Mac Midi Emulator

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Mac Midi Emulator 7,1/10 9436 reviews

You are reading the right article absolutely if you want some most MIDI software for your device and make use of it in the most efficient way possible. What do the keyboard and computer have when they are in a working state? Communication, right. So MIDI does the same. Basically, we can consider the MIDI as a language which supports and helps in communication between two components and hence there is also software to work with it. We need MIDI for the purpose to play some music and has more work to it. It works like there is a software working with MIDI for the sound purpose like the musical instruments. And while you are busing playing with your MIDI keyboard and as per the output from the computer you will get some other sound of the instrument like that of a saxophone. We have listed for you the best MIDI software and that both for Windows as well as Mac. It helps to record your playing in a DAW and hence making track after track. There some free and some are paid versions. Also, if you want advanced level service then you definitely have to pay and access it. We have listed them on the basis of reviews, ratings and simple interface to interact with. You will definitely enjoy working with it.

Now WIDI BUD will practically eliminate latency between any Bluetooth-equipped MIDI keyboard, guitar or other MIDI controller and Mac/PC/mobile devices. Developed as low-profile USB dongle, the WIDI BUD connects natively to Mac, Windows, iOS, Android, Chrome and Linux devices with a standard USB socket or USB adapter. Now in the search box type ‘Piano Connect: MIDI Keyboard‘ and get the manager in Google Play Search. Click on the app icon and install it. Once installed, find Piano Connect: MIDI Keyboard in all apps in BlueStacks, click to open it. Use your mouse’s right button/click to use this application.

Need and importance?

Ever gave a thought that why do we need such a software? You can play some music with some of your favorite tunes of your choice again. Definitely, there is more to all this. You can also record whatever was recently played, the record also multiple tracks, and also you can make sheet music as well. Its audio interface is very simple and easy to interact with. It has a keyboard basically which comes with the lite version of a DAW, like Abelton or Presonus. Also, the Reaper is expensive enough but it is definitely a very good choice to go for it. It is better to pay and use good service than using a bad one which can lead to extra time and frustration as well.

So, here goes the list of some best free midi software for Windows and Mac as well.

1. Tracktion

Basically, this is the best midi software for Windows and as well as best free midi software too. The convention actually seems to be able to make the version with two iterations before the present one is available for download without any kind of charge. Two years and still feature-packed totally and completely. It is very simple and easy to use at the same time. We might not get all the latest features. You will receive an update each time the company or industry to which it belongs, updates its flagship DAW, which it did on yearly basis. It’s a workspace that gives us everything we need in the main window. Also, there I no need to jump to different screens as well. Every single section available is scalable, and hence you can adjust it to suit your workflow. It supports unlimited features which you as an audience will definitely adore and admire. It has features like that of a number of audio and the MIDI tracks available. It is definitely unique and has amazing functionalities.

Platforms: Windows, Mac

2. AmpliTube Custom Shop

It can be counted under the list of best midi keyboard software. It is fully-functioned kind of software and best in the case of a guitar. And hence it is really good application in that purpose. In this free version is available with almost 24 models in total. It includes the digital chromatic tuner, four amps, three mics, two racks, nine stomp boxes, and five cabs. And has some really awesome effects and functionalities. This software of Windows is enough to keep any guitarist happy. Actually, this software allows to directly record from your laptop and makes it simple to use and efficient as well. There is a paid version as well which provides the advanced features of totally high level. It would allow you to expand your collection of amp models, cab sims, and stomp boxes. This software has tones which are actually very authentic and impressive for any user using it. The level of customization is also advanced and high level. It is good rated software by the audience.

Platforms: Windows

3. Klevgrand

Klevgrand, the Stockholm-based production company has certainly carved a name for itself with a slew of fine-sounding instruments featuring some rather esoteric interfaces. Loaded with over 70 presets, the big fun here is the way we can morph between sounds using a nifty sphere-like object at the center of the app. Though this software is not so sufficient accessible synthesizer. This is also not so for the beginners. It will be really hard for the novice users to use this. Though it does have some unique feature with awesome functionalities. If you understand using this software, it may happen that you don’t want to use any other software. It has a rock-solid design which is attractive at the same time.

Platforms: Windows, Mac

4. BandLab Cakewalk

This software was once the first ever digital audio workstations but its development was halted last year due to some reasons. It was formerly called as the Cakewalk SONAR. It can be said to be a complete package for the music production. Also a great tool as software for creative writing for songs and instruments. It has advanced level mixing and mastering tools with unlimited MIDI and audio tracks which can help in your own recordings and music. It is a full tool for mastering and editing tools. For music makers and cloud music creation platform has made the download free. Also, this allows you to share your work directly to social media namely YouTube, Facebook, SoundCloud, and many more other sites and with your friends and family members.

Platforms: Windows

5. FL Studio

This software can be counted in the list of best midi software. It is a Digital Audio Workstation (DAW). It is also called software for music production which is continuously in development. This software allows you to use many amazing features. You can do multi-recording, sequencing capabilities and also has many other effects and music mixing as well. After the download when you start using this you will realize how fast is this and capable as well. This is easy for novice users as instructions are provided. It has great support and always keeps you updated whenever needed. In this software, the sound quality and production value are of professional level. It definitely once gives it a try kind of software, it’s so good and simple.

Platforms: Windows

6. GarageBand

It is one of the best midi software for Mac. Basically, it is a music making software which supports both Mac OS and Windows as well. It has a large database of the sound library with some really amazing instruments. It contains presets for guitar and voice and has a virtual session as well for drummers. This is such a sufficient software as it provides lessons for piano and guitar classes. It such awesome software. Even for beginners or novice users, it is the best tool for you as well for its simplicity. It allows you to access the recording part and helps you in recording and making music too. You can record everything with so much of ease with any type of instrument. It allows you to upload and share the same on social media sites and with your friends and family members. It has the best editing tools and has editing and modifying options as well. You will love to know that this software actually doesn’t need wi-fi to run or use this. To create music this is the best midi software.

Platform: Mac, Windows

7. Sweet MIDI Player

This is an amazing tool for making music and recording and it doesn’t need wi-fi to do any such task. The recording is made very simple and easy by this software. You can directly upload your work to social media. You also have the option of modifying and editing your recordings. This is very good software. Very good for the auditioning of many different kinds of MIDI files. If you are actually running out of time and you are at home then you can use this app to make your changes to it while out and on your phone and when you are back home you can connect back to your Mac OS desktop and the changes you made on your phone will still be there. It is a very convenient software. Very simple interface and easy to use.

Platform: Mac Csr usb bluetooth driver for mac.

8. Logic Pro X

This is a very powerful software which allows you to suite according to your needs and requirements. It is a full-fledged and very professional type and level software studio which comes with complete good quality virtual instruments, audio tools, a very huge library of loops and synthesizers. It has a paid version as well with more advanced features having a high level of functionalities. It has very impressive tools and offerings for all professionals as well as for the beginners. It has almost about 255 tracks for each type of composition and with the ability to lay down multiple tracks at the very same time. Many different effects can be applied during the manipulation of the tracks when they are playing. It is very easy to use the software. A free version is available for all the basic features. The editing features though are bit complex and powerful giving control over MIDI patterns. Various aspects of the audio tracks are there available and automate changes are also available. There are no timing issues and also it avoids making erroneous mistakes. Provides many creative and different ideas.

Platform: Mac

9. Ableton Live 10

The other MIDI software is more traditional based and somewhere or the other this software called as Ableton Live 10 is totally unique and different software. Definitely, this comes under the list of best midi software. This software helps you to arrange the parts sequentially on a timeline and also allows you to create shorter clips of music. It is very easy to use and is an ideal software which every single person would want. Jamming is also possible in this software in few simple steps. You can be your own DJ while you use this app.

Platform: Mac, Windows

10. Reason 10 Intro

This software supports almost all the platforms and provides learning lessons. Even for the beginners and novice users, this is the best app due to its simplicity and ease of use. It is fun to use software and supports high-quality music. This has some of the best features which we can’t even think of. A different and huge amount of design choices are provided. It has some wonderful effects which we can’t simply ignore. It also allows you to build detailed drum patterns and new textures as well. It has a large number of editing features which makes it interesting.

Platform: Mac, Windows

WRAPPING UP!!

Coming to the conclusion, we can all say is don’t let the inner self be inside anymore. Take out your creative self and make this world your own stage. You can download them from the links given. So what are you thinking and waiting? Go and download it for some of the best MIDI software are amazing and exactly your type and your creativeness.

E-mu Emulator II (1984)

The Emulator is the name given to the series of digital sampling synthesizers using floppy disk storage, manufactured by E-mu Systems from 1981 until the 1990s. Though not the first commercial sampler, the Emulator was among the first to find wide use among ordinary musicians, due to its relatively low price and fairly contained size, which allowed for its use in live performances. It was also innovative in its integration of computer technology. The samplers were discontinued in 2002.

Impetus[edit]

E-mu Systems was founded in 1971 and began business as a manufacturer of microprocessor chips, digital scanning keyboards and components for electronic instruments. Licensing this technology gave E-mu ample funds to invest in research and development, and it began to develop boutique synthesizers for niche markets, including a series of modular synthesizers and the high-end Audity system. In 1979, founders Scott Wedge and Dave Rossum saw the Fairlight CMI and the Linn LM-1 at a convention, inspiring them to design and produce a less expensive keyboard that made use of digital sampling.

Originally, E-mu considered selling the design for the Emulator to Sequential Circuits, which at the time was using E-mu's keyboard design in its popular Prophet-5 synthesizer. However, soon afterward, Sequential Circuits stopped paying E-mu royalties on its keyboard design, which forced E-mu to release the Emulator itself.

Products[edit]

The Emulator[edit]

E-mu Emulator (1981)

Finally released in 1981, the Emulator was a floppy disk-based keyboard workstation which enabled the musician to sample sounds, recording them to non-volatile media and allowing the samples to be played back as musical notes on the keyboard. The 5¹⁄₄' floppy disk drive enabled the owner to build a library of samples and share them with others, or buy pre-recorded libraries on disk.

The Emulator had a very basic 8-bit sampler – ; it only had a simple filter, and only allowed for a single loop. The initial model did not even include a VCAenvelope generator. It came in three forms: A two-voice model (only one of these was ever sold), a four-voice model, and an eight-voice model. When the original Emulator was turned on the keyboard was split. It was designed to be played in split mode, so playing the same sound on the full keyboard required loading up the same sound floppy disk in each drive.

Stevie Wonder, who gave the sampler a glowing review at the 1981 NAMM convention, received the first unit (serial number '0001'). Originally 0001 was promised to Daryl Dragon of Captain & Tennille, because he had been a loyal E-mu modular system owner for a long time before that. However, Wonder was more famous. In 1982, the Emulator was updated to include a VCA envelope generator and a simple sequencer, and the price was lowered. Approximately 500 units were sold before the unit was discontinued in early 1984. Other prominent users of the original E-mu Emulator were New Order and Genesis, and it was among the many groundbreaking instruments used in the production of Michael Jackson's Thriller album. Composer and Writer David Frank of The System used the original Emulator on his productions from Sweat to Don't Disturb this Groove. The Residents, who had gotten the fifth Emulator to ever be produced, used the instrument extensively on their album The Tunes of Two Cities.^[1]

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The Emulator II[edit]

E-mu Emulator II (1984)

E-mu Emulator II+ (supersized picture, front panel decals can be read)

Released commercially in 1984 to huge acclaim, the Emulator II (or EII) was E-mu's second sampler. Like the original Emulator, it was an 8-bit sampler, however it had superior fidelity to the Emulator due to the use of digital companding and a 27.7 kHz sample rate. It also allowed more flexibility in editing and shaping sounds, as resonant analog filters were added. The EII also had vastly better real time control. It was priced similarly to the original Emulator, at US$7,995 for a regular model, and $9,995 for a 'plus' model featuring extra sample memory. Several upgrades, including a second floppy drive, a 20 MB hard drive, and a 512K memory upgrade were also available. Despite its price tag it was still considered very good value compared to the Fairlight CMI Series II, which, when first released, was priced at $30,000.

The Emulator II has a unique sound due to its DPCM mu-255 companding, divider-based variable sample-rate principle and analog output stages featuring SSM2045 24 dB/oct analogue four-pole low-pass resonant filters. Equivalent output stages in modern samplers perform similar functions purely in the digital domain, and aficionados of the sound of analogue electronics argue that some of this analogue 'magic' is lost.

Several highly respected OEM and third party sample libraries were developed for the Emulator II, including a multitude of high quality orchestral sounds. Many of the EII's original library sounds were sampled from the more expensive Fairlight and Synclavier workstations (the Fairlight's famous 'Sarrar/Arr1' choir sample is called 'DigiVcs' in the E-mu library). This can cause confusion when trying to determine which sampler hardware was actually used on a certain song. A demo of the library sounds can be found on YouTube.^[2] Famous samples include the Shakuhachi flute used by Peter Gabriel on 'Sledgehammer'^[3] and by Enigma on their album MCMXC a.D., and the Marcato Strings heard on many popular '80s records, including the Pet Shop Boys' 'West End Girls'. According to the Pet Shop Boys' Neil Tennant in 'Synth Britannia' on BBC 4 in 2009, every single sound on the track, with the obvious exception of the singers' voices, was made using an Emulator II^[4].

The Emulator II was popular with many musicians in the 1980s, such as early adopter Stevie Wonder, and was used extensively by Front 242, Depeche Mode, Constance Demby, 808 State (on their 1989 album Ninety) New Order, Talking Heads, ABC, A-ha, Tears for Fears, Genesis, Marillion, Paul McCartney, David Bowie, Herbie Hancock, Vangelis, Tangerine Dream, Jean-Michel Jarre, Yes, Whitesnake, OMD, Dire Straits, Stevie Nicks, Mr. Mister, Ultravox, Webstrarna, Visage, Modern Talking and many more. The list is far from complete however as it became the staple sampler of just about every recording studio that could afford one in the 1980s, and thus was used on a multitude of albums at the time.

It was used for a number of film scores as well, such as the Terminator 2: Judgment Day score by Brad Fiedel, many of Michael Kamen's film scores, such as Lethal Weapon and Highlander and almost all of John Carpenter's films in the 1980s. It even featured in the movie Ferris Bueller's Day Off, where Ferris uses the Emulator II to play sounds of coughing and sneezing in order to feign illness on the phone.

In recent years, the Emulator II has risen in popularity due to the resurgence in 1980s pop culture, with new artists wishing to revive the Emulator-based sound. Prices for functioning units have gone up, and websites dedicated to selling the original floppies have now emerged.

The Emulator III[edit]

E-mu Emulator III (1987-1991)

E-mu Emax (1986)

E-mu Emulator IIIXP (1993)

E-mu ESI-32 (1994)

The Emulator III was introduced after the discontinuation of the Emulator II in 1987, and was manufactured until 1991. A rack-mountable version was introduced in 1988.

It featured 4 or 8 megabytes of memory, depending on the model, and it could store samples in 16-bit, 44 kHz stereo, which at the time, was equivalent to the most advanced, professional equipment available. The sound quality was also improved greatly over its predecessors, the Emulator I and II, with quieter outputs and more reliable filter chips. However, the Emulator III was considerably less popular than its predecessors, largely due to its price – at a time when manufacturers such as Akai, Ensoniq and Casio offered samplers at less than $2,000, the Emulator III's use of high-quality components drove the price up to $12,695 for the 4 MB model, and $15,195 for the 8 MB model. E-mu had previously been able to sell its Emulators at around the $10,000 range because the only alternatives were the $30,000–200,000 Fairlight CMI, and the $75,000–500,000 NED Synclavier system. However, times had changed, the technology had become more and more accessible and E-mu was not able to keep up.

Although the Emulator III may not have been a success with working musicians, it did find a place on the records and in the studios of many prominent artists, including Tony Banks of Genesis, Lynda Thomas, 808 state (on their 1991 album Ex:el) (live performance) and Depeche Mode, who used it on their successful 1990 album, Violator.

The Emulator IV & EOS[edit]

E-mu e6400 Ultra (1999)

E-mu E4XT Ultra (1999)

The Emulator IV series of samplers was introduced in 1994. They are compatible with the Emax 2 and E-III program libraries, and later versions can read Akai and Roland CD-ROMs. (Some reports state that only the Ultra versions can consistently load Roland 16-bit samples.). Also, from EOS v4.62 the E4 was able to load Ensoniq ASR libraries (both samples and patches: although a little tweaking was required to obtain the original Ensoniq patch).

The first to be released was the Emulator IV rack which could come with 128 voices and up to 128 megabytes of RAM.^[5] Later users could add a multi-effects processor, additional output sockets and 32 MIDI channels.

These early EIVs had a vastly superior user interface than the Emulator III (which itself reappeared, in all but name and some unnecessary functions, as the ESI32 – ESI4000 range) despite being only three rack units high. The screen worked on a series of windows that were far more informative than the previous system which dated back to the Emax range.

The new operating system became known as the Emulator Operating System or EOS, which was updated regularly, the 48 track sequencer being one of the first updates.

Emu appreciated that not everyone could afford a £5000 ($7,000) sampler or even needed 128 voices or a potential 128 megabyte memory, so a cut down Emulator IV was launched based upon the EOS. This was the e64 and as the name suggests, this unit had 64 voices and could only expand to 64 megabytes. It was quite a bit cheaper than an E-IV but was, for some, a false economy as the e64 was not upgradeable once it left the factory (memory excepted, which was limited to 64 megabytes).

To get around this Emu released the e6400 which could be upgraded to full E-IV status.

Later the e-Synth was introduced: a 128 voice fully expandable EOS sampler which could be expanded to 128 megabytes and had the effects board as standard. It also came with the e-Synth flash ROM, which unfortunately reduced the available sample memory to 64 megabytes. The user could disable the ROM if you needed the full 128. The ROM contained hundreds of pre-made sounds which could be edited like a synthesizer (the same editing features were on the E-IV, e64 and e6400 as well). A number of e-Synth ROMs were made available.

Around this time the e64 was dropped and the internals of the E-IV and e6400 were changed to accept e-Synth ROMs.

Two keyboard versions became available; the E4K and the e-Synth Keyboard. These have unique circuit boards and are not as expandable as the rack units. They can be upgraded to 128 voices, but cannot exactly match the capabilities of the Ultra series.

Creative (formerly Creative Labs) acquired E-MU in 1993, and its influence led to the introduction of the Ultra series of EOS samplers based on the previous rack models. Ultras benefit from increased processing speed due to the 32-bit RISC chip, 20-bit A/D converters and a new 32-bit effects card option, as well as many other minor tweaks and a new V4.0 EOS.

An end-user may upgrade to Ultra status with the exception of an original 1994 E-IV, an e64 or any of the keyboard versions.

Three newer releases of the E4 series overlap with the e6400 and e6400 Ultra. The E4X was an expandable E4, as was the e6400. The E4X had a 500MB hard disk as standard, 64 voices and 4 megabytes as standard, like the e6400. There was also a turbo version launched called the E4XT which was effectively the original EIV (128 voices and 16–128 megabytes of RAM, minus one SCSI port), with a 1 GB hard disk drive.

The E5000 Ultra was £1500 unlike the e6400 and had fewer outputs and connectors – though these could be addressed unlike the previous entry level machine, the e64 (though not the number of voices which remained at 64).

The final version was the Platinum E4 which had all upgrades pre-installed (i.e. a run out model to liquidate remaining parts). It retailed at just over £4200 (with RFX card) against £899 for the E5000. EOS samplers were discontinued in 2002.

Notable players[edit]

The following musicians have played an E-mu Emulator series sampler in their recordings^[6]^[7]^[4]^[8]^[9]^[10]^[11]

Alan Wilder of Depeche Mode/Recoil
Brad Fiedel (Used an Emulator I on The Terminator and an EII on Terminator 2: Judgment Day)
Brent Mydland (Used an Emulator II live with the Grateful Dead in 1985 and 1986)
Capital Inicial played an Emulator II+
China Crisis (on Working with Fire and Steel)
Constance Demby (composed and played Emulator II on Novus Magnificat, 1986)
Covenant use Emulator II+, ESI32 and e6400 in their studio.
Daft Punk have used the ESI-32 sampler for their first few singles and their studio album Homework^[12]
Dave Stewart made extensive use of the Emulator on the 1983 single 'Busy Doing Nothing*
Paul Davis used an Emulator II in his home studio
Deep Purple (live 1985) and in album The House of Blue Light
Depeche Mode – used Emulators I, II, and III in studio recordings and in live performances
Dire Straits played an Emulator II (live)
Genesis used Emulators I, II, and III in studio recordings and in live performances; used Emulator IV in live performances in 1997–98
Giorgio Moroder used an Emulator I for the sitar sound in Paul Engemann's 'Push It to the Limit' and Limahl's 'The Neverending Story'
Jean-Michel Jarre used an Emulator on Zoolook and Revolutions, and an Emulator II in Rendez-vous.
Kraftwerk used an Emulator II on the album Electric Café and a pre-production model on the single 'Tour De France'
John Foxx used an Emulator on his 1981 album The Garden
Jota Quest used an Emulator II+ on the single 'É Preciso (A Próxima Parada)' (2011)
Legião Urbana^{[citation needed]}
Lynda Thomas used an Emulator III during the mid-1990s
Marillion used an Emulator I on the 1983 album Script for a Jester's Tear and for live performance.
Matthew Broderick (as Ferris Bueller) uses an Emulator to play samples of coughing in Ferris Bueller's Day Off
Me Phi Me used for beat sequencing. Emax I and Emax II for strings and woodwinds
Michael Cretu used an Emulator II in 'Samurai' (1985)
Midge Ure of Ultravox/Visage
Michael McDonald an Emulator II is featured on his album No Lookin' Back
Mr. Mister an Emulator II is featured prominently on 'Broken Wings'*
Modern Talking Orchestra Hit on 'Cheri Cheri Lady'
New Order seen changing an Emulator floppy disk during a live performance of 'Blue Monday' (choir sample) on Top of the Pops. The band often used it live and the disk drives would stop working, prompting their keyboard player Gillian Gilbert to hit the sampler stand's leg with a lump hammer which fixed the problem
Nitzer Ebb used an Emulator III
John Fell used an Emulator II and III primarily for drum sounds
Talking Heads used an Emulator heavily in the film Stop Making Sense
Tyro used the Emulator on the album Y by Patch. A Dutch album released in 1983.
Orchestral Manoeuvres in the Dark – Junk Culture album. The 'Mexican Radio' sample included with the Emulator I forms the basis for Junk Culture title track, and Emulator II live
Paul Hardcastle used an Emulator II to create n-n-nine-nine-nine..'19'
Paul Young used an Emulator extensively on his 1982 album No Parlez
Peter Gabriel used an Emulator for the shakuhachi sound in Sledgehammer'
Pet Shop Boys used an Emulator II (notable for Marcato strings sound in 'West End Girls')
The Residents used two Emulator I's, the first having been numbered #005, both in the studio (starting with The Tunes of Two Cities and through much of their 1980's recorded output) and live on their Mole Show tour. They upgraded to two Emulator II's for the 13th Anniversary tour.
Todd Rundgren used an Emulator and overdubbing to create most of his 1985 album, A Cappella
Ryuichi Sakamoto used an Emulator while in YMO and later an Emulator II
Paul Rein used an Emulator II on his album Communicate in 1986
Tears for Fears used extensively on their classic 1985 release Songs from the Big Chair
Simple Minds used an Emulator II
Ultravox played an Emulator II at Live Aid
Vangelis used an Emulator on the soundtrack to Blade Runner. The Emulator samples that feature in a bar-room scene in Blade Runner are identical to OMD's instrumental song Junk Culture.
Stevie Wonder purchased the first production Emulator I
XTC borrowed studio-mates Tears for Fears's Emulator II during the production of their 1984 album The Big Express (acknowledged 'Curt' and 'Roland' in the liner notes).
Yanni used Emulators most notably in Yanni Live at Acropolis
Los Prisioneros used Emulator II in El Baile de los que sobran
Tony Moore of Cutting Crew used several Emulator stock patches including the Shakuhachi opening phrase on 'I Just Died in Your Arms Tonight', as well as the Orch Tune patch at the beginning of 'I've Been in Love Before'.
an anonymous composer for Don Bluth used an Emulator I when composing the atract^{[clarification needed]} music for the video game Dragon's Lair.

References[edit]

^'Mole Trilogy - Historical - The Residents'. www.residents.com. Retrieved January 5, 2020.
^'Emu Emulator II Sound Library Demo'. YouTube. March 8, 2009. Retrieved July 27, 2016.
^'Famous Sounds'. Synthmania.com. Retrieved July 27, 2016.
^ ^a^b'Emulator II at vintagesynth.com'
^'Emu Systems Emulator IV'. Sound On Sound. April 1995. Archived from the original on June 7, 2015.
^'E-mu Emulator Vintage Synth Explorer'. www.vintagesynth.com. Retrieved January 5, 2020.
^'Synthmuseum.com - E-mu : Emulator'. synthmuseum.com. Retrieved January 5, 2020.
^'Emulator II - the famous 80s sampler - Gearslutz'. www.gearslutz.com. Retrieved January 5, 2020.
^'Emulator II on Facebook'
^'E-mu Emulator III Vintage Synth Explorer'. www.vintagesynth.com. Retrieved January 5, 2020.
^'Emulator III at eiiiforum.com'
^'E-mu ESI-32 Vintage Synth Explorer'. www.vintagesynth.com. Retrieved January 5, 2020.