Lost Analog by Barry Schrader

You might remember the announcment for Lost Analog by Barry Schrader posted back in September. Not mentioned was some of the unique history and significance of this particular release featuring the Buchla 200 in the liner notes, including possibly the first quadraphonic electronic music score for a commercial film.

The liner notes for the release follow:

I’ve chosen to call this album Lost Analog not only with reference to my previous release, Lost Atlantis, but also because all of the works are analog electronic music, and parts of them are, indeed, lost. All of this music was created from 1972 through 1983, using the Buchla 200 analog modular synthesizer, also known as “The Electronic Music Box.” The music contained in this Lost Analog album was originally created in 4 channels, sometimes referred to as quadraphonic sound. In mixing and remastering these pieces as stereo files, some of the original aural intent has unavoidably been lost, another reason for calling this release Lost Analog. As I write this, realizing that some of this music hasn’t been heard in public for almost fifty years, I’m taken back to much earlier days in my life and career, which, although remembered, are also lost, as are all of our pasts.

Death of the Red Planet Suite” (1973) is made from parts of a score for the film “Death of the Red Planet." The 20-minute film was the first to be created from images made with lasers, and it toured theatres along with “Yessongs,” a concert film of the band Yes. It is, I think, the first quadraphonic electronic music score for a commercial film. This suite of the music from the score is all that I have of the original soundtrack. Whether or not the film still exists in its original theatrical format, I have no idea. More information on this film may be found here.

“Bestiary" (1972-74) is a five-movement work drawing on mythological creatures from medieval bestiaries, treatises about real and fictitious animals. Originally, I had planned seven movements, but ended up composing only five. The first and last movements are imaginings of mythological beasts convening and dispersing (the latter in an increasingly disorderly way), while the interior three sections focus, respectively, on sea serpents, a unicorn, and basilisks, the latter being venomous winged reptiles that supposedly lived in caves or deep wells. “Bestiary” is the first work of mine to fully incorporate what has become one of my main compositional concerns: the creation of new and transformational timbres.

After composing “Lost Atlantis”, I wanted to do something very different, and so I wrote "Classical Studies" (1977). These three short pieces use abstractions of old musical forms: canon, chorale, and perpetuum mobile. The timbres are almost always changing with each successive event in these works, very quickly so in “Perpetuum Mobile."

The”Moon-Whales Suite” presents three sections of a larger work, “Moon-Whales and Other Moon Songs" (1982-83). This is a seven-movement work for soprano and electronics. The even-numbered movements are for soprano accompanied by electronics, and the odd-numbered movements are for soprano solo followed by an electronic music section without voice. The three movements presented here, are the 2nd, 4th, and 6th sections of the work, without the soprano introductions. The work is based on poems by Ted Hughes, the British Poet Laureate from 1984 to 1998, taken from his collection “Moon-Whales and Other Moon Poems." The three poems referenced are also the titles of the pieces in this suite: “The Moon-Oak,” “The Moon-Bull,” and "Moon-Wings". Reading the poems will help to uncover the inspirations and ideas behind these works, but I think they also stand on their own as musical compositions. While the master tapes for the electronics of these pieces still exist, they are unplayable due to tape deterioration, yet another reason for this album to be called “Lost Analog."

You can find the release on Bandcamp: https://barryschrader.bandcamp.com/album/lost-analog and other platforms: https://barryschrader.hearnow.com

You can find additional posts featuring Barry Schrader here. Don't miss my interview with Barry from 2015.

Barry Schrader Lost Analog on the Buchla 200

See my extensive 2015 interview with Barry Schrader here. You can find additional posts featuring Barry Schrader here.

Press release follows:

Barry Schrader has announced the release of a new album, “Lost Analog.” This is a collection of previously unreleased works Schrader composed between 1972 and 1983 on the Buchla 200 synthesizer, aka The Electric Music Box. This album of definitive works of West Coast electronic music serves as a companion collection to Schrader’s famous “Lost Atlantis” release, widely regarded as a benchmark for classical electronic music works. The “Lost Analog” album contains music from the film “Death of the Red Planet”, the complete versions of “Bestiary” and “Classical Studies”, and an electronic suite of three movements from “Moon-Whales and Other Moon-Songs.”

The release date for “Lost Analog” is Friday, October 28, 2022. The limited-edition CD and the digital tracks will be sold on Bandcamp, and the tracks will also be sold on all major online music stores. Until then, you can hear previews of the tracks at https://barryschrader.hearnow.com/.

“…the music outsynthesized Tangerine Dream in its hypnotic electronic coloration.” - New York Times review of “Death of the Red Planet"

“Schrader's music has fascinatingly subtle shifts of color and volume. The listener could wrap himself in a development of metallic sounds seamlessly transformed from speaker to speaker, a delicate but penetrating pulsation of notes woven with a music-box effect, or a melange of dizzying, sliding, wind rushing patterns that make the revving-up of a jet plane seem demure.”
- Los Angeles Times review of “Bestiary"

Those interested in getting the CD or digital download should sign up on Barry Schrader’s “Follow” mailing list on Bandcamp before October 28 in order to get special offers when the album is released.

Yamaha DX100 Frequency Ratios Decoded by noyzelab

noyzelab has decoded the Yamaha DX100 Frequency Ratios, on github.

"The Yamaha DX100 owners manual contains a very interesting chart of its 'carefully chosen' frequency ratios, although there is barely any discussion about them at all or what they actually are or relate to..

These mysterious ratios also appear in the other 4, 6 & 8 operator Yamaha FM synthesizers/chips, such as the DX7, DX21, TX81Z, FB-01, DX11, FS1R, DEXED, you name it.. so the information here is relevant for any FM synthesizer capable of producing these ratios.

With a little deciphering using a tiny Python program it turns out this mysterious chart contains 4 groups of inharmonic ratios : √2, √3, π/4 and π. Included in this repo are =>

- spreadsheet in Open Office & PDF format deciphering and organising these ratios into a more coherent layout, plus an Addendum of complete tables computed up to 30x multiplication

- Python program to produce the Addendum tables. Edit & rerun this code to generate output for higher ratios, for example alter the multiplier variable to print out higher ratios for use with 6 & 8 operator synths.

- excerpt from the original DX100 owners manual showing these ratios obtained from here =>

Yamaha have been quite cunning, as you will see from the tables I've made decoding this mysterious chart. The inclusion of these 4 inharmonic ratio groups has been done in such a way that they contain exact multiples of themselves. This is incredibly useful when programming an FM sound using just sine waves, and as Yamaha hint they "produce extremely complex waveforms" for things like "sound effects including extremely realistic bells, explosions, etc."

Here is a simple example I tried poking around on my DX7ii:

Consider creating a sound containing inharmonic timbres, where you would like to have a complex wave modulating a simple sine wave carrier tracking the keyboard normally. This could easily be achieved with a 3 operator sine stack 3>2>1. For the carrier [operator 1] you could choose a ratio of 1.0. Then you could setup operator 2 at √2 = 1.41 creating an inharmonic ratio, and modulate it with operator 3 using √2 but at x 2 = 2.82. This would give you a 2:1 ratio for operators 3 & 2 respectively and create a nice complex modulating wave with minimal to no beating. You could further adjust either or both operator 2 & 3 ratios using √2 as the inharmonic ratio to keep it whole number [integer] based.. or move across to another inharmonic set for one or both and explore futher from there.

how to keep me going ==>
if u find this repo useful please think about supporting my work either thru my bandcamp page: https://noyzelab.bandcamp.com/ or send a Paypal donation or otherwise get in touch via noyzelab [at] gmail [dot] com

thanks, dave"

Update: this reminded me of an interview I did with Barry Schrader in which he discusses his deep dive into FM synthesis after working with vintage Buchla systems. Scroll down to Triptych for an example and/or search for Yamaha for more.

Formant Synth Dream

Update as of 9:26 PDT: I made a couple of minor updates in case you read it before then. Sorry!

A quick note on posts like this: I hope you enjoy them. If not, just skip them. When I first started the site I used to share my synth dreams but stopped. Personally I get a kick out of them. I won't share every one, just some of the stand outs. The last one stood out for the humor, this one stood out for the design of the instrument. It reminds me of different makers and their approach. As a maker, do you set out to design a synthesizer, an instrument, or both? Are you locked in by the tools, components, and paradigms of what makes a synth? In my dream both the musician and the maker (who never made an appearance BTW) didn't really know what a synth even was. The maker just designed an instrument and the musician just played it. This reminds me of Don Buchla's original designs and specifically the Buchla Music Easel. This was at the birth of synthesis as we know it. What's interesting is his designs weren't meant to be what they are commonly perceived as today. They were meant to be unique instruments, palettes for sound, hence the Music Easel. I heard even his modular systems weren't meant to be complete fixed instruments, they weren't meant to be mixed and matched. Think about that for a bit. They were modular in design, but they weren't meant to be modular in nature. They were meant to be wholly formed instruments. In the following dream the musician reminded me of Marc-Henri and Barry Schrader to an extent. Marc-Henri almost exclusively uses an Access Virus Ti as a music easel for his compositions. Barry Schrader started with Buchla and then moved to FM synthesis for his compositions. You can find an extensive interview with him here.


And the dream...

I had another synth dream last night. In this one I was at an ensemble event held in kind of a classroom/workshop/gym-type of open space at what felt like an old English or New England boarding school - lots of wood, flat tall ceilings, and windows along the length of the far wall. The ensemble consisted of maybe 18 people in a semi-circle with a small audience in front of them, mainly standing, which I was one of. The instructor had each member of the ensemble introduce their instruments. I was in front towards the left of the ensemble and noticed the last two instruments to be electronic desktop boxes sitting on a card table (synth gathering anywone?), both vintage and almost DIY looking in style. I remember thinking, "I know what these boxes are. They are synths! I can't wait to talk shop with the owners and check them out." Well the instructor starts going around the ensemble starting on the opposite side. Each member introduces their instrument and talks a little bit about them and their technique. There were some interesting brass-like instruments. I think there was one based on an alto trombone, but it was just a flat pipe and no horn at the end. Funny side note is my daughter is currently learning to play piccolo. She plays flute in high school band and decided to finally give the piccolo a try as a stretch goal. If you don't know what a piccolo is, it's a tiny flute for super high notes. She said there were tiny versions of most instruments including the trombone. I looked one up and sure enough there is. A tiny trombone not much longer than a foot exists. The instrument in my dream also bore a resemblance to the ribbon controller featured in the Nunomo QUN post, so I'm guessing that's where it came from - some bizarre mix of the two. Anyway, when the instructor/host got around to the last two instruments, it turned out the first was a theremin based synth minus the antennas. It was made of wood and looked vintage. It would have been interesting if not for the next box. That was something. It was black with white and silver sliders, levers, buttons, and knobs. It was a unique instrument custom made for the owner who knew the maker. The interesting thing was the musician wasn't familiar with synths and didn't even see the instrument as a synth. The maker also wasn't into synths. In the dream he was more like a luthier, more of an artist instrument maker than a synth maker. No offense to synth makers! :) Anyway, it was about the size of an EMS SYNTHI and was black with white levers and sliders and had a bunch of esoteric control blocks with non standard names/labels; similar to something like the Hartmann Neuron where controls are familiar but the names are completely different. For some reason it reminded me of a black Lassence uVentury, Modor NF-1, mixed with some MacBeth and Folktek in design, but again completely different. Again, this maker wasn't into synths. This was a unique instrument. After the talk was over the musician gave a little demo. The sound of it. It was like formant analog but the timbers coming out of it were rich and full, not thin or glossy like most formant synthesis. It sounded like nothing I've ever heard before. After the talks were over I walked over to it to check out the controls and design. I wondered if I could touch it and play with it a little and for some reason, as happens in dreams, I knew it was OK so I started playing with it. There was a thin ivory white reed-like lever about an inch and a half long that controlled a female formant timbre. It was amazing. There was an group of lever-type sliders that controlled a multi band formant filter block and I remember thinking, "Oh this is a filter!" There were envelop sliders and other familiar groups that I now forget, but there were a bunch of interesting controls on it that didn't quite match up to common synths. There were additional effects and shaping tools built into the design and everything just flowed like a natural instrument. Again it kind of reminded me in concept to a Hartman Neuron and Modor NF-1, with maybe a bit of Folktek, but it was more vintage and simplistic in design - just a sold black block with white and silver controls. It was definitely designed as a work of art instrument vs. a synth. Similar in concept to the Buchla music Easel as I mentioned in the intro to this dream above. So after checking it out a little and talking to the owner I realized I should take a video of it for the site! I got the OK to film it, pulled out my iPhone, and started trying to capture some of the controls and timbres it was capable of. When I got to that formant female slider it was gone! I couldn't remember what I did to get that sound and I couldn't find the control again. Damn dreams.... And as in many real world sessions I wasn't getting those rich timbres again. I got lost between timbres! I thought my readers would be disappointed in my programming chops for a split second, but then I reminded myself anyone into programming synths will understand and not care, so I kept tweaking. Well, right then, a foster kid boarding at the school distracted me and started talking to me. I hand gestured to him (no I did not flick him off) to hold off for a second because I was in the middle of filming the synth and trying to capture audio. He understood for like five seconds and started talking again. I asked him to give me a sec but he got upset and said I should be there more for people. I felt bad and wasn't getting anywhere with the instrument at that point, so I stopped filming to talk to him before he left.

And that was it! Everything felt right with the kid so that was good, but that instrument! It's gone forever...

Pacific Light and Water/Wu Xing - Cycle of Destruction

Published on Jan 26, 2020 ExMachinaPub

"This is an excerpt from a collaboration between jazz legend and trumpet wizard Wadada Leo Smith and electronic music master Barry Schrader. Pacific Light and Water/Wu Xing - Cycle of Destruction is what Smith refers to as an 'overlay' composition, combining works by two composers. Schrader created a graphic score, available from Theodore Front Music, for live performers to follow and coordinate with the electronic music of Wu Xing."

See this post for details on the release, including a link to an interview with Barry Schrader.

Wadada Leo Smith and Barry Schrader - Pacific Light and Water/Wu Xing - Cycle of Destruction

Barry Schrader has a new release with Wadada Leo Smith. Barry tells me there will be a CD version limited to 100 copies, 40 of which will be available through CD Baby starting January 15. There will also be an mp3 version available. Be sure to check out my interview with Barry Schrader here. There's some fascinating synth history to be discovered there.

Barry Schrader on the new release:

"In early 2005, I was approached by the remarkable composer/ performer Wadada Leo Smith to create what he calls an 'overlay' work. This is a work in which Wadada creates a composed/ improvisational performance on the trumpet against a fixed electronic piece that I had made. This overlay concept allowed each of us to create a work simultaneously, and then Wadada would perform his work over mine, allowing the fixed structure of my piece to influence his performance. Wadada's side of this unusual duet was Pacific Light and Water, and we had a discussion early on in the process about what we would do, in which Wadada gave me a drawing he made depicting the various frequencies of light that would filter through the Pacific ocean at different depths. My mind was filled with things Chinese at that moment from all of the research and work I had been doing on my work Monkey King, which I had already started composing, and so the water idea led to using the Chinese concept of "wu xing", of which water is one of the five elements (metal, wood, earth, water, fire). These are usually ordered in one of two ways: the cycle of birth, which ends with water, and the cycle of destruction, which ends with fire. I chose the latter for this piece, and, at Wadada’s request, created a graphic score (available from Theodore Front Music) to allow him to coordinate with the electronic music. This, then, is a rare combination of compositional approaches and means, blended into a unified whole."

http://barryschrader.com

An Interview with Barry Schrader Questions 6F: The Barnum Museum & 7 Current State of Synths

The final two questions in my interview with Barry Schrader are now live. Barry discusses what may be his magnum opus, The Barnum Museum, followed by his take on the current state of synthesizers. There are some tie ins to his previous work on Atlantis as well as Louis and Bebe Barron.

"If someone were to ask me what I considered to be my best work, there’s no question in my mind that I would respond that it’s The Barnum Museum. Taken as a whole, this is my longest and most ambitious composition, and one that took me four years to compose. At this time, it remains my last completed work.

The idea for The Barnum Museum came from a short story by one of my favorite living authors, Steven Millhauser. Millhauser is a unique writer, and, so, difficult to classify. He’s been compared to such authors as Calvino and Borges, as well as other writers classified as “magical realists,” but I think he’s in a class by himself. The Barnum Museum is a short story in a collection with the same title. I was fortunate to get permission from Millhauser and his agents to base the work on his story. I was especially lucky that Millhauser agreed to a years-long email correspondence about the work: I would send each movement to him as I finished it and he would comment on the work and my ideas behind it. This was invaluable help in my completing the piece.

P. T. Barnum established two museums in New York City in the nineteenth century. Barnum's American Museum was on the corner of Broadway and Ann Street from January 1, 1842 to July 13, 1865 when it burned to the ground. Barnum built a second museum soon after, but it was also destroyed by fire in 1868. The attractions made the venue a combination of a zoo, museum, lecture hall, wax museum, theatre, and freak show. At its peak, the museum was open fifteen hours a day and had as many as fifteen thousand visitors daily."

Don't miss the full interview question here. You can also go back to the beginning of my interview with Barry Schrader here.

And don't forget, Barry Schrader's Soundtrack to Galaxy of Terror is currently available for Pre-Order.

Galaxy of Terror Original Soundtrack to be Re-Released on Vinyl

Galaxy of Terror Published on May 5, 2017 Pure Destructive Records

Barry Schrader composed the soundtrack for Galaxy of Terror entirely on a Buchla 200. The film was re-released on DVD and Blu-Ray back in 2010. You can read an excerpt from Barry here. You can also read about it in my interview with Barry here (scroll down to get to the section on Galaxy of Terror).

via Pure Destructive Records:

"Pure Destructive Records is proud to announce, for the first time ever, in any format..Galaxy of Terror original soundtrack!.

There will be two variants pressed. 150 orange/red swirl and 150 black. Both will be pressed on 180 gm vinyl

Tracklist :

1. Main Titles and Death of the Remus Crewman; in the Master's Study
2. Quuhod's Death
3. Damia's Death
4. Exploration Music; Discovery of the Spaceship Remus
5. Alluma's Death
6. The Cathedral Chamber; Magic Stairway to the Inner Chamber
7. Monsters of the Red World
8. Discovery and Exploration of the Pyramid
9. The Commander's Death
10. Baalon's Death.

More tracks may be added.

Over the past few weeks, P.D.R has been working directly with the composer of the score..Barry Schrader. With Barry's knowledge and help, this project is now becoming a reality!

Galaxy of Terror is a 1981 Roger Corman Sci Fi, staring a very young Robert Englund and Sid Haid.

Roger Corman has started the careers of many prominent Hollywood people with his films. Galaxy of Terror was one of the earliest films for director James Cameron, who served as Production Designer and Second Unit Director on the film. It was the second Corman film on which Cameron worked as a crewman

Dedicated to the memory of
ERIN MORAN
who played "Alluma" in the movie. *"

Update: Official trailer for the original film added below.


Published on May 13, 2013 ScreamFactoryTV

"When a team of astronauts land on a strange planet to rescue a stranded space ship, they are soon attacked by alien creatures - physical manifestations of fears projected by their own imaginations. This cult classic from legendary producer Roger Corman features Robert Englund, Sid Haig, Taaffe O'Connell and Grace Zabriskie and featured the production design of James Cameron.

BUY ON BLU-RAY: http://www.shoutfactory.com/?q=node/1...
BUY ON DVD: http://www.shoutfactory.com/?q=node/1..."

An Interview with Barry Schrader Question 6E: Monkey King (2005-2007)

Click here for the next installment of my interview with Barry Schrader. This one covers Monkey King (2005-2007), featuring the Yamaha TX816 and several computer applications, particularly FM8. As I'm finding with all of Barry Schrader's compositions, this one has a great story to go along with it. Once there, it is recommended that you start each video before reading each corresponding section. You can then read along as each part plays.

Also remember to scroll up for previous sections of the overall interview once there, if you haven't read them already, or come back to this post and click here to get to the top. There some incredible bits of synth history here. It's not often we get to follow the story of an artist that was not only there at the birth of it all, but one who continues to embrace new synthesis technology with a focus on making music, throughout the years. Don't miss this. Bookmark it for later if you have to.

German WaveFrame Corporation AudioFrame Flyer

Another fascinating bit of synth history. Don't miss the UVI demos below. This is the first time the WaveFrame AudioFrame has been featured on the site.  There was a controller for one featured here, and it was used by Barry Schrader and mentioned in my interview with him here and one previous post here.

This one was sent my way via swissdoc: "I just scanned my mega-sized German flyer from 1988/1989 of the WaveFrame Corporation AudioFrame. It is 600x600 dpi an weights in as about 32 megs. You can find it here [or check out the images of the complete pdf in this post - click each to zoom in].

It is similar to Fairlight or Synclavier and was kind of the first DAW. The system is still supported by http://www.waveframe.com

UVI has an instrument based on it.

Features you could install into the slots:

-Sampler (44.1 kHz Samplerate, stereo, 2 - 30MB Ram, grafische Samplebearbeitung, 16 Stimmen pro Karte)
-Mischpult mit 16 Eingängen + Reverb & Delay
-Harddiscrecording
-AD und / oder DA Wandler
-Speichererweiterungen"

And via UVI:

"Back in the 80's the WaveFrame Audioframe was the second generation of mega samplers, in line with the NED Synclavier and Fairlight CMI. A complete 48-voice system would sell for over $100,000, and at the time the feature set was worth it! The Audioframe was used by renowned artists like Peter Gabriel and Stevie Wonder and by leading sound designers and foley artists.

The UVI WaveFrame Sound Collection isn't a massive library dredged with tens of gigabytes of super high resolution wave files - conversely, it's a lean and mean library expertly crafted after the original, weighing in at just over 350 MB.

As you can hear in the demos, size isn't a factor for this library. The collection contains a multitude of very useful and organic sounds such as keyboards, guitars, basses, solo strings, string sections, upper brass, lower brass, brass sections, woodwinds, synths, pacific rim, percussion, drums, effects and test tones.

WaveFrame Sound Collection brings you an excellent library of bread and butter sounds that preserve the character and history of this milestone in music tech history."

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An Interview with Barry Schrader Question 6D: "Duke's Tune" Featuring the Yamaha TX816

Click here for the next installment of my interview with Barry Schrader. As you can probably guess from the image on the life, this one, like all of the interview questions to date, has a great story behind it. :)

An Interview with Barry Schrader - Question 6C: "Triptych" Performed on the Yamaha TX816

Click here for the next installment of my interview with Barry Schrader. This one covers Triptych performed on the Yamaha TX816.

An Interview with Barry Schrader - Question 6B: "Atlantis" Featuring the Buchla 204 Quad Spatial Director

Click here for the next installment of my interview with Barry Schrader. This one covers his Lost Atlantis composed in 1977 on a large Buchla 200 system featuring the 204 Quad Spatial Director, and the Fortune modules featured earlier in the interview.

An Interview with Barry Schrader - Question 6A: "Trinity" Composed on a CalArts Buchla 200 System

6. How did technology over the years impact your music and creative process? Can you walk us through your albums and what the general process was like for each?

You'll find Barry's answer here. You do not want to miss this. Not only will you hear one of CalArts Buchla 200 systems in 1976, but you'll get some insight into the thought process behind the piece "Trinity".

"In exploring my compositions, I think it’s best to take a few works and deal with them one at a time. The first one I’ll consider is Trinity composed in 1976 using one of CalArts Buchla 200 systems. Beginning with Trinity, all of my pieces done using the Buchla 200 used the same basic patch" [pictured left]

An Interview with Barry Schrader - Question 5

5. Who came through the studio in the later years at CalArts? Were there any notable experiences that you remember?

You'll find the answer in the main interview post with Barry Schrader here. You'll find some fascinating history there including the early Buchla systems at Cal Arts studios B303, B304, B305 and B308, as well as the transition of the studios in the 1980s. You'll find experts of Barry Schrader's music, including the full film of Galaxy of Terror which featured a score composed by Barry on the Buchla 200.

An Interview with Barry Schrader - Question 4

Question 4 has been added to the Barry Schrader interview post here. Don't miss it!

Find out what that is to the left. It has a very interesting history and an unlikely source. Hint: it's not Buchla.

Update: a few additional pics and links added to the post.

An Interview with Barry Schrader - Question 3

Question 3 has been added to the Barry Schrader interview post here. It's a good one. Don't miss it!

Barry Schrader CalArts Farewell Concert Live Now!

Update: the concert and live stream has ended. Once the archive stream goes up, it will live in the main post here.

Barry Schrader CalArts Farewell Concert This Saturday!

This is just a quick a reminder that Barry Schrader's CalArts Farewell Concert is this Saturday in Valencia, CA. You can find the previous post with details on the event here.  Remember you can also listen in online.

Be sure to check out the beginning of my interview with Barry Schrader posted here.

An Interview with Barry Schrader

Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in.  New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process.  If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com.  This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!

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