ElectroComp EML 101 - Sounds & patches - Analog synth demo

Published on Jun 24, 2019 synth4ever

"ElectroComp EML 101 analog synthesizer demo of various sounds and patches.

The ElectroComp 101 is the successor to the rare ElectroComp 100 from Electronic Music Laboratories (EML), a small synthesizer company based out of Connecticut in the USA.

Manufactured from 1972-1982, the ElectroComp EML 101 is a patchable semi-modular synth with a pre-wired voice path that can be over-ridden via patching.

The ElectroComp EML 101 has four oscillators (two of which could go sub-sonic, for use as LFOs) with multiple waveforms, 12 dB/oct multi-mode filter (LPF/BPF/HPF) with resonance, two envelope generators, ring/amplitude modulator, noise, and sample-and-hold. It is also duophonic and has audio input for processing external signals through its filter.

The 4-oscillator architecture, multi-mode filter, and elaborate patch control makes the ElectroComp EML-101 one of the most flexible portable patch-synthesizers available at its time of manufacture. The EML 101 has a very metallic sound to it and can go into crazy experimental territory when it comes to sound design.

Reverb effects from Source Audio Ventris. Filmed at www.synthpalace.net in Montreal Quebec, Canada."

EML ElectroComp 101 vintage analog synthesizer

via this auction

"EML ElectroComp 101 analogue duophonic synthesizer. An opportunity to own a rare vintage EML 101 in excellent original 'collectors' condition - only 1000 were made and this was originally sold on 11 November 1974 based on the log kept by ex-EML founder Dale Blake.

I bought the EML from Tone Tweakers in the USA in 2008 where it had been fully serviced. It's in extremely good condition and is all original apart from the leather handle (which I replaced with one very similar to the original), and the four rubber stick-on feet on the bottom. EML built their instruments from military grade components and they last very well.

The EML 101 has four VCOs two of which can double as an LFO. The VCOs can be swept from triangle through square to saw. It has a lovely and characterful 12db VCF which sweeps continuously from LP through BP to HP and, contrary to some reports, will self-resonante a little. It also has a great modulation control sweeping through AM to RM.

The EML 101 sounds nothing like its contemporary rivals from ARP and Moog and has a character of its own - edgy but huge, with a lot of bottom end. It's capable of duophony as well. There are lots of modulation possibilities, including S&H. It's semi-modular and audio and CV can be used interchangably when using patch cords. It's also possible to tune the EML 101 to tunings other than 12 semitones per octave.

Please note that EML used a system of 1.2v/octave (so 0.1v per semi-tone) which, apart from the lack of practical interface, means it's not compatible with any other analogue synths, but who cares when you've got four VCOs! Please also note that the EML-101 runs on US voltage (110v) so requires a step-down transformer for use in the UK/EU.

The EML 101 is built into its own wooden case and the synthesizer is attached to the keyboard by catches."

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Electronic Music Laboratories Electrocomp EML-101

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via Switched On Reverb

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"This EML 101 is fully serviced by in-house technicians, fully functional and in excellent condition. It sounds awesome.

The ElectroComp 101 is the successor to the rare ElectroComp 100 from Electronic Music Laboratories (EML), a small synthesizer company based out of Connecticut in the USA. Like the ARP 2600, the 101 is a patchable (1/4'' patch cords) semi-modular synth with a pre-wired voice path that can be over-ridden via patching. But unlike the ARP (or MiniMoog for that matter), the 101 has as many as four oscillators (two of which can go sub-sonic, for use as LFOs). The 101 is also Duophonic so you can play up to two notes at once. Another major distinction was that unlike Moog and ARP, who used transistors that would tend to drift out of tune under various operating temperatures, EML used op amps which proved to be far more stable and reliable.

Other onboard features include a voltage controlled 12 dB/oct multi-mode filter with resonance, two envelope generators, ring/amplitude modulator, noise, and sample-and-hold (they call this the "Sampler"). In addition, the 101 makes no distinction between control voltage and audio paths allowing just about any source to be patched to any control or audio input in any order. The 101 could easily be closed, secured and carried inside its wood casing.

This synthesizer is fantastic. It's warm, punchy, powerful and has lot of bite not to mention a sound that sets it apart from its contemporaries and, for that matter, any other synth."

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EML ElectroComp 101 EML-101 w/ Seq Mod

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via this auction

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Andy Wig - EML ElectroComp Revealed #1

YouTube via arthurpainter

"Another new moniker (they come and go). Here we have my vintage EML ElectroComp 101 performing a few unruly feats helped along by yours truly. Many thanks to Mini at Tone Tweakers for providing me with a 101 of exquisite beauty and functionality"

Andy Wig - EML ElectroComp 101 Revealed #2


"Another stab at a beautiful noise using only my EML 101, with a tiny bit of delay added. Enjoy."

Andy Wig - EML ElectroComp 101 Revealed #3


"The last of this series of improvs employing my EML 101 with varying degrees of success, here again twiddling knobs and wiggling noise out of the ether of electricity. Fun."

EML ElectroComp 100 (PRE 101) VINTAGE Synthesizer with Original Docs & Flexi-Disc

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via this auction

"This is a real collector's item. It is in very, very good shape for being approximately 45 years old and in working order. Compare the shape of the keys to the EML 101's for sale.

Condition: Used (but very good condition considering it is approx. 45 yrs old)

Seller Notes: “VERY VERY RARE ..” (Much more rare than the EML 101)

Brand: ELECTRO COMP

Number of Keys: 44

Model: EML 100

Country/Region of Manufacture: United States

Type: Synthesizer

This EML 100 Synthesizer is vintage and very very rare. Less than 100 of them made in 1970/71. It is the predecessor to the EML 101. It is in good working condition. It comes with the User's Manual, 2 original patch chords and the 33 1/2 LP provided at original purchase (The Sounds of E.M.L. Synthesizers). It also comes with a 13 page EML 101 electronic schematic and a 13 page Alignment Procedure of the EML 101 which was the mass produced version of the EML 100.

Patches shown in the User Manual have been setup and verified.

Very few blemishes. Slight corrosion on metal latches (not bad). Very few scratches on outer case. Keys in perfect shape."

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Vintage Electronic Music Labs ElectroComp EML-101 Synthesizer Early Production Model

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via this auction

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EML Product Literature

via this auction

EML PRODUCT LITERATURE SYNTHESIZER PRIMER BOOK (RARE)
EML Electronic Music Labs Inc. Vernon CT
Interesting for any vintage synthesizer collector. A great reference for any future buyer of EML instruments. These are my clear copies of EML’s product literature packs.

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EML ElectroComp Vintage Synthesizer Brochures

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via this auction

"This a crazy rare treasure trove of vintage 1970's original material from the Electronic Music Laboratories Inc, (EML), makers of the Electrocomp Synthesizer line. The company was based in Vernon, Connecticut and made a line of quasi-modular synths that competed with Moog, Arp and Oberheim. More rare than these other well known names, these synthesizers had unique features for the price and a distinct sound to them.

Included in this package are:

(1) EML Family of Synthesizer Brochure, half folded into a four page brochure. The last quarter page is a response card that was returned, presumably to receive the other brochures that are included. This brochure includes pictures and features of the EML 101, EML 200, EML 400 Series and the Syn-Key

(1) "The Best Portable Synthesizer In The World" Electrocomp 101, half folded into a four page brochure with detailed illustrations and technical features. Note the price of $1495 back then! The keyboard player in my high school and college band has this synth and I spent many hours hearing it do bass lines and leads, cool stuff!! It was duophonic, patchable and hot stuff at the time!

(1) This Synthesizer Started a Revolution! ElectroComp 200, half folded into a four page brochure with detailed illustrations and technical features (note there are two of these in the picture, but only one is included in this auction). This is an interesting unit that seems to be designed to teach synthesize to students at school and appears to be an "expander" unit to the 101 with a price of $950

(1) Todays Sound, The Right Price!, Electrocomp 500 $895 half folded into a four page brochure with detailed illustrations and technical features. This one does not have patch points and appears to hard connect key features from the 101.

They are in excellent condition and perhaps some of rarest vintage synth literature from the period. EML was relatively short lived despite the quality of their products and it is hard enough to find any of their synthesizers let alone a set of documents like this!!"

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EML ElectroComp 101 Analog Synthesizer Demo Tracks

Published on Jun 26, 2016 peahix

"All sounds except for drums made with an EML ElectroComp 101 Analog Synthesizer. Recorded in Cubase using an audio clock pulse to trigger the sampler on the EML."

Playlist:
EML ElectroComp 101 Analog Synthesizer Demo Track 1
EML ElectroComp 101 Analog Synthesizer Demo Track 2
EML ElectroComp 101 Analog Synthesizer - Noodlings

EML-101 Technical Overview

Published on Jun 24, 2015 Synthesizer Keith

"This video gives a technical overview of an Electrocomp EML-101."

Sequenced Bass Without A Sequencer On the EML-101

Published on Jun 24, 2015

"This video shows how to generate a sequenced bass sound on the EML-101, without any external equipment."

Electronic Music Laboratories Electrocomp EML-101 SN 1216

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via this auction

"Introduced by Connecticut based Electronic Music Laboratories in 1972, the ElectroComp 101 is a portable and patchable duophonic synthesizer which rivals other 1970s synths from Moog and Arp. Notable for it's relative tuning stability and distinctive audio signature, the EML 101 is a synth that has a character all of its own, with a distinctive sample and hold circuit and ring/amplitude modulation. The rich sound of this synth is rounded out by a 12/db octave multimode filter. This instrument, has been stored for 29 years and is in great shape contact with any questions. No Manual or patch cables included. Shipping to be calculated aprox $250 in the lower 48. SN# 1216"

You can find additional EML-101 posts here including demos.

ELECTROCOMP EML 101 ANALOG SYNTHESIZER

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Published on Jul 5, 2015 jimjam041

"Electrocomp EML analog synthesizer model 101 for sale on ebay"

via this auction

"Electrocomp EML analog synthesizer model 101 serial number 273, A very early one. Very nice cosmetic condition, a few light scratches on the cabinet and alittle seperation on the edge joints but very solid. The face plate is excellent with no missing print and no discoloring from use. The knobs are all original as is the electronics. Item powers up and creates some interesting sounds."

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ElectroComp Synthesizer model 101 Electronic Music Labs Inc.

Published on Mar 4, 2018 Vykaar Tones

"Twiddling knobs on this great American vintage analog synthesizer half way through restoration and repairs. Very well built hard wired to tag strips like an amp inside and sealed AB pots like minimoog ( a pain to open and clean) some of the caps have died and oxidation on all metal parts... The lack of connectors inside is a blessing as in my opinion most Moog synthesizers for example suffered from far too many unreliable connectors which constantly oxidised and caused random faults.

Some info from vintagesynthcom:
The ElectroComp 101 was the successor to the rare ElectroComp 100 from Electronic Music Laboratories (EML), a small synthesizer company based out of Connecticut in the USA. Like the ARP 2600, the 101 was a patchable (1/4'' patch cords) semi-modular synth with a pre-wired voice path that could be over-ridden via patching. But unlike the ARP (or Minimoog for that matter), the 101 had as many as four oscillators (two of which could go sub-sonic, for use as LFOs) with multiple waveforms that you could sweep between using its rotary knobs. The 101 was also Duophonic so you could play up to two notes at once. Another major distinction was that unlike Moog and ARP, who used transistors that would tend to drift out of tune under various operating temperatures, EML used op amps which proved to be far more stable and reliable.

Other onboard features included a voltage controlled 12 dB/oct multi-mode filter with resonance, two envelope generators, ring/amplitude modulator, noise, and sample-and-hold (they call this the "Sampler"). In addition, the 101 makes no distinction between control voltage and audio paths allowing just about any source to be patched to any control or audio input in any order. The 101 could easily be closed, secured and carried inside its wood casing.

In its day, the 101, as most of EMLs instruments, were marketed and sold to universities and other educational markets. But with the 4-oscillator architecture, multi-mode filter, and elaborate patch control, the EML-101 was undoubtedly one of the most flexible of all of the portable patch-synthesizers available at its time of manufacture. So it did not take long for it to find its way into mainstream music. It has been used by Skinny Puppy, Tommy Mars, Download, Weezer, Foreigner, and Ohm."

Electrocomp EML 101

via this auction

"Rare, made-in-Connecticut Electrocomp EML-101 Synthesizer in EXCELLENT **ORIGINAL** Condition. A few minor chips on the case and it's missing the handle (what else is new?) and a few of the latches are new BUT it hasn't been modded and has ALL its original knobs and the graphics are crystal clear. Only a college inventory number is scratched over the "ElectroComp" log (see in pictures).

It's been professionally renovated by www.analogsynthservice.com including ALL NEW KEYBOARD BUSHINGS and sounds and plays great. The keyboard has a few uneven keys but otherwise you have a thick "scary sounding" 4 oscillator monster with patch bay capabilities. It's temperamental for sure and NOT a synth for the faint of heart. But it's a living, breathing analog beast that, plugged through my tape echo, provided me with hours of lost-in-space musical bliss. I have a seriously killer CMS renovated 2600 and I'm hardly ever playing so it's time to let the 101 go to a good home be it studio or stage."

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Blue EML ElectroComp 100 Synthesizer with Extras Including Flexi Disc

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via this auction

"Condition: Used (but very good condition considering its 45 yrs old)

Seller Notes: “VERY VERY RARE ..” (Much more rare than the EML 101)

Brand: ELECTRO COMP

Number of Keys: 44

Model: EML 100

Country/Region of Manufacture: United States

Type: Synthesizer

This EML 100 Synthesizer is vintage and very very rare. Less than 100 of them made in 1970/71. It is the predecessor to the EML 101. It is in good working condition. It comes with the User's Manual, 2 original patch chords and the 33 1/2 LP provided at original purchase (The Sounds of E.M.L. Synthesizers). It also comes with a 13 page EML 101 electronic schematic and a 13 page Alignment Procedure of the EML 101 which was the mass produced version of the EML 100.

Patches shown in the User Manual have been setup and verified.

Very few blemishes. Slight corrosion on metal latches (not bad). Very few scratches on outer case. Keys in perfect shape. A couple pots could use some use or cleaning..."

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IDOW: Robert Wheeler & Allen Ravenstine Release EML 101 & 200 Recordings

Pere Ubu's Robert Wheeler & Allen Ravenstine, featured in the modular documentary I Dream of Wires, have released two LPs on 12" vinyl, City Desk & Farm Report, featuring the EML 101 & 200.  You can watch a clip from IDOW featuring them and their EML systems including a custom EML in this prior post.  A double CD is planned in the future.

"In the spring of 2012, Allen Ravenstine and Robert Wheeler travelled to historic Grant Avenue Studio in Hamilton, Ontario, to appear in I Dream of Wires, a film documentary about the role of modular synthesizers in electronic music.

Canadian Filmmaker Robert Fantinatto dedicated 20 minutes to an interview with the two pioneers of industrial electronics, and their choice of the unique EML Electrocomp synthesizer as a performance instrument in Pere Ubu.

Allen Ravenstine was a composer, patron and pioneer of the burgeoning Cleveland arts scene in the early 1970's. As synthesist with Pere Ubu, playing the EML-200 and later the EML-101, he earned international acclaim for his inspired use of industrial sound before retiring from popular music in the late 1980's. His approach to live performance - rejecting the traditional tonal keyboard for an intuitive wash of modulated noise - has been much imitated but rarely equaled.

Robert Wheeler (of Home & Garden) joined Pere Ubu in 1994, playing the EML-101 and a handmade Theremin. He is a relative of Thomas Edison - a birthright that led him to take a leading role in the Edison Birthplace Museum in Milan, Ohio. In January 2010, he accepted a Grammy Award on Edison's behalf..."

Click here to continue with the full article & info on ordering the LPs.

ElectroComp EML-101 Demo with 1V/Octave Conversion Mod

Bell Tone Synth Works
Published on Aug 16, 2017

"The ElectroComp EML-101 is a fantastic duophonic semi-modular synthesizer from 1974. Bell Tone Synth Works repaired this 101 and also added a custom circuit to allow the synth, which is scaled to 1.4 V/octave with a DC offset, to accept control voltage of the standard 1V/octave scale, allowing it to be played with an external sequencer or other CV source. In this video, we're using it with the inexpensive Korg SQ-1 step sequencer. This synth also has unique FM capabilities that allow it to make some amazing sounds! For more info or to inquire about having your synth repaired or modded, visit belltonesynthworks.com."

EML Electrocomp 100

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via this auction

There's a cat in the bunch. As always, if you are going to bid on this stuff, be careful. This one is Money Order only.

Update1 via cornutt in the comments:
"Info on the EML 100 is surprisingly hard to find, compared to its better-known cousin, the 101. Here's a link to an email chain that discusses some of the differences. The 100 is actually a lot more rare than the 101."

Update2 via Laurie Spiegel in the comments; "Hi Matrix. The guy running that auction is in error. I've sent him messages saying the 200 was before the 100 but he doesn't believe me and won't change it. I want to correct the choronology before this misinfo spreads any further because once something's all over the net it's forever.

According to the 1st edition of Mark Vaile's book (the edition I happen to have here) the 200 dates from 1969, and the 100 came out in 1971. Mark gives 2 dates for the 200: 1969 on p. 128 and 1972 on p. 129. The p. 129 date was a typo.

I am just about certain from my own experience that the 100, with its black and white keyboard, was released after the 200 purely modular model and its Model 300 Controller. I visited EML in CT a couple of times and their eariler products were meant to be marketed for educational use, not live performance. Also I've owned a 100, a 200 and a 300 since the early 1970s and IMHO the 200 has a just plain older feel and style and concept.

Though my memory for specific dates may be a bit fuzzy 4 decades later, my paper records show I was hired in fall 1970 to teach at a college that had an Electrocomp studio based on the 200 modular synth its 300 controller.

If anyone has any info that differs from what I've written here, please post it. It was a long time ago.

Thanks again for a great site Matrix,

- Laurie Spiegel"

Peter Forrest's A-Z of Analogue Synthesizers confirms the order as well, although he has the 100 starting in 1970 vs. 1971. According to that book, the 200 came out in 1969 (1969 - 1980) and the 100 in 1970 (1970 - 1972). Regardless, the order is 200 followed by 100. Both books are listed in the Synth Books section.

Update3 via Sasha. The verdict is still out:

"I ran across some background info on the Electrocomp 100 from Christopher Landers who was a famous newscaster back in the day. Thought you might be interested as it seems to suggest that the EML100 was the first synth in the line and that the separate modules came later (as opposed to what Laurie Spiegel is saying here: http://matrixsynth.blogspot.com/2006/11/eml-electrocomp-100.html ). He said it would be ok to post this info and quote him.

I got mine directly from Walter Sear when I was in high school (I worked at his studio in NYC and was in the room when Keith Emerson was being taught how to work his new Moog C3). Sear had been working with Moog in a business deal until Moog brought in Musonics and Sear split. At that point, Sear found the EML guys in nearby CT and had them create a box that could take on Mini-Moog ...but with the two note deal. The Electrocomp thus became the first "polyphonic" synth--using the top and bottom notes played on the keyboard so the oscillators knew what command to carry out--and also the first device to use IC's. I believe it was later that EML came up with a "box" without a keyboard. I should mention here that Bob Moog, while being the exceptional engineer that he was ...with the higher invention of "voltage control" that permeated many more electronics systems than simply synths (such as medical devices). It was Sear who suggested using a keyboard controller (Moog was set on a resistance strip, which also showed up sitting on top of keyboards for a while). Controllers, back in those days, were the holy grail. It was Sear who experimenting early with the guitar controller. As he related to me: "We can control an oscillator with almost any instrument because we can determine what frequency the controller is making and send that information to the oscillator; the problem with the guitar and other stringed instruments is multiple strings. A guitar has six strings and you can have six oscillators but, which oscillator plays in reponse to which string?" Is that great or what?

Best, Sasha"

Update4 via mr.scappy in the comments: "I have a 100 and a blue-face 200, and each has a different address for EML screen-printed on the control panel. Both list P.O. Box H, but the 100 has the city address as Talcottville, CT, 06080, and the blue-face 200 has the address at Vernon, CT 06066. (Today the 06080 zip is specific only to MacDougall-Walker Correctional Institution. Interesting.)

All of my literature for EML synths shows the Vernon address, and the EML-100 is not included among the synths shown. Perhaps the 100 was built at the Talcottville location and all others at the Vernon location? This would seem to place the 100 first in line. Just a thought."

Update5: Sasha contacted Jeff Bachiochi who worked for EML. Here is what he had to say:

"If I'm not mistaken the 100 was the first keyboard synthy that EML produced but not the first synthesizer. The first was a studio type that was just oscillators, mixers, filters, sampler, and ring modulator connected by patch cords and manually controlled with knobs. Which blue was the original color of all EML products, the line quickly went into a brush aluminum style with etch black nomenclature. These were originally made for class room use and the blue paint used would chip off, from all the patch cord plugging and unplugging by the students. Ah, those were fun times."

followed by:

"Yes, Sasha, the first was the 200. That's how I got started with EML. My wife (then girl friend) told me that her High School music class had gotten this electronic music box and the address on the front was the local town. I stopped by the factory, which was in basement of one of the three co-owner's house. We began a long time friendship and I started to work for them as their first employee. The 300 came on line soon after using a keypad as the first crude kind of keyboard."

Update (6/29/2011) via Prosper in the comments:

"I now own this synth. It was refurbished and repaired in 2007 with the following mods. A) Filter has been opened up so the Filter Octave Switch goes one higher and one lower than on the synth. Very handy. B) For the Noise pot in the filter mixer, instead of going between white and pink noise it goes from white to OSC 1 output so OSC 1 does not have to patched into the filter mixer. Very handy.

I've pointed out the differences between the 100 and 101 on the VSE page for the 100."

Electrocomp EML-101

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via this auction

"The unit was recapped, cleaned out, and totally calibrated. This is a very early EML 101, and the power supply unfortunately was unrepairable (dead board mounted transformer), so a new power supply (much more stable and reliable) has been fitted. The keyboard has also been re-bushed with our high quality keyboard bushings.

The EML 101 is similar to the 2600 with its semi modular architecture, however boasts 4 oscillators and a multi mode filter. This unit in particular sounds especially fat and nasty. We had 2 in the shop while restoring this, and we were shocked at the sonic fatness of this one."

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