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via this auction
"In the old days of Maplin/ETI you could build your own monosynth/modular/echo unit/vocoder, this is a little monosynth designed by Tim Orr (of EMS fame) and it sounds lovely. Has been restored and is in great condition, a really fantastic little monosynth that has very good build quality (not always the way with self builds)
This unit will be set-up and tested by James at Synth Repair Services before being shipped"
via this auction "vintage synth from around 1980. Sold in kit form through the ETI magazine for a couple of years
Not just any old kit.... Designed by the legendry Tim Orr who was the man behind many of the classic EMS synths from the 1970s as used by Pink Floyd among many (Dark side of the moon)
This model was used by Joy Division and New Order on early tracks and sounds great for the Blue Monday type bouncy basslines as well as very strange and wonderful effects and lead lines. Its one of the simplest units to use and to get great sounds from, you will be at home with it in a matter of a few hours
This does a lot of stuff not possible on Minimoogs or Korg MS synths. Very much all its own character and tone
Has a great sample and hold effect for weird repetative sounds.. very spooky as used in old 1980s horror films (think John Carpenter)
Single osc system with a very full sound, cone destroying bass and resonance with ease"
"This fantastic British Mono synth was designed by Tim Orr of EMS. He was the chap behind some of the most classic and sought after early synths like the EMS synthi used by Pink Floyd
This was the first synth used by Joy Division / New Order and appears on there early tracks"
"This monophonic synthesizer was designed by Tim Orr and made by Powertran, Hampshire in the early 1980s either as a fully built synth or as a self assembly kit. The synthesizer produces a distinctive sound and is known to have been used by Thomas Dolby, New Order, Joy Division."
"1978 Powertran Transcendent 2000 analog mono synthesizer. Designed in the UK by Tim Orr of EMS Marketed by POWERTRAN of Andover, Hampshire. It has been used by the likes of Joy Division and New Order... I have uploaded some extra large photos here"
"A fully serviced monosynth rare in this sort of condition!. Designed by TIM ORR of EMS fame. Was a kit based instrument manufactured by the now defunkt POWERTRAN company. This one has been fully serviced including the keybed electronics. Has had new moog style knobs added, case has been refinished and restored. Has had and LFO rate indicator LED added on the front panel with improved signal to noise on the output. A classic sounding synth with a great filter. All electronics mounted on a single circuit board, all off the shelf electronic components. Grab a piece of synth history that also looks the part!!."
via this auction "Powertran Transcendent 2000 Rare Vintage Analogue Synth with original schematics
A single oscillator,fully analogue, British monosynth designed by Tim Orr (EMS) circa 1978, As used by Joy Division and Thomas Dolby etc
Wave Shapes - Pulse / Saw / Triangle / Noise 1 Oscillator / Sub Oscillator 1 Filter LPF / BPF / Self-Reso 2 Pole 2 Envelope Generators - ADSR / AD 2 Envelope Generators - ADSR / AD
Some things you may not know about this surprising synth 1 The ADSR envelope generator can be set to repeat mode, turning the envelopes into a second (low range) LFO.
2 The ADSR envelope generator can be bypassed, allowing the oscillator to sound indefinitely, perfect for drones, wind noises etc.
3 The triangle wave shape is adjustable from a ramp to a sawtooth allowing some rather subtle, delicate timbres to be created."
I never heard of a Synthometer before now. If you know more about it, feel free to comment.
via the listing:
"ignore all those cheaper Transcendents ( that probably aren't fully working like this one and don't have famous user owner history like this one ) and buy one from Martin Hannett's personal collection of Transcendent's this one includes Hannetts unique Synthometer a unit that apparently connected this Transcendent to an AMS delay- the fully working Transcendent synth includes the correct vintage case for this synth of Hannett's and the case fits the Hannett Synthometer at the side of the Transcendent - Hannett Transcendent synth no 9 and case No 9- Transcendent is fantastic condition and the analogue sounds are out of this world. Hannett put Transcendent synths into loads of records he produced including Joy Division- there are Transcendent sounds on Unknown Pleasures and other Joy Division recordings from that era . Hannett produced and sometimes played synth effects on Joy Division early New Order, Durutti Column, John Cooper Clarke, Nico, Buzzcocks, Magazine, Pauline Murray, U2, Stone Roses, Happy Mondays, he was really responsible for bringing synths and echoes into punk and post punk
Ready to plug in and create those Joy Division/ Manchester /Hannett sounds- this synth was designed by Tim Orr who also worked for EMS.
This has not just been stuck in an attic for years and full of dodgy controls or part working- this is fully serviced and refurbished and ready to go
will come with letter of provenance and Hannett's notes"
"This synth was designed by Tim Orr who also designed synths for EMS, and was sold in kit form by 'Electronics Today' magazine." [See this post]
"They originally sold for £365 + VAT which would be around £2k +VAT today.
This particular example seems to have been assembled as all the screw holes have been used, but was then was opened up again, presumably due to a fault."
via this auction "TRANSCENDENT 2000 monophonic analogue synthesiser . Designed by Tim Orr in 1978. It comes with the original manual and review from Electronics Today. built in 1982 1 Voices / Stimmen 1x Multitimbral Memory / Speicher no Tech wave shape morph Subtractive analog hybrid tech: no Waves pulse saw tri noise 1 OSCs + Sub - info1 Filter lpf bpf self reso 2 Pole 1 LFOs tri square + s/h 2 ENVs 1x ADSR 1x AD Ctrl/Trig cv gate 37 Keys repond to AT/VEL no Arpeggiator no Sequencer no
"Powertran Transcendent 2000 - rare British vintage mono synth. Designed by Tim Orr of EMS. This is powerful little mono synth, with a rather raw filter, akin to an MS20. Unit is in good condition, with the exception of the two problems listed below. I'm selling this item as spare or repairs because it is not 100% working, and I'm erring on the side of caution. I see no reason why, with a little TLC this unit wouldn't be perfectly serviceable. Cosmetically it is fine for a unit of its age. There's the odd scratch on the wood. These were self build units, and this one has been built well, as it has never suffered from any of the common problems the units do suffer from (eg. pots unable to move, woodwork wobbly). I've owned this since 1996, before that it had at least 2 owners afaik. It's been stored well, and only ever used in a smoke free environment.
The faults are:
(1) A fair number of keys are not fully working. Either they don't reliably trigger, or don't trigger at all. This is just a case of cleaning or replacing the contacts.
(2) The the unit can suffer from RF interference depending on its location. I'm not sure if that is a design flaw, or a problem with this particular unit as it has always done it. You just need to find the right place to put it!
Controls:
Portamento, Pitch bend (on a pot, not a lever)
1 Oscillator (Saw, Triangle, 2x Square waves)
Pitch Mod (from ADSR, S&H)
Noise, LFO speed
Filter: Cutoff, Resonance, LFO mod, AD Modulation
Filter Envelop: Attack, Decay
Envelope: ADSR
Filter input, CV/Gate input, Foot pedal. (NO MIDI)"
Designed in the UK by Tim Orr of EMS Marketed by POWERTRAN of Andover, Hampshire
As used by: Thomas Dolby, New Order, Joy Division, etc
Here is a nice example of the rare Transcendent 2000 monophonic synth. Professionally constructed in working, original unmodified condition. Comes complete with the book of words, schematics and preset charts as originally supplied. Condition is generally very good for a 30 year old instrument. A few scratches here and there. Only serious cosmetic blemish is some burn marks to keys"
"Powertran Transcendant 2000 - vintage 1980s Analogue Monophonic Synthesiser in excellent physical condition. This legendary synth dates to 1980s electronic music era, and was sold in kit form, which was produced in England and designed by Tim Orr... Much of the early English 1980s electronic music was created using Powertran synthesisers.
This synth is complete except for a missing power supply, but circuit diagrams for this are available on the Internet. Also the original assembly manual and circuit diagrams are included in this sale. The synth is untested."
via Inverse Room, via Muff's:
"You guys will dig this.
Some of you probably know Trevor Pinch from his book Analog Days [Amazon hardcover & paperback, preview on Google books], about the history of the Moog synthesizer. Trevor's a friend of mine--we both teach at Cornell U.--and he recently restored his moribund DIY modular that he built in the seventies. Last night he and our friend James Spitznagel (together they are Electric Golem) played a show here in Ithaca, with Trevor on his synth and Jim using a Mopho, Evolver, Orb, Nintendo DS and various iPhone apps.
Oh BTW sorry these are not better photos. I should have brought a DSLR for this but I had a digital rangefinder camera with me that is not so hot at high ISO. Full set is here (for now): http://inverseroom.creotia.com/golem/"
I contacted Trevor Pinch and he had the following to share:
"Hey Matrix:
I built that synth in London in 1973. I used it til 1975/6 in a collective band/scene in London and then in Manchester - we also had a VCS3 and various gizmos from EMS as one of our band knew Tristram Cary, one of the founders of EMS. By the way anyone interested in EMS should check out the half hour documentary Matt Bates made for Australian TV - 'What the Future Sounded Like'. I was a talking head for that movie. It's got tons of info in it and great clips of Hawkwind, music of early Floyd etc [below].
My synth was kinda in storage before being shipped to the States in 1990. It was smashed up badly in the move and I only started work on it again a few months ago when Park Doing here in Ithaca persuaded me to get it going to jam with Johnny Dowd, Richie Stearns, Brian Wilson, and others for a 'Requiem for Analog TV' show we did at Cornell. Since then I've played out with it a couple of times with Park's band, the Atomic Forces, and once with The Electric Golem with Jim Spitznagel.
The schematics come from the hobby magazine Wireless World August 1973. Tim Orr did the design (he was the same guy who designed the EMS Vocoder). I built it 1973. The Voltage Control filter is online [link]
VCO 1 has square, triangle, sine , and variable mark space (I think in the US they call it duty cycle - adjusting the width of the top of a square wave). It turns out the variable mark space is one of the most musically useful controls I know.
It has three frequency ranges from very low to way up there! There are two VCO inputs with 1 K pots to control the voltage in.
VCO 2 has square, triangle, sine, ramp, and pulse outputs. There are two VCO inputs with 1 K pots ditto.
VCO 3 is a six-step sequencer with an incredible frequency range, with each step selectable and tunable. This is the awesome guts of the beast. There are two VCO inputs with one K pots. You feed the sequencer output as an input into the VCO1 and VCO2 and away you go.
There are also the following modules:
2 voltage control amplifiers
2 exponential converters
A keyboard module for operating a resistor chain monophonic keyboard - I abandoned the keyboard as I could never get it in tune and it sounded better out of tune!
I voltage control filter - band pass or low pass output - band pass only is working
I mixer with three channels and two virtual earth mixers for summing and reversal with three channels each,
White noise source and blue and red noise (variable) outputs
Spring reverb.
Envelope shaper. Not yet working
Two preamps. Buggered.
2 very low frequency outputs. Not yet working.
Sample and hold - Never worked!
Joy stick control and circuits with two pots providing variable X and Y voltages.
The joystick is home built by using three pots (design based on the first one that David Cockerell made for VCS3) my killer control for live performance (think Brian Eno and the way he used the joystick on the VCS3 (Putney)). The joystick was beat up terribly in the move and was the hardest single thing to get working and nicely balanced. Read the story of how the pitch and mod wheel were designed for the minimoog in Analog Days! Having a controller that feels right when you play is for me half the battle.
There is an onboard power supply for 240 volts in and 15v plus and minus and 5 volts plus out. Useless in US! So got new power supply built.
The modules are mainly built on plug in breadboards made by a UK company called Electrokit. So when I blow out transistors - happens all the time - I can unplug for easy access. Also I like to leave it open so shaking the instrument shakes the modules and affects the sound and of course the reverb. Opening the black box is my aesthetic.
Housed in hand machined painted aluminium case (wise choice in hindsight as it is sturdy, light and didn't rust!)
Patch bay is banana plugs, wires and sockets (what we used to call banana plugs or Wonder plugs in the UK). US banana plugs are too big - anyone know where I can get the UK banana plugs from as I need more?
If anyone is interested in my early experiences in playing the synth, they are written up in a chapter in a book by Sherry Turkle, Evocative Objects - the reflection is online at a awesome exhibition, "Remix, Rewind and Replay" at Scottsdale Museum of Contemporary Art which I was on a panel for. http://www.rewindremixreplay.org/pdfs/pinch.pdf
By the way, that essay was written before I got the synth working again. In that essay I said the synth had no name. When I unearthed the old schematics to start soldering work I found I did give it a name, "Stray Capacitance". That's what the synth was like - full of capacitance.
The synth truly has a unique sound : the sonic energy is simply amazing. It can cut through like a chain saw on magic mushrooms - everything sort of feeds back on everything else in various unpredictable ways. Its like a live bucking beast to control. Park Doing says I shouldn't call it a synth and I agree. It's more a sometimes controllable sound and noise maker. John Robert Lennon (aka Inverse Room) on seeing and hearing it in action the other day - said how come it just doesn't explode. It's a miracle that it works at all! Its industrial sound is awesome in a punk band and when playing alongside someone with more varied and sweeter sounds (like Jim Spitznagel can produce) it can cut through and complement and attract attention. With the spring reverb it sends you into space. In the early days we also used to use huge tape loops as well.
That's it!
Trevor"
I'd like to give a huge thanks to Trevor Pinch for taking the time out to share this with us and of course Inverse Room for sending this our way.
YouTube via inverseroom — April 25, 2010 —
"Inverse Room interviews Trevor Pinch, author of "Analog Days" and other books about the history of technology, who demonstrates the DIY modular synth he built in the 1970's.
The thing I find really cool about this design is the step sequencer that can be run at high enough speeds to create, in effect, a new oscillator with primitive custom waveforms. And of course there's the total lack of sides to the case--gotta love that, too!"
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
SYNTH-E Saves the Day comic strip and pics of the inside below.
"For your consideration is this vintage 1979 Electronic Music Studios (EMS) Synthi-E analog synthesizer. Experts have estimated that this incredibly rare synth was produced in limited numbers, in fact, most approximate that less than 200 were manufactured. Of those that have been documented, it is difficult to find a better example, especially such a fine specimen with the original matching DKE keyboard (serial number 7137) and original patch cables. While highly collectible Synthi-A versions are somewhat accessible, the Synthi-E is virtually E-xtinct. Do not miss this opportunity own one of the coolest and rarest synths ever made, because it is possible another will not appear available on eBay for years to come.
The Synthi-E was designed by Tim Orr as an educational version of the Synthi that had a complete teaching course built around it for use in schools. It was intended as a teaching aid into the principles of sound synthesis and electronic music. Small, housed in a brief-case and D-battery powered, the Synthi E was perfect for the student or teacher on the go! Simple as it may appear, it actually has some sophisticated features:
-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
-The optional 3-octave keyboard for controlling the Synthi E. This unit is a mechanical keyboard which plugs into the Synthi E. It provides the correct pitch voltage and trigger signal for the Trapezoid Generator. A switch on the Synthi E selects internal or external keyboard operation.
"This is an early analogue synth that I built from a series of articles in
Wireless World magazine. I obviously spent a LOT of time making it....let's see
if it still works..... (update coming soon!) Here's a link to the original
articles....http://www.keith-snook.info/wireless-..." (PDF link - pics below if you want to skip)
Note the article appears to be by
Tim Orr of Powertran, and a D. W. Thomas. Anyone know who that is? The design reminds me of a
Maplin.
"Designed by Tim Orr of the legendry synth company EMS. Products he
designed were used by Pink Floyd, Kraftwerk and many other early electronic
musicians. Also this was joy Divisions/ New Orders first ever synth!
Sold as kits from the late 1970’s into the early 1980’s in an electronics
project magazine. I have all the circuits and set up info to supply should you
have to get this serviced or repaired at any time. All parts are still available
as its just standard uk components throughout the synth
This was recently serviced and had almost all of the op-amp ic’s and transistors
upgraded to a more modern type. Some capacitors were changed and all key
contacts cleaned and lined up. No double triggers or missing key hits at all.
Condition is very good considering its age with just some fading to the black
panel finish but all still looks great! Word of warning as if you turn the
resonance up full it will go into self Oscillation as its ment to but should be
used with caution!
Packed with features for a very wide range of sounds and effects. Nice bubbly
sounds, nice bass lines which remind me of the korg MS synths. Very hard to find
synth and becoming very collectable!
Synth features :-
* Portamento control
* Pitch Bend
* Selectable waveforms
* Wave shaping
* VCO level
* Sample and Hold with various controls
* Octave up and down selection
* Noise generator and control
* LFO speed control
* Resonance
* Cutoff/Frequency
* VCF AD
* VCA ADSR
* Various controls to shape VCF
* Hi out socket
* Low out socket
* VCF audio input
* Gate in
* CV in
* VCF pedal input"
"This is a classic old mono synth designed by Tim Orr of EMS in the early 1980's and was sold as a kit. Not too many of these left in good working order now and they are highly sought after by those wanting real analogue sound with knobs and buttons to play with! THis example has had a couple of mods to improve the signal to noise ratio on the outputs and the addition of an LFO LED light on the front panel that flashes in time with the LFO rate. I had one of these as a teenager and got hold of this one again recently with a view to making some mods of my own but time is not with me so I have to let it go now. The key contacts can be temperamental on these but this one is pretty good and currently they all work.
Also included is a paper and CD (.pdf) copy of the original Electronics Today magazine articles that describe all the processes as well as construction details. Very useful - I learnt more about how it works for these than I ever knew back in the 80's!"
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Designed by Tim Orr for 'EMS', this remarkable D-battery powered synthesizer comes in its original briefcase format. Most experts approximate that less than 200 of these units were made, largely for educational institutions.
Case measures 18" wide x 14" tall x 5" deep (approx. 45.5cm x 35.5cm x 12.5cm).
It's not our area of expertise, but here are the features we've managed to identify:
*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.
*A Modulator for envelope shaping or ring modulation.
*A 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 (x2), for obtaining control voltages. One slide-tape is stepped and looks to be used as a keyboard, and the other for variable control. One is said to provide a trigger pulse.
*An Inverter to invert control voltages or signals.
*A Monitor Amplifier and Loudspeaker, with two input mixer faders.
Comes 10 original patch cables and a 1/4" jack plug. Also presented with its original lock key..."
via this auction
This model was used by Joy Division and New Order on early tracks and sounds great for the Blue Monday type bouncy basslines as well as very strange and wonderful effects and lead lines. Its one of the simplest units to use and to get great sounds from, you will be at home with it in a matter of a few hours
Has a great sample and hold effect for weird repetative sounds.. very spooky as used in old 1980s horror films (think John Carpenter)
via this auction
via this auction
"A fully serviced monosynth rare in this sort of condition!. Designed by TIM ORR of EMS fame. Was a kit based instrument manufactured by the now defunkt POWERTRAN company. This one has been fully serviced including the keybed electronics. Has had new moog style knobs added, case has been refinished and restored. Has had and LFO rate indicator LED added on the front panel with improved signal to noise on the output. A classic sounding synth with a great filter. All electronics mounted on a single circuit board, all off the shelf electronic components. Grab a piece of synth history that also looks the part!!."
via this auction
Some things you may not know about this surprising synth
"ignore all those cheaper Transcendents ( that probably aren't fully working like this one and don't have famous user owner history like this one ) and buy one from Martin Hannett's personal collection of Transcendent's this one includes Hannetts unique Synthometer a unit that apparently connected this Transcendent to an AMS delay- the fully working Transcendent synth includes the correct vintage case for this synth of Hannett's and the case fits the Hannett Synthometer at the side of the Transcendent - Hannett Transcendent synth no 9 and case No 9- Transcendent is fantastic condition and the analogue sounds are out of this world. Hannett put Transcendent synths into loads of records he produced including Joy Division- there are Transcendent sounds on Unknown Pleasures and other Joy Division recordings from that era . Hannett produced and sometimes played synth effects on Joy Division early New Order, Durutti Column, John Cooper Clarke, Nico, Buzzcocks, Magazine, Pauline Murray, U2, Stone Roses, Happy Mondays, he was really responsible for bringing synths and echoes into punk and post punk
via this auction
37 Keys repond to AT/VEL no
images via this auction
Here is a nice example of the rare Transcendent 2000 monophonic synth. Professionally constructed in working, original unmodified condition. Comes complete with the book of words, schematics and preset charts as originally supplied. Condition is generally very good for a 30 year old instrument. A few scratches here and there. Only serious cosmetic blemish is some burn marks to keys"
"Powertran Transcendant 2000 - vintage 1980s Analogue Monophonic Synthesiser in excellent physical condition. This legendary synth dates to 1980s electronic music era, and was sold in kit form, which was produced in England and designed by Tim Orr... Much of the early English 1980s electronic music was created using Powertran synthesisers. 
I contacted Trevor Pinch and he had the following to share:
VCO 1 has square, triangle, sine , and variable mark space (I think in the US they call it duty cycle - adjusting the width of the top of a square wave). It turns out the variable mark space is one of the most musically useful controls I know.
The modules are mainly built on plug in breadboards made by a UK company called Electrokit. So when I blow out transistors - happens all the time - I can unplug for easy access. Also I like to leave it open so shaking the instrument shakes the modules and affects the sound and of course the reverb. Opening the black box is my aesthetic.
"For your consideration is this vintage 1979 Electronic Music Studios (EMS) Synthi-E analog synthesizer. Experts have estimated that this incredibly rare synth was produced in limited numbers, in fact, most approximate that less than 200 were manufactured. Of those that have been documented, it is difficult to find a better example, especially such a fine specimen with the original matching DKE keyboard (serial number 7137) and original patch cables. While highly collectible Synthi-A versions are somewhat accessible, the Synthi-E is virtually E-xtinct. Do not miss this opportunity own one of the coolest and rarest synths ever made, because it is possible another will not appear available on eBay for years to come.
"This is a classic old mono synth designed by Tim Orr of EMS in the early 1980's and was sold as a kit. Not too many of these left in good working order now and they are highly sought after by those wanting real analogue sound with knobs and buttons to play with! THis example has had a couple of mods to improve the signal to noise ratio on the outputs and the addition of an LFO LED light on the front panel that flashes in time with the LFO rate. I had one of these as a teenager and got hold of this one again recently with a view to making some mods of my own but time is not with me so I have to let it go now. The key contacts can be temperamental on these but this one is pretty good and currently they all work. 
via this auction
