A two-voice track on the Buchla Easel, with stereo delay and a little reverb added externally. The idea was to generate an irregular rhythm via the “arpeggiation rate” input, while maintaining the time signature via a MIDI clock.
Further patch notes in the video.
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Fine work, a piece of season...
So I thought about this other late summer atmosphere (but there, the thunderstorm rumbles in the distance):

'On ne devrait jamais quitter Montauban' (Fernand Naudin).
https://soundcloud.com/petrus-major/tracks


Hi Sweelinck, thanks for commenting. Just imagine what Vivaldi could have done with a Buchla Music Easel!


... to generate an irregular rhythm via the “arpeggiation rate” input, while maintaining the time signature via a MIDI clock....
-- Moogul

Hi Moogul, thanks for sharing, explaining every step on the way. Very instructive to us non-Easel-ers.
When I first read 'irregular rhythm' in your description I thought of loosely coupled motions as in Relabi -
but no, this stays on a tight grid. Not sure how much of an improvisation this is but It does have a strong sense of form.
I like the swaying back in forth between legato and staccato sections, especially. Very nice!
Thanks for sharing.


@Moogul

In this case, the Piazza San Marco would be located in Berkeley and the Buchla 100 would be the name of a violin :)

Yet there is an undeniable link: the Berkeley’s Sather Tower was inspired by the Campanile of San Marco in Venice!

'On ne devrait jamais quitter Montauban' (Fernand Naudin).
https://soundcloud.com/petrus-major/tracks


... to generate an irregular rhythm via the “arpeggiation rate” input, while maintaining the time signature via a MIDI clock....
-- Moogul

Hi Moogul, thanks for sharing, explaining every step on the way. Very instructive to us non-Easel-ers.
When I first read 'irregular rhythm' in your description I thought of loosely coupled motions as in Relabi -
but no, this stays on a tight grid. Not sure how much of an improvisation this is but It does have a strong sense of form.
I like the swaying back in forth between legato and staccato sections, especially. Very nice!
Thanks for sharing.

-- wiggler55550

Thanks for watching the video. Yes, "irregular" may not be the right word. I meant irregular in the sense of getting away from the steady pulse you usually get from the sequencer when it's triggered by the pulser or the keyboard. A sequence of "different note values" is probably more accurate. And you're right, not much improvisation here - all mapped out beforehand, right down to placement of the masking tape! I'm going to read that John Berndt essay now - thanks for sharing the link!


@Moogul

In this case, the Piazza San Marco would be located in Berkeley and the Buchla 100 would be the name of a violin :)

Yet there is an undeniable link: the Berkeley’s Sather Tower was inspired by the Campanile of San Marco in Venice!
-- Sweelinck

And both Don and Antonio liked the number four (quattro stagioni, quadrophonic, quad function generator, etc). The plot thickens!


@Moogul

In this case, the Piazza San Marco would be located in Berkeley and the Buchla 100 would be the name of a violin :)

Yet there is an undeniable link: the Berkeley’s Sather Tower was inspired by the Campanile of San Marco in Venice!
-- Sweelinck

And both Don and Antonio liked the number four (quattro stagioni, quadrophonic, quad function generator, etc). The plot thickens!

-- Moogul

You’re right, and I even fear that Suzanne Ciani was involved somewhere.
Believe me or not, this case is beyond us...

'On ne devrait jamais quitter Montauban' (Fernand Naudin).
https://soundcloud.com/petrus-major/tracks