Un documentaire sur Buchla

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Attention BLT, tu te disperses. Il ne s'agit aucunement d'EMS dans cette vidéo

Plus sérieusement intéressant mais à 3min44, le gentil monsieur dit n'importe quoi.
Le 207 n'est pas un filtre, le 257 à côté n'est pas une Enveloppe et d''ailleurs le module "Oscillateur" n'en est pas un non plus strictu sensu puisqu'il s'agit du module 359 qui joue le rôle d'interface entre les 259 analos et le contrôle digital.

Joli système 300 d'ailleurs

J'aime bien quand Subotnick dit "The black and white keyboard for me was the devil"

BLT a écrit:

J'aime bien quand Subotnick dit "The black and white keyboard for me was the devil"

Mouais, pour lui peut-être, pas pour Buchla.
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"Welcome to Xenooonn"

Citation :

Mouais, pour lui peut-être, pas pour Buchla.

Pas le diable, mais pas adapté aux synthés tout de même :

Citation :

In the beginning we were all dealing with monophonic structures. I did actually build a very early keyboard and decided this is not very interesting . To me, as a keyboard player, the concept of a monophonic keyboard was very strange. I never even thought of it .

When I built my first keyboard it was polyphonic. It four-voiced polyphonic and then later on Arp came into the game much, much later and said, "We have the first polyphonic keyboard ." Then I said, "I never thought of a monophonic keyboard.” Then I got acquainted with Moog's equipment and realized that people were building keyboards with which you could only play one note at a time . To me that was absolutely preposterous.

The only virtue of a keyboard is that you can simultaneously access a number of notes. I used a keyboard in some of my larger systems. In fact, very expensive hybrid systems that came out about ’70-71 and found in my own work that the keyboard was too dictating. I’d look at it and it shouted “twelve tone” at me. I couldn’t deal with it in an abstract way.

I actually wrote piece and more often adapted others. I remember a Daniel Lenz piece that was through to be impossible to play. It might have been called “Sermon” It had a beautiful graphic score witch I photographed and projected and put the entire score on the keyboard and then called a pianist and said “here, play this”. Well we wound up with five people having to simultaneously play the keyboard because it was impossible to do otherwise. I used the natural grouping of the keyboard. I would use the three black keys for different ring modulations and four of this for reverberation and two of this for switching on and off some other function. It was a five octave instrument.

So there’s my experience with keyboards. It’s a one dimensional system for throwing hammer at string and getting things into vibration and it’s very good for that and very good for a particular kind of music but not so much for the aesthetic that Mort was into and numerous other composers on the west coast.

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