ARP 2600 V3 v3.7.

1
Buchla Easel V v1.7.1
CMI V v1.7.1
CS-80 V3 v3.8.1
CZ V v13.1
DX7 V v1.7.1
Emulator II V v1.1.1
Jun-6 V v1.0.2
Jup-8 V4 v4.1.1
Matrix-12 V2 v2.7.1
Mini V3 v3.7.1
Modular V3 v3.7.1
OB-Xa V v1.1.1
Pigments v2.2.1
Prophet V3 v3.7.1
SEM V2 v2.7.1
Synclavier V v2.7.1
Synthi V v1.3.1
Vocoder V v1.0.1

CMI V

Many cutting edge ‘80s songs were fueled by the equally cutting edge sounds of the
CMI. Now you can relive the glory days of MTV.

You know the sound of the CMI because it was everywhere—and still is. Consider the
ear candy on Kate Bush’s “Running Up That Hill”. The rhythmic frenzy of Herbie
Hancock’s “Rockit”. Peter Gabriel’s exotic “Sledgehammer” shakuhachi. The
impossible horn line on Yes’ “Owner of a Lonely Heart”. The breathy vocal-flute on
Tears for Fears’ “Shout” and “Everybody Wants to Rule the World”. Trevor Horn’s
pulsing Page R bottom-end collage on “Relax” by Frankie Goes to Hollywood. Speaking
of Hollywood, there’s Duran Duran’s “View to a Kill” Bond theme. How about Jan
Hammer’s pitch-processed drums on his weekly “Miami Vice” TV scores? And MTV favs
like “Close (to the Edit)” by Art of Noise and Yello’s “Oh, Yeah” are poster
children for all things CMI.

Coil considered the device unique and unsurpassed, describing using the Fairlight
as "An aural equivalent of William Burroughs cut-ups".

CS-80

The CS-80 was featured in songs by a number of pop groups including Electric Light
Orchestra, Toto, and Paul McCartney and Wings. Its reputation grew as it was used
by other artists such as Vangelis, Bon Jovi, Jean-Michel Jarre, Geoff Downes, and
Stevie Wonder, each who helped turn the CS-80 into a true legend.

CZ V

The CZ sound helped propel artists like Salt-N-Pepa, Was (Not Was), and Vince
Clarke into the spotlight.

DX7 V

However, its preset sounds became staples of 1980s pop music, used by artists
including A-ha, Kenny Loggins, Kool & the Gang, Whitney Houston, Chicago, Phil
Collins, Luther Vandross, and Billy Ocean. Its electric piano sound was
particularly widely used, especially in power ballads. Producer Brian Eno mastered
the programming and it was instrumental to his work in ambient music.

Emulator II V

An instrument that graced every ‘80s line-up. An icon from the early days of
sampling. A unique character that helped define the sound of a decade and beyond.
The Emulator II’s digital charm and tactile layout made it the musical weapon of
choice for everyone from Depeche Mode to Trent Reznor.

The Emulator II was popular with many musicians in the 1980s, such as early adopter
Stevie Wonder, and was used extensively by Front 242, Depeche Mode, 808 State (on
their 1989 album Ninety) New Order, ABC, Genesis, Paul McCartney, David Bowie,
Herbie Hancock, Vangelis, Tangerine Dream, Jean-Michel Jarre, Yes, OMD, Stevie
Nicks, Mr. Mister, and many more. The list is far from complete however as it
became the staple sampler of just about every recording studio that could afford
one in the 1980s, and thus was used on a multitude of albums at the time.

It was used for a number of film scores as well, such as the Terminator 2: Judgment
Day score by Brad Fiedel, many of Michael Kamen's film scores, such as Lethal
Weapon and Highlander and almost all of John Carpenter's films in the 1980s.It even
featured in the movie Ferris Bueller's Day Off, where Ferris uses the Emulator II
to play sounds of coughing and sneezing in order to feign illness on the phone.

In recent years, the Emulator II has risen in popularity due to the resurgence in
1980s pop culture, with new artists wishing to revive the Emulator-based sound.
Prices for functioning units have gone up, and websites dedicated to selling the
original floppies have now emerged.

Jun-6

The Juno-60 was widely used in 1980s pop music, by acts including John Foxx, A-ha,
Billy Idol, Berlin, Eurythmics, A Flock of Seagulls,[2] Cyndi Lauper,[3] and Wham!.
[4] It was also a key instrument in Chicago house.[2] The 2010s saw a resurgence of
popularity among indie and electro acts such as Metronomy, driving up the price on
the used market.[2] The Juno 60 was re-imagined and re-released by Roland in 2019
as the JU-06A

Jup-8

Those creamy oscillators, that instantly-recognizable 8-voice fanfare, and its

intricate modulation set it apart from the crowd. It famously provided the stadium-
sized stabs for Thriller, the velvety pads in Radio Ga Ga, and is even a studio
favorite of progressive house legend Deadmau5.

ABBA[11]
Damon Albarn[11]
Alphaville — "Forever Young" and "Afternoons in Utopia"
Devo on New Traditionalists and Oh, No! It's Devo
Depeche Mode (Alan Wilder)
BT[12]
Jonathan Cain of Journey, most notably on the song "Separate Ways"[a]
Eric Carmen
Vince Clarke[b]
Chvrches
Paul Davis - singer/songwriter producer at Monarch Sound was used on 1981's
Cool Night album.
 Duran Duran - "Hungry Like the Wolf",[c] "Save A Prayer"[d]
"Rio" is also said to feature the Jupiter-8,[e] but it was actually the Roland
Jupiter-4 with its arpeggiator in random mode.[13]
Harold Faltermeyer
Frank Farian
Marvin Gaye - the Jupiter 8 and the TR-808 were the primary tools on his 1982
masterwork, Midnight Love.[14]
Paul Hardcastle
Greg Hawkes of The Cars used 2 Jupiter 8 units
Michael Jackson - Thriller[f]
Chris Jasper of The Isley Brothers - Between the Sheets
Howard Jones - Human's Lib and Dream into Action
Dick Maas - used a Jupiter-8 and Juno-6 to score De Lift[15]
Giorgio Moroder[16]
Stevie Nicks - "Stand Back"
Orchestral Manoeuvres in the Dark (OMD) - Junk Culture[17]
Ray Parker, Jr.
Queen - "Radio Ga Ga"
Johannes Schmoelling - solo artist, formerly of Tangerine Dream
Charanjit Singh - Synthesizing: Ten Ragas to a Disco Beat
Tangerine Dream[h] - Poland[i]
Tears for Fears[j]
Ultravox[18]
Velvet Acid Christ - Lust for Blood
ZZ Top - used extensively on 1983's Eliminator

Matrix-12

Vince Clarke - On everything by Erasure until 2005. You can hear it very
clearly on the 12" mix of "Sexuality", for example, at the start, and mid and low
end parts (filter sweeps, etc.). He actually has two of them, and used them for the
chorus tour in 1991 - 1992, which was mostly old analog synths. On early tours the
Xpander was introduced as a member of the band as can be heard on live versions of
Oh L'amour.
Sasha - Whose track "Xpander" was written in homage to the instrument. That
supersaw style sound, originated using the Xpander's filtering and multi/unison and
stacking capabilities.
Nitzer Ebb - Extensive use for basslines on "Belief".
Depeche Mode - Have two of them, and can clearly be heard on everything from
It's Called A Heart and Black Celebration onwards
Steve Roach - Everything from Empetus (1986) on.
Daniel Miller - Has one in the Mute worldwide programming studio
Human League - All over the mid 80's period & onward albums
Juicy Audio Productions(Shekhar Raj Dhain) - Stars of Oryeon Album . Also film
& T.V. work.
Hans Zimmer - Sprinkled on various scores for films.
Orbital - Everything from the first self-titled album onward
Tangerine Dream - Everything from Le Parc onward.
The Chemical Brothers - Can be heard in a lot of their music post 1995
Meat Beat Manifesto - In a lot of their remixes
Todd Tamanend Clark - From 1985 to the present.
Nine Inch Nails - Including an Xpander modified for use with external inputs
Clarence Jey
Die Krupps
MNDR - "Feed Me Diamonds" Album
Ceephax Acid Crew- Used on multiple tracks.
Sota Fujimori Used one in his college years, as well for many musical
productions.
 Ray Lynch[2]
Jam & Spoon - Used on the track Stella

Mini V

From the starship funk lead lines of the ‘70s to the gangster whine of mid ‘90s
hip-hop, the ever-present MiniMg has been making its fat presence known for over 4
decades.

The model of the Mini V knew an unparalleled success during the 1970’s. Artists and
bands like Tangerine Dream, Kraftwerk, Depeche Mode, Keith Emerson, Jean-Michel
Jarre, Klaus Schulze, and Rick Wakeman used the synthesizer, notably for the
typical sound and its very warm quality, which is excellent for basses and lead
sound.

Modular V

Arturia, in partnership with Dr. Bob Moog, has brought you the synth that started
it all. From Wendy Carlos's famous 'Switched on Bach' to Keith Emerson's live use,
this huge modular showed that electronics could be musical thus being the catalyst
for every synthesizer we see today. The towering modular synthesizer that has
dominated the world of music since the 1960s has been revived!

Originally sold as custom units to artists such as Tomita, Klaus Schultz, the
Beatle's, Tangerine Dream and many others, we have recreated a giant collection of
the best modules for you here. With up to 9 oscillators, 3 filter slots, 2 LFOs, 6
envelopes, VCAs, mixers, a sequencer and more, this classic synth offers you no
limitations for your creative endeavors.

OB-Xa

OB-Xa is a hugely iconic synth behind Van Halen’s hit ‘Jump’ and albums by Prince,
Queen, Bon Jovi, Billy Idol, Chaka Khan, The Police, and more. Its dangerous, all-
embracing sound is perfect for expressing the epic, heart-crushing drama of life.
It’s used today by the likes of Flume, Chrome Sparks, Calvin Harris, and Venetian
Snares, entering a new dimension of electronic music. Our faithful reproduction of
OB-Xa with extra inspiration taken from the OB-X and OB-8 for the most satisfying
result will be perfect for keyboardists and synth programmers.

Prophet V

The Prophet-5 became a market leader and industry standard.[4] It has been used by
musicians including Tony Banks,[6] Phil Collins,[7] Michael Jackson, Tangerine
Dream, Madonna, Patrick Cowley, Dr. Dre,[4] Too Short, Radiohead,[8] John
Carpenter, Alan Howarth,[9] and John Harrison.[4] Brad Fiedel used a Prophet-10 to
record the soundtrack for The Terminator (1984).[10] Peter Gabriel considered the
Prophet-5 his "old warhorse" synth, using it for many sounds including the
prominent synth intro of "Sledgehammer".

SEM V

808 State
Blue Weaver / Bee Gees
Bob James
Bomb the Bass
 The Brothers Johnson
Chick Corea
Dave Grusin
Depeche Mode
Fleetwood Mac
Gary Wright
George Duke
Goldfrapp
Herbie Hancock
Hideki Matsutake
Jean Michel Jarre
Joe Zawinul / Weather Report
John Carpenter
Larry Dunn / Earth, Wind & Fire
Lyle Mays
Michael McDonald / Doobie Brothers
Prince
Patrick Moraz
Paul Kantner / Jefferson Starship
Pete Namlook
Pink Floyd
Rose Royce
Rufus
Geddy Lee / Rush
Ryuichi Sakamoto
Stevie Wonder
The Stranglers
Styx
Supertramp
Tangerine Dream
The Human League
The Shamen
Trent Reznor
Vangelis
Vince Clarke
Yellow Magic Orchestra

Synclavier

Introduced in 1979 based on research from Dartmouth, New England Digital’s

Synclavier turned heads as the first commercially available digital synthesizer.
The company’s mantra was that quality was paramount and money was no object.
Mission accomplished. Although, these systems cost more than many musicians made in
a year, they quickly found their way into top studios, movie soundtracks and
recordings by top artists including Michael Jackson (Thriller), Sting (The Dream of
the Blue Turtles), Pat Metheny (Are You Going With Me?) and George Michael (Faith).
Notoriously demanding composer Frank Zappa even recorded the entirety of his final
Jazz from Hell album using the Synclavier alone.

Laurie Anderson is credited with using the Synclavier on her albums Mister
Heartbreak (1984), United States Live (1984) and the 1986 soundtrack album Home of
the Brave.
Wally Badarou: used the Synclavier II on Level 42 and solo studio albums, as well
as on the 1985 Kiss of the Spider Woman movie additional soundtrack.[16]
Tony Banks of Genesis used a Synclavier II (ORK version) on the albums Genesis
(1983) and Invisible Touch (1986) and their respective tours, along with solo
albums and soundtracks of that period, notably on "Mama" and "Home by the Sea".[17]
Christopher Boyes, supervising sound editor/sound designer for the 2009 film
Avatar, used the Synclavier for blending or layering different sound effects and
matching pitches.[18]
Joel Chadabe: composer/founder of Electronic Music Foundation. In September 1977 he
bought the first Synclavier without musical keyboard (ORK), and wrote custom
software to control Synclavier via various devices.[2]
Suzanne Ciani used a Synclavier to design sounds for the Bally Xenon pinball game
released in 1980.[19]
The Church used it on "Under the Milky Way" (1988). The way it is arranged gives a
sound similar to bagpipes.[20]
Chick Corea used the Synclavier on various Elektric Band albums from 1986 to 1991
as well as various Elektric Band tours.[21]
Crimson Glory used acoustic drums blended with Synclavier-sampled drums on their
1988 album Transcendence.[22]
Paul Davis: singer/songwriter,[23] producer at Monarch Sound in Atlanta.[24]
Depeche Mode had access to producer Daniel Miller's Synclavier, which was
responsible for the character of the sound of the albums Construction Time Again
(1983), Some Great Reward (1984) and Black Celebration (1986).[25]
Vince DiCola: used the Synclavier extensively in creating studio albums; also for
soundtracks Rocky IV (1985) and The Transformers: The Movie (1986).[26]
Duran Duran used a Synclavier on the 1984 single "The Reflex".[27]
Patrick Gleeson: film score composer. Used the Synclavier to score Apocalypse Now
(1979) and The Plague Dogs (1982).[28]
Lourett Russell Grant used a Synclavier on the 1979 disco hit "Hot to Trot".[29]
Paul Hardcastle: composer and musician.[30]
Robert Henke: composer, musician and software engineer. Often recording under the
moniker Monolake, Henke renovated a Synclavier II and used sampled FM from it on
various releases.[31]
Michael Hoenig: film scoring work on the Synclavier, including the 1986 action-
fantasy film, The Wraith.[32]
Trevor Horn: used the Synclavier to produce records by Frankie Goes to Hollywood,
Yes, and Grace Jones' 1985 album Slave to the Rhythm, among others.[33]
Michael Jackson: particularly on his 1982 album Thriller, programming by Steve
Porcaro, Brian Banks, and Anthony Marinelli. The gong sound at the beginning of
"Beat It" comes courtesy of the Synclavier.[34] The Synclavier was extensively used
on Jackson's 1987 album Bad and on its accompanying tour, programmed and played by
Christopher Currell.[35] The Synclavier was also used by Andrew Scheps to slice and
edit Jackson's beatboxing on his 1995 album HIStory.[36]
Eddie Jobson: the 1985 album Theme of Secrets was completely made with a
Synclavier.[37][38][39]
Shane Keister: used in the 1987 American comedy film Ernest Goes to Camp.[40][41]
Mark Knopfler: Used on the scores for the films The Princess Bride (1987) and Last
Exit to Brooklyn (1989), in which all sounds except guitar (and in the latter case,
violins) were produced by the Synclavier. The Synclavier is also heard on the Dire
Straits albums Love over Gold (1982, played by Alan Clark), Brothers in Arms (1985,
played by Guy Fletcher), and On Every Street (1991).[42]
Kraftwerk acquired one in the early to mid 1980s and initially used it to re work
the material later released as Electric Cafe / Techno Pop, and also on live
performances in the 1990s.[43]
Mannheim Steamroller: used on most of their albums to present.[44]
John McLaughlin used it on the albums Mahavishnu (1984) and Adventures in Radioland
(1987).[45]
Men Without Hats used on the 1984 album Folk of the 80s (Part III).[46]
Pat Metheny: American jazz guitarist.[32]
Walter "Junie" Morrison: used a Synclavier on his 1984 album, Evacuate Your Seats.
[47]
Mr. Mister: used Synclavier on albums I Wear the Face (1984), Welcome to the Real
World (1985), and Go On... (1987).[48]
Danny Quatrochi used Synclavier on Sting's album The Dream of the Blue Turtles
(1985).[49]
Kashif Saleem, American post-disco and contemporary R&B record producer, multi-
instrumentalist, also a creative consultant[50] with the New England Digital
Corporation: Bass synthesizer music pioneer and an early Synclavier II avid user
who used Synclavier in production, for instance, of his Grammy-nominated
instrumental piece "The Mood" (1983). His innovating vocalist-related sampling
methods (created using Synclavier) are still in use.[51][52]
Howard Shore, film score composer: pictured with a Synclavier on the cover of
Berklee Today, Fall 1997.[53]
Alan Silvestri: in producing the scores for the 1980s films The Clan of the Cave
Bear (1986) and Flight of the Navigator (1986).[54]
Paul Simon: on Simon's 1983 album Hearts and Bones, Tom Coppola is credited for
Synclavier for "When Numbers Get Serious", "Think Too Much (b)", "Song About the
Moon", and "Think Too Much (a)"; and Wells Christie is credited with Synclavier on
"Rene And Georgette Magritte With Their Dog After The War".[55] On his 1986 album
Graceland, Simon is credited under "Synclavier" for "I Know What I Know" and
"Gumboots".[56]
Mark Snow: film and television score composer; Synclavier used on The X-Files
(1993–2002).[57]
James Stroud: producer who used a Synclavier II on many hit albums he produced.[58]
Tangerine Dream: used a Synclavier on several of their studio albums including Exit
in 1981. [59]
Mike Thorne: producer, one of the first musicians to buy a Synclavier; used it on
records by Siouxsie and the Banshees, Soft Cell ("Tainted Love", 1981), Marc
Almond, and Bronski Beat, among others.[60]
Pete Townshend: started using the Synclavier on the recording of All the Best
Cowboys Have Chinese Eyes (1982).[61]
Triumph: Rik Emmett used a Synclavier 9600 around the period of Thunder Seven
(1984) to Surveillance (1987).[62]
Whodini: Synclavier II was used on albums Escape (1984) and Back in Black (1986).
[63]
Stevie Wonder: used a Synclavier to sample the voices of Clair Huxtable and
children in an episode of The Cosby Show.[64]
Neil Young, who used an early Synclavier II on his 1981 album Re·ac·tor, and more
extensively on his uncharacteristically electronic Trans (1982).[65]
Frank Zappa: in 1982 one of the first Synclavier owners; 1984's Thing-Fish
(underscoring), Boulez Conducts Zappa: The Perfect Stranger (1984, underscoring)
and Francesco Zappa (1984, solely Synclavier); 1985's Frank Zappa Meets the Mothers
of Prevention (sampled sounds); 1986's Grammy-winning album Jazz from Hell ("St.
Etienne" excepted, solely Synclavier); 1994's Civilization Phaze III completed in
1993 shortly before his death, released posthumously, musical portions composed and
recorded exclusively using the Synclavier. Zappa also used the instrument to create
the music posthumously released in 2011 on Feeding the Monkies at Ma Maison.

Synthi V

Synthi V completely captures the spirit of the unique analog synth that burst out
of ‘70s London to inspire the entire emerging electronic music world—and it has new
superpowers to inspire your world today.

The British-born EMS family of synths—featuring the sonically identical Synthi AKS
and VCS3—were among the first to distill modular synthesizer functionality into a
more portable form. Where most competitive designs like the Minimoog sacrificed
flexibility to size and simplicity, EMS retained a modular heart through the genius
of one of the first matrix patchbays to grace a synth. That additional versatility
led to more experimentation outside of melodic norms and into the more electronic
realms of psychedelia and sci-fi effects. Cue Pink Floyd’s “On the Run” from “The
Dark Side of the Moon” LP.

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] Many photos from that
album's CD sleeve are close-up photos of the Synthi 100's control panels and
displays. It was claimed that his unit was the only one still in working condition
at that time.
SYNTHI 100
A Synthi 100 (formally from Melodia Radio) is on display at the National Music
Centre in Calgary, Canada.[12] Until recently The Music Department of the
University of Saskatchewan, in Saskatoon, Canada, also possessed a Synthi 100.[13]

The BBC Radiophonic Workshop already had an informal relationship with EMS which
went back as far back as 1964 and were familiar with products being developed.[14]
They took delivery of an EMS Synthi 100 modular system in 1970 which had been
modified to BBC specifications,[15][16] dubbing it the "Delaware", after the name
of the road outside the studio.[17] Their composer Malcolm Clarke was one of its
most enthusiastic users. One of the more notable scores he produced with the Synthi
100 was the incidental music for the 1972 Doctor Who serial The Sea Devils.[18]

The first classical electronic music LP album generated exclusively on the Synthi
100 was released by Composers Recordings, Inc. in 1975. Called "American
Contemporary-Electronic Music" (CRI SD 335), it featured full LP side lengths of
music from Barton McLean (Spirals) and Priscilla McLean (Dance of Dawn).[19]

The WDR Electronic Music Studio ordered a Synthi 100 in 1973, and it was delivered
the next year[20] It was used by Karlheinz Stockhausen in Sirius (1975–77),[21] by
Rolf Gehlhaar for Fünf deutsche Tänze (1975),[22] by John McGuire for Pulse Music
III (1978),[23] and by York Höller for Mythos for 13 instruments, percussion, and
electronic sounds (1979–80).[24]

Billy Corgan, longtime frontman of The Smashing Pumpkins, is also reported to own
one.[25]
EMS Synthi 200

The University of Osnabrück, Germany, has a Synthi 100 variant labelled "Synthi
200" (since 1981). The same variant was bought in 1973 by the Bulgarian National
Radio for the electronic music studio of Simo Lazarov.

IPEM, the musicology research center and former electroacoustic music production
studio of Ghent University also owns a restored and working Synthi 100. It was
acquired in the mid 1970s. Recently it was used by Soulwax, an electronic music
band.

In 2017, Yoshio Machida and Constantin Papageorgiadis released an album "Music from
the SYNTHI 100".[26] This album was made with IPEM's 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".[27] Also Lithuanian composer Giedrius
Kuprevičius for their rock-oratorio "Labour and Bread" (1978) and Estonian composer
Sven Grünberg for the soundtrack of Hukkunud Alpinisti hotell (Dead Mountaineer's
Hotel) (1979) as mentioned in the title sequence of the movie.

Wolfgang Dauner has extensively used a Synthi 100, e.g., on his Album Changes
(1978).[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.[31]
A Synthi 100 has been part of Radio Belgrade's Electronic Studio since the 1970s,
but was in a non-functional state for the 15 years leading up to October 4, 2017,
when it was restored. It is serial number 4.

SYNTHI AKS
The Synthi AKS has been used extensively by Brian Eno in his art rock and ambient
albums. He particularly made prominent use of its signal-chain editing capability
in order to add colour to his own voice as well as Robert Fripp and Phil
Manzanera's guitar work. His early band, Roxy Music, supposedly requested that he
join them after watching him tinker with the Synthi AKS for only a few minutes.
[citation needed]

Tangerine Dream used several Synthi AKS's throughout the early 1970s.

Jean-Michel Jarre featured the Synthi AKS on his albums Oxygène and Équinoxe, as
well as on Oxygène: Live in Your Living Room.

Pink Floyd used the synthesiser to create the electronic riff of the track "On the
Run" and to play the solo of "Any Colour You Like", both from the 1973 album The
Dark Side of the Moon. (The band was reported to use an EMS VCS 3 synthesizer
although it actually was a Synthi).[citation needed]

Czesław Niemen in 1975 used Synthi AKS in recording of his album Katharsis.

Klaus Schulze and Pete Namlook refer to Synthi AKS in the name of their
collaboration album The Dark Side of the Moog VIII: Careful With the AKS, Peter.

In 1980, American pop band The Bongos used the Synthi AKS on both sides of their
debut single "Telephoto Lens" b/w "Glow in the Dark", played by Dennis Kelley. In
2010, lead singer Richard Barone again used the Synthi on his album Glow, produced
by Tony Visconti. It is featured prominently on the song "Yet Another Midnight".
Producer Tony Visconti and artist Richard Barone in the studio with the EMS Synthi
AKS

In 2013, a Japanese artist Yoshio Machida made an album "Music from the SYNTHI".[1]
This album was made by only Synthi AKS.
Thomas Lehn playing Synthi A & DK keyboard

When launched in 1972, the Synthi AKS retailed for around £450. There was an
optional three octave (37 note) DK1 monophonic keyboard available for it, later the
DK2 (Dynamic Keyboard 2) was available, this allowed independent control of two
Oscillators, thus enabling the player to play two notes togetheR.

Vocoder

Vocoder V takes the iconic 16-Band Vocoder and retrofits it with advanced synth,
sampler, and modulation capabilities. Venture beyond the classic robot voice with a
sound that truly speaks for itself.

In 1968, Robert Moog developed one of the first solid-state musical vocoders for
the electronic music studio of the University at Buffalo.[31]

In 1968, Bruce Haack built a prototype vocoder, named "Farad" after Michael
Faraday.[32] It was first featured on "The Electronic Record For Children" released
in 1969 and then on his rock album The Electric Lucifer released in 1970.[33][media
3]

In 1970, Wendy Carlos and Robert Moog built another musical vocoder, a ten-band
device inspired by the vocoder designs of Homer Dudley. It was originally called a
spectrum encoder-decoder and later referred to simply as a vocoder. The carrier
signal came from a Moog modular synthesizer, and the modulator from a microphone
input. The output of the ten-band vocoder was fairly intelligible but relied on
specially articulated speech. Some vocoders use a high-pass filter to let some
sibilance through from the microphone; this ruins the device for its original
speech-coding application, but it makes the talking synthesizer effect much more
intelligible.[citation needed]

In 1973, the british band Emerson, Lake and Palmer used a vocoder on their album
Brain Salad Surgery, for the song Karn Evil 9: 3rd Impression.

The 1975 song The Raven of album Tales of Mystery and Imagination by The Alan
Parsons Project, features Alan Parsons performing vocals through an EMI vocoder.
According to the album's liner notes, "The Raven" was the first rock song to
feature a digital vocoder.

Pink Floyd also used a vocoder on three of their albums, first on their 1977
Animals for the songs Sheep and Pigs (Three different Ones), and then on their
1987's A Momentary Lapse of Reason on A New Machine Part 1 and A New Machine Part
2, and finally on 1994's The Division Bell, on Keep Talking.

Phil Collins used a vocoder to provide a vocal effect for his 1981 international
hit single "In the Air Tonight".[34]

Vocoders have appeared on pop recordings from time to time, most often simply as a
special effect rather than a featured aspect of the work. However, many
experimental electronic artists of the new-age music genre often utilize vocoder in
a more comprehensive manner in specific works, such as Jean Michel Jarre (on
Zoolook, 1984) and Mike Oldfield (on QE2, 1980 and Five Miles Out, 1982).

Vocoder module and use by M. Oldfield can be clearly seen on his "Live At Montreux
1981" DVD (Track "Sheba").

There are also some artists who have made vocoders an essential part of their
music, overall or during an extended phase. Examples include the German synthpop
group Kraftwerk, the Japanese new wave group Polysics, Stevie Wonder ("Send One
Your Love", "A Seed's a Star") and jazz/fusion keyboardist Herbie Hancock during
his late 1970s period. In 1982 Neil Young used a Sennheiser Vocoder VSM201 on six
of the nine tracks on Trans.[35] Perhaps the most heard, yet often unrecognized,
example of the use of a vocoder in popular music, is on Michael Jackson's 1982
album Thriller, in the song "P.Y.T. (Pretty Young Thing)". During the first few
seconds of the song, the background voicings "ooh-ooh, ooh, ooh", behind his spoken
words, exemplify the heavily modulated sound of his voice through a Vocoder.[36]
The bridge features a vocoder as well ("Pretty young thing/You make me sing"),
courtesy of session musician Michael Boddicker.

Coldplay have used a vocoder in some of their songs. For example, in "Major Minus"
and "Hurts Like Heaven", both from the album Mylo Xyloto (2011), Chris Martin's
vocals are mostly vocoder-processed. "Midnight", from Ghost Stories (2014), also
features Martin singing through a vocoder.[37] The hidden track "X Marks The Spot"
from A Head Full of Dreams has also been recorded through a vocoder.

Noisecore band Atari Teenage Riot have used vocoders in variety of their songs and
live performances such as Live at the Brixton Academy (2002) alongside other
digital audio technology both old and new.

Red Hot Chili Peppers song "By the Way" uses a vocoder effect on Anthony Kiedis'
vocals.
Among the most consistent uses of vocoder in emulating the human voice are Daft
Punk, who have used this instrument from their first album Homework (1997) to their
latest work Random Access Memories (2013) and consider the convergence of
technological and human voice "the identity of their musical project".[38] For
instance, the lyrics of "Around the World" (1997) are integrally vocoder-processed,
"Get Lucky" (2013) features a mix of natural and processed human voices, and
"Instant Crush" (2013) features Julian Casablancas singing into a vocoder.