Electronic music pioneer, Morton Subotnick, gives a tour of his New York studio and discusses his career on Electric Independence. In case you’re unfamiliar, Subotnick is responsible for commissioning Don Buchla to build the famous Buchla Series 100. Oh yeah, and he’s using Ableton Live. Awesome!
I have been recording a series of solo noise jams using the Roland Super Jupiter MKS-80 while in the process of researching repairs. The unit currently cannot be tuned and does not respond to keyboard velocity information. This does not prevent me from exploring what the instrument can do sonically, without depending on traditional scales, or harmony. This sort of experimentation is usually done with modular synthesizers, or instruments that have most of the parameters available as tactile controls. In other words, to do this on an MKS-80 you need the MPG-80 programmer, or a viable alternative.
As far as physical controllers go, the CME Bitstream 3X seems to be one that a lot of MKS-80 users are talking about. It looks like a pretty good controller for a lot of things, but once again, it’s a little on the expensive side of things. I opted to use the reKon editor as a plugin and map MIDI controls to it as I described in reKon Audio VST-AU MKS-80 Editor. This worked great, with no noticeable latency. Here’s a segment from the first experiment in this series.
Noise Jam Segment
One thing I hadn’t explored yet on the Roland Juno-106 is how well it produces synthesizer effects. This is the sort of sound that I would normally create using my Sequencial Circuits Pro-One, and admittedly the filter on the Pro-One is a little more agressive, but I decided to give it a go on the 106. This sound was made using the filter self-resonance discussed in detail in the article Eerie Pseudo Oscillator Microtrack. Using the LFO on the VCF creates the wobble, then I adjusted the LFO manually for speed modulation.
Resonant Wobble
I setup and recorded this example of pulse width modulation using my Roland Juno-106. I started out playing an octave with the pulse width set to half way. Next I moved the pulse width up and down covering the full range possible. Eleven seconds into the recording I enabled the LFO on the pulse width and adjusted the speed of the modulation all the way up and then all the way down again. The picture shows the LFO in action. Notice that the LFO operates as a triangle, but with slight curves on each slope, which is probably a result of the analog circuitry. Here’s what it all sounded like.
Pulse Width Modulation
I just got a note from Dan Pugsley of Radium Audio. regarding their new resource Radium Audio Labs. The site will feature a broad variety of sound experiments and explorations. Dan writes,
“Radium Audio has recently started a blog demonstrating some of our explorative processes, and though it’s very much in the early stages of development we have some pretty interesting pieces uploaded already and I was wondering if any of it might be suitable for Audio Cookbook? We have two new explorative projects in the works at the moment, one of which is based on binaural recordings and the other will be revolving around the use of dry ice to create a variety of sounds.”
The projects posted so far include using a coil mic to record the electromagnetic fields from various electronic devices, like an iPhone and a printer/scanner, and my favorite at the moment, sounds captured from a contact microphone frozen in water ice as it melts.