7/1/26 Roland TR-909 & RE-201 + ElectroComp EML 400/401 + SDS1 + Dukane 2a76 + MIDIVERB 2 + CXM 1978

video upload by Cfpp0

"This video is shot at a more revealing angle than usual, to document the setup before we change it. When we added an EML 400/401 to our EML 200, we made custom shelves to line the three panels up on a table. But we got a great deal on a second EML 200 during the pandemic, so that got installed on a metal shelf over the first EML 200. The studio kept growing over the years, with lots of revisions on how it is all arranged, but the EML 400/401 hasn’t moved an inch. I never liked this hockey stick configuration and have always felt the EML 400/401 is a bit underutilized. This summer we’ve decided to move the 400 above the 401, creating a big EML block, so that the 400 is closer to the 200s, to the Buchla system, and so it’s easier to reach everything at once.

Anyways, the point of this patch was to use V1 on the right set of stages to reset the left set of stages. It’s a fun trick because you can control when and how often you want to reset the sequence using the sliders. The TR-909 is externally clocked by ALM Pamela’s New Workout at 130bpm. The kick and rim shot are saturated by the Dukane 2a76. The snare sound is the Simmons SDS1, triggered by the rim shot trigger output on the 909. The EML 401 filter is in high pass mode. At 0:43 I drop the kick, unmute the clap and hats, and turn off the voltage control of the envelope, which makes it sound like a goose. At 1:13 I change the TR-909 pattern and switch the routing of the lower voltages on the 400, from V4 to V3 and from V3 to V4."

1970’s Electronic Music Laboratories EML Electrocomp 101 and 200

Note: links to listings are affiliate links for which the site may be compensated.

via this Reverb listing

These appear to be listed separately as well. See the seller's other items.

"We recently acquired these two consecutively cute curiosities courtesy of a very inspiring and equally interesting gentleman and great friend of the late Don Buchla. When I brought them back to the shop, naturally I plugged the 101 in and attempted to get proper scaling and triggering sound out of it for 45 minutes, watching videos reading pointers etc. Finally I tried turning the 5 pin keyboard plug around, and then I lost 4 hours in seemingly 10 minutes. I was floored. I didn’t hook up the 200. The next day I delivered these to my friend and tech in Santa Ana. Within a week he had checked them out , addressed any issues and found them to be fully functional and in great working condition. So I picked them up and was really excited to try the 200. Got back to Fullerton and plugged it in with a mf-104 tailing into an early cooper cs-106+ and went to heaven. The spring sounded like the grampian, the preamp is also in that vein, dual ring modulators are very special. In particular as a studio piece the stereo functionality takes this to another level, signal processing to use while mixing or effecting tracks Is very much more than 1/2 the value with the 200. Awesome machines."

CLICK FOR MORE »

5/29/26 (goofy samba) EML 400/401 & 200 + Roland CR-78 + DSP 808 + Metasonix R-57 + ADE Panscan (…)

video upload by Cfpp0

"5/29/26 (goofy samba) EML 400/401 & 200 + Roland CR-78 & SPH-323 + DSP 808 + Metasonix R-57 + ADR Pan Scan + Alesis MIDIVERB II

Whatever this is, it came about when I hooked up the Roland CR-78 drum machine trigger output (Disco 2/Samba) to the ElectroComp EML 400/401 external clock input. And it sounded so goofy I had to record it. A kick from the DSP 808 was added on the 1. The EML 400/401 is auto-panning through the ADR Pan Scan. Then I did an overdub, alternating octaves on the EML 400/401, with the CR-78 beat running through the Metasonix R-57, and a clave on the DSP 808. There is an additional clave sound towards the end, from the EML 200, using the envelope output from the EML 401. Reverb from the Alesis MIDIVERB II."

5/24/26 EML 200 + Metasonix TM-3 & TM-1 & TM-7 + Lower West Side Studios CGS01 + Alesis MIDIVERB II

video upload by Cfpp0

"The ElectroComp EML 200 master triangle is feeding the Lower West Side Studios CGS01 Sub Oscillator module, which is producing a sequence. The positive output of that sequence is modulating the Metasonix TM-3 gas-tube dual VCO, which runs through the Metasonix TM-1 SE waveshaper. The positive sequence from the CGS01 is also modulating the VCA input on the TM-1 SE. The negative output of the sequence from the CGS01 is sequencing the two VCOs on the EML 200, through its VCA, and with its internal spring reverb. The TM-1 SE audio output runs through the Metasonix TM-7 ultra-distortion scrotum smasher, which is being modulated by the EML 200 envelope output. From 1:49, the TM-3 suboctave and oscillator sync are creating some cool percussive spasms. Some reversed reverb is applied from the Alesis MIDIVERB II."

4/3/26 ElectroComp EML 200 + Peavey DDL-3 + CXM 1978

video upload by Cfpp0

12/28/25 ARP 1623 + ElectroComp EML 200 + Peavey DDL-3 + CXM 1978

video upload by Cfpp0

"I think this is the first time I sequenced the EML 200 with the ARP 1623. The sequencer is 1 volt per octave and the synthesizer is 1.2 volts per octave, but it still works. Here the gate bus 1 on the ARP is triggering the envelope on the EML, which controls the VCA both VCOs are running through. That signal then runs through the EML spring reverb into the Peavey DDL-3 delay to the Mackie Onyx 1640 mixer, where the dry is panned left and the wet is panned center. Both have stereo reverb blended on the CXM 1978."

12/10-19/25 Metasonix D-2000 + Make Noise Maths + Roland SH-101 + Gieskes Starving Binary + (…)

video upload by Cfpp0

"12/10-19/25 Metasonix D-2000 + Make Noise Maths + Roland SH-101 + Gieskes Starving Binary + Alesis MIDIVERB II + Peavey 1310 + Yamaha EM-100 + DBX 119 + ElectroComp EML 200

This was a test from earlier this month of a rack we installed above the Metasonix D-2000. There are two Make Noise Maths and a Gieskes Starving Binary triggering the D-2000. The D-2000 is heard as is, but it is also heard through the DBX 119, which gates the signal, and also gates a drone from the ElectroComp EML 200, which is fed through the DBX 119 at the same time. The Roland SH-101 is played manually, through a Peavey 1310 delay into a Yamaha EM-100 mixer, with the preamps cranked up and the internal spring reverb on. Everything has some Alesis MIDIVERB II."

7/31/25 EML 200 + Metasonix S-1000 Wretch Machine + SSL 1600 + acRLS

video upload by Cfpp0

"7/31/25 ElectroComp EML 200 + Metasonix S-1000 Wretch Machine + Synthetic Sound Labs 1600 + Analog Craftsman acRLS

It was inevitable. The Metasonix S-1000 Wretch Machine is now in the 6U rack on top of the ElectroComp EML 200 stack. Just to the right of the Metasonix TM-1, TM-1 SE, TM-5, TM-2, TM-7, and Zerosum Inertia Cenotaph. We’ve tried to find a TM-6 to add to the racks for several years now, but to no avail, so why not just put the S-1000 here? Duh. This was a test video, with the EML 200 square wave driving the Synthetic Sound Labs 1600 clock divider, which triggers the S-1000 and drives the EML 200 envelope and the Analog Craftsman acRLS shift register thing, which modulates the S-1000 oscillators, pulser, and filter. Both signals get spring reverb from the EML 200. Sounds like creatures to me."

6/12/25 (lowpass) ElectroComp EML 200 + 5U

video upload by Cfpp0

"I forgot to upload this and now I don’t remember what was going on offscreen, but because the 1U DeltaLab Effectron II appears above the top EML 200, there must be a rack of 5U above, assisting the EML 200s."

Electrocomp EML-200 *REFURBISHED* 70s Modular Synthesizer

Note: links to listings are affiliate links for which the site may be compensated.

via this eBay listing

Additional Tone Tweakers Listings

"This EML-200 was meticulously refurbished, with future-proofing measures. This work required 28 hours of skilled vintage synth tech time, plus parts costs.

In addition to repairs, we performed the following work to this EML200:

Replaced all electrolytic capacitors - an important preventative measure.
Power supply rebuilt - another important preventative measure: Replaced power supply electrolytic capacitors, regulators, cleaned heat sync, applied silicone lube.
Replaced power cord.
Installed new rubber feet.
Replaced jack washers and nuts.
Replaced front panel screws.
Cleaned inside and out.
All jacks cleaned for better connection.
Painstakingly removed, opened and cleaned and lubed all potentiometers to eliminate crackle.
Cleaned all switches to eliminate crackle.
Installed new grommets for reverb unit.

The end result is a beautiful example of this classic instrument that works like new again and is a real pleasure to play, without the problems one would normally expect from a 50 year old instrument that didn't receive this kind of treatment. It’s ready to play and record with. See photos - this is exactly what you’ll be getting, nothing more and nothing less.

sn88x"

CLICK FOR MORE »

6/14/25 ElectroComp EML 200 + SSL 1520 Segwencer IV + Happy Nerding FM AID

video upload by Cfpp0

"6/14/25 ElectroComp EML 200 + SSL 1520 Segwencer IV + Happy Nerding FM AID

This was a test of the 5U version of Happy Nerding FX AID with the ElectroComp EML 200. It’s processing the master sine wave from the upper EML 200, and modulated by the master triangle from the lower EML 200. The upper EMl 200 ring mod and switch are also being used, with the switch getting pulsed by the lower EML 200 master square wave. The Synthetic Sound Labs 1520 Segwencer IV is also being used, modulated by the lower EML 200 master triangle. The spring reverb is from the EML 200."

5/31-6/3/25 multitrack test of Roland TR-909 internal clock

video upload by Cfpp0

"5/31-6/3/25 Roland TR-909 + General Radio 1564-A + ElectroComp EML 200 + Ace Tone MP-4 + DeltaLab Effectron II + Peavey DDL-3 + Alesis MIDIVERB II

This video started out as a quick test of a black General Radio 1564-A Sound and Vibration Analyzer, with the 1564-A processing the Roland TR-909 low tom. The 1564-A is kind of crusty, but it works. Then that video prompted a test to see if the Roland TR-909 internal clock is solid. It is very solid; there are about five different takes layered in this video, and they’re all using the 909 internal clock. The kick, clap, rim shot, hats, ride, low tom and high tom are all used, with the low tom getting either all pass processed or 1/3 octave processed. The rim shot also gets processed towards the end. And the high wood block sound is the 1564-A getting pinged by the 909 trigger output (which is set by a rim shot pattern). The clap and the high tom are processed by the Ace Tone MP-4 preamps and spring reverb. The Alesis MIDIVERB II is used heavily for reverbs, including some absurd reversed delays. The Peavey DDL-3 and the DeltaLab Effectron II are used for delays throughout the video. The drones are two ElectroComp EML 200 synthesizers."

Electrocomp Synthesizers EML-200 and EML-300 Fully Refurbished

video upload by tonetweakers

"Here’s the last EML-200 and EML-300 we fully refurbished. The EML-200 took 25 hours and the EML-300 took 13 hours so far but needs what could be several more hours of work because a couple of the keypad contacts are still malfunctioning occasionally after the first cleaning. Refurbishing 50 year old electronics to work like new again takes a lot of hard work and attention to detail.

Buy vintage gear that works like new at tonetweakers.com

We buy sell trade refurbish vintage synths and electronic musical instruments.

Tone Tweakers Inc.
http://www.tonetweakers.com

NEWSLETTER SIGN-UP:
https://visitor.r20.constantcontact.c..."

5/11/25 Slope generator and sub oscillator sequence (modules listed in description)

video upload by Cfpp0

"5/11/25 (Slope generator and sub oscillator sequence) SSL 1240 + LWSS CGS01 + Synthesizers.com Q123 & Q125 + muSonics Attenuators & Multiples & Wave Folder + Happy Nerding FM AID + Zerosum Inertia The Scorpion Tail + Blue Lantern Mixer + Alesis MIDIVERB II + ElectroComp EML 200

I spliced two takes one after the other. In the first, the 440 Hz tone from the Synthesizers.com Q123 Standards module, gated by the Blue Lantern mixer, is the constant bell-ish sound panned left. Throughout the whole video I am selecting divide or multiply on the Lower West Side Studios CGS01 Sub Oscillator, which varies the sequence. The Synthetic Sound Labs Dual Slope Generator bipolar output to CGS01 input A. CGS01 output A to .com Q123 to muSonics Multiples to Free State FX Macro Digital Oscillator V/OCT input and to Happy Nerding FM Aid CV input and to .com Q125, with Q125 output to muSonics Wave Folder CV input. Macro output to FM Aid carrier input. Macro sine out to muSonics Wave Folder to Multiples to Zerosum Inertia Scorpion Tail audio in and to Blue Lantern Mixer input 4, with spectral wave folder switched on, triggered by SSL 1240 fall gate out. CGS01 output B to CV in on Scorpion Tail. FM Aid saw out to Mackie Onyx 1640, panned right, with reverb from Alesis MIDIVERB II. Blue Lantern mixer VCA output to Mackie, panned left, with MIDIVERB II. Zerosum Inertia output panned center, dry. The drone is four VCOs on two EML 200, with internal spring reverb, modulated by their master sine waves."

5/3-5/25 (2 patterns) Simmons SDS6 & SDS1 + DR-55 clone + DigiTech HM4 + EML 200 + (in description)

video upload by Cfpp0

"5/3-5/25 (2 patterns) Simmons SDS6 & SDS1 ('flange snare') + Doctor 55 clone + DeltaLab Effectron II + TAMA DS200 + ElectroComp EML 200 + Ace Tone MP-4 + DigiTech HM4 Harmony Machine + Alesis MIDIVERB II + MXR 136 Dual Limiter + DBX 119 + Peavey 1300

This Simmons SDS6 was dead, but it’s been serviced by The Simmons Guy. It got converted from 220v to 115v with a rebuilt PSU, a cloned reset circuit on a custom PCB, traces rerouted on the dead expansion PCB with new caps and trimmer, new RAM ICs, new batteries, plus a MIDI in mod and, due to a lot of corrosion, plenty of new traces, caps, resistors, diodes, and so on. I’m still working my way through the SDS6 manual, but it’s already been a real pleasure to have such a giant sequencer. It makes the Doepfer Trigger Matrix seem microscopic. Considerable noise from the SDS6 is audible through the (always noisy) Doctor 55 clone. Not sure why. Anyways, the SDS6 is triggering the DR-55, which runs through the DeltaLab Effectron II, overloading the preamp limiter, fully wet, full feedback. In the first pattern, the Effectron II is set to Flange Lo (16ms). And then Double (64ms) in the second pattern. The SDS6 also triggers the SDS1, with a “flange Snare” EPROM and with the auto run feature on, and it’s panned a bit right with reverb from the Alesis MIDIVERB II. The SDS6 also triggers the TAMA DS200, which runs through the Ace Tone MP-4 for saturation and spring reverb. The DR-55 is also running through the Peavey 1300, which is panned left and has a lot of reverb from the MIDIVERB II. I did an overdub where I ran the whole first pattern through the DigiTech HM4 harmonizer, but the detuned copy sounded better when placed early, before the high pitched original. So if you are wondering why you can’t see those detuned notes on the SDS6 matrix, that’s why. You can see those notes being leveled by the MXR 136 limiter in the cutaway shots. The second pattern has drones from the EML 200 synthesizers: one is constant, panned left, and getting louder the whole time; the other is four VCOs through two VCAs, modulated by two different master sine waves, with the EML internal spring reverbs and reverb from the MIDIVERB II."

4/27-30/25 (16th, 145) Metasonix D-2000 + Roland 100m SPH-323 TR606 + EML 400/401 + (in description)

video upload by Cfpp0

"4/27-30/25 (16ths, 145 bpm) Metasonix D-2000 + RYK 185 + Roland System 100m & SPH-323 & TR-606 + ElectroComp EML 400/401 & EML 200 + DSP 808 + 2hp Comp + Soundforce S-LD + Peavey 1300 + Alesis MIDIVERB II + Paia 6740

The pumping drone that sounds like a harmonium is the ElectroComp EML 200 through a 2hp Comp module, with reversed reverb from the Alesis MIDIVERB II and spring reverb from the Paia 6740. The bass pulse is the Metasonix D-2000, triggered by the MFB SEQ-1. The 16th note synth panned center is the Roland System 100m, sequenced by the RYK 185, through the Roland SPH-323 through the Peavey 1300. The 16th note synth line panned left is the EML 400/401. The percussion is the DSP 808 and the Soundforce S-LD, triggered by MFB SEQ-1 and ALM Pamela’s New Workout, which clocks everything."

26 Electrocomp EML-200 Facsimile Pad Blank Patch Sheets

Note: links to listings are affiliate links for which the site may be compensated.

via this eBay listing

Additional Tone Tweakers Listings

4/22/25 Soundforce S-LD + SSL 1660 + GenRad 1564-A + BLM Gate Seq + DSP 808 + MIDIVERB II + PV 1300

video upload by Cfpp0

"4/22/25 ElectroComp EML 200 + Synthetic Sound Labs 1660 + Analog Craftsman acVOKs + STG muSonics Vanilla Envelope + General Radio 1564-A + Blue Lantern Gate Sequencer + Soundforce S-LD + DSP 808 + Alesis MIDIVERB II + Peavey 1300

Testing out a used Soundforce S-LD module we just got. You can hear the cowbell and the maraca (there’s a switch on the back to choose the Linn toms or percussion). The other percussion is from the DSP 808 module, which is a similar sampled sound module, but with pitch control and voltage controls. The synthy kick drum is the General Radio 1564-A processing the S-LD kick drum. Its VU meter looks like it’s out of sync, but it’s just slow and getting pinned hard. The two drones that build up are from two ElectroComp EML 200 synthesizers. The synth lines are Synthetic Sound Labs 1660 The Matrix Algorithmic Composer through the Analog Craftsman acVOKS filter into the STG muSonics Vanilla Envelope. The reverb is preset 10 on the Alesis MIDIVERB II."

4/18-19/25 (tranq staccato) RYK 185 + Roland System 100m & TR-606 + (more listed in description)

video upload by Cfpp0

"4/18-19/25 (tranq staccato) RYK 185 + Roland System 100m & TR-606 + DSP 808 + MXR 136 + Paia 6740 + Alesis MIDIVERB II + ADR Pan Scan + Eventide H3000B

Nothing drones quite like the ElectroComp EML 200. Two EML 200 VCOs are running through its left mixer into its internal spring reverb into its right mixer into the ADR Pan Scan and the Alesis MIDIVERB II and Eventide H3000B (Cyclons). The synth is the RYK 185 sequencing five VCOs through three filters on the Roland System 100m, processed by the Pan Scan, H3000B, and MIDIVERB II, with LFOs modulating the filters and with manual wiggling of the envelopes. The claves is the RYK 185 gate output triggering the DSP 808 module, with spring reverb from the Paia 6740. The tom is from the Roland TR-606, squashed by the MXR 136 limiter, with a room reverb on the MIDIVERB II. As the TR-606 kick drum is faded in, it further squashes the already squashed tom. The other kick is the DSP 808, with a trigger from ALM Pamela’s New Workout inverted by the Ladik U-202."

Electrocomp EML-200 Synthesizer Brochure

Note: links to listings are affiliate links for which the site may be compensated.

via this eBay listing

Additional Tone Tweakers Listings

CLICK FOR MORE »