Beautiful capture of a classic composer
This is my first video since I changed my modular system to all Eurorack. It is done just using step sequencers again. this time it uses the new Modcan Touch sequencer and two Analogue Solutions Oberkorn 3.
By the way I just needed to throw in some Buchla percussions to complement this post:
“An early experiment. all sounds initially generated by the 272e Polyphonic FM Tuner heavily processed by the 285e Frequency Shifter and 291e Triple Morphing Filter.”
This module is the e series reincarnation of the 285. A long time coming, but well worth the wait.
The top section performs frequency shifting; up and down outputs are simultaneously available. The reference frequency can be externally applied or internally generated; the latter can be voltage controlled and f.m. modulated. The bottom section is independent, and functions as a balanced modulator of applied signals. The degree of modulation is voltage controlled, and the reference frequency can be internally generated or externally applied, as in the frequency shifter. A separate output is dedicated to classic ring modulation, a subset of balanced modulation. All settings of the 285e can be stored and retrieved with the 225e or the 206e preset manager.
Symphony or Cacophony? Wonderful Buchla Alien Sound-Scape one take improv. Focus is on the analog sounds created with this amazing modular synthesizer. The Space Echo (Roland RE-301 Chorus Echo) is patched into the signal path of the Buchla – the input mix into the RE-301 is manually controlled using gestures from the 222e controller… which is also used as mixing device (controlling the 292e). Everything then is ran through a T-Resonator for stereo reverb.
Background info: Some fairly aggressive analog tones crunching out of the Buchla. The weird main sequence was created and being played using the 281e + 255 and 254v – reminded me of some work I did years ago w/ a VCS3…. Mega FM of the 258v’s second OSC and you get “Dalek Dance Party”
I am using the Apple camera connector and the MAudio Uno to connect to the Buchla midi port from the iPad. The left XY pad is controlling the symmetry and timbre of the 261e. The right XY pad is controlling the waveshape of the mod osc, the morph of the 259e, and the panning of the 259e. I am playing a mix of the 261e mod and principle oscillators with the keyboard. Delay is from the Korg KP3.
Nice demo featuring the Octatrack:
Loaded up the Octatrack with some loops and hits. Everything but the main drum loop is from either the Buchla 200e or old recordings from when I had a eurocrack system. TResonator goes from subtle to downright nasty as I test my limiters. Check your ears and your levels on this one. Slider P-Locks the drum track delays for the pseudo Karplus-Strong sounds.
This is a drone with lots of FM. The mod osc of the 261e is modulating the frequency of the principal osc and the ZOe. The mod osc of the 259e is modulating the frequency and the morph of the principal osc. The pulse wave of the ZOe is going in to the 291e which has the frequency being modulated by one stage of the 281e.
A Dual Arbitrary Function Generator (DARF) closeup within a Buchla 200e modular synthesizer.
In this video:
A little self-generating patch with DARF and 266e et al.
Incontri di fasce sonore is one of Franco Evangelisti masterpieces. Recorded in 1957 at WDR, Cologne, it is one of the classic scores of the integral serial music era. This is a preliminary study to investigate the possibility of playing 1950s serial music with the Buchla synthesizer and Max/MSP.
“I’ve programmed 315 mixtures of 7 sinusoidal tones in Max/MSP, following the score’s instructions,
then I’ve played them freely in the Buchla, creating a variation piece.”
• Sound generation: MAX/MSP
• Music interface, amplification, spatialization, ring modulation, frequency shifting: Buchla 200e
• Reverb: Jomox T-Resonator
• Reverse mixtures & reverb: EHX2880
Video featuring the Buchla 200e.
“The Buchla 200e is a 21st century rebirth of the 70′s classic 200 series analog modular systems from Buchla. It is still an analog synthesizer, but with some 21st century improvements, most notably the addition of MIDI control, patch memory storage and digital hybridization. Other improvements include internal MIDI buses, more voltage controlled parameters, a router for signals and control voltages, velocity sensitivity, and a redesigned output section of the complex oscillator module. A few new modules have also been added including a duophonic pitch class generator and a triple morphing filter.
The 200e may be new but it is still a classic modular system. That means potential customers must start with an empty cabinet, and select the synthesis modules from the 200e series to design the system to their personal needs. It is even possible to add some of the original classic 200 series modules to it, and to add the new 200e series modules to an original 200 system. With five cabinet sizes to choose from (from 2 panels to 18 panels), no two systems may look alike, and they can range from just a module or two to the complex analog beast pictured above.
The 200e series is not exactly analog either (nor digital). The 200e series is truly an analog-digital hybrid modular system with an analog user-interface but a state-of-the art underlying electronic system designed to provide stable, dynamic musical sounds with exceptional sonic quality. Buchla’s engineers sought the best possible designs for their modules which meant that in some cases the signal path may be truly analog, while in other cases they may in fact be digital. Almost all analog signals are also controlled by digital componentry for maintaining stability or to enable patch storage, for example. Speaking of patch storage, the 200e will only store knob settings and switch position but not patch cable routings.”