Clearly the parts are there to build new ones, as replacements are available.
The parts are only 'available' insofar as Studio Electronics in Burbank bought up the last remaining parts from the St Croix estate, and supplies are very definitely limited. -Not even THEY can make any more beyond what's limited by supplies they have presently to hand
What ever possessed SSC to use that stupid card edge connector for the power supply is beyond me, and the flex circuit and mechanical design are a nightmare as well. The first MTM that I got clearly had the polarity wrong on the power connector... I'm guessing that many MTM's suffered this fate.
There was an article which I recall reading in the 1980s where Stephen explained his rationale behind this... I must say, I didn't get it either, but I eventually same to think that if you had a dozen of them mounted one-above-the-other in a rack, you could probably make some sort of 'buss' card running vertically, and there might be arguable benefits to powering like that... but I must say that -de-mount the power supply if you wish, but vastly I prefer things like chassis XLR connectors etc.
I'd buy a working analog MTM in a hertbeat, but then I used three with Hannett, and one on almost ALL the mixes that I did through the 1980's.
In another forum I think I posted about the sound of Adrian Gurvitz's single titled 'Classic' being defined by the MTM 'flange' and I did indeed use this a lot.http://www.youtube.com/watch?v=YVNkiknIPRQ
Another example I used it on was on the keyboard 'drone' on this Tune by UK band 'Demon'http://www.youtube.com/watch?v=CwDNX2TU1YM
If I hunted around I could find a bunch of other stuff which I used to use it on, but personally I was a real sucker for that 'not-quite-a-phase-but-not-quite-a-flange' sound that they used to do. -It was stunningly useful for taking something which drew TOO MUCH attention to itself and might get 'boring' (like pedal notes, drones, plain-sounding keyboard pads etc) and giving them enough 'texture' to make them 'interesting'.
The plug-in might actually do this particular trick fairly well, but that's NOT how Hannett used to use them. -He tended to end up with 'fast-slap' speed repeats, and generally used the modulation as a 'madness'. -There was frequently some 'deliberately-random' element of chance which he seemed to enjoy, so it wasn't always planned to any great detail, but it was a tool which he ALWAYS used, certainly on the sessions where we worked together.