iVCS3
Official EMS VCS3 emulator
The VCS3 was created in 1969 by Peter Zinovieff's EMS company. The electronics were largely designed by David Cockerell and the machine's distinctive visual appearance was the work of electronic composer Tristram Cary. The VCS3 was more or less the first portable commercially available synthesizer—portable in the sense that the VCS 3 was housed entirely in a small, wooden case.
The VCS3 was quite popular among progressive rock bands and was used on recordings by The Alan Parsons Project, Jean Michel Jarre, Hawkwind, Brian Eno (with Roxy Music), King Crimson, The Who, Gong, and Pink Floyd, among many others. Well-known examples of its use are on The Who track "Won't Get Fooled Again" (as an external sound processor, in this case with Pete Townshend running the signal of a Lowrey Organ through the VCS3's filter and low frequency oscillators) on Who's Next. Pink Floyd's "On the Run" (from The Dark Side of the Moon) made use of its oscillators, filter and noise generator, as well as the sequencer. Their song Welcome to the Machine also used the VCS3. The bassy throb at the beginning of the recording formed the foundation of the song, with the other parts being recorded in response. The VCS3 was also a staple at the BBC’s Radiophonic Workshop, and was a regular (and most frightening) sound generator for the Dr Who TV series. Many fo the monsters and atmoshere;s created for the show came directly from the VCS3.
Description
The VCS3 has three oscillators (in reality, the first 2 oscillators are normal oscillators and the 3rd an LFO or Low Frequency Oscillator), a noise generator, two input amplifiers, a ring modulator, a 18dB/octave (pre-1974) or 24dB/octave (after 1974) voltage controlled low pass filter (VCF), a trapezoid envelope generator, joy-stick controller, voltage controlled spring reverb unit and 2 stereo output amplifiers. Unlike most modular synthesizer systems which use cables to link components together, the VCS3 uses a distinctive patch board matrix into which pins are inserted in order to connect its components together.
Keyboards controller
DK1 keyboard controller
Although the VCS3 is often used for generating sound effects due to lack of built-in keyboard, there were external keyboard controllers for melodic play. The DK1 in 1969 was an early velocity sensitive monophonic keyboard for VCS3 with an extra VCO and VCA. Later it was extended for duophonic play, as DK2, in 1972. Also in 1972, Synthi AKS was released, and its digital sequencer with a touch-sensitive flat keyboard, KS sequencer, and its mechanical keyboard version, DKS, were also released.
(See: en.wikipedia.org/wiki/VCS3)
This is a classic app that keeps on giving-growing!
Disgruntled wary Beware!
From the start I was excited to have access to such an incredibly rare synthesizer experience as the hardware version of this model is next to impossible to find even in a synth Mueseum! But the roster of artist who have used this is as long and thick as an old phone book! The icing on the cake is apesoft and especially James Edward Cosby continuing to support and build upon this synth with updates and presets that customize and help any sound designer and synth musicians from newbie analog programmers to the geniuses that understand the deep complexity of the real wires and patches of CV and modulation “electronic goodies” that make this such a special secret weapon to any kit! Roger Waters was the artist famous for saying “there are lots of electronic goodies made available for us to be bothered with....and we will be bothered!” From the documentary “Pink Floyd - Live at Pompeii” when Roger was positively inspired creatively when he says ‘bothered’ in a most noble way ....with parts of the film showcasing Roger programming and playing this very synth in what would become “The Darkside of the Moon” album of all time! When I saw this strange synth I never realized how rare it was but since technology has made it possible with programming and development by apesoft and James Edward Cosby (Jim Cosby)!This is after many years of surprise and intrigue oh and much joy in sound design playing this instrument that I finally wrote a good review in honor of yet another addition in “captivity” to blow my mind yet again! So this review is well past due and much deserved! Bravo! Bravo! And Bravo, indeed!
Feels Like Vintage Hardware
Guycoolio
IVCS3 really provides the sound and experience of playing a real vintage hardware synth. One of the best software emulations of an old analogue synth I have found on any platform. Sound quality is just fantastic and the possibilities of sound manipulation feel almost limitless. It is even unpredictable like old analogue hardware. Would love to see a polyphonic version but understand the adherence to the monophonic gem it emulates. Basses, leads and atmospheres are flat out stellar.
Great synth, but the matrix...
GadgetMojo
I like this synth but I don’t like the matrix, so I hardly ever use it. You can zoom in on the matrix but still it’s difficult to see where you need to put the pins. I always trace them by hovering with my finger. Basically the farther the hole from the labels, the harder it is to see which two items it connects. Don’t get me wrong, the holes are big enough for the finger, so when you tap on the one you intend to put the pin into, there’s no problem there, it’s precise. But to visually find where you need to put the pin is a challenge and always takes too long. Looking up and left a few times, and ultimately ending up having to hoover my finger over the holes to visualize the signal flow. It’s a bad design, humans need visual queues. Take Factory (by Sugarbytes) for example, it's got about the same overall size of its matrix but it’s so clear to use. I look, and then tap to place the circle, without having to figure out which hole connects what. Glancing at the matrix, to figure out what’s going on in the patch... is not something I’m able to do in iCVS3, and that’s pretty much kills all the joy of using this synth for me. I get that it’s looks were modeled after hardware but that doesn’t change my experience using this app on (10.5”) iPad. Using this matrix is frustrating because there’s too much visual information to process/interpret for my mind, and there are no visual queues to help. Perhaps if a different “skin” for the matrix was available as an option, it would make things clearer.If you look at the screenshot of the matrix, try to visualize the connections. If you find it effortless or not a big deal, then I’m sure you’ll love this app as the rest of it is actually very well made.
Great Wayback machine
AzeotropeETOH
The thing I love most about this synth is that it takes me back in time, when most “electronic” music was made with a tape recorder and a razor blade for editing. The VCS3 arose about the same time as the original minimoog and the ARP2600. All were out of reach for financial reasons at that time. Now I have two out of three to experiment with sounds as I see fit. The iVCS3 has been the best source for the arcane sounds I like the most.
RESTORE PURCHASED works for OS 26
Version 3.6.3
The developer, apeSoft, indicated that the app’s privacy practices may include handling of data as described below. For more information, see the developer’s privacy policy .
Data Not Collected
The developer does not collect any data from this app.
Privacy practices may vary, for example, based on the features you use or your age. Learn More
Accessibility
The developer has not yet indicated which accessibility features this app supports. Learn More
Information
Seller
Alessandro Petrolati
Size
110.5 MB
Category
Music
Compatibility
Requires iOS 15.6 or later.
iPhone Requires iOS 15.6 or later.
iPad Requires iPadOS 15.6 or later.
iPod touch Requires iOS 15.6 or later.
Mac Requires macOS 12.5 or later and a Mac with Apple M1 chip or later.
