A friend mentioned seeing an ARP Quadra in a pawnshop yesterday. He asked the pawnbroker to plug it in, and sure enough–it was totally non-functional.
In case you were not aware of it, the Quadra was ARP’s 1978 attempt to make a “super keyboard” by tossing together a pile of assorted stuff they already had. So, it’s basically a “sandwich” containing an Omni string synth, an Axxe (or Solus? some disagreement) lead synth, a simple one-VCO bass synth, and a really nice phaser, all stuffed into a very large box with a cheap keyboard assembly (which was easily ruined if you dropped the Quadra, as it protruded from the case) and a very primitive preset capability. I seem to recall that it sold for more than $4000 when it came out.
Should you be tempted to buy one, be aware that it is guaranteed that the membrane buttons will be unusable and very difficult to replace or substitute. And the electronics will have a long list of issues. Synth-collector snobs don’t like to talk about the Quadra…….Oh well, at least it had a nice phaser. Long ago I was tempted to buy a used Quadra because it could do fascinating, warped things…but then I heard the horror stories about it…..
“ Unfortunately, the recent generations of highly versatile, polyphonic keyboard synthesizers and digital samplers have resulted in a diminished interest in the ondes Martenot today. In the years following Maurice Martenot’s death in 1980, manufacture of the ondes (which had always been a family business) ceased altogether. Perhaps with renewed interest in these wonderful devices, which are most unlike synthesizers, manufacture will start up once again.”
Well-known thereminist Mr. Pringle predicted the arrival of the French Connection.
(now if he’d just update his website–this looks to have been put up around 1998.)
I like this photo.
So, in the year+ I’ve been working with the Wretch Machine, I’ve wanted to find as many ways as possible to control it. I’ve worked with sequencers, I’ve worked with a Yamaha CS-15, and all of them have been fun and useful for sending pitch data to the Wretch, but I’ve got a better solution: the Eowave Persephone:
It outputs CV from the ribbon, which I use the M#@g CP-251 attenuator to tweak a bit. It works really well. For trigger, I use the audio out of the Persephone which works perfectly as well.
To illustrate – I did a little tune:
Some drums, and some crappy pads in the background to form a point of reference for tuning. Note that this is my first two takes chopped up, and I am by no means a ribbon controller performer of any credibility. but I had fun.
Thanks to Matrixsynth for the link. It looks like something Dr. Bohm made in the 1980s. They used to have a one-octave accompaniment keyboard like this, for attachment to organs. Oh, if only I could still buy a one-octave keyboard assembly. Civilization is slowly degrading.
All we need is a name. Just this name.
Hugh Le Caine.
Welcome to Deviantsynth.com – a music/musical equipment/ephemera related community centered blog with a difference.
We want ANARCHY. We want MADNESS. (no, not the fucking band.)
We want the readers to post twisted, schizophrenic bullshit–anything posted will be taken down if it is at all synth-collector-oriented, chiptune-related, dull, or sheeplike.
Otherwise, if it relates to electronic music somehow, fire away.
Photos of vintage keyboards are not welcome–unless they’re STRANGE keyboards. Links to ebay auctions of vintage gear are not welcome–unless it’s a homebrew piece of freaky warped weirdness.
The moderators of the Analogue Heaven mailing list are not welcome here.
Neither are the major traffic-generators from the AH list, OR from Synth-DIY. Links to schematics of exact copies of CS-80 filters are not welcome. Neither are links to fansites for Kraftwerk, Klaus Schulze, Can, Tangerine Dream, Ultravox, Gay Fairy Twinkle, or any other hideous 70s or 80s funny-haircut nostalgia keyboard act. Nor is any Bob Moog fanboyism. Ass-kissers are kindly asked to use the Harmony Central forums instead–ass-kissing is Harmony Central’s main business.
All tech must be ODD. Germanium transistors, arcane synth modules, vacuum tubes, steam-powered piston oscillators, whatever–it has to be WRONG.
Unusual controllers are always welcome. If something looks like a Minimoog or has a piano-ish keyboard, it’s usually boring and we aren’t interested.
Press releases have to concern oddities, and must not come from any manufacturer who makes more than $100k per year.
Nothing against Matrixsynth or Music Thing, but they are just repeating, ad nauseaum, the same old neuroses of their readers–a gang of middle-aged owners of 30 broken Prophet-5s and/or 120 badly-scratched Fender Jaguars who want to get rich and become “music gods”, without actually doing anything.
Such people are counterproductive and do NOT aid the production of better, more interesting music. One must break eggs to make a delicious omelet.