Analogue-sequencer

>>You may find this page of interest...
http://raymondscott.com/moog.html<<

I ran across this chap a few years ago & decided it must be an april
fool. after all, I'd read everything I could find about serge & buchla
& varese. I'd imagined (somehow) that bob went from knocking out
theremins in the late 50s straight to the first modules for herb
deutsch, the ondes martenot knock-off he made for the beachboys, &
thence the carlos/beaver&krause/ELP/wakeman years.
raymond scott sounded too good to have been undiscovered, but when you
consider the type of work he was doing & that we had our own
radiophonic heroes over here in the UK it's maybe easier to understand
why I didn't know about him earlier.
if you're interested in the history of electronic music, the raymond
scott 2-cd set & it's accompanying booklet (packaged very nicely, with
the discs done up as NAB spools) is essential reading. 
"manhattan research" it's called. genius. there's one version of the
scott/moog seqencer anecdote therein; I have heard some other
accounts, but I prefer to take the view that sequencers of one sort or
another have been with us for hundreds of years & that the development
of an electronic version was an inevitability, not a fresh invention.

but the 960 still has a certain charm. I think it was the guy at MOTM
(I may be wrong) who was planning to make a reissue of it earlier this
year. I saved the cash for my second p3 instead.

>>The history of P3 is longer than it may seem...<<

jeez. well, that was a comprehensive answer- thanks for taking the
time. I think I started thinking about this when I acquired the same
model of cheetah sequencer recently. it's a bit weird, isn't it? I
think I prefer the mmt8 for that sort of sequencing. will the p3 ever
record chords? :-)
my first proper sequencer was the one in the pro-1 too. we got an
mc202 & a 303 a little while after that. I used to use the 303 to
drive a rogue (hated it's own noise- never understood the appeal), &
split the gate into the ext clock i/p of the pro-1. counterpoint!
before that, steve used to play all the sequencer parts by hand, using
a tape-echo to keep it steady, & this dictated (to some degree) how
long our early pieces were. sometimes I would cut tape-loops of these
performances & then splice a load of them together into one
composition. I should really have married delia derbyshire but I was
too young.

d.

d.