Scrolling through presets on a monster patch. Three 259e's provide the sound.

PresetSampler

Two 251e sequences transposed in Studio H CSR. Sound sources are 259e and DPO. Korq SQ-1 provides timing via WPM running in USB MIDI Host mode. studiohsoftware.com

251e CSR Transpose

258e and 259e through 291e+292e. Raw material for possible post processing.

ChrisRaw

3 In the Key

Accenting notes and percussion with 254e. One long meditative track for easy listening.

254e Accents

258-261

261e into 292e. 292e to 297. 297 1 back into 261e (mod FM input). 297 2 into 285e. Modulated by 258. 285e out to speakers. 251e provides sequence. Pulse out to 281e gives envelope. Envelope mixed with 266e FRV A in 254v. Result modulates 292e. 266e FRV B controls 285e timbre.297 env follower routed back to itself modulating phase. Mod osc set to hi, modulating the amp and pitch, both FM input and index knobs set to max. 292e is in both mode.


258-261-2

Oscillator detune added using constant CV to a row in the CSR with randomized node levels.

Ron's Sequencer Demo Detuned

A 251e provides two sequences that are mixed in a Studio H Software CSR. The sound source is a pair of DPOs. The 291e frequency is slowly modulated with random CV from the 266e.

Ron's Sequencer Demo with Automated 291e

Two Studio H DPO oscillators with wave modulation are controlled by three channels of the 251e, summed in the Control and Signal Router. The pulse outputs on the 251e are patched together to produce varying pulse spacing. The pulses are fed into the 255e to produce a varying envelope. Pulses with more space between them get shorter envelopes. The envelopes are mixed with the original pulses in the 254e and used to control the 292e. The audio uses two channels of the 292e. One channel is in LPF and the other is in GATE. The two are mixed in the 207e to provide a combination of high and low frequencies.

2xDPO

200e Rhythm (fast)

Doepfer A-188-1 BBD 512 and A-196 PLL only.

BBD PLL

254e prototype test demonstrating pitch transpose and pulse processing. A sequence from the 250e is offset in the 254e, and the amount of offset is controlled by switching among three presets. Meanwhile, the 250e pulses are modulated in the 254e using a 281e LFO, and the pulses go straight to the 292e. The sound source is a 258v.

254e Pulses and Transposes

258e prototype sine-saw doing percussion and sine-square doing "lead."

OSC TEST

258e on the left, 258v on the right. Download for best quality.

eVsV

Two 259e's are the sound sources for this self playing patch. Both are in tracking mode with the mod oscillators modulating the morph in hard sync mode. The principal oscillators are in mem skew "b" mode at about 2 o'clock. Both then go to the 292e in LPF mode and then on to the 291e to create a resonant LPF filter effect. The lead part sequence is a 250e running in continuous mode, fed by the quantized random voltages from a 266e. The pulse out from the 250e creates envelopes in the 255. I make minor adjustments only to the morph and warp knobs on the oscillators during this recording. This is one pass with the 200e. An Eventide Timefactor provides reverb.


BuchlaJazz

Prototype osc unfiltered sine/saw, unfiltered sine/squ bass kick (250e pulse to osc input), and 266e+291e noise (snare).

Heavy Bass Beat

This track appeared on the Buchla Etudes CD and is posted here by request. 

Here are my original patch notes:
250e running in enable mode. An LFO (281e) pulses the 250e (strobe input), and samples a second LFO using the 266e SRV (thanks for this idea, Lyonel). The result goes to the 250e enable start/adv input, and the 250e stage address cv input. The two LFO's are slightly out of sync, so repeating sequences happen, but it takes a while. Sound sources are two 259e's running in tracking mode, with pitch modulation from the mod oscillators. Thanks to Jon for this patch idea.

It would probably benefit from some EQ.

250eEnable

Dual Programmable Oscillator with wave modulation going to 291e. Bands are set close to each other with fairly high resonance. All output with channel levels at about 50%. 266e QRV selects filter frequencies. Timefactor adds some delay.

Analog 291e

Dual Programmable Oscillator running FM cross mod with hard sync through 291e. Second DPO saw comes in with wave modulation. 250e runs in jittery continuous mode. Timefactor adds delay.

Analog 291e 2

Three channels of prototype Control Voltage Slew Processor used as envelopes for Studio.H DPO, 259e, and 261e. The 261e is fed back into itself though the 297.

Slew Processor Test

All eight channels of prototype Control Voltage Slew Processor used. No effects.
bass kick=291e self resonating, one slew envelope to freq, another to amp
snare=291e with noise input, two slew envelopes cross faded in 254e control freq and amp
tom=291e self resonating, sequenced freq, slew envelope on amp
bass=Studio.H DPO saw hard sync to 292e LPF
lead=259e to 292e LPF, slewed sequence from 251e,

Slew Processor Test 2

Stumbled on a violin sound while playing with the 291e self resonating with external FM modulation. The rest is more testing of the prototype Studio H Control Voltage Slew Processor (250e pulses used to generate envelopes.) Percussion sound sources are Studio H DPO oscillators. No effects or post processing.

291e Violin with Beat

Again all eight channels of the Studio H Control Voltage Slew Processor engaged with input from 250e pulses. 291e self resonating with FM modulation. Studio H DPO oscillators provide all other sound sources. Preset changes are used to vary the mix. One take. No external effects (275r used on 291e voices.)

Slew Processor Test 3

All three 291e channels fed back into themselves with audio rate modulation from cross mod Dual Programmable Oscillator. Prototype Control Voltage Slew Processor modulates freq and amp of each. 291e ALL output attenuated in 210e prior to 206e.

A - Bass A:16 B:99 F:52 M:81 (AM)
B - Tom A:0 B:99 F:98 M:61 (FM/AM)
C - Tom A:0 B:99 F:139 M:69 (FM/BM)

One take, no effects.

https://studiohsoftware.com/modular

291e Saturated Percussion

This is a demo of the Plan B M12 filter I made back in 2009 or so. The sound source is a Cwejman VCO-6. I slowly open the M12 cutoff frequency (of course).

Plan B M12 Demo

Cross mod fm with carrier hard synced to modulator, pitch changes via modulation of carrier mod depth back to modulator. Crackles provided by crummy Eventide Timefactor.

Slew Sample

259e and 292e

Krelljazz

DPO and 261e with CSR transposing two 250e's.

CSR Sequence

Linear FM Test on prototype oscillator. Pitch bend at upper end is due to modulation source exceeding +/-2V peak. I did not realize until today that the 292e in VCA mode overdrives.

LinearFMTest

Demo for Source of Uncertainty podcast.
261e mod osc with wave shape modulation.
258e bassline with VCA applied to envelopes.
259e through 291e with FM from mod osc.

258e sequence is from 250e.
261e sequence is 258e sequence transposed with another 250e.
259e sequence is 258e sequence transposed with 251e.

dougcl

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