I was able to recreate a similar patch to the ones I’ve used in recent performances, but with the inclusion of the second 259 which wasn’t available to me in the small performance configurations from a few weeks ago at Invent Room Pop and the Pre-INC show.
The rhythmic pulse is the mod osc of a 259, filtered, and with it’s waveshape altered via (CV) feedback to a spike, with a QRV source occasionally bouncing it into the audio range. The other half of this 259 becomes the audio FM source to inputs of another pair of VCOs from a single 259 (both using the square outputs), all three of which share pitch inputs that have emanated from a single source but each with different conditioning.
The Monitor line – with all three VCOs (the FM prin osc not making it into the final mix) enabled – is fed to the preamp and then sent to one half of the 275, which then is sent to a centered channel on the 207.
The 281 and 257 provide some activity for the 266 to feed on, and also each help with the signal levels on the 292 (the 281 via an OR).
A short piece, the first I’ve posted in quite some time.
I’ve added a 140 to my system, and had some fun with it here in conjunction with the 281 and 266. I’m fond of the ping-pong duophony of the 266, and the minor illusion of delay here.
I’ll be focusing my attention on a series of drawings over the next few months, but will try to post with more frequency my less frequent studies on the 200.
As promised, images from the “Restless Devices” show with Joe Tsambiras currently running through Dec 5th at Beep Beep Gallery, for those not proximal enough to visit.
A recording of the patch what was on playing throughout the gallery the night of the opening:
Stills from the animations – with backgrounds based on pages of Cornelius Cardew’s Treatise.
Untitled (Treatise Pp. 125-126), 2010
Untitled (Treatise p. 31, An History of Elitism 1965-2010), 2010
Untitled (Treatise p. 188), 2010
And here are the images I used for the fascia of various sound players, featuring recordings and experiments on the Series 200:
And one of the non-sound player noodle images:
For your enjoyment, a short edit from a recording this afternoon. I employed the same patch used for a collaborative performance with Don Hassler for the recent Atlanta installment of the International Noise Conference at Eyedrum. One might assume that there are a number of external sound manglers being applied, but everything, with the exception of a slight reverb added in ProTools, is generated on the Buchla Series 200.
Here are some snippets of three recent tracks – all single-take recordings of the buchla 200 without any additional equipment. Reverb was added in protools afterward. The patch developed for “A Difficult Embouchure” is more or less what is at the core of each of these tracks, with deviations and additional modules besides the 259 and 266 occasionally being incorporated.
12.20.09.3 Self Playing Suite (edit)
– TRACK REMOVED –
Comprised of several (~12) single-take segments of a single patch, between which I made adjustments mainly to the timing and timbral parameters at work (but without changing the actual patch interconnections).
– TRACK REMOVED –
This experiment was conducted in a similar manner to playing the “Operation” boardgame. The 259’s modulation oscillator CV output was fed back to its processing input, and in addition, several other CVs were stacked to this same connection (4 or more). For the duration of this track, I merely held the banana plug connection inside the jack but didn’t not fully plug it in, touching it erratically to the sides, making or breaking the connection. At various points, gate modes were altered as well. This is a bit unusual in that few (perhaps none) of the other tracks using this core patch make any use of the 292C Lopass Gate at all.
This track represents an attempt to replicate a track from December which substituted the 258C for the 259 I most often rely on as a sole or primary source with excellent results. This track lacks the subtleties of the original (which relied heavily on sine>square transitions), but has more variation due to the 259’s expanded capabilities. The 275 was critical to this piece in adding character/dimension.