"Pink Floyd's Dark Side Of The Moon is famous for its extensive use of the VCS3 by Roger Waters, and On The Run is perhaps the classic VCS3 track... but there is no VCS3 on it!" says [Sound On Sound](http://www.soundonsound.com/sos/dec00/articles/retrozone.asp) magazine in its article 'All about EMS'. "Alan Parsons (the engineer on the album) later revealed that the track was recorded using a Synthi AKS. It was, as he put it, the 'hot synth of the year'. Because of the lack of synchronisation technology at the time, the track (except for the spun-in sound effects) was recorded live. The sequence was laboriously programmed using the AKS's membrane keyboard, and then played back at high speed to produce the effect that you hear. Considering the complexity of the sequence, the amount of sound modulation going on, and the hi-hat sound that is also being produced by the synth, it's remarkable that everything worked as well as it did. More so when you realise that the same rigmarole was required before every concert -- there were no stage sequencers in 1972!" The original VCS 3 is a portable analog synthesiser developed by Electronic Music Studios (EMS) in 1969. It has three oscillators, and a unique matrix-based patch system. Instead of patch wires, the VCS3 uses a patchbay grid in which the synth components are laid out, and signal routing is accomplished by placing small pins into the appropriate slots. The VCS3's basic design was reused by EMS in many other of their own products, most notably in the EMS Synthi AKS (1972) which had a built-in membrane keyboard and sequencer.more
I remember buying a catalogue for an EMS Synthi AKS and looking at the price - it was £345 and I thought, “How would I ever get £345?” In those days it may as well have been £30,000, it was just totally out of reach. So it was quite a few years later that I actually managed to buy a synthesiser.more
His only synthesisers are a SCI Prophet 5 and, more interestingly, an EMS Synthi AKS. "I got the Prophet because I'd mucked about on a mates and it was the only one I knew how to work." The AKS he got 7 years ago but minus its keyboard. He finds its external input useful for treating sounds. "Its got a built in VC springline reverb and ring modulator. It's really nasty but good for that element of roughness."more
"I started on a Synthi AKS in my school when I was 11 or so. I was very lucky to have an incredible teacher called Henry Sweitzer who taught Music Concrete, synthesis on a Synthi AKS and tape manipulation. It is the only real formal training I had. Musically, I am self taught and I play entirely by ear."more
Visible in this photo of Tofani and mentioned in [this page from Tofani's official website](http://www.paolotofani.com/trikanta/paolo_tofani_trikanta.html). > Come ho menzionato nella mia biografia, quando ero in Inghilterra cominciai ad interessarmi di strumen-ti elettronici, la ragione di fondo, a prescindere dalle fantastiche soluzioni sonore offerte da i miei Synth AKS, era quella di trovare nuove soluzioni per espandere lo spettro sonoro della chitarra. > Il convertitore della EMS era fantastico, ma c'erano dei seri limiti, il traking era critico e per ottenere un buon risultato dovevo suonare la chitarra in una particolare ottava e questa mi ha fatto sviluppare una strana tecni-ca che, ovviamente, limitava la mia creatività. It is also mentioned by Tofani in [this *Strumenti Musicali* interview](http://www.paolotofani.com/resources/Strumenti_Musicali.pdf). > **SM:** *In quel periodo hai cominciato anche a lavorare e a fare ricerca sui sintetizzatori, giusto?* > **PT:** Ero insieme a un cierto Tito Zinovieff, sai quegli scienziati tipo Archimede! Era anche un appassionato di musica e stava construendo una macchina che aveva a che fare con le impronte digitali ma attraverso il suono. Così durante le sue ricerche e i vari tentativi è riuscito a costruire questi strani marchingegni musicali tra cui il synth AKS (che si richiudeva in una valigetta nera tipo 24 ore nera), e il VCS3 che era fatto di legno ed era una specie di mobiletto che non potevi assolutamente portari dietro (era quello che, per esempio, avevano i New Trolls). Erano delle macchine interessanti perché avevano degli oscillatori e un *patch key* che ti permettevano di lavorare molto bene.more
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