Podd: Source Of Uncertainty: A Buchla Podcast 4U

A Short Message From SoU

30 april 2022 | 2 min

Episode 31: David Kean & The 260e

30 mars 2022 | 141 min

Episode 30: Programmable Spectral Processor Model 296M

28 februari 2022 | 106 min

Artist Spotlight: Luca Manti

26 januari 2022 | 38 min

Episode 29: Mark Verbos - 262v & 263v

29 december 2021 | 202 min

Artist Spotlight: Henrique Matias

8 december 2021 | 56 min

Hello, thanks for inviting me to participate on SoU, it's an honour to be part of it!

In this mix I'm showcasing unreleased material I have almost exclusively performed on my 200e system, these jams illustrate some of the moods and sounds I'm looking for when making music on my own or collaborating with other artists here in London.

The first track is a recording i did after hours of meditation on a Buchla patch together with my friend Vince Morris, we spoke the bare minimum and kept slowly developing the patch for hours focusing on capturing the sound of each oscillator separately while giving each of the outputs a very defined function in the landscape, it turns out more than one year after this track is going to be pressed on 180g vinyl and released on Titrate Records ( and you can pre-order it on bandcamp) ! [ shameless promotion allowed? haha ]

The second track is actually the first track I made using the 296e which I'm very happy to finally have with me - that's definitely the module that I have been dreaming about the most! I was very pleased with the saturation you can get from driving the inputs, not to mention feedbacking the comb out into itself... Really powerful module which surely will help me make the Buchla sound a lot more rude! The effects here are provided by the 2H9 made by the lovely peeps from Northern Light Modular - shout to Sascha who without a doubt is one of the biggest legends in the space, my system wouldn't be the same without all the technical support and advice from him.

The third track ( starting at 31 minutes ) is a collaboration with my friend Steven McInerney who played some acoustic instruments and processed them on his eurorack and my friend Rin who played some mad electro-acoustic-ish instruments while i played the 250e...

The following track was a very special jam I had the pleasure to record with my friend Adrian who I met online when studying his amazing open source granular ( definitely one of the most impressive granulars i ever seen ) and we ended up becoming best friends when he moved to London..

Last but not least I have two drone-ish tracks, one of which is exploring two simple oscillators out of tune being heavily processed on the H9 and another one where I solely used the 259e ( and loads of verb and delay )!

I hope you enjoy it!

ps: To listen to some of my dj mixes and other tracks i have released check out my soundcloud

Episode 28: Kilpatrick Audio & A Yellow Sine

12 november 2021 | 117 min

Episode 27: Alex Pleninger - Keen Association

13 oktober 2021 | 181 min

Artist Spotlight: The Sonny Downs Quartet

15 september 2021 | 41 min

Artist Spotlight: Steven Barsky

11 augusti 2021 | 40 min

Episode 26: Steven Barsky & The Time Domain Processor 288r

28 juli 2021 | 128 min

Artist Spotlight: Mattias Petersson

21 juli 2021 | 48 min

I am composer and performer based in Stockholm, Sweden. My work usually stays within the realm of electronic music both when performing as a solo artist and in different constellations, but I have also written for chamber ensembles, dance companies and some opera.

Starting out with a basic Doepfer system in 1999, there have been modulars in my home studio ever since. Ten years ago I acquired my first small Buchla system. I started out with a 6-panel powered boat with a 206e, a 259e, a266e, a 281e and a 292e. Just before this was delivered, the Skylab cabinet was released. I tried to change my order into that instead and Don replied with a "yes". But of course I got the 6-boat anyway in the first shipment. Eventually, the Skylab arrived and I also added a 258v from Mark Verbos. The system has grown over the years and right now my system populates two Skylab cabinets, where one is my live system and the other have a more fixed position in the studio. I also still have the original 6-boat and an Easel Command.

As an associate professor in electroacoustic composition at the Royal College of Music in Stockholm, I also maintain and teach on our fairly large system which is a hybrid of 200e stuff and vintage modules from 1974. The school are also in possession of an original Easel which was very close to be thrown away in a move of store rooms some years ago.

So, there's quite a lot of Buchla in my life and it is surely one of the cornerstones of my artistic work. My research is also all about different kinds of modularity, virtual and physical, human and non-human, and I usually strive for the perfect integration of my Buchla with self-made software instruments written mainly in the SuperCollider programming environment.

For my performance at CCTV Stockholm in March this year, I started out with the intention to work with my Easel Command and a little live-coding system I've made. I practiced and made some recordings with this setup for some weeks, but also tried other solutions in parallel. I ended up using my my live Skylab, comprised of the following modules: 266e, Studio.h CSR, 225e, 281e, 292e, 285e, 261e, 259e, Studio.h DPO (258e) and 291e. For control, sequencing and mixing I used another home made SuperCollider instrument based on the Snyderphonics Manta controller (http://snyderphonics.com/manta.htm). It is a touch sensitive device with 48 pads, 4 buttons and 2 sliders. Basically, the SuperCollider instrument is a modular system where each pad can be assigned one or several functions, like volume control of hardware inputs from the Buchla, sending midi or cv, apply effects, sequencing or sampling. For the live set I used a combination of live input from the Buchla and loops and samples made during the recording sessions with the Easel.

I have some music released on various labels using my real name, under the moniker Codespira1 and as part of different collaborations (mainly There are no more four seasons and RTTRSPRT). For further listening and info check these links:

Social media:

Instagram: https://www.instagram.com/codespira1/

Facebook: https://www.facebook.com/codespira1/

YouTube: https://www.youtube.com/channel/UCspNTJ1xczCgKW0NUAMhSpQ

SoundCloud: https://soundcloud.com/emp/

Releases as Codespira1:

Artefact (Moving Furniture Records, 2016) https://movingfurniturerecords.bandcamp.com/album/artefact

Rasterfeld Archives #1 (CO-DEPENDENT, 2019) https://co-dependent.bandcamp.com/album/code009

Releases as Mattias Petersson:

Remaining oddities, resultant additives (Jahr Null Aufnahmen, 2010) https://open.spotify.com/album/5IcAo9aprlVwNddnrXucLe?si=qXJ-Hd7tShqFXSmfhuDhbw

Floodlight (Ideal Recordings, 2008) https://open.spotify.com/album/7nGL4dtqmfUnOKiXtvUzKD?si=uM7Yb9tUSsuGDovLMvzFEw

Mimer (Fylkingen Records, 2003) https://open.spotify.com/album/41pgXkm2uw4iEbXSinyrSP?si=6aUh2fwfSS2kzuk5NMwICw

RTTRSPRT:

https://soundcloud.com/rttrsprt

There are no more four seasons:

Bandcamp: https://nm4s.bandcamp.com/

YouTube channel: https://www.youtube.com/channel/UC8_uqxOGZvxSRmEjKAuRl3g

Episode 25: Nested Vector Oscillator

30 juni 2021 | 74 min

Artist Spotlight: David Piazza

16 juni 2021 | 27 min

In the 1940’s, Pierre Schaeffer realized that the electronic medium opens up music composition to the whole domain of sonic phenomena. Technology enabled the composer to work directly with sound itself as opposed to an abstraction of it, operational signals on a sheet given to performers that could interpret them and realize the piece. For him, this reversal of the compositional process meant that we would need a new vocabulary to describe the whole reality of music, that notation only rendered a part of while all the while being prescriptive ; a language based on the premise that musical sounds are most importantly perceptual realities rather than acoustic ones. His idea was that we could use this framework to describe, discuss and reflect on our perception in a more objective way instead of relying on references to the origin of the sounds or onomatopoeia. This would in turn enable composers to identify and classify their materials based on their perceptual characteristics before manipulating and combining them into a piece of music. Buchla’s 200e, to me, embodies these concepts in a single, open-ended instrument that allows me to generate, shape and articulate sounds into musical objects for both composition and performance. This piece is an exercise in acknowledging my influences as well as a display of the way in which I have been using my 200e system in composition. It is organized in three parts : Part 1 : A dynamic and busy system, where the ‘humanized’ noise of the 272e provides changing and unpredictable timbres accumulating in parallel to the 261e's shapeshifting waveforms. The 223e allows my hands to guide the flow of the processing and impart intentional gestures among the chaos of the patch. Sounds disintegrate, coalesce and resonate as they move around the different channels of the (mixed down) quadraphonic space. Part 2 : A pulsating drone swells and brightens as it iterates. Here, I am trying to coax the slowest movements that I can out of the 200e, as I open a filter on a rich sound being continuously shaped by the 296e. At the time of composing this section, I was listening to a lot of Eliane Radigue’s electronic works, which are often based around the careful exploration and subtle control of the movement and beating that stems from phase relationships between oscillators. I chose to pay tribute to her unique form through this progressive reveal of the spectral content of the sound, making its various components gradually percolate and collide across delay lines. Part 3 : Part 2 blends into part 3, wherein sorrow gives in to a more hopeful colour. The 272e is sampled and then manipulated. Repetition, like an attempt to eternalize things I know have to die, disperses faint echoes that become more distant and fade in and out, gradually, like memories. Thank you to Kyle and Robert for the podcast and for providing me with an opportunity to share this. Thank you for listening and keep on patching! Bandcamp : https://davidpiazza.bandcamp.com

Episode 24: MEMS Project Returns & The Boat Of Uncertainty

26 maj 2021 | 145 min

Artist Spotlight: Kevin Rix - Visitors

21 maj 2021 | 43 min

Artist Spotlight: Mat Watson - Spin Patterns Selections

28 april 2021 | 21 min

BIO
Mathew Watson is a Melbourne (AU) based artist focussed on the exploration of electronic sound and the drumset. He has an extensive list of past and ongoing artist collaborations and has performed at arts festivals, music festivals, galleries and theatres in Australia, Japan and the USA.

Watson began his musical life as a drummer, before turning attention to electronic sound, and in particular, modular synthesisers. He has established a highly personal approach to performance, composition and improvisation, as a solo artist and collaborator over the past two decades covering a vast spectrum of sound, style and form.

He released several albums under the name Other Places (It Records) between 2010 and 2017 alongside solo albums focussed on the EMS Synthi Aks and Buchla 200/e system. Amongst a plethora of local and international collaborations, Watson has moonlighted with Bronx legends E.S.G and performed in several large scale Boredoms BoaDrum performances in Australia and Japan.

A few thoughts about Spin Patterns.

As a drummer I am forever drawn to rhythm and texture. I am fascinated and inspired by pulses derived via electronic means: be it the beating of an LFO or the plucking of a low pass gate. Spin Patterns is very much focussed around the simple idea of movement and pulses coming together. I love how mellow the flow of voltage seems in the Buchla system. It’s like the edges are rolled off. This feels more musical to me and I think you can feel this each time a new movement is set in motion, and as it reaches its destination. A perfect exchange of voltage, if such a thing can exist! Rather than using a sequencer for Spin Patterns, I decided to focus all attention on the relationship between cycling function generators and the Source of Uncertainty random voltage module. It is this relationship which is at the very heart of this album. I never tire of exploring this simple idea as it always yields new patterns and sounds that inspire me to create something new. I hope you enjoy this album as much as I enjoyed making it.

BANDCAMP: https://matwatson.bandcamp.com

Episode 22: Buchla USA CEO Eric Fox & The Infinite Phase Shifter

31 mars 2021 | 169 min

Artist Spotlight: Musical Fungus - Eleusis

10 mars 2021 | 54 min

The first time I ever saw a Buchla system I was curious and intrigued. When I first heard a Buchla system I instantly fell in love with the timbres and have been exploring Don's circuits ever since. The sound of the Easel's Complex Oscillator or the Programmable Complex Waveform Generator Model 259 are unlike any other oscillator I have ever used. And the in depth interconnected relationship with their Modulation Oscillators makes them instruments in their own right. There is truly something magical in Don's designs. Something that attracts and inspires musicians from all corners of the world and all walks of life, to push their boundaries and think outside the musical status quo.

In my mind the Buchla ecosystem is the perfect platform for live musical improvisation. Raw stream of consciousness materialized by the musicians creativity and rewarded through careful exploration of the system. My favorite quote from Don is "Anything is possible. We're not limited by technology; we're not limited by instruments. We're limited only by our mindsets." Its this quote that continues to inspire me to explore new ideas in the creation of sound and to be fearless in my approach to improvised live performance. This piece of music is a manifestation of that quote and a glimpse into my creative mindset. An eclectic mix composed of various patches reflecting and archiving where I was and what I was feeling during that moment in time.

One of my favorite ways to create music is to wake up, fire up the Buchla, hit record, and just explore the endless possibilities. Whether I end up liking the patch or not I always make it a habit of documenting the results and adding it to my personal sonic journal. I love the places I go and the emotions I experience when freely improvising on my Buchla. I believe I produce my best work with this method and it has personally become a powerful creative technique that I continue to explore.

All sounds heard in this piece were one take recordings with no overdubbing or multi tracking. Recorded between March and December of 2020 straight from the mixer to a Zoom H4n Pro. While I have a growing collection of 200 series clones that were used in these recordings from time to time. This piece of music was done almost entirely on a Music Easel through various outboard effect units.

Modules used in performance:

- 2016 Bemi Music Easel (208 and 218e)

- Progammable Complex Waveform Generator Model 259r

- Source of Uncertainty Model 266

- Mixer/Preamplifer Model 207r

-Quad Lopass Gate Model 292c

- Quad Function Generator Model 281r

- Dual Voltage Processor Model 257r

Effects used in performance:

- Sony TC-366 reel to reel (for tape delay)

-Strymon Timeline

-Strymon Big Sky

- Make Noise Mimeophon

- Make Noise Erbe-Verb

- Make Noise Echophon

- Make Noise Morphagene

For more music, videos, and tutorials:

soundcloud.com/musicalfungus

youtube.com/musicalfungus

kriyarecords.bandcamp.com

musicalfungus.bandcamp.com

instagram.com/musicalfungus

(@musicalfungus)

Episode 21: Passepartout Duo & The Bandpass Filter 194F

24 februari 2021 | 98 min

Artist Spotlight: Mike Estlick - January '21

10 februari 2021 | 27 min

About Mike Estlick:

I'm an electrical engineer by day, and a Buchla player by night.
I've been recording electronic music since I was a kid in the 80s.
I was into raves, clubs, and MIDI sequencers in the 90s.
In the 2000s I recorded quite a bit with the Nord Modular synths, and got into sequencing with modules instead of MIDI.

In 2017 I got an Easel, and by 2018 had built up this Buchla system. Since then all my music is composed and performed on modular systems.
I find the 248/245/216 combo very productive for writing music, and it blows my mind that this stuff all was designed before I was born.

I've since got into Serge and LZX systems as well, and have videos up on YouTube: https://www.youtube.com/c/MikeEstlick

When there's no global pandemic, I like to hang out with my friends at the Colorado Modular Synth Society: https://coloradomodularsynthsociety.com/

"January '21"

Patch Notes:

0:00 - 2:10 : Start

A little filter-sweep introduction with 2x258 and 212.
There is a pretty complicated feedback network going with FM into the filter and the oscillators.
The 248 MARF is modulating waveshapes with slow, sloped voltages.

2:10 - 7:40 : SeqVol

Krell variation on the Easel, with the pulser driving the sequencer and the sequencer modulating the volume.
The Easel pulser is also driving the Pendulum/Ratchet, which runs a patch on the 212 system.
EHX Deluxe Memory Man provides the echo.

Various parts of the patch were recorded into the Keen Association 287e.
The end of this piece is the 287e playing snippets into the 212 system.

7:40 - 13:00 : Scan

A 248 MARF and 245 based sequence driving 208 and 258/212 voices.
The Pendulum/Ratchet divides down for drum and bass sounds.

Again recorded parts of the patch into the 287e, and played that through the 212.
The Pendulum/Ratchet is triggering the 287e and 212 envelopes for the end of this piece.

13:00 - 15:06 : Ival

Another 248/245 sequence, with vocal percussion sounds from the 287e (recorded from the onboard mic).
The filtered notes are selected by the 216 Touch Controlled Voltage Source.

15:06 - 21:28 : 9Swing

Have you ever wanted to have a rhythm swing in 9/8, against a 5 chord progression in 7/4?
Well, the MARF is the sequencer for you!

The lead sound is the Easel, using pressure to modulate pitch and timbre.
I used a 257 so I could have the pressure change the amount of modulation oscillator to timbre.

The backing is from the 212 system.

The second section is the patch as I originally made it.
For the first section, I just swapped the envelopes around to change the levels of other voices in the patch.
The third section is the 287e playing samples from the patch.

21:28 - 26:56 : Glory

The lead is the Easel arpeggiator. The Easel clocks the Pendulum/Ratchet, which then drives the 248/245 and all the background sounds.
The 287e is playing snippets of a reading of a Rilke poem.
The 216 plays the clicky bleep sound.

Episode 20: Robert Standefer & Kyle Swisher

27 januari 2021 | 149 min

Artist Spotlight: Robert Standefer - Seven .WAVs

13 januari 2021 | 47 min

Episode 19: Benge & The Polyphonic Tuner 272e

30 december 2020 | 118 min

Artist Spotlight: Benge

16 december 2020 | 42 min

There are two improvisations on each system, the first two on a vintage 100 and the second two on a cloned 200

There are some significant differences in sound between the two eras, most noticeably the tone of the VCOs and the filters. I would describe the earlier VCOs as being richer, fuller and brighter than the 200 series but not as stable, and the filters being more edgy and pure in nature. The 200 system introduced the LPGs, timbre-shaping and the Spectral Processor, all of which give the system a very distinctive sound that was absent from the 100

Personally, I like the overall tone of the 100 series very much, as it has a power and richness that puts it in the same league as other early systems such as the Moog Modular and the ARP 2500. I am not sure if there is a similar power in the original 200 series modules (as opposed to modern cloned ones) as I have never been able to compare them directly, but my guess would be that various filters, VCOs and other things that Don began to introduce in the 1970s took the sound away from the more basic and simple sound of the 100, exploring and pioneering other avenues as he went towards fully digital systems in the 1980s. It is a fascinating progression, and one that is mirrored in the development of synthesisers in general between the 1960s and 1980s, as digital technology gradually took over

The systems used were as follows:

Buchla 100

Vintage Modules:

102 Dual Stereo Locator

106 Six Channel Mixer

110 Dual Gate

111 Dual Ring Modulator

112 Touch Control

123 Sequencer

130 Dual Envelope Detector

140 Timing Pulse Generator

144 Dual Square Wave Generator

156 CV Processor x 3

158 Dual Sine/Saw x 2

160 White Noise Generator

165 Random Voltage Source

175 Dual Line Driver / EQ

180 Dual Attack Generator x 2

185 Frequency Shifter

190 Dual Reverberator

191 Sharp Cutoff Filter

194 Bandpass Filter

Cloned Modules:

110 Dual Gate

144 Dual Square Wave Generator x 3

146 Sequencer

180 Dual Attack Generator

205 Dual Matrix Mixer

Buchla 200

Cloned Modules:

205 Dual Matrix Mixer

208 Stored Program Sound Source

212 Dodeca Module

218 Touch Control

224 Patchbay

248 MARF + Expander

256 Dual CV Adder

257 Dual CV Processor

258 Dual Oscillator x 2

259 Complex Waveform Generator

261e Complex Waveform Generator

266 Source of Uncertainty

275 Dual EQ / Reverb

277 Signal Delay

281 Quad Function Generator x 2

285 Frequency Shifter

292 Quad LPG

296 Spectral Processor

myblogitsfullofstars.blogspot.com zackdagoba.bandcamp.com instagram.com/memetunestudio

Episode 18: Ellison Wolf & ZORX / Waveform Magazine

25 november 2020 | 112 min

Artist Spotlight: Samuel Edmund

11 november 2020 | 27 min

Episode 17: Dunnington Audio & The 258D

28 oktober 2020 | 119 min

Artist Spotlight: Philippe Petit - Schliuuurkschplinkplonky / Dramatically Yours

14 oktober 2020 | 31 min

Schliuuurkschplinkplonky, performed live on a BUCHLA 200 system using Dual Oscillator 258 ; Complex Waveform Generator 259 ; Rob Hordijk’s Benjolin adapted for Buchla ; Quad Function Generator 281 ; Source Of Uncertainty 266 ; Frequency Shifter 285 ; Multiple Arbitrary Function Generator 248 - 1602 ; Dual Equalizer Reverb 275 with Spring Reverb in large tanks ; Quad Lopass Gate 292 and the 207 Mixer.

Dramatically Yours, performed on a Buchla Music Easel K.

I am interested in soundtracks and like to be introduced as a "musical travel agent".

Since the early 2000s I have been performing the world, playing festivals all over Europe, Canada, USA, Mexico, Australia & Asia... Feeling lucky to release on several international labels such as Opa-Loka, Aagoo, Southern UK, Monotype, Beta Lactam Ring, Sub Rosa, HomeNormal, Important, Staubgold, etc...

I study Electroacoustic music at the CNRR Conservatory of Marseille where I am specialising in multi-channelled diffusion (Acousmatic spatialisation) and Modular Synthesis. I have initiated a platform/label aiming at promoting the genre:
https://modulisme.info/sessions

Relying on electricity/amplification to produce, manipulate, work on sound-material, but trying my best to explore various genres and make sure that each of my albums differs from the previous one, trying to avoid routine and surprise my listeners.

Not musically trained/educated I lie outside the Classical genre but my scores incorporate traditional classical components in a predominantly unconventional manner which allowed me to being asked by Iancu Dumitrescu & Ana Maria Avram to join forces as a soloist in their Hyperion Ensemble + being invited by Jean-Paul Dessy (Musiques Nouvelles ensemble) and Raoul Lay (Ensemble Télémaque) to become in charge of electronics/turntables in their ambitious E. C. O. (European Chamber Orchestra) formation comprising of 33 soloists...
Fortunate enough to work with what people call a dream-team of collaborators: joining Lydia Lunch, Murcof, Eugene Robinson (Oxbow), Edward Ka-Spel (Legendary Pink Dots), Simon Fisher Turner, Cosey Fanni Tutti (Throbbing Gristle), Foetus, Pantaleimon, Graham Lewis (Wire), Barry Adamson, Andy Diagram, Scanner, Machinefabriek, Mira Calix, Kammerflimmer Kollektief, Justin K. Broadrick, James Johnston (Gallon Drunk/Bad Seeds), Mark Cunningham (MARS), Cindytalk, Orkest De Ereprijs, Stephen O'Malley, Strings Of consciousness or Faust onstage and-or in studio…

Philippe Petit & Michael Schaffer: I (CD + Digital / Opa-Loka) https://philippepetitmichaelschaffer.bandcamp.com/releases Philippe Petit: A Space between spaces (Music to create space rather than occupying Space) (Digital / Ante-Rasa Records) ante-rasa.bandcamp.com/album/ante26-philippe-petit-a-space-between-spaces-music-to-create-space-rather-than-occupying-space Philippe Petit : Deep-Sea Creatures (Digital / MUTEANT Records) https://muteantsoundsnetlabel.bandcamp.com/album/deep-sea-creatures https://philippepetitamusicaltravel-agent.bandcamp.com

www.philippepetit.info

Episode 16: Johnny Woods & Triple Envelope Follower 230r

1 oktober 2020 | 111 min

Artist Spotlight: Johnny Woods

16 september 2020 | 24 min

Episode 15: The Galaxy Electric + 208 Tips & Patch Ideas

26 augusti 2020 | 130 min

Artist Spotlight: The Galaxy Electric

12 augusti 2020 | 36 min

The Galaxy Electric are Augustus and Jacqueline - a husband/wife duo based in the US - who are obsessed with early electronic music that utilized magnetic tape to create new sounds no one had ever heard before! Together, they blend influences from 60s Psych pop and Retro Sci-Fi to make "Cosmic Tape Music.” Using Buchla style synthesizers, Reel to Reel and Cassette tape machines, a Mellotron, a Korg Delta and various effects devices sprinkled with ethereal vocals they take their listeners on a cosmic journey.

When their debut album, "Everything is Light and Sound" was released on vinyl, they were hailed as "one of the most original and intriguing bands to emerge in the music scene within the last year." They spent a lot of time on the road opening for bands like Lake Ruth and Welsh artist Gwenno. And now have returned to the studio for their second full length album, “Tomorrow Was Better Yesterday.”

“Tomorrow Was Better Yesterday” is the first album we have ever recorded that was fully and completely improvised. We recorded to 1/4" Analog Tape without any digital recording magic (overdubs, edits, tuning etc). We spent a year practicing this new improvisational style before we turned on the tape machine. But once we did, we recorded every day for a month. And when we listened back - we realized we had created a space age fantasy album - with an incredible story; a soundtrack to a time traveling space voyage.

In order to honor the recording process of this album - we knew we had to find a way to release it on Reel to Reel tape with the most amazing artwork and packaging - to create a unique Collector's Item worthy of the voyage. With the help of Dead Media Tapes, we will be able to do just that!”

Pre-Order “Tomorrow Was Better Yesterday”
https://www.kickstarter.com/projects/1511715045/the-galaxy-electric-is-releasing-new-music-on-reel-to-reel?fbclid=IwAR1fOryUb5reu4pkW47M7mqQBoVMehsuvp94jPIqd16XYqXQSVqvIDBWKXI

Our website:

www.thegalaxyelectric.com

Social Links:

https://www.facebook.com/thegalaxyelectric

https://www.instagram.com/thegalaxyelectric/

https://twitter.com/galaxyelctrc

https://www.youtube.com/channel/UC6DhuaWCSugIiyHlxE7vsBA

Playlist and description:

“Tomorrow Was Better Yesterday” Album Trailer Premiere: this is a collage of the tracks from our forthcoming full length album release. We are hosting a kickstarter for the project to fund releasing the album on cassette and REEL to REEL!
Tomorrow Was Better Yesterday Single: One of our favorite songs off of the new album. This song was completely improvised straight to 1/4” tape and features heavy use of the Buchla Music Easel among other synths and effects.
Buchla Coconut: A song off of our debut album Everything is Light and Sound. This song was performed exclusively on the Buchla Music Easel along with some found sounds.
Calm Down: A song off of our debut album Everything is Light and Sound. This song was our first instance of using the Buchla Music Easel in a track.
Relaxation Tapes: The first song off of our debut album Everything is Light and Sound. It’s a collage piece that sets the stage nicely for the Buchla Cosmic Drone track to follow.
Buchla Cosmic Drone 5-24-20: This is the 20th long form improvised meditative drone we performed on May 24, 2020. It features a small Buchla system featuring clones of the 257, 259, 266, 280, and 292 as well as 1979’s Digital Resonator. It also features Jacqueline’s voice run through 2 Boss RE-20 space echo pedals.

Episode 14: Doug Clauder, Studio H

29 juli 2020 | 108 min

Artist Spotlight: Jim Schoenecker / Pressboard - "Keeping it 100"

15 juli 2020 | 25 min

Episode 13: Morton Subotnick

24 juni 2020 | 142 min

Artist Spotlight: Tyresta - "Facing Ourselves"

10 juni 2020 | 19 min

Episode 12: Barry Schrader

27 maj 2020 | 170 min

Artist Spotlight: Günther Steudel

13 maj 2020 | 23 min

Episode 11: Steve Horelick

29 april 2020 | 121 min

Episode 10.5: EMS & Jon Nensen, The Human Comparator

8 april 2020 | 126 min

Episode 10: EMS & Daniel Araya

25 mars 2020 | 81 min

Episode 9: Northern Light Modular, Marc Borri & Sascha Haber

26 februari 2020 | 125 min

Episode 8: 259e & Todd Barton Again!

29 januari 2020 | 109 min

Episode 7: 223e, Joel Davel & Peter Nyboer

26 december 2019 | 134 min

Episode 6: 132 & M.E.M.S.

27 november 2019 | 128 min

Episode 5: 281+292 & Nathan Moody

30 oktober 2019 | 113 min

Episode 4: RED PANEL & Eric Fox

25 september 2019 | 141 min

Episode 3: 1979 & Wes Milholen

28 augusti 2019 | 103 min

Episode 2: 248 & Suzanne Ciani

31 juli 2019 | 114 min

Episode 1: 266 & Todd Barton

26 juni 2019 | 109 min

Coming Soon...

11 juni 2019 | 1 min

Source Of Uncertainty: A Buchla Podcast 4U

A monthly podcast focused on Buchla electronic modular instruments.

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