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At 05:26 PM 8/31/2004 -0700, you wrote:<br><br>
<blockquote type=cite class=cite cite><font face="arial" size=2 color="#000080">True.
>From what I’ve read, none of the head honchos at ARP did very well after
the company self-destructed.</font></blockquote><br>
Alan R. Pearlman lost a few hundred thousand dollars if I recall
correctly. The "Vintage Synthesizers" book only mentions
$168,000 he loaned to the company but throws out a figure somewhat larger
at the end of the ARP chapter. Not to mention that he got treated
pretty poorly towards the end.<br><br>
<blockquote type=cite class=cite cite><font face="arial" size=2 color="#000080"> I
wonder if they at least recovered some of the losses by selling the
Chroma to Fender. </font></blockquote><br>
They got $350,000 for the rights to the Chroma, the 4-voice electric
piano, and all remaining inventory.<br><br>
As said, the patents are long expired, but I'd only like to see a new ARP
synth (or an updated old one) if Mr. Pearlman was directly behind
it.<br><br>
<blockquote type=cite class=cite cite><font face="arial" size=2 color="#000080">I
think Tom Oberheim was just a little too early in his ‘comeback.’ From
what I’ve read, the Marion rack box (MS-2?) was an improvement even over
the capabilities of the Matrix line. Perhaps that with a third wavetable
DCO and/or some nifty waveshaping could be a hot item now. Maybe.
</font></blockquote><br>
Maybe we'll see that, I'd like to see something like that. Although
Tom Oberheim also got screwed (by Gibson).<br><br>
-Jonathan</body>
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