In the 1980s, shortly after its introduction, Richard Burgess of Landscape called the 100M "one of the best synthesisers on the market, with so many control functions available independently, whereas most synths only have one or two LFOs to do all the modulating.

"[2] Ian Boddy considered the System 100M "an almost ideal introduction to the world of modular synthesis,"[3] and praised its oscillator sync sound, especially when sampled to achieve polyphony.

[4] By the 1990s, although digital synthesizers were starting to replace analog ones, several prominent musicians still enthused about their 100Ms.

Jack Dangers of Meat Beat Manifesto said "the best thing about it is that it's modular and it uses a patchbay, so you can send things back on themselves and get, like, analogue feedback, you really can... You can do cross-modulation, too.

"[5] Chris Carter called it "as versatile, expandable, and affordable a system as you can get without going the DIY route" in 1995.