time keeps on slipping

To keep this story short:

  • Stay At Home order issued Saturday at 3PM, to take effect Monday at 12:01 AM.
  • My shift began at 7 AM Monday. I worked from home, quite productively, until:
  • At noon, there was an email from the boss declaring we are an Essential Business and everyone would continue working from the office.
  • I drove in. My supervisor said I should probably raise my concerns with the office manager (and mentioned several people were frustrated and upset and putting the pressure on to switch to WFH). I did so, specifically mentioning being at High Risk due to medical conditions, and was given permission to work remotely.
  • Tuesday the entire dev team did a “trial run” of WFH all day, with a conference call in the afternoon with the boss and IT guy to report on how it was going.
  • Shortly after that, it was announced that the entire staff would WFH until further notice, starting Wednesday.

So there’s that bit of drama settled, thanks to worker solidarity and also just the reality of the situation, I guess.


I know I’m privileged here, despite the medical risk factor. I still have a job, which I can do from home, and the business is extremely unlikely to evaporate. While my spouse can’t do her normal work from home, she’s still being paid too and has some “homework” to get through. We have a little bit in the bank, not a ton especially if we lose medical insurance, but it’s not nothing.

But of course this is all still upsetting and disorienting. Routines have been broken. Some of them probably broken forever. Others will, like a broken nose, heal up in a somewhat different shape.

We don’t know how long the crisis is going to be a crisis. I’ve read some opinions about what is necessary to fix both the medical and economic aspects of it, and they are going to require politicians to step up and take real action. I’m not very pleased with Trump being at the wheel for this, nor with either four more years of him or Biden taking over. Somebody like Elizabeth Warren or one of the Squad, sure.

On a personal level, I feel like my sense of time, the rhythm of the day, has been messed with. Our restaurant-going habit has a very different rhythm than eating at home, whether it’s cooking and doing dishes or just digging into leftovers or frozen dinners or whatever. Sitting down to the same computer I use for music production and gaming, instead of commuting to work, taking lunch and walk breaks, etc. feels very different too — although so far I find my workday feels like it passes more swiftly and I’m getting more done. I’m sure it’s weirder for my spouse, who’s on no particular schedule at all now and has a few days’ head start with the weirdness.

My Prius gets 400+ miles to a tank of gas. I just filled it last week. It could be May or even June before I buy more gas.

With all of this going on, I haven’t felt much like making music for several days. I’ve just been playing games and repeatedly checking news sites. I changed that this evening, and recorded “Valaskjálf” for the Castle album. I engaged in FM overkill: layering Hertz Donut with the E352’s linear FM, layering Akemie’s Castle with Rings’ FM mode, and exponentially FMing Kermit with the other Rings in FM mode. I didn’t even bring in FM Aid or use filter FM, but I used the VCFQ as a quadrature LFO, Filter 8 as a highpass filter to keep the E352’s FM clean, and Ripples mostly as a VCA. And I layered in a few small fragments of a previous recording that I’d decided to reject as a song in its own right. The result is a pretty noisy song that kind of expresses the fear and frustration of the past few days, now that I could get it out. But I hope that I can go back to more calming music again, because that’s what seems to be needed.

closure

We’re now under a stay-at-home order and I’ll be working from home for the first time starting about 15 minutes from now. It’s not very comforting that we have no official contact from management about it, and it makes me wonder if heads are still buried in sand or if they’re just bad at communicating outside the office. Either way, the foot-dragging on this most likely means not everyone is going to be ready and able to work from home yet. I don’t envy our IT person.

I’m ready and willing though. I’ll have a clearer idea of how this goes later, but I kind of think this should be the norm in order to reduce emissions anyway.


The other bit of closure is that I’ve bought a used Zorlon Cannon mkII, and that will “finish” my modular. No more available space remaining (given that I’m reserving a big slot for the E520), nothing else that I feel I need, no plans to change anything. It could still happen of course — maybe there will be some future must-have module — but overall, it’s complete.

The short version of Zorlon Cannon: it has two sections, each of which can run at a different rate, and can generate either 4 random/patterned gates and a related CV output, or four Atari 2600-like audio channels and a mix of them, depending on their rates. I’ve heard it used to generate fantastic drones, and CV generation method isn’t far from techniques I’ve used in the past with multiple gates and a matrix mixer. So this should be a fun one to play with.

The name comes from the 1982 Atari game Yar’s Revenge, which was wildly original for its time. The 2600’s TIA (Television Interface Adapter) chip, which handled graphics and sound and input in the most awkward way imaginable, uses linear feedback shift registers (LFSRs) not too dissimilar from the ones in the module, for various purposes including sound. Yar’s Revenge leveraged that nicely with an eerie sort of ambient drone soundtrack.

this.

It’s Okay That You’re Not Okay

We’re all in mourning from the death of normalcy.

This is what hit me yesterday afternoon at work as I took a walking-around break, reading news on my phone.

This pandemic is an event that will have a lasting effect on people, and on cultures, local and worldwide. More so than something like 9/11, I think.

What it’ll do to politics is anyone’s guess. Will it lead to more authoritarianism? Or will people stop tolerating the casual cruelties of capitalism, once they realize that some of them can be relaxed? Will we come out of this with a stronger social safety net, a less divided nation? Or a lot of dead poor people and a broken economy and discouraged generations?

sometimes things happen fast

I guess there’s not really any need to document the progress of COVID-19 and various government and business and populace response to it in general. The situation here in the St. Louis suburbs is about the same as in many places, give or take minor variations in timing and in strength of response.

There was no official word from my company until literally just now, after I started writing this post: “The office will remain open and we are preforming business as usual until further notice.  We are constantly monitoring the situation with COVID-19 and will send an email if anything changes. We ask that you stay home if you are sick and communicate with your supervisor.”

I find this pretty frustrating. I don’t believe our business has any actual barriers to working from home. We already have four remote employees on three continents. But maybe now that something’s been said, I won’t have an anxiety attack once or twice every workday like I was for a while. It’s very weird here at the office complex and surrounding plaza; the parking garage is more than half empty, the restaurants are grim and mostly empty and smell strongly of bleach. “Business as usual” seems very unusual right now.


And yes, I feel weird about having an album called Shelter In Place. I was thinking of environmental-related threats and the general political climate. I thought about pulling it from my Bandcamp, but I don’t think I will.


In the music world, I recorded a bit more for the castle album, rejected one, and really like where the others are going. I’ve got a patch idea I’m eager to try, with multiple FM oscillators playing off each other.

In gaming, I’ve gradually worn my Steam Controller’s left stick down to a lopsided lump and replaced it with an XBox One S controller. The feel is a bit different, with longer throw on the trigger buttons, but my hands are getting used to it. Unfortunately in Dirt Rally 2.0 I’m stuck in the Elite class for career championships — due to a lucky win in the H1 class in Pro — and subsequently coming in 25th place out of 30 didn’t bounce me back down to Pro. So I’m kind of avoiding that mode and trying to fill in other driving modes instead. I might wind up walking away from the game for a while to go with Project Cars 2 or something, despite its flaws.

I also started playing Black Mesa, now that it’s officially finished. This is probably my the 4th or 5th play through one variation or other of Half-Life 1, including an earlier and much less finished iteration of Black Mesa. The initiatory tram ride felt a little wrong, with different music and a different voice, but it’s nice having more up to date graphics, additional dialog etc. With the graphics settings I’ve been using, the flashlight has problems with shadows and sometimes is utterly useless, but at least it can be turned on continuously.

In an interlude between Expanse novels at the point where the TV show has covered and where it hasn’t gone yet, I’ve inserted a couple of other books. One of them was Racing the Beam, a book about Atari VCS/2600 development from the perspective of “platform studies” and how various platforms affect creative arts. The VCS was really a super-primitive machine, designed mainly to play Pong and Tank and similar simple two-person games which is what people imagined games would be, with a lot of cost-cutting that probably multiplied development costs considerably. The variety of games that were accomplished on it, and the precedents set for video game genres, are really a testament to the ingenuity of programmers that Atari wanted to keep anonymous and relatively unrewarded (leading to the creation of Activision, who really pushed the envelope).

Now I’m reading Two Cheers for Anarchism, a social science professor’s “fragments” of thought on anarchism. He doesn’t avoid criticizing its shortcomings and pointing out the inherent paradoxes, while also praising its good points, and it’s been an interesting read so far.

something in the air

I just fired it up a little while ago, so there’s about 7 hours of listening to go before I’ve heard the whole thing — but Ambient Online Themed Compilation 08: Air is now available.

As has been the case for most of them, I have two tracks on it. Here’s what I wrote on the AO forum:

“January March”, very much about bitterly cold winter air, is mostly the Make Noise Mimeophon in self-oscillation, with heavy processing.

“Troposphere” is an improvisation on the Lyra-8 processed two ways in parallel:

  • through a Doepfer A-196 PLL which tracks its pitch, an envelope follower and VCA for dynamics, a filter to roll off the square waves the PLL generates, into Mutable Instruments Clouds for pitch-shifting and granular reverb. I was going for a variation of “shimmer reverb” but it’s more like a sort of steam whistle lead voice.
  • more simply, through Catalinbread Adineko and Mosky Spring Reverb pedals and EQ.

The “piano loop” in it is actually the SynthTech E352 captured in a loop by Mimeophon, whcih I manipulate a little in the module, but also timestretch a bit in the DAW. I also used the loop to train a noise reduction plugin, which I then applied to the full mix to quiet and disrupt the loop somewhat, making it a bit more ghostly. This is a technique I’m going to have to explore more in the future I think.


I guess this is the coronavirus post. I hope there don’t have to be too many of them in the future…

Being almost 50 and diabetic and apparently susceptible to every bug that goes around, I’m trying to be cautious but not worried. My spouse has had pretty serious pneumonia in the past and is on meds that suppress her immune system and works with the public, and again, I’m trying not to be worried about this. My mom has postponed a regular checkup for her heart condition, not wanting to sit in a waiting room with sick older people. (Every checkup so far has given the exact same lack of any bad news, so she’s not too concerned about postponing by a few weeks.) A family friend is an IT consultant who has worked at a location where someone has had a confirmed case of COVID-19 — it’s not like he can just stop taking jobs for the next few months. One of my coworkers is going on a Disney World vacation at the end of this week.

I have made soap and hand sanitizer very frequent visitors in my life, and gone through catalogs of songs to figure out what takes about 20 seconds. (One verse of “Particle Man” is pretty close.)

News reports aside, in regular shopping I haven’t personally seen evidence of shortages, but I haven’t specifically gone to drugstores looking for hand sanitizer or isopropyl alcohol, etc. We did just have our first case reported in the state today.

If it weren’t for actual people dying, and some governments getting heavy-handed with restrictions while others fumble around pretending there’s no real new story, I would kind of be amused at the repeated “don’t worries” from our company’s financial advisor, a clear sign that they are worried. Just a minor setback, just the market closing to prevent a total wipeout, here I’ll send your office a gift basket of snacks. If only we could find a way to reduce oil consumption, greatly reduce pollutants in the atmosphere, kick Wall Street in the teeth, and stop Trump from taking credit for “success” that he has nothing to do with, that didn’t involve people dying first, and impacting the livelihoods of workers and the poor more than the rich. If only there was some way to take care of everyones’ health…

plans? what plans

Rather than selling my Cold Mac, I wound up trading it for a Random*Source Serge VCFQ. That’s a filter, designed by Serge Tcherepin for his own modular synth format, adapted to Eurorack format as a DIY kit, built by someone else.

Based on some feature similarity, I believe VCFQ is what inspired the Joranalogue Filter 8. They’re not identical right down to the core, though. I think VCFQ sounds a bit sweeter in most respects, while Filter 8 has a generally more complete feature set. VCFQ is better for pinging, Filter 8 better for self-oscillating. I’ll leave aside any further comparison details, and just say that I plan to keep them both, while further investigating Ripples to decide whether it’s going to be a long-term keeper.

I’ve also got a trade offer for my Hertz Donut mk3, for a second Stages. Stages can be linked together to seamlessly group segments from one module to the next, so two of them could be used for a 12-step sequence for example. I’m considering taking the offer, though it means replacing Supercell with Typhoon becomes a whole lot less optional, and it closes some paths to future expansion. (I was kind of thinking about Morphagene/Phonogene or some other “tape loop” module, but I expect the E520 will cover that ground admirably anyway.) I was already considering replacing Contour with some other modulation source but the case for doing so wasn’t terribly strong. Another Stages could easily be that source, though!


I’ve just finished reading Leviathan Wakes, the first novel of The Expanse. The usual refrain about these things is “the book was better,” but I’m not sure that’s the case here. I think the changes made for the TV series were mostly well chosen. Lang Belta is definitely better onscreen, since they consulted with a linguist to develop a more believable creole than the English-with-abysmal-Spanish-and-some-German-loanwords mess in the books; even the authors admit that.

It’s a little unfair to compare the first book with the whole 4 seasons of the show so far, but Alex, Naomi and especially Amos all come off as more developed and complex in the show. Having the UN/Earth completely at a distance, with no Chrisjen Avasarala as “Grandma Who Takes No Shit From Anybody”, and no particular Mars loyalty from Bobbie (which came later in the show anyway) or homesickness from Alex, removes a lot of political complication and multi-dimensional sympathy too. Part of the reason I want to go ahead and read the rest of the books at this point is to get to Chrisjen and Bobbie.

On the other hand, the book felt like a balance between Holden with his righteous but naive heroism that frequently backfires, and Miller’s cynical but persistent style. Considered on its own merits rather than balanced against the show, it worked well.

not even a hot take

I have to get this off my chest, I suppose.

It should be no surprise that I find Trump disgusting, embarrassing, and in basically every way terrible; almost everything he has done is the exact opposite of the right thing.

But if Bloomberg gets the DNC nomination, I am going to abstain from voting in the Presidential general election.

I don’t much like Klobuchar, Buttigieg, or Biden. But I would vote for any of them against Trump without flinching, if it came to that.

Bloomberg is just as racist, sexist, fascist and cruel as Trump. He’s richer — the 9th wealthiest man in the US, which is absolutely not a sign that he has regular peoples’ best interests at heart. He’s less of a buffoon in his demeanor, but not really less of an idiot in terms of policy.

Bloomberg was a Republican until 2018 when he officially switched parties for the sole purpose of running against Trump. He endorsed George W Bush and supported the Iraq War, and called Obama “arrogant” and blamed him for “racial division.”

His “stop and frisk” policy as NY mayor was disastrously racist. He claimed in 2013 that they weren’t stopping enough minorities and were stopping too many white people. Of course now he claims to have reduced stop-and-frisk by 95%, but that was after he increased it by 605% and after a federal judge signaled he was about to rule against the policy. He claims credit for a reduction in the crime rate, but similar reductions have been going on since 1990 whether there were 11,000 stops or 686,000 stops per year. He vetoed proposals to increase police accountability (and was overruled by a supermajority).

He spent 12 million dollars to help re-elect Pat Toomey, PA Republican senator, who squeaked by with 1.5 points over the Democratic challenger; if that hadn’t happened we wouldn’t have Kavanaugh on the Supreme Court.

He believes any public healthcare program should deny care to the elderly rather than “wasting money” by treating them. He literally said it out loud.

Also he’s transphobic.

His entire campaign is based on the lie that he’s the only one who can defeat Trump, with a sort of it-takes-one-to-know-one logic that’s not exactly flattering. There’s actually no reason he couldn’t have done that as a Republican in the primary, except that he also wants to stop any useful progressive reforms that might tax the super-wealthy.

Yet the same talking heads who complain about Bernie not being “a real Democrat” are happy to throw in with Bloomberg. Millions of dollars in advertising are at stake, I suppose…

I honestly think if Bloomberg gets elected by buying his way into it through the Democratic party, in some ways that’s actually a worse sign than Trump’s election through populist appeal to fear and prejudice. Or, call it a second bad sign maybe. It’d more or less be the end of the Democratic party as anything meaningful and supportable.

That goes double if there winds up being a contested convention, with Bernie having a plurality of delegates but not a majority, and the establishment throwing it to Bloomberg. Right now, FiveThirtyEight is putting the odds of a contested convention at 38%, a Bernie win at 36%, Biden at 14% and Bloomberg at 7%, for whatever such an early prediction may be worth.

recursive reverb

The Mosky spring reverb pedal arrived Thursday. It’s small, basic and it does the job. A guitarist who reviewed it said the settings get pretty extreme for his tastes and he keeps both knobs at 9 o’clock, but I cranked them fully and still wanted it in a feedback loop to make it go further. The blue LED on it was blinding, but after seeing some suggestions I tried a silver Sharpie I had to hand, and that dimmed it to reasonable levels.

Adineko arrived Saturday. It’s got a nice sound, especially with a bit of the “Viscosity” setting to make it all swirly… but unfortunately the “Reverb” knob (delay repeats) does nothing. Since I’m using it with a modular synth and Bitwig anyway, I can patch my own feedback loop to get repeats — and in fact, use that along with other processing such as the Mosky, which sounds pretty nice. But its own internal feedback is supposed to be part of its character (and why not combine both internal and external feedback loops), and anyway I paid for a fully working pedal.

The seller says it was 100% working when he shipped it, so he considers it damaged in shipping — and had shipped it through “Reverb Safe Shipping.” (That is, Reverb the online marketplace, not reverb the type of effect, nor “Reverb” the knob that isn’t working!) After some confusion and support emails on both our parts, a “Resolution Agent” is going to get back to me about it. I’d accept either a full refund and return, or partial refund to cover repairs. Probably the former is simpler.

Anyway, after my experiments I have decided I’m selling the Paradox Arquitecto, and will keep an Adineko and the Mosky in their own effect chain. I tried imitating it with Mimeophon by modulating the delay time and it wasn’t even close. It’s funny how many variations there can be on woozy, pitch-shifted echoes without them sounding very similar to each other.

Once this is settles, I am leaning toward Walrus Slö (a reverb made specifically for ambient music) and perhaps OBNE Dweller (a phaser/vibrato/tremolo/delay) to finish off the pedals. Keeping 4-5 mono pedals in two chains is easy enough to manage.

I haven’t really dived into my Akemie’s Castle study yet, but I have been pondering replacing it with Xaoc Odessa or 4ms Ensemble Oscillator. Those are both additive synthesis oscillators with different approaches. Odessa is pure brute force additive with thousands of partials, spectral tilt and comb filtering, a means of splitting partials in groups between two separate outputs (and harmonically multiplying or dividing one of those outputs), and detuning it into inharmonicity; it will do both linear and expo FM. EO is a 16-partial oscillator with banks of different scale combinations and programmable scales, putting it somewhere between chords/music theory and harmonic additive synthesis, and the oscillators can be shaped and have “cross FM” applied but not regular FM. EO is smaller and cheaper. Odessa is much less likely to ever have firmware updates (for good or ill) due to its FPGA nature. I’m sure both of them can produce a wide range of sounds but they’re both outside my normal experience so it’s hard to judge. Neither of them seem particularly difficult to use, though Odessa may be a little more straightforward. There are few demos of EO yet, and no really great comprehensive DivKid (or similar) demo of Odessa yet.

I’m also strongly considering switching out Supercell for one of the “micro expanded Clouds” variants and keeping it in Clouds mode forever, rather than messing with a cheat sheet and different modes. Right now I have 7 browser tabs open and am about to compare the different variants on features, layout, size and price.

it’s not the best choice, it’s Spacer’s Choice

I was talking about my search for an RPG I could get into, and my spouse mentioned watching a Let’s Play video of The Outer Worlds which she thought might amuse me. And she was right.

I was going to wait for a discount, but then I found out XBox Game Pass for PC (is that an awkward name or what?) includes it, and that there’s a $1 for 3 months promotion going on right now. After that, it’s $15 for each block of 3 months. Um, yes.

Without taking too much space explaining the story, it’s a space colony as the ultimate company town, a capitalist dystopia taken to extremes. It’s presented as dark humor with occasional more serious streaks, and there are a few earnest and caring people among both the downtrodden and the oppressor class. The overall style is very Fallout and Borderlands — goofy mascots, ironically retrofuturistic ranging from the Flash Gordon era through 50s and 80s styles — with more than a touch of Firefly.

As far as gameplay goes, it is primarily a shooting RPG, with melee as an option (if not a wise one in more open areas or against some enemies). In some situations you can smooth-talk or sneak your way around violence, but killer robots and alien monsters and marauders tend not to listen to reason. Dialogue choices, and choice of who to help against whom, seem to be meaningful and it’s designed to not break the main storyline even if you kill or betray key NPCs. (So they say… I’m trying to stick with my conscience here.) Overall, while it might not be the exact thing I was looking for — whatever that is — I’m enjoying it.

I am also getting a kick out of Lonely Mountains: Downhill, a game about extreme mountain biking. It’s somewhere between a racing game and a physics game, which I guess given that I like rally racing games, is just about where I like things. The graphics are cute and minimalist, there are shortcuts everywhere (many with increased risk or skill/luck required) as well as places that look like shortcuts and turn out not to be and it’s just a fun little thing.

I was less pleased by Forza Horizon 4. It’s a favorite for many, but to me it’s too arcadey and over-the-top, as well as buggy. I couldn’t get my controller working with it and it’s definitely the sort of game where playing with a keyboard is the last resort. You can drive at top speed through stone walls without damaging your car, as if they’re merely piles of balloons — pretty much the opposite of the experience in Dirt Rally 2.0 and WRC 7 and the like.

I think, aside from rally games, what I want in a racing game is a sim like Project CARS, with all the weird exotic stuff like the Ariel Atom and BAC Mono like it has… but where the AI has to use the same physics the player does, instead of having perfect grip during a rainstorm with racing slicks. And no getting stuck with no way to abort a super annoying racing series with a wonky car that it turns out you hate. I’d still be playing it if not for those two things.


My Particle pedal sold, and I’ve got two things incoming:

  • Mosky MP-51 Spring Reverb Mini: it’s a tiny pink pedal with a barcode — a blatant copy of the Malekko Omicron Spring — for basically lunch money. Someone posted a photo of one with an MXR Carbon Copy delay captioned “instant vibe,” and I had to look into it. I do like spring reverb, particularly in a feedback loop. Anything this tiny isn’t using a real spring tank but a “Belton brick”, but those sound pretty great honestly.
  • Catalinbread Adineko: an emulation of an “oil can” delay. The original Tel-Ray echo used weird science to electrostatically store a charge for a brief period, picking it up with rotating magnetic heads vaguely similar to tape heads, giving a more warbly and murky character that sounds very musical. This one uses clever DSP instead but still gives a nice range of echo, vibrato, and reverb-ish sounds.

a video interlude

One of my favorite PC game genres is rally racing. I find it one of the more interesting and less pointless types of racing in the real world — it’s a test of car design and safety features as well as driver skill, and things like improved tires, anti-lock brakes, and traction control systems are a direct result of these sorts of races. As a video game, it’s got more scenery and more varied challenge than driving around in a circle. It’s not so much about going as fast as possible as it is about not getting slowed down (or completely defeated) by difficult curves and conditions; there’s a saying, “slow is smooth, and smooth is fast.” Different types of cars from different eras provide unique challenges — whether it’s slow small front-wheel drive cars that understeer and don’t have much acceleration to make up for minor cornering mistakes, overpowered rear-wheel drive monsters from the 80s that were eventually banned for being unsafe, heavy but powerful 90s 4WD cars or modern RWD GT muscle cars, or nimble high-tech rally cars with all the traction and stability you could want but are likely to lead to overconfidence.

I’m not fantastic at these games, and my use of a general-purpose game controller (the Steam Controller, until mine wears out) rather than a racing wheel with force feedback, marks me as a filthy casual… but when I get into a good groove it’s a lot of fun.

One of the cool things about the genre is that most games model real-world courses. Monte Carlo is one of my favorite rally locations. The lower altitude sections (in games anyway) tend to be clear of ice and snow, and can be tackled at reckless speeds alternating with slower twists. But the more elevated areas are just one curvy, frozen slide that’s a struggle no matter what you’re driving. Especially uphill! So it gives me some joy to watch professional drivers with the best technology 2020 has to offer screwing up, one after another, in pretty much the exact same ways that I do and winding up in the same predicaments.

I feel like they could just keep sending cars along this section until this particular curve is completely blocked with disabled vehicles.

The photographers and fans risking life and limb here are nothing compared to some of the daredevils/idiots I’ve seen in some rally videos. Leaping out in front of a barely-in-control speeding car to snap a photo has, in fact, gotten some people killed and is highly discouraged, but it sure seemed to be the norm in some races of earlier decades.


Next up, a video recently posted by computerloverecords on Instagram: a very 80s TV ad for the CZ-101, one of Casio’s few actually respected synthesizers.

It’s a rocket launcher, apparently. “Easy” was one of the selling points, because its main competition was Yamaha DX series synths which were equally easy to play but were unfamiliar and could be difficult and awkward to program. I owned a DX100 for a while, but never wore a helmet or leather gloves while playing:

Rewind 3 years to Korg, with one of the last budget analog synths before the digital revolution (and the computer invasion and eventual analog resurgence). They played it slightly less goofy but it’s still extremely 80s. One of the bass players in my high school jazz band had one, and the riffs I played on it were, sad to say, not far from what’s here. But once again, not being in tune with synth fashions, I wasn’t wearing yellow leg warmers.