Peter Blasser Demonstrates The Ciat-Lonbarde Plumbutter Modular Synthesizer

The latest episode of Synth Builders‘ video series on analog synth designers and builders features Peter Blasser, of Ciat-Lonbarde. 

Blasser discusses and demonstrates his Plumbutter modular synthesizer. Along the way, the video captures his unique conceptualization of the synthesizer, and how that is expressed in both the synth’s design and audio capabilities. Plus – ‘Gonzo Mode’.

18 thoughts on “Peter Blasser Demonstrates The Ciat-Lonbarde Plumbutter Modular Synthesizer

  1. it reminds me of that frustrating toy in doctors offices…the act of actually playing with it seems to have some sort of purpose but when you reach the alleged goal, you are left completely unsatisfied and try to come up with some other way of playing with it…only to finish equally as disappointed….come to think of it…it pretty much sums up life I guess…

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    1. @Eva– i have to disagree. having used plumbutter a bunch, it’s endearing for it’s idiosyncrasies. you wouldn’t use a PB like you would a DAW, or a midi keyboard, which you’d likely use to a sequence a series of consistent notes and sounds. it’s charm lies in its ability to create a rich sonic palette, which contains sounds you weren’t expecting. i actually find it very satisfying to use. but i’m a fan of these analog inconsistencies.

      what is the doctor’s office toy you’re referencing? maybe i don’t visit the doctor enough….

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      1. After watching this video I went and watched several more Blasser videos and as such gained a much better understanding of his work…the toy in doctors offices is called Rollercoaster by Anatex which actually would make an interesting tactile interface to a Blasser synth…

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    2. these sorts of devices dont really seem to be musical instruments, but rather exercises in deeply laborious conceptualization of sound engineering and sound design … so if thats your thing, im sure you would love it because the more obtuse and obscure it is, the better (apparently)

      but in terms of playing what is commonly understood as music, that doesnt seem to be the primary objective at work here… of course art professors and so forth will want to chime in with some sort of “actually…” type argument but im referring to a majority kind of opinion here, as opposed to the history of sound itself and/or including every avant garde position imaginable

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      1. it really isn’t hard to have the plumbutter be traditionally musical
        it accept triggers and gates as well as FM ins
        with something like the meng qi voltage memory you can extend the plumbutter very far

        the rollz (pulse timers) can be very evenly pulsed
        although with a little extra patching they can also easily have odd timing

        it just takes a little getting used to

        I won’t argue “what is music” because that would just be silly

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        1. anything and everything can be used to be traditionally musical – like a pair of spoons for example… thats not the point i was making

          the point i was making is regarding the most specifically intended usage of the device in question, what it excels at and therefore arguably the “best way” of using it, which is admittedly an opinion at the end of the day – but i think the argument is still very applicable considering the implications and the specifications of its design

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      2. el brujo– your “music” is NOT my music. you can make the bell-curve argument, that “music” only exists at it’s most commonly understood point…. but by advocating the average, you become average.

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        1. well, ive come to expect these sorts of hypersensitive and defensive types of responses when discussing music and art – but to be clear, i never said or implied “music only exists at its most commonly understood point”… thats an incredibly over-exaggerated interpretation of what i was saying

          nor do i advocate for someone to “become average” by proxy, but i understand how such things can certainly be a concern for many many “artists” that have a desperate need to prove themselves or demonstrate virtuosity, as that is a very common (or average) thing in such circles

          i specifically avoided advocating music of any sort, because i usually make types of music that are not widely accepted by the largest crowds – so I understand how that whole situation works, and that kind of understanding is something that you need to look at clearly from all angles and not purely from an elitist point of view

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  2. Seems like a sound source for sampling, but I must admit I am intrigued by instruments that can make unique sounds.

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  3. i find this work refreshing ,he is trying to think outside the box .
    is this machine going to be groundbraking well i doubt that ,but i’m sure it has given him even more of a understanding of pushing past the normal boundarys.
    but his next machine might just shock the world

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