#Buchla Music Easel

[catsonsynthesizersinspace]

COSIS x Buchla easel weasel prints! Shipping worldwide. Available here... https://www.catsonsynthesizersinspace.com/shop

[transpondster]

User interface for Buchla Easel V app from Arturia, which simulates one of Don Buchla's original electronic music systems

[changterhune]

FRONTIERS CHAT

On Monday Sept. 4 I did a livechat on Bandcamp during the FRONTIERS listening party. I’ve edited it for coherence. I hope it sheds some light on the music and me the music maker.

I will talk a little bit about what FRONTIERS is about. I'll split it into the meaning, then the music, then the recording unless it's still just me. Okay, so about the music itself. What I wanted to do was gather newer music I've been working on. My last 2 releases were of older - but still balls out awesome! - tracks. Since Jan '23 I've been working on both my recording and composing skills. Both have improved I believe.

I guess FRONTIERS is about 2 things: expanding your horizons and letting yourself groove. By that I mean allow yourself to explore and learn, educate and illuminate yourself. FRONTIERS for me encapsulates one of the few resolutions I've made at New Year's Eve and kept. And that was to get out of my own way. So that I could explore the frontiers.

With SUBTLE DISTINCTIONS I created something a bit lighter and peppier than my usual stuff. I hope. I think that's what the EP is about to be honest. HOPE. It's something I've not had a lot of lately. But over the course of this year things improved immensely and it seems like maybe there's some sunlight up ahead. What the songs on FRONTIERS have in common is they're all pretty upbeat, brighter in sound. I've been working on more space in my recordings and FRONTIERS is the newest and best example of that.

My tracks have always had a lot going on tho I came to realize they were sometimes muddy and unclear. I actually discovered that driving back from my sister-in-law's funeral in February. I was playing tracks for my wife on the drive back and half of them sounded muddy with a lot of the highs lost.

Of course a 2018 Subaru Forester isn't a great listening environment but it still sounded blech. When I got home I listened on my studio monitors and read up online and came to realize that I needed to up my recording game. So I did and I'm happy to say that not only I think they sound better but my beta listeners all agree they do. "Modal Auxiliary" is a great example of a lot of soundscaping and sound bed taking up space while the actual melodic/harmonic/ percussive stuff is up front. It was fun to craft it to mix the more ambient soundscape parts with the melodic ones. I reeeeeaaaaallly love how the last half of the song is pretty much just audio sludge.

SOMETIMES I do wonder if my outros are too long but that's what my beta listeners are for. They'll tell me if it is too long. And you can blame Autechre for that. After decades of their long, deconstructed endings it's one of my favorite things to do. Oh man that ambience at the end always gets me. "So CRT what's up with your titles?" Great question! OUTPATIENT is sort of about my time in an outpatient program. hence the name. Now that was a fun one, too, because the main synth parts are almost all Arturia plugins. The Buchla Music Easel is especially wild. 

This and INSECURITY can best be summed up as inspired by Meat Beat Manifesto. I got sick of A/B comparing my songs to MBM songs. I thought I was doing everything right but they still sounded weak. So I went to the woodshed so to speak (the real one is full of spiders), studied and I think this track and INSECURITY both slap about 60% as much as an MBM track. Okay 50% but still I just want to make big bangers sometimes ya know? Boom bapp beats, dub delays, noisey shit! What's funny to me is how all it takes is a little extra time and a little tweaking and then BOOM the track just opens up! Long ago a friend said it's all about panning & EQing which I came to find is 2 out of 3. I'd say the 3rd part of that is gain staging. It's more technical than I want to get into now but it's made all teh difference in my mind. About 1/2 way through OUTPATIENT there's a big long ambient part that I sometimes wondered was too long. Now I think it works as a break between the two parts. A… frontier if you will.  After 6 minutes in the track is basically a long slow fadeout lol I love how it all combines into this weird, glitchy thing where all the loops go in and out then come together. The noise gets big and brash then slowly washes out. The last 2 minutes are a nice bit of ambience themselves. I even thought about breaking it into 2 tracks but they don't work either alone or as a shorter track. You need to hear the whole damn thing to get the entire idea. Imagine being only shown one square foot of the Sistine Chapel at a time? Okay my work isn't on the par of Michelangelo but you get what I mean.

Now INSECURITY was actually never supposed to be on an album. It's a track I started then used as my guineau pig for teaching myself about recording. And in the end it ended up sounding pretty dope. When I sequenced this ep I was surprised how well it worked with the other tracks. And that beat is straight up MBM. Boom boom bapp! Well kinda.  I have become obsessed with one section of this song at about 4:15. This break came out so smooth. Last for almost a minute. Almost as funky as Funky Drummer! And the buildup after works nice too I think. I will say I'm considering 2 followups to FRONTIERS. One will be a remix and the other will be an ep exploring what separates frontiers... Well I hope I've enjoyed learning a bit more about FRONTIERS and my methods. Or madness. 

- CRT

[experimental-reminiscence]

Experimental Reminiscence [8:52, .WAV, 48 kHz, 24-Bit] Final task of course at Elektronmusikstudion EMS 2022.

Presentation:

Due to my work with graphics and digital imagery, I early became curious about AI-generated images. When the Midjourney service became available, I signed up for the beta version and started exploring what was possible. I quickly got hooked on rendering images of different environments with elements of plants, appliances, and synthesizers, among other things. The rendered pictures gave me a sense of "phantom nostalgia" – a sense of a place and time that never really existed. These images have been the basis – as a reference point and source of inspiration, a feeling to start from – in my exploration of the Buchla and Serge systems at EMS, and in the recording sessions in my own studio.

To have a structure to relate to, I asked the artificial intelligence for a graphical score for the instruments I intended to use and the AI ​​responded with an image of various blocks and little squiggles. To further concretize and set up a framework, I decided that the piece should stick to the C Minor scale, keep a tempo of 72 BPM and last about 8-9 minutes. I measured the blocks in the score to 159 Bars and divided them into color-coded sections in my DAW. This became the map that I related to in the cutting and mixing process.

The recordings were done as individual explorations and improvised jams. Instruments and effects used are: Serge System in Studio 6, Buchla 100 Series and small 200 system in Studio 3, Buchla 200 in Studio 4, EMS SYNTHI A, Buchla Easel Command, Korg MS20 mini, Synthstrom Audible Deluge, Empress Reverb, Roland Space Echo RE20, Earthquaker Grand Orbiter, EHX Bad Stone, Meris Polymoon, BOSS BX16 mixer, Reason 12, Eksperimental Sounds Ouroboros, Reverb AK11, and FX3180, FabFilter ProQ 3 EQ, field recordings of crackles and bubbles with Zoom 4Hn.

The hardest part during the process has been letting go of the idea of ​​"traditional" music and finding a form that feels good. I wanted to explore all the instruments involved and let them have a role in the piece which easily became cluttered and bordered on chaos, but I think in the end I managed to balance just right on the edge of cacophony.

[ordosmarkzero]

I released some music today

It's a selection of tracks I made whilst getting to grips with Arturia's version of the Buchla Easel.

[hisuix01]

幻のブリーフケース型シンセサイザー、“Buchla Music Easel”が誕生50周年を記念して限定復刻 - ICON

[dustedmagazine]

Melos Kalpa — S-T (Hands in the Dark)

This self-titled album is likely Melos Kalpa’s first and last recording, since its founder, the London electronic composer Tom Relleen died four years ago, months rather than years after the basic tracks were recorded. His untimely death at 42 puts an end to an entrancing experiment, in which free-ranging, in-the-moment improvisation undergoes a kind of post hoc composition via electronic cutting and rearranging.

Both the players and their instruments are unusual. Ringleader Rellen plays a Buchla Music Easel, as well as more conventional bass, vibraphone and mellotron. His partner Marta Salogni takes on tape manipulation, commanding various decks: a Revox PR99 and two AKAI 4000DS Reel to Reel Tape Machines. David John Morris of Red River Dialect plays guitar, as you might expect, and a cuatro puertorriqueño, as you might not. Jem Doulton, who sometimes accompanies Thurston Moore and is a member of Too Many Things, shades these pieces subtly with percussion, adding marimba, vibraphone, drums and shakers. Agathe Max, of Abstract Concrete, Papivores and These Towns, adds strings, mandolin and vocals.

These cuts are textured delicately, nearly translucent in the layers of acoustic plunk and marimba clink and electronic blipping rhythms. “Motion Parallax” vibrates with contradictions, gypsy guitar lyricism, looming synthetic drones and the tonal rattle of malleted percussion. Tradition brushes up against space age mystery here; the cut is both firelit and futuristic. “Tanger” stalks tersely, on a staccato beat, organic sounds flitting in and out of its electronic architectures. It feels like a soundtrack to a rainy, nocturnal thriller, full of tension but morose and ruminative, too.

The album includes five tracks, four of them in the five-to-six-minute range, and one of them, “Melos Rhythm” taking up a full record side at just over 22 minutes. It’s here that Melos Kalpa’s world music, drone elements get the fullest airing, the string flourishes and cymbal rolls blooming as a guitar (or similar) keeps a one-note rhythm going. The rhythm repeats, picking up percussion and an electronic motif as it goes, but remaining fundamentally steady, and within it, all sorts of arcs and sweeps and flurries of sound jet by. It’s a lot like Natural Information Society, the way that the repetition locks you in and the flourishes set you free. Inspiration within discipline. Art in a puzzle box. Melos Kalpa is anchored and flying at the same time.

Jennifer Kelly

[zzrrrmpff]

Princess Krell

Princess Krell is the tentacled alter ego of composer Bethany Barrett. Inspired equally by cosmic horror and early electronic music, she uses her Buchla Music Easel and modular synthesizer to access uncanny sonic realms. She also composes for film, most recently “Rock ’n’ Roll Ringo” which debuted in German cinemas in September.

https://xenavectra.com/princesskrell

______________________________________________________________

Martin Howse (solo set for smoke, light, radio waves and electronics)

Martin Howse is occupied with the links between the earth (geological and geophysical phenomena), software, and the a/human psyche (psychogeophysics) through the construction of experimental situations (performance, laboratories, walks, and workshops), material art works, instruments, fictions, texts, and software. His current project Orphans and voids, remains as a headless divination for obscure Eurorack assemblages.

http://www.1010.co.uk/org/

______________________________________________________________

CNM & Optical Collusion (A/V)

The structures are sorted by algorithms and bidirectional information. Disharmonic and rustling layers cause unrest and discomfort. Phase-shifting fluctuations, feedback effect loops and repititive rhythms reinforce the contradictory effect. Chunked vocal fragments are used as an equal musical element. Experiments that often become cinematic.

http://cnm.freak-animals.org/

______________________________________________________________

DJ CATFISH

Catfish is a trans nb originally from israhell based in berlin, emerged as a dj from the odyssey of corona into the queer Anti-zionist underground crew "queer cast" in Tel-aviv. He is mixing a wide range of genres from deconstructed club to old and new hiphop and pop, noize and ambient.

https://refugeworldwide.com/artists/catfish

______________________________________________________________

[ezrajteboul]

Book available for preorder

"Modular Synthesis: Patching Machines and People" is available for preorder. The release date is April 30th, and it will be available in pdf, paperback and hardback.

Introduction - Andreas Kitzmann and Einar Engström

Preface (All Patched Up: A Material and Discursive History of Modularity and Control Voltages) - Ezra J. Teboul

1. The Buchla Music Easel: From Cyberculture to Market Culture

Theodore Gordon

2. Modular Synthesizers as Conceptual Models

Jonathan De Souza

3. A Time-Warped Assemblage as a Musical Instrument: Flexibility and Constauration of Modular Synthesis in Willem Twee Studio 1 

Hannah Bosma

4. Interview

Dani Dobkin

5. Gordon Mumma’s Sound-Modifier Console

Michael Johnsen

6. Artist Statement: Switchboard Modulars – Vacant Levels and Intercept Tones

Lori Napoleon

7. Eurorack to VCV Rack: Modular Synthesis as Compositional Performance

Justin Randell and Hillegonda C. Rietveld

8. Strange Play: Parametric Design and Modular Learning

Kurt Thumlert, Jason Nolan, Melanie McBride, and Heidi Chan

9. Grid Culture

Arseni Troitski and Eliot Bates

10. Modular Ecologies

Bana Haffar

11. Ourorack: Altered States of Consciousness and Auto-Experimentation with Electronic Sound

William J. Turkel 

12. Patching Possibilities: Resisting Normative Logics in Modular Interfaces

Asha Tamirisa

13. Draft/Patch/Weave: Interfacing the Modular Synthesizer with the Floor Loom

Jacob Weinberg and Anna Bockrath

14. Composing Autonomy in Thresholds and Fragile States

David Dunn and David Kant

15. Virtual Materiality: Simulated Mediation in the Eurorack Synthesizer Format

Ryan Page

16. Interview: Designing Instruments as Designing Problems

Meng Qi

17. Interviews with Four Toronto-based Modular Designers

Heidi Chan

18. Interview

Dave Rossum

19. Interview

Paulo Santos

20. Interview

Corry Banks

21. Modular Synthesis in the Era of Control Societies

Sparkles Stanford

22. Randomness, Chaos, and Communication

Naomi Mitchell

23. Interview

Andrew Fitch

24. From "What If?" to "What Diff?" And Back Again

Michael Palumbo and Graham Wakefield

25. Interview: The Mycelia of Does-Nothing Objects

Brian Crabtree

[kalaplugin22]

How to Download Arturia Complete Ultimate Bundle 2023

Introducing the Arturia Complete Ultimate Bundle 2023 – a comprehensive collection of cutting-edge virtual instruments and creative tools that redefine the boundaries of music production. Elevate your music to new heights with this all-encompassing bundle that brings together Arturia's most iconic synthesizers, classic keyboard instruments, and groundbreaking effects.

Unleash Your Creativity:

The Arturia Complete Ultimate Bundle 2023 is a treasure trove for musicians, producers, and sound designers seeking to expand their sonic palette. Immerse yourself in a world of endless possibilities, where vintage analog warmth meets futuristic digital innovation. Whether you're a seasoned professional or just starting, this bundle is designed to inspire and empower your creative journey.

Legendary Synthesizers:

At the heart of this bundle are Arturia's legendary synthesizers, meticulously crafted to emulate the analog charm of vintage hardware. Dive into the rich textures of the Minimoog V, recreate iconic sounds with the ARP 2600 V, and explore the modular world with the Buchla Easel V. From fat basslines to soaring leads, these synthesizers deliver the authentic character that made the originals timeless.

Vintage Keyboards Reimagined:

The Arturia Complete Ultimate Bundle 2023 also features a stunning array of classic keyboard instruments meticulously recreated for the digital age. Experience the expressiveness of the Stage-73 V, the timeless sound of the Wurlitzer V, and the lush tones of the Mellotron V. Whether you're crafting soulful ballads or funky grooves, these virtual instruments add an authentic touch to your compositions.

Drum Machines and Beat Production:

Take your beats to the next level with Arturia's state-of-the-art drum machines and beat production tools. The Spark Vintage Drum Machines and DrumBrute Impact provide a diverse range of percussion sounds, from classic drum machine vibes to modern, punchy beats. Unleash your rhythmic creativity and lay down beats that make your tracks stand out.

Effects and Processors:

The sonic possibilities don't end with instruments – the Arturia Complete Ultimate Bundle 2023 includes a collection of groundbreaking effects and processors. From the lush reverbs of the Rev PLATE-140 to the gritty distortion of the MiniFilter V, these tools add the perfect finishing touches to your productions. Experiment with sound shaping and take your mixes to new dimensions.

Intuitive Workflow:

Arturia is renowned for its user-friendly interfaces, and the Complete Ultimate Bundle 2023.

[taperwolf]

Gizmodo has an article up that's a big list of gifts for musicians "When Money Is No Object". It includes things like the new Mellotron, the Buchla Music Easel, the Nord Stage 4, and the OP-1 Field. So if there are any eccentric rich people out there just wondering what I'd like for Christmas, I'll take any of them.

(Or if you're having trouble choosing, you could get me a gift card from Sweetwater or Perfect Circuit, that'd work too!)

[coleadams2]

Third ‘Music and Sound Synthesis’ Session

This session’s main focus was on the history of Donald Buchla, the man behind the famous synthesiser company. He was previously a Nasa engineer before he applied for a role at the San Francisco Tape Music Center to create a music easel. From this, he started creating his own systems and they soon grew in public recognition. They have always been relatively expensive to purchase, like the Moogs from previous weeks, so the majority of those systems tended to be found in high-end recording studios. Due to this, many smaller companies recreated (or cloned) these units

One of the two practical tasks later on in the session was an introduction to the university’s Buchla: the 200e System 7. The main modules we went over were the two fundamentals in my opinion: the oscillators and the sequencer. I think the sequencer is significant because out of the two main synthesiser units the uni has (the Buchla and the Oakleys), the Oakleys doesn’t have a sequencer module, which limits the user on what can be created.

The second task was to create a drone piece with three different musical elements exploring complex modulations. However I did not achieve this since my knowledge of the Oakley is still somewhat limited. However with the help of Matt, a uni staff member, I was able to create a drone sound with an arpeggio melody over the top. Although it was able to change notes via a midi keyboard, in the video below the note does not change. Although I hadn’t met the brief of the task, I did understand how to use the Oakley more effectively which is still a positive outcome.

https://drive.google.com/file/d/1fpm17pTLZb-VhzrOdFqH5jVHej8fl9Up/view?usp=share_link

[loudieapp]

Kaitlyn Aurelia Smith, a composer of bright, fluid soundscapes using a variety of synthesizers, with a preference for the Buchla Music Easel, comes to The Teragram Ballroom on Saturday December 10!

[bluetapes]

Artwork outtake from blue twenty-eight: Todd Barton

[catsonsynthesizersinspace]

Buchla Music Easel T-Shirts!

Cats On Synthesizers In Space apparel! Shipping worldwide. Available to order here... https://www.etsy.com/uk/shop/KieranHeather 

[thegalaxyelectric]

Buchla Music Easel External Bassline Generator

The purpose of this video is to explore the control voltage envelope generated from the dynamics of the audio coming into the music easel via the external input. This patch involves the buchla music easel synthesizer and a drum loop from iOS App Synthetic Bits FunkBox triggering the envelope generator and low pass gate of the complex oscillator. The pitch is being randomly changed subtly by the envelope of the drum loop as well. The result is a random bassline generator that perfectly fits the loop.  To add some fun I have the Pulser modulating the low pass gate of the ext. input in lo pass filter mode. This helps create poly rhythms and other variations of the incoming beat. This video only scratches the surface as to what is possible with this concept. 

iOS App FunkBox is providing the beats. https://itunes.apple.com/us/app/funkbox-drum-machine/id350437349?mt=8

Buchla USA Music Easel is the synth. https://buchla.com/music-easel/