Peter Forest's A-Z of Analogue Synthesisers

via this auction

This is just a glimpse of what's in there. An absolute must have for the synth enthusiast. My words, not the auction. Seriously the A-Z of Analogue Synthesizers is the desert island set of synth books. Highly recommended. Note they are listed in the Synth Books section.

"A complete two-volume set of the most comprehensive encyclopaedia of analogue synths and keyboards in the world - direct from the author.

The original A-M was produced in 1994, and then re-written and expanded in 1998. There are probably nearly twice as many words crammed in to the second edition as there were in the first. The second edition has 320 pages, 16 of which are full colour, while the original edition only had 240 pages. There's a whole lot of extra information about EMS, Moog, and many other manufacturers; a greatly improved index, and a new index to the musicians mentioned in the book. So if you're into, say, Tangerine Dream, you can find the 25 pages on which they're mentioned; Tim Blake, 8 pages; and even Tim Buckley on two.

The first edition was printed in a run of 2000, and 2000 copies of this revised edition were also printed. This second edition has been officially out of print for a year now, so is impossible to buy via any bookseller like Amazon. I thought I had run out of every single mint copy of the books, but today my wife was doing a bit of cleaning and pulled out a drawer, and discovered two packets of books underneath the drawer. We then looked in the other side of the chest of drawers and found two more packets, making 96 books in all. This particular book is one of the books that the printer printed as 'run-on' - when a printer is supposed to print 2000 they will always do a few more to be certain they have done enough, in case a few have blemishes. That means it has no official number in the limited edition, so I have numbered it out of 2096 and initialed the number. (But just to be more complicated.... we're disappointed to find that many of the books have some slight defects from their long time in non-perfect storage - mostly where one or two of the colour photo pages have stuck together in places - talk about synth porn..... - and you can see where they have had to be peeled apart. Usually on the page edges, not very serious, but there when you look for it. So this unblemished A-M is one of only very few still in existence - the rest will have to be sold as imperfect.)

The original N-Z was printed in 1996, in a run of 2000, and then the second revised edition (of 3000) was printed in 2003. It has 384 pages, including 16 in full colour. Please check the photos to see the sort of coverage you will get of rare, obscure instruments like the Syntons and Wavemakers or ultra-famous offerings like the Rolands and Yamahas.

The total number of words in these two books is probably over half a million. With hundreds of illustrations, charts, etc., the whole package provides a comprehensive guide to analogue synths, organs, electric pianos, theremins, etc., up to 1998 for ones beginning A-M, and 2003 for the N-Zs. The books have been well-reviewed in magazines all round the world, and enjoyed by some of the best-known names in electronic music, such as Fatboy Slim, Hans Zimmer, Herbie Hancock, and Adrian Utley of Portishead.

Who's selling: my name's Peter Forrest. I've been writing about synths, keyboards, effects and recording gear for nearly 20 years now, and I run an internet auction called VEMIA (Vintage Electric Musical Instrument Auctions) which specialises in synths, drum machines, effects, and so on. Please check my feedback to see that you can bid with confidence. Feel free to email me any questions."

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The A-Z of Analogue Synthesizers Parts 1 & 2 by Peter Forrest 1st Pressing

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"The A-Z of Analogue Synthesizers Part One: A-M by Peter Forest
Published 31/10/94.
ISBN # 0 9524377 0 8
#0144 of 8000
B&W with 16 pages of color synths.
Magic marker on inside front cover as seen in photo.
Spine is tight and appears unread.

The A-Z of Analogue Synthesizers Part Two: N-Z by Peter Forest
Published 31/10/96.
ISBN # 0 9524377 1 6
#1194 of 8000
B&W with 16 pages of color synths.
Spine is tight and appears unread."

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ACE Tone PS1000

Some interesting tidbits via Kris the owner:

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Original Sequential Circuits Prophet 10 (1016)

Note: Auction links are affiliate links for which the site may be compensated.

via this VEMIA listing

Click the auction link on top when you get there for additional listings.

VEMIA is Peter Forrest's auction house. He is the author of The A-Z of Analogue Synthesizer Books. Pic of the inside below.

"Vintage Sequential Circuits Prophet 10 Dual Manual Keyboard Synthesizer with Flight Case This Prophet 10 is in very good condition, and is fully functional, although the Braemer tape drive has not been tested. Has factory MIDI and sequencer, and the original blue Prophet-10 flight case on wheels. This may be one of the last Prophet-10s made, as the S/N is 0444. It's big and heavy!! Includes power cord, electronic copies of the operation manual and service information, and one original Sequential footswitch. The flight case foam is serviceable, but could use replacement. The synth is wrapped in plastic within the flight case. Full pictures are here [captured below]. By far the most prevalent of the original Prophet 10 models, the Prophet 10 Rev3 was a better built version than the previous 2 iterations for more consistent and reliable performance. It used Curtis Electronics Manufacturing chips, and featured 2 VCOs per voice, a low pass resonant filter with ADSR, LFO, & cv/gate controls. This rarely seen monster analog synth is by far one of the fattest and nicest vintage synthesizers.

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Yamaha TX816 w/ Beetle PR-7 Programmer SN 001023

Note: Auction links are affiliate links for which the site may be compensated.

via this VEMIA listing

Click the auction link on top when you get there for additional listings.

VEMIA is Peter Forrest's auction house. He is the author of The A-Z of Analogue Synthesizer Books.

Yamaha TX-816 FM Rack Synthesizer (8 DX-7s in a rack) with Beetle PR-7 Programmer The Yamaha TX816 is a monster of DX and FM digital synthesis. It is a unique system in that it is a rack unit that could take up to eight TF1 modules. A TF1 module is basically a DX7 condensed down to a single circuit board with almost no front panel controls. Definitely designed for use with external hardware and software controllers, the TX816 allows you to easily carry around up to eight DX7s! Software such as MOTU Unisyn, Emagic SounDiver, or even another DX7 can be used to program the sounds in each module via MIDI. This unit contains eight TF1 modules. A TF1 module is basically a DX7 condensed down to a single circuit board. Each TF1 module consists of a 16-voice, 6-operator digital FM synth engine. So this complete TX816 with all eight TF1 modules offers up to 128 voices and 48 operators! Each TF1 also features an independent audio out (XLR) and MIDI I/O for a total of eight audio outputs and MIDI I/O's. It also has one global MIDI in/out port with 8-part multitimbrality, but no common stereo or mix output. The TX816 is fully compatible with all other DX synthesizers including Native Instruments FM7 software-based plug-in. You can use the TX816 like it's eight seperate DX7s or mix and pan each module together to layer your sounds into one monstrous DX powerhouse!

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A-Z of Analogue Synthesizers

via this auction

"A brand new set of the two A-Z of Analogue Synthesisers books direct from the author / publisher.

Very few of the A-M are left, and I'm so busy with the VEMIA auction and other stuff that it will be a long time before it is re-published.

I seem to have lost the blurb about these books - it's a long time since I put a set on eBay.

Trust me, they are good and pretty comprehensive. Every synth by every maker you ever heard of, and then some.

The EMS page in the photo is an example of stuff you don't see every day. Plus each book has 16 pages packed with good colour pics.

More detail when I'm not working on the final packing and shipping and seller payment from the VEMIA auction.

ARP, Buchla, EML, EMS, Farfisa, Hohner, Korg, Moog, Oberheim, Octave, Roland, Serge, Yamaha, and hundreds of smaller manufacturers too.

Plus combo organs, Hammond, Mellotron, Theremin and many more.

A brilliant present for the analogue synth fanatic in your family! Three-day listing - don't miss it!

Peter Forrest"

I have a copy of the books myself. They are absolute must haves if you are into synths. Seriously fantastic books. If you miss the auction I have them listed on my Synth Books section on the right.

EML Electrocomp 100

Note: Auction links are affiliate links for which the site may be compensated.


via this auction

There's a cat in the bunch. As always, if you are going to bid on this stuff, be careful. This one is Money Order only.

Update1 via cornutt in the comments:
"Info on the EML 100 is surprisingly hard to find, compared to its better-known cousin, the 101. Here's a link to an email chain that discusses some of the differences. The 100 is actually a lot more rare than the 101."

Update2 via Laurie Spiegel in the comments; "Hi Matrix. The guy running that auction is in error. I've sent him messages saying the 200 was before the 100 but he doesn't believe me and won't change it. I want to correct the choronology before this misinfo spreads any further because once something's all over the net it's forever.

According to the 1st edition of Mark Vaile's book (the edition I happen to have here) the 200 dates from 1969, and the 100 came out in 1971. Mark gives 2 dates for the 200: 1969 on p. 128 and 1972 on p. 129. The p. 129 date was a typo.

I am just about certain from my own experience that the 100, with its black and white keyboard, was released after the 200 purely modular model and its Model 300 Controller. I visited EML in CT a couple of times and their eariler products were meant to be marketed for educational use, not live performance. Also I've owned a 100, a 200 and a 300 since the early 1970s and IMHO the 200 has a just plain older feel and style and concept.

Though my memory for specific dates may be a bit fuzzy 4 decades later, my paper records show I was hired in fall 1970 to teach at a college that had an Electrocomp studio based on the 200 modular synth its 300 controller.

If anyone has any info that differs from what I've written here, please post it. It was a long time ago.

Thanks again for a great site Matrix,

- Laurie Spiegel"

Peter Forrest's A-Z of Analogue Synthesizers confirms the order as well, although he has the 100 starting in 1970 vs. 1971. According to that book, the 200 came out in 1969 (1969 - 1980) and the 100 in 1970 (1970 - 1972). Regardless, the order is 200 followed by 100. Both books are listed in the Synth Books section.

Update3 via Sasha. The verdict is still out:

"I ran across some background info on the Electrocomp 100 from Christopher Landers who was a famous newscaster back in the day. Thought you might be interested as it seems to suggest that the EML100 was the first synth in the line and that the separate modules came later (as opposed to what Laurie Spiegel is saying here: http://matrixsynth.blogspot.com/2006/11/eml-electrocomp-100.html ). He said it would be ok to post this info and quote him.

I got mine directly from Walter Sear when I was in high school (I worked at his studio in NYC and was in the room when Keith Emerson was being taught how to work his new Moog C3). Sear had been working with Moog in a business deal until Moog brought in Musonics and Sear split. At that point, Sear found the EML guys in nearby CT and had them create a box that could take on Mini-Moog ...but with the two note deal. The Electrocomp thus became the first "polyphonic" synth--using the top and bottom notes played on the keyboard so the oscillators knew what command to carry out--and also the first device to use IC's. I believe it was later that EML came up with a "box" without a keyboard. I should mention here that Bob Moog, while being the exceptional engineer that he was ...with the higher invention of "voltage control" that permeated many more electronics systems than simply synths (such as medical devices). It was Sear who suggested using a keyboard controller (Moog was set on a resistance strip, which also showed up sitting on top of keyboards for a while). Controllers, back in those days, were the holy grail. It was Sear who experimenting early with the guitar controller. As he related to me: "We can control an oscillator with almost any instrument because we can determine what frequency the controller is making and send that information to the oscillator; the problem with the guitar and other stringed instruments is multiple strings. A guitar has six strings and you can have six oscillators but, which oscillator plays in reponse to which string?" Is that great or what?

Best, Sasha"

Update4 via mr.scappy in the comments: "I have a 100 and a blue-face 200, and each has a different address for EML screen-printed on the control panel. Both list P.O. Box H, but the 100 has the city address as Talcottville, CT, 06080, and the blue-face 200 has the address at Vernon, CT 06066. (Today the 06080 zip is specific only to MacDougall-Walker Correctional Institution. Interesting.)

All of my literature for EML synths shows the Vernon address, and the EML-100 is not included among the synths shown. Perhaps the 100 was built at the Talcottville location and all others at the Vernon location? This would seem to place the 100 first in line. Just a thought."

Update5: Sasha contacted Jeff Bachiochi who worked for EML. Here is what he had to say:

"If I'm not mistaken the 100 was the first keyboard synthy that EML produced but not the first synthesizer. The first was a studio type that was just oscillators, mixers, filters, sampler, and ring modulator connected by patch cords and manually controlled with knobs. Which blue was the original color of all EML products, the line quickly went into a brush aluminum style with etch black nomenclature. These were originally made for class room use and the blue paint used would chip off, from all the patch cord plugging and unplugging by the students. Ah, those were fun times."

followed by:

"Yes, Sasha, the first was the 200. That's how I got started with EML. My wife (then girl friend) told me that her High School music class had gotten this electronic music box and the address on the front was the local town. I stopped by the factory, which was in basement of one of the three co-owner's house. We began a long time friendship and I started to work for them as their first employee. The 300 came on line soon after using a keypad as the first crude kind of keyboard."

Update (6/29/2011) via Prosper in the comments:

"I now own this synth. It was refurbished and repaired in 2007 with the following mods. A) Filter has been opened up so the Filter Octave Switch goes one higher and one lower than on the synth. Very handy. B) For the Noise pot in the filter mixer, instead of going between white and pink noise it goes from white to OSC 1 output so OSC 1 does not have to patched into the filter mixer. Very handy.

I've pointed out the differences between the 100 and 101 on the VSE page for the 100."

Tape Leaders: A Compendium Of Early British Electronic Music Composers Gets an Update

You might remember Tape Leaders A Compendium Of Early British Electronic Music Composers posted back in 2017. It is now available with some updates.

via Velocity Press where you can find it:

Tape Leaders: A Compendium Of Early British Electronic Music Composers is a richly illustrated A-Z compendium featuring over 100 composers active with tape and electronics in the analogue era. Containing information never previously uncovered, it shines a fresh light on many sound experimenters unacknowledged in the history of British electronic music.

With an individual entry for each composer, it covers everyone from famous names like William Burroughs, Brian Eno and Joe Meek to the ultra-obscure such as Roy Cooper, Donald Henshilwood and Edgar Vetter. There are sections for EMS and the BBC Radiophonic Workshop and amateurs, groups and ensembles that experimented with electronics, including The Beatles, Hawkwind and White Noise.

First published by Sound On Sound Magazine in 2016, this is the first time it’s been available outside their shop and this new edition has been extensively revised and updated. The hardback book is 22.7cm x 17.7cm landscape, and the 224 pages are printed and bound on heavyweight 130gsm paper. With a specially compiled 15 track CD of mainly unreleased early British tape and synthesizer works (exclusively available to the Velocity Press shop and free with all pre-orders), this is an essential book for anyone interested in electronic music history during the 1950s and 60s.

Ian Helliwell: "Years before investigating the work of FC Judd for the documentary Practical Electronica, it was evident there was so much early British electronic music that had never been properly researched. The idea of a book examining this formative period began to crystallize during work on the film, as interesting facts were being uncovered that fed into a much broader-based history than has ever been available. A compendium to cover not just the acknowledged figures, but also those that never get a mention, was the objective so that famous names sit alongside the unknowns, and the reader gets a sense of the vast amount of electronic music activity that was going on, which has since been ignored or forgotten about.

“The graphic design was another important consideration and has been something of a labour of love to evoke the era of tape recorders, tone generators and analogue synthesizers. Many of the photos and images have come directly from the featured composers or their families, and form an eye-catching array of illustrations to support and enhance the text."

Yamaha GX-1 Coming up for Auction

Via Peter Forrest of Spheremusic. For those of you that do not know who Peter Forrest is, he wrote the excellent "The A-Z of Analogue Synthesizers" and he runs the Vemia Auctions on Spheremusic which once had Brian Eno's gear listed. You can find the A-Z books in the book section on the right of this site.

"The superb ex-Mickie Most Yamaha GX-1 complete with its two tube-amped speakers will be coming up for auction on VEMIA at www.spheremusic.com , November 3-10.
It might seem a bit early to publicise it, with the auction finish two months away - but it's going to have a reserve of around 15000 UK pounds, so people will need time to organise selling the grandmother or yacht or doing the odd hour of overtime.
It's in the UK, and unlike one or two of these rare monsters, it's in very good condition.
I'll know more in a few weeks' time.
Peter F"

Yamaha SS 30 String Synthesizer

via this auction

"This baby is Ultravox in a box!!! Listen to "Reap The Wild Wind" or other tracks from Vienna or Rage in Eden to hear the SS 30 in all its glory; or check it out on Youtube as mentioned later.

I have several string synthesizers including the ARP String Ensemble, Korg Lambda and Delta, and Crumar Multiman (very underated btw!), and I've owned several more and I can truly say that the SS 30 is unique!!! It has a shimmering quality which the chorus and vibrato can emphasize like no other stringer I've played. I've also had a Yamaha SK30 and these strings are MUCH BETTER, so don't judge this lovely Yamaha on the quality of those SK models. These are more like the string presets built into the Yamaha home organ E50/70 series which also had the CS 50/60/80 voices on it... full of character and a top end that really cuts through a mix. Cleaner than the ARP String Ensemble, more like a Roland RS 505 but better ;-) Peter Forrest raved about it in The A-Z of Analogue Synthesisers and it has many fans on the net. They are super rare in the USA, as they were not sold here when new.

Some of the best uses are applying chorus and or vibrato to the violins and not the cellos with the different keyboard splits and using the cellos as a bass synth sound. This is one of the only string synths where the sounds are just as good without chorus as with. EVERYTHING WORKS on this well-maintained unit which has been in my smoke free studio since 2006. The veneer has a cut or two and some scratches... this is probably a 7 out of 10 cosmetically but all the knobs and logos are complete and legible. These do not come up for sale often!!!

You can apply vibrato and chorus in weak and strong amounts with variable rates, delay etc to either cellos or violins independently; there are two "oscillators" or ranks so the vibrato comes from varying their pitch slightly. Attack and release for envelopes is also independent and each key has its own VCA like the Korg Lambda or the Moog Polymoog, you never get voice stealing on long sustains. Two cello voices, a viola voice and two violin voices.

The only negative I will admit to is that it's mono... if it were stereo it would rule the world, or most of the good parts. It has inputs for a volume pedal and sustain switch, these both work and the volume pedal helps with dynamics as it has no velocity.

Hear for yourself on Youtube, I'm not linking to any vids but they're easy to find. This board loves effects too... throw some phasing on it and you get stereo delight."

CLUB OF THE KNOBS COTK C901ABC osc/ C902 vca / C938 5U MU

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via this VEMIA listing

Click the auction link on top when you get there for additional listings.

VEMIA is Peter Forrest's auction house. He is the author of The A-Z of Analogue Synthesizer Books.

"5 x COTK modules 1 x COTK to Synthesizers.com busboard (rare and hard to find)

A solid foundation for a Moog-style modular setup—just add a filter and an envelope generator.

Club Of The Knobs COTK C901ABC Oscillator MU/.com Dotcom / 5U /Moog 901 Clone

This is a Moog 901 clone from COTK The Moog 901 came out in the late 1960's .. possibly 1965 to 68 ?? It's what is called a first generation VCO. You can use this as a VCO & VCLFO (voltage controlled LFO) It's a classic, and arguably this oscillator has influenced all VCO designs..... not just of Moog, but of synth manufacturers from around the world.

901a is the controller 901b is the oscillator 901c is the output module basically moog 901s (and clones) have a lower amplitude sound that you can amplify/ slightly distort (usually with a CP3 transistor style mixer) before running them into a moog filter but with 901c output module you also get outputs in modern modular format audio level. (and you can use them as the worlds most expensive LFO i suppose)

Condition: Used, some rack rash (previous owner), small scratch on the 901A module—see photos for details.

Club of the Knobs COTK C902 VCA This is a Moog 902 VCA clone from Club of the Knobs. Its on MU/5u/Dotcom format. It does what it is supposed to do. This module is a simple transistor based voltage controlled amplifier with either linear or exponential response. But simple doesn't mean boring sounding. This is one the workhorse VCAs of SynthLand. If you are looking at this you probably know how nice it sounds. Condition: Fully functional, but the (LIN/EXP) switch has a soft feel. Given its age (10+ years), this is reflected in the price.

COTK C938 Reversible Mixer The C 938 is a reversible mixer with attenuated inputs and a master gain multiple output. It can combine both AC and DC voltages. very useful attenucerter & mixer modular utility module Module in pristine condition Power & Compatibility:

All modules have COTK power connectors. You can power them if you:
- Have a COTK busboard (included in this sale) to connect to an MU/Dotcom case
- Use a COTK system
- Have a Moon Modular case that supports COTK power connections - all COTK cables to connect to busboard are included and a dotcom cable to connecto to you dotcom case.

A solid foundation for a Moog-style modular setup—(just add a filter and an envelope generator or two)"

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A-Z of Analogue Synthesizers Parts 1&2

Note: Auction links are affiliate links for which the site may be compensated.
via this auction

"The most comprehensive encyclopaedia of all the great analogue synthesizers and keyboards!

Part One: A-M is numbered 1986 out of a limited edition of 6,000

Part Two: N-Z is numbered 1761 out of a limited edition of 6,000. (expanded edition from March 2003)

Some slight creasing to the front cover of the N-Z edition, as can be seen from the photograph."


These are great books. Probably the best when it comes to cataloging vintage analog synths.

More Essential Synth Books - Peter Forrest

The "A-Z of Analogue Synthesizers" books by Peter Forrest are hands down two of the most highly regarded synth publications out there. I have a copy of each myself and they are absolutely essential in my opinion. Highly, highly recommended if you are into synths. They read like an encyclopia/catalog of synthesisers. There's a load of detail on each synth including specs and images. I sent an email to Peter Forrest asking if he had a recommended link to put up for the image on the right pane below. He ended up sending me a few nice scans of the books and another book, which I do not yet have, (but heard good things about), "Analogue Heaven, the Museum of Synthesizer Technology." Title link takes you to those shots. These are great books to curl up in your favorite spot and just flip through. Sometimes a book is just better than a computer screen.

For more info on ordering send email to pforrest@vemia.co.uk.

Thomas Synti 1055 (Moog Satellite Made in Italy) thru Dedalus Delay on Ipad2

video upload by VSMI - Vintage Synths Made in Italy

"The Synti 1055 was designed as an improvement to the Satellite, which Thomas Organ Company aquired the rights to manufacture in 1973
The Synti 1055, like the Satellite, is an analog preset monosynth with a 3 1/2 octave, 44-note (F-C) keyboard (7 more notes than the Satellite). The major difference between the Synti 1055 and the Moog keyboards is that the preset tabs are above the keyboard instead of below. To the left of the keyboard there are 7 sliders for modifying a preset, including filter modulation, cutoff frequency, and resonance.
(from The A-Z of Analogue Synthesizers, by Peter Forrest, published by Susurreal Publishing, Devon, England, copyright 1994 Peter Forrest)
https://www.synthmuseum.com/thomas/th... it's this!
Dedalus Delay on Ipad by Amazing Noises
https://apps.apple.com/gb/app/dedalus..."

You can find addtiional posts featuring the Thomas Synti 1055 here.

Keyfax 2

via this auction. Note this is a VEMIA listing.

"Extremely rare - not surprising as it was published nearly 23 years ago and not re-printed... A comprehensive guide to keyboards and synthesizers from the 70s up until 1986, 240 pages, and, at 7 x 10 inches, larger format than, for instance, the A-Z books. By far the best of the Keyfax editions if you like old analogue stuff. Loads of reviews of analogue classics, as well as some of the interesting old digital stuff of the era such as Fairlights, Synclaviers, and Yamahas. The next revision (Keyfax 3) loses quite a few of the most interesting and obscure synths, while the previous one came out before a lot of the late analogue classics, so this one is definitely the one to go for. (This edition unfortunately loses a few compared with the first edition, including the Polymoog - but J.C. so hated that synth after being given one for a gig when he'd asked to hire a Prophet 5, that there's not much loss.)"

Roxy Music's Brian Eno's Custom Dual EMS SYNTHI

A few pics of Brian Eno's custom dual EMS SYNTHI via MarkEC on the AH mailing list. You can see the custom SYNTHI in the video posted here.

Peter Forrest, author of The A-Z of Analogue Synthesizers chimed in with the following:

"I asked Robin Wood and got this reply, which he said was OK to relay.

'Nice to see a few photos of this beast, usually only seen in OGWT video footage (or should that be TOTP?)..

This was a special built for Roxy by Gerry and Brian Rodgers, quite possibly after they had split from EMS when they were trading as RSE (Rogers Studio Equipment).

According to Gerry there were problems with its reliability. Also Gerry says Eno was 'sacked' by Roxy partly because of the instrument, so it's 'working' life was short. Information not easily substantiated..'"

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Hot Chocolate - No doubt about it

YouTube via quantumcatboy

"Collection:Greatest Hits of the 80's
CD:1
Track:1"
This one popped on the Analog Heaven mailing list. The intro synth is most likely the Yamaha GX1, precursor to the CS80. According to Peter Forest, author of the A-Z of Analogue Synthesizers, "Hot Chocolate were recorded in Mickie Most's studio, which boasted a very nice GX-1." It definitely has the CS80 sound.

JUNOST-21 - soviet guitar-like poly synth rare!

via this auction

"Here description from the "A-Z of Analogue Synthesizers" book by Peter Forrest:
JUNOST'21: Polyphonic 48-note (F-E) strap-on velocity-sensitive synth with mod grip.
- Fairly unique, since most synths of this type are mainly monophonic.
- The mod grip has volume and pitch-bend wheels, and unison/chorus switch.
- Sliders on the main synth body for LFO depth, speed, delay, routing to filter or VCO. VCF and VCA each with AD envelope.
- Presets: three banks of four. Two-digit LED. Din connectors for mains and audio out. External PSU; very long lead. The keyboard itself weighs 6.5 kg."

Check out the manual cover. Samples at the auction and ruskeys.net.

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Toyo Gakki TG-77 "Chestron" w/ Rhythm Section & Leather Case

Note: Auction links are affiliate links for which the site may be compensated.
video upload by Gadje Strada

This is the first post to feature pictures of the Chestron. It was mentioned in Strange Synthesizers of Japan by Hiromichi Oohashi - Synth Book w/ CD as well as Peter Forrest's A-Z of Analogue Synthesizers. It's worth noting Toyo Gakki made the ULT-SOUND aka Ultimate Sound drum synths.

I found the video above after seeing the listing below. Note the video is from 5 years ago and I'm guessing it's not the same one listed.

via this auction

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JUNOST-21 - soviet guitar-like poly synth

via this auction

samples at the auciton and http://ruskeys.net/

"Here description from the "A-Z of Analogue Synthesizers" book by Peter Forrest:
JUNOST'21: Polyphonic 48-note (F-E) strap-on velocity-sensitive synth with mod grip.
- Fairly unique, since most synths of this type are mainly monophonic.
- The mod grip has volume and pitch-bend wheels, and unison/chorus switch.
- Sliders on the main synth body for LFO depth, speed, delay, routing to filter or VCO. VCF and VCA each with AD envelope.
- Presets: three banks of four. Two-digit LED. Din connectors for mains and audio out. External PSU; very long lead. The keyboard itself weighs 6.5 kg."

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