Suzanne Ciani

I'm looking forward to this.

I haven't seen Suzanne perform since 2017 in Melbourne.

https://djjondent.blogspot.com/2017/01/suzanne-ciani-sugarmountain-2017.html

If you live in Sydney and love Buchla Synthesizers, this is your chance.

You can buy tickets here:

https://www.aco.com.au/whats-on/2026/aco-up-close-suzanne-ciani

Friday, 20 Nov at 7pm

Links

+ 1975 buchla concerts 

+ ACO

WAEVE82 First Play

 New wavetable synth from AE modular

Thanks to Carsten

Vidirol: Kickstarter VST demo (hands on)

....

Kickstarter link:

https://www.kickstarter.com/projects/synth-bt/vidirol-control-roland-edirol-video-mixers

ARP 2500 - 1042 module

 This is one of ARPs 2500 "lost modules"

I've never seen one of these ... even as a picture.

I don't know if any were even produced.

Please let me know if you have any info .

I have a AM Synths AM1042.

It's probably the closest I'll ever get to one of these.

There are 3 circuits using the ARP 4019 VCA circuit

in each case.

The ARP 4019 is a classic discrete transistor voltage-controlled amplifier (VCA) sub-module originally used in the ARP 2600 .

+ ARP 2600 - VCA

VCA  (4010 & 4019)

The circuits have AC & DC inputs

They are classic VCAs

Plug the audio into the AC input & the CV into the DC input.

The DC inputs are better suited for CV signals.

If you just use the 3 AC inputs (for audio) it's a good amplifier

Each circuit has a black slide switch for VCA mode (linear or expo).

So which do I choose??

Linear VCA modes provide a 1:1, natural response ideal for mixing and modulation, while exponential modes produce a "snappier," faster response suited for percussive audio, aligning with how human ears perceive volume. 

Linear is generally best for CV modulation, whereas exponential is preferred for sculpting amplitude envelopes to sound more natural.

Human ears hear logarithmically, so exponential VCA responses often sound more "linear" in volume to our ears, whereas linear VCAs can sound abrupt.

Mixing Methods: If using a linear envelope, an exponential VCA creates a natural-sounding curve. Conversely, if using an exponential envelope, a linear VCA is sufficient.

------------------------------------------

Exponential VCAs (The "Audio/Percussion" Standard)Response: 

Follows an exponential curve; slow initial response, faster later on.Best For: Audio amplitude (VCA as a volume envelope).Characteristics: "Snappier," faster, and more "natural" sounding for percussive or fast amplitude envelopes.Use Case: Percussion sounds, or creating smoother decays if the envelope itself isn't already exponential.

Linear VCAs (The "Modulation" Standard)Response: 

CV input directly maps to audio gain (e.g., 5V = 50% amplitude).Best For: Modulation, controlling other CV signals (FM, PWM), and precision mixing.Characteristics: Easier to predict and manage; sounds more gradual.Use Case: If you need subtle, precise control over modulation depth

Moog Labyrinth - initial thoughts

The Moog Labyrinth is a unique parallel generative analog synthesizer and idea machine, blending East Coast (Moog) and West Coast (Buchla-esque) synthesis with two intertwining, evolving 8-step generative sequencers that create polymetric melodies and textures. 

It features decay-only envelopes, a state-variable filter, wavefolding, and parallel signal paths, designed to add unique soundscapes, rhythm, or color to a studio setup, either standalone or within a Eurorack system.  

There are two sequencers, and two sound paths letting you layer sounds.

The wavefolder is a Buchla thing. The filter is very East Coast Moog.

The 2 pole State-Variable Filter is interesting. I think its a new Moog design that blends between low-pass and band-pass, without self-oscillation. 

The sound sources involve two VCOs ... the top produces a sine wave (the main audio).

the lower VCO is mainly for modulation and produces a triangle wave.... its tunes to a lower frequency than the upper oscillator. 

(Its a interesting choice of waveforms ... there are no saw, square or pulse waves on this synth).

This vco  (FM) cross modulation is a common Buchla idea. The 158 for example used a saw-sine waveform

The audio signal passes through a mixer & noise source.

There are level (LVL) controls for each VCO & noise.

The noise has a tone control

There is also a ring-mod level control which controls the loudness

of the ring-modulated product of the two oscillators.

After the mixer, the signal passes to a filter and a wavefolder.

This can be both (parallel) or either.

The Buchla inspired voltage controlled wavefolder (VCW) is a diode-transistor circuit.

It has two parts: VCW Fold & Bias.

VCW sets the amount of wavefolding.

"Normally, when the gain of an input signal exceeds the headroom of a circuit, the tops and bottoms of the waveform are clipped off, causing distortion (such as in the Labyrinth MIXER). A wavefolder, however, folds the sections of the signal exceeding the floor/ceiling back in on the signal itself, creating new harmonics in the process"

(official manual)

The bias applies a DC voltage offset (achieving asymmetrical folding) to the signal entering the wave folder to emphasize even or odd harmonics.

The wavefolder an be modulated by EG1, SEQ1 & BIAS

These are the patches that came with the synth. A great way to start exploring.

These are just quick lo-fi recordings using my phone mic.

Instant techno drums

Myriads of Ivy

Polymetric Parallel voices

Roland PG1000 programmer - connections to use with D-50

Connecting the Roland D-50 with its PG1000 programmer can be a bit confusing.

These are my notes of how I'm using it with my DAW (Abelton)

The midi merge box I'm using is a simple   ... 3 in / 1 out box

It mixes MIDI from the DAW and PG100 & sends this info to the D-50.

There is one final connection from the D50 back to the programmer.

Here is a pick of the rear of the programmer:

The PG 1000 is a brilliant machine

For the record, here is the rear of the D50

Sir John Templeton

 Sir John Templeton’s famous investment quote is: "Bull markets are born on pessimism, grow on skepticism, mature on optimism, and die on euphoria". He further advised that maximum pessimism is the best time to buy, while maximum optimism (euphoria) is the best time to sell. 

• Meaning: This quote highlights the emotional cycle of market bubbles. "Euphoria" represents the final stage where greed peaks, investors ignore risks, and prices become unsustainable, usually resulting in a market crash.
• Alternative phrasing: He was also known to say, "The market is always born in despair, grows in doubt, matures in longing, and perishes in hope".

Templeton believed in contrarian investing—buying when others are fearful and selling when they are overly optimistic.