Don Buchla created his first ModularElectronicMusicSystemfor composer Morton
Subotnick.Unlike Bob Moog’s modular synthesizer that
focused on traditional keyboard controllers, Buchla’s mode of
operation with patch-chords and touch controller was not tied to
other extant instruments. As SuzanneCiani,
an early and avid user of the Buchla 200, has said: Hisdesignsforinstrumentswereextraordinary.Hebroughtthethoughtprocessofdesigningmusicalinstrumentsrightdowntotheoriginsofphysicalhumannatureandmusic.With
the ease and portability of MIDI, digitalrecordingandsamplinginthe1990s,
the analog synthesizer moved to the margins of music production. Amid
resurgentinterestinanalogsnythesizers,theBuchla200ewasintroducedin2005.Source of Uncertaintyprovidesaplatformfor
some of the artists exploring this powerful instrument and discovering new ways to think about composition and performance.
Source of Uncertainty
was a series of three events (plus a prequel) celebrating the DIY
modular synthesizer community, the Buchla 200e, the 25th Anniversary of
Harvestworks, and Harvestworks' roots in the Public Access Synthesizer
Studio. Source of Uncertainty was a collaboration between ((audience)), Harvestworks, River-to-River Festival, Art-on-Air and Spectacle. Source of Uncertainty was produced by Alexis Bhagat and Abby Echiverri, with Carol Parkinson.
Source of Uncertainty was kicked-off with a performance by Charles Cohen as part of ((audience)) Sound Off at 16 Beaver Street on June 26th, 2012.
Part I took place at the South Street Seaport on June 28th, 2012. The Control Voltage Faire, a mini-trade-show and tech demo by DIY
modular synth makers from across the country, began the day. Exhibitors included:
took place at the Kimmel Auditorium, Pace University on July 7th, 2012,
and included a concert by Morton Subotnick and a playback of a
quadraphonic tape-music piece by Richard Lainhart. (Mr. Subotnick was
to have premiered Energy Shapes - a new work produced on the 200e + Ableton Live + vocal envelope follower; however, he chose instead to produce a live version of Silver Apples of the Moon. The website for the event does not reflect that change.)
Engineered by the staff of the Kimmel Auditorium, with additional equipment loaned by the Electronic Music Foundation.
(And, with love, for Caroline Meyers.) REVIEW (NY Times)