Synthesisers at the
Townshend Studio

Analogue Solutions Colossus

2020

The Analogue Solutions Colossus is inspired by, but not a direct clone of, the EMS Synthi 100 from 1971. The Colossus features 12 analogue voltage-controlled oscillators, two touch-sensitive keyboards, a 64-step sequencer and a pair of joystick modulation controllers. There are also eight filters, four envelope generators and a built-in oscilloscope. 

Despite being brand new, the Colossus is 100% analogue with no computer control. This means that when the user turns a dial, they are directly affecting the voltage or current in the synthesiser's circuits. 

This massive analogue synthesiser has attracted notable users such as Hans Zimmer, Deadmau5 and, of course, Pete Townshend.

ARP Model 2500

1970

In 1970, ARP Instruments introduced the Model 2500, its first modular synthesiser designed to rival Moog systems. Featuring a 10x10 matrix switch patching system for streamlined signal routing, it reduced clutter and improved usability. 

Initially aimed at engineers, and requiring a steep learning curve, the Model 2500 first gained popularity in university music departments. Its stable tuning and innovative design made it an influential tool in research and development within electronic music. 

This model was used to create elements of the scores for the films 'Quadrophenia' (1979) and Ken Russell's 'Tommy' (1975). In Hollywood, the Model 2500 made a memorable appearance as an alien communication device in 'Close Encounters of the Third Kind' (1977).

EMS Synthi 100

1971

Launched in 1971 by Electronic Music Studios, the EMS Synthi 100 is a groundbreaking analogue synthesiser, with only 31 units produced. Notably championed by BBC Radiophonic Workshop, it was initially commissioned by Radio Belgrade's Third Program to explore the then-new field of computer-controlled electronic music. 

Between 1975 and 1977, renowned composer Karlheinz Stockhausen used the sequencing capabilities of the Synthi 100 to create the electronic components of his music-theatre piece 'Sirius'. 

Electronic Music Studios is a British company that was formed by Dr Peter Zinovieff, Tristram Cary and David Cockerell in Putney, London, in 1969. Dr Peter Zinovieff was an influential figure in the production and composition of electronic music, collaborating with a wide range of artists and musicians throughout his long career.

Minimoog Voyager XL

2010

The Minimoog Voyager XL is a homage to Moog's most successful instrument, the Minimoog Model D. Combining the familiar knob layout of the Model D with modern, digital control features such as the XY touch pad and also adding the modular-style patching capability more reminiscent of Moog's earlier instruments, the Voyager XL is a modern classic with significant musical heritage and formidable sonic power. 

The Minimoog Voyager XL has become a staple in film scores, sound design and live performances, used by artists such as Trent Reznor and Kanye West.

Moog Model 15

1974 (2015 reissue)

Released in 1974, the Moog Model 15 is a portable modular synthesiser featuring a basic voice similar to the Moog Synthesiser 1. Its suitcase-style design contrasts the larger 35 and 55 models, with a latching cover and black vinyl wrap more reminiscent of guitar amps and speaker cabinets. Though discontinued in the early 1980s, Moog reissued 150 units in 2015 and launched a Model 15 app in 2016. 

Inventor Robert Moog is widely seen as the pioneer of the analogue synthesiser. A principal Moog innovation was the Voltage Controlled Oscillator (VCO), which allows pitch to be adjusted by a voltage input and therefore be played by a piano-like keyboard with which musicians were familiar. 

This proved to be a pivotal element in the commercial development of synthesisers and electronic music.

Moog System 35

1973 (2015 reissue)

In 2015, Moog reissued a limited run of three modular synthesisers including the System 35, 50 years after their original release. These handcrafted instruments, built using original 1970s schematics, feature modules made from original circuit board films and wiring. 

Originally released in 1973, the System 35 set new standards for modular synthesis. Early synthesisers such as these were monophonic – capable of producing one note at a time. Influential keyboardist Keith Emerson was the first major rock musician to perform live with the Moog. 

The programming and sequencing possibilities of Moog synthesisers played an significant role in the development of disco music – most notably on Donna Summer’s 'I Feel Love' (produced by Giorgio Moroder), on which every sound minus the kick drum was generated by a Moog Modular Synthesiser.

Prophet-10

1982

Manufactured by Sequential Circuits, the Prophet-10 effectively combines two Prophet-5 synthesisers into one, offering ten voices from 20 analogue oscillators. Like the Prophet-5, it is notable for its use of microprocessors, which allows users to recall sounds instantly instead of recreating them manually. 

Dave Smith, legendary synthesiser designer and founder of Sequential Circuits, had been working with micro-processors when he had the idea to combine them with synthesisers to create programmable instruments. 

The Prophet-10 is a polyphonic synthesiser meaning that musicians can play up to ten simultaneous notes and therefore begin to produce more harmonically complex sounds. 

Prophet synthesizers have remained popular among musicians to this day and the sounds of the Prophet-5 and Prophet-10 can be heard on songs by a wide range of contemporary artists, from Radiohead to Dr Dre.

Roland Jupiter-8

1981

The Jupiter-8 is legendary in the world of analogue polysynths for its warm pads, lush strings and powerful lead sounds. 

Evolving from its predecessor the Jupiter-4, the Jupiter-8 has 16 analogue oscillators and the ability to split the keyboard into two zones. This allows the user to assign a separate sound to each zone, or to layer the two sounds on top of each other to be played simultaneously. 

The Jupiter-8 was one of the first synthesisers to integrate microprocessor technology. Powerful and mass produced, microprocessors made Japanese-made synthesisers such as the Jupiter-8 more affordable and accessible than their American and European counterparts. 

Its distinctive voice architecture and simple to program interface design has made the Jupiter-8 a staple in many hit records from its release to the present day. 

This model features unique modifications which allow each of its eight voices to be recorded separately.

Synclavier 3200

1977

Developed in the late 1970s by Cameron Jones and Sydney Alonso in the US, the Synclavier was a high-quality, technologically advanced synthesiser and sampling system used by musicians, film composers and recording studios. 

The Synclavier was ahead of its time in many ways. One of the earliest digital synthesisers, it was also one of the very first commercially available digital samplers. The Synclavier also featured a MIDI sequencer and hard-disk recorder. 

The instrument included an early implementation of a synthesis technique known as Frequency Modulation (FM). FM was an innovative new way to create sound in which the pitch of one digital signal is modulated by another in the same or similar audio range. This allowed for the creation of complex waveforms and exciting new sounds. 

Developed by John Chowning in the US, FM Synthesis would go on to shape much of the popular music produced in the 1980s.

Yamaha CS-80

1977

This classic synthesiser from Japan features eight-voice polyphony and an early example of patch memory that enables sounds created to be easily recalled at the press of a single button. The CS-80 is capable of producing rich analogue strings, brass sounds, drones and pads, with a natural detuning feature for authenticity. 

The CS-80 offers extensive expressive control through a tactile ribbon controller and weighted keyboard. It also features polyphonic aftertouch – this means that if the player holds a chord and varies the pressure, the sound responds independently to each finger. 

The unique features of the CS-80 were famously exploited by composer Vangelis on the soundtracks for 'Chariots of Fire' (1981) and 'Blade Runner' (1982).

Yamaha DX1

1983

With only 140 made and a retail price of more than £20,000 on release, the Yamaha DX1 is a rare and sought-after instrument. Designed as a high-end, feature-packed upgrade to the popular DX7, the DX1 boasts a 73-note weighted keyboard and tactile push-button interface, unlike its compact but notoriously difficult to program predecessor. 

The DX1 is an FM synthesiser, which means it can create complex waveforms such as the metallic and bell-like tones that excited and inspired musicians throughout the first half of the 1980s. 

A playground for sonic experimentation, the DX1 can play two separate sounds simultaneously through its dual synthesis channels, each with 16-note polyphony. Alternatively, these two channels can be combined, increasing the note count to 32 which allows for some extremely rich and complex sounds.

Yamaha GX-1

1975

Marking Yamaha’s first step into synthesiser development, the GX-1’s organ-style design was the result of research directed at creating lively, natural tones closer to that of acoustic instruments. Fewer than ten units were manufactured in total. 

Although designed to look like an organ, the GX-1 is in fact an analogue synthesiser which features four keyboards and 184 playable keys in total. The GX-1 is an expressive instrument with a ribbon controller, swell pedal, and even a spring-loaded controller which can be played with the knee. 

Much of the technology developed for the GX-1 was subsequently incorporated into the more prominent Yamaha CS-80. 

Affectionately known as ‘The Dream Machine’, owners of the GX-1 included John Paul Jones of Led Zeppelin, Benny Andersson of ABBA and Stevie Wonder. Wonder wrote the 1976 song 'Pastime Paradise' (later sampled on Coolio’s 1995 hit 'Gangsta’s Paradise') based on the GX-1’s rich bank of orchestral sounds.