Archives: August 2005
At least, that's what you're led to believe when you don't know any better. I found this Kay acoustic at a yard sale yesterday for $10. (When I got it, it was strung up, and had a bridge, if you were curious.) It sounded all right, considering the strings had probably been on it for 20 years. No cracks that I could see, although the paint job was a little hashed. Any help with a model number or rough date would be appreciated. It has the painted-on Kay logo common to the proletariate line, and is made out of what I could only assume to be birch plywood. The number "52" is stamped on the heel block when I took the (bolt-on) neck off. I assume that's a model and not the year of manufacture, because there's no way this thing is that old. I have a Silvertone arch-top from '53, and the differences are manifold.
In any case, I've never been a fan of sunburst paintjobs, and I'm definitely not a fan of red sunburst paint-jobs. Since the guitar needs quite a bit of work anyways, I decided to re-finish it in the bargain. I'll put up progress reports as I do so. I need a new pickguard, because the Kay logo is worn off of this one. Anyone that has a thought on where to get a new (or NOS) pickguard for this bad boy please whack the "contact" button and tell me so. My l33t Google skills were of no help. The lameburst paint came right off the back with a little Mouse action, so I expect to begin the paint job tomorrow or so.
The XBase 999 is apparently coming down the pike. Seems to be a logical extension of the Xbase 09. Real analog for the kick, snare, low tom and high tom, samples for everything else. Improvements over the Xbase09 are as follows:
1. Compression envelope on the kick, giving you the knocky rap of the 909 or the smooth decay of the 808, you pick 'em.
2. In the sequencer section, all patterns are A/B now. Also, micro-shuffle is per instrument, rather than per pattern.
3. An additional 16-step sequencer controls the external filter, a la AdrenaLinn or Evolver.
4. Theoretically, you'll be able to MIDI sample dump your own sounds to overwrite the factory samples.
There are a couple other new features; overall, Jomox has once again dropped a bomba. Go check out the announcement page. They're saying Fall/Winter '05. Knowing how this sort of thing plays out, we'll probably see it first at Winter NAMM.
So I trundled home, got the appropriate cables and a set of headphones, stopped at the ATM and got out the cash, then headed back to the yard sale, which was about 20 minutes from my house. I went over the instrument with a fine-toothed comb, and discovered that all the switches were dirty (as I imagined they would be) and a lot of the contacts in the keybed were sticking. But nothing that couldn't be fixed with relative ease. So I said "okay, here's your $30. Let's load it up."
The guy goes "well, here's the thing..." While I was gone, he spent some time searching on the 'bay and various other Interweb resources, and came across a reference to a Fast 3 that some fucking nipplehead on SonicState payed $500 for. So he decided his (which he bought new in 1965) was worth significantly more than $30. While that would certainly be true with an instrument in pristine perfect condition, this one most certainly was not. It was missing about half of the stand hardware (but inexplicably had the swell pedal), a couple knobs off the cover piece, and the top itself was loose due to missing screws, never mind the fucked up keybed and dirty switches.
So, I said I'd be willing to go to $40 or $50, but it simply wasn't worth any more than that. He decided that he wanted $150 for it and not a penny less. Now, Farfisas of any stripe, with one notable exception, are generally worth $150 to $300 in good shape. If this one could be described as that, I'd consider it, although I don't really want a Farfisa at all. But I was, like, "man, you're not gonna get that, I'm sorry to say. The only people that are gonna be interested in this instrument at all are people like me, and they're gonna know what it's worth." He was firm in his convictions, so I walked away.
So the things I learned are thus:
1) If you see something, and it's a killer price but you don't know if it works, buy it anyways. Worst case scenario, you'll be out a couple bucks.
2) When you're going to yard sales, make sure you take a couple quarter-inch cables and a set of headphones with you, if you want to test something out.
Back in the day, I used to be anti-computer. In the late 80s and early 90s, there were two kinds of electronic musicians: those who used the Atari ST, and those who didn't. I was in the latter group, and my sequencer of choice was the Roland MC-500. Man, I was _fast_ with this thing. For some reason, the layout and keys lent themselves to just lighting fast editing and such. That and an S-50 sampler, and I was in business. When I signed my record deal with Wax Trax!, I used some of my advance to buy an Emax, but kept on keepin' on with the MC-500, and that was my combo for the first two Sister Machine Gun albums. (A SCI Studio 440 played a big part in the first three albums, as well. Man, I'd like to score one of those bad boys again...)
I made the big Switch in '94 or so, and got a Mac. I haven't used a hardware sequencer since (with one exception which I'll note below), and I don't think that anyone would argue that the non-linear nature of computer editing is far more suited to overall creation than the extremely linear vibes of your average hardware sequencer. However, because of the constant inundation of references of late, I've begun to think about getting myself a hardware sequencer again. So I went out and found all the current (cool) offerings. I won't, of course, link to anything that Rolakorgaha makes, because we're simply not interested in that shit around here.
Synthesizers.com Q960 - This is a brand-new piece from the DotCom guys that is basically exactly the same as the old 960 sequencer from Moog. Of course, it's DotCom format, and thus will be happiest with some DotCom infrastructure. Impressive lights and such, which can be seen in this movie. (Link to WMV file.) It is $800 straight from DotCom. The big minus is no MIDI, of course. CV/Gate only.
Infection Music Zeit Sequencer - This idea was floated several years ago, and has been a long time coming, but it seems that Infection is about to actually have Zeit sequencers for sale. (Will be available in the US from Analog Haven.) The Zeit is a four-track 16-step "analog style" sequencer that goes for 1299 UKP. With today's exchange rate, that's approximately $194,000.50 or something. It is, however, BIG. And has a lot of lights on it. We like these two features. Both MIDI and CV/gate instruments can be driven.
Future Retro Mobius & Revolution - I owned (and technically still own) a Future Retro Mobius. This is an excellent piece of kit, being basically the sequencer section of their 777 synthesizer. It has a semi-303 kind of programming interface, and enough output possibilities to do some pretty sophisticated driving on a modular synth. I loaned mine to Van Christie from Die Warzau, and now he won't give it back. This particular unit is about as far as you can take your sequencing dollar (or Pound or Euro or Yen) at $345 from Analog Haven. They also make the Revolution, which is a sequencer similar to the Mobius, grafted on to a DCO-based noinky-noink kind of synth. I would very much like to get one of these, and probably will, eventually. It is a bit pricier than the Mobius, at $699, but obviously has a synth attached, which makes it a bit more usable. Both the Mobius and Revolution have MIDI and CV/gate outputs. The Mobius has a couple more options in this regard.
Manikin Electronics Schrittmacher - When you need to mach your Schritts, who you gonna call? This box is a whopper, clocking in at $1699. Babelfish tells me that Schrittmacher means "pace setter." This thing is the business as far as currently available hardware sequencers go, at least from my reading. I've never been in the same room as one, so I can't tell from personal experience, but it sure does seem to have every feature one could want in a hardware sequencer, except for one detail. AFAICT, it doesn't have CV and gate outs, and is MIDI only. I'm afraid that's a deal-breaker for me. Your mileage may vary.
Sequentix P3 - This box is a pretty tasty combo from Colin Fraser. It started life as a DIY project, and can still be purchased as a kit, although your cost-to-build isn't going to be drastically less than just purchasing the finished unit from Analog Haven for a grand. Now, this is the one I'd be willing to throw my endorsement behind, except it, like the Schrittmacher above, doesn't have CV/gate outputs. Other than that, it's as full-featured as you could want.
Analog Solutions Oberkorn - Back to the ever-present Euro-Rack formula, the Oberkorn has a pretty good feature-set for the price, which is $799. It is a true analog 16-step sequencer, with all the usual features such a beast would have. The minuses are (a) it's EuroRack, so you need some sort of infrastructure like the 960 above, and (b) no MIDI.
So, from our research, and taking my bias out of the picture, the Future Retro Mobius is, far and away, the best deal going for a hardware sequencer. At $345, you get a MIDI sequencer which also puts out V/Oct CV, Hz/V CV, gate, trigger, and clock signals, will drive a DIN-sync based unit of Roland vintage, and acts as a pretty good MIDI/CV interface. Quite frankly, all these other units are nice, but they just can't stand up to the cost-to-performance ratio of the Mobius.