OFFICIAL TRAILER: MORTON SUBOTNICK • SIDEWINDER - Live from Tool's studio

video upload by Peter Grenader

"On April 23, 2023 with profound appreciation for his historic contribution to art and music a taped live performance of Morton Subotnick's Sidewinder by Jill Fraser, Shiro Fujioka, Peter Grenader and Thomas Klepper - filmed at Tool's studio in Hollywood CA - will be released in Celebration of his 90th birthday."

re:VOLT • SUBOTNICK SIDEWINDER • RAVEL SCARBO Live at the San Fransisco Electronic Music Festival

video upload by Peter Grenader

"re:VOLT (Jill Fraser, Peter Grenader, Thomas Klepper) live at the 2023 San Fransisco Electronic Music Festival, September 16, 2023 at The Lab

Maurice Ravel SCARBO (0:15)

Morton Subotnick SIDEWINDER (10:09)"

Plan B Model 17 Triple Event Timer: the one nobody "got"

Published on Jan 17, 2016 Peter Grenader

"Of all the 26 products in the Plan B line, this was the only one which tanked. Few understood it, but those who did got more than 1. While it is not being exercised close to it's full potential in this video, you can get a description of what it was capable of here:

https://web.archive.org/web/201206020..."

Plan B Model 17 Triple Event Timer: reprize

Published on Jan 17, 2016 Peter Grenader

SCREAM 2007: ANALOGLIVE!

Tickets are now on sale. Title link takes you there.

Note: There are a couple of errors in the event listing as follows: Thighpaulsandra is credited as a percussionist and pianist. While there may be piano involved in his performance, he is part of the evening's analog ensemble, as is Alessandro Cortini of Nine Inch Nails, who's name was mistakenly omitted from the Redcat event listing. Both of these errors will be corrected early next week.

"Prized for their vibrant sounds and the physical immediacy they allow performers, analog synthesizers are combined here with acoustic instruments and kinetic video sculptures in the annual concert presented by the Southern California Resource for Electro-Acoustic Music. This performance features an unconventional six-member ensemble comprising film composer Gary Chang, composer and sound designer Richard Devine, composer and instrument designer Peter Grenader, composer and instrument designer Chas Smith, pianist and percussionist Thighpaulsandra, and multimedia artist and video sculptor Paul Tzanetopolous."

Pictured here is Thighpaulsandra who has actually dropped by a few times to comment on Matrixsynth. Also note Peter Grenader of Plan b.

Firmware update to Plan B Model 28 demonstration - external sync

video upload by Peter Grenader

Published on Jan 28, 2013 Peter Grenader·13 videos

"The following is a (rather shaky camera rendering - sorry!) video outlining improvements authored by Phil Gallo to the functionality of the external syncing of the Plan Model 28 Tap Clock in 2010. This video is in response to another video uploaded to youtube (search Model 28 Slop Clock) which highlighted the deficiencies in the initial firmware release.

A comparison was made on that initial video which successfully highlights the Model 28's syncing issues, although it did this through a comparison to a module with completely different functionality - the Analogue Solutions MC01. The MC01 is a Master Clock which divides a signal to attain musical intervals of time from that. The Model 28 however is an upscaler - it takes two input signals, determines the length of time between those two events, replicates that frequency (quarter notes) and as well calculates twice that frequency (eight notes) and three times that frequency (eight note triplets). The technicalities of these two approaches are vastly different. This is not to say that the Model 28 didn't have issues initially with syncing nor to say the MC01 is any lesser for what it does - they just do completely different things. It does point to the fact that the MC01 is not adequate to the purpose of the comparison. In all fairness to the individual who posted this first video, no module has attempted what the M28 does, before or since.

In 2010, after receiving comments that both Phil Gallo (firmware) and I (hardware) were in complete agreement with, Phil Gallo undertook the rather daunting task of effecting improvement, which he did remarkably. After extensive beta testing by Tim Stichcombe and Don Kim, the result of Phil's recoding was the firmware upgrade, which is free and can be acquired by writing me at petergrenader@gmail.com.

Over 300 M28's were produced, 40-50 of which had this upgraded firmware.

The enhancement require that the external input be inverted so it becomes low active as opposed to high active. This can be done by a multiple of options - many manufacturers produce inverters of one type of another. In short, the input signal to be synced must be inverted 180 degrees out of phase. This slight inconvenience is essential for the M28 to sync properly. The net result is not spot on perfect and outputs a very slight flam from the original signal, yet still a vast improvement over the initial release. Without going into the technicalities involved which run deep, I will say there are few people outside of Phil Gallo currently involved in the design of analog/digital modular gear who could have successfully accomplished what he did. It's remarkable.

But you be the judge, please - watch the video, contact me for the free upgrade... and have a great day."

Sunday Morning Mort aka Early experiments with Mutable Beads

video upload by Peter Grenader

"This is a lively Sunday morning jaunt with my newly acquired Beads... which, as silly as this may be, is offscreen in this video.

I know, lame.

Hear me out! The Mutable Beads is currently kicking the crap out of me. I have no idea of it's capabilities. It's all hunt and peck at this point. In one of those experiments, i noticed by putting a metric rhythm patch through it and syncing the Seed input with the same clock that's driving the patch that it would, magically, double the frequency of whatever it's processing.

This immediately reminded me of a certain passage Mort Subotnick is famous for, so i ginned up a quicky sonic xerox. This all came about after i produced a demo of what 'real' lowpass gates can do, which hearkened back my percussive motif fetish that dominated my piece The Secret Life of Semiconductors (search 'Peter Grenader Secret Life" on apple music or bandcamp if curious).

Everything you hear is being gated through vactrol-based LPGs, namely the Plan B Model 13 Timbral Gate. The first voice is from a Flame 4 Vox in which i cycle through a few of it's wavetables. The second voice is it's manifestation via the Mutable Beads in which i am controlling the wet/dry mix via Plan B Model 24 wiggly random voltage. The third voice is via a Plan B Model 15 which is getting it's pacing from Malekko Varigate 4.

Panning courtesy of an EAR Model 7 Panner, driven by a second wiggly random via a second Plan B Model 24

The first and third voices are being driven by two Plan B Model 10 EGs to both open the LPG and thwap the VCO frequencies.

As i sidenote, i think Apple finally chased all the demons out of iMovie. It does not piss me off anywhere near as much now.

enjoy, or not!"

Carl Stone and Peter Grenader at LA Sonic Odyssey, March 28-29

"Carl Stone's Al-Noor and Peter Grenader's Secret Life of Semiconductors will be presented among other studio electronic works at the 2008 LA Sonic Odyssey Festival in Pasadena, CA, March 28 and 29 at 8:00 P.M. For more information, go here."
Pictured: "the analog synthesizer used to create The Secret Life of Semiconductors."

The SynthSummitShow episode 11: Electro-Acoustic Research Peter Grenader

Streamed live 3 hours ago Flux302 of Fluxwithit.com

"Fluxwithit.com presents the SynthSummitShow , a semi weekly show dedicated to Synths and the people behind them. This week we have Peter Grenader of Electro-Acoustic Research (formerly Plan B modular)"

Panel discussion at LA Premier of the Subotnick documentary - Philosophical Research Society 4/17/24

video upload by Peter Grenader

"Excerpt from Jill Fraser, Peter Grenader and Lance Hill's panel discussion at the Los Angeles premier of Wavemaker Media's documentary SUBOTNICK: Portrait of an Electronic Music Pioneer at the Philosophical Research Society on April 17th, 2024.

The discussion begins talking about Mort Subotnick's use of control tracks on A Sky of Cloudless Sulfer, a process that he developed."

Scream 2007: AnalogLive! Images via Amateur Chemist

Click here for the full set of images on Amateur Chemist.

Pictured: Peter Grenader's setup. Peter Grenader organized the event and is the man behind Plan B.

Be sure to check out the comments of this previous post for some good reviews over the show. There are also more shots added to the set.

Bebe Barron's Mixed Emotions

via Peter Grenader of Plan B:

"In 2000, Curtis Roads, composer, director of the of the electronic music department at UCSB and ex-editor of The Computer Music Journal commissioned his friend Bebe Barron to compose a piece of music at UCSB's CREATE studios.

At first Bebe was hesitant to do this, but at the arguing of Barry Schrader, over a six week period with the technical assistance of composer Jane Brokman, Bebe did in fact compose what was to be her last body of work, aptly entitled 'Mixed Emotions'

Although digital, it has a remarkable analog quality to it, akin to the timbres we would expect from the Barrons. You can hear Bebe speaking about these similarities in a taped audio interview which is still accessible at npr.org (search Barron once on the site, you'll see the link).

Until recently Mixed Emotions was heard only by those who attended it's premier at UCSB and at the 2001 SCREAM Festival at CalArts. Earlier this year however, Leonard Newbauer (Bebe's husband) commissioned a gentleman by the name of Mario Salinas to tape and produce a video of her memorial. In it they included Mixed Emotions, which is accompanied by some really interesting video graphics. The presentation is great. Without hesitation I can say that Bebe would be very pleased.

After some discussion, I have received approval from Leonard to release the Mixed Emotions section of the memorial DVD to the internet. It will be officially premiered on Matrixsynth in the next few days and will take permanent residence on my You Tube space:

http://www.youtube.com/user/petergrenader

Keep your eyes and ears tuned for this significant body of work - the last from legend and first lady of electronic music, Bebe Barron.

- Peter Grenader"

For more info on Bebe Barron's influence and legacy see this post.

Update via Mike in the comments: "And don't forget that Wendy Carlos just posted a lovely tribute to Bebe Barron on her own website: http://www.wendycarlos.com/people/BebeNYC/index.html"

NAMM 2008: Analog Suicide with Peter Grenader of Plan B

YouTube via tarabusch.
"http://analogsuicide.com
http://tarabusch.com
http://ear-group.net
NAMM 2008 Tara Busch with Peter Grenader @ Plan B"

Plan B - final Namm teaser - see you there!

via Peter Grenader on the Plan B list (note the title of this post is the title of the email):
"Again a reminder that Plan B will be in two locations at this year's Namm show, first and foremost at their US dealer's booth, Noisebug (6108 on the main floor) and at Motu (Mark of the Unicorn). See you there!

Premiering at Namm:

Modules:
The Model 32 Vector Plotter - a four-quadrant joystick controller featuring external inputs and active kinetic sensing via four individually decoded gate outputs.

The Model 21C Mini Milton 8 x 1 VC Sequencer - 1 bank of 8 steps with full voltage control of stage location, the Mini Milton is design as a compliment of the mighty Milton Venti (16 x 4)

The Model 30 Digital VCO Subsystem - Our landmark Triple Digital VCO subsystem, with 12 internal patches including balanced modulation, frequency shifting, FM and standard three in line ops.

The Model 30A Control Attenuators - the optional attenuator banks which add dynamic control of the M30's eight main VC Inputs.

Cases:
The Long-awaited Model Zero case, a remake of the chassis made for the Nine Inch Nails EAR Performance System will be available as a standard product in Spring of 2009 and will be on display and operational. This unique system enclosure features of 128 HP for a total of 384 HP for a three row configuration and twice that at six, and is equipped with a unique Power-Saver feature which turns off selected modules while others are still powered. See the attached photo of the beast as it awaits the arrival of the M30 (attached)

The Ringer: A cost-effective alternative to the Doepfer A3 case, The Ringer is a single row, opened back mounting system for Eurorack format modules powered by an external PSU which can drive up to four Ringers at one time. We thank Chris Pitman of Guns N' Roses for the name.

Systems:

The Plan B System Performance System - Two Rows of 102 HP in a custom-made Anvil case fit with a pair of Model 15 VCOs and Model 10 Polyphonic EGs, an Model 9 Mixer, Model 12 Multi-mode Vactrol Filter, Model 11 Evil Twin Bandpass FIlter, Model 31 Buffered Mult, Model 32 Vector Plotter, Model 37 ELF LFO, Model 25 Model 40 Headphone pre and output and Model 21C Mini Milton VC Sequencer.

_____________________
Peter Grenader
skype: Plan_B_Synths
w: http://www.ear-group.net"

EAR MODEL 12 MARK II FILTER VIDEOS

EAR MODEL 12 MARK II FILTER • RES/FEEDBACK DEMO

Published on Apr 21, 2014 Peter Grenader·24 videos

"Did something people have been pleading me to do for years. Ive redesigned the feedback circuit in the model 12, allowing it to cross into full oscillation without sounding like a chicken receiving a pineapple up the wrong end...always a plus. Its going to be incorporated into the dual model 12 and with it, say goodbye to the three dual resonance level switch/ Have a listen, have a look, tell me whatddya think and thanks!"

EAR M12 MARK II tracking test

Published on Apr 22, 2014 Peter Grenader·25 videos

"The truth will set me free!"

Peter Grenader - Secret Life

via Peter Grenader of Plan B
"Secret Life is a collection of my electro-acoustic music from the period from 2002 to 2007. It consists of studio works, sometimes referred to as tape music which were created in a controlled studio environment where the final result, the sounding music, was self-produced with little or no live performance involved.

Much of the music on this album was made on instruments of my own design, the best example being the title track. I began developing modular analog synthesizers in 2003 after tiring of trying to bend digital instruments in like manner. It's not the sonic differences between these two extremes which put me to this task. While different, both are viable and I think it's good to have these choices. It was the control limitations of the closed architecture associated with most digital instruments which presented the challenge. For many composers this wouldn't be an issue. For me however it made the creative process, my schick, quite laborious." You can listen to excerpts here.

Do take the time out to listen to some of the tracks. It is the sort of music I think I would find extremely difficult to make with most synths that I have. The flow of timbres, syncopation and space cause you to really focus on the journey of sound. It's like watching a great story unfold, exploring the wonders and sonic space of sound. In general, most of us are focused on visual exploration. We dream of exploring the stars, the oceans, and the natural wonders of the earth. Secret Life reminds us that there is sound to be explored as well. Really beautiful.

Designing one/off Eurorack modules for TOOL w/ Peter Grenader of Plan b

video upload by Peter Grenader

"The Devil is in the details..

I think people who haven't yet done a lot of PCB/faceplate design and integration will appreciate this.

As some of you know, i was the designer of and now the lion tamer for the Euro system used by Tool live (Chocolate Chip Drip). I had to make them a single channel attenuator with very little time left b4 they leave on their new tour and didn't have a lot of free HP in which to do it.

This video goes through the process to make sure things align perfectly when there is no time for rev. 2

Enjoy (or not!)"

Analog returns to TapeOpCon

Via Peter Grenader:

"Electro-Acoustic Research has been invited to return to Tape Op Magazine's annual TapeOpCon convention at the Hilton El Conquistador Resort in Tucson from June 8 to June 10. Plan B Products will again be on display and awaiting your enquiring tweaks. And due to it's popularity in 2006, another Analog Synthesis symposium is scheduled, this year with Alessandro Cortini of Nine Inch Nails, Dave Wright of Not Breathing and EAR's Peter Grenader. Equipment will include the EAR Performance System, Dave Wright's monster modular, a Buchla 200e and a huge array of Plan B products. The panel discussion will be held at the El Conquistador Resort on Sunday from 10 to 12 which will include live demo's, a performance, an open discussion on the renaissance of analog synthesis and plenty of audience hands-on ops. Make sure to arrive early as seats filled up quickly in 2006.

For more info on TapeOpCon, go here"

Paul Tzanetopoulos' Analoglive! - Video

"Bringing together some of today’s leading composers, performers and designers for a real-time presentation of works centered around the revival of analog synthesis, Analoglive! was a concert held at the Roy and Edna Disney/CalArts Theatre, REDCAT in Walt Disney Concert Hall, on November 16, 2007. "

click here for the full post including a video of Peter Grenader's "Part Four and Coda from 'The Secret Life of Semiconductors'" You can find previous Analoglive! posts here.

Update via Peter Grenader in the comments:
"One thing i must mention - the audio and the visual on this video are grossly out of sync. The three chords which begin this piece were sampled and I was facing the keyboard when i fired them off, which would have put my head facing Alessandro, who is perched on a platform to the left of the screen. In this vid I'm moving all over the place as they are sounding, back from/to Roland A33 to the modular (which is what I'm doing when my head's facing towards the right of the image). Also, the audio is coming off Paul's video recorder mono mic which was on stage left. You're not hearing half the sound from my synth which was coming out of the rear loudspeakers

There's Hollywod for ya."

Peter Grenader on Waveshapers

Via Peter Grenader of Plan B via AH:

"Waveshapers don't really - or better put, shouldn't 'effect' a VCO per say, although they can play havoc if you're not careful. PWM circuits are notorious for this as many times they take the signal very close to the op amp's power rail, and depending which op amp you use it can cause real problems.

In any event, what a waveshaper does is take the core signal - meaning the waveform the oscillating engine creates on it's own, usually either Sawtooth or Triangle - and through a series of added circuits bends that into whichever waveform it needs at a given output. It's real trickery at times - reverse biasing of diodes, carefully timed disection to rearrange core signals into other shapes, etc. It's not an E.Q. Although one could filter a saw to it's first harmonic and have a sine, it wouldn't have the fidelity required. You have to do it other ways.

The waveshapers account for the bulk of a VCO's circuit. Along with the Expo converter, that's where the magic happens and it's really critical stuff. It's what makes a VCO sound as it does and designers guard their methods. For instance - while I've given some of my dealers - those who have in-house repair facilities - schematics of my VCO's core, I omit some of the waveshapers. If they've got a dead saw or sine for instance, I tell them what part needs to be replaced. If that doesn't do it, they send it back to me. I'm not the only one who's that paranoid.

There are three blocks to a VCO:

1) Expo Converter/Freq Control - This takes all the input controls - Freq Pot, Freq VC inputs, 1V/oct inputs, sums them to one voltage string, scales it as needed (somewhere around 18 mv/octave), and then converts that voltage to current through a circuit called an Expo Converter.

2) The Core. This is what does the oscillating. Basically it's a fixed-ratio envelope generator that gooses itself to start again, once per cycle. A secondary goose comes from the external SYNC input. The core can only manifest one waveform. There are a few things that determine what that waveform will be, namely the configuration of the circuit called an Integrator and where you place the capacitor in that integrator. Do it one way, you get a saw. Do it another way, you get a Triangle. The current from the expo converter gets injected into the core loop and that's what changes the oscillating frequency.

3) Waveshapers. One per waveform. They take the core signals and do the bending. One circuit for sine, one for triangle, one for saw, one for PWM, blah. Based on what waveform a given VCO's core produces, sometimes you've got to take the output from one waveshaper to make yet another waveform because it can't do it in one step. My core is triangle, I don't have to worry about this. They all take the triangle core signal to make their the output waveforms in single generation, thus all of the M15's waveforms remain in phase. All I do is fan the triangle to the string. But you do have to condition the core signals for the various applications. Some of the waveshapers need hearty signals to do their thing, some need comparatively low-amplitude signals, and you've got to scale your core signal for each.

So this doesn't sound all that bad, does it? and it isn't..not until you concern yourself with range, stability and tracking - this takes the bulk of the work in VCO design. It ain't easy and at times it's magic, but it's magic that must be repeatable under a plethora of operating environments. Back in the halcyon days, when musicians limited themselves to one system, designers could fine tune each module in their range to work with one another more efficiently. A wet dream compared to the Frakensynth 21st Century, all that goes out the window because people are using their Serge's with MOTM and Buchlas with Plan B's. Also know that many of these steps I've outlined are quite noisy. You have to deal with that. You have to assure your output waveforms retain their amplitude across the entire frequency range - that doesn't happen for free, either. There are mechanical considerations as well, specifically how the traces are thrown on the board. Some work as antennas which cause major problems if too long. Some can't be too close to others or interference will occur. Basically it's a huge undertaking and it's got to be right. You can get away with sonic defects in filters -people will propably prefer the results. With a VCO - no dice. Everything has to work correctly, in time and in spec and you have to find a way to do that affordably.

I'm skirting over much detail here, but I think this gives you an idea.

hope this helps," Pleas note this was sent to AH, so Peter will see questions sent there but not necessarily here although he has been known to drop by.

Update: More via Peter on AH:
"One must remember there are bunches of ways to create an oscillator core. Charge pump, 555 timers (yikes!), 4046 PLL's (I would recommend this over the 555), Feedback loops with logic gates, etc. And as a result different methods must be used to shape these core signals into the final waveforms.

Sometimes you have to use the output of one waveshaper to create another final waveform - the core signal will not allow you to manifest all of them, so you do it in steps.

OK - if one were to draw on paper four waveform types of the exact same freq, - sine, saw, tri and square, it would be done (I assume) with all four starting their cycle at the same time, going through their pattern so to speak, and ending at the same time. By doing this, you would be showing these four waveforms in phase with one another. But sometimes you can't do that. For instance, common square to saw shapers need the trailing edge of the squarewave to do it's thing, not the rising edge. Given that that square is 50% duty cycle, then the saw pattern begins 180 degrees out of phase with the core signal, and other waveforms which can produce their outputs from the core signal directly.

Next question - so where does that squarewave come from?
Along with the final output, most cores produce a timing pulse as well - the signal used to 're-goose' the core to begin it's cycle again. It's produced by a carefully tuned comparator circuit which pops a high output at the exactly the right time to open and close what's known as the flyback, a switch that opens the closes the current loop that charges the integrator. Open the loop, the integrator discharges. close it, it charges. The comparator is fed the core signal - so it's output states are governs by the very core it's enabling. You bias the comparator to trigger at the right voltasge level. Do it right, your core singal's fidelity is maintained. Do it wrong, your triangle is leaning over on it's side or pitifully low in amplitude.

Some waveshapers use the core output, some use the comparator output.

Here's a really odd analogy: Let's say the VCO core is a bathtub. The liquid is the core waveform, the faucet is the current loop and the plug, and the guy working it is the comparator. He plugs up the drain, the tub fills at a certain point, he pulls the plug, the water begins to drain. This goes on over and over, the water level going up and down. They are fed from and effect one another. But they are doing their thing out of phase. If the plug gets pulled when the tub is empty, it'll remain that way. If it's pulled when it's full, then the cycle is intact. If it's not pulled at the righ ttime, the water won't make it's target level. There's your visual.

So tying my original statement to this model - Some waveshapers need the empty tub, some need the full tub. Waveforms which are produced from these two concurrently are out of phase with one another - while at the same frequency, they don't begin and end at the same time."

"I need to add that the circuit I described - the current loop/comparator pair, is one type of circuit used to create a core waveform -there are other methods which are easier (on paper) to design than this. But, they suck. Linearity is often poor, the range is pitiful, amplitude levels are hard to maintain throughout that range, they're sensitive to temperature variations, they are unstable as hell. I see core VCO circuits that use a 555, or worse yet a logic gate pair to create their core signal, in which in order to address these variables the guy was forced to hang scads of parts all over the place. If the purpose of the exercise was to prove that a stable VCO can be made in this way, cool but real world - it's not going to work predictably. So instead of hacking it, it's best just to use a core which will give you the fidelity, linearity, range and stability required to do the job. If electronic components were finite - a 1k being EXACTLY 1K, a 10uf cap being EXACTLY that - then these types of alternate circuits would stand a chance. But things don't work that way real world."

"More ramblings on alternate methods -

I know a guy named Jerry Steckling - brilliant guy, who used to make mobile recording studio installations out of the panels used to for walk-in restaurant freezers which were f'ing incredible, who later went to Skywalker for a number of years and became a very big cheese up there, who now makes his own speakers, multichannel speaker systems and amplifiers. He had a pet project to produce a speaker which used a flame as the oscillating body instead of the driver. Wack idea, but on paper it's possible, and if anyone could do it, Jerry could. We had many jokes about this - how big is YOUR flame - that sort of thing, but while he knew it was possible, he'd never go that route obviously for anything more than an experiment followed by a good larf.

There are many ways to produce a VCO core, but....

you get the idea."

Milton Analog Sequencer 6x16 Vintage Style CV/Pulse Kit

via this auction

"Peter Grenader’s Milton Sequencer
aka Cyndustries Milton Sequencer
aka Plan B Model 21 Sequencer

Up for auction is a partially assembled Milton Sequencer. I was Order #5 for this straight from Peter. I was really looking forward to this sequencer to control some modular gear and I almost fully populated the Engine and one Bank board--but then I ran out of time and the project sat for several years. It’s not going to sit anymore—it’s going to get built very soon by your hands!!!

If you haven’t seen the Milton, it is a dream analog sequencer that has highly configurable functionality depending on parts you populate on the boards--it is a great design! This auction includes all parts for the maximum configuration allowed by the Engine board. You may choose to do this maximum configuration or you can build it any way you like. You even get to design its user interface and control panel to be the centerpiece of your analog rack in whatever format you desire. Hopefully you'll make this an art piece! Fun stuff!

For a while Cynthia Webster for Cyndustries Modular Synthesizers company was making these but her module is no longer available. Currently similar (but inferior) pre-configured sequencers are available from Peter's Plan B company in the Module 21 series. Winning this auction you will get your Cynthia/Plan B sequencer you’ve been wanting; and you can configure the functionally well beyond anything offered commercially! This is your chance to get a nearly full parts kit for all 6 bank boards and you can get started right away!

Included in this auction

>>>> 1 Milton Engine Board…this is mostly populated. Has “Cynthia CYN10” and “PCB by Ken Stone “screened on it.
>>>> 6 Milton Bank Boards…one board is mostly populated, the remaining 5 are not populated. (note that in the picture, one pack of 3 boards is opened and each is displayed while the other pack of 3 is still sealed--under the Main Engine PCB).

>>>> 1 Milton 2-sided Original Schematic and electronic documentation. I will provide this hard-copy 11x17 inch 2-sided schematic along with all other electronic documentation I have available on a CDr. Also I have a printed copy of the manual dated June 2003.

>>>> Various Parts to finish the project. Parts include resistors, capacitors, diodes, ICs, transistors, LEDs, switches, pots, knobs (and faceplate mounting washers and nuts; knobs have a "soft" feel--same as Blacet uses; I have blue and gray knobs included!), professionally made ribbon cables connectors (that are used to connect the boards) and various other required parts. There are a few parts that ARE NOT INCLUDED—the stage gate output jacks (because I hadn’t decided banana or 1/8" mini-jack) and power supply (you have to provide 12-15V DC power).

Sequencer Configuration Choices

I was going for the fully-loaded setup. Of course, you can choose your own configuration and if less than mine you will have some spare parts.
My configuration was going to be:

6x 16 step CV banks
6x 16 step Programmable Pulse Bus
6x 16 step Stage Pulse Outs (output jacks not included)
1x 16 LEDs

Now that is one heck of an amazing analog sequencer! I was going to use the pulse outs to trigger drum sounds but you can use them for whatever you wish." via bug.out