Suzanne Ciani & Buchla Concerts 1975

Discussing some incredible modules that don't quite fit into the other forum categories.

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tmeade
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Suzanne Ciani & Buchla Concerts 1975

Post by tmeade » Tue Jan 24, 2017 3:37 am

Hi, I finally picked up a copy of Suzanne Ciani's (Buchla Concerts 1975 and am really enjoying it! The vinyl includes a nine page print out of patch diagrams and performance ideas that she used for the concerts (and has been using for her recent performances and collaboration with Kaitlyn Aurelia-Smith). I think most of you will find it very interesting.

I was wondering if anyone familiar with her patch and the 200 system could further explain how she uses the 246 sequencer and the 248 MARF together. It appears that she stores pitches in the 246 and uses the external inputs of the 248 to sample the hold the pithes so that she can create improvised patterns with specific CVs?

I was checking out the interview and Buchla demo that she did on RedBullMusicAcademy and she seems to really prefer her MARF to the DARF (250e). I can see that she makes use of octave switches and quantisation features of the 248 but it does seem like this is all feasible with the addition of a 222e/223e?

Also, a good chunk of that interview is loaded with her talking about Don and even includes a funny story about how she got her 200e. Check it out!

--TOM
Last edited by tmeade on Mon Mar 27, 2017 5:17 am, edited 1 time in total.

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amnesia
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Post by amnesia » Tue Jan 24, 2017 3:28 pm

Suzanne did a talk and set here yesterday in Melbourne, Australia. It was cool seeing her use the MARF, lots of switching. She also has the 200e quad sequencer.

top row
248 MARF, 227e -system interface - spatial quad sound

middle row:
266e- Source of uncertainity
291 - dual filter ?
281e - quad function manager x 2
292e - quad dynamics manager x 2

Bottom row:
251e - quad sequencer,
223e - tactile input port for keyboard
261e - Complex waveform generator -
210e - control & signal router
259e - VCO - twisted waveform generator - can set the waveshape
206e - mixer & preset manager

maxl0rd
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Post by maxl0rd » Thu Jan 26, 2017 3:52 pm

The two concerts on this record are really fantastic!

The patch notes were also inspiring. There's a lot of really good ideas in there (especially if you have one of the new marfs).

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amnesia
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Post by amnesia » Thu Jan 26, 2017 3:53 pm

Only downside to the digital version is no patch notes :-( If anyone wants to share it would be appreciated.

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Post by phonkmeister » Fri Jan 27, 2017 12:25 am

amnesia wrote:Only downside to the digital version is no patch notes :-( If anyone wants to share it would be appreciated.
Damn, I had no idea of the nine pages of notes, and I bought the digital version :(

I will have to buy the vinyl probably even though I don't have a turntable anymore :(

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amnesia
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Post by amnesia » Fri Jan 27, 2017 12:39 am

The vinyl is $50 here and I also dont have a turn table, hence buying the digital version.

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Post by phonkmeister » Fri Jan 27, 2017 1:25 am

amnesia wrote:The vinyl is $50 here and I also dont have a turn table, hence buying the digital version.
I've just verified the prices, and on Amazon here is €66 :russian:

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Post by tmeade » Fri Jan 27, 2017 7:04 am

Stranded has it for $29usd plus$23 to ship to Aus/nz. There are slightly better deals around. That's still cheaper than what new records cost in the store here!!!

Hey, I'll email finders keepers and ask permission to post the document. I understand they might not like the idea.

GREAT record though! Please do checkout that interview in the OP.

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Post by patmcm » Fri Jan 27, 2017 9:51 am

Not sure why the 1976 report wasn't included in the digital version - probably an oversight. I've uploaded a copy here - it's an excellent album and the docs are a fascinating insight into her processes at the time. Greatly enhanced my already deep appreciation for what I was hearing.

Edit: just saw tmeade's post - if Finders Keepers aren't cool with the link being shared I'll be happy to take it down.

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Post by phonkmeister » Fri Jan 27, 2017 1:34 pm

Whoa, thanks patmcm!
:yay:

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Post by sempervirent » Tue Mar 21, 2017 12:35 am

Thanks for sharing that, cool to check it out.

This is related to her National Endowment for the Arts grant in 1976, which is potentially in the public domain anyway.

She mentions the grant here:
http://www.radionz.co.nz/concert/progra ... s/20130924

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Post by hightowersdeepwells » Tue Mar 21, 2017 1:36 am

https://www.discogs.com/sell/release/8439470?ev=rb
The above link will guide you towards somewhat cheaper copies than are mentioned. Seriously great LP...I won't be selling my copy![/url]

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GoneCaving
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Post by GoneCaving » Tue Mar 21, 2017 4:26 am

Does anyone have a pointer to somewhere I can buy a digital edition of this album?

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Post by hinotori » Tue Mar 21, 2017 4:41 am

Thanks for sharing the 1976 report, very interesting read!

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Post by Synthoholic » Tue Mar 21, 2017 1:47 pm

I have to say, I bought the limited edition vinyl version with the blue lether jacket and all that, and I had buyer's remorse after hearing it.

The sound quality is really crap. You can hear cars going by and stuff like that, but I guess I was expecting something recorded possibly direct in, despite it being a live concert.

For historic purposes, and for the compositions alone, the album is great, I just personally feel that the sound quality was probably one of the reasons why it took so long for it to be released. Perhaps had I purchased the regularly priced vinyl or the digital version I wouldn't feel so duped. I paid something like 80 bucks for it and I was underwhelmed.

None of this is a discredit to the event or to Suzanne Ciani, but just to offer a critical review for anyone considering spending that much on the vinyl.

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Post by facklr » Tue Mar 21, 2017 2:07 pm

It'd be great if this could be edited so her name was spelled correctly...

:sadbanana:

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Post by tmeade » Tue Mar 21, 2017 9:59 pm

Synthoholic wrote:I have to say, I bought the limited edition vinyl version with the blue lether jacket and all that, and I had buyer's remorse after hearing it.

The sound quality is really crap. You can hear cars going by and stuff like that, but I guess I was expecting something recorded possibly direct in, despite it being a live concert.

For historic purposes, and for the compositions alone, the album is great, I just personally feel that the sound quality was probably one of the reasons why it took so long for it to be released. Perhaps had I purchased the regularly priced vinyl or the digital version I wouldn't feel so duped. I paid something like 80 bucks for it and I was underwhelmed.

None of this is a discredit to the event or to Suzanne Ciani, but just to offer a critical review for anyone considering spending that much on the vinyl.
Hey, sorry to hear that you are disappointed. 80 bucks is a lot on any record. She talks about the recording in one of the interviews about the release and I think her main issue was that the recording did not capture the sound in quad, though she also mentions that you can hear the cars going by out the window.

Yeah, it IS a live recording from 75, but my still recommendation stands as it is probably in my top three favourite records I've purchased in the past year.

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Post by tmeade » Tue Mar 21, 2017 10:03 pm

facklr wrote:It'd be great if this could be edited so her name was spelled correctly...
Ah! I'm an idiot. Moderators.. can the subject of this thread be edited? Should be "Suzanne" not "Susan". Terribly sorry about this!!! :bang:

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Post by blw » Wed Mar 22, 2017 8:58 am

Very nice performances. Thanks for pointing it out!

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Post by Minimoog56 » Wed Mar 22, 2017 2:18 pm

Synthoholic wrote:The sound quality is really crap. You can hear cars going by and stuff like that, but I guess I was expecting something recorded possibly direct in, despite it being a live concert. None of this is a discredit to the event or to Suzanne Ciani, but just to offer a critical review for anyone considering spending that much on the vinyl.
So to be clear these are historic recordings made on the fly by WBAI Radio in NYC as part of their Free Music Concerts program in the 70's that included early performances by Phillip Glass, Phil Niblock, Terry Riley and others of the nascent minimalist/electronic music movements. Great performances were captured including Mother Mallard/David Borden on a very early Minimoog/Modular setup - performances that would otherwise be lost to us in time.

These recordings sound great in my opinion, recorded in New York City lofts during the peak of a performance art/new music revolution. They archive the music not in a sterile pristine manner but in verite for the zeitgeist. Imagine if you will Suzanne showing up at the downtown loft with her many cases of Halliburton Zero's filled with early Oakland production 200 series modules. Imagine the smell of the incense in the dusty space to cover the cigarettes of a Manhattan loft scene during the financial collapse of the 1970's. Imagine the sun dropping in the west behind New Jersey. Long lines of 5 story tall iron windows casting long shadows onto the blocked wood floors as Suzanne begins tuning up her 258 oscillators. Bob Fass or some WBAI veteran engineer asking her questions about where to set the mics or feed the directs out into the Revox that was recording this gig. Imagine the electronic music heads shuffling in after sharing a smoke outside on the sidewalk for inspiration, before taking up their spots on the hard wood floor; bunching up their sweaters and jackets to lay their heads down on in preparation for the sacramental music to come. Now imagine the 258 oscillators controlled by the 245's firing voltages, its row of sequential blinking lights mimic the pulses triggering the 281 envelops lighting up the 292 Lpg vactrols. Slowly the sound comes forward from four directions filling and moving about the room as Suzanne masterfully controls the position and dynamics of the electrons emanating from her Buchla machine. Suddenly, a New York police car answering a call streaks by, oblivious to the event, picked up by the mics and the concert goes on unperturbed.

Here is another one http://arbiterrecords.org/catalog/mothe ... id-borden/ on my friend's Arbiter Records - highly recommneded for those that like this sort of thing.
Last edited by Minimoog56 on Fri Mar 24, 2017 10:24 pm, edited 1 time in total.
Beatniks and Bongos/Bagels and Bongos/Buchlas and Bongos...

de gustibus....

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Post by Synthoholic » Thu Mar 23, 2017 11:01 am

Minimoog56 wrote:Imagine if you will Suzanne showing up at the downtown loft with her many cases of Halliburton Zero's filled with early Oakland production 200 series modules. Imagine the smell of the incense in the dusty space to cover the cigarettes of a Manhattan loft scene during the financial collapse of the 1970's. Imagine the sun dropping in the west behind New Jersey. Long lines of 5 story tall iron windows casting long shadows onto the blocked wood floors as Suzanne begins tuning up her 258 oscillators. Bob Fass or some WBAI veteran engineer asking her questions about where to set the mics or feed the directs out into the Revox that was recording this gig. Imagine the electronic music heads shuffling in after sharing a smoke outside on the sidewalk for inspiration, before taking up their spots on the hard wood floor; bunching up their sweaters and jackets to lay their heads down on in preparation for the sacramental music to come. Now imagine the 258 oscillators controlled by the 245's firing voltages, its row of sequential blinking lights mimic the pulses triggering the 281 envelops lighting up the 292 Lpg vactrols. Slowly the sound comes forward from four directions filling and moving about the room as Suzanne masterfully controls the position and dynamics of the electrons emanating from her Buchla machine. Suddenly, a New York police car answering a call streaks by, oblivious to the event, picked up by the mics and the concert goes on unperturbed.

Yeah crappy recording
This is stuff that I would love to imagine but not fork out 80 bucks to hear. Had that information been disclosed I would have passed on the purchase of the deluxe edition vinyl and opted for the regular version. One face is an improvement over the other.

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Post by askthedust » Fri Mar 24, 2017 1:31 am

Synthoholic wrote:
Minimoog56 wrote:Imagine if you will Suzanne showing up at the downtown loft with her many cases of Halliburton Zero's filled with early Oakland production 200 series modules. Imagine the smell of the incense in the dusty space to cover the cigarettes of a Manhattan loft scene during the financial collapse of the 1970's. Imagine the sun dropping in the west behind New Jersey. Long lines of 5 story tall iron windows casting long shadows onto the blocked wood floors as Suzanne begins tuning up her 258 oscillators. Bob Fass or some WBAI veteran engineer asking her questions about where to set the mics or feed the directs out into the Revox that was recording this gig. Imagine the electronic music heads shuffling in after sharing a smoke outside on the sidewalk for inspiration, before taking up their spots on the hard wood floor; bunching up their sweaters and jackets to lay their heads down on in preparation for the sacramental music to come. Now imagine the 258 oscillators controlled by the 245's firing voltages, its row of sequential blinking lights mimic the pulses triggering the 281 envelops lighting up the 292 Lpg vactrols. Slowly the sound comes forward from four directions filling and moving about the room as Suzanne masterfully controls the position and dynamics of the electrons emanating from her Buchla machine. Suddenly, a New York police car answering a call streaks by, oblivious to the event, picked up by the mics and the concert goes on unperturbed.

Yeah crappy recording
This is stuff that I would love to imagine but not fork out 80 bucks to hear. Had that information been disclosed I would have passed on the purchase of the deluxe edition vinyl and opted for the regular version. One face is an improvement over the other.

I have to say I fail to see the logic here. By going deluxe you buy a more expensive and rare packaging, not recording. It's the choice of a fan, not a neophyte. Those exist and are marketed for people who know what they buy.

On a side note : thanks Minimoog56 : a very pleasing read. I also like very much that you can hear the vibe in the room. Btw : is her very cool thesis with the description of her patches included in the classic version as well? I stole from it inspiring things to do by patching the 245 in the 248.

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Post by Synthoholic » Fri Mar 24, 2017 2:25 am

I think i've laid out my reasoning clearly enough. To each his own.

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Post by Scolbio » Fri Mar 24, 2017 5:02 pm

Minimoog56 wrote:
Synthoholic wrote:The sound quality is really crap. You can hear cars going by and stuff like that, but I guess I was expecting something recorded possibly direct in, despite it being a live concert. None of this is a discredit to the event or to Suzanne Ciani, but just to offer a critical review for anyone considering spending that much on the vinyl.
So to be clear these are historic recordings made on the fly by WBAI Radio in NYC as part of their Free Music Concerts program in the 70's that included early performances by Phillip Glass, Phil Niblock, Terry Riley and others of the nascent minimalist/electronic music movements. Great performances were captured including Mother Mallard/David Borden on a very early Minimoog/Modular setup - performances that would otherwise be lost to us in time.

These recordings sound great in my opinion, recorded in New York City lofts during the peak of a performance art/new music revolution. They archive the music not in a sterile pristine manner but in verite for the zeitgeist. Imagine if you will Suzanne showing up at the downtown loft with her many cases of Halliburton Zero's filled with early Oakland production 200 series modules. Imagine the smell of the incense in the dusty space to cover the cigarettes of a Manhattan loft scene during the financial collapse of the 1970's. Imagine the sun dropping in the west behind New Jersey. Long lines of 5 story tall iron windows casting long shadows onto the blocked wood floors as Suzanne begins tuning up her 258 oscillators. Bob Fass or some WBAI veteran engineer asking her questions about where to set the mics or feed the directs out into the Revox that was recording this gig. Imagine the electronic music heads shuffling in after sharing a smoke outside on the sidewalk for inspiration, before taking up their spots on the hard wood floor; bunching up their sweaters and jackets to lay their heads down on in preparation for the sacramental music to come. Now imagine the 258 oscillators controlled by the 245's firing voltages, its row of sequential blinking lights mimic the pulses triggering the 281 envelops lighting up the 292 Lpg vactrols. Slowly the sound comes forward from four directions filling and moving about the room as Suzanne masterfully controls the position and dynamics of the electrons emanating from her Buchla machine. Suddenly, a New York police car answering a call streaks by, oblivious to the event, picked up by the mics and the concert goes on unperturbed.

Yeah crappy recording. Here is another one http://arbiterrecords.org/catalog/mothe ... id-borden/ on my friend's Arbiter Records - highly recommneded for those that like this sort of thing.
Fantastic description!

They have this on spotify as well, it's great to ride your bike to....

Anyone else find it surreal that the NEA used to fund real artistes?

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Post by Minimoog56 » Fri Mar 24, 2017 10:22 pm

Yes the regular album has the NEA notes - and yes the NEA does still fund real artists - just saw NEA Jazzmasters awards at Kennedy Center on Monday.
Beatniks and Bongos/Bagels and Bongos/Buchlas and Bongos...

de gustibus....

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