the Drummer One is the reason it sounds so special and its woody, warm and organic drum sounds are so instantaneously recognisable. It's also the reason it has a high noise floor.
On some of the Drummer Ones you'll find a big, round, multi-pin Hirschmann connector in the back. These sends a range of primitive trigger pulses on different pins.
Most likely the intent was to communicate with other Elka devices although there's little information on which ones. Only some of the Drummer Ones have the connector, and sometimes it's hiding behind the back panel, like on this very unit.
Not much on offer since the multi pin connector is hidden on this unit but we're at least treated to an Audio output jack and a start/stop foot switch connector.
Elka Rhythm Machine
ELKA RHYTHM MACHINE - Following the Drummer One, the Elka Rhythm Machine has a new design, it almost shares the same layout and functionality, including the individual volumes for each drum sound.
But where the Drummer One is organic and woody, the Rhythm Machine veers towards a different style of analog drum sounds.
The rhythmic patterns and choice of drum sounds match the Drummer One almost perfectly but this one doesn't allow for multiple patterns at a time.
It's still a great drum machine and its sounds are definitely distinctive compared to other machines of the era.
The design is the kind of military style that communicates indestructible when on tour.
The back panel offer two jack outputs of high and low impedance and a start stop connector.
Elka Drumstar 80
ELKA DRUMSTAR 80 - 1985 - After introducing a range of popular drum machines to the Italian market, this one was a massive leap forward and is still relevant today : punchy 12-Bit sample based drums easily programmable and synchronizable with the rest of your gear.
Another drum machine commonly referred to as the "insert a country" Linn drum one might suggest it's maybe closer to the Alesis HR-16 in sound. It features PCM sounds, user friendly programming and individual audio outputs for each sound.
The individual volumes for instrument groups form what we would refer to as a proper mixer section. 12 volume controls and separate outputs for each one is truly impressive.
The Elka Drumstar 80 contains a whopping 32 drum sounds like guiro, triangle, bongos and congas but some of them more subtle variations such as the 4 hi-hat samples. On offer is 20 drum patterns with 3 variations each, as well as separate drum fills and programmable Intro/Breaks.
The drum samples are most likely 12-bit quality, grouped in 12 sections with individual volumes and outputs. The unit receives clock in and out so easy to sync with other gear. A well calibrated Drumstar should have its tempo indicator in BPM so would potentially not need much synchronising.
The back leaves nothing to be desired - Left and Right (double as Mono) master audio outputs and 12 individual audio outputs plus Midi clock in and out.
Elka Wilgamat
ELKA WILGAMAT - 1976. Warm and woody - the Elka Wilgamat sounds exactly like it looks. An analog, auto accompaniment or groove box with great, distinctive drum sounds, bass and chord patterns. The bass and chord sections change depending on the rhythm engaged and follow the tonality of the keyboard.
The chords section consists of three sounds with individual rhythm patterns that are only vaguely reminescent of the instruments they're named after: Piano, Guitar and Brass. The brass sound has a great, wah like sound, while the guitar is more mellow.
In total 16 different rhythm presets with 16 drum-fills triggered by pushing down the long bar on top of the keyboard. Holding the bar down loops the fill-in. The bass section consists of two bass lines (auto and walking bass) per rhythm, two bass sounds, with a sustain option.
There are individual volumes for each of the three sections, plus an overall master volume.
These standalone units were made to sit on top of keyboards or organs and the Wilgamat was incorporated into a rfew models of Elka organs of the era, the coolest being the X-705 Space Organ which might have been used by Jean Michel Jarre although there's no personal confirmation.
This one was modded with separate outputs via three pins on a DIN connector.
Elka Wilgamat III
ELKA WILGAMAT III - 1980. The next level Wilgamat got a substantial upgrade with hybrid, digital technology controlling the analog sounds, adding an arpeggiator section and a stunning wealth of 48 drum fills.
The predecessor to the Wilgamat III was released in 1976, and we're not sured what happened in between since there was no Wilgamat II model, at least to our knowledge. The four sections that comprise the Wilgamat III are Drums, Bass, Chords and an added arpeggiator.
The drum machine is digitally controlled with analog sounds with a nice thump, 8 buttons of rhythms with an additional button effectively doubling the amount to a 16. But the real total of rhythm patterns is granted only to those with the elusive, original foot pedal that engages the drum fills. 3 fills per pattern, 48 in total, making the total amount of rhythms on board 64.
The drum section has no mute options but is equipped with its own Volume and Balance slider that cuts out either the threble sounds or the kick drum. The bass sections offers two programmed basslines per rhythm and has 4 different sounds; a sub bass organ sound, a synth brass tuba sound, a plucky bass sound and a cello like string sound.
The chord section is equipped with 2 sounds, brass and piano, each with individual volumes, which are also playable as chords at will when the unit is paused. Lastly, the piano arpeggio section has two variations for each rhythm pattern.
The connectors in the back is stereo and mono jack outputs, a clock out, a pedal connector for the foot pedal, the Elka song connector for the Elkasong device which is a teaching tool of sorts. There's also a master tune potentiometer.
Godwin Drummaker 45
GODWIN DRUMMAKER 45 - 1976. Generating warm, analog sounds, its four instrument components offer lots of variety, especially the arpeggiator section is fantastic. The first of Godwins many so called Computer System models, this is an instant vintage treasure of analog sounds.
At our disposal are 4 sections : Drum machine / Bass / Chords / Arpeggiator. This machine was originally the rhythm section of the huge organ with the same name, but stand-alone units, with either a two-octave keyboard controller, like this one, or a pedal controller, were produced as well.
Starting with the drum machine it has a fantastic analog sound, organic and punchy, it offers plenty of rhythm patterns, 3 variations for each, a total of 45. There's also an automatic mode that cycles through the variations.
Both the bass and chords section have dedicated volume controls and provide 2 bass/chord lines of 2 sounds.
The arpeggiator section is where the Drummaker 45 excels : a three-voice harmony arpeggiator of 5 sounds, most of which are independently generated so they can be engaged simultaneously for stacking - just hold down multiple buttons at the same time.
The back displays a single audio output connector, pitch control, and a conveniently placed volume dial.
Godwin CD1
GODWIN CD1 - 1980? - What is this thing? Why does it look so awesome? Who controls it? How?
The CD1 is an Italian auto-accompaniment unit derived from the earlier iteration called Godwin Drummaker 32. Hooking this up to a special accordion or foot pedals and a 2-octave control keyboard you get pre-programmed chords, basslines and drum machine patterns.
There are also a few preset sounds playable on top of the auto-accompaniment sections. This unit is being serviced and this information will be updated as soon as it's done.
Godwin CD2
GODWIN CD2 - 1985? - Rare as a unicorn - this mystifying auto-accompaniment machine from Italys Godwin is the only one we've ever encountered. These type of machines were generally used by one-man-bands back in the day, to provide light entertainment in places where people congregated.
Most likely controlled by a pedal board or an accordion, it shares some features of the previous CD1 model but with more bells and whistles. And what could be a built-in spring reverb.
We don't have much information on this unit yet since its awaiting service. What we can tell you is that it's a auto accompaniment unit made to be controlled by an accordion or foot pedals and a keyboard.
There's also a solo section of preset sounds that are playable on top of the pre-programmed auto accompaniment sounds. The Godwin CD2 might also be programmable but this needs to be confirmed.
The back sport multiple separate instrument audio outputs and stereo, headphone and mono outputs, the two connectors for the accordion or foot pedal and keyboard combo as well as midi out connector.
The whole shebang is housed in a sturdy flight case ready to provide entertainment for sessions of after-ski in the winters and aperitivo sessions at the beach bar in the summers.
Godwin MPS 88
GODWIN MPS88 - 1988? - The overlord of all the Godwin auto-accompaniment machines. And finally a device that accepts MIDI! But it can also be controlled by an electronic accordion and / or foot pedals or perhaps a small keyboard. What's clear is that we're moving out of the "portable" category of instruments.
It consists of a massively heavy main unit holding all of the sound generating circuitry with an attachable control panel on top. The external power supply, or it should be referred to as a power plant - it's by far the heaviest in our collection.
It's hard to know where to begin here - there are so many sections and controls but the auto accompaniment sections are : 1. Drum Machine section with 16 patterns with variations and drum fills. 2. Chords section with 5 sounds and a phasing effect. 3. Rhythms Orchestra with a slew of different sounds including 4 arpeggiator patterns. 4. Bass section with 8 different sounds.
There are more sounds, programs and effects but we'll leave the explaination to when this machine is actually up and running since it's on it's way for repairs.
Plenty of connections are on offer : MIDI In/Out/Thru plus many separate audio outputs as well many Aux inputs that will need some explaining at some point.
The whole kit folds up neatly like this - ready for new adventures - we literally connot wait to get this up and running and make music with it.
Hammond Auto-Vari 64
HAMMOND AUTO-VAI 64 - 1974. American made drum machine equipped with more rhythms than usual. Thanks to the auto-vari (-ation) function, the amount of available rhythms is expanded from 16 to 64 by offering 4 variations on each one and the possibility to cycle through them at different bar counts.
The design is gorgeous and sleek, these units were made to sit on top of organs for easy access, Hammond even added a music sheet stand to it.
The drum sounds are pure analog goodness and the rhythms are somehow a bit groovier than the Roland cans in our opinion. Each of the rhythms span a two bar period instead of the usual 1 bar, so there's actually lot going on here compared to other machines of the era.
The Auto-Vari was a hit and produced in big numbers and using it you understand why : it still holds up well compared to more expensive drum machines of the same era.
As if 4 rhythm variations weren't enough - you can engage more than one rhythm at a time to create interesting combinations.
The back sports a jack output, start / stop connector for an external foot switch and a balance control that regulates the treble and bass balance.
Maestro Rhythm King MRK-4
MAESTRO RHYTHM KING MRK-4 - 1975 - An American-made, analog drum machine with a distinctively woody tone and a remarkable feature no other drum machine posses - Modulation.
As we're used to with Maestros products it's all quality manufacturing here, buttons and knobs are durable in a way we are simply not used to anymore.
10 drum sounds and 16 rhythm patterns are available to the user. No individual volumes are at our disposal but a slider to emphasize the brighter or bassy drum sounds, quite common to machines of the era.
On the back is an audio input for modulating external instruments like guitar, organ or why not a string machine? Much like a side chain compressor, the external signal gets muted by the individual drum hits of the rhythm pattern engaged, almost like a tremolo but rhythmically syncopated. There's a slider to control the level of audible drums or instrument input signal.
The back presents the signal input connector for the modulation effect, the modulation sensitivity potentiometer and an audio output jack as well as a foot switch connector.
Maestro was a subsidy of Gibson and apparently involved some engineers that would go on to start their own synth manufacturing companies in the 1970s.
Nuova Elettronica
NUOVA ELETTRONICA DRUM MACHINE - AVAILABLE SOON! Unknown drum unit based on Nuova elettronicas’ analog drum machine kit but with more controls, this looks interesting
It looks like a Frankenstein drum machine with various kit modules put together in one body.
Individual volumes for each drum sound is always a great feature.
The control panel is in Italian, with 15 rhythm patterns just like the Amtron UK263 unit but with separate volumes for the individual drum sounds.
The knobs are of a kind we're not familiar with.
The outputs are all speaker 2 prong connectors. Acuti / Bassi means treble and bass, the other two are high and low impedance audio output connectors and the last boasts of synchronicity.
Solton Disco 64
SOLTON DISCO 64 - 1982. With a Monophonic bass synth based on a SSM based filter section and a heavenly string section - Soltons entry into the auto accompaniment market is strong. This isn't a Disco machine per se - due to trends of the era many companies threw in the word Disco in a product name to increase sales - but it does provide instant retro vibes and offers a ton of great features.
Just like other auto units the Solton Disco 64 comes pre-programmed with automatic drum patterns, bass lines, chord rhythms and a string machine that create songs based on the rhythm pattern engaged and chords - or one note if in one finger mode - pressed. The unit is not programmable and has no MIDI options.
While not offering any programmability nor MIDI options, it does provide plenty of individual volumes and there are mute options for each section as well as for each single drum sound. This gives the Disco 64 an edge and definitely makes it one of the most interesting auto accompaniment units out there.
The bass synthesizer section has its own cut off and resonance filter, 4 bass line variations but can also be played manually like a regular synthesizer or keyboard. The chord section offers 4 voices and a string machine, again playable manually like a string machine. The strings are generated by divide down and chorus circuitry like most stand-alone stringers out there.
The back sports an audio output dedicated to the drum machine, an output for the chords and bass and a modified, or added, output for the string machine. There's a connector for the swell pedal and another for the drum fill and chord pedal as well, without which you don't have access to the drum fills.
It's ready for touring with a nylon bag for the keyboard and a lid for the main unit that closes up making it look a lot like a suitcase.
Solton Polyvox K
SOLTON POLYVOX K - 1983 - The desert island auto-accompaniment machine to rule them all. Plus a string machine. And a monophonic synth. And organ. Oh, and the polyphonic preset sounds, don't forget we got those too. And the choir section.
We forgot to mention the built-in spring reverb. There are so many features here it's seriously hard to mention them all. It's basically the full size, massive Solton 600 P organ stripped down to its buttons, faders and electronics.
The controller keyboard is essentially a classic accordion cracked open and flattened, or butterflied if one wishes, the left hands bass and chord buttons transpose harmony and key of the auto accompaniment section. The right side offers a more familiar three octave keyboard to play the rest of the sections.
The main unit holds all the electronics and its where all the sound-sculpting happens. Every section has its dedicated volume dial and the drum machine has a balance slider for emphasizing the bright or lower end drum sounds. The drums and auto accompaniment section are fully programmable.
The left hand bass and chord buttons are organised in the Stradella fashion of 6 rows of 20.
The Polyvox kit was made for the travelling musician and comes built-in to a road case. The foot pedal controls, start/stop as well as a slide feature of the polyphonic section.
Solton Programmer 24
SOLTON PROGRAMMER 24 - 1984. This is an amazingly entertaining and rewarding device from the golden era of Italian synthesizer and auto-accompaniment production. The Solton Programmer 24 is a fully programmable auto-accompaniment unit with 12-bit drum samples, analog and digital hybrid synth, chords and string sounds.
We were unsure in what category the Programmer belonged but it's at least safe to say it's the definite song writing tool if you dig Italo Disco, 80s Pop and Miami Vice. Everything is drenched in that 80s sauce - it that's your thing you simply cannot go wrong with this device. It comes pre-programmed with sequences ready to go but you can also easily program your own as well.
There are 5 instrument sections : the drum machine, the bass section, a chord generator, an arpeggiator and lastly an added string and organ section. All functions are intuitive and hands on, there is no screen menu you need to dive in to, the few parameters available are accessible on the front panel.
The arpeggiator feature is fantastic, it has a cut-off and resonance filter and sounds close enough to a Korg or Roland synth from the era to fool the ear. The drum machine sounds are playable using the keys - another of many of the Programmer 24s useful features.
The back of the Solton Programmer 24 accommodates more outputs than we're used to seeing : 8 separate drum outputs, a bass section output, another drum output as well as Left and Right channel.
This very unit was modded with a Drum expansion pack called 32 Drums - adding 31 classic and some lesser known vintage drum kits to the original. The Roland CR78, 808, 909, 505 as well as Italian rarities like the Elka Drumstar 80, Eko Ritmo 20, the CRB Computer Drums to name a few.
Solton Arranger
SOLTON ARRANGER PLUS - 1987 - Following up the success of the entertainment juggernaut, the Solton Programmer 24, Solton grants us more presets, patterns, memory and expansion packs.
This is the ultimate auto accompaniment machine for 80s heads and Miami Vice fans. No fuss, hands on controls, snappy PCM drums and easy to program, this is pretty much just a Solton Programmer 24 in a black chassis.
The Arranger shares almost all features of its predecessor the Programmer 24 : the layout is similar while the drums, bass and organ are exactly the same.
The Arranger Plus adds many preset banks of bass lines, chords and drum patterns compared to it predecessor. The mixer section is the same but the individual drum sound volumes are now fixed.
The Arranger has the same, compact shape as the Programmer 24.
The back gives us separate audio outputs for the Bass, rhythm and everything else. The connector for Midi in/out/thru makes the Arranger easy to incorporate in the studio or performance.
Solton TSK-4
SOLTON TSK4 - 1989 - The grandchild of the legendary Programmer 24 is packed with many more and updated sounds and functions but comes with a 4 octave keyboard a display.
Probably inspired by the hugely succesful Roland D50 and the Korg M1, Solton introduced memory cards with extra voices, auto accompaniment patterns and memory to store programmed sequences.
The TSK4 also got an extra octave added to its keyboard, finally becoming more of a players instrument than just an auto accompaniment machine.
The drums are still PCM samples but we're rewarded with a new kit of 47 sounds that are more in line with the time of its release. The preset sounds are FM based and mimic instruments such as marimbas, brass and strings.
The mixer section reintroduces individual volumes for drum sounds as well as instrument section volumes.
Behind the device we find that Solton put back the separate drum audio outputs like on the Programmer 24 - a great move. Another one is the addition of the headphone output and external instrument audio input connector.
Wersimatic WM24
WERSIMATIC WM24 - 1970s - West German-built and fully analog, Wersi introduces this expanded Wersimatic device after many earlier and quite similar models like the Wersimatic II. This auto accompaniment unit is packed with features, rhythms and sounds.
An unusual arrangement, the control keyboard actually houses the electronics generating the chords and bass and has its own audio output connector. The drum machine unit houses the drum circuits and sends the tempo signal to the control keyboard via a DIN cable.
Another unique feature of this set up is the independent chord and bass arrangements - normally selecting a drum machine pattern would change the chords and bass sections - but the WM24 keyboard offers dedicated buttons for selecting the auto accompaniment patterns.
The Wersimatic 24 has 4 sections on board: 1. Bass - single sound bass line generator. 2. Drum machine with individual mute options. 3. Chord section with 3 chord sounds. 4. Arpeggiator section with 2 sounds (same sounds as chords but with busier patterns)
All in all we're offered 24 drum patterns with 8 mutable sounds while the auto-comp sections' rhythmic chord/bass/arpeggiator has 12. The capability to combine multiple patterns - potentially all of them - and to choose an auto-comp pattern different than the drum pattern - makes up for the limited choices on hand.
The back of the keyboard displays the audio output from the control keyboard, along with tuning and the DIN cable connector for communicating with the drum machine downstairs. On the drum unit we find Stereo and Mono audio jack connectors, the keyboard DIN connector, start / stop foot pedal connector, as well as an audio input connector for the keyboard.
Wersimatic CX1
WERSIMATIC CX1 - 1983 - A hella stylish auto accompaniment machine that looks like an early desktop computer. Originally sold as either a kit of loose parts to be assembled by the buyer, or industrially assembled in the Wersi factory of West Germany.
All the 4 sections of the Wersimatic CX1 are fully programmable : Analog Drum machine, Bass section, Chords section and an Arpeggiator (closer in resemblance to a second chord generator).
This unit was modded with separate volumes for the instrument section. The drum machine sections has 10 sounds : Bass drum, Snare, Hi-hat (long and short), Cymbal, Tambourine, Brushes, Maracas, Cowbell, Claves and Synthedrum.
There are 48 slots dedicated to hardwired drum machine rhythm patterns and 16 are empty slots dedicated for user programmed rhythm patterns.
The CX1 is a fantastic inspiration and a great way to get started on a song, dance track or even minimalist composition. The CX1 was followed by the CX2 that looks and sounds almost identical, switching out the analog drum machine for a digital, sample-based one.
The back offers Stereo or Mono audio output jack, a foot controller and external keyboard connectors and this unit was modded with separate outputs for the drums as well as the individual accompaniment instruments.