Comments on: Electronic Music Labs, INC, of Vernon CT

By: Ann T Serrie

Ann T Serrie — Thu, 23 Jan 2025 19:51:54 +0000

Jonn is still using his 101 to craft sounds in his music. He wouldn’t trade the days at EML for anything. Learning from the EML team the capabilities of the synthesizer led to his space music career.

By: Jeff

Jeff — Tue, 02 Mar 2021 01:55:04 +0000

In reply to Michael Vernacchio.

Philly, wow
My 200/300 HS dumpster find was from a tip from a younger friend:
I used the 200 in school in ’72 Blue finish, of course,
Jeff

By: Paul Masarek

Paul Masarek — Wed, 13 Nov 2019 23:51:53 +0000

I am the happy owner of an Electrocomp 500, purchased in the 80’s at a local flea market very cheaply here in south Jersey. I am mostly a drummer but have become quite expert at creating flowing soundscapes from dripping water to realistic helicopter landing without any overdubs in a live setting. The only modification I made was replacing the speed pot (rate ) with a 10 turn pot. I like the fact that I can still get the 741 opamp that is used. I was surprised to learn only 300 were made in the 10 year production. For me, the oscillators and controls are grouped in a logical way. I will continue to entertain myself with this board into my old age!

By: Michael Vernacchio

Michael Vernacchio — Fri, 11 Oct 2019 14:23:02 +0000

I bought the very first EML 100 that came into Philadelphia in 1972 , serial number 0162. I had been in communication with the company for a few months and they contacted me when their sales rep ( who wasn’t really affiliated with the company itself) was going to be in the area. We met at a local music store that generally sold & rented marching band instruments to local schools.The rep couldn’t even get a sound out of the synth and the manual hadn’t been printed yet.. We just sat there and stared at the 100. He was leaving town the next day headed to D.C. & taking the synth with him. I decided to buy it on the spot since I didn’t know when I’d get a chance to get my hands on one again. I took the EML home and spent the next few weeks teaching myself how to program this incredible instrument. I was playing with a local cover band at the time and soon incorporated the synth into our sets even doing a Solo synth/ Hammond intro to A Salty Dog by Procol Harem complete with wind/ surf& seagulls… loved the patching capabilities. I did make a couple of trips to the factory in Vernon CT. for repairs and custom mods. Sadly the 100 was destroyed in a fire after I moved to LA. I did get a chance to use an EML 101 and I found it to have a slight harsher tone than my old 100.

By: Rune Vibegaard

Rune Vibegaard — Fri, 19 Jan 2018 20:12:18 +0000

In 1976 I purchased an EML 101 with a custom wheel and
reverb. I used it to create and orchestrate music for theatre,
puppet shows, & film, in Calgary Alberta, where quite a few of these were sold. In the 1970s, U of C ‘s music dept.’, s Electronic music studio , where we had been using the large moog model 15 units as well, recommended these at that time.
I found my EML101 to have a more austere sound than the warmth of mini moog model d I had been also been using
at the local planetarium.
The EML 101 is in my opinion, a vastly under appreciated instrument, likely because so few
were made that they largely went unnoticed.
The sound is rich, sonorous and full. It bristles with
presence. The modulation possibilities offered by
this instrument are really outstanding. It has it’s own
clearly defined voice. Elegant, assertive, exciting , possibly
aggressive ; it can go over the edge if asked; but also can demonstrate a lyrical softer side. This synthesizer
was as good as anything out there, and still is.
It would be a beautiful thing for synthesizer players,
if by some miracle the EML company
could come back and reissue their fine instruments.
I still use my EML 101 in conjunction with many other
flagship synthesizers that I have in my studio.

By: Thorsten

Thorsten — Wed, 07 Sep 2016 15:52:23 +0000

Pere Ubu’s Allen Ravenstine used the 101 and the 500, if I’m not mistaken

By: Kathryn Moakler Goodman

Kathryn Moakler Goodman — Thu, 09 Jan 2014 18:08:38 +0000

After recieving and loving the Korg littleBits set for Christmas, I was hunting around on the web trying to figure out what the old synthesizer I learned on was. It was in Rockville High School (Vernon, CT), the year was 1982/83, and our band director, Mr. Darcy Davis, was teaching an Electronic Music class. He had two synths and a cheap Casio keyboard, along with 2 reel-to-reel tape recorders which we learned splicing on. After a little web research I’m now convinced the two analog synths were EML units. One was a blue box with no keys and a ton of fat patch cords. (Couple of oscillators, I think a ring modulator, noise generator, filters, envelope, amplifier, etc.) The other was similar, but had a small keyboard, a stainless steel panel, and didn’t need cords that I remember. We’d have assignments like “make a vacuum cleaner noise”, and I learned SO MUCH in that class. I went on to become a software engineer specializing in baseband frequency source instruments for testers at Teradyne and doing text-to-speech synthesis research at Dragon Systems. I also still play keys. I have to say the two courses I use most in my career from my days at RHS were Trigonometry and Electronic Music, which was made possible by the wonderful EML instruments.

I’d love to know more about the history of the company – where in Vernon were they located? What became of the founders? Did they donate or sell to the local high school? I am blown away to discover all these years later that history was made right in my own hometown of Vernon.

By: Bob Lee

Bob Lee — Wed, 17 Apr 2013 23:43:58 +0000

Jonn Serrie was EML’s “synthesist in residence” for a while. He’s now a prominent “New Age” composer/performer and has recorded a number of planetarium soundtracks. One of EML’s design engineers, Jeff Bachiochi, is at Circuit Cellar Ink magazine, where he is one of the most popular contributors.

By: Key Break | Preservation Sound

Key Break | Preservation Sound — Wed, 02 May 2012 12:05:35 +0000

[…] Above: The EML synkey circa 1976. Touted as being the first user-programmable synthesizer, this piece also has a fairly unique feature for it’s day: Aftertouch! Or as EML terms it, “Second Touch.” This advert also solves a little mystery for me… I was wondering what ever did happen to CT-based Electronic Music Labs (EML), and it looks like they ended up as part of the CT-based Kaman musical empire. Click here for some previous EML coverage at PS dot com. […]