I thought I would use this opportunity to say Hi.
I'm a new member of your group. I own a EML 101 and two EML
500'ss. I also own a lot of other vintage synths (like 80, I have a
problem.....)
Right as you are about Todd Rundgren being in Woodstook area of New
York. He has had a studio there for years (although I'm not sure he
does any longer). His first synth that he recorded with is a EMS
VCS3 with a DK1. He later used that synth and a EMS PVC as a guitar
synthesizer on "A Wizard a True Star." This is about when he hooked
up with Roger Powell, who had a nearly infinite supply of Arp
equipment available that dominated Todd's sound until the late
seventies when Oberheims and Prophet V's took over.
--- In
emlsynth@yahoogroups.com, "nicholas_kent"
<nicholas_kent@y...> wrote:
>
> > Vernon Connecticut was just a stone's throw away from the
> Woodstock area
> > and a lot of well known musicians lived and recorded around
> there during
> > EML's years of operation. That includes some real heavy duty
> gearheads and
> > keyboard geeks like Todd Rungren and Garth Hudson. I'd bet
> they saw and
> > twiddled some EML gear at some point.
>
> Good point though after thinking about it it would seem to me
> that those heavy duty acts would be coming there to retreat and
> work at studios with a special reputation and vibe. Not that I
> know or am saying the studios with EML weren't the main draw
> studios but one would think that EML sales would be best for
> studios wanting to establish themselves, get a little more and
> different gear for their investment. It would be more like
> _prospective_ gearheads that this would be really appealing to,
> not the acts that already had their synth requirements down,
> owned custom gear, etc.
>
> As for John McLaughlin, and my contention that EML seemed
> nearly unknown in England until the internet, wasn't he mostly
> U.S. based during EML's prime? (I don't know his bio that well).