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The fact that you could play it with a joystick, a la Led Zeppelin’s John Paul Jones (the keyboard was sold separately), only added to its charm. Those that persevered were rewarded, and the bizarre-sounding synthesizer was a bottomless treasure trove of peculiar pops, clangs and whines.
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It was so quirky that most musicians couldn’t even fathom how to coax actual melodies out of it, prompting some to label it as a bulky, expensive effects unit. The VCS3 was weird, and it stands to reason that it ended up being such a science fiction standard. In 1995 however, the rights to EMS were acquired by Robin Wood, who began building and selling VCS3s all over again, proving that the market for eerie sci-fi synthesizer sounds was a long way from drying out. Sadly, after a number of bungled launches and a move from London to Oxfordshire, EMS hit an irreversible decline in the late 1970s and the failing company was sold off. Thanks to its uniqueness at the time (it was the first synthesizer that was truly available to the general public) and its very modest price point, the VCS3 was a massive success, lending EMS a market share that was set to rival competitors Moog and ARP.
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This was great for portability, but made the synthesizer incredibly unpredictable, as the different pins’ impedance would vary just enough that a patch would almost never sound the same twice. Nicknamed ‘The Putney’ after EMS’s London location, the VCS3 was basically a modular synthesizer, but instead of patch cables, EMS had come up with a small (and notoriously fiddly) 16×16 matrix which was used to control the synthesizer’s internal routing.
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It was designed to be cheap, portable and easy to program (or “patch”), and the Voltage Controlled Studio No.3 from British company EMS might have become the industry standard if it hadn’t been for Bob Moog’s tidier successor. Original price: £330 + £150 for the keyboard You might be surprised how many of them lie at the center of your favourite tracks. The following list contains a few of the key instruments that helped shape electronic music, from the obvious (the unmistakable Roland TB-303) to the obscure (the humble Alpha Juno 2). Sometimes it was simply the fact that there was no competition (the Minimoog) and sometimes the success was simply down to price and availability (the MS-20). It is however important to know how these sounds took hold in the first place, and why they were so successful.
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These days it’s easy enough to boot up your cracked copy of Ableton Live or Logic and open any number of VST synths, giving you access to decades of technological innovation. It’s a concept that has provided the backbone for countless instruments over the last 100-or-so years, and like it or not, has informed the direction of modern music both in the mainstream and in the underground. The synthesizer is as important, and as ubiquitous, in modern music today as the human voice. The concept is simple enough – a basic circuit generates a tone, and the tone can then be controlled by some sort of input, human or otherwise. How did the synthesizer become such a crucial part of modern music? John Twells charts the evolution of an instrument at the heart of 21st century songwriting, delving into the famous and surprising songs they feature on.
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