Under the brand name VERMONA, the state-owned enterprise VEB Klingenthaler Harmonikawerke developed and manufactured a wide range of electronic instruments and effects. Following the reunification of Germany, these devices were largely displaced by major Western brands—sharing the same fate as many East German consumer goods, vehicles, and food products.

Nevertheless, these instruments have stood the test of time, and exceptional pieces continue to resurface, finding dedicated new owners and collectors. From a technical standpoint, these devices were highly competitive and were regularly exported. The available product range was so comprehensive that it was entirely possible to produce fully-fledged musical pieces using Vermona equipment alone.

The Profen Banquet Hall now offers the unique opportunity to experience an almost complete lineup of the Vermona range in a public exhibition. All devices are fully functional and ready to be explored hands-on by visitors. The exhibition features keyboard instruments such as e-pianos and organs, rhythm machines, and effects units. These specific units come directly from working studio inventories and continue to be used for various music productions.

The Profen Banquet Hall (Festsaal Profen), which features an attached catering service, is located in the municipality of Elsteraue (district of Profen, Markt 14) and has been family-run by the Köllner family for over 30 years. The KÖLLNER Gastronomie team will be handling the on-site hospitality and guest services.

Interested visitors are welcome to explore the exhibition at their own pace. Guided tours are also available, which are highly recommended for larger groups, school classes, or clubs. During a guided tour, individual devices will be demonstrated, and visitors are welcome to ask questions. Please note that guided tours require an advance booking. Your exhibition visit can be perfectly paired with a meal at the Gasthof Zur Eiche restaurant, located directly beneath the banquet hall.

For inquiries, please email: post@zur-eiche-profen.de

Opening Date: June 12, 2026

Featured Instruments on Display:

• Vermona E-Piano
• Vermona SANDY Combo Organ
• Vermona Piano Strings
• Vermona Synthesizer
• Vermona DRM Drumcomputer
• Vermona ER9 Rhythm Machine
• Vermona Formation 1 Organ
• Vermona VM30 Guitar Amplifier
• Vermona regent 1060 Mixing Console
• Vermona E2010 Equalizer
• Vermona Phaser 80
• Vermona DEG500 Delay Effect
• Vermona PDD501 Delay Effect
• Vermona SK86 Digital Keyboard

Additional classic gear from other manufacturers:

• Tesla Studioecho AOS 191 Tape Delay
• PLANET Echo Tape Delay (One-of-a-kind custom unit)
• eko Orchestra Keyboard
• Monacor Reverberation Spring Reverb
• Gefell PM 750 Microphone

Take that same melody across the border into France, and a subtle, beautiful shift occurs. The sun sets, the chaos subsides, and a delicate, thoughtful shroud of melancholy descends. The same core emotion is filtered through a prism of introspection. This isn’t just about sound; it’s a reflection of a deeper cultural divergence in how we process the joys and sorrows of being human. And it is this very divergence that sets the stage for France’s supreme mastery over one of the most powerful and delicate themes in all of storytelling: Youth and Love.

Regardless of worldviews, philosophical leanings, or political systems, a simple truth emerges across the Western world: nobody, but nobody, processes and portrays the exquisite, confusing, and heart-shattering experience of being young and in love quite like the French. And in this particular realm, Paris truly is the undisputed capital of the heart.

This isn’t just about sweeping romantic vistas (though the city of light certainly lends its magic). It’s about a deep, cultural fluency in the language of love. French cinema approaches romance, whether it’s a mature, slow-burning drama or the chaotic whirlwind of teenage life, with an unblinking honesty and a profound sense of je ne sais quoi—that intangible, emotional depth that defies simple explanation. They don’t just depict love; they inhabit it.

The French understand that love isn’t just about happy endings and shared futures. It’s about the yearning, the uncertainty, the ecstatic highs, and the crushing, introspective lows—the very melancholy we hear in their music. This sophistication is perhaps most brilliantly and endearingly demonstrated in their ability to capture the specific, raw state of the adolescent soul.

Look no further than the unparalleled masterpiece that is La Boum (The Party, Parts 1 and 2). Directed by Claude Pinoteau and starring a radiant, young Sophie Marceau, these films are a perfect case study in French cinematic superiority. While American teen comedies of the era were often defined by broad slapstick or idealized portraits, La Boum chose a different path.

It chose reality. It captured the excruciating awkwardness of the first party, the intense and rapidly shifting allegiances of friendship, and, most crucially, the absolute, all-consuming importance of first love. La Boum didn’t mock the emotional storms of teenagers; it treated them with the same dignity and weight as any adult drama.

Marceau’s performance is legendary precisely because it wasn’t a performance of a “teenager.” It was adolescence. The film captured the specific melancholy that exists at that perfect point between childhood and adulthood—the feeling of being on the precipice of everything, scared and thrilled and heartbroken all at once. That ability to render the hyper-specific, fleeting vulnerabilities of youth into something timeless is what separates French cinema from the pack.

It’s a masterclass in emotional cartography, mapping out the territories of the heart with a sensitivity that can only be found in a culture that truly values the art of feeling. In a world where cinematic love is too often simplified or idealized, France stands apart, offering a rich, complicated, and utterly beautiful mirror to the most essential human experience. They understand that love, like their music, is best appreciated in all its complex, and perfectly imperfect, glory.

• Timeless Sound Aesthetics: The sound palettes of these instruments are meticulously designed, offering a wide array of sounds that blend harmoniously into a variety of musical genres. Whether it is warm, analog basses, sparkling arpeggios, or atmospheric pads—these synthesizers offer a sonic diversity that even modern software instruments often fail to achieve.
• Solid Construction: 1990s synthesizers were often built with robust components, contributing to a long lifespan.
• Deep Synthesis Architectures: The complex synthesis engines of these instruments allow for precise sound design and offer numerous possibilities for modulation and sound shaping.
• The Nostalgia Factor: For many musicians, these synthesizers are linked to specific musical eras and evoke nostalgic feelings. The characteristic sound of these instruments is often perceived as authentic and unmistakable.

Popular Models and Their Strengths

• Korg M1: The M1 is renowned for its versatile sound library, which covers a wide range of instruments and effects. Its AI (Advanced Integrated) Synthesis allows for flexible sound shaping and seamless integration of samples.
• Roland JD-800: The JD-800 stands out with its warm, analog-like sound and extensive modulation capabilities. It is particularly famous for its thick basses and its capacity for dramatic sound transformation.
• Roland JV-1080: The JV-1080 offers a combination of analog and digital sound generation and is well-known for its versatile effects and massive sound library.

Why Are These Synthesizers Still Relevant Today?

• Complementing Modern Workflows: Classic synthesizers can complement modern, DAW-based productions with unique tonal colors and character.
• Inspiration for New Music: The sound of these instruments can serve as inspiration for new musical ideas and lead to innovative productions.
• Collector’s Value: Some models hold high collector’s value and are highly sought after by both musicians and collectors.

Conclusion

Synthesizers from the early ’90s are more than just historical artifacts. They are powerful tools that continue to play an important role in modern music production. Their combination of classic sound, solid construction, and deep synthesis makes them indispensable companions for any musician searching for unique and inspiring sounds.

Our best example: The Yamaha PSS-390.

From Childhood Bedroom Memory to Sound Design Tool

In 1991, priced at 399 DM, the PSS-390 was a classic home keyboard for beginners. When we later upgraded to professional workstations like the Yamaha SY55 or the Korg X3, the little plastic device vanished from our radar—just as it did for so many others.

Yet years later, our professional foundation reminded us of the architecture slumbering beneath that unassuming plastic housing: a pure, two-operator FM synthesis engine with sliders for direct access to the frequency spectra.

Old Knowledge as an Effect Catalyst

We went out of our way to reacquire a PSS-390 a few years ago. Not out of nostalgia, but as a precise tool for modern sound design. The trick isn’t just the device itself, but the way we integrate it into our signal chain:

• The Chain: The signal from the “cheap” keyboard is routed through a high-end, analogue effects chain.
• Vintage Refinement: We utilize genuine vintage phasers, analogue delays, and a physical spring reverb.
• The Result: By combining the sharp digital edge of FM with the harmonic distortion of rare analogue gear, we create sounds that come dangerously close to a legendary Yamaha DX7—but with a texture and unpredictability that no standard preset in the world can replicate.

What Does This Mean for Our B2B Clients?

This approach is the ultimate expression of our philosophy: technical expertise trumps big budgets.

• Exclusive Sound Assets: We deliver sounds that cannot be found in any commercially available sample pack. We “build” sounds from sources that others have long since thrown away.
• Efficiency Through Knowledge: We know exactly which frequencies of a budget microchip need to be boosted to make them shine in a professional production (e.g., for software notification sounds or gaming atmospheres).
• Creativity Without Limits: We refuse to be restricted by industry standards. If a 30-year-old toy keyboard provides the perfect fundamental tone for your project, we will use it—and refine it with the expertise gained from three decades of audio production.

In the end, the only thing that matters is what comes out of the speakers. Whether the source was a €5,000 synthesizer or a 399 DM home keyboard is irrelevant, as long as you master the mechanics behind it.

We hear the potential where others only see plastic.

For nearly three decades, we have been dedicated to music, art, and creativity at the very same address.

A Pioneering Spirit as a Quality Benchmark

For our B2B partners—ranging from agencies to software developers—this date is more than just a number. It is proof of continuity and reliability. In an industry where startups come and go, and domains often disappear faster than they were registered, we represent a rare form of digital permanence.

• Pioneers, Not Latecomers: We haven’t just watched the evolution of digital production; we have actively shaped it from day one. Anyone who was already active online in 1997 has learned to adapt without losing their identity.
• Knowledge with Depth: Our long-standing web presence reflects our way of working. We don’t jump on every trend; instead, we preserve what has substance—whether it is our proven Cubase infrastructure or our exclusive Vermona collection.
• A Mature Network: Nearly 30 years under the same banner also means a network of contacts and experience that cannot be “bought” or replaced by an algorithm.

Why This Matters for Your Project

When you collaborate with us today, you benefit from a depth of experience that reaches far back before the era of quick apps and social media hype. We know the mechanics behind the curtain—in the studio just as much as on the web.

• Long-Term Partnership: Our history proves that we are here to stay. We will still be here for you and your projects in five or ten years.
• Credibility and Security: In an age of fake profiles and short-lived online phenomena, our domain—established in 1997—offers the security of a genuine, tangible institution.
• Creativity with a Foundation: Our work is the result of a 30-year evolution. We combine the pioneering spirit of the late ’90s with the precision of modern, high-end production.

Committed to Tradition

We celebrate nearly 30 years of digital presence not as a look backward, but as a promise for the future. We remain true to our core: professional audio production, technical expertise, and a creative vision that outlasts the zeitgeist.

We invite you to become a part of this story. Let us create soundscapes together that will still endure decades from now.

This Device is Not a High-Fidelity Wonder

…but rather an experimental sound station. It delivers metallic, dense textures that are perfectly suited for industrial, ambient, or percussive experiments (like our condom samples).

Materials (Shopping List) for the €50 Plate Reverb

Wood & Metal:

• Wooden slats: approx. 3–4 pieces (Dimensions: 2 x 50 x 200 cm)
• Trapezoidal metal roofing sheet: 100 x 100 cm (aluminum or galvanized steel)
• Accessories: Wood screws, metal brackets, 4 tension springs with eyelets, 4 screw hooks (with wood thread), metal screws, and nuts.

Electronics & Audio:

• 1 surface transducer (Exciter): 20 to 30 watts (acting as the “transmitter”)
• 2 to 6 piezo pickups: (acting as the “receivers”)
• Connectors: Several jack sockets (mono), some wire/stranded wire, adhesive tape.

Tools:

• Cordless screwdriver, drill, soldering iron, pliers.

DIY Guide for the €50 Plate Reverb

Step 1: The Frame (The Skeleton)

First, build a sturdy frame from the wooden slats with an inner dimension of 110 x 110 cm.

Screw the slats together using metal brackets.

Stability Trick: Screw short cross-pieces (feet) onto the underside of the frame. This keeps the frame stable and prevents the wood from warping easily.

Step 2: The Suspension (The Decoupling)

Screw the 4 screw eyes (hooks with wood thread) into the inside corners of the frame.

Drill a hole into each of the four corners of the corrugated/trapezoidal sheet metal.

Hang the sheet metal inside the frame using the tension springs.

Important: The metal sheet must swing freely and must not touch the wood anywhere. The springs ensure that impact noise from the floor is minimized and allow the metal sheet to develop its own resonance.

Step 3: The Driver (Input)

Drill a hole into the metal sheet (in the center, or slightly offset for different resonance modes).

Screw the surface transducer (tactile transducer) firmly onto the metal sheet.

This is your “Input.” The signal from the mixing console (Aux Send) is fed in here. Since the transducer requires power, it is recommended to place a small, inexpensive Class-D amplifier in between.

Step 4: The Pickups (Output)

Now the piezos come into play.

Attach the piezo elements to various spots on the metal sheet using tape.

Experiment here: It will sound different in the troughs of the corrugated sheet compared to the ridges.

Solder the piezos to the jack sockets, which you can mount on a small wooden board attached to the frame.

The Concept: Shaping Sound Through Density

The unique aspect of this setup is the use of multiple piezos. Because the corrugated sheet metal generates complex reflection patterns due to its shape, each piezo captures the reverb with a time delay and a distinct tonal character.

Pro Mixing Tricks:

Route the individual piezo signals back into your mixing console separately.

• Panning: Pan two piezos hard left/right to create a wide stereo image.
• Summing: Blend multiple piezos together to “thicken” the density of the reverb.
• EQ Ducking: Since corrugated metal is prone to metallic “clattering,” slightly cut the midrange frequencies on your EQ to simulate a deeper, darker space.

Don’t expect a Lexicon-style reverb. What you get instead is a unique, mechanical effect that is alive. It reacts to the dynamics of your music, physically vibrates in the room, and gives your productions an organic texture that no plugin can “easily” replicate. It is ideal for anyone looking for the beauty in imperfection.

Notice: We offer guitar tracks made with the (Vintage) Virtual Guitarist for your production. Contact us!

There was a time in music production when “guitar on a computer” meant you either had to be able to play it yourself or desperately try to create some semblance of realism using rigid MIDI samples. But then, in 2002, everything changed. A plugin stepped onto the stage and altered the way we write songs forever: the Steinberg Virtual Guitarist (VG).

The Secret of the “Real” Sound

What made Virtual Guitarist so special? While modern plugins try to calculate every single string individually, the development team at Wizoo took a different approach: real phrases.

Instead of recording individual notes, professional guitarists were brought into the studio to record entire rhythmic patterns (slices). These were cleverly embedded into an engine that automatically adapted them to any tempo and key. When you pressed a chord on your keyboard, the plugin started “strumming” away—complete with all the grit, string squeaks, and dynamics you would otherwise only get from a live musician. For the average listener, the difference in the final mix was simply unnoticeable.

The Legend: Acoustic & Electric Edition

The Virtual Guitarist came in two flavors:

• Acoustic Edition: The ultimate weapon for ballads and campfire vibes. Everything from 6-string steel guitars to nylon guitars was included.
• Electric Edition: The go-to tool for pop and rock. With integrated effects like wah-wah and distortion, you could dial in anything from clean funk rhythms to roaring rock chords.

History: The Rise of a Revolution

The story began in Bremen, Germany, at a company called Wizoo, led by minds like Peter Gorges. They realized that musicians didn’t want “guitar samples”—they wanted a “guitarist inside the computer.”

• 2002: Release of Virtual Guitarist 1. It hit the market like a bombshell and instantly became a standard in almost every project studio.
• 2005: Virtual Guitarist 2 was released. It brought an even larger library, more styles, and the long-awaited “Part Editor,” which finally allowed users to tweak the rhythms in detail.

It was the golden era of VST plugins. The Virtual Guitarist was the flagship product of the close cooperation between Steinberg and Wizoo. It seemed as though this plugin would occupy the throne of accompaniment instruments forever.

The End: A Political Earthquake

Why can’t we just buy Virtual Guitarist in stores today? Why is there no Version 4 or 5 for Windows 11?

The end did not come from technical failure, but rather from a corporate earthquake. In 2005, Wizoo was acquired by Digidesign (now Avid, the makers of Pro Tools). This strategic buyout had fatal consequences for Steinberg users:

• Rights Freeze: The technology behind the engine now belonged to a direct competitor. Steinberg lost the rights to the plugin’s core infrastructure.
• Development Halt: Avid had no interest in continuing to develop plugins for the competing Cubase platform. Work on Virtual Guitarist was frozen.
• The 64-Bit Wall: When the computing world transitioned from 32-bit to 64-bit, there was no one left to update the VG’s code. The plugin became “legacy software.”

What Remains?

Today, the Virtual Guitarist is a rare treasure. Anyone who still owns an old Windows XP system running something like Cubase SX3 or Cubase 5 guards it like a valuable vintage car. Although the original creators released new guitar plugins years later under the company UJAM, the original from back then—with its very special early-2000s sonic character—remains unmatched.

The Virtual Guitarist was more than just software. It was proof that technology can have a soul when you put real musicians at the heart of development.

In February 2011 , we did something curious and fun. When you try to produce unusual sounds, you come up with all sorts of ideas. There was a condom lying around in the studio. Somehow , the idea arose of how long you could stretch it. Suddenly , the thing looked like a guitar string , and it was plucked. Basically , it was already clear what was coming next.

We sampled the condom in every possible way. Since 1997, we ‘ve been releasing techno in all its variations under the project chrom.o.som , and this led to a track consisting solely of this sampled condom . For some reason, this idea was shelved. After a few years, we researched whether a condom had been sampled in the music world, where by then everything seemed to be sampled. We found nothing. Even today, in 2026, no one has copied it. Therefore, it was a unique idea.

There is a “Free Sample Pack” with 22 sounds available for download. Download

The complete version “Condomophone Sample Pack – 53 Sounds (9.00 EUR)” can be ordered on the “ Download ” page.

One of chrom.o.som ‘s first tracks was “chromosom” from 1997. This track is also a kind of artwork with special characteristics, as new versions are released at longer intervals.

If you are tired of sterile VST reverbs and looking for a shimmer that sounds like a haunted industrial hall, this project is for you. We are building a “Plate” Reverb using affordable materials from the hardware store. It’s not a Lexicon, and it’s not meant to be—it’s an electromechanical instrument designed for experimental textures and metallic grit.

The Concept

Most professional plate reverbs use a massive, flat steel sheet. We are breaking the rules by using a Trapezoidal Roofing Sheet. The ridges change the way sound waves propagate through the metal, resulting in a complex, dense, and slightly “trashy” reverb tail that is perfect for industrial, ambient, or lo-fi productions.

Shopping List & Tools

Hardware Store Materials:

• Wooden Slats: (e.g., 2x50x200 cm) for the frame.
• Corrugated Trapezoidal Sheet: (100×100 cm, galvanized steel or aluminum).
• 4 Tension Springs: With loops/eyes.
• 4 Eye-Bolts/Hooks: With wood thread.
• Metal Brackets & Wood Screws: For frame stability.
• Machine Screws & Nuts: To mount the transducer.

Electronics:

• 1 Surface Transducer (Exciter): 20W to 30W (This “plays” the audio into the metal).
• 2 to 6 Piezo Pickups: (These “capture” the vibrations).
• Mono Jack Sockets: (6.35mm / 1/4 inch).
• Hook-up Wire & Electrical Tape.

Tools:

• Cordless Drill & Metal Drill Bits.
• Soldering Iron.
• Screwdriver.

Step-by-Step Construction

1. The Heavy-Duty Frame

Build a square wooden frame with an inner dimension of 110 x 110 cm. This ensures a 5cm gap on all sides for the 100×100 cm plate.

• Stability: Screw short pieces of the slats to the bottom corners as “feet” so the frame stands vertically.
• Bracing: Use metal brackets to ensure the frame doesn’t warp under the tension of the springs.

2. Suspending the Plate

The goal is to let the plate float so that vibrations don’t escape into the floor.

• Drilling: Drill one hole in each of the four corners of your trapezoidal sheet.
• Hooks: Screw the 4 eye-bolts into the inner corners of the wooden frame.
• Tension: Attach the springs between the frame hooks and the holes in the plate. The plate should now hang freely in the center of the frame. It should “ring” when you tap it.

3. The “Voice” (Input)

We use a surface transducer (exciter) to turn the plate into a speaker.

• Drill a hole in the middle (or an off-center position for a different character) of the plate.
• Bolt the Transducer firmly to the metal.
• Note: You will need to send your “Reverb Send” signal from your mixer into a small power amplifier (like a cheap Class-D amp) to drive this transducer.

4. The “Ears” (Output)

Instead of one microphone, we use multiple Piezo Pickups.

• Tape the Piezos to different spots on the plate using strong adhesive tape.
• Because the trapezoidal sheet has ridges and valleys, every position sounds different.
• Pro Tip: Place two Piezos on opposite sides for a wide (though phase-coherent) stereo-ish effect.

5. Wiring & Final Touches

• Mount a small wooden board to the side of the frame to hold your jack sockets.
• Solder the wires from the transducer and the piezos to these jacks.
• Keep your wiring neat with tape to avoid “rattling” against the frame.

How to use it in your Mix

1. Send: Auxiliary Send -> Small Amp -> Transducer.
2. Return: Piezos -> Mixer Inputs (Use high-gain/Hi-Z inputs if possible).

The Magic of Multi-Tracking: Since you have up to 6 Piezos, don’t just use one. Bring them all into your mixer on separate channels. Each Piezo captures a different frequency resonance of the trapezoidal sheet. By mixing these signals, you can “thicken” the reverb tail or EQ the “metal” out of specific channels to create a dense, shimmering atmosphere.

Don’t expect a pristine hall. This device is alive. It hums, it rings, and it has a soul. It is a physical object that reacts to your music. For experimental sound design, it’s an absolute goldmine.

Happy Building! Let us know how your “Trapezoidal Reverb” sounds!

Building on your DIY Plate Reverb, the leap from a “science project” to a studio-ready tool often lies in the impedance matching and shielding. Piezos are high-impedance devices; if you plug them directly into a line input, they will sound thin (no bass) and act like giant antennas for hum.

Here is the technical follow-up in English, designed for a blog or forum.

Part 2: Taming the Noise – Pre-Amps & Hum Reduction

If you’ve connected your Trapezoidal Plate Reverb and noticed it sounds “tinny” or suffers from a constant 50/60Hz hum, don’t worry—that’s normal for high-impedance (Hi-Z) DIY builds. Here is how to fix it with a simple Pre-Amp circuit and a grounding strategy.

1. The Simple “Buffer” Circuit

Piezos need a high input impedance (at least 1–10 $M\Omega$) to capture the full frequency range of the plate. Without a buffer, you lose all the beautiful low-end resonance.

The Schematic Concept (JFET Buffer):

You can build a simple “JFET Buffer” using a single transistor (e.g., J201 or 2N5457).

• Components: 1x JFET Transistor, 1x 10 $M\Omega$ Resistor (Input), 1x 10 $k\Omega$ Resistor (Source), 1x 10 $\mu F$ Capacitor (Output).
• Power: 9V Battery (cleaner than a cheap power supply).
• Result: This converts the weak, high-impedance Piezo signal into a strong, low-impedance signal that your mixer loves.

Pro Tip: If you don’t want to solder a circuit, use a DI Box with a high-impedance input or a cheap Acoustic Guitar Pre-amp pedal for each Piezo.

2. Reducing Hum and Interference

Since your metal plate is basically a massive antenna, it will pick up electromagnetic interference (EMI) from your lights, computer, and monitors.

A. The “Grounding the Shield” Method

The most important step is to turn the plate itself into a shield.

1. Ground the Metal Plate: Take a wire and connect it from the metal plate (use a screw/washer) directly to the ground/sleeve of your output jacks.
2. Shielded Wiring: Use “shielded” audio cable (coaxial) for the run between the Piezos and the jacks. Do not use simple copper wire for long distances.

B. The “Hum Destroyer” Circuit (Differential Pair)

If you are using two Piezos, you can wire them in a Pseudo-Balanced configuration to cancel out hum:

• Wire Piezo A to the “Hot” (+) of your XLR or TRS jack.
• Wire Piezo B (flipped upside down) to the “Cold” (-) of the jack.
• Interference that hits both Piezos simultaneously will be cancelled out by the phase inversion, while the mechanical vibration (which hits them slightly differently) remains.

3. Mechanical Hum (Isolation)

Sometimes “hum” isn’t electrical—it’s the sound of your building!

• Soft Mounting: Ensure your wooden frame sits on rubber pucks or old carpet.
• Tension Check: If the springs are too tight, they can transmit vibrations from the frame to the plate. They should be just tight enough to keep the plate from sagging.

Summary of the “Silent” Build:

1. Piezo -> Shielded Cable -> JFET Buffer -> Mixer.
2. Plate -> Earth/Ground.
3. Exciter -> Separate Power Supply (keep the amp power away from the Piezo lines).

With these steps, your experimental reverb will move from “noisy junk” to a “boutique lo-fi processor.” It will still have its unique, dark character, but without the annoying buzz of the modern world.

The Coined Term: Intuition Before Google Search

It all began in 1994. The name “cantarelos” was not created on the drawing board of a marketing agency; it was a spontaneous, melodic word creation. It was a choice made for the aesthetics of the word, for its rhythm and sound—fitting for a music project.

Interestingly, nature provided a charming confirmation years later: it wasn’t until well after the turn of the millennium that it became clear that “cantarelos” means chanterelles in Portuguese. An organic symbol for a project that grew in secret, eventually becoming an established fixture.

1997: When the Internet Was Still Uncharted Territory

While many companies in the late ’90s still dismissed the internet as a passing fad, cantarelos was already among the first commercial users. In an era of acoustic couplers and 56k modems, the course for the digital future was already being set in late 1997 and early 1998.

By registering the domains cantarelos.de, cantarelos.com, and cantarelos.net, in 1997/1998. the project secured a front-row seat in digital history.

A Digital Monument: The Oldest Domains Worldwide

Today, nearly three decades later, these original domains are still actively maintained. In search engine optimization (SEO), people often talk about “domain trust”—at cantarelos, this trust has grown historically.

• Continuity: These addresses have been continuously accessible for over 27 years.
• Rarity: Domains with this registration date are among the oldest commercially used addresses worldwide. They are digital contemporary witnesses of the early web boom.

Why Consistency Matters in Sound Design

This consistency is also reflected in our work. Anyone who was already exploring sounds in 1994 and understood the internet as a platform in 1997 knows that quality takes time. Whether we are exploring resonance chambers in old pianos today or creating complex sample packs from everyday objects, we draw on expertise that is deeply rooted in both analog and digital history.

cantarelos music is not just a name or an address on the web—it is a promise of sonic depth that has endured since 1994.