Crumar Orchestrator (1977)
At 37 pounds, it arrives dense and heavy, and unmistakably Italian.
Overview
The Crumar Orchestrator, also widely known as the Multiman-S, is a late-'70s analog string synthesizer. Built in Italy and released in 1977, it's designed to emulate orchestral textures with a straightforward, almost utilitarian approach. Owners report it delivers warm string pads and punchy brass sections, all from a chassis that feels industrial in both weight and construction. It isn't a programmable synth in the modern sense. The architecture is fixed, with five independent sections - Brass, Strings, Piano, Bass, and Clavichord - that can be mixed and layered in real time. It's not flashy, but it works, and it was built for players who wanted instant access to ensemble sounds without patch programming.
Despite its bulk, the Orchestrator was clearly intended for gigging musicians of its era. It has a 61-key keyboard and a single volume control, which suggests simplicity over nuance. The audio output goes through a standard 1/4" phone jack. Collectors note its shared-oscillator-per-octave design, a cost-saving and space-saving method common in string machines of the time. It contributes to the chorused, slightly detuned texture, especially in the strings section. A Moog-style 24dB/octave filter adds a rare bit of tonal shaping for a machine of this class, and gives it a slightly more rounded edge than its contemporaries.
Specifications
| Manufacturer | Crumar |
| Product type | analog synthesizer |
| Also known as | Multiman-S Synthesiser |
| Keyboard | 61 -key |
| Polyphony | 49 notes |
| Sounds | five independent sections: Brass, Strings, Piano, Bass, and Clavichord |
| Controls | volume control |
| Connections | Audio Output Connections: 1/4" Phone |
| Weight | 37 lbs. |
Shared Oscillator Architecture
Rather than assigning a dedicated oscillator to each key, the Orchestrator uses a shared oscillator per octave. That choice defines its sound. The method is common in string machines like the ARP Solina or Logan String Melody, and slight tuning inconsistencies across notes generate a natural chorus effect. It's not true polyphony in the modern sense, but it makes an ensemble-like texture that feels slightly unstable. The architecture keeps the circuitry compact and reliable, though it limits how well the instrument plays in tune across wide intervals. Owners accept this. The Orchestrator wasn't built for clinical precision.
Moog-Style 24dB/Octave Filter
One of the Orchestrator's more surprising features is its Moog-style 24dB/octave low-pass filter. That's unusual for a preset string machine, since most offer fixed tonal shaping. The filter suggests Crumar aimed higher than imitation. It's not as flexible as a full modular filter section, but it lets players roll off harsh highs or emphasize body in the strings and brass. It contributes significantly to the unit's reputation for a smooth, almost velvety output, especially when paired with external effects.
Five Independent Sound Sections
The Orchestrator has five selectable and mixable sections: Brass, Strings, Piano, Bass, and Clavichord. These aren't samples or digital emulations. They're analog circuits tuned to mimic each instrument. The strings are the most celebrated - wide, sweeping, and slightly nasal in the upper register. The brass cuts through with a bold, slightly reedy tone, while the piano is a hollow, electric-organ-like approximation. The bass is thick and heavy on fundamental, useful for anchoring arrangements, and the clavichord gives a bright, percussive pluck. The sections can be blended freely, which allows hybrid textures that predate modern layering synths. It's a simple system, but effective for film scores, ambient beds, or vintage pop arrangements.
Historical Context
The Crumar Orchestrator emerged in 1977, a period when string machines were in high demand for studio and stage use. Italian-made and distributed globally, it competed with American and Japanese offerings by emphasizing build quality and sonic character over features. Its initial production run reportedly ended in 1986, at the tail end of the analog ensemble era. A later variant, the Orchestrator 2, is associated with the MULTIMAN-S3 designation in service documentation. That suggests an evolution of the platform, though details remain scarce. Unlike some of its contemporaries, the Orchestrator never achieved mass-market penetration, but it found loyal users who valued its distinctive voice.
Collectibility & Value
Today, the Orchestrator trades on the secondary market between $900 and $1,195, depending on condition and provenance. A spare chassis back piece recently sold for $82, which indicates that repair parts are scarce and valued. Owners report mixed reliability, and one documented repair video shows how complex the analog circuitry is to service. Many surviving units still work, and Jonny Greenwood of Radiohead is noted as a fan. One user recalled paying just $80 for theirs years ago.
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