Sunday Synth Jam: This Berlin School style sequenced synth jam takes a few minutes to take off – but then the hypnotic synth sequences and guitar work really kick in.

via angelometz:

I started patching it when the power went down. I finished patching in the dark!

Let’s pretend for a moment that the recession doesn’t exist and see what these Buchla bad boys have to offer.

System #1

The first system contains 8 panel units and sufficient blank panels to fill the voids.

• 1 Model 201e – 12 Powered Cabinet
• 1 Model 225e Midi Decoder/Preset Manager
• 1 Model 227e System Interface (2 panel units)
• 2 Model 261e Complex Waveform Generator
• 1 Model 281e Quad Function Generator
• 1 Model 291e Triple Morphing Filter
• 1 Model 292e Quad Dynamics Manager

Total Panel units – 8
System Price – $9950

The Addition of a Router, a Source of Uncertainty and an Arbitrary Function Generator bring us to the second suggested system:

System #2

• 1 Model 201e – 12 Powered Cabinet
• 1 Model 210e Control and Signal Router
• 1 Model 225e Midi Decoder/Preset Manager
• 1 Model 227e System Interface (2 panel units)
• 1 Model 250e Arbitrary Function Generator (2 panel units)
• 2 Model 261e Complex Waveform Generator
• 1 Model 266e Source of Uncertainty
• 1 Model 281e Quad Function Generator
• 1 Model 291e Triple Morphing Filter
• 1 Model 292e Quad Dynamics Manager

Total Panel units – 12
System Price – $14,000

Here’s a fully loaded 18 panel unit system that features the 222e:

System #3

• 1 Model 201e – 18 Powered Cabinet
• 1 Model 210e Control and Signal Router
• 1 Model 222e Multi Dimensional Kinesthetic Input Port (4 panel units)
• Model 225e Midi Decoder/Preset Manager
• 1 Model 227e System Interface (2 panel units)
• 1 Model 250e Arbitrary Function Generator (2 panel units)
• 3 Model 261e Complex Waveform Generator
• 1 Model 266e Source of Uncertainty
• 1 Model 281e Quad Function Generator
• 1 Model 285e Frequency Shifter / Balanced Modulator
• 1 Model 291e Triple Morphing Filter
• 1 Model 292e Quad Dynamics Manager

Total Panel units – 18
System Price – $19,650

System #4

Here’s a system with 24 panel units, all crammed into our new 201e-24 cabinet. This is not a system to be packing around from gig to gig, but it’s certainly great for the studio.

• 1 Model 201e – 24 Powered Cabinet
• 1 Model 210e Control and Signal Router
• 1 Model 222e Multi Dim Kinesthetic Input Port1 Model 225e Midi Decoder/Preset Manager
• 1 Model 227e System Interface (2 panel units)
• 1 Model 250e Arbitrary Function Generator (2 panel units)
• 1 Model 256e Control Voltage Processor
• 4 Model 261e Complex Waveform Generator
• 1 Model 266e Source of Uncertainty
• 2 Model 281e Quad Function Generator
• 1 Model 285e Frequency Shifter / Balanced Modulator
• 2 Model 291e Triple Morphing Filter
• 2 Model 292e Quad Dynamics Manager
• 1 Model 297 Infinite Phase Shifter

Total panel units – 24
System price – $26,800

System #5

System #5 substitutes a 206e mixer / preset manager for the 297 Infinite phase shifter and two smaller cabinets for the monstrous 201e – 24.

• 2 Model 201e – 12 Powered Cabinets
• 1 Model 206e Mixer / Preset Manager
• 1 Model 210e Control and Signal Router
• 1 Model 222e Multi Dim Kinesthetic Input Port
• 1 Model 225e Midi Decoder/Preset Manager
• 1 Model 227e System Interface (2 panel units)
• 1 Model 250e Arbitrary Function Generator
• 1 Model 256e Quad Control Voltage Processor
• 4 Model 261e Complex Waveform Generator
• 1 Model 266e Source of Uncertainty
• 2 Model 281e Quad Function Generator
• 1 Model 285e Freq Shifter / Balanced Modulator
• 2 Model 291e Triple Morphing Filter
• 2 Model 292e Quad Dynamics Manager

Total Panel units – 24
System Price – $27,050

Their next system offers one 12 panel unit and one 18 panel unis:

System #6

• 1 Model 201e – 18 Powered Cabinet
• 1 Model 201e – 12 Powered Cabinet
• 1 Model 206e Mixer / Preset Manager
• 1 Model 210e Control and Signal Router
• 1 Model 222e Multi Dimensional Kinesthetic Input Port (4 panel units)
• 1 Model 225e Midi Decoder/Preset Manager
• 1 Model 227e System Interface (2 panel units)
• 2 Model 250e Arbitrary Function Generators (2 panel units each)
• 1 Model 256e Quad Control Voltage Processor
• 6 Model 261e Complex Waveform Generator
• 1 Model 266e Source of Uncertainty
• 3 Model 281e Quad Function Generator
• 1 Model 285e Frequency Shifter / Balanced Modulator
• 2 Model 291e Triple Morphing Filter
• 3 Model 292e Quad Dynamics Manager

Total Panel units – 30
System Price – $33,300

And finally, the gourmet system, with all but the kitchen sink squeezed into two 18 panel unit cabinets:

System #7

• 2 Model 201e – 18 Powered Cabinets
• 1 Model 206e Mixer / Preset Manager
• 1 Model 210e Control and Signal Router
• 1 Model 222e Multi Dimensional Kinesthetic Input Port (4 panel units)
• 1 Model 225e Midi Decoder/Preset Manager
• 1 Model 227e System Interface (2 panel units)
• 2 Model 250e Arbitrary Function Generators (2 panel units each)
• 1 Model 255 Control Voltage Processor
• 1 Model 256e Quad Control Voltage Processor
• 1 Model 260e Duophonic Pitch Class Generator
• 6 Model 261e Complex Waveform Generator
• 1 Model 266e Source of Uncertainty
• 4 Model 281e Quad Function Generator
• 2 Model 285e Frequency Shifter / Balanced Modulator
• 2 Model 291e Triple Morphing Filter
• 4 Model 292e Quad Dynamics Manager
• 1 Model 297 Infinite Phase Shifter

Total Panel units – 36
System Price – $39,80

So there you have it. These are out of the price range of people that spend their spare time blogging about synths – so leave a comment and let me know which one you’re going to be buying!

DJ Thomas White demos his resonant low-pass gate, a synth DIY project. More info on the project is available at White’s site.

via djthomaswhite:

www.naturalrhythmmusic.com

Here are some samples of what you can do with the Resonant Lopass Gate PCB I offer at my website shown above. You will find commentary about this DIY project including samples of running a guitar through it, a voice through it, and music from an iPod through it. Modules used include the Oakley Sound Preamp/Envelope Follower Module, and the Lopass Gate module with a bit of TC Electronic M350 reverb at times. Songs are shown for demonstration of this module only.

Thanks to Don Buchla for giving me permission to make these PCBs! A true gentleman and scholar of electronic instrument design!

Image: kenji1127

Saturday Synth Porn: A great shot of a vintage Buchla 100 modular synthesizer.

via the Synthtopia Flickr Group

This video offers an audio demo of drum synthesis using Plan B modular synthesizer modules.

Patch details below.

via bigcitymusic:

Plan B offers some alternative modules to your everyday “East Coast” style modules. In this patch we’re using a multitude of different modules, including some Cwejman and Analogue Systems.

The heart of this patch is the incredible sounding Model 13 Dual Timbral Gate. The M13 is in fact a low pass gate which is basically a cross between a low pass filter and a VCA. This is what gives us the beautiful, drum-like decay to the random pulses. The actual envelope is super short but the vactrols in the circuit ring longer.

We’re also using some random voltages in here. The Model 24 Heisenberg Generator is basically a sample and hold module, well, two of them really. The bottom section of the M24 allows you to move to the next random voltage when it receives a trigger or gate pulse. The Plan B Model 15 oscillator and the Cwejman VCO-6 are our sounds sources, each having it’s frequency modulated at a high rate. This is what gives you the hand slapping sound that a typical hand drum would have.

The Plan B Model 17 is also being used to great effect. The Triple Event Timer senses how high the voltages coming in are. There are three pots to set the threshold, deciding when a pulse is allowed through.

This is a sneak preview/teaser, via moonmodular, of “the last analog moon module you´ll ever need…”

When it comes to teaser, there’s usually a little steak to go along with the sizzle.

If you’re a Moon Modular user and you have any ideas on this, leave a comment!

via audiolemon:

It was 1906. “Get Music on Tap Like Gas or Water” promised the headlines, and soon the public was enchanted with inventor Thaddeus Cahill’s (1867-1934) electrical music by wire.

The Telharmonium was a 200-ton behemoth that created numerous musical timbres and could flood many rooms with sound.

Beginning with the first instrument, constructed in the 1890’s, and continuing with the installation of the second instrument at Telharmonic Hall in New York, the rise and fall of commercial service, the attempted comeback of the third Telharmonium, and ending with efforts to find a home for the only surviving instrument in 1951, this documentary provides a definitive account of the first comprehensive music synthesizer.

Click here to view the embedded video.

Note that the soundtrack appears to be a modern approximation of the sound of the Telharmonium.

If got any additional information on the soundtrack or the Telharmonium, leave a comment!

Here’s 2:53 seconds of glorious, HD synth action, taken at the recent Trash_Audio Synth Meet 3, held Sunday, Aug 16th:

Surachai notes:

We saw the entire range, from noise boxes to full on modular systems in plenty of different formats. If it makes noise, we’re into it.

It looks like the event was a great synth meetup.

Unfortunately, meetups like these still appear to be a guaranteed way to avoid any chance of meeting women involved in music. Or as Stringbot notes, “Who forgot to invite the girls?”

If you’ve got any ideas on how synth meetups could be made more inclusive, leave a comment with your thoughts!

This video, via Synthfool, captures a Buchla Series 100 modular synthesizer in action.

Per Buchla:

The Modular Electronic Music System is composed of functional modules, each designed to generate a particular class of signals or perform a specific type of signal processing. Each module is 7 inches high and 4 1/4 inches (or an integral multiple thereof) wide. Up to 25 modules sharing a single power supply may be assembled in a single cabinet to form a super-module.

The system employs three varieties of signals, each with a distinctly different function:

Audio signals, the raw material of electronic music, are formed by various sorts of generators (sine, square, sawtooth, harmonic) or are produced externally (tape loop, radio, microphone). In composing a piece, signals may be filtered, gated, mixed, modulated, or otherwise processed. A standard level of 0 dB (ref. 600 Ohms) is employed for audio signals within the system.

Control voltages, used to determine frequencies, envelope characteristics, amplitudes and other parameters, are generated by keyboards, programmable voltage sources and envelope generators. The standard control voltage range is from 0 to 15 volts.

Timing pulses are originated by keyboards, programmable sequencers, and pulse generators. They are used to trigger notes, open gates, or initiate chains of musical events. Timing pulses are about 15 volts in amplitude.

The rules for interconnecting are straight-forward. Any number of inputs may be connected to a single output. Timing pulse outputs may be paralleled and connected to one input. The system output may be derived from any module; output is of sufficient magnitude to drive line inputs on tape recorders or sensitive inputs on power amplifiers.

Image: Yotsuba&!

Saturday Synth Porn: A Buchla 200e, with new modules freshly installed.

via the Synthtopia Flickr Group

Synthtopia regular, blogger, remixer and synth geek chanteuse Tara Busch sends word about a very cool limited edition box set of her debut album, Pilfershire Lane:

Maf (Lewis) & I were given the freedom to fill the box with whatever our hearts could dream up.

As the album was complete, Maf let rip his exquisite design sensibilities to come up with 3 more luscious gems with which to fill the box:

• a one off Polaroid 600 photo
• a beautiful 16mm film and, last but not least
• a stainless steel pop- up model of my stage set-up with interchangeable face plates for the synths. This also includes a recordable mini sampler circuit for the model, complete with a microphone and speaker..

The pop up model is presented in the box as a kit that you get to assemble (And of course we encourage all the circuit bending & hot rodding & modding to your hearts content!)!

This thing looks like $50 of cool.

Busch has put together some great music on Pilfershire Lane and, with Lewis, has come up with fun artifacts for the box set. Putting a Polaroid and the film segment in the box makes each set unique. And the pop-up model lets you complete a process that Lewis and Busch started.

Details on the box set below. And, if you’re not familiar with Busch’s music , check out her video for This Is Love.

Here’s what’s in Busch’s box set:

• CD Copy of Tara Busch’s debut solo album, Pilfershire Lane, with deluxe digipack cover.
• A 7″ × 7″ stainless steel mini popup stage set. This includes working microphone, speaker and circuit with record and play feature. The set comes with popup Korg MS-20 and Minimoog, but also included are interchangeable stainless steel face plates for the Buchla 200e, MacBeth M5, Analogue Solutions Vostok, ARP Odyssey, Micromoog and Moog Etherwave Theremin.
• A 100th cut strip of a 16MM B&W film created specifically for the box set. This 16mm movie is the only copy that will ever exist and is cut equally between the 100 boxes.
• An original one-off Polaroid 600 picture of Tara taken at her studio in Los Angeles.
• Certificate Of Authenticity signed and numbered by the artist
• All in a beautifully made 7″ × 7″ × 2″ rigid cardboard box.

The box set is limited to 100, and is available at Tummy Touch records for £29.99, which includes shipping any where in the world.

Tracks:

• Over The Radio
• Pilfershire Lane
• Third Speed
• Imaginary Audience
• Superfriends
• Get Drunk & Fuck
• Pour The Bottle
• Tag
• This is Love
• We Can See Mars

This gorgeous video captures a performance of Oraison, composed by Olivier Messiaen in 1937 for six Ondes Martenot, transcribed for Buchla 200e synthesizer and Haken Continuum Fingerboard controller and performed by Richard Lainhart in 2009.

Here’s Lainhart’s background for this performance:

From the time I first touched the Haken Continuum, I’d wanted to use it to play a composition by Olivier Messiaen called “Oraison”. I first heard “Oraison” years ago as a student of electronic music, and had fallen in love with its simple, beautiful harmonies and profound sense of mystery.

“Oraison” is not only a lovely piece of music, but has historical interest too – it may be the first piece of purely electronic music written expressly for live performance. Also of note is that Messiaen re-arranged “Oraison” for cello and piano and used it for the fifth movement of “Quartet for the End of Time”, which he composed in a German prisoner-of-war camp in 1941; the “Quartet” is one of the great classics of 20th-century music.

“Oraison” (”prayer”) is from a suite of pieces for six Ondes Martenot called “Fete des Belles Eaux” (”Celebration of the Beautiful Waters”), composed for the Paris International Exposition in 1937. The Ondes Martenot was among the first electronic instruments, and is still among the most expressive. The Continuum’s own expressive qualities seemed at least the equal of the Ondes Martenot’s, while allowing for polyphony and the possibility of performance of the work by a single player. I transcribed “Oraison” for my Buchla 200e/Continuum system, programmed the modern system in homage to the sound of the Ondes Martenot, and now offer this performance to you.

Fantastic, isn’t it? Leave a comment with your thoughts!

This is a preview of a DVD portrait of synth pioneer Eliane Radique.

Summary:

Her life journey has been remarkable. At the end of the fifties, she studied in Paris with musique concrète pioneers Pierre Schaeffer and Pierre Henry, whom she also assisted, notably for the premiere of L’Apocalypse de Jean. During the sixties she began composing with primitive electronics (feedback and asynchronous tape loops), but found little recognition for her research in France.

In New York in the early seventies, she found understanding and emulation, exploring emerging minimalism with James Tenney, Charlemagne Palestine, Phillip Glass, John Gibson, and Steve Reich. Her absolute allegiance to electronic sounds began during this period. Since then she has composed on the best synthesizers of the time: Buchla, Moog, Serge, and then ARP, which would become her fetish instrument. She collaborated with Robert Ashley, who sang on Les Chants de Milarepa. She has composed about two dozen works, which she has presented and continues to present at numerous prestigious venues and festivals in the United States and Europe.

In 2004, upon Kasper Toeplitz´s request, she started instrumental compositions for one or more performers, with whom she works in a close collaboration during the compositional process. This work gets quickly focused on pure acoustic sounds, in an incredibly delicate timbral way, which extends, without aesthetic rupture, her electronic work. Notably between 2004 and 2009, she completed a cycle in three parts “Naldjorlak”, for Charles Curtis on cello, Carol Robinson and Bruno Martinez on basset horns. She has now stopped her electronic work.

Emmanuel Holterbach
(Translation Leslie Stuck)

Buchla 200e 18052009 features a little Buchla 200e modular synth glitchtronica.

via cray56

This demo video features the Malekko / Wiard Borg Filter, a modular synth filter designed by Grant Richter described as a cross between a Buchla low pass gate and a Korg MS-20 filter.

via bigcitymusic:

Here’s the first installment of a series of videos of the new Malekko / Wiard Borg and Boogie Filters.

The Borg is an incredible mutant module birthed in the mind of designer Grant Richter of Wiard. It’s a cross between a Buchla low pass gate and a Korg MS-20 filter. Thanks to Malekko Heavy Industry the module is now in Eurorack format and it sounds amazing!

We are sequencing a Cwejman VCO-2RM sine wave oscillator with an Analogue Solutions Oberkorn MkIII. The gate output of the sequencer is triggering a Plan B Model 10 Polyphonic envelope set to a really short pulse (really, really short). Using this type of envelope with a regular VCA would result in a click, no tone.

The Borg plays nice in this instance but the next video will show the meaner side of this beast. There’s actually a jumper you can remove from the back pcb which gives you an extra large helping of resonance.

The “Peaking BP” is actually a pot with a switch. In the off mode, fully CCW, the Borg is in VCA mode. When you start to turn it clockwise it begins to take on a whole new character. The knob at the right we’re adjusting is the CV input amount. This also has a big effect on the character of the low pass gate sound. Malekko Rocks!

P.S. The sweet blue LED does light with every trigger pulse. You just can’t see it because of the frame rate of the camera or something.

This synth porn video captures the mind-exploding room full of synthesizers & modulars at AHNE’09.

Better than the gear porn, though, may be the random eavesdropping on conversations.

via hamsterdunce:

Annual gathering of ANHE (Analog Heaven Northeast) in Bolton, MA.

Best turnout yet with a wide variety of electronic music industry cornerstone products (both new and vintage) on display.

Image: parasitk

A lovely, evocative photo of a classic Electric Music Box taken at AHNE 2009.

See parsitk’s full set of photos at Flickr.

Synthfool tests a Buchla 100 during restoration:

This instrument belongs to Tom of The Chemical Brothers and was built in the late 1960’s.

It’s one of two cabinets, the other now being finished.

It is an all discrete analog machine with not a single IC inside. Even the sequencer is an all transistor design.

Richard Lainhart live performance at the Arts Center of Capital Region 3/28/09.

Six sections of the performance are embedded above. Also, check out the intermission footage, below, which features Lainhart talking tech on the Buchla 200e and the Haken Continuum Keyboard.

It looks like it was a great show. If you happened to make it to Lainhart’s show, leave a comment with your impressions!

Click here to view the embedded video.

via rustyanalog:

Richard Lainhart, award-winning composer and filmmaker, presented a concert of live electronic music at the Arts Center of the Capital Region, featuring new works and improvisations for high-definition film projection and synthesizer in quadraphonic sound.

Richard performed with his Buchla 200e modular analog synthesizer, controlled by the Haken Continuum Fingerboard, an innovative 3-dimensional keyboard.

Image: mathotspot

In this fantastic shot, Blindoldfreak, aka NIN’s Alessandro Cortini, plays the Buchla 200e modular synthesizer.

Captured live at Oscar Peterson Hall 30.01.09.