EMS Synthi 100 Resources

History and development

The Electric Story of the EMS Synthi 100 ‘3030’ (Vinyl Factory, 2020): A feature article recounting the origins of the Synthi 100 and the story of unit number 30 (nicknamed “3030”). It covers the instrument’s 1971 launch by EMS co-founder Peter Zinovieff, its technical features, and how only 31 units were ever made (going to institutions like the BBC Radiophonic Workshop and artists such as Stevie Wonder). thevinylfactory.com
All About EMS: Part 2 (Sound on Sound, 2000): A two-part retrospective by Gordon Reid, with Part 2 focusing on the Synthi 100. It charts EMS’s achievements in the early 1970s, the development of the massive Synthi 100 (originally called “Digitana” or the “Delaware”), and the reasons for the company’s decline. (Sound on Sound archive; discusses the Synthi 100’s high cost £6,500 and its placement in universities/studios rather than with individual musicians.)
British Giants – The History of EMS (Gearnews, 2021): An overview of Electronic Music Studios’ legacy, including a section on the Synthi 100. Describes the Synthi 100 as “one of the biggest synthesizers ever made” with 12 oscillators and a 6-foot-wide console, and notes its famous use at the BBC (for Doctor Who and Hitchhiker’s Guide radio series)gearnews.com. Also mentions that no modern clone exists, though EMS’s ethos lives on in other instruments.
EMS Synthi 100 – Wikipedia: The Wikipedia entry for the Synthi 100 provides a general summary of its design (analog/digital hybrid with dual 60×60 patch matrices), development history (custom-built first for Radio Belgrade in 1971), and notable variants (the optional Computer Synthi module, Vocoder 5000, etc.). It’s a good starting point for basic facts and references the instrument’s various nicknames and limited production run.

Technical Specifications and documentation

EMS Synthi 100 Product Page (EMS official site): A page from EMS (Electronic Music Studios) detailing the Synthi 100’s specifications. It lists the full module complement – 12 VCOs, 8 filters (lowpass/highpass), 3 ring modulators, 3 envelope generators, dual reverb, etc. – and describes the dual 60×60 patchboard systememssynthesisers.co.ukemssynthesisers.co.uk. It notes that <40 units were built, mainly for universities and studios, and highlights famous usage by the BBC Radiophonic Workshop.
Original Synthi 100 Specification Sheet (1971, PDF): A scanned EMS Synthi 100 Professional Electronic Music Studio spec sheet【33†】 outlining the instrument’s design philosophy and capabilities. It describes the built-in 256-step digital sequencer (with then-impressive 10,240 byte memory), the dual five-octave keyboards, and the array of module functions. Technical specs for oscillators, filters, etc. are given, indicating the precision and range (e.g., VCO stability within 0.3% accuracy, filter slopes, etc.). This document illustrates how EMS marketed the Synthi 100 as an entire “studio in itself.”
EMS Synthi 100 Schematics (1977, PDF – The White Files): A collection of circuit schematics and engineering drawings for the Synthi 100. These technical diagrams are useful for understanding the internal design or for restoration work. It’s an extensive resource for electronics experts or archivists seeking original wiring and PCB layouts. (Available via The White Files archive.)
Powerhouse Museum Collection – Synthi 100 Brochure (c. 1980): Scans of an original EMS “Synthi 100 Professional Electronic Music Studio” brochure, from the collection of the Powerhouse Museum (Australia). This leaflet (used by composer Don Banks in his studio) provides a contemporary description and images of the Synthi 100 as a product. It’s an official marketing document that gives insight into how EMS presented the instrument to potential buyers in the 1970s.

Restoration and preservation projects

Science Museum Journal – “From Obsolete Technology to Performance Instrument: new live presentations of the EMS Synthi 100” (2018): An academic article by Frances Morgan detailing recent efforts to restore and reactivate Synthi 100 units around the worldjournal.sciencemuseum.ac.ukjournal.sciencemuseum.ac.uk. It chronicles projects at institutions in Greece, Serbia, Belgium, Australia, and Spain, where dormant Synthi 100s were overhauled for concerts and exhibitions. The article provides historical context (from the Synthi 100’s 1970s heyday to its later status as a “mythical” machine) and examines how these restorations facilitated new compositions and public performances.
Repairing Radio Belgrade’s EMS Synthi 100 (Svetlana Maraš, 2016): A first-person account (PDF article) by composer Svetlana Maraš about reviving the long-neglected Synthi 100 at Radio Belgrade’s Electronic Music Studio. She describes the studio’s 1970s history, the instrument’s decades of disuse, and the international collaboration that led to its repair (with help from EMS experts in Sweden). The piece gives a narrative of the challenges and serendipitous connections that enabled one of the original Synthi 100s to sound again after 20 years of silence.
ABC News (Australia) – Rare ‘Doctor Who’ synthesiser restored in Melbourne after decades in storage(2015): A news article reporting on the University of Melbourne’s restoration of their Synthi 100, famously identical to the BBC’s “Delaware” unitgearspace.comabc.net.au. It features Leslie Craythorn, the retiring tech officer who painstakingly rebuilt the synth. The article details the instrument’s arrival in 1973 as the centerpiece of Melbourne’s electronic music lab, its use in a 1975 university electronic music LP, and its 20-year dormancy until analog interest revived. Craythorn notes he believes only “maybe three” Synthi 100s in the world are still in full working orderabc.net.auabc.net.au, making this restoration especially significant.
Engineering Heritage Australia – Synthi 100 Heritage Nomination (2016, PDF): A 60-page dossier compiled to nominate the Melbourne Synthi 100 for an Engineering Heritage award. This comprehensive document includes historical background, technical restoration details, and significance of the instrument. It contains photos (e.g., banks of circuit cards, the built-in oscilloscope) and quotes from Leslie Craythorn (expressing his “utter joy” at hearing the Synthi 100 produce sound again after restoration)portal.engineersaustralia.org.auportal.engineersaustralia.org.au. This resource underlines the Synthi 100’s importance in technological and musical history, treating it as an artifact worthy of preservation.
Documenta 14 – Restoration of the EMS Synthi 100 (Athens, 2017): Documentation of an art collaboration in which the Contemporary Music Research Center (KSYME) in Athens partnered with Documenta 14 to restore their Synthi 100. The project, detailed on Documenta’s site, led to new compositions for the instrument and a public concert “CMRC and the EMS Synthi 100: Electronic Music from Greece and Sweden”megaron.grmegaron.gr. It describes how the rehabbed Synthi 100 was presented at the Athens Conservatoire with archival EMS and KSYME materials, connecting Greek and Swedish electronic music heritage. (The accompanying event page from the Athens Concert Hall outlines the program: talks on the Synthi’s evolution and live performances by artists from Greece and Sweden using the restored synth.)
Ghent University IPEM – EMS Synthi 100 Project: A page from the Institute for Psychoacoustics and Electronic Music (IPEM) at UGent about their Synthi 100 (unit #30, acquired 1979). It notes the instrument is “fully restored and playable” and has been maintained over 40+ years by expert techniciansxrhil.ugent.bexrhil.ugent.be. The page highlights a recent tribute album by Soulwax created on this Synthi, illustrating the continued creative use of the machine. IPEM frames the Synthi 100 as a “living heritage” instrument – integrating it into modern art-science projects and even exploring new interfaces (AR/VR) to interact with it.
Synthtopia: EMS Synthi 100 Restored by Melbourne University (2015): A blog post summarizing the Melbourne restoration (based on the ABC report) and including photos of the Synthi 100’s front panel and matrix. Notably, it features a short audio demo of the freshly restored synth in actionsynthtopia.comsynthtopia.com. The post also reiterates that about 30 units were made and cites Craythorn’s estimate that only three remain operational worldwidesynthtopia.com, underlining the rarity of the Synthi 100. It’s a quick read for an enthusiast perspective, with reader comments discussing the synth’s schematics and the possibilities of modern reissues.

Artists, Notable Usage and Interviews

The EMS Synthi 100 and Ten Innovative Records It Helped Define (Vinyl Factory, 2018): A guided tour through landmark recordings made with the Synthi 100. This list-style feature spans from the early 1970s into the 21st century. Highlights include Curved Air’s “Phantasmagoria” (1972) – one of the first rock albums to use the Synthi 100 (at EMS’s London studio)thevinylfactory.com, the BBC Radiophonic Workshop’s “Fourth Dimension” (1973) – showcasing the machine’s impact on radio/TV soundtracksthevinylfactory.com, experimental works from Radio Belgrade’s composers (1975)thevinylfactory.com, jazz-electronic fusion by Bruno Spoerri (1978), Karlheinz Stockhausen’s “Sirius” (1980) which employed a Synthi 100 for its electronic partsthevinylfactory.com, up through modern uses like Meat Beat Manifesto (2002) and Kaitlyn Aurelia Smith (2017). Each entry illustrates a different musical approach, underlining the Synthi 100’s versatility – from abstract avant-garde textures to sequenced basslines and even disco-funk experiments.
The Radiophonic Workshop & the “Delaware” Synthi 100 (DJ History interview, 2010): An in-depth interview with former BBC Radiophonic Workshop composers Peter Howell (PH) and Roger Limb (RL), in which they reflect on their pioneering electronic work. They discuss the EMS Synthi 100 they nicknamed “The Delaware” (after the Maida Vale studio’s Delaware Road address). Notably, they describe the machine’s sound as somewhat “thin” in isolation but invaluable as a component in their toolkitdjhistory.com. They recall its large sequencer and patch matrix, and how it was the first of its kind – “a very, very big VCS3”djhistory.com. This candid conversation gives insight into daily life with the Synthi 100 at the Workshop, how it contributed to famous BBC sci-fi effects, and its limitations in the composers’ opinions.
Soulwax and the Synthi 100 – interviews and features: The Belgian duo David and Stephen Dewaele (Soulwax/2manydjs) famously devoted an album to the Synthi 100 in 2020. Several resources explore this project:
- MusicTech interview (2020): Discusses how Soulwax gained access to a Synthi 100 (after years of searching) and used it to craft the “EMS Synthi 100 DEEWEE Sessions Vol.1” album. They share their fascination with the synth’s unique workflow and limitations, and how it forced them into creative approaches unlike modern gear.
- Engadget feature (June 2020): “Soulwax and the hunt for the EMS Synthi 100” – a story on how the brothers tracked down a functioning unit literally in their hometown (at IPEM in Ghent) after decades, and collaborated with the studio to “re-animate” the machine. It describes the allure of the Synthi 100’s vintage sound and includes quotes about the thrill of hearing it produce music again.
- 909Originals interview (2021): A follow-up Q&A in which Soulwax reflect on the success of the Synthi 100 album and why its imperfections and quirks appealed to them. They note that making an album with one 1970s synth (and a lot of manual patching) was the opposite of today’s polished production – and that very spontaneity was the goal. (This piece provides an artist’s perspective on integrating a museum-piece instrument into contemporary production.)
Stevie Wonder and others: While not a dedicated article, it’s worth noting that Stevie Wonder was one of the few major artists to own an EMS Synthi 100 in the 1970s – he had the Vocoder 5000 module as well, which he used in the USAkrafthausartscic.wordpress.com. Additionally, Pete Townshend of The Who was an enthusiast of EMS gear (though more famously the VCS3); and composers like Eduard Artemyev in the USSR used a Synthi 100 at the Moscow studio to create film music (e.g. for Tarkovsky’s Stalker soundtrack). Many such anecdotes are covered in the above resources, underscoring the Synthi 100’s global impact despite its low production count.

Video & Audio Demonstrations

BBC Documentary “The New Sound of Music” (1979) – Synthi 100 Demo: In this vintage BBC program about electronic music, there is a segment where Malcolm Clarke of the Radiophonic Workshop demonstrates the EMS Synthi 100. (Video available on YouTube). He shows the audience how its digital sequencer and expansive patch system can be used to create complex musical patterns – a fascinating look at the Synthi 100 in action during its prime. This documentary puts the Synthi 100 in context as a state-of-the-art tool of the late ’70s, and you can see and hear the machine’s array of blinking lights, patch pins, and sounds for yourself.
University of Melbourne Synthi 100 Live in Concert (2018): A recorded live performance (YouTube video) showcasing new works composed for the restored Synthi 100 in Melbourne. In May 2018, staff composers David Haberfeld, Anthony Lyons, and Mark Pollard gave a concert using the Synthi 100 as the centerpiece. The video captures the instrument’s rich analog sound in a modern musical setting – from ambient textures to pulsing sequences – and includes shots of the performers adjusting the Synthi’s knobs and patchboard in real time. This performance celebrated the successful restoration by letting a new generation experience the Synthi 100’s capabilities in a concert hall setting.
“Fixing a Real EMS Synthi 100” (Look Mum No Computer, 2020): A YouTube video by synth builder-enthusiast Look Mum No Computer (Sam Battle) documenting the process of powering up and tuning a Synthi 100 at the National Music Centre in Calgary. In this energetic clip, Sam explores the colossal synth’s features while troubleshooting issues – providing a hands-on look at the instrument’s innards and sounds. It serves as both a demo (he gets the Synthi to produce drones and patterns by the end) and a behind-the-scenes of maintenance. It’s a rare chance to see close-ups of the Synthi 100’s panels and hear commentary from someone interacting with it after decades. The video conveys the excitement and challenge of bringing a museum-piece synth back to life.
Additional audio: Music from the Synthi 100 (2017) – an album by Yoshio Machida & Constantin Papageorgiadis – is worth noting for audio-only demonstration. It’s an entire record made exclusively with the IPEM Ghent Synthi 100, improvisationally exploring its sound palette. The album (available on Bandcamp) is a modern reference for how the Synthi 100 can sound in skilled hands, from abstract noisescapes to rhythmic pulses.

Museum and Exhibition References

Documenta 14 Exhibition (2017) – Athens Conservatoire: The collaboration with KSYME mentioned above effectively turned the Synthi 100 into an exhibit during Documenta. The installation view included the actual Synthi 100 on display in Athensdocumenta14.dedocumenta14.de alongside archival photos and schematic drawings. This demonstrated the instrument’s cultural significance in an art context. The Documenta project not only restored the synth but also contextualized it within Greece’s electronic music history (Iannis Xenakis’s legacy at KSYME, etc.), bridging museum curation and musical performance.
Powerhouse Museum (Sydney) – Don Banks’s Synthi 100: While the Powerhouse Museum doesn’t display a full Synthi 100, it holds related archival materials (like the brochure mentioned). Don Banks, an Australian composer, was instrumental in bringing a Synthi 100 to Australia in the 1970s. The museum’s collection highlights, including the leaflet and possibly other studio artifacts, acknowledge the Synthi 100 as part of Australia’s electronic music heritage. (Likewise, the National Film and Sound Archive in Australia produced a mini-documentary in 2015 about the Melbourne Synthi 100, underscoring its “Doctor Who synth” lore – a resource that can be found via NFSA or ABC channels).
Museum of Synthesizer Technology (UK, 1990s) [Historical]: This now-defunct UK museum reportedly had a Synthi 100 among its exhibits of rare synthesisers. Though the museum closed, references in a 1994 Sound on Sound article indicate that visitors could “mess about” on instruments like the Synthi 100 there. It’s an interesting footnote that, at one time, a private collection allowed the public to experience the Synthi 100 hands-on. The legacy of that collection lives on in archives and the memories of synth enthusiasts, further cementing the Synthi 100’s status as a legendary instrument worth preserving in museums and galleries.

Academic Research and Further Reading

Frances Morgan’s PhD Thesis (RCA, 2020): “Electronic Music Studios (London) Ltd and the Synthi 100: An Electronic Music Instrument’s Invention, Use and Afterlife” – This doctoral dissertation is a definitive scholarly work on the Synthi 100. It traces the instrument’s conception at EMS, its use by various studios and composers in the 1970s, and its “afterlife” including the modern restorations. Morgan examines how the Synthi 100 was more than just a piece of equipment – analysing company archives, marketing (calling it a “professional studio”), and interviewing those who used or revived it. The thesis is publicly available as a PDF via RCA’s research repository, for readers who want a deep dive into the historical research (over 300 pages with extensive references).
Journal and Conference Papers: Aside from Morgan’s work, the Synthi 100 is occasionally discussed in academic publications on electronic music history and instrument design. For example, the Cambridge University Press journal “Organised Sound” featured an article on Australia’s electronic music heritage, noting the Melbourne Synthi 100’s restoration (Craythorn’s work). Also, engineering journals have cited the Synthi 100 in case studies of early hybrid analog-digital systems. These can be found via Google Scholar for those interested in technical analyses or musicological context. While not all are freely accessible, they underscore the Synthi 100’s significance in both music and technology scholarly discourse.