Letters

Feb 1, 2006 12:00 PM

Remembering John Simonton

I was saddened to hear of John Simonton's passing (see the sidebar “In Memoriam: John Simonton, Jr.”). Simonton was a patron saint and godfather of DIY electronic music. Many analog synthesizer manufacturers owe a debt of gratitude to his company, PAiA Electronics, for giving them the idea that electronic-music kits could be a reality. PAiA marketed some of the very first commercial devices for interfacing computers and synthesizers.

In the late 1970s, I bought a PAiA Phlanger and Gnome synthesizer and never looked back. People often commented on the sheer thoughtfulness and depth of PAiA's construction manuals and its after-market tech support. Every project made you smarter, and I have little doubt that they were planned that way.

I'd like to think that somewhere John Simonton, Robert Moog, and Harald Bode are sitting over a beer and arguing about optimal patching schemes. They will all be missed, and for some of us, Simonton a little more so.
Mark Hammer
Ottawa, Canada

Sound Check

I'm a little concerned about Geary Yelton's response to Pete Wacker's letter, “Hearing Is Believing”, in the “Letters” section of EM's December 2005 issue. Suggesting that Pete can't hear the difference among various data compression schemes because there is something wrong with his hearing disallows what is probably the real solution to his problem: he needs to listen on better speakers. In fact, listening to various data compression rates is a good way to test the accuracy of speakers. Speakers that excel in accuracy and detail will reveal the deficiencies of encoders.
Bill Quinn
Atlanta, Georgia

Check, Please

The last time I sent my check to EM for a subscription, I thought the magazine was about making music. But the December 2005 issue devoted more than 100 pages to full-page ads. The entire issue consisted of 138 pages, not including 10 pages for the cover story, “The Art of Podcasting,” which is not what I call making music.

How about publishing more content that pertains to making music?
Merlin Robertson
Fresno, California

Giants of the Industry

I just renewed my subscription. I used to read EM's reviews with excitement, and now I read them with trepidation. Manufacturers send you software, you test it, and it works okay. If it doesn't work, the manufacturers seem to respond immediately.

However, people like me, who barely make a living in the world of audio technology, get swept under the rug — or so it seems. What happens when I have a problem? What happens when hundreds of users report a problem or what seems to be a deficiency on a manufacturer's Web site? I'll tell you what: generally silence or obfuscation.

For the past month I've been trying to resolve a problem with two software giants. I've been a musician for more than 30 years and a programmer for 20 years. I understand music, music technology, and how things work “under the hood.” But because of finger-pointing [between the two companies] I've been unable to complete projects and earn money. All I want to do is create a quality product with as much ease as I can expect in the somewhat awkward (but exciting) world of audio production at home.

Come on, you giants of the music industry. Are we on our own, hoping that you'll throw us a crumb, or will you take us seriously?

I'm frustrated, but I still have faith.
Michael McCoy
via email

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In Memoriam: John S. Simonton, Jr.

Whether you recognize his name or not, if you are reading Electronic Musician, John Simonton has influenced your life. His designs, products, and consulting work have influenced three generations of musicians and music technologists. Artists like Larry Fast, Peter Gabriel, Mark Mothersbaugh, Roger Powell, Leon Russell, Don Slepian, and Willie Wilcox have all benefited from Simonton's creativity.

Simonton created PAiA Electronics in 1968 to produce electronic kits, and he soon manufactured and marketed several audio and music devices. He wrote for technical journals such as Popular Electronics, Radio Electronics, and others, and he quickly became known for his clear, concise, and fun writing style. He dedicated himself to demystifying technology for the average reader.

In 1972, Simonton created the first low-cost modular synthesizer kit. When static RAM became available, he designed the first user-programmable drum machine. Simonton created early models of microprocessor-controlled, polyphonic keyboards that had user-selectable software for key assignments and performance effects, as well as software for composing melodies using Brownian-motion rules. He also designed the battery-powered, handheld Gnome microsynthesizer, which was widely used in schools as a portable educational device.

In 1976, Simonton founded Polyphony Publishing to create an independent forum for discussing technologies behind various manufacturers' equipment, as well as the emerging home-recording market. In 1985, with Simonton still in the publisher's chair, Polyphony was redesigned and relaunched as Electronic Musician.

Around 1983, Simonton devised some of the first computer code for syncing SMPTE, MIDI, and beat clocks. That function is now standard in all major digital audio sequencers. In later years, he enjoyed the renewed interest in theremins and starved plate-tube circuits, and he created a third modular-synth line.

Simonton was a technical mentor and an inspiration to many people who became electronic engineers or professional musicians. He also mentored those who aspired to run technology or mail-order businesses. I was a lucky early customer who was invited to participate in Simonton's world. He opened unending opportunities for me in the music industry and was one of my greatest mentors in life, as well as a lifelong friend. We will all miss his clever designs and witty attitude toward electronics and music.

If you haven't already done so, check PAiA's obit page (www.paia.com/obituary.html) for memorial forums and blogs and see how Simonton touched his many fans and customers.
— Marvin Jones

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Marvin Jones worked with John Simonton on various projects between 1974 and 1981 and was the founding editor of Polyphony magazine. He still produces electronic music in his personal studio. For more stories about Simonton, PAiA, and Polyphony, visit www.paia.com or www.sonic.net/mjones/paia.