EMS VCS 3
The VCS -3 is a monophonic analog synthesizer, designed by David Cockerell and in 1969 presented by the company Electronic Music Studios (EMS ), London. As the first portable synthesizer ever was the VCS - 3 is one of the most commercially successful and technically groundbreaking devices of the analog era of the 1970s, by linking large sonic performance with hitherto unknown clarity and manageability. In a time when synthesizers usually took all the studio walls and weighed one hundred kilograms, but at the same cost several hundred thousand pounds, a device may be considered in case size at a price of at that time around 1000 pounds as a quantum leap. Not least, this fact was responsible for the widespread use of the device in the 1970s, which was next to a little later appeared Minimoog and some devices, the company Arp one of the synthesizers that helped the electronic musical breakthrough and synthesizers in popular music went mainstream. It is produced to date by the German company EMS Rehberg and can be obtained there. Later the following model variants of the VCS -3 were the synth A and Synthi AKS. For all three - technically almost identical - models of the term VCS -3 is, however, very often used interchangeably, as well as on the LP The Dark Side of the Moon by Pink Floyd, which actually can be heard several Synthi AKS.
Model history
Characteristic at the 1969 featured running the VCS -3 is the L- shaped housing made of wood. Many details have been included in subsequent models. This first version called MK I (for Mark I, so the first version ) was followed by about 1972 the MK II version, which was characterized mainly by a much improved tuning stability. The tendency to go out of tune is to own all analog synthesizers of this generation, but it was the VCS -3 MK I extremely pronounced. Not least because of the VCS -3 until today the reputation adheres to, unsuitable as a melodic instrument to be as noise machine, however unbeatable. While the latter is in any case hardly be denied - how can not listen to Jean Michel Jarre's last classic Oxygène - the former is no longer true in the later models. However, VCS -3 was relatively rarely used as a lead instrument.
Also around 1972 appeared the models Synthi A and Synthi AKS. The former is technically almost identical to the VCS -3 MK II, but dispenses with the wooden cabinet is instead built into the top cover of a briefcase. The Synthi AKS differs from synth -A by an additionally installed in the lower lid sequencer and a touchpad - like keyboard - "K" and "S" in the model name stand for " Keyboard" and " Sequencer ". Goods also keyboard and sequencer still very rudimentary and not comparable with today's devices, so this combination was made synthesizer, sequencer and keyboard in one device - and moreover packed in a briefcase - but for the time a groundbreaking innovation. By the end of the era of analog synthesizers in the early 1980s there was no device that could offer comparable performance in such a space-saving and affordable. Another innovation was the installation of loudspeakers, which made the work of sounds independently of a PA system.
Technical structure
Similar to the later developed Minimoog has the VCS -3 with three oscillators, with the difference that the third oscillator is primarily intended as an LFO and only in the lower audio range can also be used as a tone generator. The first oscillator is here with infinitely variable share a sine and a sawtooth ready whose pulse width is also adjustable. The second oscillator produces a square and a triangle wave with the same control options as the first oscillator. The third oscillator is identical to the second, but has a much lower frequency range. Unlike the first two oscillators that primarily serves to generate control voltages, for example, filter sweeps, but can also be used in the bass region as a third tone generator.
In addition, the VCS - 3 is essentially the classical unities of an analog synthesizer than as a low-pass filter with adjustable Q, ring modulator, noise generator, envelope generator ( ADSR ), reverb unit, equalizer and voltage controlled amplifier would (VCA ). In addition there are various inputs for both control voltages as well as for audio signals. The latter can be mixed with the sound sources of VCS -3 and edited with the modulation units, expanding the variety of sounds of the instrument enormous and where its great potential also exists at the present time. With the help of the control voltages, the individual components of the device can be controlled, especially the audio oscillators, making the device even today is MIDI compatible and can be controlled via external keyboards earlier than today. In addition, features of the VCS 3 to sound modulation a two-axis joystick, which axes can be connected as desired (for example, the filter cut-off frequency on the x- axis, Q-factor on the y -axis).
Another feature of the VCS -3 is its hybrid architecture between modular synthesizer and non- modular synthesizer. Modular synthesizer ( EMS Synthi 100, Moog Modular systems, Arp 2500) consist of individual modules that can be connected and combined. It is also possible to add new modules as needed later. Advantage of the modular architecture is the great versatility and virtually unlimited variety of sounds. Disadvantage of this architecture are the enormous size and weight, and a hard-to -sighted about cable tangle of patch cords, with which the signals are transmitted from module to module. Non - modular synthesizer ( Minimoog, Arp Odyssey ) however, offer the most popular units hardwired together in a housing so that they are very clear and small and can get along without outwardly extending cable completely. Disadvantage of this architecture is the a priori very limited range of sounds, which does not allow unusual combinations to develop new sounds.
The VCS 3 again has an architecture that combines the advantages of both designs. Although the number of components is fixed from the outset and space-saving integrated in the housing, however, is the order of their interconnection, unlike almost all other compact devices open. That the modular systems included problem of cable tangle bypasses the VCS - 3 through a patch panel, in which the outputs and the inputs are summarized in a matrix so that it is possible by inserting pins on the corresponding intersections connect very quickly and intuitively units clearly. In particular, can be prepared by only half deep insertion of pins a sound which then can be produced by depressing the corresponding pin in seconds, which is not possible with other synthesizers of this generation. The patchbay architecture is typical EMS and has, despite its advantages not enforced, partly because such structures with the advent of digital synthesizers were technically unnecessary.
Applications today
Even if the technology is already relatively old, still offer today uses for the VCS -3, in which it is hard to beat. Although the sound production is expensive and sounds can not be saved, but the device offers a warmth and a character who - is to replace distinctive and not by digital devices - as with many other analog synthesizers of the era. His elaborate handling requires in live use very accurate and experienced knowledge of the device, which is why it is seen as good as ever on stage. In the studio VCS - 3 are used to this day as musical instruments, as well as a tone generator in sound design area. Right here, the open architecture makes the device very timeless, as it is very easy to combine with modern equipment. Thus, for example, great sound worlds thereby generate that a choir sound of the modern polyphonic device is fed into the VCS -3 and then mixed with the internal oscillators controlled via MIDI. This now formed " polyphonic sound with analog character " can for example be modulated by the very characteristic filter or alienated by other components of the synthesizer. Reverb and delay effects can be added to the usual high quality then with modern effects units, so that can be unique sounds that create the character of the analog devices, while the usual high sonic quality of productions.
Use in rock history
1969 was the VCS -3 first heard on the band's debut album White Noise An Electric Storm. Other rock groups who used the instrument were Roxy Music, Tangerine Dream, Pink Floyd, King Crimson and The Who. Especially Tangerine Dream more of these devices already put on their first albums, a ( Alpha Centauri, breath and time). Here, the VCS -3, however, still serves as pure noise. Phaedra on the VCS -3 is already used clued up, particularly to modulate the sounds of other instruments, such wise of those of a Mellotron. A similar function is performed by the VCS -3 on the album Who's Next: In the song Will not Get Fooled Again it is also used as klangmanipulierendes instrument. You can hear a Hammond organ that produces a basic sound that is distorted by the filter and the NF- generators of the VCS -3 and driven with a pulse. A very renowned example of a VCS -3 application is the song On the run on the Pink Floyd LP The Dark Side of the Moon. These are in fact several models of the variant synth AKS whose sequencer were connected and overlaid with a variety of other VCS -3 tracks. Except for the distorted guitar sounds at the end and the voice recordings of the piece consists exclusively of VCS -3 sounds, so, for example, the hi-hat in truth a short high signal of the noise generator. Other well-known examples of VCS -3 sounds Pink Floyd are the song Welcome to the machine on the album Wish you were here, where the bass line and all the engine noise from the VCS -3 derived, and the wind at the end of the song Wish you were here on the same album. Very massive use found VCS -3 on the album Oxygène by Jean Michel Jarre, where in particular the sound of the waves, the wind, and similar effects of VCS -3 were generated.