Performance Music Systems SYNTAR Turns 40

it’s been 40 years since the Performance Music Systems SYNTAR was introduced at the #namm show in #1980 by george mattson - bob #moog even got to try it out #keytar #namm2020 #eml #analog #synthesizer #ymo #rydeen #cover pic.twitter.com/mXVY8ypfP8

— sdf (@sdf_pubnix) January 19, 2020

via @sdf_pubnix

"it’s been 40 years since the Performance Music Systems SYNTAR was introduced at the #namm show in #1980 by george mattson - bob #moog even got to try it out #keytar #namm2020 #eml #analog #synthesizer #ymo #rydeen #cover"

Check out previous posts featuring the Syntar here.

The Syntar was the first self-contained synthesizer keytar. Before the Syntar, keytars were controllers. The Syntar was created by George Mattson of Mattson Mini Modular. There was a keyboardless version of the Syntar called the SWAN, or Syntar Without a Neck. A SWAN II was announced back in 2018, under development with Division 6.

Update: you can find a great article on the Syntar at Carbon111.com here, and an interview I did with George Mattson way back in 2006 here.

SYNTAR Hoodies & T-Shirts from Synthrotek

You'll find them at Synthrotek.

Note there are two versions for each.

"Long before anyone had coined the word 'keytar' and before anyone else thought of putting the guts of a synthesizer into a wearable performance keyboard, George Mattson created such an animal and dubbed it the Syntar. The front of the hoodie says 'Syntar...' The back shows the large graphic of the Syntar.

Now you can celebrate the Syntar in a whole new form!

There are two options for the graphics:
1. The front shows the large graphic of the Syntar (Large graphic on front, none on back).
2. The front of the t-shirt says 'Syntar...' The back shows the large graphic of the Syntar (Small graphic on front, large graphic on back)."


Click here for everything Syntar on MATRIXSYNTH.

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MOOG Liberation Funds Syntar

images via this auction.
Here's an interesting auction. A MOOG Liberation being sold to fund a Syntar. Note the Syntar actually predated the MOOG Liberation as the first keytar ever, a interesting bit of synth history. The Syntar featured an amazingly expressive control interface on the neck that has yet to be reproduced and it did sound quite nice. You can read more about the Syntar on Carbon111's excellent Syntar Page as well as this interview here on MATRIXSYNTH.

It's worth noting that the person behind the Syntar was George Mattson who is currently the man behind the new Mattson Mini Modular.

As for this Liberation, here are the details from the auction:
"# This auction is only for a complete MOOG Liberation Analogue Synthesizer
# In good physical and playing condition with checking and dents in the wood
# Please click on the images below to see larger photos to inspect physical condition
# NEW chipforbrains slider caps
# NEW chipforbrains sliders installed by analogsynthservice.com
# Foam sheet over PCB has been removed and PCB has been cleaned!
# Rackmountable power/CV unit
# Control Cable has not nicks or cuts
# Hardshell carrying case
# Print outs of the owners and service manuals
# Shipping is $50 in the USA, $150 elsewhere
# Interested? All offers will be considered. The chipforbrains sliders are meant to be drop in replacements. However CY has stated that some Liberations will behave slightly differently in the Envelope Generators. If you're familiar with the Rogue or the Liberation, you will notice a difference in the behavior.

I am selling my Moog Liberation because I asked George Mattson to build me one of his unfinished SYNTARs that has sat idle nearly 30 years. As you can imagine it took quite a bit of money to convince him to dust off the SYNTAR and continue working on it. Subsequent interest in the SYNTAR has brought along his latest project: the Mattson Mini Modular .. I order two populated cabinets, so you can see, I need to LIBERATE myself of this Moog to pay Mr. Mattson."

The Performance Music Systems Syntar II

Pics of the Syntar II prototype. This is a follow-up to my last post from my recent visit to George Mattson of Mattson Mini Modular.

The Syntar II never made it past the prototype stage. The first Syntar was the first synthesizer enclosed in a keytar case. Previously only remote controllers for external synths existed. See this post from 2006 for interesting background of The Syntar including Bob Moog. Also check out The Syntar on Carbon111. See the Syntar label for more.

Key features of the Syntar II:
"It had two full ADSR's. It was polyphonic in the sense that the entire keyboard was connected to two, parallel banks of top octave dividers that could be slightly detuned for a phase roll in addition to the two VCO's. The polyphonic board worked but, I couldn't squeeze it into the case. The VCO's had a hard sync. The filter had VC resonance and a mode switch above the filter that let you go continuously either from LP-BP-HP, LP-Band reject-HP or, LP-notch-HP. It also incorporated an internal digital delay."

Unfortunately the Syntar 2 never made it beyond the prototype stage and is beyond salvation. Fortunately, a part of it will live on. According to George Mattson: "I'm going to be pulling out all of the hand-made boards and turning them into modules. It was made with Curtis CEM chips.

Those modules will be built into cabinets that will hang on the side of the sequencer. I'll put 'em to work." See this post for reference. I have some exclusive pics of the refurbishment in progress and will post them in time.

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REINTRODUCING THE P.M.S. SYNTAR ANALOGUE SYNTHESIZER

YouTube via redmartian

"The Syntar was designed in the late 70s by George Mattson. George's company, P.M.S. (Performance Music Systems) manufactured these units with some work done by EML. There are roughly 8 units built and sold with a handful of prototypes, but by 1980 Moog Music had the Syntar beat marketing wise with its lesser Liberation.

Mark Mothersbaugh once optically scanned a Syntar at NAMM, but it seems the Liberation ended up in their rig.

I wanted to post a simple piece first and then later go into much further detail about what the Syntar can do that most mono-synths cannot and why it blows all other 'keytars' away.

(I hope I beat Jean Michel Jarre by posting the first Syntar video anywhere)"

Note that Jean Michel Jarre indeed did recently pick up a Syntar. Via his official blog:
"These past few days I have been chasing some analog instruments which I need for some new tracks and for the future on stage. I found a second Moog Liberation and a very rare portable keyboard, the Syntar."
YMO

The Syntar Turns 32

Today marks the 32 year anniversary of George Mattson's Performance Music Systems Syntar. You might recognize the name Mattson. George is the man behind Mattson Mini Modular. The Syntar, conceived in 1978, was the first all-enclosed keytar synthesizer. Before then keytars were just controllers. You can read all about the history of The Syntar on Carbon111.com here (you'll find a pic of Bob Moog playing Syntar prototype #1), and of course check out the Syntar label for posts that have gone up here. Below are two videos of Red Martian with the Syntar at the PNW 2009 synth gathering.



Pacific Northwest Synth 2009 - Red Martian
YouTube via matrixsynth | November 03, 2009


YouTube via matrixsynth.

Overview of the Syntar comes in around 1:55.

MMM Demos

Just some fiddling with the MMM. No music, just sound. Be sure check out the Mattson Mini Modular Forum for a note from George on the one year anniversary yesterday. If you missed it see this post for images. Note the following all feature the Syntar SSM 2040 filter. The final filter is the last remaining item. I do have to say the quality of the system has come a long way since it was first announced. If you remember it was messaged to be a bare-bones, budget modular with a finish on the panels meant to be replaced. It now has a very proper finish (same panel overlays as DSI and Moog) and it feels rock solid. The oscillators are new and based on the Syntar, EML style OSCs. To be honest I was a little worried the new OSCs would not live up to the Syntar's. To my surprise they do and they are much more stable, tracking a full six octaves. With just two OSCs it actually gives my Voyager a run for the money. These are very bold oscillators. The final filter will of course have to prove itself, however if the OSCs are any sign, I am sure they will come through. This is a very nice modular system. Again, the following is just some tinkering. You can see prior posts for more demos and videos by clicking on the MMM label below. Apologies for the heavy reverb on the first couple of demos. http://mattsonminimodular.com/

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34 Years of Syntar

via Juliana Jaeger on Facebook

Today marks the 34 year anniversary of the Performance Music Systems Syntar. It was the first "keytar" with a built in synthesizer.  Before it, keytars were merely controllers for external synths. The prototype was shown by it's creator George Mattson at the 1979 Atlanta NAMM show.

George Mattson currently makes modulars as Mattson Mini Modular.  His latest creation is the Mattson SQ816 Sequencer with Scott Rise of Division-6.  I've seen the sequencer in action and it works great.  It is close to being released.  You can catch a video of it here. 

You can read up on the Syntar at Carbon111's Syntar page here, as well as my email exchange with George Mattson here.  And of course see the Syntar label below for numerous posts that have gone up on the site including video performances. On a side note, you can find Syntar swag at Cafe Press here.

Below is a scan from the Idahonian newspaper from Moscow Idaho (photo credit: Randy Klisek) Oct. 03 1978.  Pictured is George Mattson to the right and his brother Gregg Mattson in their studio also in Moscow, Idaho.  The interesting thing about this photograph is that it was published the day before George came up the idea for the Syntar. The bottom pic is the same but with the caption. Further below is a recent pic of George Mattson playing the first production Syntar via Wikipedia, uploaded by clusternote on Oct 29, 2011, which would place this at the 2011 PNW SynthFest at Shoreline Community College.

A Syntar Family Shot

The Syntar, SWAN and Mattson Mini Modular Pheonix Series. All three were designed by George Mattson.

The Syntar was the first keytar ever produced. It had a unique extended controller on the neck that essentially consisted of nine small wood blocks you could increasingly press for varying degrees of modulation. It's like having nine assignable pitch bends not limited to pitch.

The SWAN is the Syntar Without A Neck (the only one in existence).

The Pheonix is the new Mattson Mini Modular risen from the ashes of the Syntar.

If you've been following the site, you will know that the SWAN and a Syntar are up for auction on VEMIA. Click on the links for each to get to the posts.

If you have seen the posts already, check out the updates. Someone actually listed the SWAN on Ebay! It was of course a scam as the only one in existence is available on VEMIA. There was some heated discussion on AH.

Also, if you haven't already, be sure to check out the history of the Syntar on Carbon111. There are some fascinating bits concerning MOOG and NAMM. You can also find an interview and some history here. Finally you can click here for all posts featuring the Syntar. If you appreciate synths you will appreciate this unique, rare bit of synth history. It really is a fascinating story. A bit of MATRIXSYNTH trivia: I remember the first time I saw the SWAN. It was at George Mattson's place and Carbon111 was going to borrow it for bit. We drove it back to his place and when doing so, I thought how crazy it was that the only SWAN in existence was floating up the I-5 in the back of my CRX. It was a surreal moment for me. And yes, we took extremely good care of it. We all love synths.

electro-music 2012

"The electro-music festival, known as the "Woodstock of electronic music," is the world's premiere event for experimental electronic music. Now in it's eighth year, this year's gathering features three mind-bending days of innovative electronic music concerts, seminars, workshops, demonstrations, jam sessions, video art, a laptop battle, and a swap-meet. Action starts at 1pm on Friday, September 7 and runs until midnight on September 9. Musical activities will be running continuously throughout the three days of the festival.

electro-music 2012 takes place at the Greenkill Retreat Center in Huguenot, New York. On-site lodging and meals are available. Tickets range from $35 for a single day to $385 for a 3-day pass including meals and lodging.

More information, including a complete schedule of events can be found on the web site at: http://event.electro-music.com/ You may also contact us at event@electro-music.com

A wide variety of instruments and musical styles will be represented, ranging from theremin to analog modular synthesizers to home made devices, from classic space music and ambient to abstract electronica, glitch, electro-pop and beat-oriented music.

The following artists will be performing:

CLICK FOR MORE »

Monster Mattson EML Modular to be Featured at the PNW Synthfest

Click the pic for the super size shot. See the Mattson EML label for more. Details on the Pacific Northwest Synthfest can be found on the MMTA (Mostly Modular Trade Association) website: http://www.mostlymodular.com/.

Note the two Mattson Mini Modulars stacked to the right of the EML. For those not familiar with George Mattson, he is the man behind Mattson Mini Modular, and previously the Performance Music Systems Syntar, the first self contained synthesizer keytar. The circuits were built by EML for Performance Music Systems. You can read about the Syntar here on Carbon111's site and in this interview from 2006 - there is a great pic of George and Bob Moog checking out the Syntar. And of course see the Syntar label for more. Many of the circuits George designed for the Syntar made their way into his current Mattson Mini Modular. Many of his new designs made it into his new custom EML modular. It's fascinating to see this come full circle in a sense, with EML to Syntar to MMM to the Mattson EML refurbishment project.

The Syntar Turns 35 Today

via George C Mattson (inventor of the Syntar & Mattson Mini Modular) on Facebook

"35 years ago today I was trying to stretch between a keyboard and a control knob. A patch cord jumped out of a jack, stared me down and told me I needed one of these....

The Syntar was born...."

You'll find a write-up on Syntar on Carbon111 here.
And an exclusive interview with George Mattson on the Syntar posted here back in 2006.
And of course see the Syntar label below for mentions in posts over the years.

via George: "A rare pic of the prototype I was lugging around..."

"The prototype was made of wood and steel. It weight 26 Lbs. Therefore, "lugging" is an active verb. Production models were 14 Lbs. Much lighter..."

George Mattson and The Syntar

I recently engaged in an email discussian with George Mattson, creator of the Syntar. That's him next to Bob Moog who's trying out his Syntar at the 1980 Chicago Summer NAMM Show. The discussion we had was fascinating and private, and I thank him for sharing his story with me. As it was part of synth history I asked George if it would be ok to put up a post here, as I'm sure other synth enthusiasts would enjoy this bit of synth history as well. He gave me the go ahead, so here it is. Note that this was originally private and not meant to be a post - this was just me and George going back and forth. The references to Starship are to Jefferson Starship. Many thanks to George for taking the time to share this with me, and for letting me put this up.

"I was born as a non-Mormon in Salt Lake City, Moved to Anchorage, Alaska in Sept '64 3 weeks before my 10th birthday. Graduated from High School there in 1973. That Fall I moved to Moscow, Idaho where I enrolled in the School of Mines studying Mining and Metallurgy. Bought my first synths at that time-the 101 and 200 when there were only 3 manufacturers. ARP, Moog and EML. I liked the versatility of the EML line and went that route. That was the days that you had to send a certified cashiers check for the full purchase amount and they were made to order. Went to College 5 semesters and stayed a freshman with a 1.18 GPA. My older brother moved down and had a bunch of recording gear so we started a recording studio trying to break into commercials. I had picked up a Poly-box by then and my Yamaha YC-45D. Then bought the EML sequencer and a 300. Couldn't stand the clutter and built the box for the sequencer, Told EML what I was doing. They bought the original cases back from me and credited that against another 416 panel and another 300 just to fill 2 big gaping holes in the box. I had most of the synth panels on one side of my bedroom and all of the keyboards (including a Baldwin upright, a Rhodes and a friends EML 500) including the 101 keyboard on the other side of the room. We'd hire musicians to play the tunes and I ran/programmed the synths. Oct. 04 1978 I was alone in the room running back and forth between the consoles and the keyboards when I said to myself: "what I need is...." and the concept of the Syntar hit me. Then I said "somebody should make one of these" Then I said: "Hey, I could do this!" (I talked to myself a lot.) Jan '79 I moved to Bend, OR. Moved in with my folks and tried to find investors. I built a hand-made prototype using EML circuit modules and went to the 1979 Atlanta NAMM lugging this thing around trying to get a manufacturer to go for it and hire me as a team leader on the project. The only person that had any emotion about it while talking to me was Herb Deutsch from Norlin. He said he'd talk to his Board of Directors and call me. In Jan '80 I went to the NAMM winter market in Anaheim with Michael Garrison (He landed his distribution agreement with Ariola on the way down) and Mike asked if I saw the Moog booth. He took me over and we saw the prototype of the Liberation strapped onto a mannequin. I went home devastated and my folks put up the investment money to get started. They're no slouches; both my Mom and step Dad have electronics degrees. I advertised the Syntar in the mags a month before Moog advertised the Liberation. The thought was if I could beat them to it, at least people couldn't say I copied them. That never worked. They had a little bigger budget than I did. But, anybody researching it will find that I had it first. No big deal now. I had to close shop because we were broke and were facing a takeover. So, I closed it down, called Starship, told them I needed a job and got hired. A year and a half later They wanted me to move to San Francisco rather than flying me back and forth from home. I didn't want my 4.5 and 3 year olds growing up in the California rock and roll scene and moved here in July of 1983. Went out one more time with Starship in Aug/Sept 1983 and told them I was leaving. Been here since doing different things."

"Well, that's the way it went down. Can't change the facts. Of course, I would loved to have made money from all of the work I put into it. The sad part is that I still can't play keyboards. I'm a guitar player since I was 10. Hey, right after I moved to Anchorage."

"That picture was taken in June of 1980 at the Chicago NAMM. That's me next to him- I was 26 YO. Notice that he's playing prototype #3.( The first was the one I hand built from EML circuit modules, the second used forked plasic keys over fluted shafts-that one was later modified and used as a LASER controller by the guy doing the LASER shows for Blue Oyster Cult and Tangerine Dream)) The Syntar hanging in the background is just a panel and cardboard simulated left hand keys. The prototype Bob is playing has curved aluminum keys that dragged a resined string over a pulley. The final (and production)version was much more aesthetic and worked like a charm."

Thanks again George. Fascinating story. I really can't play either. : )
BTW, George also provided the EML Poly-Box Samples in this post.

Update: George later made up the 1.18 GPA with a 3.8 GPA with his AA in Electronics. : )

From the Syntar to the MMM Phoenix

In case you missed it, click here for a letter from George Mattson on the MMM Phoenix series analog modular synth. I thought I'd pull some highlights from the letter below, but please do read the full letter. You can also find a detailed spec list for each module available for the system here, and you can find more info on the Syntar here and here.


"My name is George Mattson.
30 years ago I developed and manufactured a performance oriented analog synthesizer I called a Syntar. The synthesizer was innovative at the time, met with limited success and has recently become a topic of conversation in a variety of synthesizer forums.

Due to the growing abundance of new, analog synthesizer enthusiasts, I have been asked to return to manufacturing.

I took the core circuits of the Syntar (thus, the Phoenix Series) and designed a new format; a portable, true analog modular synthesizer specifically budgeted for the new market."
[Matrix: note the analog of the Phoenix rising out of the ashes of the Syntar.]

Some highlights on some unique modules to the system.

"Signal distribution: I do have one major design philosophy quirk. I don’t like passive multiples-period. Using a passive multiple for signal distribution degrades the signal. Using a passive multiple as a “mixer” sums the signals together and can lead to overloading the input of the destination module. I designed two new modules to replace these functions:
The 4X-1X2 buffer: Sort of a buffered “splitter”. It can take 4 different input signals and split them into two output signals for each channel. Each signal is buffered so, the signal is rejuvenated and doesn’t degrade. I took the liberty of cascading the channel outputs into the input of the next channel. So, if a signal is patched into channel 1, it is available on all 8 outputs until the chain is broken with a subsequent channel input. Then, the original signal is available on the preceding outputs while the new signal is available on all of the remaining outputs. It sounds weird but, once you’ve used it, you wonder how you were able to get by without it.

The 4X Mixer: The “other function” replacement of a passive multiple. The mixer has four inputs and actually two outputs, an inverting and a non-inverting output. I designed the mixer to be used for either audio or control voltage signals. This allows for precise adjustment of an audio mix or, a real nifty way to build complex control voltages by using multiple CV sources. In order to add a bit of excitement, my audio mixing days came back to me and I added a “punch-in” pushbutton on each channel to allow for an abrupt addition or elimination of the channel signal into or out of the mix. This is usually a subliminal function but, makes a big difference in audio or CV real-time control.

Filter: The Syntar utilized the SSM 2040 filter. They’re not available anymore at any kind of reasonable price or in guaranteed quantity. Since I had plenty to do with the rest of the system, I was able to get a custom filter designed specifically for this system kindly and graciously by Synth DIY guru Jim Patchell. He designed a 4-Pole 24dB/Octave state-variable multi-mode filter for this. That’s synth-speak for WOW. It sounds great. Thanks Jim. Way to kick a--!

Keyboard control: OK, I had to make some concessions here. Rather than designing an analog keyboard input module and trying to find and stock keyboards (they’re hard to find anymore in small quantities), I went digital and provided a MIDI-CV input module. It’s actually integrated into the power supply module, which makes this a double-wide module and isn’t available as a stand-alone module. I originally designed the system using a commercially-available MIDI-CV controller but, it had limited function, the manufacturer was hard to communicate with and they didn’t want to give me any reasonable OEM pricing. Sooooooo, I had a MIDI-CV controller designed to my specifications by Scott Rise of Division 6. This turned into one of the coolest modules. (even if it is d*g*tal) Read the module descriptions for a full description. This allows the owner to use any MIDI generating keyboard they desire, or any MIDI generating sequencer control. Mmmm- 16 systems, each utilizing a different MIDI channel. Yes, it blows the “Basic and inexpensive” philosophy out the door. But, it was actually less expensive to design and manufacture than pay the “not-so-OEM” pricing offer’s I was quoted for something less versatile. We all win. I’m negotiating with Scott (a nicer way of saying “convincing”) to produce versions of this in other formats or stand-alone units and allow me to offer them for sale on the web site." [Read this thread for more]. via Scott in that thread: "The rumors are true; I will be coming out with a standalone version of the MIDI-CV converter. As far as an exact time frame, I'm not entirely sure yet. I need to get through the MMM launch stuff first.

I also want to get some input from people like you who might possibly have a need for such a converter or are already using one. What would you like to see it do? Now is your chance to help shape it and make it useful. The initial version is going to be based on the one I designed for the MMM but some things will need to be different. For example, should the mod wheel continue to drive a separate 0-5v output or should it modulate the main CV? Does it need an S-Trig output?

Later down the road I will be making a multi-out version that has even more features, so even if your suggestions don't make it in this version they would probably make it into the next one."

click here for the full letter. click here for the modules. click here for the main site.
And don't miss the forums.

Pacific Northwest Synth 2009 - Red Martian Performance

SYNTAR MMM and MIAMI LIVE SYNTHESIZER PERFORMANCE PNW SYNTH DIY 2009

YouTube via redmartian http://redmartian.com/.

Watch the skulls in the background.
"Here is a live performance of the MMM demo number four featuring the stack of MMMs behind, the Syntar (the father of the MMM) and the new AcidLab MIAMI in MIDI mode. The bass line, arpeggio and drums were sequenced in Logic. The Skulls were triggered via Logic (the percussion tracks) using Division-6's MIDIFY."

COWBOY (RIP) AND THE ROLAND VOCODER LIVE AT PNW SYNTH DIY 2009 FEATURING THE SYNTAR, MIAMI AND MMM

"This is dedicated to that old dog COWBOY who used to listen to his master's vocoder. The bass and some melody are handled by the MMMs behind. The Syntar is the carrier wave for the Roland SVC-350 vocoder. The Syntar also plays a sort of melody. The MIAMI is sequenced in MIDI mode from Logic. At the Pacific Northwest Synth DIY 2009"

Be sure to see this prior post for reference and lyrics. The third video is the studio recording of this track.
See demo number four in this post for the first track.

click here for all PNW 2009 coverage.

The Performance Music Systems Syntar

Click here for a post Carbon111 just put up on The Performance Music Systems Syntar, on Synthwire. Realize, this was the first Keytar ever, BEFORE the MOOG Liberation. There's a shot of Bob Moog and a younger George Mattson, creator of the Syntar, showing Bob the syntar at NAMM. Seriously, check this out. It's a fascinating bit of synth history. I was fortunate enough to play the Syntar and it is a very nice sounding synth with some extremely expressive and versatile controls on the neck. This is a very rare and unique synth along with the SWAN (more info on Carbon111's site). Hmm... I think I actaully took this shot. As always check out previous posts via the MORE tags below each post.

New MMTA SYNTHFEST Black & White Pics via Computer Controlled

New pics added to this set. They start after the LX4 pic. There are some great shots in the complete set. Don't miss them!

Pictured here is the Syntar from George Mattson of Mattson Mini Modular. The Syntar was the first portable "keytar" style synthesizer.  It's interesting when you thing about it.  The name could have been Syntar which is a mix of Synth and Guitar.  Instead keytar stuck through the years.  The Moog Liberation followed the Syntar and became the first mass produced all in one portable synthesizer.  See the Syntar channel for more.

Performance Music Systems SWAN via VEMIA

"[VEMIA note: If you thought the Syntar was rare, how about this unique instrument?] S.W.A.N Vintage One-of-a-kind very rare monosynth with flight case. The S.W.A.N. is a vintage monosynth built by Syntar inventor George Mattson [of the Mattson Mini Modular]. The S.W.A.N. is literally a Syntar-Without-A-Neck or, a desktop version of the Syntar without the left-hand controller system. This system is owned by George Mattson and it is labeled 'Prototype 1' even though the electronics are stock Syntar circuits. George built it because dealers were inquiring if they made a 'desktop' version. So, he made one. This is the only S.W.A.N. in existence and is a fully functioning system. George has recently replaced all of the caps and tuned up the system. Information and a better picture can be found at Carbon111 The weight is in its flightcase; outside it is 8.2kg. NB Like all of the lots so far in this particular auction, it is being sold as a non-VAT registered item. But if you import anything from outside the EC into the EC, you may be liable to VAT as a form of import tax." You can find it listed on VEMIA - click on Auctions, Search, and then search for 5881.

Update via Stephen Jones in the comments:
"I've played this very synth about a year ago. It has features unlike any mono synth ever made. I really hope this goes to a good home. I'd estimate that its auction value will be about $7400 and even that would be a steal.

It has a Pratt-Reed gold double buss bar keyboard with a good solid feel. (not J-Wire or membrane carbon contacts like everyone else was using)

Its got two oscillators, a ring mod second, noise, an LFO that does audio rates and the same SSM filter that makes the Prophet-5 Rev 2 sound so good.

Good luck and I hope it goes to a good home."

I played this one as well. Amazing synth, amazing piece of synth history. This was a hard one to put up.

Update: someone actually had the gall to list this on Ebay. The auction was quickly pulled.

Rare Performance Music Systems Syntar via VEMIA

"Vintage rare Performance Music Systems Syntar [Update: this predated the MOOG Liberation - see Carbon111's page linked below for some interesting and controversial history regarding the two] with documentation and flight case. The original “Keytar” is being offered for auction from original owner/inventor George Mattson [of the Mattson Mini Modular]. The package includes a Syntar Series I analog monosynth with power supply, connector cable, owners manual, a pad of patching charts and service documentation. The package also includes a flight case with a royal blue crushed velour interior. The Syntar has been in the possession of the owner since manufacture in 1981 but never been in circulation. George has recently replaced the capacitors and tuned up the system. The condition is very good with some minor signs of wear and age. The mylar graphics have stressed over the years and wrinkled as shown in the pictures. Overall, the system operates 100%. Information about the Syntar can be found at Carbon111 - including a nice picture of Bob Moog playing it. [VEMIA note: this has to be one of the rarest well-known synths ever entered into VEMIA, and to have it serviced and sold by the original designer is pretty nice too.] NB Like all of the lots so far in this particular auction, it is being sold as a non-VAT registered item. But if you import anything from outside the EC into the EC, you may be liable to VAT as a form of import tax."

You can find it listed on VEMIA - click on Auctions, Search, and then search for 5880.

EML sequencer refurbishment update

via George Mattson of Mattson Mini Modular. This is a follow-up to the EML Modular Restoration Project.

"The first pic is a repeat of the left module panel I'm making to add to the Sequencer compilation. The second pic is the cosmetically completed left module panel.

I had to take the 16" x 24" aluminum panel, lay out the module arrangement and find a point where I could gracefully cut the panel into two pieces. My oven isn't big enough to hold a 24" long panel. That makes the left panel two parts 'A' and 'B'.

The left ('A') side has two Syntar board PMS1's, a Syntar PMS4 and an MMM VC Filter.

The right ('B') side has another Syntar PMS1 board, two EML exponential amplifier modules, two EML VCO modules, an EML VCF module, an MMM 4x Mixer module, an MMM noise module and two MMM Buffered multiple modules.

The graphics were laser printed in reverse image onto Lasertran and applied to the panel. After baking for about 3 hours, I drilled the component holes then, applied 2 coats of satin spray-on polyurethane. After a day of curing, I added the panel components. I didn't melt off the decal this time with IPA. It was a PITA last time and I rubbed off large sections of graphics. The decal adds another layer of protection and totally disappears under the polyurethane.

Most of the circuit boards are attached. I ran out of mounting hardware and am waiting for their arrival.

The Syntar PMS1 boards consist of a Pratt-Read keyboard driver circuit, a gate generation circuit, a glide circuit, an exponential amplifier, a VCO and a slave VCO.

I made provisions for interrupting the keyboard driver and gate circuitry to allow patching of external 1V/O signals and external gates. I also provide 1V/O outputs pre and post glide simultaneously.

The Syntar PMS4 board contains a VC LFO and a sample and hold. The board will be mounted on panel 2-A and the LFO signals routed to Panel 1-A.

Once I have all of the boards mounted, I'll start wiring up the panel controls. Then, get started on the right panel.

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