My high school had one of these and we had to use it in one class to create some sort of sound. We weren't given much training on how synthesis worked, but I was hooked after playing around with it. I've wanted one of these ever since, but was never able to find one after I had the money to actually purchase one.
Got mine in 1975, sold it 15 years ago. Bought from Walter Sear! As much as I loved it I moved on to the convenience of software. Went to the factory a couple of times when I had some mods done. Also had some separate board modules that I mounted in boxes. A very unique synth.
Great overview of the EML 101. As a former owner, the 5-pin ? connector between the keybd and panel was a bit touchy and would put the keybd out of tune if one touched the connecting cable. So I replaced the connector with a switchcraft connector that screwed to a threaded piece (female pins) that was mounted on the panel. Did the trick.
I got into synthesis and tape composition at very young age. As a result of an association I made back then, I was able to play with one of these for hours at a time. I recorded reels of raw material that I thought I might use someday. I never found the tone of this instrument to be particularly rich as the ARPs or Moogs but the modulation capabilities were complex.
Fantastic! Thank you for taking the time to make such a thorough and interesting video. I really felt I learnt something there as well. P.S. Lovely cat.
one note: the envelope trigger input patch point (mentioned at 17:59) is a little confusing, in that it only triggers env 2, not env 1. the way it's laid out would imply that it triggers both, but it doesn't.
i was wondering whether the modulator was working correctly on mine, because i don't hear any effect until the pot reaches the "ring" area and above. from what i can tell, yours is working the same way. is there something i'm missing about the effect this control is supposed to have from "off" to "ring?"
There is actually a (Windows only, sorry) VST adaptation (the architecture, not a sound clone) by Kevin Brown called "ElektroComp 102". Also, my first thought on seeing your face: "If Dean Corso from "The Ninth Gate" was a synth guy..."
The 101 seems to have been conceived as kind of a poor man's ARP 2600, not nearly as elegantly designed but fairly well equipped. That filter especially has a gritty crudeness to it that adds to the synth's unique character. Im curious what sort of electronic design it is, it sure sounds nothing like a transistor or diode ladder.
