"Up for sale is an original 1974 EMS Synthi 100 Synthesizer. I am the second owner of this amazing instrument. It is in incredible condition for an item of its age and size. Very few of these were produced in the early 1970s and most of them were sold to institutions, private studios and musicians - these almost never turn up for sale on the open market.
This particular Synthi 100 was one of the last produced by EMS (London) and has all of the standard factory updates including newer scope, sequencer memory display and patchable multimeter. below is a list of what is included with the auction:
1. Zinovieff featured on "Tomorrows World" (1968) - Clip from BBC Program
2. Zinovieff from BBC's "New Horizons" (1971)
3. Rise and Fall of EMS London - Zinovieff interview
4. EMS Studio London - Peter describes the challenges of the electronic studio
5. Peter and Robin at EMS Oxfordshire Studio
6. Malcolm Clarke demonstrates Synthi 100
7. VCS3 Waves and Harmonics
8. Liz Parker demonstrates Synthi 100 Radiophonic
And a massive playlist from Ektoplasmic Interzone featuring additional videos:
Electronic Music Studios (EMS) London Ltd Synthi
You can use the player controls to skip around. Click the drop down on the trop right of the player to scroll through titles.
"In 2016 and 2017, while working on the debut album for my band Pin Park, I recorded a few hundred tracks. Around 200 survived the first cut, and that number was eventually trimmed down to 50. These recordings were literally rescued by Marcin Bociński from legatomastering.pl after I had forgotten about them for quite some time.
The setup I used was extremely limited: an EMS Synthi AKS (occasionally a VCS3), an EMS Vocoder 100, and three Boss pedals (looper, reverb, and distortion). Everything was recorded onto a low-quality Zoom device running through a substandard mixer. Each track was captured in a single take with no overdubs, which meant there was no real possibility for mixing. Marcin’s mastering work was nothing short of amazing, bringing these raw recordings to life.
In 2018, Apekwolf Records released 14 of these tracks. The remaining 36 were never made available—until now. Enjoy!"
Click the auction link on top when you get there for additional listings.
"This is my EMS 100, serial number 007, clearly licensed to thrill. Arguably, one of the most iconic if not the most iconic modular synth ever built. This is the unit formerly owned by TC media composer Bruno Spoeri. It came to me in a very good state and I enjoyed it for a long time. I have owned several VCS3s and AKS over the years as well and I would describe the EMS 100 as sounding substantially more organic. It can of course do all the weird and wonderful stuff an EMS synth is known for and take this to extremes. But it also excels at playing it melodically (yes it can do that) which is much helped by the dual manual keyboard which is velocity sensitive (!) and very expressive.
I want the buyer of this wonderful item to be as happy with it as I was. The EMS is therefore currently being refurbished by a world leading specialist with huge experience in servicing and building modular synths and commercial studios all over the world. State of refurbishment The EMS has undergone a complete overhaul. The refurbishment also includes the woodwork and the dual keyboard.
As reported by my tech, the sound generation and the keyboards are fully functional. We haven't managed to fix the sequencer in time for the auction. We also need to fix one of the two spring reverbs. If these two issues haven't been fixed before the auction end I will contribute 5k Euro to the repair as a lump sum reduction of the purchase price. It will be in the buyer's discretion to decide on the further course of action.
Shipping: The EMS 100 main unit is a substantial item. It is currently sitting at my tech's premises. It can be delivered by him with a lorry to most parts of central Europe (within reason). This is to be arranged between the buyer and my tech and will have to be compensated on terms agreed between the buyer and my tech. My tech will also be happy to help setting it up after the journey.
If overseas shipping is required, the EMS main unit can be divided into two parts, the lower pedestal and the console (i.e. the synth itself) which is sitting on the pedestal. Along with the dual manual keyboard this will result in three parts for the shipping. It is no problem to build a crate. This will be have to be arranged by the buyer with my tech.
Important: All shipping arrangements must be made by the buyer with my tech. The ownership of the EMS will pass to the buyer upon receipt of the auction price while the EMS is still sitting at my tech's place. It will be shipped directly from him at the buyers instruction, arrangements and risk. My tech is of course happy to assist with shipping and he has experience with shipping. He has shipped large format consoles over the Atlantic, so he knows what he is doing. As always, the buyer is of course responsible for all import duties and taxes as normal. (Within the EU that is zero!)
Bidding: I kindly ask bidders to only bid with serious intent. Please do not bid if you cannot follow up on your bid. Please keep in mind that the bid constitutes a binding contract and not following up can cause substantial damage to me and/or other bidders. I trust that you understand.
VEMIA note: on reflection, given the pretty remarkable condition of most of the Synthi, we think 'very good' is a more accurate cosmetic score. Please look at the photos to decide for yourself."
Auction to be held at Musician's Hall of Fame & Museum, Nashville, on November 19
An incredible collection of more than 450 artifacts from the life and career of Florian Schneider, co-founder of the pioneer electronic band Kraftwerk."
Pics and videos featuring some of the gear below, and his Lederhosen for good measure (thanks greg!).
Update: the post has been fully updated with all the synth related gear. This may just well be the longest post to be featured on the site. I wanted to capture all the pics for all of the details including notes, scuffs, and of course serial numbers. It's an interesting look into what he used, the condition he keped his gear, in some cases, how he actually used his gear. Note the phonetics on the keys of the Casio CZ-101 and DX-100. Note the Midi Switch Box with a built-in speaker? What's that about? Note the camouflage key strap on the Korg RK-100 Remote Keyboard. Did he pick it out himself or did the keytar just come with it? Note the repeat midi controllers and the MIDI saxaphones. Wind was his primary instrument. You'll find a ton of the acoustic gear he used in the other listings. This is a fascinating insight into both what and how he used his gear.
Side note: there is no affiliate compensation for this post. The note at the top automatically shows for all posts with the Auction label.
Rack Mount Sennheiser VSM-201 Vocoder
Starting Bid
$5,000
Estimate
$20,000 - $40,000 USD
A late 1970s Sennheiser VSM 201 Vocoder with no serial number from the personal studio and collection of Florian Schneider of Kraftwerk (see images). While it’s said that only a few dozen of these Vocoders were produced, a few examples made it into the hands of forward-thinking musical artists including Herbie Hancock, Daft Punk, and of course, Kraftwerk, who used a VSM-201 like this on their albums Man Machine (1978) and Computerworld (1981). The VSM-201 has an intelligible sound that has not yet been bested by modern gear. Includes power cable. This VSM-201 has been removed from its wooden enclosure (which bears the serial number plate) and modified with a metal rack mount casing, presumably for live use. Requires 240v, IEC power cable not included.
Dimensions: 19 x 9 x 9 inches
Category: Kraftwerk, Equipment
Provenance: PROVENANCE From the Estate of Florian Schneider
"In 2016 and 2017, while working on the debut album for my band Pin Park, I recorded a few hundred tracks. Around 200 survived the first cut, and that number was eventually trimmed down to 50. These recordings were literally rescued by Marcin Bociński from legatomastering.pl after I had forgotten about them for quite some time.
The setup I used was extremely limited: an EMS Synthi AKS (occasionally a VCS3), an EMS Vocoder 100, and three Boss pedals (looper, reverb, and distortion). Everything was recorded onto a low-quality Zoom device running through a substandard mixer. Each track was captured in a single take with no overdubs, which meant there was no real possibility for mixing. Marcin’s mastering work was nothing short of amazing, bringing these raw recordings to life.
In 2018, Apekwolf Records released 14 of these tracks. The remaining 36 were never made available—until now. Enjoy!"
"This is a beautiful cream faced EMS Synthi A in fantastic condition. The case hardware shows some age and there is some mild scuffing on the bottom back of the ABS plastic part of the case but nothing that stands out. All mods built and installed by Robin Wood at EMS. Since I have owned it, it’s been kept in a padded case (included, see photos) in my climate controlled studio. The panel, pins, jacks, pots, guts, etc. are as good as new.
Aesthetics: There are labels applied by EMS that indicate the mods/expansions. As mentioned above, the metal case hardware shows some age, I took pictures of everything to be clear on aesthetics.
The mild scuffing on the ABS is not really noticeable to the eye but you can feel it if you run your hand over it.
I have included images of the pages in the manual that explain all of the mods and how they function. This is an amazing Synthi A that is 100% functional and clean with extras that add new dimensions to this classic beast."
Just got my EMS Synthi AKS back from a thorough overhaul and with a stack of mods added (it’d already had some historic and less than pretty ones installed).
People often ask whether modifying a synth like this affects value. While there’s no denying it can feel sacrilegious when you’re talking about an exceptionally well preserved example, I am 100% for anything that means old gear will get used more.
One of the worst things you can do with old gear is put it on a shelf and not use it. We regularly get contacted by collectors (or people who no longer use their now valuable vintage synths) expecting top prices for their precious instruments which come ‘serviced’ and ‘working perfectly - last time I used it’. A little digging usually reveals this to have been a decade or more ago and the service work is ancient history.
So if modding that classic synth means you’ll play it more and enjoy it, that to me is a no brainer.
I understand that this puts us at odds with many vintage synth collectors, but the majority of our customers - who want to use them (shock horror) for making music - seem to agree.
Click the auction link on top when you get there for additional listings.
VEMIA is Peter Forrest's auction house. He is the author of The A-Z of Analogue Synthesizer Books.
"This is the second and sadly last Putney / DK.1 combo to come to VEMIA from Cardiff University Electronic Music Studio - one of the first and biggest electronic music studios in the world, with six VCS3s and then a Synthi 100. Another of the VCS3s from the studio is the featured instrument in the Wikipedia article https://upload.wikimedia.org/wikipedia/commons/0/02/EMS_VCS_3.jpg - note the exact same type of security tag and engraving (E M Studio). The Wikipedia one is s/n 143. This Putney / VCS3 is s/n 377. The DK.1 is s/n 2090. Cosmetic condition is very good for things that are over 50 years old. There is considerable wear to the top panel silk-screening, and a few minor marks in the woodwork, but otherwise everything is lovely. The silk-screening around the matrix is in excellent condition - much better than average - and the matrix itself is very good. As well as looking great, they are in perfect working order, thoroughly serviced in September 2024 by EMS expert Lucid. The servicing includes replacement of all noisy pots and a correct set of matrix pins, all proper spec and sourced from Robin Wood at EMS. (Total invoice just under £1K). The extra switch on the DK.1 reverses the dynamic voltage from the keyboard - perhaps in response to Carlos' criticism about the voltage as originally designed being negative. Lucid suspects this is an original EMS mod (and is identical to the other Cardiff Uni model we auctioned in April). **Now with one of Robin Wood's excellent padded covers for the VCS3 - money very well spent indeed. ** Packing at VEMIA: 30GBP."
"Something no-one asked for but it's here anyway... I was fascinated by the idea of Richard processing drums in things like the MS20, but rather than go down that route I figured I'd have a go at Ventolin using the spiritual ancestor of the EMS Synthi, the Erica Synths Syntrx II.
Chapters below -
0:00 Intro
1:30 Thought process and motivation
3:17 Syntrx II Demos
8:17 Parts for Ventolin
11:00 Track!
It's not 100% (obviously) and I didn't go to the trouble of changing the parts up too much. I think the drums are samples - there are bits in the original that sound like they're being played backwards which gives the game away - but the Syntrx is way more than 'just' a monosynth, and makes some very weird sounds so I sort of went with it."
"Here's a demo showing the more melodic side of the SYNTHE A100.
2 oscillators used for lead lines/sequence and sometimes osc1 and 2 synched.
Oscillators 3 and 4 provide the bed of thirds through the envelope shaper and reverb.
Bass line from Oscillator 6 modulated by oscillator 5
Roland System 8 only used as controller and sequence."
"The Townshend Studio was unveiled on Thursday 10 October at the University’s Ealing site. The new studio arose from Pete Townshend looking for a home for his synthesisers, leaving a legacy for the next generation and a catalyst for creativity.
The collection includes some of the most influential instruments in the development of electronic music. It comprises 12 principal synthesisers including the ARP Model 2500 (1970), used on 'Quadrophenia', and the rare and sought-after Yamaha GX-1 (1975), one of only 10 made with a retail price of over 60,000 USD on release, plus many other instruments played by Townshend throughout his career.
'It’s my hope that the studio will be a creative space for learning, collaboration, experimentation and play, inspired by the musical and artistic legacy of Ealing, an area integral to the development of British music in the 1960s,'
said Pete Townshend."
Pictured: ARP 2500 & EMS SYNTHI 100.
One more "Synth Museum" to add to my destination list. :)
The second edition of the Memetune Programme Annual - for the year 2024
Hardback book (A4 size) with 74 full colour pages and download code for the accompanying music album
Based on the second season of Benge's unique 6 part TV series focussing on his passion for vintage synths, studio gear and video production equipment
The Memetune 2024 Annual follows the TV series format, broken down into the following categories:
LITTLE BLACK BOXES looks at some classic 80s and 90s rack mount synths, instruments that are often overlooked due to their utterly bland appearance. Their sounds, however, are anything but
SWITCHED ON CYBERSYNTHS features a brief history and description of abstract electronic music, in particular sounds created on modular synths, taking in randomness, chaos theory, feedback loops, nonlinear modifiers, plus stochastic and algorithmic ideas. It ends with perhaps the largest modular synth patch ever attempted, featuring 11 of the Memetune modulars containing over 430 modules
SYNTHESISER CLUB points a vintage video camera at various synthesisers and systems, and focuses on ‘families’ of synths, meaning a group of instruments made by one manufacturer in a particular time in synth history
PATCHING TODAY is a deep dive into patching on a selection of vintage modular systems, namely the Modcan A-Series (the most versatile modular ever made?), the Polyfusion 2000 (the simplest modular?), an EMS rig containing a VCS3, TKS sequencer, 8-octave filter bank and dual Synthi 100 HPF (the most English modular?), a Paia 4700 (the worst modular ever made?), the Buchla 100 (the first modular ever made?) and a hybrid Roland “green” modular system containing a modified System 100, SH5 with special modular panel and RE201 Space Echo (the ‘wonkiest’ system ever made?)
VIDEO LAB begins by presenting a short film called Proof of Hypertravel made entirely in the Lab, and then goes on to detail the lengthy process that went into making it, covering such things as Storyboarding, World-Building, Green Screening, Compositing, Special Effects, and types of vintage video cameras
There is also the Memetune Puzzle Page, the legendary Memetune Dictionary of Words, and a tour of the Memetune garden in a 1980 Lotus Esprit
The music on the download album that accompanies this annual has been selected from the second series and contains all the tracks made in the Synthesiser Club, Patching Today and Little Black Boxes sections respectively, approximately 60 minutes of original synthesiser compositions to enjoy whilst perusing the Annual
To watch the series search on YouTube for 'Memetune Programme by Benge'"
