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Indian E-music – The right mix of Indian Vibes… » 2017 » September

Der Rausch und die Musik: Podcast

Delivered... norient | Scene | Sat 30 Sep 2017 6:00 am

Ob Drogen im Club, beim Spielen von Gamelan-Musik auf Bali oder Alkohol auf dem Volksfest, Rausch gibt es fast überall. Eine intellektuelle Sinnsuche in einem Phänomen, das so alt ist wie die Menschheit selbst.

William Hogarth – A Midnight Modern Conversation, around 1732 (Photo ©: The Yorck Project, 2002)

«Wozu der Rausch in dieser Gesellschaft meistens benutzt wird, hat damit zu tun, wozu die meisten Menschen in dieser Gesellschaftsordnung am ehesten gezwungen sind […]; Arbeit. […] Der Rausch wird dafür benutzt sich dieser ganzen Kontrolle, dieser Gewalt zu entziehen». (Daniel Kulla, DJ, Autor und linker Aktivist im Podcast Music is the basic drug.

Warum strömen wir jedes Wochenende in die Clubs, von Donnerstag bis Montag? Ist es das vermeintliche «Aussteigen» aus der Gesellschaft oder doch nur der kontrollierte Exzess zur Regeneration der Arbeitskraft? In ihrem Radio-Essay mäandert Julia Vorkefeld durch den Dschungel der zeitgenössischen Rauschkultur. Nach dem Vorbild Ernst Jüngers und seinem legendären Buch Annäherungen. Drogen und Rausch stellt der Podcast Fragen wie: Was ist Rausch, wie funktioniert die Rauschproduktion, wo und wie wird der Rausch verwendet und wie ist er in den euroamerikanischen Gesellschaften verankert?

Die Kirche hat es vorgemacht, selbst Martin Luther unterschied bereits zwischen gutem und schlechtem Rausch. Heute funktioniert das ähnlich, egal ob in den Clubs oder auf Festivals oder im Alltag. Rausch wird immer noch verwaltet: in gut und böse, effektiv oder destruktiv – und ist vor allem: stets ein Produkt der Kultur, in der er hervorgebracht wird. Der Der Podcast Music is the basic drug untersucht die Rauschkultur Indonesiens am Beispiel von Gamelan im Gespräch mit dem Experten und Musikwissenschaftler Dr. Varasany, die Rauschsuche auf Deutschlands größtem Rave Mayday, aber auch die der Hippies der 60er Jahre, die heute als Visionäre und Erfinder futuristischer Technologien gelten.

Hier geht es zum Podcast, eine Produktion für das Nachstudio des Bayerischen Rundfunks BR2.

AEA R92 Ribbon Mic/TRP Preamp Ultimic Kit Promo Goes to October 22nd

Delivered... The Electronic Musician Staff | Scene | Fri 29 Sep 2017 11:05 pm
Audio Engineering Associates, better known as the ribbon mic and preamp specialists AEA, have put together a bundle comprising the R92 passive studio ribbon mic for close-up use; TRP 2-channel preamp ..

Reason 10 is a return to form: all about the instruments

Delivered... Peter Kirn | Scene | Fri 29 Sep 2017 7:46 pm

Remember when the main draw of Reason was adding a whole bunch of toys to your computer and playing until you couldn’t play any more? Those days are back.

The last few years have seen lots of workflow refinements and maturity in music production software. And that’s all fine and well. We’ve even seen new DAWs entirely, new combinations of hardware controllers and software (Maschine, Push), standalone production tools that work without a computer (the new MPC). And we’ve seen a whole lot of music production software evolution, gradually working through the elaborate wish lists we foist on the developers – and with good reason. Heck, maybe you begin to think that adding new sounds is about buying fancy modular rigs, and the computer will quietly disappear into the background.

But since the beginning, Reason was always about something different. Reason users didn’t just get a whole bunch of effects and synths as a bonus, icing to sweeten the deal. Reason was those effects and synths. And you’d be forgiven if you assumed that era had come to a close. After all, most Reason upgrades focused on adding in the openness and multifunctional capabilities of rivals – audio recording, Rack Extensions and a store to buy add-ons, even VST plug-in compatibility. Once you have VST support in Reason, maybe Reason isn’t really about the stuff Propellerheads put in the box.

Think again, because – Reason 10.

Now, there’s some chatter at Propellerhead about this being the “biggest content upgrade” ever, but let’s talk specifically about which instruments are getting added. And it’s a big ‘ol Swedish smörgåsbord of the kind of synths that made us notice Reason in the first place.

So, to answer Thor, there’s Europa – a wavetable synth.

To those granular goodies in Reaktor and Max for Live, there’s The Grain.

And in the tradition of Reason, they look, well, Reason-y. Functions are encapsulated, simplified, hardware-like, but without sacrificing deep modulation. The Grain, for its part, looks like the native granular synth Ableton never quite got (outside Max add-ons). Europa has its own biggie-sized instrumental quality.

For more acoustic timbres, you get new sampled instruments: Klang for tuned percussion, Pangea for a potpourri of “world” instruments, Humana for choir and vocal sounds. (Even if Humana makes those of us in Germany think of retro DDR fashion…)

Happily, these aren’t just ROMplers or sets of presets – you still get the control panels that mimic vintage hardware, and CV routing for patching monster hybrids and strange sound designs.

Propellerhead took a similar approach with their aptly-named Radical Piano, which allows the construction of hybrid, physically-modeled piano instruments, and it’s nice to see that instrument now included in the box.

And there’s one really killer effect, too: Synchronous, which brings modulated signal processing, with sidechaining and LFOs, even with the ability to draw your own curves to route into filter, delay, reverb, distortion. That alone could fill albums of material, and with a lot of different takes recently on how to do this, the Props’ take looks genuinely unique.

There are a lot of samples, too – Drum Supply and Loop Supply get a refresh. Now, that would normally bore me, except — oh yeah, that granular thing. Interested again.

In beta now, out 25 October.

I think it’s going to be a good winter.

They’ve worked hard; let’s embed their video. They earned it.


The post Reason 10 is a return to form: all about the instruments appeared first on CDM Create Digital Music.

List of Mutually Exclusive Applications for FM Translators to Rebroadcast AM Stations Released By FCC – Settlement Window Through November 29

Delivered... David Oxenford | Scene | Fri 29 Sep 2017 5:05 pm

The FCC yesterday released a Public Notice providing the details for its settlement window for mutually exclusive applications for new FM translators to rebroadcast AM stations. The settlement window will run through November 29. The mutually-exclusive applications (applications which conflict with each other as they cannot both operate without creating prohibited interference) are listed on an appendix available here. These applications were the ones filed earlier this summer in the FCC’s first window reserved for AM station licensees to file for new FM translators to rebroadcast their AM stations as part of the FCC’s AM revitalization proceeding. The first window was for Class C and D AM stations to submit applications. Class A and B AMs, which generally have greater coverage areas, will be able to file applications in a window to open either later this year or, at this point, more likely in early 2018. The majority of applications filed in this year’s window, which are not listed on the appendix of mutually exclusive applications and which did not receive a letter from the FCC in the last few weeks identifying deficiencies in their short-form applications, are likely “singletons,” meaning that these applications are not in conflict with any other and will likely be asked to file a “long-form” application completing the FCC Form 349 before being proposed for grant at some point later this year or early next year.

As we have written, as these applications were filed in the context of a potential auction, applicants cannot talk to each other except during announced settlement windows. Now that the settlement window has been announced, mutually exclusive applicants can discuss trying to resolve the mutual exclusivity either through technical means or by the dismissal of one of the applications. Technical means could include any “minor change” in the facilities initially proposed by one or both of the mutually-exclusive applicants, e.g. frequency moves to adjacent channels, transmitter site changes, or directional antenna proposals. Dismissal of applications can only be for the reimbursement of a dismissing applicant’s legitimate expenses – the dismissing applicant cannot be paid big bucks to dismiss its application. More details of the settlement process are set out in the Public Notice, but note that the deadline for the submission of any resolution to the FCC is November 29.

Mutually exclusive applications that remain in conflict with other applications at the conclusion of the settlement window will end up in an auction – and no one knows when that will occur. As there are still mutually exclusive applications from the 2003 FM translator window that have not yet been set for auction, it may well not be imminent. So resolving all conflicts before the November 29 deadline is certainly the most expedient way to get an application granted.

When the applicants that are not mutually exclusive, the singletons, will be notified of their status and asked for long-form applications to complete the application process, so that these applications can be further processed and granted, remains unknown at the moment – but should be expected later this year (or, at this point, possibly early next year). Stay alert for more developments.


Native Instruments Deep Matter Maschine Expansion Mines the Found Sounds of Berlin Techno

Delivered... Emusician RSS Feed | Scene | Fri 29 Sep 2017 1:29 am
Native Instruments has released Deep Matter, a new Maschine Expansion capturing the euphoric darkness of ethereal techno. Pulsing with moody bass, melancholic pads, atmospheric field recordings, and c..

Roli Launches Major Blocks Upgrades with the Lightpad Block M & Noise 3.0

Delivered... Emusician RSS Feed | Scene | Thu 28 Sep 2017 8:59 pm
September 28, 2017, London — Roli today launched a new model of Lightpad Block and a sweeping series of upgrades to its Noise app that further advance the position of Roli Blocks as a versatile and e..


Delivered... Spacelab - Independent Music and Media | Scene | Thu 28 Sep 2017 7:55 pm
New dates, same festival ... the 2018 incarnation of EDC comes a month earlier and will be a massive convergence in Las Vegas!

Deerful, aka Emma Winston, is a singer-songwriter gone mobile tech

Delivered... Peter Kirn | Artists,Scene | Thu 28 Sep 2017 6:50 pm

Deerful is the singer-songwriter imagined by mobile developers, found in real life. She’s not just another producer, but an earnest lyricist.

You can follow Emma on her YouTube channel, crooning covers to Game Boy accompaniment or deftly playing with a Novation Circuit in place of guitar. And now she’s got a full-length LP to her name, called Peach, released on London indie label wiaiwya (CD/vinyl/download).

Ed.: With Emma’s unique take on music production with apps and mobile gear, we turn over interview duties to the writer who turned us on to her work – and who foresaw just this kind of creative application for such tools. Ashley Elsdon, recently joining CDM and helming our Apps channel, having built the influential Palm Sounds blog on mobile tech, understands the advantage of mobile instruments, apps, battery power, and simple design empowering creativity. So, he’s the ideal person to lead this conversation with fellow UK resident Emma Winston. -PK

I’ve been following Deerful for some time now. Mostly people who make music with the kind of gear she’s using tend to electronic and dance genres, rather than the kind of singer-songwriter material she’s creating – producing more melodic output than you might associate with apps and mobile gear. And I’ve found her lyrics quite unusual, and her musical voice unique.

So, I took the opportunity to ask her about reflect her creative process, how tools fit in, and her sources of musical inspiration.

CDM: How do you make the decision to use a particular technology or instrument in your music?

Deerful: I am actually not very logical or rational about this. Almost every instrument I own, I own because I fell in love with it. (I think the only exception is the [KORG] Electribe 2 I use live – it’s a bit of a pain, but I absolutely could not find a practical alternative which wasn’t wildly expensive.) Consequently, my gear collection is pretty quirky. Nobody needs a [Teenage Engineering] OP-1 or a Pocket Operator or a [Critter & Guitari] Septavox or a Game Boy, but I adore all of them, and it makes me even more excited to make music. It’s also because I feel like a lot of staple gear can be covered by software much more cheaply, so if I’m going to buy hardware, I want it to be special.

You seem to use a lot of mobile gear in your music. Is that a conscious choice?

It’s more that I really love miniature things, and also producing in bed and on the sofa. I definitely like not having to think about wires/speakers. It’s cool to be able to get down ideas with very little gear, but I think it’s more that the tiny, compact, quirky gear I gravitate towards is often mobile, rather than that I consciously look for mobile gear.

Being able to run off batteries also helps when I’m dealing with a live sound engineer who’s never seen an electronic instrument before and wants to have as little to think about as possible, but again, a lesser consideration!

How do you approach the writing process in technology terms? Do you start with a device or a specific technology, or does the song / track come first and the technology support it?

It depends. Sometimes the song comes first, and I’ll decide later exactly how it gets made or arranged. But if I have absolutely no ideas and a deadline to meet, my first recourse is always to pick up a device and see where it takes me. Something always comes from it.

This also varies from device to device and app to app – Korg Gadget, for instance, is an app I pretty much always go to when I already have an idea and want to flesh it out fast – I use it pretty much entirely as an ultra-fast DAW. The Pocket Operators are the opposite – I think of them primarily as idea-factories and a jumping-off point.

Aside from Gadget, do you use other iOS, or indeed Android apps? What’s your motivation for using them? How differently do you find using apps from using hardware?

I definitely use Gadget more than anything else. It’s funny, because I see people talking about it as a groovebox app that’s best for looping, and that’s not how I use it at all. It essentially replaces Ableton for me when I don’t want to haul my laptop around, or if I need to get something that sounds fairly polished together fast and don’t have much time to do lots of production on it.

For actual idea-generation and more groovebox-type applications, my favorite app at the moment is Studio Amplify’s KRFT; it has a really nice interface that’s flexible enough not to just lock you into endless looping, which is what I feel like a lot of iOS apps veer towards. (They also have a more stripped-down free version called NOIZ, which is fun). For more experimental stuff, I love Samplr. I made my first EP mostly in Nanostudio, so that one’s worth a shout-out, although I’ve had a bit of a break from it since – it was the thing that was finally both flexible enough and un-intimidating enough to stop being scared of trying to produce and actually do it.

Every app is different, just as every piece of hardware is different, which is one reason I find the idea that one is somehow inherently better than the other and that you have to pick to be extremely strange. The fastest thing I can do to generate ideas when I’m stuck is switching to a new interface, whether that’s on a touchscreen or on my laptop or boxed up as a dedicated synth. It depends how I’m feeling and where I am and what I need.

I don’t own an Android device entirely because of the relative lack of music apps. I’m really hopeful that will change as their issues with audio improve – mobile music was a huge part of getting me into production and I would love it if that experience was available to more people on a platform with broadly much lower-cost hardware. I said this in an iPad music forum once and people were amazingly defensive about it. As far as I am concerned, all access to music-making is good, and if the 70% or so of smartphone users who own an Android device had a music market as rich as the App Store available to them, I would be stoked about it.

If you could design an app that would be perfect for you, what would it look like and what would it do?

Terrible response, but it would honestly just be Ableton optimized for a 10” touchscreen. Ableton, if you’re reading this, I’m your mobile market.

How do you approach writing lyrics? Do the lyrics come as part of your overall inspiration for a track, or is that something you find separately? What makes you feel like you have a great lyric?

I have recently started referring to myself as a singer-songwriter-producer, because honestly that’s what I am. I’m a songwriter who tells my own stories in performance, but does it with a box with buttons on it instead of a guitar. The lyrics and the song itself and the details of how it’s put together are equal parts. Sometimes a lyric comes first, sometimes a riff, sometimes a chord sequence – sometimes they’re simultaneous.

It’s very much a symbiotic thing. I’m constantly looking for ways to balance the abstract and the specific in my songs – describing moments and fragments of time in detail, but without so much specificity they become alienating.

Who are your influences musically, and who do you find inspiring in terms of technology and approach to process?

The Postal Service was the band that started me out wanting to make electronic music, and I still adore them. I feel like there’s still this idea that electronics are not particularly well-suited to singer-songwriters, which I find so strange because it gives you so much opportunity to design, right down to the sonic building-blocks which make up the song. It becomes part of the storytelling, and I think the Postal Service did that in such a beautifully tactile and warm way. I can literally point to the sample that comes in at 0:28 of ‘Nothing Better’ as the moment I realized I wanted to make electronic music myself – it acts almost like a third vocal melody but also this kind of plaintive emotional punctuation, warm and bit-crushed and sad.

I’ve been listening to a lot of the stuff that’s come out of the label PC Music over the last couple of years. I feel like a lot of what they’re doing is almost the polar opposite to Deerful, which is an almost embarrassingly honest project – they’re very self-aware, very detached, very cool, all things I’m not. A lot of people seem to respond to their artists as if the whole thing is completely ironic, but I hope (and believe) it’s not, because they’ve released some of the most intensely joyful pop music I’ve ever heard, and I desperately want that intensity of happiness to be real on some level.

EasyFun’s “Full Circle” is the track I’ve had on repeat for the last few days. It’s hyper-fun EDM-pop, but there are all these odd details thrown in, strange pitch-shifted samples, bizarre non-functional harmonies that are thrown into the chord and never repeated, weird, unnatural reverb tails and a lead vocal that’s chopped up and treated like a synth. I don’t sound anything like EasyFun, but I really want to get to the point where I can marry full-on unashamed fun with bizarre experimentalism in a similar way and have it all hang together.

In terms of process, I also find Grimes hugely inspiring – she made Visions in three weeks, in GarageBand, because it was what she knew, and she smashed it. She works fast when she needs to, but she knows when to zoom in, when to work on detail, when to really hone in on sound design and tone and tempo. (There’s a great interview where she talks about using samples of dentist drills to add aggressiveness to an 808 in ‘Venus Fly’, and it’s something I never would have even thought of.) I find her confidence and adaptability and willingness to move between pop and noise really impressive. It seems like she’s never held back by limitations or expectations; she just ploughs in and makes what she wants to make and it’s always brilliant.

Finally, let’s talk about your new album. When you set out to create it, what were your specific inspirations? What were you looking to achieve and how successful do you feel you’ve been?

Stylistically, Emily Reo’s gorgeous fuzzy alt-electropop has been a huge influence on all my releases so far (I also accidentally stole the album title, Peach, from one of her songs – it genuinely was an accident, but I think it probably speaks of how much her work has lodged itself in my creative brain.) I credit her music with finally giving me the push I needed to start writing and performing myself. Owen Pallett’s songwriting and storytelling has also always been a huge inspiration, but I’m not sure if that really comes through in the resultant album – I wish it did!

What was I looking to achieve? God, I’ve no idea. Everything is an experiment and an exploration. Everything I release, I do so having no idea how anyone’s going to react to it, and being excited to find out. It’s a brilliant lesson in exactly how bad at mind-reading I am. In general people seem to have liked it; I’ve no idea how it’s sold, and from an artist perspective that doesn’t really matter. When I listen to it now three months after release, I hear a lot I would do differently – I’m very proud of it but also excited to move on to the next thing!

CDM: Thanks, Emma!

It’s been an enlightening experience talking to Deerful. It’s shed light on her music and I’m certainly looking forward to listening to whatever the ‘next thing’ is she’s got planned, and also understanding how it was put together.

Deerful’s latest ablum can be found at wiaiwya and is available as a download, CD, or vinyl.

The post Deerful, aka Emma Winston, is a singer-songwriter gone mobile tech appeared first on CDM Create Digital Music.


Delivered... Spacelab - Independent Music and Media | Scene | Thu 28 Sep 2017 5:00 pm
The Levitation lineup for 2018 so far includes Ty Segall, Parquet Courts and A Giant Dog on April 26th at Stubbs.

Reminder: Electronic Registration of Designated Agent for DMCA Safe-Harbor Take-Down Notices Due at Copyright Office by December 31

Delivered... David Oxenford | Scene | Thu 28 Sep 2017 4:37 pm

The Copyright Office yesterday issued a reminder, here, that their electronic system for “designated agents” of Internet service providers – those who are to receive notice of any claimed infringing content posted on a service provider’s site – is active and all services must register in that system by December 31 for such registrations to remain valid. The previous paper filings will no longer be effective as of the end of the year. Having a current and effective registration for the receipt of take-down notices is necessary for a service to claim a safe-harbor under Section 512 of the Digital Millennium Copyright Act against claims of infringing content posted on the service by third parties.

We wrote more extensively about this new system here and here. The new system also imposed obligations on services to periodically renew and update the information that they provide. For any Internet site that hosts content posted by third-parties that could potentially be infringing on the intellectual property rights of others, registration is essential. So if you allow people outside your company to post music, video, pictures, poetry, articles or anything else that could potentially infringe on the intellectual property of others, be sure to register if you have not done so already, or update that registration if it is out of date or not yet in the Copyright Office’s electronic database.

Anthems From The Trippy Ambient Nights At Frankfurt’s Club XS

Delivered... By Oli Warwick. Photos courtesy of Amir Abadi. | Scene | Thu 28 Sep 2017 10:24 am

The post Anthems From The Trippy Ambient Nights At Frankfurt’s Club XS appeared first on Electronic Beats.

Funding Music Today: The bianca Story

Delivered... norient | Scene | Thu 28 Sep 2017 6:00 am

In dieser Serie aus dem Norient-Buch Seismographic Sounds (weitere Infos und Bestellmöglichkeit hier) berichten wir über verschiedene Strategien von Künstlern zur Finanzierung ihrer Musik. In kurzen Zitaten erzählen die Musiker aus ihren eigenen Perspektiven. Heute: die Schweizer Pop-Band The bianca Story.

Film still from The bianca Story feat. Dieter Meier (Music) and Gregor Brändli (Video): «Does Mani Matter?» (Switzerland 2013)

Teil 5 von 5 – Teil 1 / Teil 2 / Teil 3 / Teil 4 / Teil 5

Für Jean-Jacques Rousseau war Musik die freieste aller Künste. In Zeiten globaler Finanzkrisen, sinkender Reallöhne und wachsender sozialer Klüfte sind Rousseaus Ideen von Freiheit und sozialer Gerechtigkeit so aktuell und wertvoll wie nie. Wir haben uns entschlossen, für das Album Digger die Pfade der Musikwirtschaft zu verlassen. Wir wollten für unsere Musik nicht umsonst arbeiten, unser Handwerk sollte fair entschädigt werden. Gleichzeitig wollten wir aber auch nicht fürs Nichtstun entlohnt und immer wieder dann bezahlt werden, wenn neue Menschen unsere Songs hören. Mit Crowdfunding haben wir 90’000 Euro gesammelt und davon sowohl uns wie auch die gesamte Produktion, Distribution und Promotion des Albums bezahlt. Danach haben wir die Platte physisch und digital frei zur Verfügung gestellt. Gemeinsam mit unserer Crowd wollten wir so der Musik ihre ursprüngliche, freie Form wiedergeben und sie von den kommerziellen Fesseln der Industrie befreien.

The bianca Story feat. Dieter Meier: «Does Mani Matter» (2013)

Dieses Zitat wurde zuerst publiziert im zweiten Norient-Buch Seismographic Sounds. Weitere Infos gibt es beim Klick auf das Bild.

Teil 5 von 5 – Teil 1 / Teil 2 / Teil 3 / Teil 4 / Teil 5

Audiowerkstatt MIDI-Clock-Multiplier is Now on Sale

Delivered... The Electronic Musician Staff | Scene | Wed 27 Sep 2017 9:07 pm
The counterpart to the Audiowerkstatt MIDI-Clock-Divider, the MIDI-Clock-Multiplier is now on sale. Each module costs 119 euros, including 19% tax, or 100 euros for export outside of Europe. The MIDI-..

Unfiltered Audio Launches the SpecOps Spectral Effects Processing Plug-in

Delivered... Emusician RSS Feed | Scene | Wed 27 Sep 2017 7:30 pm
Santa Cruz, CA, USA — Plugin Alliance, a new ‘Über-standard’ supporting all major plugin formats and uniting some of the best-known international audio companies under one virtual roof, is proud to a..

Buchla’s twisted waveforms get a software rendition

Delivered... Peter Kirn | Scene | Wed 27 Sep 2017 6:18 pm

It’s pretty close to sticking Buchla inside your PC: Softube are adding a Buchla 259e Twisted Waveform Generator to their virtual Eurorack, “Modular.”

This is in fact the first officially licensed software rendition of a Buchla module, though the official part may be the source of some controversy. Buchla Electronic Musical Instruments wound up in court with its original founder, Don Buchla, before his death. The parties settled out of court, but certainly some of the shine of the brand was lost in the process.

That said, branding aside, this looks like it might be the most complete software rendition of a modern hardware Buchla module yet. And it’s got a price to match – US$99, so oddly just one module model costs you the same range as a lot of full-blown software modules. (US$79 intro price through end of October.)

What you get is one of the more interesting modules around, though – digital waveshaping and deep modulation. I’ll let them describe:

The 259e consists of two separate oscillators—Principal and Modulation—where Modulation can be used either to modulate the Principal oscillator or as a separate generator of audible notes. Furthermore, the sine wave generated by the Principal oscillator is simultaneously applied to two of the eight available waveshape tables. A morph voltage pans between the two tables and a warp voltage varies the amplitude of the sinusoidal (driving) waveform. Both these functions can be modulated by the Modulation oscillator. Three of the waveshape tables are actually not tables in the classical sense—they are simply portions of the 259e operating program, full of unpredictable noise and frequent silences. This is the innovative Mem Skew mode, possibly the most unique feature of the Buchla 259e. When these tables are selected, the FM controls are re-assigned to table scanning functions and the FM inputs become table modulators.

In short, while the Buchla 259e can certainly be used for more traditional sounds, it excels at creating otherworldly twisted digital sonic landscapes. Which is why it is one of the most coveted synth modules on the market.

Why is this man smiling? Softube tapped Buchla engineer Todd Barton to work on this recreation.

Video intro:


The post Buchla’s twisted waveforms get a software rendition appeared first on CDM Create Digital Music.

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