EMS Synthi E

Title link takes you to shots pulled via this auction, including one of the inside.

Details:
The EMS Synthi E was a basic synthesizer designed for educational use from 1975 by the EMS boys in Cornwall. I believe that there were only around 200 of these things made and they are pretty rare now! This one is number 147! It's in great condition hardly a mark on it however, it might need a bit of cleaner on some of the faders as there is a slight scratchy sound when moving some of them. The mixer level 2 fader may also need reseating as it seems a tiny bit wobbly!. There are 11 of the original patch cables to go with this thing too including 2 Y cable splitters. The thing sounds WEIRD but ultra cool. Only needs 12 big 1.5V Eveready batteries and your away! If you want to learn a bit more type "Synthi E" into google and check out some of the sites. WILL SHIP WORLDWIDE

MAIN FEATURES INCLUDE:
* Input Amplifier with low (Microphone) and high (line) level inputs.
* Envelope Follower providing a voltage proportional to the amplitude of the input.
* Oscillator 1 with true exponential voltage control of frequency and three simultaneous output waveforms (sine, triangle and voltage controlled pulse)
* Oscillator 2 for slow control voltages such as glissando or vibrato.
* Filter/Oscillator 3 with v.c. low, high and band pass filter or pure sine wave.
* Modulator for envelope shaping or ring modulation. Noise Generator.
* Trapezoid Generator for multiple simultaneous trapezoid waveforms. These may be used for envelope shaping (trigger mode) or for low frequency waveforms (free run mode).
* Manual-Slide tape Controllers (2) for obtaining control voltages. One slide-tape is stepped and may be used as a keyboard and the other for variable control. One provides a trigger pulse. Both may be temporarily marked or written on.
* Inverter to invert control voltages or signals.
* Monitor Amplifier and Loudspeaker with two input mixer faders

via ben

Marjan's Synthesizer Schematics

Title link takes you there. The list includes:

01. EML-101 Multimode VCF
02. SERGE Triple Waveshaper Module
03. BUCHLA #194 Fixed Bandpass Filter
04. KORG Polysix Ensemble LFO
05. MINIMOOG VCA
06. BUCHLA #291 Dual Bandpass VCF
07. SERGE Sequential Pulse Source
08. OBERHEIM Matrix-6 White Noise
09. R0LAND D-Beam
10. KORG MS-20 LFO
11. SERGE Lin/Log VCA
12. ROLAND SH-09 Noise and S/H
13. EMS VCS3 Type Ring Modulator
14. MOOG Source VC LFO
15. SERGE Ring Modulator
16. EML 101 Schematics
17. ROLAND/KORG Transistor VCA

Roland SH-101

Title link takes you to shots pulled via this auction.

Elektron SID Station

Title link takes you to shots pulled via this auction.

KORG MS50

Title link takes you to the full size shot pulled via this auction.

KORG VC-10

Title link takes you to the full size shot pulled via this auction.

YouTube Video Embedding Added to Forum

Title link takes you to more info and the first video on the Forum. I had to go with the T.

2nd cab filters

flickr by fonik2000.

ssm2044, wasp, doepfer quantizer (custom frontpanel)

Title link takes you to more shots. Be sure to also check out the link below.

www.modular.fonik.de

Korg MS-10 with modded MG range

Another via darenager. Looks like fierce fish is on a roll.

Apple Patents New Synthesizer Method

Title link takes you to the patent. Via Chip Collection.

Some details:
"Music synthesizer generate audio tones. Many synthesizers generate their tones by using one or more oscillators. It is very common to use several oscillators in a single synthesizer voice but with at least one oscillator detuned. That is to say, that oscillator is oscillating at a slightly different frequency to at least one other oscillator. As a consequence of interference, this results in a periodically changing resulting signal due to the varying phase difference between them.

When there are two slightly detuned sine waves, the resulting signal is perceived as a single sine wave with a sinusoidal amplitude modulation varying with frequency. The frequency of this amplitude modulation is called the "beat frequency".

More often than not, there are two detuned oscillators producing more complex waveforms. Complex waveforms include waveforms in shapes which differ more or less from a perfect sine wave, e.g. a sawtooth or rectangular wave and can be decomposed into a sum of harmonic sine waves (the overtones or partial frequencies). The resulting interference from such complex waveforms is not a simple amplitude modulation but a complex timbre variation. This is because each pair of harmonic overtones has to be treated separately. However, the timbre variation when mixing two slightly detuned oscillators is still periodic with a beat frequency. Moreover, that beat frequency is equal to the difference between the two frequencies of the mixed detuned oscillators.

Synthesizer oscillators are usually tuned in a chromatic scale that consists of equal semitone intervals. An interval is defined by a certain frequency ratio between two tones. Twelve semitone interval steps result in an octave interval which is defined as a frequency ratio of 2:1. Hence, each semitone is the twelfth root of 2 or approximately 1.06. A semitone can be further divided into cents. A cent is one hundredth of a semitone. Thus, one cent is a 1200th root of 2 or approximately 1.0006.

In the prior art, synthesizer oscillators have been detuned by setting a certain detune interval which was usually measured in cents. Due to the fact that the detune interval defines the ratio between the detuned frequency and the nominal frequency, the frequency deviation itself is proportional to the nominal frequency. For example, if the nominal oscillator frequency was 1000 Hz, then applying a detune interval of 10 cent (approx. 1.006) would result in a detuned oscillator frequency of 1006 Hz and a beat frequency of 6 Hz. However, with the same detune interval of 10 cent at the next octave, the nominal frequency would be 2000 Hz with the detuned oscillator frequency of 2012 Hz and a beat frequency of 12 Hz. Accordingly, at a given detune interval the detuned oscillator has a frequency deviation which is proportional to its nominal frequency. Hence, when mixing detuned oscillators, the resulting signal has a beat frequency which varies with the pitch and doubles with each octave.

In order to accommodate for this beat frequency, a compromise is reached but often such audio tones have a beat frequency which is relatively too slow at lower tones and too high at higher tones.

An aim of the present invention is to provide a music synthesizer whereby sounds are generated with an optimum beat across a large range of tones. "