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Friday, September 20th, 2019 01:05 am

Synth Glossary

Control input:
An input into part of the synthesizer that allows that bit to be modulated by another part of the synth. For example there is a control input in the amplifier which controls the level of amplification. If a very slow sine wave (an LFO) is patched into this input then the sound will slowly get louder and quieter. If an LFO was patched into the control input of the oscillator instead, then the sound would go higher and lower in pitch....

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Electrocomp 101
EML's most popular synthesizer, the 101, followed the EML 100, which is rare. The 101 has 4 VCOs, a 12 dB/oct VCF, a VCA/Ring Modulator, 2 ADS Envelopes (similar to those on the MiniMoog), a Sample and hold with its own clock, a mic preamp, and a 2- voice 44 note keyboard.

Several things make the EML 101 stand out. First, they used center tapped pots and clever circuitry to produce a continuously variable waveform control for their VCOs. Two VCOs actually crossfade from triangle through square through ramp to double octave ramp. Similarly, the filter is continuously variable from low pass through band pass to high pass (Not to be confused with the Oberheim SEM's filter, which goes from low pass through notch to high pass). Also, it has a keys/octave control, shared only with the Moog Sonic V/VI and the ARP 2500 and 2600. This lets you easily set up any equally tempered scale. For example, you can get 19 notes to the octave, or Wendy Carlos Alpha or Beta, just by turning the knob to the right place. Finally, each module's inputs and outputs are made available at a patch bay (similar to the MS-10 and MS-20), allowing use as a modular synthesizer.

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