PAiA 4700 Modular Series

These devices were sold as kits some 30 years ago. Some builders did a really good job. Some even modified the designs and improved them. Others, well, not so hot.

The design documentation was excellent which greatly facilated improvements and modifications. Not to mention keeping it running for over 30 years.

Ease of use is good if you are an electrical or electronics engineer. Not the best choice, however, for nontechnical types.

A full out expanded system could go out to 16 notes at time. Mine can only comfortably do 2, although 3 is possible. Basically, it is an almost mono synth.

In theory it is infinitely expandable. In practice, since the 4700 modules were prematuring discontinued by Paia, you have to find or build compatable modules and interfaces.

MIDI did come with the unit nor was a retrofit ever made available.

One can achieve MIDI in and MIDI out, two ways:

Buy and external MIDI to CV and CV to MIDI converter from one of the many companies that provide such gear. Caution, the 4700 voltage control modules are Volts/Hz not Volts/Octave (on say Moogs).

Use a Linux computer with a DC capable soundcard running AMS synth to do the conversions for you. The soundcard outputs may need a DC amplifier to get their voltage range up to around 5-7 volts for suitable control voltage levels.

The keyboard is gold-on-gold Pratt and Read. Still good after 30 odd years. On board sequencing is painful, not something you would do today unless you really wanted a retro sequencer sound.

It is a fully patchable analog system with the same advantages and limitations characteristic of those systems. It is fairly easy to make controllers that output a control voltage (CV) and those can be used for fine control of expression, timbre, volume, pitch, or any other parameter.

Again, it is more of a system for highly technical users. An electrical engineer can have alot of fun with it.

Some parts of it are used almost every day in my studio for almost 30 years. When built, I put sockets in for all the IC's, so they almost all have been upgraded over the years. Other mods were made initially that also improved the design. One essential modification is the use of precision regulated external power DC power supplies. Paia power supply designs were wholly inadequate from the start.

There is no way you would gig with this without a backup (and maybe a backup after that). It is portable, as was very portable 30 years ago, but not what you would choose to gig with today (2009) if you had a choice.

The company that supplied the kits, Paia, is still in business. At the time they were quite helpful.

I think they discontinued the series, modules, and cases, too soon - just as customers were seeking to expand their systems. I think a reissue (like some classic rock guitars) would sell reasonably well even today.

I wish I could find more modules and some extra cases for it - or at least some more front panels and cases (the circuits I could build myself). Some functions it performs extremely well, such as the mixer, VCA's, and spring reverb. Other aspects are definitely retro. Being completely patchable it is extremely flexible.

It couples well into the other synthesis gear it the studio, but is not particularly useful as a stand alone unit. It would have to be about twice as big in order to do that.

It's not exactly a "plug-and-play" kind of synthesizer, so if you're looking for a machine that you can just take out of the box and fire up right away, this isn't it. It's a modular synthesizer that was sold as a kit in the mid- to late 1970's. The individual modules were simple, relatively easy to build, and came with clear instructions, and it was initially advertised as a thrifty alternative to the more popular but expensive ARP and Moog modular systems of the time. It even came in a portable, black vinyl case similar to that of the ARP 2600. All great news; however, if you find one nowadays, they're generally in need of some work. It's not exactly the most complicated synthesizer in the world, so repairs are generally not too hard (mine had scratchy pots and a bum keyboard), but you still may need to take a trip to the hardware store and maybe spend a weekend or two cleaning the electronics and removing the rust. Also, some of the cables are proprietary and no longer available, so you may need to make it yourself. Once you do get it working, however, everything is clearly labeled and easily accessed. It's one of those synthesizers that invites you to tweak and experiment. It's easy and intuitive to use, but the work involved in getting it running means that what you eventually get out of it depends on what you put into it.

It can have as many features as you're willing to purchase for it - that's how it works with modular synthesizers. That said, many of the individual modules can be acquired very cheaply. Many of them feel a bit skimpy, but one can't argue with their overall solidness and quality, especially for the price. VCO's, VCA's, VCF's, a 12-step sequencer, and a mixer are all available, as well as a host of cool effects and accessories. The standard keyboard is monophonic but there exists an 8700 digital keyboard which I believe supports polyphony. The filter sounds a bit tinny but very capable if you have several oscillators stacked together. And although the sequencer is (sometimes overly) hard to program, it sounds truly analogue and works great for unique and quirky bass lines. Just make sure that you have at least three or four oscillators, because anything else sounds too brittle and tinny.

All PAiA gear has a certain charm to their sound that caters to a very specific niche. They work exceptionally well for percussion - there's even a specific setting on the oscillator for a percussion-type waveform. If you have a sampler or a computer, you can sample the sounds in order to create an imitation of one of those great analogue rhythm-boxes! They also work well for sound effects and any other uniquely "analogue" sound. Generally there's a fair bit of noise, depending on the soldering skills of the person who built it. But whatever sound you squeeze out of it is guaranteed to make you smile. It's strange and definitely differrent, and undoubtedly has more character than many stagnant-sounding modern synths.

I've never gigged with it - I like it too much. The oscillators are relatively stable, but they do drift occasionally and take a bit of warming up before they really start to sound usable. The cases for all PAiA products are really very stable and hold up well to damage - well done there. The CV/Gate also tends to go out occasionally, so double-check the keyboard or use the sequencer if you plan on gigging it. Overall, I don't think it'll completely fall apart on you, but like all gear from this era, it has its definite quirks.

Oftentimes, before he died (RIP), John Simonton himself was known to answer telephone calls from users to help them building his kits. Nowadays, the people at PAiA will pretty much always help you out with any questions or service that you may need. They are great with their customers and truly do honest business.

The saying "the whole equals more than the sum of its parts" definitely applies here. It's a fantastic little synthesizer that more than makes up for its problems and the corners it cuts with an unbeatable price tag and an indescribable, but undeniable, charm. It's great for learning the ins and outs of modular synthesis, in addition to being a refreshing alternative to the ubiquitous Moog imitations that are so horribly fashionable now. If you find one, buy it immediately! They're fun, they're mind-blowingly cheap, and they'e a unique and interesting way to delve a little deeper into how synthesis works while, at the same time, adding an individual flavor to your music.