Here's the larger picture. For one weekend, I was an enthusiastic Analog Solutions guy. I had known of the company, but, based on their instrument names, I presumed they were a German company, and therefore, were beyond my reach in the US (like MFB). So, I didn't look any further into their instruments. But at Paul's suggestion, I decided to take a look anyways.
With my initial research, I became quite enthusiastic about the Telemark Keyboard and the Nyborg Module. It seemed like the keyboard, combined with one or two modules, would make a superb multi-timbral instrument with a rich lush analog sound. They would also look sharp, due to their clean white uncrowded panels and wooden end cheeks - even on the modules. Sure, they would require some compromises from my initial requirements, but I'd still have four DSI synthesizers to meet these, so that I could compromise on this one instrument for the sake of the most important requirement - the classic analog sonic character.
For one weekend, I thought I had found the instrument of my quest. Then I noticed a shocking omission - the glide. How could anyone produce a synthesizer without portamento? It's so fundamental to the mono synth sound. Jeepers, even acoustic and orchestral instruments can glide to one degree or another; even a pipe organ can slightly bend a tone if the stop is pulled out very slowly. so that the pipe slowly fills with air. So, that was the end of that combination. I decided to hold out for Analog Solutions, though, by considering the Leipzig Keyboard and Module. For a while, it looked like these would save the day. Rather than an Oberheim sound, they had a Moog sound. Excellent. They have one glide knob for each oscillator, as well as four-stage envelope generators. One minor shortcoming: no wooden end cheeks on the module, but only goofy-looking rack ears. But even worse, I found what I think is the fatal flaw in this synthesizer as well: the square waveform sounds much like a narrow pulse - fairly reedy. I still have to look into this further, but it does seem to be the case. I like a pure hollow square waveform for clarinet and flute-type sounds. So, at this point, it looks as if I'm out of Analog Solutions solutions. What a disappointment.
Naturally, I've begun considering the Sub 37 again. I do like its sonic character very much, being a long-time fan of the Moog sound. One minor strike against it: I hate the appearance. I've always thought the Little Phatty frame had an asymmetrical dumpiness to it, and so it seemed well named! But the major issue is Moog itself. Moog is in a strange state right now, having a huge gap in their instrument line. From the $1,500 Sub 37, the next step up is the humungous $5,000 Voyager XL, and then from there, into the ionosphere with the modulars. The synthesizer I have in mind would fit right into that gap - say, in the $1,800-$2,800 range. In addition, I'd like an instrument that I could grow over the next year or two with modules, and I'd prefer that each unit be from one company and have a unified sound and design. This is why I was willing to compromise somewhat on the Analog Solutions instruments - for the benefit of having the modules all ready for the next step. So, if I bought a Sub 37, I'd be without a clear next move. The Mother-32 is too limited and awkward a design for me, and is obviously sequencer-oriented. That would be wasted on me. But if Moog made a module form of the Sub 37, that might change my view. So, right now a solo Sub 37 looks unlikely, but I'll continue thinking about it. It does have an excellent sound and plenty of parameters
Presently, the synthesizers that have my attention are the Vermona Perfourmer Mk II, which could make a superb composite instrument when controlled by a Vermona 14, as well as the Oberheim SEM. I've considered controlling two SEMs with my four-voice Poly Evolver Keyboard, with the possibility of later controlling them with perhaps an OB-6. I'm also still considering a Prophet-6 Keyboard and Module combination, which would give me a fine analog tone, but with limited control.
My four DSI synthesizers have me well-covered for polyphonic analog and monophonic digital synthesis, but it seems as if I will have to look beyond DSI for the classic analog monophonic instrument I have in mind. Unless, of course, there's a one-voice version of the P-6 about to appear, but I doubt that's the case. Besides, isn't this one going to be another collaborative instrument? So, my hopes are modest for this soon-to-be-announced synthesizer. My last idea would be a DSI Pro 2 combined with a couple of SEMs or Boomstar 4075s, but I'm not presently too impressed with the Pro 2's own sonic character. It seems rather stiff and dry for my taste.
So, the quest for the perfect mono synth goes on.
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