more lure ....
2004-09-18 by darylmey
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Thread
2004-09-18 by darylmey
2004-09-18 by Carbon111
> So, let`s play a game:
> You have a 10.000 $ Serge and some other "spare" 10 k .....
> Now: supposed you can sell your Serge - what would you do:
> Buy that new Push-up-Wonder-B(uchl)ra for 20 k or you keep your old
> faith and buy some supplements (kyma, cynthia etc ....)????
>
>
>
>
> Keep on Patchin'!
>
> Yahoo! Groups Links
>
>
>
>
>
>
2004-09-18 by John P
>So, let`s play a game:--
>You have a 10.000 $ Serge and some other "spare" 10 k .....
>Now: supposed you can sell your Serge - what would you do:
>Buy that new Push-up-Wonder-B(uchl)ra for 20 k or you keep your old
>faith and buy some supplements (kyma, cynthia etc ....)????
>
>
2004-09-18 by Chris Whitten
> The soundI agree with that.
> quality is great I'm sure, but a lot of the 200e design is devoted to
> patch storage & midi stuff I just don't need or want.
2004-09-18 by darkstr1746@comcast.net
....?? some other "spare" 10K ??? hahahaha... ok. it's a game right? : ) Now, if i could sell MY Serge, i think i'd buy a couple acres out in the boondocks and plant a double wide on it and give official notice that the rest of the world can kiss my butt. How does that grab ya?? Cynthia modules are cool but thay can't compete with acreage and Kyma is a computer so right off the bat it isn't worth sh**.....
kind regards
john duval <------needing more caffeine
-------------- Original message --------------
So, let`s play a game:
You have a 10.000 $ Serge and some other "spare" 10 k .....
Now: supposed you can sell your Serge - what would you do:
Buy that new Push-up-Wonder-B(uchl)ra for 20 k or you keep your old
faith and buy some supplements (kyma, cynthia etc ....)????
Keep on Patchin'!
2004-09-18 by Blake Wilson
>....?? some other "spare" 10K ??? hahahaha... ok. it's a gamesounds good john!!! i had a just a bit of spare $ recently so i
>right? : ) Now, if i could sell MY Serge, i think i'd buy a
>couple acres out in the boondocks and plant a double wide on it and
>give official notice that the rest of the world can kiss my
>butt. How does that grab ya??
> Cynthia modules are cool but thay can't compete with acreage andinstead of caffeine, i suggest trying the "nitro to go" "legal speed" pills:
>Kyma is a computer so right off the bat it isn't worth sh**.....
>
>kind regards
>
>john duval <------needing more caffeine
2004-09-18 by Ryan Ryan
>....?? some other "spare" 10K ??? hahahaha... ok. it's a game
>right? : ) Now, if i could sell MY Serge, i think i'd buy a
>couple acres out in the boondocks and plant a double wide on it and
>give official notice that the rest of the world can kiss my
>butt. How does that grab ya??
sounds good john!!! i had a just a bit of spare $ recently so i
picked up a bunch of quality cables, rewired the studio, bought the
new alesis micron, and a focusrite twintrak pro pre. my serge isnn't
doing much right now, i'm afraid....
> Cynthia modules are cool but thay can't compete with acreage and
>Kyma is a computer so right off the bat it isn't worth sh**.....
>
>kind regards
>
>john duval <------needing more caffeine
instead of caffeine, i suggest trying the "nitro to go" "legal speed" pills:
http://www.nitro2go.com/hi_energy.html
i tried a couple of these last week ($1 at the friendly neighborhood
liquor store) and the result was the begining of the studio rewiring
mentioned above. i was seriously amped and just had to do
*something*. in the end it was worth the dollar, for sure! and i
could get to sleep that night, and no fear of the black helicopters
comin' down on me!!! ;^)
i think the shit that pumps you up in this stuff is "yohimbe" or
something like that.
b.
Keep on Patchin'!Do you Yahoo!?
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2004-09-18 by ALMAGATA@telefonica.net
> why isn't anyone thinking the obvious...
>
> and buy a buchla 200e for 20,000 O_o
>
> Blake Wilson <mbw@...> wrote:
> >....?? some other "spare" 10K ??? hahahaha... ok. it's a game
> >right? : ) Now, if i could sell MY Serge, i think i'd buy a
> >couple acres out in the boondocks and plant a double wide on it
> and
> >give official notice that the rest of the world can kiss my
> >butt. How does that grab ya??
>
> sounds good john!!! i had a just a bit of spare $ recently so i
> picked up a bunch of quality cables, rewired the studio, bought
> the
> new alesis micron, and a focusrite twintrak pro pre. my serge
> isnn't
> doing much right now, i'm afraid....
>
> > Cynthia modules are cool but thay can't compete with acreage
> and
> >Kyma is a computer so right off the bat it isn't worth sh**.....
> >
> >kind regards
> >
> >john duval <------needing more caffeine
>
> instead of caffeine, i suggest trying the "nitro to go" "legal
> speed" pills:
>
> http://www.nitro2go.com/hi_energy.html
>
> i tried a couple of these last week ($1 at the friendly
> neighborhood
> liquor store) and the result was the begining of the studio
> rewiring
> mentioned above. i was seriously amped and just had to do
> *something*. in the end it was worth the dollar, for sure! and i
> could get to sleep that night, and no fear of the black
> helicopters
> comin' down on me!!! ;^)
>
> i think the shit that pumps you up in this stuff is "yohimbe" or
> something like that.
>
> b.
>
>
> Keep on Patchin'!
>
>
>
> Yahoo! Groups SponsorADVERTISEMENT
>
>
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2004-09-18 by Chris Whitten
> if the siganal generation and processingProbably wise.
> part of the new Buchla is digital, I`ll keep my $$$ and my polysynths...
> I`ll post details for those questions when I receive the reply from Don.Thanks. I'd be interested.
2004-09-18 by cuari7
2004-09-18 by John Loffink
> -----Original Message-----
> From: John P [mailto:johnp299792@...]
>
> the Buchla's price carries a high premium for its rarity. The sound
> quality is great I'm sure, but a lot of the 200e design is devoted to
> patch storage & midi stuff I just don't need or want.
>
> darylmey wrote:
>
> >So, let`s play a game:
> >You have a 10.000 $ Serge and some other "spare" 10 k .....
> >Now: supposed you can sell your Serge - what would you do:
> >Buy that new Push-up-Wonder-B(uchl)ra for 20 k or you keep your old
> >faith and buy some supplements (kyma, cynthia etc ....)????
> >
2004-09-18 by darkstr1746@comcast.net
-------------- Original message --------------
why isn't anyone thinking the obvious...and buy a buchla 200e for 20,000 O_o
.................because after 30 years the guy still doesn't know how to compensate for temperature drift!! LMAO!!!..... or the obvious, it's still overpriced with no gaurantee of support years down the line. Lets face it, Don is a great designer and that's as far as it goes. Why do ya think all the universities stopped dealing with him ages ago?. Oh my god..... now i've shot off my mouth. I'm a gonna go get my flame suit on and head for the boondocks. I got the itchy twitchys 'cause i'm going through caffiene withdrawls, so i'm not responsible for what i'm saying. LOL.My naturopath is tellin' me i better do something to lower my blood pressure so i gotta give up a serious life long addiction. Bummer Ted : ( Up till now my motto has been, "Coffee!..you can sleep when your dead!!"
kind regards
john duval
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2004-09-18 by darkstr1746@comcast.net
Oh, well. I still have to sell my new panel.
Have major debts.... :-(
Jesus... i wish you'd pipe down about that panel 'cause your starting to give me the cold sweats! LMAO!!!john duval
2004-09-18 by Peter Grenader
2004-09-18 by Chris Whitten
2004-09-18 by Peter Grenader
2004-09-18 by John P
>A) ALL analog VCOs drift--
>
>B) IMHO, drift is one of the most overrated criteria in VCOs and I think for
>many gets in the way of judging the overall musicality of the instrument.
>
>
>
>
2004-09-19 by Chris Whitten
> Being able to rely on the stable vco's giving me whatYou're still assuming you can't rely on Buchla VCO's. Why? Have you had
> I want week in & week out is nice.
2004-09-19 by John P
>You're still assuming you can't rely on Buchla VCO's. Why? Have you hadhttp://mnml.soulcatcher.net
>personal experience?
>You're also assuming the Serge VCO is more stable than a Buchla VCO.
>In my experience (in use), they are just about the same.
>
>
>
2004-09-19 by Chris Whitten
> I do think the prices on used BuchlaThe prices ARE hysterical.
> gear is hysterical.
2004-09-19 by Peter Grenader
> You're also assuming the Serge VCO is more stable than a Buchla VCO.Chris speaks the truth here and here's why:
> In my experience (in use), they are just about the same.
2004-09-19 by cuari7
2004-09-19 by Peter Grenader
>
> Thank you, Peter!
> The tone of the thread has become significantly more positive thanx
> to you.
> The bottom line is that the 200e looks beautiful and is sooooooo
> tempting, but is also soooooooo expensive! I must confess that most
> of the negative remarks I make about the machine are a defense
> mechanism: they help soothe the frustration I feel about not being
> able to afford one, but in all honesty, if it was 50% less expensive
> and I didn't have my other financial commitments, I'd get one.
> Now, Chris is right, too. Most of us have not had quality time with
> one, but we have listened to recordings of it. 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.
>
>
>
>
> Keep on Patchin'!
>
> Yahoo! Groups Links
>
>
>
>
>
>
>
2004-09-19 by cuari7
2004-09-19 by Chris Whitten
> I was talking toThere is no doubt in my mind that a Buchla 200 system is equal in power and
> 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.
2004-09-19 by Peter Grenader
> Oooops! Not done yet.
> So my question to all of you true Buchla owners is: what other
> advantages does the Booch offer?
> Who knows, I might be in a position to afford one in a couple of
> years...
> Oh, and John, I will shut up about my panel. I apologize if I've
> been spamming too much here. Truth is, I have my girl constantly
> pestering me about the issue of "transportation", and has managed to
> awaken a major feeling of guilt on me for indulging in my synths
> while she doesn't have a car >:-(
> Oh, well..........
>
>
>
>
> Keep on Patchin'!
>
> Yahoo! Groups Links
>
>
>
>
>
2004-09-19 by Chris Whitten
> So my question to all of you true Buchla owners is: what otherBriefly....
> advantages does the Booch offer?
2004-09-19 by kirkdegiorgio
> One can't judge the merits of the Buchla 200 on Subotnick's Touch - thatactually Peter I thought Touch was made with the 200 Series - likewise Sidewinder, 4
> 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.
2004-09-19 by Peter Grenader
>
>> 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
>
>
>
>
>
2004-09-19 by Chris Whitten
> Its aA good point.
> MODULAR system and modules are available individually. So its as expensive as
> you want
> it to be
2004-09-19 by Peter Grenader
> 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
>
>
>
>
>
2004-09-19 by Peter Grenader
2004-09-19 by kirkdegiorgio
> 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
> >
> >
> >
> >
> >
2004-09-19 by Peter Grenader
>
> 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
>>>
>>>
>>>
>>>
>>>
>
>
>
>
> Keep on Patchin'!
>
> Yahoo! Groups Links
>
>
>
>
>
>
>
2004-09-19 by Ryan Ryan
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
> >
> >
> >
> >
> >
Keep on Patchin'!Do you Yahoo!?
Yahoo! Mail Address AutoComplete - You start. We finish.
2004-09-19 by Carbon111
> Hey thinking about this, I was wondering. How many people on this listI do. I think a lot of folks using a standard keyboard to drive their
> make music that's not bug music? or experimental bleepy stuff?
2004-09-19 by darkstr1746@comcast.net
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
> >
> >
> >
> >
> >
Keep on Patchin'!Do you Yahoo!?
Yahoo! Mail Address AutoComplete - You start. We finish.
Keep on Patchin'!