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

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The Reasons Behind the Success of a One-Hit Wonder

• Perfect Timing, Perfect Song: Often, it is a combination of an exceptionally catchy song and the right release timing.
• Viral Marketing: In today’s digital age, songs can quickly go viral through social media and other digital platforms, reaching a massive audience.
• Distinctive Sound: A unique sound or style can help a song stand out from the crowd and remain memorable.
• Luck: Of course, a healthy dose of luck also plays a role. Sometimes, a single moment is all it takes to change the course of a career.

The Dark Side of Success

• Pressure and Expectations: Following a major success, artists face enormous pressure to repeat it. This pressure can be paralyzing and restrict creativity.
• Comparison: Every subsequent song is inevitably compared to the big hit. This can lead to new music being perceived as less original or less successful.
• Labeling: Artists deemed one-hit wonders are often pigeonholed and struggle to break free from that label.
• A Changing Music Scene: The music industry is constantly evolving. What is trendy today can easily be out of style tomorrow.

Long-Term Impact

The effects of a one-hit wonder on an artist’s career can be highly diverse:

• Financial Security: Even if the success is never repeated, a single hit can provide long-term financial security through royalties.
• End of a Career: For many artists, a one-hit wonder ultimately marks the end of their career in the music industry.
• New Opportunities: A hit can open doors to new projects, such as voice acting for movies or landing commercial jingles.
• Cultural Significance: Some one-hit wonders evolve into timeless classics, leaving a lasting mark on pop culture.

Examples and Case Studies

There are countless examples of one-hit wonders throughout music history—from the doo-wop groups of the 1950s and the disco acts of the ’70s to the pop stars of today. An in-depth analysis of these examples can shed light on the factors that influence a song’s success and why repeating that success is so incredibly difficult.

Conclusion

The phenomenon of the one-hit wonder is a fascinating aspect of music history that highlights both the opportunities and risks of a career in the music industry. While achieving a massive hit is undoubtedly alluring, it is important to remember that the path to sustained success is often paved with many challenges.

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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.

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Arguments for Overproduction

• Market Saturation: The flood of new releases leads to an increasing fragmentation of the music market, making it harder for artists to stand out from the crowd.
• Loss of Quality: Quantity may come at the expense of quality, as content produced under time pressure is often less mature or refined.
• Ecological Impact: While digital music production is less material-intensive than physical production, the energy costs required for streaming services and the manufacturing of electronic devices are significant and cannot be ignored.

Counterarguments

• Democratization of Music Production: The digital revolution has made music production accessible to the masses, leading to greater diversity and innovation.
• Cultural Enrichment: The abundance of music provides an inexhaustible source of inspiration and allows everyone to develop their individual musical identity.
• Economic Aspects: The music industry has changed dramatically over the last few decades. New business models and distribution channels offer artists fresh opportunities to distribute and market their music.

Facets of Overproduction

• Algorithms and Personalization: Music streaming services use complex algorithms to tailor music recommendations to individual user preferences. This can lead to the discovery of new music, but it can also create a filter bubble.
• Artistic Freedom vs. Commercial Success: The pressure to be commercially successful can restrict artistic freedom and lead to conformity in music production.
• Quality Assurance: There is a need to develop mechanisms that ensure the quality of music productions and prevent a flood of low-quality content.

Conclusion

The overproduction of music is a complex phenomenon with far-reaching impacts on the music industry, artists, and consumers alike. It is important to consider both the positive and negative aspects of this development. A balanced assessment requires an interdisciplinary perspective that encompasses artistic, economic, and societal viewpoints.

Potential Solutions:

• Curated Platforms: Platforms that select music based on quality rather than quantity.
• Promoting Diversity: Supporting artists who create innovative and experimental music.
• Sustainability: Developing more sustainable production methods and consumption models.
• Education: Promoting comprehensive music education to increase the overall appreciation for music.

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• 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.

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We see things differently.

We have been working with Cubase since 1998. Recently, we retired a system that accompanied us in daily production for 17 years without a single system crash. Why do we do this? And why have we now, in the year 2026, created a solution that deliberately relies on Windows XP and optimized hardware? A look behind the scenes of our “mindset.”

The Trap of Permanent Innovation

Most creative studios spend 20% of their time on updates, troubleshooting after system migrations, and searching for missing files. Those who constantly switch from Mac to PC, or from Logic to Studio One, lose the most important asset: muscle memory.

Our workflow has been finely tuned for decades. When we have an idea, technology never gets in our way. We don’t have to think about where a function is hidden—our fingers find the shortcuts blindly. This system stability is the foundation of our speed in the B2B sector.

The “Dell Concept”: Rethinking the Proven

No one today would officially recommend setting up a state-of-the-art Dell workstation with an operating system from 2001 and software like Cubase SX3. Yet, that is exactly our solution for the coming decades.

• Sovereignty through Specialization: Through targeted hardware modifications—such as utilizing SSDs and disconnecting unnecessary interfaces—we have created an environment that responds faster than most modern “bloatware” computers.
• Archive Security: We have access to over 600 projects and thousands of sound designs spanning three decades. Because we keep our system stable, we can open a sketch from 2004 today in a matter of seconds and finalize it at a professional level.
• Independence: We do not depend on a cloud server to validate our license, nor do we worry about an update making our old plugins useless. We own our tools—we don’t rent them.

What Does This Mean for Our Customers?

When you hire us, you are not buying the “latest software version.” You are buying experience and guaranteed results.

Whether we are developing an industrial soundtrack or executing a complex orchestral composition, we never start from scratch. We draw upon an organic, digital ecosystem that we maintain ourselves. Our “license to solder” guarantees that we won’t fail due to a faulty cable or a software update while your deadline approaches.

We have regained mechanical control over our production. While others are still configuring their new systems, we are already delivering the first results.

True professionalism doesn’t need version numbers. It needs a foundation.

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Wir gehen einen anderen Weg. Unser Studio beherbergt eine der größten privaten Sammlungen von Vermona-Instrumenten – den legendären elektronischen Geräten aus der DDR. Aber wir sammeln sie nicht für die Vitrine. Wir benutzen sie.

Das Vermona-Erbe: Einzigartigkeit als Asset

Während andere den „Sound von der Stange“ liefern, bieten wir Zugriff auf ein klangliches Ökosystem, das im Westen oft völlig unbekannt war und heute als absoluter Geheimtipp gilt. Die Geräte aus Klingenthal haben einen Charakter, der sich durch kein Plugin der Welt ersetzen lässt.

• Vermona Synthesizer: Ein monophoner Kraftprotz, dessen Filter-Charakteristik eine ganz eigene, fast schon organische Wärme besitzt. Perfekt für markante Leads, die sich im Mix durchsetzen, ohne aufdringlich zu sein.
• Pianostrings: Die Antwort auf die String-Ensembles des Westens, aber mit einem rauen, melancholischen Timbre, das in modernen Trailern oder Sounddesigns sofort eine Gänsehaut-Atmosphäre erzeugt.
• DRM (Digital Drum Machine): Eine analoge Perle. Ihre Percussion-Sounds sind trocken, druckvoll und besitzen eine klangliche Signatur, die sich wohltuend vom hundersten 808-Klon abhebt.
• Phaser 80: Ein Effektgerät, das keinem Standard folgt. Die Phasenverschiebungen sind tief, lebendig und verleihen selbst sterilen digitalen Signalen eine analoge Seele.

Was unsere Kunden davon haben

Warum investieren wir so viel Zeit in die Wartung und Pflege dieser Raritäten? Weil wir für unsere B2B-Partner einen Klangvorteil generieren wollen.

1. Unverwechselbarkeit: Wenn wir ein Sounddesign für eine Software oder ein Spiel entwerfen, nutzen wir Quellen, die Ihre Konkurrenz nicht hat. Ihr Produkt klingt nicht „wie soundso“, sondern nach sich selbst.
2. Handwerkliche Tiefe: Die Arbeit mit diesen Geräten erfordert Disziplin und technisches Verständnis. Diese „Lizenz zum Löten“ – das Wissen um die analoge Schaltungstechnik – fließt direkt in die Qualität unserer Produktionen ein.
3. Emotionale Resonanz: Vintage-Technik transportiert eine Geschichte. In einer Welt voller steriler Samples liefern unsere Vermonas die nötige Reibung und Tiefe, um den Hörer emotional zu binden.

Tradition trifft Produktion

Wir feiern den Minimoog als Meilenstein der Geschichte, aber wir arbeiten mit dem Vermona-Bestand, um die Zukunft Ihrer Projekte zu gestalten. Unsere Sammlung ist kein Archiv der Vergangenheit, sondern ein aktiver Teil unseres Workflows.

Wir bieten Ihnen Zugriff auf ein klangliches Spektrum, das von technischer Präzision bis hin zu nostalgischer Wärme reicht. B2B-Produktion mit Charakter – handgemacht, rar und absolut exklusiv.

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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.

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• chrom.o.som “chromosom” Original Mix 1997
• chrom.o.som “chromosom” Mix 2007
• chrom.o.som “chromosom” Mix 2017
• chrom.o.som “chromosom” Mix 2025

Das Orgelriff stammt von einem EMU Vintyge Keys plus. Die späteren Remakes verwendeten hierfür einen Native Instruments B4 Sound, der dem Original sehr ähnlich klingt. Das Schlagzeug wurde mit einer Novation Drum Station erzeugt. Zusätzliche Sounds kamen von einem Roland JP8000. Aufgenommen wurde mit Cakewalk 3 auf einem günstigen PC mit Opcode 4 Midi Interface.

chromosom ist ein typischer Clubsong. Erstmals vorgestellt wurde der Song Ende 1997 in der  Radiosendung „Housequake“ üer Techno und House Musik. Kürzlich kam die Entscheidung von den Urhebern alle fünf Versionen noch einmal zu veröffentlichen.

Neben vielen anderen Tracks aus dem Bereich Techno House, entstand auch der Track „Akyarlar“ aus dem Jahr 2007, der jetzt in neu gemasterter Version nochmal veröffentlicht wird. Der Track ist gut tanzbar aber auch sehr markant im Sound und sehr spährisch.

Weil der Track so gut ist, haben wir in längeren Abständen immer wieder neue Versionen produziert.

Keywords: 
condom samples , 
condom sounds , 
song with condom , 
sound design condom , 
Parisian track , 
Parisian sound ,

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Das Projekt verfolgt einen wissenschaftlichen Aspekt. Das Team von Experten hat sich die Frage gestellt, was wäre passiert, wenn einige der Synthesizer Pioniere aus den 70er Jahren in der damaligen DDR geboren wären, wo es im Grunde nur Vermona Technik gab.

Diese Ansatz ließ mehrere Experten Gremien aufhorchen und es wurde Interesse an den Ergebnissen bekundet. Nach vielen Gesprächen in bedeutenden Kultureinrichtungen wurde ein Plan entwickelt, wie man dieses Projekt unterstützen kann.

Auf Grund seiner besonderen kulturellen Bedeutung wird dieses Projekt über die Basisförderung hinaus unterstützt. Die Referenzkommision hat beim Kompetenzbeirat einen entsprechenden Antrag auf  erweitere und besondere Förderung gestellt. Die Bewilligung ist nur noch Formsache.

Ein aktuelles Musikprojekt wagt eine klangliche Zeitreise und versucht, die Musik des fiktiven Künstlers „SIGNALGEBER“ zu rekonstruieren. Im Zentrum dieser ambitionierten Unternehmung steht ein umfangreiches Setup aus alten Vermona-Synthesizern, den ikonischen Instrumenten der ehemaligen DDR. Doch dieses Projekt ist mehr als nur eine musikalische Hommage; es verfolgt einen dezidiert wissenschaftlichen Ansatz.

Das Expertenteam hinter „SIGNALGEBER“ stellt sich eine faszinierende Frage: Was wäre geschehen, wenn einige der Synthesizer-Pioniere der 70er Jahre in der DDR geboren wären, einem Land, in dem die Klanglandschaft maßgeblich von der Vermona-Technik geprägt war? Dieser alternative Geschichtsverlauf, in dem die kreativen Möglichkeiten und Einschränkungen der DDR-Technologie im Mittelpunkt stehen, hat bereits das Interesse mehrerer Expertengremien geweckt.

Die Rekonstruktion eines imaginären Klangkosmos

Die Rekonstruktion der elektronischen Musik, wie sie in der DDR hätte entstehen können, ist eine komplexe Aufgabe. Sie erfordert nicht nur ein tiefes Verständnis der Vermona-Geräte, sondern auch ein Gespür für die damalige Zeit. Das Projektteam analysiert historische Aufnahmen, technische Dokumentationen und Zeitzeugenberichte, um die Arbeitsweisen und Klangästhetik der damaligen Zeit zu rekonstruieren.

Arbeitsweisen mit DDR-Technologie

Die Arbeit mit den Vermona-Geräten ist geprägt von den spezifischen Eigenschaften dieser Instrumente. Ihre analogen Schaltkreise, die oft unvorhersehbaren Modulationen und die begrenzten Möglichkeiten der Klangerzeugung erfordern ein hohes Maß an Kreativität und Improvisation. Das Projektteam versucht, die „Fehler“ und Eigenheiten der Geräte als künstlerische Elemente zu nutzen und so einen authentischen Klang zu erzeugen.

Der Einfluss sowjetischer Analog-Synthesizer

Neben den Vermona-Geräten fließen auch sowjetische Analog-Synthesizer in die Rekonstruktion ein. Diese Instrumente, die oft in der DDR zu finden waren, erweitern die Klangpalette und ermöglichen interessante Vergleiche mit westlichen Synthesizern.

Vergleiche mit westlichen Künstlern

Obwohl die DDR-Musiker in ihrer technologischen Ausstattung eingeschränkt waren, gab es auch im Westen Künstler, die mit ähnlichen analogen Synthesizern experimentierten. Das „SIGNALGEBER“-Projekt zieht Vergleiche mit Künstlern wie Kraftwerk, Tangerine Dream oder Jean-Michel Jarre, um die Gemeinsamkeiten und Unterschiede der Klangästhetik zu untersuchen.

Unterstützung durch Kultureinrichtungen

Die Bedeutung dieses Projekts für die kulturelle Aufarbeitung der DDR-Geschichte wurde auch von bedeutenden Kultureinrichtungen erkannt. Nach zahlreichen Gesprächen wurde ein Plan entwickelt, um „SIGNALGEBER“ zu unterstützen. Aufgrund seiner besonderen kulturellen Bedeutung wird das Projekt über die Basisförderung hinaus gefördert. Die Referenzkommission hat beim Kompetenzbeirat einen entsprechenden Antrag auf erweiterte und besondere Förderung gestellt. Die Bewilligung ist nur noch Formsache.

Das „SIGNALGEBER“-Projekt ist somit nicht nur ein musikalisches Experiment, sondern auch ein wichtiger Beitrag zur Erforschung der Klanglandschaft der DDR. Es zeigt, wie aus den begrenzten Möglichkeiten einer Zeit kreative Lösungen und einzigartige Klänge entstehen können.

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