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PPG Wave

The PPG Wave is a groundbreaking series of hybrid analog-digital synthesizers introduced by the German company Palm Products GmbH (PPG) in the early 1980s, best known for pioneering —a method that generates sounds by scanning through a series of single-cycle digital waveforms stored in a table, allowing for dynamic timbral evolution beyond traditional analog subtractive synthesis. Founded in 1974 by innovative audio engineer Wolfgang Palm, PPG initially explored digital sound generation with the Wavecomputer 360 in 1978, an 8-voice system featuring 30 pre-loaded wavetables but lacking analog filtering, which limited its commercial appeal. The true breakthrough came with the PPG Wave 2 in 1981, which integrated digital wavetable oscillators with analog voltage-controlled filters (VCF) and amplifiers (VCA) to warm and shape the otherwise stark digital tones, offering 8-voice polyphony and establishing wavetable synthesis as a viable alternative to analog instruments. Subsequent models refined this design: the Wave 2.2 (1982) added a second oscillator per voice (maintaining 8-voice ) and improved SSM 2044 filters, while the flagship Wave 2.3 (1984) upgraded to 12-bit resolution, 8-part multitimbrality, and optional integration with the Waveterm B sampling for 12-bit capture and editing, enabling users to create custom wavetables from external sources. Technically, the core wavetable system used 64 (each 256 bytes long) per table, with real-time scanning controlled by an envelope generator to produce evolving, metallic, and bell-like timbres that were unprecedented at the time. The PPG Wave's influence extended far beyond its era, shaping 1980s pop and electronic music through adoption by artists such as , , and , and inspiring later instruments like the Korg Wavestation and Waldorf synthesizers—PPG's technology lived on after the company's 1987 closure due to market pressures. Today, its legacy persists in software emulations, modern wavetable plugins, and hardware recreations such as the (released in 2024), underscoring its role as a bridge between analog and digital synthesis paradigms.

History and Development

Origins and Wolfgang Palm

Wolfgang Palm, a and born in 1950, developed an early interest in electronic instruments during the while performing as an in local bands. Holding an engineering degree, he began constructing his own synthesizers, starting with a custom modular system in 1974 to explore analog sound generation techniques. Around 1975, Palm established Palm Products GmbH (PPG) in , , as a dedicated to producing custom and innovative for professional musicians. Initially, PPG concentrated on analog designs, including monophonic instruments and modular components inspired by existing systems like the . By the late , Palm's work shifted toward early prototypes that blended analog and elements, such as the PPG 1002 analog monophonic released around 1975. This period marked PPG's transition from purely analog synthesis to experimentation, driven by Palm's dissatisfaction with the limitations of traditional waveform generation. The pinnacle of these efforts was the Wavecomputer 360, introduced in late 1978 as PPG's inaugural wavetable-based device. It featured 30 wavetables containing approximately 2,000 single-cycle waveforms stored in , enabling polyphonic playback across 4 to 8 voices and storage for up to 70 user sounds, laying the groundwork for advanced digital .

Development of Wavetable Synthesis

, as pioneered by Wolfgang , involves storing a series of single-cycle waveforms in a digital memory table and scanning through them at a controlled rate to generate evolving timbres, differing from traditional analog subtractive that relies on static waveforms shaped by filters to remove harmonics. This technique allows for dynamic sound modulation by transitioning between waveforms, creating sweeps and timbral changes without additional filtering in its purest form. Palm's development of stemmed from the inherent instabilities of analog oscillators, such as tuning drift and inability to store patches reliably, prompting a shift toward storage in the late . By 1977, he had introduced the first commercially available with oscillators, laying the groundwork for more stable sound generation. This motivation aligned with advancing microprocessor technology, enabling precise control over playback. A central innovation was the memory system in the Wavecomputer 360, which held approximately 1,920 individual waves (64 per wavetable across 30 wavetables) organized into wavetables, with scanning speed modulated by envelopes or low-frequency oscillators (LFOs) to produce timbral evolution. This allowed for polyphonic operation with 4 to 8 voices, marking an early application of in a practical . Early implementations faced challenges, including limited 8-bit resolution that resulted in coarse audio quality, necessitating analog components to impart warmth and mitigate digital harshness. These hybrid elements, while addressing sonic sterility, sometimes reintroduced the analog instabilities sought to eliminate.

Launch and Evolution of the Series

The PPG Wave series debuted with the Wave 2 in 1981, marking the first commercial synthesizer to hybridize digital with analog filtering, produced by the German company Palm Products GmbH (PPG). This launch built on earlier prototypes like the Wavecomputer 360, transitioning wavetable technology from research to a fully realized instrument manufactured in . The series evolved rapidly to address user demands and technological advancements. In 1982, PPG introduced the Wave 2.2 at the Musikmesse trade show, expanding the voice architecture for greater sonic flexibility while maintaining the core wavetable engine. By 1984, the Wave 2.3 emerged with significant upgrades, including native implementation for enhanced and multitimbral capabilities allowing timbres across voices. This addition, achieved via a 6840/6850 daughterboard, aligned the series with emerging standards just as the protocol gained traction in the industry. Production of the PPG Wave series, spanning 1981 to 1987, was limited due to high manufacturing costs driven by custom-designed chips and small-scale operations in , resulting in approximately 500 to 1,000 units across all models—specifically around 160 Wave 2, 500 Wave 2.2, and 350 Wave 2.3 units. Key developments included seamless integration with peripherals like the Waveterm sampler, introduced alongside the Wave 2.2 in and upgraded to the Waveterm B by 1984, supporting 16-bit sampling but providing 12-bit resolution for custom wavetables in the Wave 2.3, enabling users to create and load custom wavetables directly into the . These enhancements solidified the series as a modular system, though production ceased in 1987 amid financial challenges for PPG.

Models and Variants

PPG Wave 2

The PPG Wave 2, released in by Palm Products (PPG), marked the debut of the Wave series and established the core principles of digital-analog that defined the lineup. As the foundational unit, it pioneered wavetable-based sound generation in a format, bridging the cold precision of early digital oscillators with the organic of analog components. This offered 8-voice through 8 dedicated digital oscillators, each drawing from 30 preloaded wavetables comprising 64 single-cycle waveforms, for a library of 1,920 distinct digital waveforms in total. The instrument featured a 61-note with for dynamic articulation and channel aftertouch for real-time , enhancing expressive playability. Its design paired these digital oscillators with analog CEM 3320 voltage-controlled filters, which provided low-pass filtering to impart warmth and harmonic richness to the otherwise stark digital output. Priced at approximately £3,232 (equivalent to about $7,000 based on exchange rates), it targeted professional musicians seeking advanced tonal versatility. Despite its innovations, the PPG Wave 2 had notable limitations inherent to its era. It predated the MIDI standard (introduced in ), relying instead on proprietary interfacing for sequencing and control, which restricted integration with other equipment. Additionally, the 8-bit resolution of its generation produced audible artifacts, particularly at higher frequencies, contributing to its distinctive but imperfect sonic character. These constraints underscored the model's role as a pioneering yet transitional design in .

PPG Wave 2.2

The PPG Wave 2.2, produced from 1982 to 1984, represented a significant upgrade over the original PPG Wave 2 by expanding its synthesis capabilities while maintaining the core wavetable architecture. It delivered 8-voice through 16 wavetable oscillators—two per voice—enabling more complex timbres and layered sounds compared to the single-oscillator-per-voice design of its predecessor. A key enhancement was the filter section, which replaced the CEM 3320 analog filters of the Wave 2 with SSM 2044 low-pass filters, offering smoother characteristics and a warmer overall tonal quality. The also incorporated a VCA for precise control, complementing the analog filtering. Further refinements included improved generators supporting ultra-fast attack times for aggressive transients and enhanced routing, with options for LFOs, inputs, and dedicated wheels for pitch and wavetable scanning. These features allowed for greater performative flexibility and depth. Production of the Wave 2.2 addressed artifacts noted in the Wave 2 via refined scanning , which synchronized wavetable index changes to zero crossings for cleaner morphing without clicks or . Retailing for approximately $8,000 to $9,000, the instrument targeted professional musicians seeking advanced hybrid synthesis tools.

PPG Wave 2.3 and Peripherals

The PPG Wave 2.3, introduced in 1984 and produced until 1987, represented the culmination of the Wave series with enhanced expandability and integration into a modular ecosystem. It maintained the core 8-voice of its predecessors while introducing 8-part multitimbrality, allowing of up to eight sounds for complex and sequencing applications. The featured 16 digital oscillators—two per voice—operating at 12-bit resolution when utilizing wavetable enhancements from peripherals, enabling richer manipulation compared to earlier models. A significant upgrade was its full implementation, supporting In, Out, and Thru ports with compatibility for multi-channel , which facilitated seamless integration with contemporary digital setups. The Wave 2.3's ecosystem emphasized modularity through dedicated peripherals that extended its capabilities beyond standalone synthesis. The Waveterm B, released in 1985, served as a computer workstation for advanced waveform creation and sampling, featuring 16-bit recording at sample rates up to approximately 24 kHz and supporting up to 3 seconds of audio capture at lower rates. It included tools for editing samples, computing additive and FM-based waves, generating wavetables, and even basic sequencing, all accessed via a text-based interface. Connected to the Wave 2.3 via the proprietary PPG Communication Bus, the Waveterm B allowed users to create custom wavetables directly from audio samples, which could then be loaded into the synthesizer's 32 onboard wavetables (each with 64 waveforms) for playback at 12-bit resolution through the analog filters. Further expandability came via the EVU (Expansion Voice Unit), a rackmount module that added another 8 voices to the system, effectively doubling polyphony to 16 when paired with the Wave 2.3. Lacking its own or programming controls, the EVU relied on the host or Waveterm B for configuration, with each voice offering adjustable and settings; later upgrades (up to OS V3) added I/O for independent operation. The PRK (Processor Keyboard) provided a performance-oriented controller with a 72-note, velocity-sensitive, weighted , enabling dynamic expression and direct sample playback from stored wavetables. It included output and sequencing functions, connecting to the Wave 2.3 or other s to form a cohesive setup. A complete Wave 2.3 system, including the , Waveterm B, EVU, and PRK, could cost up to approximately $10,000 in the mid-1980s, reflecting its professional-grade expandability and positioning it as a high-end for studio production. This modular approach not only addressed limitations in voice count and customization but also foreshadowed integrated digital-analog hybrid systems in later designs.

Technical Features

Sound Synthesis Engine

The PPG Wave's sound synthesis engine represents a pioneering hybrid approach to wavetable synthesis, integrating digital waveform generation with analog signal processing to produce evolving, metallic timbres characteristic of early 1980s electronic music. At its core, the engine employs digital oscillators that scan through stored wavetables, allowing for dynamic sound morphing controlled by envelopes or low-frequency oscillators (LFOs). This scanning mechanism enables smooth transitions between related waveforms, creating harmonic complexity beyond traditional subtractive synthesis. The oscillator design utilizes 8 to 16 digital oscillators, depending on the model, with each oscillator driven by a phase accumulator architecture for precise playback. A microprocessor serves as the , managing waveform scanning and synthesis tasks alongside support ICs from the 6500 and 6800 series. In the Wave 2, a single oscillator per voice handles generation, while the Wave 2.2 introduces dual oscillators per voice for richer layering, totaling 16 oscillators across 8 voices. scanning is facilitated by a dedicated or LFO, which cycles through wavetable positions to produce timbrally shifting tones, such as the signature "sweeping" effects heard in pads and leads. Factory wavetables consist of 30 sets, each containing 64 single-cycle 8-bit waveforms derived from 128-sample loops stored in , providing nearly 2,000 preset options for . These wavetables can be expanded and customized using the optional Waveterm computer, which allows users to create new tables via sampling, , or editing, significantly broadening the instrument's sonic palette. Polyphony is limited to 8 voices in the core series, supporting unison modes such as dual, quad, and mono configurations that stack oscillators for thicker, detuned textures at the expense of note count. This voicing flexibility enables both polyphonic chords and monophonic leads with enhanced presence. Early models like the Wave 2 and 2.2 employ 8-bit resolution for waveform playback and digital-to-analog conversion, which imparts a distinctive digital harshness and aliasing artifacts, contributing to the instrument's gritty, aggressive character. The Wave 2.3 upgrades to 12-bit resolution for the DAC while retaining 8-bit wavetables, yielding cleaner, more refined tones with reduced digital artifacts while preserving the evolving wavetable essence. As a , the digital oscillators output directly into an path, including VCAs and s, which imparts warmth, , and subtle imperfections to the otherwise crisp digital sources, blending the of wavetable scanning with analog expressiveness.

Filtering and Effects

The PPG Wave series employed analog voltage-controlled s (VCFs) to process the digital wavetable oscillator outputs, imparting a characteristic warmth to the otherwise potentially sterile digital waveforms. These s were 24 dB/octave low-pass designs, capable of up to , which allowed for sweeping tonal effects and emphasis. In the original PPG Wave 2 model, each utilized a Curtis Electromusic CEM 3320 chip, a multimode OTA-based configurable for low-pass operation with voltage-controlled and . Later iterations, including the Wave 2.2 and 2.3, switched to Solid State Microelectronics SSM 2044 chips, which provided a transistor ladder low-pass response known for its smooth, musical character. This analog filtering stage was crucial for blending the digital wavetables with organic overtones, as the hybrid design balanced computational with analog and subtle imperfections. Envelope generators in the PPG Wave handled dynamic control over , , and wavetable scanning. Env1 and Env2 are standard ADSR (, , sustain, release) envelopes implemented for and shaping via voltage-controlled amplifiers (VCAs), with times up to 14 seconds and /release up to 30 seconds. Env3 is a dedicated AD (, ) envelope assigned to scan the wavetable position, enabling evolving timbres by sequentially advancing through waveform partials during the note's lifecycle, which could be triggered by keyboard velocity or aftertouch for expressive variation. This scanning mechanism, combined with the filter's response, produced fluid, morphing sounds distinct from static waveforms. Effects processing in the PPG Wave was minimal and integrated into the synthesis architecture rather than dedicated digital units. Basic chorus effects were achieved through detuning the dual oscillators per voice, with fine-tune controls allowing subtle pitch discrepancies (-1 to +2 semitones in steps) that created spatial depth and movement when panned across stereo outputs. The system lacked built-in reverb or delay, relying instead on external processors for ambient enhancements, which was typical of early polyphonic synthesizers focused on core tone generation. This approach emphasized the instrument's raw, versatile sonic palette, where analog filtering provided the primary coloration and modulation depth.

User Interface and Controls

The PPG Wave series featured a hybrid user interface combining analog-style tactile controls with digital editing capabilities, designed for both performance and sound programming. The instruments included a 61-note velocity-sensitive and aftertouch-enabled keyboard, providing expressive playability across five octaves, housed in a sturdy black metal chassis with pitch and modulation wheels styled after the Minimoog for real-time pitch bending and vibrato control. The front panel was divided into two main sections: an "Analog Control Panel" on the left with dedicated knobs for immediate access to key parameters, and a "Digital Control Panel" on the right for more advanced functions. The Analog Control Panel offered hands-on adjustment of core sound elements, including knobs for oscillator mix (Waves-Osc and Waves-Sub for balancing wavetable and sub-oscillator levels), filter cutoff and (VCF Cutoff and VCF Emphasis), envelope generators (ADSR1 for filter, ADSR2 for , and Env3 for wavetable position), and LFO settings (Delay, Waveshape, and Rate). A "Panel" button allowed switching between primary and secondary modes to repurpose these knobs for additional functions like master volume and stereo panning (Basis). This layout emphasized intuitive, real-time tweaking reminiscent of analog synthesizers, despite the digital wavetable core. Editing and display functions were handled via the Digital Control Panel, which included a green backlit two-row, 80-character LCD screen displaying parameter values and cryptic abbreviations (e.g., for program selection or tuning), supplemented by silkscreened labels on the panel for quick reference. A and 10-button "Display Select" pad enabled navigation through modes such as program recall, sequencer operation, and basic wavetable selection, while patch memory—storing up to 200 sounds—was managed via a cassette interface for data dumping and loading in early models like the Wave 2 and 2.2, lacking at launch. The Wave 2.3 introduced full In, Thru, and Out connectivity with an 8-channel implementation, allowing for external sequencing, of parameters like filter cutoff, and multitimbral assignment of its eight voices to different channels. The overall workflow prioritized real-time performance, with direct knob control enabling seamless wavetable scanning—where the Env3 or LFO could morph waveforms during playback—and modulation via the wheels, though limitations included the absence of patch naming (sounds were numbered only) and reliance on the Waveterm peripheral for deeper like custom wavetable creation. This design facilitated rapid but required familiarity with to decode display prompts, balancing accessibility with the era's digital constraints.

Commercial Reception

Market Introduction and Success

The PPG Wave series was introduced in 1981 by Palm Products GmbH (PPG), marking a significant advancement in synthesizer technology through its hybrid digital-analog design. The initial model, the Wave 2, debuted as an eight-voice instrument that combined with analog filtering, positioning it as a premium alternative to established analog synthesizers like the Sequential Circuits , which dominated the market at the time. Priced between $7,000 and $10,000 per unit, the PPG Wave targeted professional musicians and studios, reflecting its status as a high-end despite the economic barriers for many users. Production was limited, contributing to the series' reputation as a in the landscape. These numbers were bolstered by endorsements from recording studios, which praised the 's versatility and helped drive demand among session players. The commercial success of the PPG Wave stemmed primarily from its novel engine, which enabled rich, evolving timbres ideally suited for the emerging pop and electronic music genres of the early . This feature set it apart from purely analog competitors, offering digital precision with analog warmth that appealed to producers seeking distinctive sounds for recordings. Adoption was strong in both and North markets, where the instrument's approach facilitated its integration into professional workflows. Distribution occurred mainly through specialized music equipment dealers, such as those catering to high-end studio gear, which ensured targeted reach to discerning buyers despite the premium pricing. This strategy sustained high demand from professional musicians, even as the cost limited broader consumer access, cementing the PPG Wave's reputation as a success in the landscape.

Decline and Company Closure

By the mid-1980s, PPG faced intensifying competition from more affordable digital synthesizers and samplers that eroded its market position. The 1983 release of the , priced at around $1,995 and offering 16-voice with synthesis, appealed to a broader range of musicians compared to the PPG Wave's $7,000–$10,000 price tag, making less accessible amid the shift toward cost-effective digital alternatives like the DW-8000 and Ensoniq ESQ-1. Similarly, the rise of samplers such as the , despite its higher cost, highlighted the growing demand for digital waveform manipulation, further pressuring PPG's hybrid analog-digital niche. Internal challenges compounded these external pressures, including high research and development costs for ongoing innovations and limited initial implementation. Early PPG Wave models lacked connectivity until the introduction of the Wave 2.3 in , and even then, the protocol's basic integration hindered seamless integration with emerging digital workflows, delaying adoption in professional studios. expenses remained elevated due to the custom wavetable , contributing to financial strain without corresponding volume sales to offset them. Sales, which had been strong during the instrument's 1981–1984 peak, declined sharply by 1985 as market preferences shifted, leading to reduced output and failing revenues. With no major new products to revitalize the lineup, PPG ceased operations in 1987. The company's assets were subsequently sold, and founder departed the firm following the closure.

Legacy and Influence

Notable Users and Musical Impact

The PPG Wave synthesizer found widespread adoption among prominent artists in the 1980s, shaping the sonic landscape of electronic music production. incorporated the instrument into his recordings during this period, leveraging its wavetable capabilities for distinctive timbres that blended digital precision with analog warmth. Similarly, extensively used the PPG Wave during their 1984-1986 tours and studio work, with band member describing it as a "sensitive, delicate, bloody difficult beast" that contributed to their evolving cold, metallic soundscapes. , pioneers of electronic music, integrated PPG synthesizers into their atmospheric compositions, using the PPG Wavecomputer 360 on (1980) and the PPG Wave on (1981), where it enhanced their signature sequencer-driven soundscapes. The instrument's influence extended to synth-pop and genres, where its wavetable scanning technique enabled dynamic, evolving pads and leads that became hallmarks of the era. For instance, a-ha's 1985 hit "" featured PPG Wave elements in its bell-like lead and bass lines, programmed by producer Alan Tarney to create the track's energetic, layered synth textures. employed the PPG Wave on albums such as (1984), using it alongside sampling via the Waveterm to develop electro-funk sounds that pushed the boundaries of industrial and aesthetics. Rush's utilized the PPG Wave 2.3 on Power Windows (1985), connecting it to a system for complex keyboard arrangements that added digital depth to the band's sound. also adopted the PPG Wave 2.2 around 1983, incorporating it into sessions that bridged soul and electronic experimentation. In major studio productions, the PPG Wave served as a versatile tool for over a dozen high-profile artists, including , , and , facilitating innovative sound design in hits that dominated programming. Its role in these contexts highlighted its studio utility for crafting intricate, multi-timbral layers without relying solely on traditional analog methods. Culturally, the PPG Wave bridged the analog-to-digital transition in music, enabling complex, shimmering textures that defined the era's visual and auditory synergy, from anthems to electronic film scores. This hybrid approach influenced the genre's shift toward more immersive, programmable soundscapes, cementing the instrument's legacy in innovation.

Successors and Emulations

Following the closure of Palm Products GmbH in 1987, emerged as the primary successor to the PPG Wave's legacy, beginning with the synthesizer released in 1989. Developed under the guidance of PPG founder Wolfgang Palm, the integrated wavetable technology on a custom chip, maintaining the hybrid digital-analog architecture of the original PPG Wave by pairing digital oscillators with analog filters and VCAs for warm, evolving timbres. This rackmount design streamlined the PPG's concepts while adding connectivity for enhanced integration into contemporary setups. Waldorf continued evolving the PPG lineage through subsequent hardware, including the Blofeld synthesizer introduced in 2007, which combined from the with additional engines for greater versatility, retaining the hybrid modeling approach and expanding to 25 voices. The series, launched in 2019 but building directly on Blofeld principles, further refined wavetable morphing with five synthesis algorithms, analog filters, and multitimbral capabilities supporting up to 16 parts, ensuring the PPG's digital-analog hybrid sound remained viable in modern production. Key features carried over across these instruments included integration for precise control and multitimbrality, allowing layered performances that echoed the PPG's innovative signal flow. The transition to software emulations accelerated in the and amid growing scarcity of vintage PPG hardware, which became rare and costly due to limited production runs. Waldorf's PPG Wave 2.V, released in 2000 as one of the earliest VST plugins, faithfully recreated the Wave 2.3's 32 wavetables with 64 waveforms each, virtual analog filters, and 16-voice , making the PPG sound accessible without physical units. This marked a pivotal shift toward digital modeling, driven by the need to preserve the technology as original hardware diminished in availability. By 2011, Waldorf advanced this with the PPG Wave 3.V , co-developed with Wolfgang Palm to enhance authenticity. It expanded to 256 —incorporating the original 24 plus user-editable ones—and introduced 8-part multitimbrality with MIDI-learn functionality, while preserving the hybrid digital-analog modeling for aliasing-rich, glassy tones characteristic of the PPG era. These emulations bridged the gap from hardware scarcity to software ubiquity, sustaining through the early .

Modern Revivals and Recreations

In recent years, the PPG Wave's legacy has seen significant hardware revivals, most notably with the Wave, a announced in 2023 and released in mid-2025. This 8-voice instrument combines digital wavetable generation inspired by the original PPG Wave 2.2 and 2.3 models with analog filters and VCAs for warm, versatile sound shaping. Priced under US$1,000 at approximately $599, it offers accessible entry into classic wavetable sounds through features like 30 factory wavetables and user presets. version 1.0.11, released in April 2025, enhanced modulation capabilities, including a new filter type and up to four filters per voice, further bridging vintage aesthetics with modern usability. Software emulations have also evolved, exemplified by Waldorf's PPG Wave 3.V version 2.0, a VST//AAX plugin released in September 2025 that builds on the original 2014 . This update introduces expanded wavetable libraries, including over 100 new ones, alongside a dedicated wavetable editor for user-created content, enabling deeper customization of the signature PPG scanning waveforms. Drawing inspiration from the Waldorf series, it incorporates features like 8-part multitimbrality for layering up to eight independent sounds across stereo outputs, supporting up to 256 voices depending on CPU power. Priced at an introductory €99 until mid-September 2025 (rising to €149 thereafter), the integrates seamlessly into workstations, facilitating complex arrangements with added effects such as and . The original PPG brand itself revived in 2025 under Wolfgang Palm's direction through d-vices, launching the W2.2x4 module in . This 3U dual wavetable oscillator module faithfully emulates the PPG Wave 2.2's scanning behavior, incorporating all original wavetables alongside sub-oscillators, independent outputs, and CV-controllable parameters for modular integration. These developments—affordable hardware clones, advanced software updates, and authentic modular recreations—have democratized access to PPG Wave technology, reinvigorating interest in its over 40-year-old innovations within contemporary production workflows, from DAW-based composition to systems.

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