Home     .     Portsmouth FC     .     Celebrity     .     Music Technology     .     On This Day     .     Concerts     .     Movies

Music Technology

History

  
 
 
        Home Synthesizers Eurorack        
 
 

My obsession with synthesizers began the day I heard and saw Tubeway Army perform Are 'Friends' Electric on TOTP back in 1979.. I got my first one around 1981, a Korg M500SP, inspired by its use by OMD. It was crap and luckily soon superseded by a Yamaha CS-5, a proper synthesizer.

Over the years I have acquired many and sold many, some I wish I hadn't (Yamaha CS-15, Moog Prodigy and a Roland TB-303). These pages are dedicated to that obsession.

Here are a few of my early forays into synthesizers that I do not own anymore.
 
 
   

   

Korg M500-SP
   

Released in 1977, the Korg M500 Micro-Preset is a beautifully quirky, monophonic analogue synthesizer housed in a retro wood-grain chassis. Designed for live performance convenience before digital memory existed, this compact instrument features a 32-note keyboard and 30 push-button presets grouped into families like brass, strings, and "synthe." Its simple architecture yields surprisingly warm, fat tones that punch far above its weight class.

While the lack of deep programmability, MIDI, or CV inputs might deter modern synthesists, the M500 shines through tactile, live expression. Instead of hidden menus, it relies on manual switches for sustain, vibrato, and a chorus effect. Most importantly, it features Korg’s legendary "Traveller" control that manipulate the low-pass filter and resonance.


Today, the M500 is celebrated as a secret weapon for lo-fi indie, synth-wave, and ambient producers. It lacks the versatility of a massive flagship workstation, but its limitations are exactly what spark its creative charm. For musicians seeking instant vintage character, raw analogue warmth, and immediate, hands-on fun, the Micro-Preset remains a beloved, underrated classic of the late seventies.
 
 

This was the instrument that started my obsession. Purchased partly as it was (almost) affordable on an apprentices salary and also because I had seen OMD use it quite extensively.

Unfortunately it is a terrible instrument, very limited but my knowledge of synthesizers was not very extensive in those days

▲
 
 
   

   

Yamaha CS-5
   

Released in 1978, the Yamaha CS-5 remains an underrated gem in the vintage monophonic analogue landscape. Often overshadowed by its larger siblings, this entry-level monosynth delivers surprising punch and architectural elegance.

At its core sits a single voltage-controlled oscillator (VCO) providing stable, switchable sawtooth or pulse waveforms. While one oscillator might seem limiting on paper, the CS-5 shines through its routing flexibility and a distinctive multi-mode 12 dB/octave resonant filter. Capable of switching between low-pass, high-pass, and band-pass modes, the filter offers a creamy, pure tone that avoids the harsh self-oscillation ringing of its competitors. Instead, it yields incredibly vibrant, "nasal" leads and tight, rubbery basslines.

The addition of an external audio input expands its utility immensely, letting you run vocals or other instruments through its unique filter and envelope generator. Coupled with a versatile LFO featuring Sample & Hold, it is a highly capable sound design tool. Integration requires dealing with Yamaha’s proprietary Hz/V CV control rather than standard V/Octave, but its immediate interface and raw, non-Moog character make it an inspiring secret weapon for electronic musicians seeking authentic vintage warmth.
 
 

My second purchase, while not exactly the peak of technology, it was at least a proper synthesizer.

This was the machine on which I finally learnt the basics of synthesis although it's life was relatively short as I not long after managed to obtain a CS-15 which virtually made this redundant.

▲
 
 
   

   

Yamaha CS-15
   

Released in 1979, the Yamaha CS-15 is a beautifully engineered, often underappreciated vintage analogue synthesizer. While it doesn't possess the heavy, cream-saturated low end of a Moog, it carving out a distinct sonic identity with its precise, polite, and deeply flexible architecture.

The centerpiece of the CS-15 is its dual-channel design. It features two VCOs, two independent multimode filters (selectable between low-pass, band-pass, and high-pass), and two ADSR envelopes. This routing capability turns the instrument into a semi-modular powerhouse; you can feed a single oscillator into both 12dB filters simultaneously to create complex, vowel-like formant textures or bubbly, abstract effects.

With separate external CV/Gate inputs for each voice, it can even behave as a duophonic synth under sequence control. The build quality is exceptional, featuring a robust chassis and stable tuning that stands up to decades of use. The primary drawbacks are the single shared LFO and the lack of an oscillator hard-sync feature.

Overall, the CS-15 excels at punchy, sequenced basslines, quirky blips, and woolly, Boards of Canada-style ambient textures. It remains an incredibly rewarding classic for electronic musicians seeking deep sound design rather than generic vintage fatness.
 
 

Not that long after getting the Yamaha CS-5 I was offered a second-hand CS-15, far too good an opportunity to miss as it was a 2 oscillator synth. It's architecture also allowed routing to one or two separate filters, a feature I probably never really appreciated at the time.

Getting this pretty much made the CS-5 redundant.

▲
 
 
   

   

Moog Prodigy
   

Introduced in 1979 as an affordable, entry-level alternative to the legendary Minimoog, the Moog Prodigy has earned its own distinct reputation as a powerhouse monophonic analog synthesizer. Though designed without the direct involvement of Robert Moog, this compact, 32-key instrument features the unmistakable dual-oscillator architecture and the classic 24dB per octave transistor ladder filter that defines the rich, organic Moog legacy.

The sonic signature of the Prodigy is delightfully raw and punchy. Its two Voltage Controlled Oscillators (VCOs) supply sawtooth, triangle, and pulse waveforms that can be detuned for massive, floor-shaking basslines or smooth, expressive lead sounds. What truly sets it apart from other budget synths of its era is the hardware oscillator sync function. Engaging this synchronization allows the pitch wheel to dramatically alter the harmonic content of the second oscillator, yielding aggressive, biting tones that became highly influential in early electronic, techno, and synth-pop productions.

While the minimal dual-envelope layout and lack of a noise generator reveal its budget-conscious roots, the overall build quality—complete with iconic wooden side panels—and the straightforward layout make it an incredibly intuitive instrument. For musicians seeking authentic vintage warmth and cutting-edge analogue grit without the staggering price tag of a Minimoog, the Moog Prodigy remains an exceptional piece of electronic music history.
 
 

To date this is the only Moog I have ever owned. A fairly simple but good sounding mono.

I remember the sliders had a tendency to pop off.

At some point in the past mine had been modified as there was a hole for an extra port at the back, whatever had been added had been removed by the time I bought it.

As with the CS-15 I exchanged this for the Korg DW-8000
 
 
   

   

Roland SH-101
   

Launched in 1982, the Roland SH-101 is a legendary monophonic analogue synthesizer that became a foundational instrument for electronic music, especially within acid house, techno, and synth-pop. Designed for portability and ease of use, its lightweight plastic chassis, optional battery power, and attachable handgrip for keytar-style performance made it an instant favourite for live musicians.

At its core, the SH-101 features a single CEM3340 voltage-controlled oscillator (VCO) that can simultaneously blend sawtooth, pulse, and sub-oscillator waveforms via its intuitive source mixer. This simple architecture feeds into a resonant 24dB low-pass filter, delivering an incredibly fluid, bouncy sound. The synthesizer is universally celebrated for its tight, punchy basslines and squelchy leads that pierce cleanly through any audio mix.

Beyond its sonic character, the inclusion of a straightforward, highly musical 100-step sequencer and arpeggiator solidified its iconic status. Without patch memory, every sound is sculpted in real time using the prominent top-panel sliders. Decades after its release, the Roland SH-101 remains a benchmark for immediate, hands-on analogue synthesis and an enduring staple in electronic music production.
 
 

Loved the look of the SH-101 when I got one but at the time was never impressed by the sound.

It was something that grew on me and I eventually replaced it with the Roland Boutique SH-01A.

The original either went to fund a Commodore Amiga or the Sansui WS-X1.
 
 
   

   

Siel Expander 80
   

Released in 1985 by the Italian manufacturer Siel, the Expander 80 is a rare, compact desktop analogue synthesizer module designed to complement their DK80 keyboard. Built as an affordable, streamlined alternative to popular modules of the era, it packs a surprisingly deep synthesis engine into a minimal, push-button desktop chassis that relies on digital parameter access rather than dedicated sliders.

Under the hood, the Expander 80 utilizes an 8-voice architecture powered by Digitally Controlled Oscillators (DCOs). It can run in "Whole Mode" for full 8-note polyphony using one oscillator per note, or switch to "Double Mode," stacking two oscillators per key for a fatter, detuned 4-voice texture. Its standout feature is its filter section: a highly regarded, resonant SSM2045 4-pole low-pass chip. This hardware gives the Expander 80 a uniquely warm, creamy, and sometimes aggressive Italian sonic character that stands out from its Japanese contemporaries.

While it relies on a paraphonic filter design—meaning all voices share a single voltage-controlled filter—an onboard bucket-brigade analogue chorus helps create lush, swirling stereo pads and string ensembles. Complete with a modest 300-note, two-track sequencer, this hidden gem delivers genuine vintage analogue warmth.
 
 

I remember I picked this up from a second hand shop when I lived in Fratton.

It was quite cheap and a fairly bland sounding synth, very much based on the Korg Poly-800.

Cannot remember what happened to it.
 
 
   

   

Crumar Bit 99
   

The Crumar Bit 99, released in 1985, is a hidden gem from the tail end of the Italian analog era. Designed to compete with the likes of the Roland Juno series, this 6-voice polyphonic synthesizer pairs digital control with a purely analogue signal path.

Equipped with two digitally controlled oscillators (DCOs) per voice, the Bit 99 delivers an surprisingly punchy and aggressive sonic profile. Its standout feature is its raw power in the lower registers—it excels at dense, gritty basslines and thick, cinematic pads. Thanks to the integration of high-quality Curtis filters, the synth leans toward a sharper, more biting texture than its Japanese contemporaries. It also includes velocity sensitivity, allowing for highly expressive performance dynamics.

However, the instrument embraces the stark mid-80s transition aesthetic, ditching traditional tactile knobs and sliders for a flat, button-heavy interface. Navigating parameter changes incrementally via the numeric keypad can be tedious without software editors. Additionally, utilizing the bi-timbral split or layer modes drops polyphony down to three notes, which can limit complex chord voicing's. Ultimately, the Bit 99 trades programming efficiency for massive, characterful analogue tones at a fraction of the cost of vintage heavyweights.
 
 

Released under the name Bit it was manufactured by the Italian company Crumar.

A beast of a machine, it weighed a lot but sounded great.

Unfortunately mine developed a fault, the oscillators literally squealed when turned on and needed a long time to warm up and then not well balanced giving different volume levels between notes.

Sold it to a guy for spares but after he saw what immaculate condition it was in decided he would take parts from the one he had to get this working.

Wish I still had this.
 

▲

Updated - 14/06/2026