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Hmmm,- the Matrix12 and the Xpander aren?t entirely analog polyphonic synths.
Entirely analog polyphonic synths were the SEM based Obies, OBX and OBXa, the Prophets, the Jupiter-8, Memorymoog, ARP/Rhodes Chroma and Elka Synthex ...

All synths which generated envelopes, most VCAs, ramps and so on by software aren?t entirely analogs at all.

Entirely analog synths are manufactured up today, Moog Voyagers,- the modulars,- and these can be configurated to be polyphonic, but this becomes very expensive then,- for the user !

But it?s not impossible to do it, see Doepfer, Cwejman, Synthesis Technology and some more exotic small companys,- and they all have their customers. Why ? Answer: They keep it small.

IMO, the companys like Sequential, Oberheim and Alesis had to give up because of some kind of mismanagement in the marketing strategys. Their product pallette grew up too fast,- there were a lot of shitty and unneccessary "small boxes" synths and drumachines been manufactured by the big companys in the past.
Products like Sixtrak, Studio400, Jupiter6, Matrix 6 keyboard, OB-SX made me laugh in the past as also all these little midi helpers like Strummer and so on.
The Prophet10 was a unneccessary product and the T-8 suffered from the cheap oscillatorts from the Sixtrack, but Sequential died by the Prophet 2000 sampler. Sampling was too expensive at that time and a niche market already covered by EMU in the professional range and then the Mirage came as the killer in price.

For pros, the price was never the main factor in buying gear or not,- but swap the market w/ tons of cheap gear to make music/noises,- all start to "produce" and the fee for work in the music biz goes down, also for the pros.

Meanwhile, the biz is down worldwide and there are tons of (bad) music for free as also illegal copys all arount ...
Now, we have the situation of much more musicians, less jobs, small fee but also a request of more knowledge tech wise and a never ending learning curve.
"Please do everything imaginable w/ your professor like knowledge and all your gear, but don?t ask for money. Be happy w/ the credits you eventually get if the stuff will be released". That seems to be the rule today.

Kill the pro music biz and you kill the willingness to invest in high quality gear for a adaquate price which results in a more or less junk market of electronic noise generators,- hardware or software.
90% I see is crap, bad coded or built from cheap parts,- no reliability at all, no guarateed future and all made for the masses.

On the other side: The crowd is satisfied w/ this, users of gear as also customers of music.

As you, Karl, I think it?s good to take care of the vintage beauties if you own these,- and as long as you can.
But in some future, it can also become a nitemare which you cannot afford if you don?t take care on your biz and the music biz itself. It?s also important to take care for the machines don?t dominate you and your creativity.

No one buys any music because you have one or more vintage synths. Even if it sounds better, it can be a crappy song p.ex. and if it?s not, there?s always someone needed who?s able to recognize the difference in sound and this within a mix !

I?ve found this some time ago and it?s worth to read IMO ...






Karl schrieb: