Not sure what "bug" music is, but if i had to venture a guess, it would be something along the lines of Beastiary and the cut off my own CD called Paleozoic Twilight. I try like hell to stay away from that sort of thing but it's tough 'because i have no formal training in electronics. So far i'v been lucky and actualy have several hours of non"bug" music in the can and about an hours worth i'm still working on. Don't take any of the previous statement to mean that any of it is any good..... alot of it isn't worth the tape it's printed on, but some of it i like very much and may even be worthy of future release. I'v had several amusing conversations with Kevin where i tried politely to pick his brains so to speak and evey time the general response was....."roll up your sleeves, get your hands dirty and figure it out for yourself." One time he did however lay an interesting patch for the dual phasor on me, but i was driving in my car (on the freeway ) and by the time i got home it was gone.... sigh. I have tried several times to replicate the sounds on Planetary Unfoldings but so far i lack the chops. Not that i want to use a similar approach or even use those sounds for my own work, but i would just like to be aware of the technique involved. I guess my true feeling is, it's been done before and much better than i will ever be able to do, so why go down an already well worn path. Telomere has done it in spades and the last thing i want to do is a repeat of Stearns approximation of Brehenys patches, but like i said, just knowing the technique would open up a world of new doors. I love what Stearns did with those patches, his sense of placement is phenomenal to my ear. So i trudge on, hoping to develope my own techniques and to just have fun with what i do.
kind regards
john duval
-------------- Original message --------------
Hey thinking about this, I was wondering. How many people on this list make music that's not bug music? or experimental bleepy stuff?-ryan
kirkdegiorgio wrote:Hi Peter
I stand corrected re: Touch.. thx for clarifying that -I always tended to see Touch -
Sidewinder - 4 Butterflies - Until Spring as a Quartet, but now I will view the latter 3 as a
200 Series trilogy... awesome sounds and control nonetheless... and I repeat - I'm not a
huge bug music fan...
KD
> OK, now that we're (read: I'm) walking down memory lane here, let me
> complete the story, there are some funny parts to it.
>
> Mort borught a few people with him from the East when Cal Arts was formed.
> They were: Ingram Marshall, Charlimaine Palestine, Serge Tcherepnin and
> Barry Schrader. He also brought in Don Buchla on staff, but Don was never
> there much.
>
> When the school first started, it had an abundance of $$. They bought tons
> and tons of equipment: they pre-ordered two 200's, and bought a 100 for the
> school and another 100 expressly for Mel Powell's home studio. One of the
> 100's was from the red-faced San Fransicso Tape Music markings days and
> those modules I guess are worth more now because of those faceplates. They
> also bought tons and tons of tape decks, including many Revox's and some
> Ampex three channels machines. They had so many Revox's that Barry said
> they'd use them to prop doors open!
>
> Mort was the assistant dean of the school of music at the time and had a lot
> of say to where the spending went. So, naturally there was a ton of music
> equipment. What he didn't buy though - intentionally - where chairs Yes
> folks, the Cal Arts School of Music had no chairs, anywhere their first
> year. Classes where held on the floor. Not sure how cellists got along.
> Even the 200's spend their first year held low to the floor by bricks. It
> was total anarchy: Barry Schrader's tech class, where he taught students how
> to use the 200 was held at midnight. Serge and he did a live concert once
> at the Ambassador Hotel downtown. Barry shlept'd the 200 and Serge played
> violin believe it or not. There's another story that's a riot --> Serge
> once asked to borrow Barry's car for an hour or so and didn't return it for
> three days - leaving Barry stranded at school!
>
> Man, those were the days. I wasn't around yet but I remember the stories
> vividly. In any event, this was all after Touch was completed!
>
> - P
>
>
> Peter Grenader wrote:
>
> > Nope! Touch was made while Mort was at still at NYU and on the 100.
> > Actually, the cut up/spliced human voice saying 'touch' at the beginning and
> > other places is his secretary/assistant he had there. Touch, the LP at
> > least, I don't believe had a picture. It was just the computer graphic of
> > the woman's face morphing into a rectangle (I think it was a rectangle)?
> >
> > Anyway, Touch was done in 1969 and Cal Arts didn't exist until 1971. I
> > don't think the 200 was introduced until 1971 if I'm not mistaken.
> >
> > Here's the story: The first piece Mort used the 200 was Sidewinder. It was
> > one of the systems that was intended for Cal Art's B303, but it was
> > delivered to Mort's house instead (whoops!) because the Cal Arts facility
> > wasn't completed yet and the school was still operating out a place called
> > Villa Cabrini which was a former catholic girls school in Burbank. The 200
> > stayed at Mort's for a while waiting for the Valencia campus and the studio
> > installation to be completed - the sound system, tape decks, etc.
> > Unfortunately (not!) that took longer than expected because of delays from
> > the 1971 Selmar earthquake, so Mort had it for a while and didn't Sidewinder
> > in the meantime.
> >
> >
> >
> >
> >
> >
> > kirkdegiorgio wrote:
> >
> >>
> >>> One can't judge the merits of the Buchla 200 on Subotnick's Touch - that
> >>> piece was done on a 100 system which is a completely different animal. I was
> >>> talking to
> >>>> Guido the other day, who was telling me that "Touch" by Subotnick
> >>>> exemplifies the sonic virtues of the 200. If that is so, well, it's
> >>>> not that impressive.
> >>
> >> actually Peter I thought Touch was made with the 200 Series - likewise
> >> Sidewinder, 4
> >> Butterflies and Until Spring. They are all early-mid 70's recordings and have
> >> 200 series
> >> photo's on the sleeve credits, etc. I thought it was Silver Apples and Wild
> >> Bull that used the
> >> 100 Series.
> >>
> >> Now, I'm no bug music fan but I find the sonic virtues displayed on these
> >> albums to be
> >> highly impressive! They have an organic timbre and controlled level of chaos
> >> that I find
> >> superior to other attempts at this type of music.
> >>
> >> I don't own a Buchla but the 200 series designs and the examples I've heard
> >> make me
> >> think it would be a nice system to get into regardless of the fact that I
> >> have
> >> a Serge/
> >> Modcan system. 200 series used prices are too high for me to justify and I'm
> >> worried
> >> about maintenance so the new 200e modules appeal even more to me. Again - on
> >> this list
> >> as on others people are being misleading in stating it costs $20k to buy the
> >> system. Its a
> >> MODULAR system and modules are available individually. So its as expensive as
> >> you want
> >> it to be - many will just want to buy a few modules to add to their existing
> >> 200 series
> >> systems - some may just want a small system based around the sequencer, etc.
> >> The $20k
> >> system is just a suggested example.
> >>
> >> Personally I'm waiting for actual user reports on reliability and just how
> >> digital some of the
> >> modules are...
> >>
> >> KD
> >>
> >>
> >>
> >>
> >> Keep on Patchin'!
> >>
> >> Yahoo! Groups Links
> >>
> >>
> >>
> >>
> >>
> >
> >
> >
> >
> > Keep on Patchin'!
> >
> > Yahoo! Groups Links
> >
> >
> >
> >
> >
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