My first synthesizer, bought around 1978, was an Elka LX-600. This Italian-made keyboard had something like four sounds and not an especially fat tone, but from my standpoint, it had a couple of really cool features. One, it allowed me to play along with my Pink Floyd albums (DSOTM, WYWH, Animals) and basically re-learn keyboard playing by ear (1970s Pink Floyd music tends to play each chord for several measures, giving the ear-novice plenty of time to fumble onto the correct notes). Two, the unit had an internally-lit on/off rocker switch right next to the highest note: when switched off while playing, the sound would fade out and drop in pitch. Cool (albeit uncontrollable) note-bending effect similar to what analog monosynths of the day could do.

When I bought the Elka, the guy sold me an amp to go with it. It was a pre-CBS Fender Deluxe Reverb (with the single 12" and four inputs). It's a crying shame that I would sell it a few years later because it "didn't have enough inputs." Stupid kid.

The biggest problem (in fact the only problem) I had with the Elka was its lack of action. I had grown very accustomed to the feel of a real piano, and hated the organ-feel of the Elka's keys. Not enough expression in them. I knew from my extensive reading of LP liner notes that there was a hybrid of a piano and a synth called an electric piano. Electric Light Orchestra used a Wurlitzer, and I soon discovered that the instrument had an unmistakable signature sound (think: " Joy to the World" by Three Dog Night and you've nailed it). When I was about fifteen or so I begged and pleaded for a Wurlitzer Electric Piano.