Popular little synthesizer with a cult following – and a lot of potential to boot

The SH-101 is a perfect example of how to combine sound-shaping potential, ease of use, and performance – it can be operated intuitively and easily, and it quickly comes up with some very useful sounds.

• Sound Generation
  Despite one single VCO, the SH-101 is amazingly flexible since both wave shapes (sawtooth and pulse wave) can be blended continuously in the Source Mixer section, along with the augmenting Sub Oscillator and the Noise source. Its LFO produces four different wave shapes (among them Random and Noise) which can be used to modulate VCO as well as VCF. The very precisely tracking filter can self-oscillate, and its resonance can be kept under control very effectively.
   
• Performance Tools
  The on-board controls are nothing short of ingenious: There is an Arpeggiator, a step-sequencer with a capacity of one-hundred notes, a Bender (for controlling pitch and/or filter and – when pushing it forward – LFO modulation) as well as Portamento (which can be activated when playing legato in Auto Mode): Everything you would wish for is part of the whole! The Arpeggiator as well as the internal Sequencer can be clocked from a variety of drum machines (e. g. Roland TR-808, TR-909, LinnDrum etc.) via the Ext. Clock In jack.
   
• Sound
  Its straight and slightly futuristic type of character has earned the SH-101 a firm place among the ranks of synth-pop as well as techno and electro. Punchy bass, groovy electronic percussion, fluid arpeggios as well as dynamic lead sounds can be dialled in quickly, and it sits in the mix very well, too!
   
• Special Features
  The SH-101, with its optional modulation grip installed, was also also usable as a sling-on synthesizer for wannabe guitarists – see Yazoo's Nobody's Diary videoclip and watch Vince Clarke soloing on the SH-101 dangling around his neck.
   
• manufacturing period: 1982-1987
• weight (with/without case): 11/4 kg