eml synthesizers

>While everything you say is conceivable it just doesn't seem likely. It

made sense that you knew about it, but then you were devouring local
magazines because of your interests.<

As I mentioned, John McLaughlin used EML, so I don't think it was impossible
for other Brits to know about, obtain, and use, especially those that may
have had access to the leading muso mags like Contemporary Keyboard.

The company didn't have strong marketing or PR; they never much publicized
who used their products. I only learned about John McLaughlin from EML
people directly--I think it was Jonn Serrie, EML's synthesist-in-residence
for a few years, who told me. The company was founded and run by
techno-geeks like Dale Blake and Norm Maillard (who left to found Synare).
They had a director of marketing, John Mozzi, for a while in the mid 70s. I
bumped into him again a few years ago when he was a sales engineer for Akai
in Los Angeles. After he left, as I recall, Dale Blake partially absorbed
the marketing functions--which meant not much was done.

>Actually what was the release date on the 400? 1978? (from Vintage

Synth Explorer)<

I first saw it in 1976. I think it appeared in their ads for at least a year
or so before then.


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>
>
> >Actually what was the release date on the 400? 1978? (from Vintage
>Synth Explorer)<

I first saw a 400 in a small, private but well established recording
studio when I was living in upstate New York near the town of Woodstock I
can't pin the time down but it had to be no later than '78. ( and I can't
recall the name of the studio either but no, it wasn't Bearsville) So with
that and other connections to local music shops, etc, EML gear was getting
their name around.

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.

> 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).

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).