"In late 1994, Rivers purchased a vintage Electrocomp 101 monophonic synthesizer from a pawn shop in rural Connecticut. He paid a fraction of what these things are currently valued at by collectors. It saw use on several "Black Hole" demos, and finally appeared on Pinkerton's "Tired Of Sex" , "Getchoo", and B-side "I Just Threw Out The Love of My Dreams". He still has it today."

" Another synth I got shortly after that was the EML-101 Electrocomp."

"Basically everything we’ve used we practically still have here. So it’s a list too long to go into. There is a wall alone that is the orginal setup of Skinny Puppy, based around a pair of Roland TR-808’s, Roland TR-909 with trigs going to many differnat devices including Sequential Circuits Pro One, Roland System 100m, ElectroComp Eml 101, Korg SQ-10, Korg MS-20, Korg MS-10, ARP 2500 and ARP 2600."

can be seen in this instagram photo

Pictured is Mark playing around with his EML 101 (connected to an EML PolyBox), sometime around 1978. I'm not sure if this made it onto any Devo recordings.

Peter Wolf is confirmed to have used the EML ElectroComp 101 synthesizer in his work with Frank Zappa, as detailed in the article titled "Little Band We Used To Play In" from the June 1980 issue of Keyboard magazine.

Info fom the 1993 Album Cover . air liquide - air liquide . (1993 blue 006) cd

Arp 2600 EML Electro comp 101/EML 400 EMS VCS 3/ Vocoder 3000/ Hifli E-mu Emulator 1/ Modular/ SP 1200 Korg MSM/ PS 3100/ PS 3300 Moog 55/ adv. Memory Moog/ Prodigy Oberheim SEM/ SEM 4 Voice/ DMX/ Matrix12 OSCar Rhodes Chroma RMI Keyboard Computer II Roland System 700/ System 100M/ SH101/ JD800/ TR909/ TR808/ TR727/ TR606/TB303 (3x)/ SH09/ SH5/ MKS7/ MKS30/ MKS50/ MKS80/ S750/ SVC350/ SPV350/ JX3P/ Jupiter 8 RSF Kobol Exp.II SCi Prophet10/ P600/ Pro One/ DrumTraks Steiner Parker Modular/ Synthecon Synthanorma Octavfilter Synergy II+ Synton Syrinx Yamaha CS 30L/ CS 15/ CS 80

Interview with Tommy Mars TM: Well it’s just amazing, when I did my audition and Frank said “You brought some gear with you?” I brought my Rhodes, and I brought my Electrocomp, and my Taurus bass pedals, and he said “what’s this?” and I undid it and I played something, and of course my signature sound was a French horn kind of brass sound that it did, it was my kind of signature, and his jaw dropped . I don’t think he’d had ever heard a synth kind of do that kind of sound in that kind of expression that it was able to have.

And I said “this E-mu you that you have?”, and he was just like so proud of his E-mu, this is so funny man!), and the only sound that he had on it , which is the easiest sound in the world to make, was a little pipe organ sound, an eight foot and a four foot, no envelope, no nothing, I said “you mean with all this that’s all you got?”(laughs), and he says “Yeah?” and I said “Well I don’t think you noticed that the Electrocomp is very similar, I could set this sound up exactly for you on the E-mu, and then you’d have five voices, you’d have complete polyphony”. And in those days that was like, you know, going to the emerald city, like follow the yellow brick road!”

In an interview titled "All Bass Players Are Failed Ukulele Players: The Arthur Barrow Interview" from October 1992, Arthur Barrow mentions using an "Electricomp" for his work on The Doors' An American Prayer, specifically on the track "The Movie". This was clarified by Zappa writer Charles Ulrich as referring to the EML ElectroComp 101.