Old programming techniques with a modern equipment, you could regard this as a basic idea of this album. In the early times of Synthesiser-music the artist still stood alone in the middle of a mass of claviatures, cables, pieces of paper etc. Alone the tonal programming of the Synthesisers was a challenge. E.g. just the preparation on an appearance started already to tune the individual instruments, like it is still today done with guitars.To be able to play sensible music with this mass at electrical boxes now as a single person or in a twosome, it was necessary that the Synthesisers were able to play smaller sequences automatically. So it was born a completely new way of making music. There are no longer many musicians each playing his own single instrument forming an orchestration only in the sum of their play. The E-musician rather is a kind of management leader who often starts preprogrammed melodies and companies, stops again and plays his melodies to this Machinesounds.Either this was technically done with so-called Step-Sequencers, or Arpeggiators were used. An Arpeggiator was one of the technical parts of a Synthesiser, which made it possible to produce, charge and replay arpeggios. Seen musically, an arpeggio is nothing else than an accord that is divided into its single tones that are played solo one after the other. So Step-Sequencers and Arpeggiators are some of the most important components of solo technology that can't be ignored.The clay height change or the change of the piece rate very simply meant a change of the sequence. For example, the artist pushes the low C on the claviature, a Step-Sequencer plays an automatic sequence in C major, one pushes F, it plays the same sequence in F major... but an Arpeggiator works a little different. If the musician plays an Accord, then this is taken to pieces by the Arpeggiator cutting it to its single parts (tones) which then accompany as a mini-melody by being replayed each other in turn. Depending on complexity of an Arpeggiators the musician can provide certain algorithms that decide how the arpeggio is charged. So the Arpeggiator can play the tones ascending or descending, harmonic or without, randomly or whatever. If the artist changes the algorithm during the game for the Arpeggiator, then the same piece rate leads to a completely different sequence of individual tones. Used well, a collection from Arpeggiators can conjure a complex melody up for one single piece rate.Such functions are still installed on modern Keyboards and Synthesisers, in the meantime it has been developed up into full accompanying machine with drums trace especially on Keyboards.But lets go back to "Dance of The Arpeggiators": On this Album Oliver Ganz uses modern Synthesisers like the Korg Karma, the Yamaha EX5 and the Waldorf MicroQ (just to mention 3), but also "Oldies" from Korg, Kawai, Yamaha and Roland.Oliver Ganz has programmed the built-in Step-Sequencer and Arpeggiators, or simulated virtual Step-Sequencers and Arpeggiators with the PC in detail work of some weeks. However, the Result is a CD , sounding like a mix of early productions of Tangerine Dream or Jean Michel Jarre (who I admire very much), but with most modern Oscillators and effect processors."Dance of The Arpeggiators" was honored in year 2002 just two times. At the "Schwingungen Wahl (translated word by word that means Vibrations Choose) and at the S'electicons" Oliver Ganz was honored to the best EM newcomer of the year 2002.