MY NEW BUCHLA 201e-24

A 24-panel powered cabinet arrived yesterday and should prove to be an invaluable addition to my sonic arsenal once it is filled.  While the idea of having that many modules available for use may seem intimidating or even dizzying at first,  its potential is definitely appreciated.  The only module connected at the time of this photo is a Buchla 285e Frequency Shifter.  Nice.

The upper pic is an additional view,  this time after the cabinet had been filled with Buchla modules and blanks awaiting new modules from Buchla or other designer/engineers.  Those oscillation,  modulation,  and triggering sources are,  from top to bottom,  left to right:

    285e,  281e, 292e,  250e,  222e control module,  291e,  256e,  206e,  261e,  266e,  259e,  297, 222e

A BRIEF ENCOUNTER: BARRY ANDERSON

Barry Anderson is musician whose primary focus is sound synthesis through the use of various electronic components including the Buchla 200e.  His work combines exploratory sound with a deft sense of control.  He is a good friend,  a gifted artist and technician,  and an inspiration to those who have heard his work. See/hear Barry's videos on his YouTube channel,  Oxix52.

TSS:  What route did you take to your interest in electronic music and music technology?  Who were some of the artists/musicians that first sparked that interest?

BA:  I have always been interested in technology. As a kid in the 70's and teen in the 80's, I had a keen interest in the sounds being used in the music of the time.  Some of my earliest memories of synthesizer sounds were Chick Corea's Minimoog leads on his album My Spanish Heart. Some of the other bands that caught my ear were Genesis, Yes, and Pink Floyd just to name a few. Of course, I had no idea what was creating the more interesting sounds. I knew nothing of synthesizers. Later I would learn about synthesizers by listening to Switched on Bach by Wendy Carlos.

TSS: How would you describe the music that you are now making?  Is the Buchla 200e the primary instrument that facilitates your musical ideas?  What are you favorite Buchla modules?

BA:  The music I make now is more experimental or explorative. I do try to find ways to incorporate the 200e in to the music I make with friends and on projects, but when I sit down to see what comes out without direction, it is usually journey of discovery.  If I have a specific musical idea or plan, I will not start with the 200e. I usually begin with the Nord G2X, Access Virus, or piano. Once I get a basic structure, then I may either patch something on the 200e to fit, or I may run a recorded track through some modules for processing. It is very hard to choose a favorite module. They are all so unique and beautiful. But, if I had to pick, it would probably be the 292e, or really the 292e/281e combo. I love the rhythms and textures that can be produced with these modules. Just these two and a sound source is lovely.

TSS: Why use modular?

BA:  I can blame the Moog Voyager for my fascination with modulars. I acquired my Voyager in 2005. When I added the CP-251 and VX-351, I began to understand the power and joy of hardware modular synthesizers.  I decided I had to build a system and was planning on Synthesizers.com when I realized that I really didn't want to have a modular that was in the same sonic territory as the Moog. I thought about Eurorack but was really drawn to the Buchla.  It's just so different.  I liked the idea of having a folding case that I could easily move and having modules that were functionally deeper.  Also, The videos on Youtube by Alessandro Cortini were a big inspiration to me.   I have not regretted my decision one bit.

              

BUCHLA & EML

ECCENTRIC CURRENTS: A New Buchla 200e Module

A prototype 272e weighed in at last month's NAMM and seemingly caused a bit of a stir with the Buchla faithful,  as it's not an oscillator or a processing module,  but a "Polyphonic Tuner".  Unfortunately there is no info about its price or availability at the moment,  a sad statement of fact as I'll be lining up to grab one at its release.  One Buchla user bemoaned its existence as an elitist,  experimentalist's tool with very little to offer beyond noise.  Well,  I'm perfectly at home with between station static,  as well as the transitory detritus often referred to as "radio".  To me,  this seems like a chance to process those messages from the ether,  or merely allow bits of reality into electronic music,  much like Picasso and Braque collaged found pieces of street refuse on to their canvases.  It's also an opportunity to promote chance or randomness in experimental music,  an idea first  heard in works by John Cage ("Imaginary Landscape #4" from 1951 for twelve radio receivers) and Karlheinz Stockhausen (some versions of Hymnen from 1966).  I've heard rumblings that this 200e module had its genesis in a voltage-controlled radio Don Buchla made for David Tudor in the Sixties,  and later found form in a one-off made for Ezra Buchla.  Who knows the truth about this eccentric module?  I'll stay tuned.

CLAIRAUDIENCE?

ELEMENTAL COLLAPSE (again)

NEW ADDITION: the Buchla 200e

Here's another complicated device added to an already over-burdened studio,  and I'm loving it.  This Buchla instrument includes the following modules:  1) the Arbitrary Function Generator,  which is essentially a 16-stage sequencer offering incredible programming possibilities,  2) the Complex Waveform Generator,  a principal oscillator and a modulation oscillator,  3) the Quad Function Generator,  an envelope generator of sorts,  4) the Quad Dynamics Manager,  which helps route signals and control voltages,  and finally,  5)  the Triple Morphing Filter,  which will eventually become self-explanatory as I sink deeper into this sea of possibilities.  Many thanks to ether^ra,  Jason Butcher,  and especially Don Hassler for their invaluable assistance in dealing with my initial confusion.  Videos to follow.