The Yamaha Gx-1, first released as Electone Gx-707, is an analog polyphonic synthesizer organ developed by Yamaha as a test bed for later consumer synths and Electone series organs for stage and home use. The Gx-1 has four synthesizer “ranks” or three manuals, called Solo, Upper, and Lower, plus Pedal, and an analog rhythm machine. The Gx-707 first appeared in 1973 as a “theatre model” for use on concert stages, before the Gx-1 was publicly released in 1975.
Keith Emerson of Elp described touring with the Gx-1 as a “roadie’s nightmare” because of its 600 lb. mass.
John Paul Jones of Led Zeppelin used a Gx-1 on their 1979 album In Through the Out Door. Jones also used it on Led Zeppelin’s 1979 concerts at Knebworth. He later sold his to Keith Emerson.
Hans Zimmer bought one of Keith Emerson’s old Gx-1s.
Richard Wright of “Pink Floyd” allegedly owned one for a brief time, but it did not make an appearance on any recordings. It can be seen pictured in the album sleeve of Is There Anybody Out There? The Wall Live 1980–81.
Benny Andersson of Abba used a Yamaha Gx-1 on several Abba tracks as well as on tour. He still keeps that at his Riksmixningsverket studio in Stockholm, along with many other old synthesizers and keyboards.

Negative reaction to the opus 130’s final movement at the first performance, and his publisher’s urging, led Beethoven to write a substitute for the final movement, a contredanse much shorter and lighter than the enormous Große Fuge it replaced. This new finale was written in the autumn of 1826, during a relapse into severe illness, and is the final complete piece of music Beethoven composed before his death in March, 1827. It is marked:

Finale: Allegro in B♭ major

Beethoven never witnessed a performance of the quartet in its final form; it was premiered on April 22, 1827, nearly a month after his death.
The original finale was published separately under the title Große Fuge as opus 133.

In 1982, Zappa bought a Synclavier, a computer controlled synthesizer, that offered him the possibility to execute pieces, humanly impossible to play. Among the first recordings where this machine was used, was Thing-Fish. This work belongs to the literary side of Zappa with a peculiar plot about a government trying to spread out diseases deliberately. It has the shape of an opera. Does Humor Belong In Music? is a compilation of live music as played during the 1984 tour. In 1985, a senate hearing was held about the possible introduction of warning labels when the lyrics of pop albums could be deemed dangerous or offensive. Zappa was one of the speakers against this idea, and released Fz Meets The Mothers Of Prevention as a reaction, doing many interviews as well. This last album also included some complex Synclavier works. The next year, Jazz From Hell followed with the Synclavier being present full-fledged. This album got rewarded with an Emmy.
In 1991, it was publicly announced that Zappa suffered from incurable prostate cancer. He still lived for three years, being able to compose and yet again come up with new directions for his music. It did something to make up for his early death in 1993. After Jazz From Hell, Zappa continued working on the Synclavier, eventually leading to Civilization Phaze Iii and Dance Me This. Both Cds show a mix of composed music and collage pieces, achieved by assembling samples. Wolf Harbor is a fascinating world of industrial sounds and percussion sections. Other Synclavier music reached a public via indirect sources, as The Valdez Score (radio broadcast) and Uncle Sam (as part of a Zft release). The cooperation with the Ensemble Modern worked out very well. With The Yellow Shark, Zappa could release some early and recently written chamber music.
Zappa has referred to his output as one big project, being held together by a conceptual continuity. This motto was more an attitude towards music than something you might call a development of a Zappa style: anything was allowed. Another slogan he liked to use was “Aaafnraa:” anything, anytime, anywhere for no reason at all. About anything is coming by in such a creative manner that many consider Zappa a genius.