"Simmons digital clap trap. A somewhat rare and very unique sounding analog/digital clap generator.
works perfectly, can do anything from tr808 snares, to various snaps and claps and crunching sounds. The perfect thing to layer under samples to get an organic sound with some variety.
the outer cases of these are made of a shiny plastic so they are really easy to scuff and scratch, as such its not perfect."
"Complete MOTM 5U Modular System. Professionally built and in perfect working order. Original owner. All Synthesis Technology Modules are original issue Parts, PCB's and Front Panels.I would like to sell as a complete system but I am also selling the individual components...
The system includes:
MOTM-300 VCO x 2
MOTM-320 LFO
Buchla LoPass Gate
MOTM-800 EG + LED
MOTM-800 EG
MOTM-490 Moog Ladder VCF
MOTM-190 VCA
MOTM-101 Noise + S&H
MOTM-830 Dual Mixer
MIDI to Clock/Sync 24 Clock Divider
MOTM-440 Prophet V Rev 2 VCF
"Super easy and fun Analog cv/gate and midi trigger/sequencer. This one has had very little use with only 1 owner and is in a 9.9 out of 10 condition. Just a tiny small scratch by the rackmount hole. A breeze to learn and a must for syncing old analog and midi cv/gate synths and drum machines in the studio or live performances. Never gigged, and always kept in my Non smoking A/C controlled private studio."
"Quick video to show where the MK II version is up to.
Up to now it is 6GB(original version 500MB). If I add the preset system of presets made on a real Quadra it is probably going to be a 10GB+ library.
Left to do:
Finish Lead section.
Finish sequencer.
Create separate Quadra sections so a modular Quadra can be created.and add sequencer to them.
Add Arpeggiator to Lead section.
Test.
Make presets."
"The Meta Sequencer is a variable length CV step sequencer with a built-in clock divider.
At its core, the Meta Sequencer consists of a step knob and value knob, both which have their own numeric displays. There's also a clock gate input and reset gate input, both with associated pushbuttons. And finally, there's a 12-bit CV output.
An menu system is used for changing settings such as quantization scales, arpeggiations, clock division, sequence length, and randomization."
Noon, Friday, April 24, 2015
Schneider Museum of Art
With special guest Eden Mononym
The next performance is Friday, April 24, noon at the Schneider Museum of Art on the campus of Southern Oregon University. Todd Barton and Bruce Bayard are joined by Eden Mononym and all three perform on the Buchla Music Easel. The performance begins at Noon and is free and open to the public.
The series continues the exploration of space as a compositional tool, this time, expanding the quadraphonic sound into all four galleries of the Museum. For this performance, in addition to the Buchla Easel: Electric Music Box, Todd adds the Japanese Sho to the ensemble, to continue the investigation of acoustic instruments in the mix.
Eden Mononym is a local sound artist, working for Buchla Electronic Musical Instruments. He began tape splicing at the age of 10, essentially planting the seeds for a self taught journey. Exploring various techniques from modular electronics, computers, live coding, acoustics, to the avant-garde. Eden is always searching for an electro-organic sound, with a focus on expression based approaches.
Todd Barton is former Director of Composition Studies for the Music Department at Southern Oregon University and Resident Composer Emeritus for the Oregon Shakespeare Festival. Todd is currently Consulting Artist for Buchla Electronic Musical Instruments. After four decades of exploration, Barton is still delving deeply into the ever-expanding frontiers of musical expression: from his DNA derived Genome Music to innovative scores for plays at the Oregon Shakespeare Festival; from performances of Zen Shakuhachi Meditation Music to avant-garde music for electronic synthesizers and computers; from performing with luminaries of jazz and poetry to lecturing on music and composition from the Middle Ages to the 21st Century.
Bruce Bayard began oil painting at age 9, and although briefly attended the University of New Mexico, is largely self-taught. He has worked in various media and techniques including oil, acrylic, casein, collage, lithography, etching, screen printing, pencil, crayon, encaustic and assemblage.
In 2000, Bayard began an exploration into digital technology as a means of creating art, producing archival pigment prints. During the last couple years, he has been exploring performance and multimedia improvisation with an ensemble that combines sound, voice, dance, poetry and video collage.
"Überkeine est passé nous rendre une petite visite avec son propre système pour tester l'Elements de Mutable Instruments : essai transformé ! Il rejoindra son boitier dès que possible."
"Simmons digital clap trap. A somewhat rare and very unique sounding analog/digital clap generator.
