Donald Buchla started building and designing electronic instruments in 1960 when he was commissioned by the Avant Garde composer Morton Subotnik to build an instrument for composing and performing live electronic music. Subotnik was interested in developing a single instrument to replace the large complex Electronic Music Studios of the day where most ‘serious’ avant-garde music was composed and recorded. These studios consisted of multiple individual oscillators, processor units, filter and mixers that, with the help of technicians (each of the studios had it’s own unique system), needed to be manually patched together. The advent of transistor technology allowed much of this process to be miniaturised into a single portable, standardised version of the Electronic Music Studio but still using the modular, patchable approach:
The offspring of a technology which is itself but half a century old, electronic music is in its infancy. Instruments specifically designed for its production have been crude and generally unavailable. Therefore, the basic objectives for development of the Modular Electronic Music System were:
1. The achievement of direct, immediate control of musical parameters. Instruments should be played in real time, eliminating such note-forming routines as: set frequency – start recorder – stop recorder – measure – cut – splice – repeat, etc.
2. Compatibility of all equipment, Rules for interconnecting equipment to be straight-forward and consistent. Interfacing with external equipment (recorders, tuners, microphones, etc.) should be readily accomplished.
3. Fully transistorized circuitry, employing conservative design and high quality components. Reliable operation with minimal maintenance must be realized.
4. A special requirement for the system was that the equipment be lightweight and portable, thus making feasible its use in the composer’s home, the concert hall, and on tour.
5. Without compromising other design objectives, cost should be low. Power supplies and cabinetry should be common to several unity, and modular construction should be employed to permit economical system expansion.
With a $200,000 grant from the Rockefeller Foundation Buchla started building his first modular synthesisers in 1963 at the “San Francisco Tape Music Center”. The Tape Music Centre was the hub of experimental and electronic music at the time, founded by composers Morton Subotnick and Ramon Sender and used by artists such as Terry Riley, Pauline Oliveros, Steve Reich, William Maginnis and Tony Martin. Buchla’s early synthesisers were experimental in design to accommodate the experimental music they were intended to produce, utilising unusual control features such as touch sensitive and resistance sensitive plates – one of Buchla’s inventions form this period was the first analogue sequencer.
The first production model synthesiser was the Buchla Series 100 or ‘Buchla Box’, a keyboardless modular synthesiser – or ‘Electronic Music Box’ as Buchla preferred – released 1966 through a manufacturing deal with CBS/Fender (who soon closed the deal, seeing no future in electronic instruments). The Series 100 was an innovative electronic instrument with a logically laid out, intuitive front panel allowing the user to patch and route modules with patch cords (To avoid confusion, the Series 100 uniquely, and unlike the Moog Modular, used separate patch cords for output and control voltages allowing the patching of multiple control voltages with stack-able ‘Banana’ patch cords) designed primarily with the electronic music composer in mind . The manual control of the instrument reflected the concerns of the time around microtonality and the limitations of the tempered scale keyboard; Buchla, very much in the ‘serious’ experimental music camp designed the instrument to be set up and run to produce a continuous piece; more of an electronic music studio than an instrument per-se. The composer could trigger and manipulate multiple parameters using an array of pressure sensitive touch pads or ‘Kinaesthetic input ports’ to free themselves from the constraints of a standard keyboard:
“They [the ports] were all capacitance-
sensitive touch- plates, or resistance- sensitive in some cases, organized in various sorts of arrays…I saw no reason to borrow from a keyboard, which is a device invented to throw hammers at strings, later on, for operating switches for electronic organs and so-on. A keyboard is dictatorial. When you’ve got a black and white keyboard there it’s hard to play anything but keyboard music – And when there’s not a black and white keyboard you get into the knobs and the wires and the interconnections and timbres, and you get involved in many other aspects of the music, and it’s a far more experimental way. It’s appealing to fewer people but it’s more exciting”
One of the main innovations of the series 100 was the inclusion of one of the first analogue sequencer modules ; Three sequencers were fit into the first Buchla synth, two with eight stages, the third with 16
” There were three voltage-controlled outputs for each stage. I used to cascade two sequencers so that they would run simultaneously, giving you six voltages per stage. One voltage would control pitch, another spatial location, the third amplitude. Then one, which was really clever, would control the pulse generator that was controlling the sequencer, so that you could determine the absolute rhythm. You could literally program a very complex rhythm over a long period of time, for example, by running five stages against 13.'”
Modules of the ‘Buchla Box’ :
|M.101||wooden case for 25 modules|
|M.106||six channel mixer|
|M.110||Dual Voltage-controlled Gates|
|M.111||Dual Ring Modulator|
|M.112||12 touch-controlled voltage sources (capacitive keyboard)|
|M.114||10 touch-controlled voltage sources (capacitive keyboard)|
|M.123||Sequential Voltage Source (8-step sequencer)|
|M.130||Dual Envelop Generator|
|M.140||timing pulse generators|
|M.144||Dual Square-wave Generator|
|M.146||Sequential Voltage Source (sequencer, 16 step X 3 layer)|
|M.156||Dual Control Voltage Counter|
|M.158||Dual Sine / Sawtooth Oscillators (VCOs)|
|M.160||White Noise Generator|
|M.165||Dual Random Voltage Source or ‘Source Of Uncertainty’|
|M.170||Dual Microphone Amplifier|
|M.171||Dual Instrument Pre-amplifier|
|M.175||Dual Equalizer / Line Driver|
|M.180||Dual Attack Generator|
|M.191||sharp cut-off filter|
|M.192||dual low pass filter|
|M.195||octave formant filter|
The Series 100 was followed by the Buchla Series 200 Electronic Music Box in 1970. The ‘Buchla Box’ was much used during the Acid Test psychedelic happenings of the Haight-Ashbury era by rock groups such as the Grateful Dead (and later, provided the sounds for R2D2 in the film series Star Wars).
Around this time affordable mini-computers became available and Buchla created the first digitally controlled analogue synthesiser, the Buchla 500 series in 1971. This was followed by the ‘Buchla Music Easel’ in 1972 Touché (1978), the Buchla 400 (1982), the Buchla 700 (1987). More recent products have included MIDI controllers and re-vamped versions of the Series 200.
‘Analog Days’. T. J PINCH, Frank Trocco. Harvard University Press, 2004