PLAN B analog blog

I received 2 Model 15 VCO's a few days ago and I'm completely blown away by them. 
Everytime I plug in I seem to get something new in terms of modulating them in various 
ways. I was just listening to the first part of "A Sky of Cloudless Sulfur" by Morton Sunotnick 
and I was wondering how he got those tones in the very first part. I understand the track was 
made using a Buchla and the Model 15 core is very similar to that of what Morton probably 
used. Anybody have any idea of how Mort abused those oscillators to make them sound like 
that?! What waves do you think he started with? Intereting.
Thanks,
John

Basically you need a Dual Timbral Gate set to 'both' for the ringing.
 Or a Lowpass gate of course.  Very short envelope (all settings to 0
- REALLY short) - output of EG opens Timbral Gate -and- puts a
frequency transient on the VCOs you're gating  This in tandem with the
Timbral gate ringing is key. Two or more VCOs in unison are better.
The phasing really adds a zing to the timbre.   The Doepfer Wave
Mutiplier will also give you some interesting varitions, as wil a
Blacet Miniwave.  But start with saws and then try sine on sine FM.

In any event,  I've asked Mort the same question because at first i
thought he had a bit of noise in there as well. His reply was:

"I used a mixture of oscillators...but I did not use any noise. What I
did was put an envelope follower with a transient up and v quick,
almost transient down mixed with another voltage which gave it its
pitch...I had voltage mixers [I think they became standard]. That is
what created the transient at the beginning of the sound...it was a
transient!"

As to how he created the triggers for that piece, this gets really
interesting.  I've got a page on it on my Buzzclick site. It speaks
about Cloudless Sulfur specifically.  If any of you haven't read it,
you may enjoy it:

http://www.buzzclick-music.com/mort_lore.html

enjoy (or not!),

- P



--- In PLAN_B_analog_blog@yahoogroups.com, "j_inform3r" <inform3r@...>
wrote:
>
> I received 2 Model 15 VCO's a few days ago and I'm completely blown
away by them. 
> Everytime I plug in I seem to get something new in terms of
modulating them in various 
> ways. I was just listening to the first part of "A Sky of Cloudless
Sulfur" by Morton Sunotnick 
> and I was wondering how he got those tones in the very first part. I
understand the track was 
> made using a Buchla and the Model 15 core is very similar to that of
what Morton probably 
> used. Anybody have any idea of how Mort abused those oscillators to
make them sound like 

> that?! What waves do you think he started with? Intereting.
> Thanks,
> John
>

Good info Peter. I love the ³Mort Lore². When you mention the Blacet
Miniwave do you mean using it as just another VCO in the mix? I thought two
Model 15¹s would do the trick due to the tri-core. Could you elaborate on
what the Wave Mult would do? I remember reading something where you said
basically a Model 15 + a Doepfer Wave Multiplier would do a pretty good
approximation of a Buchla 259. I¹m not ultra familiar with the 259
functionally but I do love it¹s sound. Can you just explain what the Doepfer
would be replicating in regards to the functions on the 259?

        Thanks,
        John

On 10/11/06 12:47 PM, "(i think you can figure that out)"
<peter@buzzclick-music.com> wrote:

> Basically you need a Dual Timbral Gate set to 'both' for the ringing.
> Or a Lowpass gate of course.  Very short envelope (all settings to 0
> - REALLY short) - output of EG opens Timbral Gate -and- puts a
> frequency transient on the VCOs you're gating  This in tandem with the
> Timbral gate ringing is key. Two or more VCOs in unison are better.
> The phasing really adds a zing to the timbre.   The Doepfer Wave
> Mutiplier will also give you some interesting varitions, as wil a
> Blacet Miniwave.  But start with saws and then try sine on sine FM.
> 
> In any event,  I've asked Mort the same question because at first i
> thought he had a bit of noise in there as well. His reply was:
> 
> "I used a mixture of oscillators...but I did not use any noise. What I
> did was put an envelope follower with a transient up and v quick,
> almost transient down mixed with another voltage which gave it its
> pitch...I had voltage mixers [I think they became standard]. That is
> what created the transient at the beginning of the sound...it was a
> transient!"
> 
> As to how he created the triggers for that piece, this gets really
> interesting.  I've got a page on it on my Buzzclick site. It speaks
> about Cloudless Sulfur specifically.  If any of you haven't read it,
> you may enjoy it:
> 
> http://www.buzzclick-music.com/mort_lore.html
> 
> enjoy (or not!),
> 
> - P
> 
> --- In PLAN_B_analog_blog@yahoogroups.com
> <mailto:PLAN_B_analog_blog%40yahoogroups.com> , "j_inform3r" <inform3r@...>
> wrote:
>> >
>> > I received 2 Model 15 VCO's a few days ago and I'm completely blown
> away by them. 
>> > Everytime I plug in I seem to get something new in terms of
> modulating them in various
>> > ways. I was just listening to the first part of "A Sky of Cloudless
> Sulfur" by Morton Sunotnick
>> > and I was wondering how he got those tones in the very first part. I
> understand the track was
>> > made using a Buchla and the Model 15 core is very similar to that of
> what Morton probably
>> > used. Anybody have any idea of how Mort abused those oscillators to
> make them sound like
>> > that?! What waves do you think he started with? Intereting.
>> > Thanks,
>> > John
>> >
> 
>

Another question; would the transient go to the FREQ VC jack or the FM
IN jack? Technically what¹s the difference? Should the pots associated with
the FREQ VC and FM be turned fully CW?

On 10/11/06 12:47 PM, "(i think you can figure that out)"
<peter@buzzclick-music.com> wrote:

> Basically you need a Dual Timbral Gate set to 'both' for the ringing.
> Or a Lowpass gate of course.  Very short envelope (all settings to 0
> - REALLY short) - output of EG opens Timbral Gate -and- puts a
> frequency transient on the VCOs you're gating  This in tandem with the
> Timbral gate ringing is key. Two or more VCOs in unison are better.
> The phasing really adds a zing to the timbre.   The Doepfer Wave
> Mutiplier will also give you some interesting varitions, as wil a
> Blacet Miniwave.  But start with saws and then try sine on sine FM.
> 
> In any event,  I've asked Mort the same question because at first i
> thought he had a bit of noise in there as well. His reply was:
> 
> "I used a mixture of oscillators...but I did not use any noise. What I
> did was put an envelope follower with a transient up and v quick,
> almost transient down mixed with another voltage which gave it its
> pitch...I had voltage mixers [I think they became standard]. That is
> what created the transient at the beginning of the sound...it was a
> transient!"
> 
> As to how he created the triggers for that piece, this gets really
> interesting.  I've got a page on it on my Buzzclick site. It speaks
> about Cloudless Sulfur specifically.  If any of you haven't read it,
> you may enjoy it:
> 
> http://www.buzzclick-music.com/mort_lore.html
> 
> enjoy (or not!),
> 
> - P
> 
> --- In PLAN_B_analog_blog@yahoogroups.com
> <mailto:PLAN_B_analog_blog%40yahoogroups.com> , "j_inform3r" <inform3r@...>
> wrote:
>> >
>> > I received 2 Model 15 VCO's a few days ago and I'm completely blown
> away by them. 
>> > Everytime I plug in I seem to get something new in terms of
> modulating them in various
>> > ways. I was just listening to the first part of "A Sky of Cloudless
> Sulfur" by Morton Sunotnick
>> > and I was wondering how he got those tones in the very first part. I
> understand the track was
>> > made using a Buchla and the Model 15 core is very similar to that of
> what Morton probably
>> > used. Anybody have any idea of how Mort abused those oscillators to
> make them sound like
>> > that?! What waves do you think he started with? Intereting.
>> > Thanks,
>> > John
>> >
> 
>

The Doepfer Wave Multiplier will give you similar timbres to the
waveshaper in the Music Easel and Mort had one installed in his
system.  A lot of the timbres in this first section of SOCS come from
the VCO in the 208 as the predominate voice. The Easel VCO is the
pre-curser to the 259.  Think of it as the link between the 258 and
259.   All of Don's VCOs (before he intoduced the digital VCOs in the
300) were triangle core, but the 259 had some design changes (the expo
converter for instance) which IMHO comprimised the attributes of the
258 qualities.  Not worse, but diifferent.  Mort didn't have 259's in
his system.  Just 258's and the one in the 208.

One thing to keep in mind - of the 40 plus ICs which make the 259, a
lot of that electronics was there for it's computer control.  One
could replicate the functionality, even the sound, with a lot less
parts.  




--- In PLAN_B_analog_blog@yahoogroups.com, <inform3r@...> wrote:
>
>     Good info Peter. I love the ³Mort Lore². When you mention the Blacet
> Miniwave do you mean using it as just another VCO in the mix? I
thought two
> Model 15¹s would do the trick due to the tri-core. Could you
elaborate on
> what the Wave Mult would do? I remember reading something where you said
> basically a Model 15 + a Doepfer Wave Multiplier would do a pretty good
> approximation of a Buchla 259. I¹m not ultra familiar with the 259
> functionally but I do love it¹s sound. Can you just explain what the
Doepfer
> would be replicating in regards to the functions on the 259?
> 
>         Thanks,
>         John
> 
> On 10/11/06 12:47 PM, "(i think you can figure that out)"
> <peter@...> wrote:
> 
> > Basically you need a Dual Timbral Gate set to 'both' for the ringing.
> > Or a Lowpass gate of course.  Very short envelope (all settings to 0
> > - REALLY short) - output of EG opens Timbral Gate -and- puts a
> > frequency transient on the VCOs you're gating  This in tandem with the
> > Timbral gate ringing is key. Two or more VCOs in unison are better.
> > The phasing really adds a zing to the timbre.   The Doepfer Wave
> > Mutiplier will also give you some interesting varitions, as wil a
> > Blacet Miniwave.  But start with saws and then try sine on sine FM.
> > 
> > In any event,  I've asked Mort the same question because at first i
> > thought he had a bit of noise in there as well. His reply was:
> > 
> > "I used a mixture of oscillators...but I did not use any noise. What I
> > did was put an envelope follower with a transient up and v quick,
> > almost transient down mixed with another voltage which gave it its
> > pitch...I had voltage mixers [I think they became standard]. That is
> > what created the transient at the beginning of the sound...it was a
> > transient!"
> > 
> > As to how he created the triggers for that piece, this gets really
> > interesting.  I've got a page on it on my Buzzclick site. It speaks
> > about Cloudless Sulfur specifically.  If any of you haven't read it,
> > you may enjoy it:
> > 
> > http://www.buzzclick-music.com/mort_lore.html
> > 
> > enjoy (or not!),
> > 
> > - P
> > 
> > --- In PLAN_B_analog_blog@yahoogroups.com
> > <mailto:PLAN_B_analog_blog%40yahoogroups.com> , "j_inform3r"
<inform3r@>
> > wrote:
> >> >
> >> > I received 2 Model 15 VCO's a few days ago and I'm completely blown
> > away by them. 
> >> > Everytime I plug in I seem to get something new in terms of
> > modulating them in various
> >> > ways. I was just listening to the first part of "A Sky of Cloudless
> > Sulfur" by Morton Sunotnick
> >> > and I was wondering how he got those tones in the very first
part. I
> > understand the track was
> >> > made using a Buchla and the Model 15 core is very similar to
that of

> > what Morton probably
> >> > used. Anybody have any idea of how Mort abused those oscillators to
> > make them sound like
> >> > that?! What waves do you think he started with? Intereting.
> >> > Thanks,
> >> > John
> >> >
> > 
> >
>

They need to go to one of the FREQ VC input jacks - the ones with the
bipolar attenuators.  The other variable frequency control input, the
FM input, is designed for AC control - as in one VCO controlling
another.  One has linear response, one has expoential response.  A
matter of fax\ct, the FM input is AC coupled - it won't even allow DC
voltage to pass into the circuit.  Inputs need to be alternating above
and below goround (like a waveform) at nothing less than about 2 hertz
or the inline capacitor will kill it.

hope this helps -

- P





--- In PLAN_B_analog_blog@yahoogroups.com, <inform3r@...> wrote:
>
>     Another question; would the transient go to the FREQ VC jack or
the FM
> IN jack? Technically what¹s the difference? Should the pots
associated with
> the FREQ VC and FM be turned fully CW?
> 
> On 10/11/06 12:47 PM, "(i think you can figure that out)"
> <peter@...> wrote:
> 
> > Basically you need a Dual Timbral Gate set to 'both' for the ringing.
> > Or a Lowpass gate of course.  Very short envelope (all settings to 0
> > - REALLY short) - output of EG opens Timbral Gate -and- puts a
> > frequency transient on the VCOs you're gating  This in tandem with the
> > Timbral gate ringing is key. Two or more VCOs in unison are better.
> > The phasing really adds a zing to the timbre.   The Doepfer Wave
> > Mutiplier will also give you some interesting varitions, as wil a
> > Blacet Miniwave.  But start with saws and then try sine on sine FM.
> > 
> > In any event,  I've asked Mort the same question because at first i
> > thought he had a bit of noise in there as well. His reply was:
> > 
> > "I used a mixture of oscillators...but I did not use any noise. What I
> > did was put an envelope follower with a transient up and v quick,
> > almost transient down mixed with another voltage which gave it its
> > pitch...I had voltage mixers [I think they became standard]. That is
> > what created the transient at the beginning of the sound...it was a
> > transient!"
> > 
> > As to how he created the triggers for that piece, this gets really
> > interesting.  I've got a page on it on my Buzzclick site. It speaks
> > about Cloudless Sulfur specifically.  If any of you haven't read it,
> > you may enjoy it:
> > 
> > http://www.buzzclick-music.com/mort_lore.html
> > 
> > enjoy (or not!),
> > 
> > - P
> > 
> > --- In PLAN_B_analog_blog@yahoogroups.com
> > <mailto:PLAN_B_analog_blog%40yahoogroups.com> , "j_inform3r"
<inform3r@>
> > wrote:
> >> >
> >> > I received 2 Model 15 VCO's a few days ago and I'm completely blown
> > away by them. 
> >> > Everytime I plug in I seem to get something new in terms of
> > modulating them in various
> >> > ways. I was just listening to the first part of "A Sky of Cloudless
> > Sulfur" by Morton Sunotnick
> >> > and I was wondering how he got those tones in the very first
part. I
> > understand the track was
> >> > made using a Buchla and the Model 15 core is very similar to
that of

> > what Morton probably
> >> > used. Anybody have any idea of how Mort abused those oscillators to
> > make them sound like
> >> > that?! What waves do you think he started with? Intereting.
> >> > Thanks,
> >> > John
> >> >
> > 
> >
>