<html><body bgcolor="#FFFFFF"><div><br></div><div>On Jan 25, 2011, at 1:13 PM, Tony Scharf <<a href="mailto:noisetheorem@gmail.com">noisetheorem@gmail.com</a>> wrote:<br><br></div><div></div><blockquote type="cite"><div><div class="gmail_quote">On Tue, Jan 25, 2011 at 12:07 PM, Andrew Tarpinian <span dir="ltr"><<a href="mailto:evildead@nyc.rr.com"><a href="mailto:evildead@nyc.rr.com">evildead@nyc.rr.com</a></a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
<div bgcolor="#FFFFFF"><div><div></div><div class="h5"><div>Here's the thing, isn't it like buying a $3200 synth that you really don't know what it sounds like yet :) I guess that's part of the excitement.</div>
</div></div></div><br></blockquote><div><br></div><div>Well, you can look at it that way. Or you can look at it like this: Ive worked with synths long enough to know pretty much what a SEM filter or an analog saw wave is going to sound reasonably like. Ive listened to enough online demos of the various components in action and have actually played with the Z3000's at an AH synth meet last year. The sound generating and processing components are pretty well understood. Its the control side of things where this will get interesting.</div></div></div></blockquote><br><div>Well here's the most important question, what are you going to name it?</div><div><br></div><div>If I had a modular I would name it Sergio Leone</div></body></html>