Both grand pianos, the Roland SH-3A and the Rhodes 88 were retained for Vangelis’ active late 1970s and early 1980s setup, which also featured newer synthesizers by Yamaha (CS-40M and GS-1), ARP Instruments (Pro Soloist, 2500, Odyssey), Oberheim Electronics(TVS-1A, four and eight-voice Polyphonic Synthesizers), Sequential Circuits (Prophet-5 and Prophet-10), Roland (Jupiter-4, ProMars Compuphonic and the modular Systems 101, 102, and 104), a Korg Polyphonic Ensemble, an RSF Kobol Black Box, and a MiniMoog. Other studio equipment during this period included the Solina String Ensemble and EKO Stradivarius string synthesizers; sequencers by ARP, Roland (CSQ-100 and CSQ-600), and Oberheim (DS-2); drum machines by Simmons(SDS-V), Korg (KR-55, Mini Pops 120), Roland (CR-5000 Compurhythm), and Linn (LM-1); vocoders by EMS (Vocoder 1000) and Roland (VP-330 VocoderPlus Mk. I); and the Dubrecq Stylophone350S. Vangelis also added a CrumarCompac-piano and a Yamaha CP-80 to his piano set-up.^[129]  

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THIRTEEN MUSICIANS THREE DOGS AND AN ARTIST

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Charlotte’s mother arrives. She brings her cello. She’s an expert on the siege of Leningrad. She has written a book on the topic. When Charlotte’s coma is induced, her mother fills the neuro ward with the saddest sounds ever conceived. For days, there is nothing but the swish of vent baffles, the trill of vital monitors, and Shostakovich, Shostakovich, Shostakovich. (Adam Johnson, “Nirvana” 2015 in Fortune Smiles)