Crumar Spirit

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"OK, by now, everyone knows the Crumar Spirit was designed by some of the Moog folks, namely Dr Moog, Tom Rhea, and Jim Scott. What's never been explained is how or why. That's where I come in. This is how it might have happened...

Let's first set the stage.

The year is 1982. The monophonic Prodigy and Rogue were still in production. Moog's attempt at a less-knobby synth (the Source) had been released the year before. The powerful but problematic MemoryMoog had finally started to ship and everyone involved really needed a break because of all the problems. New development had temporarily ground to a halt as all hands came on board to salvage the MemoryMoog effort.

During this time, the Rhodes Chroma had also recently been released.

Three Moog folks - Dr Moog, Tom Rhea, and Jim Scott decided to take a short holiday overseas to unwind and reset. They chose Italy as their destination and set off on their trip.


Meanwhile...
In Italy, Crumar had the DS-2 and Performer synths out there. They had also teamed up with a New York based firm to create the GDS and Synergy but they were having as many problems with them as Moog and ARP did with their recent polysynths.

So, the three Moog employees are in Italy, touring around and checking out the local culture. A chance meeting with Mario Crucianelli kickstarts an idea for a new synth. Moog as a company is stretched too thin and is too worn out to take on any new R&D. Dr. Moog and friends discuss features that they'd like to see. Since this isn't going to be branded as a Moog, there is some more freedom to borrow ideas from other synths and to vary from the traditional Moog designs. They have had good luck with the CEM 3340 and 3360 ICs in the MemoryMoog and the Chroma was using the 3350 VCF to create some unusual routings and new sounds. Rather than worry about licensing a Moog filter for this product, the team decided to go off on a new track and try a pair of 3350's and provide separate control over each filter chip.

The idea for a monosynth that could sound traditional or radically modern was born and the Spirit is the result.

Well, that's how it might have happened...

Let's get back around to the auction now.
I have a Crumar Spirit, serial # 62, that's been cleaned and calibrated. In addition to the synth (110 volts) and power cord, I'm including the owner's manual and schematics. In addition, I sketched out the trimpot locations and names for the VCO board to make future calibrations easier. As an added bonus (I'm all about giving you guys bonuses), I'm including 2 CEM 3340 VCO ICs, 1 CEM 3350 filter IC, and 2 CEM 3360 VCA ICs. So you'll never have to worry about CEMs again."

Crumar DS-1 vintage analog monophonic synthesizer

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"This is the ORIGINAL DCO synthesizer model. Around the time my recently turned 52 year old body was graduating from HS Crumar was selling this item. A synthesizer that would have tuning stability. Yet they called it DCO when in reality the control is ANALOG....however the generation of that initial waveform was a digital chip... a 74LS221 set up as a relaxation oscillator with a capacitor. In other words the analog control currents charge a capacitor to the threshold of the chip and it discharges the cap at that point and then starts a new charging cycle while outputting a waveform that is tied to that frequency.

Anyway DIGITAL was a new buzz word back then :-). Then they didn't want to emphasize the fact that everything AFTER the digital chips that create the initial waveforms is analog. Down to the details of the delay circuit for the LFO where the flexible modulations can be made to GRADUALLY arise after the strike of a note, rather than abruptly like on polysix and some other common analog synths. So this is a fairly powerful analog beast in other words that has oscillators that stay stable. I acquired a DS2 which adds a poly section into the mix and extra lfo so decided to let this one go since... they are otherwise extremely similar.

FOR THE COLLECTOR though..they built a few thousand DS-2's it appears. THey built probably (from the serials we've seen) less than 200 of the DS--1. So it is one of the most collectable 'landmark' synths in history.

THis one as you can see is in really awesome shape for it's age. I'll put lots of end padding in the box so that corners dont' get smashed and the innards don't get trashed. Will final check it before shipment. The tune pots were a little iffy as I recall last I played it so I'll clean those. Otherwise it was working awesome! I got this from a guy in Hawaii! Serial number A72 as I remember. I think we've seen serials up to A 144 or like that.."

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Octave CAT

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“The original Octave Cat was a beast. Some features included a four-note sequencer patch, in which using the sub-oscillator on VCO-1 and the additional pulse, were allowed to form steps. Switching the sample and hold to VCO-1 could accomplish pseudo '4-step-sequencing' on VCO-2. More important than flashy tricks was the ease of use associated with Octave instruments. The machine was carefully and logically planned out, with ADSR and AR located on the upper left hand side (this arrangement allows for easy release or attack variations, which should be considered quite nifty). Unfortunately, the pitch bend slider seemed to be in poor review with many users (in the Cat's defense, the pitch slider is equipped with a "dead zone" in which any position 4 millimeters above or below the center hardly affects the pitch. This is probably achieved with the use of diodes). The original A-1000 of 1975 lacked voltage control, and had an external fuse. An updated version included CV control, but retained the external fuse. What I believe to be the final A-1000 revision places the fuse internally, and seems to be the most common of the A-1000 Cats. (Apparently VCO-1 has a different circuit design than VCO-2. It seems that VCO-1 has a better circuit design, so side by side comparisons will be made in the audio sample section.)
Three waveforms with two sub-oscillators offered a pleasing variety of waveforms and a ripping sound. Audio frequency pitch modulation was available, along with cross modulations of VCO-1 & VCO-2 and vise versa. Four envelope destinations along with the squirmy discrete A-1000 filter were enough to bring a smile to any synthesist of the era (a terrific November 1977 A-1000 Octave Cat ad can be seen here).
It is without doubt that the Octave Cat is a "special" synthesizer. Many mid to late 1970's synthesizers fit into this category as well (Crumar DS-2, EML Electrocomp 500, Powertran Transcendent 2000, KORG 800DV, Roland SH-1, Jen SX-1000, etc etc). These are the synthesizers that really never received the exposure of Arps and Moogs. The Cat has been considered a knock-off Arp Odyssey, and unrightfully so. Various sources claim that Arp took Octave Electronics to court, but the reality is that Arp dropped charges, and they were no strangers to "borrowing" ideas themselves. Comparing the Arp Odyssey to the Octave Cat is completely beside the point; they are both amazing instruments of the 20th century.
The Cat electronic music synthesizer has strong metal sliders. They feel very comfortable and precise. Unfortunately Arp opted for plastic sliders, which often feels stiff and hard these days. A good portion of the Cat is sliders, and perhaps 1/3 is knobs. The Cat is a synthesizer that rarely becomes boring, and new original sounds can always be developed. The actual sound of the Cat is unique as it is relatively indefinable, partly because no one has popularized it like the Minimoog.”

Text from- octavecat.homestead.com. The link isn't working for me. If anyone has any ideas, feel free to comment.

Crumar DS-2

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"IT FEATURES * Polyphony - Monophonic synthesizer section; 44 voice polyphonic string section * Oscillators - 2 DCOs * LFO - 2 LFOs; LFO 2 has Sample&hold and Staircase waveforms * Filter - 1 4-pole LPF with Cutoff, Resonance, ADSR and ENV-amount * VCA - ADSR * Keyboard - 44 keys * Memory - None * Control - Gate"

Crumar DS-2

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"Crumas DS 2 digital Synthie from 1978." Note the built in case.

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1978 Crumar DS2 Synthesizer

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I think the seller is mixing up the Crumar Spirit with the DS2. From the listing:

"Der letzte von Robert Moog in den späten 70er Jahren entwickelte Synthesizer."

"The last synthesizer developed by Robert Moog in the late 70's."

Moog worked on the Crumar Spirit from 1983.

via Wikipedia: "In 1978, Crumar released their first full-fledged synthesizer, the DS-2, which had one of the earliest digitally controlled oscillators (DCO).[2] Crumar synthesizers are comparable and contemporaneous to Moog synthesizers and other analog synthesizers; in fact, the Crumar Spirit synthesizer (1983) was designed by Bob Moog himself, along with Minimoog co-designer Jim Scott and Tom Rhea (who wrote Moog manuals)."

Crumar DS2 Synthesizer

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"Completely serviced by wellknown dutch top tech (with invoice)
Great state, great sound and complete with lid/hardcase.

The DS-2 is basically a monosynth with an added 44-voice polyphonic strings section. The DS-2 uses DCOs (digitally controlled osc.) making it stable in tune. That isn't to say it can't sound fat...it can. Especially if you use the polyphonic string section and apply some slow LFO modulation to the pitch. This is a very big and good looking synth with a lot of knobs for instant hands-on control. And you don't need a hardcase, it's built into one. Just lift the cover and there it is.

It has two nice LFOs, one with S&H and staircase waveforms. You can use either or both LFOs for modulation of Osc 1, Osc 2, VCF and the VCA. Pulse-width can be set manually or modulated by either LFO. The VCF is killer, it has a nice Moog sound in it that fattens up the sound. The two ADSRs are very fast so there's no problem making bass and drum sounds with it. It has an external input for processing other sounds through its lovely filter too."

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Crumar TRILOGY Vintage Polyphonic Analog Synthesizer

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Crumar Trilogy Sound Test video upload by Mario Mantero

Note this video is from 2016 and not the specific TRILOGY listed below.

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“Released in 1981 by Crumar, the Trilogy is a polyphonic analog synthesizer organized in 3 sections : Polysynth, Organ and Strings. The three sections are combined into one instrument to make up the six-voice analog hybrid synth. The Trilogy is a very versatile and warm machine that can easily generate synth basses & leads, electronic pianos and organs, warm strings, lush pads and sci-fi type noises. Thanks to the razor-sharp filter resonance you can also get a variety of tuned percussive sounds.

SYNTH SECTION
The Synth section implements two 74LS221 oscillators (the same used in the ultra-rare Crumar DS-1) with saw, square and saw+square waveforms. The two oscillators can be synced or tuned separately. The Synth architecture is basically built around CEM chips and in fact it features 6 CEM VCFs, 6 CEM VCAs and 6 CEM EG (one per voice).

ORGAN SECTION
The Organ section implements two additional detunable (or syncable) master tone generators divided-down to generate the octaves of the 4 horizontal drawbars (2', 4', 8' and 16'). The fact that the two master Organ oscillators can be detuned allows to produce a vast, rich, organy sound. The Organ section is fully polyphonic and can benefit of the Glide effect and the LFO features.

STRINGS
The Strings section is relatively simple but generates warm and unique brassy string sounds. The Strings section features a stepless "Footage" knob to mix low and high strings (16 ′ to 8 ′), a cutoff filter named "Timbre" and volume Attack and Release. The Strings section is 6-voice polyphonic and can benefit of the Glide effect and the LFO features

OUTPUTS
What is nice about the Trilogy is that in addition to being able to layer the sections they all also feature individual outputs for separating the sounds. The Organ and Strings audio outputs can be taken separately from a ¼inch jack socket on the back panel, or from the socket marked 'Polysynth' which in fact gives a mix of synth and organ if used alone.

MODULATION
The Trilogy LFO features triangle and square waveforms, and sports controls not often found on other synths. These included a variable delay control that determines how quickly the LFO is brought into the sound, a variable slope for blending two separate tones, and a glide feature for a glissando pitch change in the initial attack of a sound. An oscillator sync option determines the high frequency attack of one oscillator with the other high frequency oscillator. An input on the rear panel allowed for pedal control of this function.
Geek Porn : the presets 2->8 are not "static", they just cannot be edited using the synth knobs and sliders. You need to open the synth and tweak the dozens of trimpots placed on the preset board using an insulated screwdriver!”

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Crumar Performer Schematics

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"Crumar Schematics
- 10 pages of schematics for the Performer
- Performer Parts List
- DS 2 and Performer Interface guide (2 pages)
- one page of handwritten service info about the performer
- one page schematic for the C.P.B-1
- five pages of schematics for the O.M.B 2 synth (photocopied)"

Crumar DS-2 Analog Synthesizer with DCO's

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"This synth could use some tlc.

It makes sound in it's current condition and most of the functions seem to work in general.

Unfortunately, it only works when set to certain waveforms in the two LFO's so it's going to need some attention.

It only makes sound when LFO 1 is set to ramp and LFO 2 is set to square."

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Synthesizer von Gestern (Synths of the Past) Vol 2, Matthias Becker.

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"Beautifully-produced second volume of Matthias Becker's authoritative 'Synthesizers of the Past' book - in German, but with so many superb illustrations that it's hardly necessary to read the text. New, unused, still sealed. The photos were taken of another copy of the book.

Too many highlights to mention all, but the book covers such absolute classic synths as the Trautonium, ARP 2500, EMS Synthi 100, E-mu Modular, Steiner-Parker Synthacon, RMI Harmonic Synthesizer, Birotron, PPG 1002, Moog Taurus and Liberation, Roland System 700, Synlab Modular, Roland SH-7, Crumar DS-2, Korg Sigma, ARP Quadra, Roland RS-505 and VP-330, Fairlight CMI, Realton Variophon, Oberhaim OB-Xa, Xpander and OB-SX, Gleeman Pentaphonic, RSF Kobol, Emulator 1, Synergy, Roland SH-101, TB-303, TR-606, MC-202, Jupiter 6, Syntec Banana, SCI Prophet T8, OSCar......... an incredible roster which would (in the beautiful condition they are in the photos) probably now be worth over half a million US dollars.

All with superb photos by Dieter Stork. Hardback, beautifully printed on very high quality paper, bound to the highest standards. A coffee-table book which is also a superb source of information. The Rolls-Royce (OK, Mercedes) of synth literature. (I should know - I produced the Ford Fiestas of the genre.) ISBN 3927954012, printed in 1995."

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RARE Italian CRUMAR DS-2 ANALOG SYNTH

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Videos at the auction and here.

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Synthesizer von Gestern (Synths of the Past) Volume 2

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"This is a brand new sealed, unopened copy of the rare classic synthesiser book, 'Synthesizer von Gestern' by Matthias Becker. It is the second volume, which (at 146 pages) is larger than the first, and includes an incredible array of classic synths. Unlike the A-Z or Museum book, this is a beautifully-bound hardback, and is printed on very good quality paper. It is the first and only edition of this rare book. The picture is of another book, but it is identical.

When this book was out of print and no longer available, copies were changing hands for 100GBP-plus. Then the publishers found one last pallet of books in their warehouse, gave them to the author in lieu of royalties, and I drove to Koeln in Germany to bring back all I could.

It is in German, but so much of the book is taken up with beautiful full-colour photos and excellent illustrations that that isn't as important as you might think, if you don't speak German. It's a great coffee-table book, but full of serious information too - and the photos are in a class of their own. Crisp, beautiful, detailed, professional!

The book starts with an in-depth interview with Oskar Sala, inventor of the Mixtur-Trautonium (used for the entire soundtrack of Hitchcock's 'The Birds'). Fantastic photos of his studio and various Trautoniums.
Other synths and electronic instruments covered in detail include:-

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Vintage Crumar DS 2 Synth Synthesizer SN 464

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VINTAGE CRUMAR DS-2

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Crumar DS-2

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Crumar DS-2

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Crumar DS-2 SN 00019

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"**Has some major functional problems** - it will need work: Only one of the VCOs seems to work and the poly section is not outputing, many of the sliders and pots are scratchy, the VCF and filters seem to work correctly, all keys seem to work, the bender bar is hard to move, and the Pitch poly pot is a little warped. Still makes some cool weird sounds, but definitely not in normal working order.

Includes User and Service Manual - which include schematics, parts lists, etc..."

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Synthesizer von Gestern (Synths of the Past) II, sealed

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"Classic hardback book about classic synthesisers, in German, but with loads of superb illustrations - the most beautiful book about synths ever made.

Sealed, brand new. This is Book II, which is bigger than Book I, and includes authoritative text and diagrams and gorgeous photos.

The book starts with an in-depth interview with Oskar Sala, inventor of the Mixtur-Trautonium (used for the entire soundtrack of Hitchcock's 'The Birds'). Fantastic photos of his studio and various Trautoniums.

Other synths and electronic instruments covered in detail include:- Jorgensen Clavioline, ARP 2500, EMS Synthi 100, Moog Sonic Six, Emu modular, EMS Synthi Hi-Fli, ARP Pro Soloist, Steiner-Parker Synthacon, RMI Harmonic Synthesizer, EMS Synthi E, Birotron, PPG 1002, Moog Taurus, Liberation, Prodigy; Roland System 700, Synlab Modular, Yamaha SY1, Oberheim OB-1, Roland SH-7, Steiner EVI, Crumar DS-2, Yamaha CS-30, DX7; Korg Sigma, VC-10, Poly 61, Poly 800; ARP Quadra, Roland RS-505, VP-330, SPV-355, SH-101, TB-303, TR-606, MC-202, Jupiter 6; Fairlight CMI, Realton Variophon, Oberheim OB-Xa, OB-SX, Xpander; Gleeman Pentaphonic, RSF Kobol, Blackbox; Emu Emulator I, DK Synergy, SCI Prophet 600, Prophet T8; EEH Banana, Boehm Soundlab, OSC OSCar.

A beautiful quality coffee-table book - high production values, great illustrations, hardback, and as rare as some of the rarest synths it contains! Still sealed!"

Crumar DS-2 Previously owned by BILLY COBHAM

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"Known as the master of fusion jazz or jazz funk, he has toured as drummer for the likes of THE GRATEFUL DEAD, MILES DAVIS, CARLOS SANTANA, and too many others to list. He was one of the first to utilize electronic drum controllers and other early electronics, and still tours today."

SN A 227

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