13 10 337 https://omeka.cloud.unimelb.edu.au/grainger/files/original/2e136cc2a758071d02cb0304e930c711.tif afae9c2c46194237400c74d3f0d78543 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Unidentified expressionist dancer, 1905 Subject The topic of the resource Photograph Description An account of the resource Platinum prints Stephanie Ludwig ran a studio in Munich called Veritas. Some of her clients were expressionist dancers whom she photographed elegantly and simply, using natural light. Creator An entity primarily responsible for making the resource Stephanie Ludwig Date A point or period of time associated with an event in the lifecycle of the resource 1905 Format The file format, physical medium, or dimensions of the resource Photograph Type The nature or genre of the resource Photograph Identifier An unambiguous reference to the resource within a given context 17.0006 https://omeka.cloud.unimelb.edu.au/grainger/files/original/0d80cb84661595e404fb6715e9aa5e4d.tif 19873f0ad036a6f99904090a940443c6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Unidentified expressionist dancer, 1905 Subject The topic of the resource Photograph Description An account of the resource Platinum prints Stephanie Ludwig ran a studio in Munich called Veritas. Some of her clients were expressionist dancers whom she photographed elegantly and simply, using natural light. Creator An entity primarily responsible for making the resource Stephanie Ludwig Date A point or period of time associated with an event in the lifecycle of the resource 1905 Format The file format, physical medium, or dimensions of the resource Photograph Type The nature or genre of the resource Photograph Identifier An unambiguous reference to the resource within a given context 17.0007 https://omeka.cloud.unimelb.edu.au/grainger/files/original/e9a45bc8be15fdf7fb436962daa10bc9.tif ccc7a62edb33db7f5b8424fed1d3af6b https://omeka.cloud.unimelb.edu.au/grainger/files/original/a332e45cb301d73be51146ca090f2c86.tif ccc7a62edb33db7f5b8424fed1d3af6b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Unidentified expressionist dancer, 1905 Subject The topic of the resource Photograph Description An account of the resource Platinum prints Stephanie Ludwig ran a studio in Munich called Veritas. Some of her clients were expressionist dancers whom she photographed elegantly and simply, using natural light. Creator An entity primarily responsible for making the resource Stephanie Ludwig Date A point or period of time associated with an event in the lifecycle of the resource 1905 Format The file format, physical medium, or dimensions of the resource Photograph Type The nature or genre of the resource Photograph Identifier An unambiguous reference to the resource within a given context 17.0008 https://omeka.cloud.unimelb.edu.au/grainger/files/original/fd4dbba5b5eaac48c393ccd096a91f60.tif 0104edfd05780f298cf7ee6e4cf04dda Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Knife and hot key scars 1902 Subject The topic of the resource Photograph Description An account of the resource Digital print from scanned photograph. Photograph of imprints made in the flesh by Knife and hot keys, 1902 Creator An entity primarily responsible for making the resource Unknown Date A point or period of time associated with an event in the lifecycle of the resource 1902 Format The file format, physical medium, or dimensions of the resource Photograph Type The nature or genre of the resource Photograph Identifier An unambiguous reference to the resource within a given context 17.0086 https://omeka.cloud.unimelb.edu.au/grainger/files/original/b12c14dccb7e3d20da0443f5843201af.jpg b1f04538900ea3db01f808256c26ce74 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Synthi 100 Subject The topic of the resource EMS Synthi 100 Description An account of the resource This photograph was taken of the EMS Synthi 100 in 2017, in its current home at the Victorian College of the Arts, University of Melbourne. This instrument was originally part of the Grainger Electronic Music Studio. The Synthi 100 used new oscillator and filter components and was more stable than its predecessor, the VCS3 MK1. It was driven by 12 VCOs and featured a built-in oscilloscope, two 60 x 60 patchbays, two joystick controllers, dual five-octave velocity-sensitive keyboard controllers and a three-layer, 10,000 step, 256 dual note digital sequencer. This system was mounted in a free-standing console cabinet. Tristram Cary assisted in the setup of the Synthi 100 in the Grainger Museum in 1973, with Keith Humble and technician Jim Sosnin. When Humble and Sosnin left the University of Melbourne to go to La Trobe University, technician Les Craythorn began his long association with the instrument. Les can be seen in the video made by ABC Television in 1976, displayed later in this exhibition, recreating Percy Grainger’s Free Music with the Synthi 100. Late in the 1980s the instrument went into storage, as people’s attention turned away from analogue to the convenience of digital machines. Craythorn has been centrally involved in restoring the Synthi 100 since 2014, and the instrument is once again actively used in research and performance. Creator An entity primarily responsible for making the resource Kristoffer Paulsen Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource Digital photographic print https://omeka.cloud.unimelb.edu.au/grainger/files/original/c2f3416456f0c359d78fd2fcb4b5c3b5.JPG df0c6030df325b43d2ffa17e984bfde7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource EMS Spectre video synthesizer Subject The topic of the resource EMS Spectre video synthesizer Description An account of the resource Electronic Music Studios, Ltd, London, EMS Spectre video synthesizer, 1974–75 Metal, plastic, electronic components On loan from MESS Ltd Designed by Richard Monkhouse of EMS, the Spectre is a hybrid video synthesizer, combining both analogue and digital techniques. It uses the EMS patchboard system to allow completely flexible connections between module inputs and outputs. The video signals are digital, but they are controlled by analogue voltages. The instrument includes a digital patchboard for image composition, and an analogue patchboard for motion control. The prototype was said to have been used to provide a projected light show for an early Tangerine Dream concert at the London Rainbow. This particular instrument is not part of the Grainger Museum Electronic Music Studio. It is currently on loan to the MESS Collection. It was recently rediscovered by David Chesworth, literally ‘under the bed’ of a friend, who had been minding it for the owners who had moved overseas. Creator An entity primarily responsible for making the resource Electronic Music Studios (Richard Monkhouse), Ltd, London Date A point or period of time associated with an event in the lifecycle of the resource 1974-1975 Format The file format, physical medium, or dimensions of the resource Instrument https://omeka.cloud.unimelb.edu.au/grainger/files/original/06520c8162a7b5fb072417a78fdb214c.JPG 2a2a2c427ffd84e544c49f29aacaac4c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource EMS Vocoder Subject The topic of the resource EMS Vocoder Description An account of the resource Electronic Music Studios, Ltd, London, EMS Vocoder, late 1970s Metal, plastic, electronic components On loan from MESS Ltd EMS first released a large Vocoder in 1976, and this simplified, lower-cost, compact version was released the following year. The instrument was designed for use with the human voice. EMS promotional material for the instrument stated: Its main purpose is to impose the articulation of a voice onto another sound, thereby making it speak or sing. Such sounds (excitations) can be derived from any audio source: for instance musical sounds from an organ, guitar or symphony orchestra; unmusical sounds such as the roar of an aeroplane, the snarl of a lion, the clatter of a typewriter and the synthetic sounds such as a synthesizer or the Vocoder’s own voltage controlled oscillator or noise generator. In each case the sounds are made to talk or sing or resonate with the intonation, expression and meaning of an input voice, which may be derived live from a microphone or from a recording. It is of course possible to impose the articulation of a non-speech sound on to the excitation. For instance, the characteristics of a violin on to those of a saxophone … In this way, musicians who are not expert in synthesizers can produce marvellous effects with the minimum of electronic technique by mainly relying on their own musical expertise. Creator An entity primarily responsible for making the resource Electronic Music Studios, Ltd, London Date A point or period of time associated with an event in the lifecycle of the resource Late 1970's Format The file format, physical medium, or dimensions of the resource Instrument https://omeka.cloud.unimelb.edu.au/grainger/files/original/a272f58cc114eafe81466beb3d6eef69.jpg cc753a75d5fc756f83361e747e0db0ce https://omeka.cloud.unimelb.edu.au/grainger/files/original/cc01b62ce0b71d783f7dfba886dd46f9.JPG c86dab00647b0390d343759c447d8020 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Synthi A (Suitcase VCS3) Subject The topic of the resource Synthi A (Suitcase VCS3) Description An account of the resource Electronic Music Studios, Ltd, London, Synthi A (Suitcase VCS3), 1971 Metal, plastic, electronic components On loan from MESS Ltd The Synthi A was designed for portability, and was built into a Spartanite attaché case with a carry-handle. This instrument allowed musicians to easily take their synthesizer from the studio to the stage. In 1972, EMS added a built-in touch keyboard and sequencer to the instrument, then called the Synthi AKS. Pink Floyd used the Synthi A on the songs ‘Time’ and ‘On the Run’ on their album Dark Side of the Moon (1973). The German band Kraftwerk used the Synthi A on the 1974 album Autobahn. Jean-Michel Jarre featured the Synthi AKS on his albums Oxygène (1976) and Equinoxe (1978). Brian Eno, with his band Roxy Music, used the Synthi A extensively for avant-garde rock as well as ambient music. Creator An entity primarily responsible for making the resource Electronic Music Studios, Ltd, London Date A point or period of time associated with an event in the lifecycle of the resource 1971 Format The file format, physical medium, or dimensions of the resource Instrument Source A related resource from which the described resource is derived Photography by Kristoffer Paulsen Contributor An entity responsible for making contributions to the resource Photograph courtesy MESS Ltd https://omeka.cloud.unimelb.edu.au/grainger/files/original/1cce930ae507fefa1bb2193f0f19a11d.jpg a0797a1e60f34b5ad372424db43fcdf8 https://omeka.cloud.unimelb.edu.au/grainger/files/original/b88109ec9b8030ac8dcb18f619a8362d.jpg ae75e2430cbe572f48963edef70228fd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource EMS VCS3 synthesizer Subject The topic of the resource EMS VCS3 synthesizer Description An account of the resource Electronic Music Studios, Ltd, London, EMS VCS3 synthesizer, 1970 Metal, plastic, electronic components On loan from MESS Ltd The VCS3 is significant in that it was the first viable commercial European synthesizer. Launched in 1969 by EMS, it had a wide array of sound-producing and sound-modifying devices that could be freely interconnected. Like the VCS1, the VCS3 could process external sounds as well as generate them internally. Importantly for contemporary musicians, the instrument was compact and modestly priced. It cost less than one-fifth of the price of an equivalent Moog synthesizer, the only other real commercial competition. The ‘Pin Panel Matrix’ for patching is one of the VCS3’s most distinctive features. Tristram Cary designed the instrument in the new ‘L-shape’, so that the machine could be used at a desk as a teaching machine, and for demonstrations, as well as composition. This VCS3 was part of the Grainger Centre electronic equipment, bought by Keith Humble in the early 1970s. Creator An entity primarily responsible for making the resource Electronic Music Studios, Ltd, London Date A point or period of time associated with an event in the lifecycle of the resource 1970 Format The file format, physical medium, or dimensions of the resource Instrument Source A related resource from which the described resource is derived Photography by Amber Haines Contributor An entity responsible for making contributions to the resource Image courtesy MESS Ltd https://omeka.cloud.unimelb.edu.au/grainger/files/original/6aec907e8895fb92ed089dff82d7eb0e.jpg 08705cfa7a216a8a3c425260788ab595 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource VCS1 (Don Banks Music Box), c.1968–69, in the Optronics Unit built by Graham Thirkell Subject The topic of the resource VCS1 (Don Banks Music Box), c.1968–69, in the Optronics Unit built by Graham Thirkell Description An account of the resource Electronic Music Studios, Ltd, London, VCS1 (Don Banks Music Box), c.1968–69, in the Optronics Unit built by Graham Thirkell, c. early 1970s. Collection MESS Ltd Metal, plastic, electronic components, wood On loan from MESS Ltd The story of the Don Banks Music Box is a legend in the electronic music world. Australian experimental musician Don Banks was frustrated with the lack of facilities for composers to learn about the new language of electronic music. In 1968 he approached the key figures of the EMS company in London, Peter Zinovieff, David Cockerell and Tristram Cary, asking them to design an affordable instrument that incorporated all the basic features available at the time in sound synthesis. In David Cockerell’s words, Banks was ‘an avant-garde composer who wanted an electronic box of tricks’. The resulting machine was called the ‘Don Banks Music Box’, and retrospectively named the ‘VCS’ or Voltage Controlled Studio, no 1. Only three were made. Banks wrote: ‘Thank heaven for the age of miniaturisation because this was small enough for me to take to bed with headphones, and to start to explore a new world of sound.’ When Keith Humble, with Bank’s advice, ordered the first analogue synthesizer for the Grainger Museum in the late 1960s, one of these three VCS1 instruments was sent to Melbourne. The VCS1 was built into a larger unit by Melbourne audio pioneer Graham Thirkell at his company ‘Optronics’. The VCS1 synthesizer is in the bottom right of the unit, and the unit also contains an early EMS twin ring modulator at top right. Creator An entity primarily responsible for making the resource Electronic Music Studios, Ltd, London (Don Banks, and Graham Thirkell) Date A point or period of time associated with an event in the lifecycle of the resource c. early 1970s Format The file format, physical medium, or dimensions of the resource Instrument Source A related resource from which the described resource is derived Photograph by Amber Haines Publisher An entity responsible for making the resource available Image courtesy MESS Ltd