Synthi 100 Music Synthesiser
Introduction
There is only one key variable in music production as important, and as ubiquitous, as the natural human voice: the synthesiser.
The underlying basic concept is simple enough; an electronic circuit generates a tone, and the tone can then be controlled by any kind of selected input, human or otherwise. It is an axiom that has provided the backbone for countless electronic instruments over the last century. Consequently, it has influenced the direction of modern music both in the mainstream and in the underground. To this day, the exemplary harmonious unison between the musical artist and their synthesiser epitomises a most constructive bond between man and machine.
History of EMS Music Synthesisers
The early 1970s saw a significant evolution in the technical aspects of music synthesis. The two primary entities who pioneered in the field of analogue music industry were Electronic Music Studios (EMS) in the United Kingdom and Moog Music in the United States of America.
Miniature models of analogue synthesisers had grown in sophistication and size until this evolution culminated in the design of complex powerhouse modular Synthesisers such as the Synthi 100.
In 1965 a synthesiser company was founded by Dr Peter Zinovieff. He set up the studio in the back garden of his home in Putney, London. This company was named Electronic Music Studios (EMS). The EMS Company was the hub of activity for electronic music in the UK during the late sixties and seventies with involvement from composers such as Harrison Birtwistle, Tristram Carry, Karlheinz Stockhausen and Hans Werner Henze.
Running the EMS Company privately was expensive and Zinovieff found himself running into financial difficulties. Therefore, it was decided that the EMS could be saved by creating a commercial, miniaturized version of the studio. The EMS Company produced its first commercial and affordable synthesiser (VCS 1) in 1969. This synthesiser was designed by David Cockerell. The VCS 1 was soon followed by the VCS 3. Also designed by David Cockerell, the VCS 3 had three oscillators and a unique matrix-based patch system. The VCS 3 was intended as a music box for electronic music composition.
The VCS 3 and Synthi A were also widely used for education. The EMS Company published tutorial handbooks explaining their facilities in a highly systematic manner. Also they created Synthi-E which was a simplified version specifically for the educational market.
In 1971 the EMS went into direct competition with Moog when David Cockerell designed the Synthi 100. This system was mounted in a free standing console cabinet and was very expensive at £6,500 and were mainly sold to universities and radio stations. The most famous model belonged to the British Broadcasting Corporation (BBC), Radiophonic Workshop. It was responsible for creating a large amount of widely heard and highly influential music for television such as the music for the infamous Dr Who series.
The Synthi 100 was the main synthesiser used throughout the 70s. One of the most important upgrades to the Synthi 100 synthesiser was to transform it from an analogue into a hybrid system combining both analog parts and digital parts.
While EMS Company has never really gone out of existence, the company never surpassed the glory days of the VCS 3. However, one of its prominent designers David Cockerell certainly flourished and later worked on the Akai range of digital samplers.
The Melbourne Conservatorium of Music Synthi 100
This EMS Synthi 100 music synthesiser at the Melbourne Conservatorium of Music (MCM) was built in 1972. One of about 30 manufactured by EMS in London.
With 20 voltage-controlled oscillators (12 main oscillators and 8 filter oscillators) 3 ring-modulators, random voltage generator, a pitch-to-voltage converter, 3 slew limiters and a ‘duophonic’ double keyboard. The 256 event digital sequencer has 3 layers, each layer has two control voltage outputs and a key. A total of 6 control voltages and 3 key outputs. Weighing in at 190kg and prewired to interface with a DEC PDP-8 computer the Synthi 100 was the largest and most technically advanced analogue synthesiser in the early seventies.
This Synthi 100, number 3010, was the tenth manufactured by EMS.
In 2014-15 the instrument was restored to its original form by Leslie Craythorn.
Engineering Heritage Recognition Program
| Marker Type | Engineering Heritage Marker (EHM) |
| Award Date | 8 September 2016 |
| Heritage Significance | The extensive sonic palette and operational complexity inherent in the Synthi 100 provide endless possibilities of sound compositions. It is rightfully fabled as an engineering landmark in the field of music synthesis and analogue electronics, historically and socially. Moreover, the astonishing fact that the unit, which forms the centrepiece of the Melbourne Conservatorium of Music, is one of only three operational units remaining in the world makes it extremely rare and exclusive. |
| Nomination Document | Available here. |
| Ceremony Booklet Ceremony Report |
Available here. |
| Plaque/Interpretation Panel | Available here. |
