Extremely Rare CRUMAR PIANOMAN

Extremely rare Pianoman, the lush analog piano synthesizer released by Crumar in 1974. Hardly any trace of this instrument can be found online — no photos, no videos, no listings. It’s mentioned here and there, but actual evidence of its existence is almost nonexistent, making this unit one of the very few known surviving examples.

Recently recapped and calibrated by a professional technician, it works like a charm. Professionally packed and shipped worldwide via UPS Express Saver.

Pianoman is a super-rare full-polyphonic synthesizer released by Crumar in 1974, the first in their “man” series, which also included the Brassman, Stringman, Jazzman, and Multiman. Clearly built for analog electric piano sounds, the Pianoman runs on three PW oscillators (each characterized by its own pulse width, filter, and envelope settings) with dedicated switches and volume faders. It also features inputs for a sustain pedal and an external filter control, giving players extra expressiveness and hands-on tone shaping.

Piano 1: a surprisingly realistic piano tone, best played solo for a more natural feel. It’s full and rich in the lows, with an LP filter cutting everything above 2 kHz.

Piano 2: designed to bring in extra harmonics. It’s bright, uses a narrow pulse width, and runs through a high-pass filter cutting everything below 200 Hz.

Filter: this oscillator is similar to Piano 1 but with a wider harmonic range, sharper transients, and reduced low end. It’s linked to a variable filter cutoff (HIGH/LOW) that lets you blend a shifting timbre with the two piano presets. The cutoff has perfectly tuned, musical resonance — stronger around the mids, softer on the lows.

Pianoman focuses on quality rather than tons of features. Despite its simple design, it can produce a surprisingly wide range of analog electric piano tones. That’s due to its excellent build quality and the attention to detail everywhere: from waveform selection and filter range to the finely tuned resonance, EQ curves, and internal mixer — all giving the sound a warm, cohesive glue.

But what really makes it stand out, in my opinion, is the natural saturation you get with the Master Volume maxed and the cutoff between 4 and 6. It delivers a sweet harmonic distortion in the low-mid range, closer to tube overdrive than transistor clipping, and its intensity shifts depending on the mixer levels. Pretty amazing.

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