EMS Synthi 100

With the addition of the 256-step digital sequencer's circuit cards, the card count rises to 85 (28 times larger than a VCS3 by circuit board count), with 12 voltage-controlled oscillators and eight voltage-controlled filters Two monophonic keyboards (both keyboards together produce four control voltages and two key triggers simultaneously).

It featured an LED display, twin digital cassettes, Two 24 × 60 matrix patchboards, and a switch button control panel.

It contained a 22 band filter, 22 × 22 matrix patchboard, mic/line inputs, two oscillators and noise sources, frequency shifter, pitch to voltage extractor, and a spectrum display driver.

[7] The Synthi 100 owned by Jack Dangers can be heard being used extensively on electronica group Meat Beat Manifesto's album R.U.O.K.?.

[11] They took delivery of an EMS Synthi 100 modular system in 1970 which had been modified to BBC specifications,[12][13] dubbing it the "Delaware", after the name of the road outside the studio.

[15] The first classical electronic music LP album generated exclusively on the Synthi 100 was released by Composers Recordings, Inc. in 1975.

[16] The WDR Electronic Music Studio ordered a Synthi 100 in 1973, and it was delivered the next year[17] It was used by Karlheinz Stockhausen in Sirius (1975–77),[18][19] by Rolf Gehlhaar for Fünf deutsche Tänze (1975),[20] by John McGuire for Pulse Music III (1978),[21][22] and by York Höller for Mythos for 13 instruments, percussion, and electronic sounds (1979–80).

IPEM, the musicology research center and former electroacoustic music production studio of Ghent University also owns a restored and working Synthi 100.

Eduard Artemyev, Yuri Bogdanov and Vladimir Martynov used the Synthi 100 owned by Soviet label "Melodia" for their record "Metamorphoses - Electronic interpretations of classic and modern musical works".

[28] Sarah Davachi released her album "Vergers"[29] in November 2016 by Important Records[30] centred largely on the EMS Synthi 100 synthesizer.

A Synthi 100, owned by the Greek Contemporary Music Research Center, was restored and exhibited in Athens Conservatoire as part of the Documenta 14 in 2017.