Few nights ago ended by playing with Ezra a late Buchla 200 system, very advanced and full, but we had only a few patch cords. it had in it a -1606 MArF, where we started, just to see if it went at all. first stop kick drum sequence, to settle down and be influenced by Ezra's presence and the atlantean curves of Don's case design--
courtly high guitar pinch harmonic, the kick in what Ezra reported was 7, but I only knew was in 1-1-1, mysterious patterning of the kick timbre by ramp of length commensurable with one time interval but not another, heard in echos. at home also I use only very few cables, letting them be rare for times, to make everything coming from one area or interaction. What we balled up to sleep to that night used two oscillators, but only one MarF output, to those could have been perhaps multiplexed or 'multiplexed' some way which inheres. I have certainly heard similar dispositions of the orchestra coming from one oscillator, a kick, flagolet melodies, swaying background curtains. and even the tunes and pattern which I that night dictated I have heard coming on their own from energy pushed through fm loops into lower and lower frequencies, for example.
A face back of my interest is the disarmed or removed, eddying story that in a later age, person (me) whose practice moved following lateness.
(? back face- woven coat back, university action and dress. wood paneling Beech lecture room)
courtly refinement in aesthetic suspension
approach with cables in left hand, feel of cables and walk. at home I approach always in lying position to scattered units, here there was more formality. study at juncture may be a way finally to build a polished 'system' for myself, while also, this morning I admired the silkscreened rings around the mounting holes of my 259 panel, having never been mounted anywhere, and thought of the deco plastic bits I have seen used to mount mirrors, etc.