The Yamaha AN1x Synthesizer mailing list

I just got this off Harmony Central describing the new Roland electric 
harpsichord (the possibility of an exact replica of a baroque 
harpsichord with output jacks so you can play one through a Marshall 
stack seems like a wonderful technical advance to me) reports the 
following:

"The C-30's unique keyboard lid and side panels can be customized with 
a variety of patterns including paintings, and stained-glass inspired 
artwork—making the C-30 an elegant addition to any home or performance 
environment."

So why can't all synthesizers have this? Maybe some kind of snap on 
panel like cellphones have. Some of us would like stain glass inspired 
artwork. Some of us would like Salvador Dali inspired artwork. How come 
the classical harsichordists get all the fun?

Jimmy

Hi Jimmy !
you're right, and your mails are very nice and fresh!
Maybe, but i'm no specialist in sociology, art history, marketing...or anything like that, because synthesizers are currently associated with S.F. and hi tech environment, and harpsichords with some cosy living room with old furniture, carpets and vintage sofas...
I suppose that most of the people interested in the Roland electronic harpsichord would never plug it in a full cranked Marshall stack!!
Cheers
J.F.
P.S.: this is not your first mail on this subject, once you've suggested to add wooden panels to your AN1x, right?
P.P.S: Has someone found a nice harpsichord patch for our usual synth? With the "pluck" of the keys at the attack and so on ? Because, even without artwork, it could be useful.... I have one on my Casio CZ but the AN1x keyboard is much better... OK, i can control the CZ with the AN1x....but it's mono and without any effect.



> Message du 21/01/08 17:28
> De : "spaceanimals" 
> A : AN1x-list@yahoogroups.com
> Copie à : 
> Objet : [AN1x] an idea and a complaint.
> 
> > I just got this off Harmony Central describing the new Roland electric 
> harpsichord (the possibility of an exact replica of a baroque 
> harpsichord with output jacks so you can play one through a Marshall 
> stack seems like a wonderful technical advance to me) reports the 
> following:
> 
> "The C-30's unique keyboard lid and side panels can be customized with 
> a variety of patterns including paintings, and stained-glass inspired 
> artwork—making the C-30 an elegant addition to any home or performance 
> environment."
> 
> So why can't all synthesizers have this? Maybe some kind of snap on 
> panel like cellphones have. Some of us would like stain glass inspired 
> artwork. Some of us would like Salvador Dali inspired artwork. How come 
> the classical harsichordists get all the fun?
> 
> Jimmy
> 
> 


[Non-text portions of this message have been removed]

----- Original Message ----- 

From: spaceanimals

> So why can't all synthesizers have this? [etc]

Exactly. Excellent point. This is precisely what Bob Moog found out. People 
wanted something select and beautiful, not something high-tech and `modern.' 
Hence the fine wood panelling on the smaller Moogs and the wood cabinets 
with the modulars.

Artwork is a stage further, of course, but I can imagine it might appeal for 
exactly the same reasons the non-techy cabinets worked on the early Moogs.

In fact most of the vintage keyboards had a wooden case, or at least some decorative panels, because, i suppose, of our grand ma's piano. The "high tech fashion" appeared with the early digital synths to "look different" : no knobs, only a keypad and a LCD display. Remember the DX series or the Casio CZs. Now, excepted the Moog synths or some (more or less) analog instruments such as the Evolver keyboards or the Creamware expanders, all share the same plastic case. 
You have the same kind of "return to the past" trend in motorcycle design, with some new "vintage looking" machines. After decades of similar "high tech" bikes (complete fairing, LCD dashboards, straight lines and flat planes, on board computer, carbon fiber everywhere and so on), some people now want a different look with the reliability of today's engines.
Cheers
J.F.



> Message du 22/01/08 00:12
> De : "Andrew" 
> A : AN1x-list@yahoogroups.com
> Copie à : 
> Objet : Re: [AN1x] an idea and a complaint.
> 
> > 
> ----- Original Message ----- 
> From: spaceanimals
> 
> > So why can't all synthesizers have this? [etc]
> 
> Exactly. Excellent point. This is precisely what Bob Moog found out. People 
> wanted something select and beautiful, not something high-tech and `modern.' 
> Hence the fine wood panelling on the smaller Moogs and the wood cabinets 
> with the modulars.
> 
> Artwork is a stage further, of course, but I can imagine it might appeal for 
> exactly the same reasons the non-techy cabinets worked on the early Moogs.
> 
> 


[Non-text portions of this message have been removed]

Just to clarify a little - as I recall, Bob Moog originally envisaged the 
Moog synths having a `modern' casing in plastic or some similar material. 
Possibly also with curved lines, though my memory may be elaborating a 
little with that. :D

It was when he listened to what musicians said they wanted that he went for 
wood.

I'm not sure who the musicians were. Wendy Carlos is documented as being 
pleased with the wood cabinet for the first stage of her modular, which was 
very early. Some of her modules seem to have been the first of their kind - 
not only the ones she was involved in suggesting Bob Moog might design. 
Whether people like Eric Siday and other early customers had made 
suggestions about casing is something I don't know.

But I think it was a little later, when the Mini was being prepared for 
production that the question of `modern' verses traditional wood came up. 
It's worth remembering that the Mini wasn't entirely Bob Moog's idea, and 
came about when people at the Moog factory put together a prototype small 
synth using the modules that were being built at the time.

So I think when Bob Moog decided to go for production of the Mini the 
`modern' look was considered, and even expected to be what musicians would 
want. But it wasn't what they wanted.

I'm not sure how much accurate documentation there may be on this, to give 
any further detail beyond what I've mentioned. Maybe one of the classic 
sources, such as the two A-Z of synthesis books (which I don't have) may 
give some further detail.

I think a sociological thesis could be written on early Moogs and social 
attitudes to them, actually - quite apart from the question of later synths 
from other manifacturers and what people had in mind (I suspect the brown of 
the mark I DX7 was an in-house joke at Yamaha, for example.)

Of course two other vital factors have been which cases would stand up to 
stage use, and the perennial question of cheapness. Both of those have their 
influence on case design. And that would still be true of any possible 
future developments with artistic casework.

You need to get an Ion, Jimmy... the wheels light up!   (Not sure about the
sounds, though.  I saw a demo presentation by Craig Anderton and it seemed
like a typical VA with a lot of arpeggios built in.)