Synths in Europe
While we tend to think that most of the development in synthesis technology was taking place in America, there was plenty going on in Europe and the UK. A good example of machines stretching technology – and the very reason we’re calling this feature 60 Years Of The Synth – was the Syn-Ket, which was developed in Italy in 1962. This relatively large noise-emitting machine, utilised three transistorised tone generation modules. These were in turn accessed via three small monophonic keyboards, which were layered on top of each other.
Meanwhile, a few years later and back in the UK, there were electronic rumblings from Putney, in south London. The small company called Electronic Music Studios (EMS) were part composer collective, and part innovation and design team for electronic systems, specifically for making music. Nothing exemplifies this further than the now legendary Synthi VCS3; a semi-portable machine, set in a beautiful wooden case, a little bit like the control panel from a power station! While the uppermost section of the synth was where all the noise emitting elements were located, the panel on the lower section contained a matrix with pins, which was used to route modulation signals.
The VCS3 first appeared in 1969, and went on to be a vital tool for musicians such as Jean-Michel Jarre, and bands such as Hawkwind. It is still regarded as a highly collectible classic, attracting exceptional price-tags as a consequence.