Mattson Mini Modular - Analogue Synthesizer

A letter to my customers.

My name is George Mattson.

30 years ago I developed and manufactured a performance oriented analog synthesizer I called a Syntar. The synthesizer was innovative at the time, met with limited success and has recently become a topic of conversation in a variety of synthesizer forums.

Due to the growing abundance of new, analog synthesizer enthusiasts, I have been asked to return to manufacturing.

I took the core circuits of the Syntar (thus, the Phoenix Series) and designed a new format; a portable, true analog modular synthesizer specifically budgeted for the new market.

My design philosophy was to come up with a system that eliminated the majority of the “flash” or costly cosmetics that have no bearing on the actual function of the system. I figured that people want to play with the instrument, not necessarily stare at it.

So, the first order of business was to reduce the size. People don’t like to pay for bulk or air or even shipping for large systems. I’ve designed a system that reduces the modular concept down to 24 modules that are roughly the size of 6 reams of paper stacked 3 high, two abreast when closed.

The second priority was to eliminate everything that adds to the cost but doesn’t add to the sound. The result was:

Basic wood case: The case looks good but, no high-end exotic woods. Just whatever is available that performs the function of containing the modules and protecting them. I did provide a means for interlocking multiple systems together. So, if you want a “wall-o-synths”. Just start adding systems.

Basic graphics: The graphics are nice but, no costly “acid etched brushed aluminum or silk-screening.” They’re printed on vinyl and stuck on the panel. They get the job done of allowing the user to identify and locate a specific function. The premise was to allow the user to design and place they’re own graphics if they wish.

No knobs: (Well, there’s one) I was flabbergasted to find that knobs cost almost as much as the control they’re attached to. 30 years ago they were a lot cheaper. I use small plastic dust covers as control grips. They work, allow for “finger-space” on a 0.7” control spacing and I don’t have to charge a huge markup for them. The manufacturer can’t print a locator line on something that small. So, if you really need to know where the control is pointing, paint a small line or put a small offset dot on the end. Once you’re familiar with the module operation, the odds are you’ll go instinctively to it and adjust it without ever looking at it. If you absolutely need a knob, it costs less for you to find something you like and install them yourself.

Universal module panels: All of the single modules, including the blanks, use the same panel. One setup fee+ large quantities bring the cost down. The panel’s measure 3.5” square and have a 4X4 matrix of 1/4-inch holes spaced 0.7” apart for mounting the panel components. The graphics cover the unused holes. This has the additional advantage of allowing the owner to move the panel controls to whatever configuration fits their taste. If you wish, you can design your own graphics, paste them on the panels and move the controls where you want them. It’s your instrument- be creative, have contests- I won’t care. It doesn’t affect the sound any.

Common components: I designed the module circuits to utilize common, readily-available circuit components. No exotic “manufacturer-only” parts. This reduces cost and allows for the cost reduction to be passed on to you.

Direct Sales: No inventory, no middlemen, just you and I. All orders are placed through the website using PayPal as a merchant account for security and convenience (the only fees I’ll absorb and “we” pay for) and paid up-front. I use your money to place the parts orders (that way we don’t pay for the use of “money” and I can negotiate “cash” purchases) and build the systems in lots of at least 10 units. The production status of a lot is posted on the web site. With the exception of the first production lot (I have to make jigs, develop production flow, etc), all subsequent lots will take 2 months from the closure of that lot to shipping the systems. Two weeks before the lot-in-production is shipped, the current open lot is closed (if there are at least 10 orders) and the production process begins. (The first two weeks is waiting for parts delivery) The actual physical production time is six weeks. This procedure keeps the cost down, makes the process simple and allows the owner to follow the production status of their system at any time on-line.

The third priority was to take the core Syntar circuits and re-design them for the new format. I focused on making good quality, basic circuits that do the job. If I could add a new feature by adding a couple of inexpensive parts and a jack, switch or control-I did it. This lead to a few features only found on high-end systems or not found anywhere else. Sort of the “why didn’t anybody ever do….?” type of functions I always wondered about. If I had to do a total re-design or circuit expansion to add a feature-I didn’t do it. Keep in mind the design philosophy: Basic and inexpensive. I think you’ll be happy with what I came up with. This also led to a few other decisions:

Electrical Specifications: All circuits and I/O are electrically compatible with the majority of the major manufacturers. The system modules can be cross-patched with most of the other systems with the proper patch cords (this system uses 1/8” or 3.5mm jacks). All modules have 1K ohm output impedances and 100K ohm output impedances. Signals are 10 Volt peak-to-peak and the Envelope Generator generates 0-5 Volts as a control voltage. The power supply generates +/- 15VDC for the system. The MIDI to CV input module generates a linear keyboard control voltage of 1 V/Octave and generates a gate voltage of +15VDC.

Accuracy: I won’t claim that the oscillators will precisely track “X” amount of octaves or remain “stable”. It’s true-analog. After the system warms up it will stabilize and get the job done. I do utilize matched transistor current mirrors for the exponential amplifiers but it’s a small, closed system. The temperature will stabilize. They do have simultaneously available Triangle, Square and Sawtooth waveform outputs. No real news until you notice that you can bump the sawtooth up an octave and bump the square wave down one or two octaves. Run all of the outputs into a mixer, spread them out over 4 octaves and you have an oscillator that sounds like three. Cool. All of them in tune and in perfect sync with each other. Well, I was excited about it. If you want phase roll or inter-oscillator beating, purchase a second oscillator when you order the basic system.

Signal distribution: I do have one major design philosophy quirk. I don’t like passive multiples-period. Using a passive multiple for signal distribution degrades the signal. Using a passive multiple as a “mixer” sums the signals together and can lead to overloading the input of the destination module. I designed two new modules to replace these functions:
The 4X-1X2 buffer: Sort of a buffered “splitter”. It can take 4 different input signals and split them into two output signals for each channel. Each signal is buffered so, the signal is rejuvenated and doesn’t degrade. I took the liberty of cascading the channel outputs into the input of the next channel. So, if a signal is patched into channel 1, it is available on all 8 outputs until the chain is broken with a subsequent channel input. Then, the original signal is available on the preceding outputs while the new signal is available on all of the remaining outputs. It sounds weird but, once you’ve used it, you wonder how you were able to get by without it.

The 4X Mixer: The “other function” replacement of a passive multiple. The mixer has four inputs and actually two outputs, an inverting and a non-inverting output. I designed the mixer to be used for either audio or control voltage signals. This allows for precise adjustment of an audio mix or, a real nifty way to build complex control voltages by using multiple CV sources. In order to add a bit of excitement, my audio mixing days came back to me and I added a “punch-in” pushbutton on each channel to allow for an abrupt addition or elimination of the channel signal into or out of the mix. This is usually a subliminal function but, makes a big difference in audio or CV real-time control.

Filter: The Syntar utilized the SSM 2040 filter. They’re not available anymore at any kind of reasonable price or in guaranteed quantity. Since I had plenty to do with the rest of the system, I was able to get a custom filter designed specifically for this system kindly and graciously by Synth DIY guru Jim Patchell. He designed a 4-Pole 24dB/Octave state-variable multi-mode filter for this. That’s synth-speak for WOW. It sounds great. Thanks Jim. Way to kick a--!

Keyboard control: OK, I had to make some concessions here. Rather than designing an analog keyboard input module and trying to find and stock keyboards (they’re hard to find anymore in small quantities), I went digital and provided a MIDI-CV input module. It’s actually integrated into the power supply module, which makes this a double-wide module and isn’t available as a stand-alone module. I originally designed the system using a commercially-available MIDI-CV controller but, it had limited function, the manufacturer was hard to communicate with and they didn’t want to give me any reasonable OEM pricing. Sooooooo, I had a MIDI-CV controller designed to my specifications by Scott Rise of Division 6. This turned into one of the coolest modules. (even if it is d*g*tal) Read the module descriptions for a full description. This allows the owner to use any MIDI generating keyboard they desire, or any MIDI generating sequencer control. Mmmm- 16 systems, each utilizing a different MIDI channel. Yes, it blows the “Basic and inexpensive” philosophy out the door. But, it was actually less expensive to design and manufacture than pay the “not-so-OEM” pricing offer’s I was quoted for something less versatile. We all win. I’m negotiating with Scott (a nicer way of saying “convincing”) to produce versions of this in other formats or stand-alone units and allow me to offer them for sale on the web site.

Power distribution: I tried to come up with a more elegant method of distributing the module power to the modules. But, manufacturing multiple power distribution bus boards really drove up the cost. So, I have two small boards in the back of each case that distributes the power, one board for each six modules. I would recommend distributing the modules around the perimeter of the case prior to filling the two center spaces. Then, it’s just a matter of removing one of the center blank panels to connect the new module power connector. It really doesn’t take any more or less effort to remove a module and connect the power; it’s just a “perception” thing. I have the tendency to leave a module alone once it’s in place. Other people re-arrange their modules constantly. If you order additional modules when you order the basic system, we’ll place them where you want them prior to shipping.

Control response: Some of the panel control potentiometers won’t have the “response” that’s typically expected. All of the potentiometers are linear taper. To get any other taper in a 1/4” mount with a 1/8” shaft requires large quantity special orders. In order to reach a compromise and keep the cost minimal, I engineered a quasi-audio taper on the appropriate controls but, any anti-log response was SOL. So, I eliminated the majority of the “dead” space but, at the expense of some of the range. Some controls will have little initial response and a large effect at the other end of the range. After I got used to it, I didn’t think about it anymore.

In Closing: Yes, I’m bucking convention. I’m doing everything against all of the conventional manufacturing, marketing and sales strategies. I’m “selling the steak, not the sizzle”, “thinking inside the box”, “You don’t get what you don’t pay for” and every other common sales-marketing euphemism that can be turned around.
Why?
Because I can, I’m different and we all benefit. I’m not looking for 5X cost to retail markup, or allowing someone to make just as much by letting it sit in their window. I/We aren’t paying for advertising and I’ve chopped the system into the tightest, most cost-effective package I could and still provide a good, low cost system. I’m not trying to become a mega-tycoon. I just want to make a fair wage and provide a nice system to those who want it. I’m not competing with the other guys, I’m offering an option for the enthusiasts who want something to experiment with or try their chops on. If you want high precision, great looking, modular analog systems; by all means, purchase from the other guys (or girls). They make awesome systems. Together we all make conventions.

There you have it. I hope you enjoy it.

George Mattson