The result was two decades of generic, predictable synthesizer sounds appearing in much pop and rock music. In just one year, Yamaha would release the world’s first affordable digital synth, the DX7, and this would soon lead to the overwhelming popularity of the dreaded “Rompler” (Korg M1 anyone?): keyboards which were difficult for the player to easily program. Check out the incredible heterogeneity of the offerings here: analog monosynths, analog polysynths, electric organs, electro-acoustic pianos, analog “electronic pianos,” and super-high-end digital workstations. Today on PS dot com: some oddball keyboards from 1980-1982. The big selling point here seems to be… a wide-Q notch filter. Much like Gibson/Epiphone in the 1960s.Ībove: the third generation of Kustom amps circa 1977. Kasino products were apparently the same circuitry as Kustom, but repackaged to as to allow different local dealers to carry the same products without competing directly. Aii yi yi.Ībove: a Kasino PA system from 1972. Oh wait: you don’t know the crazy story of Kustom founder Bud Ross? You might want to check out our earlier article about Kustom at this link… including our exclusive high-res download of the complete 1972 Kustom Katalog.Ībove: this advert uses the non-literal communication method known as SIMILE to suggest that ‘Kustom amps are as precision-made as surgical instruments.’ There is also a parallel structure that relates a musician’s ‘picking’ of a guitar-string to a surgeon’s ‘picking’ of a cyst/tumor/etc. I think someone had a thing for muscle cars back in the day, ironic, considering that dude later went into business making police radar detectors. Above: the 1972 Kustom Hustler, Charger, Sidewinder, Commander, and Challenger amps. Today at PS dot com: a few images of the ‘later’ Kustom amps, as well as a forgotten entry by sister-company Kasino.
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