"A new album of experimental modular synthesiser music by Benge
'This series of studies explores an idea that Benge has been working on over the past year or so, namely that of Cybersynthesis. This involves programming self-contained patches on various modular systems which, once set in motion, will produce dynamic, evolving soundscapes, sometimes purely abstract in nature, at other times veering towards the more melodious
Many different methods were deployed in the patches, depending on the system being used, but normally multiple sequencer and switching devices were combined to give varying degrees of control over long time periods, often without repetition
Other things like random control signals and semi-random events were combined with the sequencers and switching units to bring variation to the performances the machines were making'
"So, essentially my contribution was to introduce repetition into Western music as the main ingredient without any melody over it, without anything just repeated patterns, musical patterns.
(Terry Riley)"
"The 700 Complex Function Generator test features multi-point drawing and a time-scanning system. In this patch, the CV output from the 700 Function plugin is routed into the 700 Voice. This plugin will be available for free download on my website.
#ableton live #max for live #700FMvoice
Paying tribute to the classic Buchla 700, the 700 FM Voice reimagines the iconic voice section's characteristics. We have rebuilt the algorithmic structure and user interface to better suit modular usage. The 700 Voice features a unique sound synthesis approach, incorporating elements of both classic FM and phase synthesis. Although it is a monophonic oscillator, we have endowed it with complex and powerful sound-shaping capabilities, as well as the design space to continue developing new algorithms in the future. The module is available in both standalone and expanded versions.
Four variable waveform oscillators, Each oscillator features four selectable modes, indicated by LED colors: red for mode 1, green for mode 2, blue for mode 3. White for mode4 (independent osc with 1.2v/oct).
A global frequency control. Six independent index controls, supporting 0-10 V CV modulation. A/B dual mixed output with CV modulation capability, plus a dedicated output for channel B. The top left OLED allows mode switching for the oscilloscope via an encoder and provides access to expanded feature options. The middle OLED displays logic diagrams for twelve algorithms, with buttons for downward selection and a "Res" button to return to the previous level. Expanded oscillator waveform selection, including sine-saw, sine-square, and PWM square shapes. Enhanced waveform simulation with jitter modulation. Independent wave shape modulation for A and B outputs. Support for expansion modules. The standalone version allows MIDI CC input control. Global support for 1.2 V/oct. Power requirements: ±15V, 12V, 5V, QG, NG.
"Today we are going to check out the new module from the Tiptop & Buchla 200t serie: the Triple Envelope Follower Model 230t.
It's a fantastic addition to the 200t echosystem, that will let you control dynamic or timing with external audio such as, microphone, samples, drum pads, electric instruments, field recording or anything in that spirit.
It can also be used as an decay envelope in the system or in compression / expansion patches."
TipTop Buchla 230t – Triple Envelope Follower // Interact with your patches!
"The Buchla 230 is here, and while it might not be the shiniest module (I know you're lusting after the tenth granular effect or the twelfth tape-inspired contraption), it's quite a useful and FUN one!
Not only does it stop the modular from being this separated entity, and it gives it back the ability to listen and interact with the real world, but analysing the internal signals can be a productive endeavour too.
In this video, I'll show you some cool patches, and I will introduce the concept of sidechain in the Buchla system, which in this case was used in the most common way we associate with the term, but it can also be a powerful tool to swell reverbs, make multiple voices arise in a sea of notes, and, in general, make more lively patches :)"
"We cruise along Historic US 101 in the southern California beach towns of Carlsbad and Oceanside. Also known as Coast Highway (and Carlsbad Blvd within the eponymous city limits), this was part of the original US 101 in California that stretched from San Diego to the Oregon border. It was truncated to Los Angeles in 1964, and several of the former sections to the south have been signed as "Historic US 101". This segment is also signed as San Diego county route S21.
0:00 Introduction
0:10 Along the Pacific Ocean in Carlsbad
2:52 Carlsbad Village
4:03 Heading north into Oceanside
6:12 Musical recap in downtown Oceanside
8:10 Turning onto CA 76
8:32 I-5
9:16 Conclusion
Original composed and performed by Amanda Chaudhary, who played all the parts.
Instruments on the main section:
BFD3 drums using Terry Bozzio drumset from Ken Scott EpiK Drums pack
AudioModeling SWAM Tenor Sax
Arturia Vox Continental V, Piano V, Pure LoFi
Cherry Audio Novachord, Crumar Spirit, Mercury 4, Stardust 201
Stylophone Theremin
Octave CAT (vintage analog synth)
Crank Sturgeon Pocket Gamelan
Styrmon Magneto and Starlab modules
Buchla Red Panel 158
EastWest Fab Four, Ministry of Rock 2, Gypsy, Hollywood Orchestral Percussion Gold
Instruments on I-5 section
BFD3
Arturia Juno V and Pure LoFi
Cherry Audio Mercury 4
Octave CAT
EastWest Hollywood Orchestral Percussion Gold"
"Here I am exploring some 2hp tiny little euro rack modules - putting them up against one of the first and mightiest modulars of all time
The 2hp modules are: 2 x Loop, a Pitch and a Delay - and the combination gets us some very nice (in my opinion) 'Concrete' behaviour
This piece is pretty much a live performance, I set up 1 pass of the Buchla going to Loop module 1, set it to loop round, repeated this going to Loop 2 and then I had a live pass going through the Pitch and Delay which I messed about with alongside manipulating the Buchla settings (mostly Gate attack and decay settings, and controlling 3 VCOs pitch with the Touch Keys)
The 3 mono channels were panned and recorded down at the same time - kinda playing along to the Loops in real time. The video was faked - ie I ran out of hands so I filmed it afterwards, but you can see the patch cables - they are the same as the recording patch
"Join my Patreon community to support future video projects like this one, and to access behind-the-scenes content + community events:
https://www.patreon.com/sarahbellereid
In the spring of 2025, I spent a week at the Stony Brook University Electronic Music Studio, working closely with their original Buchla 200 Series modular synthesizer. Built in the early 1970s by pioneering instrument designer Donald Buchla & associates, this rare instrument is one of the few surviving and fully intact systems of its kind.
Due to its rarity, very few musicians have had the opportunity to interact with an original 200 system firsthand. I hope this video will help bridge that gap by sharing the instrument’s sound, design philosophy, and aesthetic intentions with a wider audience.
The video begins with a brief historical overview of the Buchla 200 Series and its role in the rapidly evolving landscape of 1970s electronic music. From there, I dive into a detailed walkthrough of the system, exploring each module with sound demonstrations and examples. We conclude with some reflections on the Buchla 200’s design philosophy, offering insights into the types of musical interaction the instrument was built to encourage (and why it continues to resonate with musicians and designers today).
Learn how to make your own unique music with modular synths and master the fundamentals of sound design inside my step-by-step course & coaching program, Learning Sound and Synthesis®—no experience needed!: https://www.soundandsynthesis.com
This video was created in collaboration with the Buchla Archives, an organization dedicated to the thorough and thoughtful documentation and preservation of Donald Buchla’s work."
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via Google AI:
"Toni Gutiérrez is the creator of Antonus, a company that makes hardware replicas and expansions of classic analog synthesizers, most famously the ARP 2600. Gutiérrez first started making ARP 2600 replicas around 2015."
"I know that sounds over the top - but it’s true.
It taught me to listen more deeply.
To embrace imperfection.
To find creative flow again, and more importantly… to find JOY in my music-making again.
Rediscovering the joy of experimenting, exploring, and making weird sounds just for fun. 🙂
I’m teaching a free online class next week – it’s equal parts about getting started with modular synths, AND about simply giving yourself permission to experiment and play.
Permission to try something new.
Permission to follow your curiosity and see where it leads.
If you’ve been curious about the world of synths but not sure where to begin, this class was made for YOU.
It’s free, it’s beginner-friendly, and you don’t need any special gear.
Go to the link in my bio if you’d like the link to register."
"When I was first learning modular synths, people would tell me that the best way to learn was to “just plug cables in, turn knobs, see what happens—you’ll figure it out!” Even today I sometimes get messages when I share my online modular synthesis course, saying “Who needs a course to learn this? Just plug cables in!” On the one hand, I completely agree that exploration, experimentation, & play are super valuable parts of learning any new instrument, & you CAN get really far with modular just by listening, turning knobs, & seeing what emerges. But—I also remember how I personally felt when I was told that as a beginner. I’m sure their intentions were for me to feel inspired, lighter, & less concerned with “getting it right.” But instead? I felt paralyzed. “What do you mean, just plug things in!? Where do I even begin? What if I break something?” I’m sure this works for some; but for me the lack of guidance made me lock up & get super nervous. Instead of experimenting, I felt overwhelmed & stupid for not “getting it” right away. I’m sharing this because I’ve realized over the years that this isn’t unique to me. Some folks work well with exploring & others thrive in a more structured environment. I create all my synthesis classes for folks in both worlds, who want to get deeper into their music-making AND want support to help them get there. The amazing thing is that for SO many of the ppl who initially feel overwhelmed, as soon as they’re given step-by-step structure & support they immediately feel more empowered to experiment—& from there? They take off 🔥🚀 PS: If you haven't heard yet, I'm running a free live workshop (online) next week, all about getting started with modular synths—with clarity and confidence, instead of overwhelm and doubt. I'll share the first steps to getting started, a simple process for building synth patches, how to develop your sound design skills, and we'll have an open Q+A to address any of your questions live! Go to the link in bio for the link to register! 🥳"
"A piece created with Music Easel and MOOD MK II. Synthesizer music composed of modal micro loops and live synth performance.
On the Music Easel, the keyboard is played with occasional use of the arpeggiator, while adjusting portamento and timbral modulation. Reverb is applied with MOOD MK II, which also plays micro loops."
