**An obscure name outside of NYC, Boyd Jarvis. Underground Paradise Garage NYC vibe that was the origin of house music via dozens of independent 12" singles in the early-mid 80s including those by Colonel Abrams, Tony Cook, Visual, etc. The best bass & drum programming & playing, just great, on tracks that in many cases never came out on record. An unknown named Madonna was his opening act early on. He used a Yamaha CS-15 for bass, leads and drums, as well as a Prophet 600, Oberheim DX and Linndrum. Virtually all hand-played. Later an low-end Akai sampler and SP-12. **David Frank I met at his studio on Broadway in the late 80s; he was selling a couple of synths I think he should've kept; a VS and a Matrix. In the summer of 1982 he and Vince Clark (Pro One, Arp) both used an arpeggiated raw euro sound to differentiate themselves from others to great effect. Sequencing wasn't common then; just started to take off around that time. Dave then went commercial and became less interesting shortly thereafter, some but not all of it understandible. For a minute I owned the OSCar he sold through a local store, in the mid-80s. Dave influenced the sounds of some others in the mid-80s, such as Jeff Lorber & Phil Collins. Mainly used a Minimoog w/ analog sequencer, Oberheim for chords, DX drums. As far as making keyboards cool, credit has to go to many, many guys who were doing same at the time. The main difference with Dave's stuff was the arpeggiated sound. **Hubert Eaves of D-Train. Virtually all hand-played Prophet-5 on seminal post-disco early 80s NY classic 12s.