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

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via this eBay listing

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"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"

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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

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via this eBay listing

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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

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via this eBay listing

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1/2/25 (melting) ElectroComp EML 200 plays ElectroComp EML 200

video upload by Cfpp0

"The range is switched at 0:25 seconds, which slows the melt."

EML 200 and 300 Blue Face

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via this Reverb listing

"Not something you see everyday! EML Electrocomp 200 with 300 controller.

These predate the more popular Electrocomp 101, starting the run in 1969. The blue faced ones were all made for universities, so I’ve been told. I don’t know a whole lot about the lineage here, but suffice to say these are extremely rare. The last complete sale I can find on Reverb was 6 years ago.

The units show pretty typical wear for instruments made nearly 60 years ago, but they’re in remarkably good condition. Everything works! A couple of the triggers on the 300 double trigger when tapped, and I would imagine the whole thing would benefit greatly from a cleaning.

Like I said, these are incredibly rare. So it’s difficult to even put a value on it."

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Electronic Music Laboratories Electrocomp EML-101

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via this listing

"EML101 - Just serviced and calibrated in Paris by Benoit Guivarche /insta/ @bg_.s (Air, La Femme, etc) - Serial number 1095, serials started at 200 making this number 895 out of about 1000 ever made by the Connecticut based company in the 70s. If you already have the standard Korg and Moog offerings this synth will bridge the gap and give you a different playing field. It has 4 oscillators, can be duophonic, amplifiers can be overdriven if desired simply by cranking the osc volumes, has ring mod, 2 envelopes, tons of modulation capabilities, a super musical beast of a synth. I've had it for 25 years now, I'm going to regret it, but it's time to pass the torch."

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Electronic Music Laboratories ElectroComp EML-200

Note: Auction links are affiliate links for which the site may be compensated.
video upload by Sean Rubin



via this listing

"If you are considering buying this synth, I imagine you already know a bit about it. But for those stumbling onto this listing and are intrigued, there is a video link for one example of the one for sale in use....

Allow me to offer that all I know about it.

This is a FULLY FUNCTIONAL EML Electrocomp 200. I had it restored over at Main Drag Music in Brooklyn, NY a few years back. The Power Cord is original, and I’ll include the original capacitors with the unit in a bag.

This is an exceptionally rare synth, built in Vernon CT in likely the late 60’s or mid 70’s. It was initially made to be an educational synthesizer for science classrooms to teach kids the physics of how sounds are created.

On its own, it is a modular synth island with one master oscillator that serves as an LFO and/or ring mod source & two saw tooth waves. The synth also has a spring reverb, a ring mod, and a mic amp along with a 6 channel stereo mixer (3 per side).

While it does offer keyboard control in the back, it is for a specific keyboard that I do not have, but the synth CAN be controlled via CV with an atypical 1.2V/Hz output. I have successfully controlled the sawtooth waves with an Elektron Analog Four, as they are the only wave shapes that have an input section.

This synthesizer sounds like it’s history. You can smell the capacitors in the sound. You can also actually smell the synthesizer a little bit when it’s turned on (not a bad thing, it really works perfectly). All of the wave shapes are very stable and have their own vibes that are unique from any other synthesizer you’ve heard.

This synthesizer is a weird little beast on its own, and controlled with CV it offers some beautiful sounds. As a piece of outboard gear, the spring reverb, ring mod & mic amp are awesome on drums, guitars, other keyboards, and of course the synth its-self.

For those who do experimental music, ambient music, electronic music in general or are looking for a vintage happy mistake machine to sample that also looks as good as it sounds, you’re gonna love playing with this synth.

I have taken excellent care of this synth and am sad to see it go, but it’s time for it to be enjoyed by someone else who appreciates and loves it as much as I have. I’d love to hear what you make with it and how you carry on its legacy."

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3/17/24 (bass version) ElectroComp EML 200 + Lexicon PCM 70

video upload by Cfpp0

"Some more RoboCop from the ElectroComp EML 200. Similarly hysterical patch as in the previous 3/17/24 EML 200 video, but more of a bass version this time, with lower tuning on each VCO, different on times for the spring reverb running into the switch, and a bit less swung."

3/17/24 ElectroComp EML 200 + Lexicon PCM 70

video upload by Cfpp0

"The VCO 2 pitch knob is all the way counter clockwise until 0:55, when it is turned up and the VCO goes into audible range and more FM occurs between the two VCOs. That knob continues to get turned and also some on time changes on the switch. Lexicon PCM 70 provides the stereo delay."

3/11/24 (slower range) ElectroComp EML 200 + Lexicon PCM 70 (1.3 Circular Dlys)

video upload by Cfpp0

"Same patch as in the previous 3/11/24 EML 200 video, but with a lower range setting on the master oscillator:

The ElectroComp EML 200 master oscillator square wave drives the whole wave shaper section and the switch. Sampler is fed one output of VCO 1. VCO 1 and VCO 2 outputs go to the ring modulator. VCO 2 also goes to VCO 1 CV input. Sampler outputs go to VCO 1 and VCO 2 CV inputs. Wave shaper is set to amplitude, with the ring mod output going to carrier in, and modulation input is first getting a sine wave from the master oscillator (until 0:45), then only the switch output is audible until (at 0:53) I change it to the envelope. The ring mod output also goes to the spring reverb, 100% wet, which goes to the switch. The switch output is dry, but a stereo delay from the Lexicon PCM 70 is applied to the output of the wave shaper, which runs through mixer No. 1 on the 200."