@@automaticgainsay Mark ok here is the deal: she said “yes he can keep it longer... however next time when you bring the milk and cookies, leave the milk at home and just bring the booze” also she said something about “the depends had a leak dont flip the cushion”... what ever that means😳
In principle we can even go further to people like Trautwein and Oscar Sala, even Theremin (when talking about ring modulation). But I assume the discovery/invention of the transistor was important in the further development of synthesizers from the 1960's onwards.
I am pretty sure the Electronic Sackbut 1945 also had voltage controlled oscillators, and of course before that and Bode's earlier work voltage controlled oscillators (and voltage control more generally) had been implemented outside of musical instrument design.
The Electronic Sackbut purported employed "voltage control," but the important point is HOW that voltage control was employed. And I don't actually know. It may be in some very relevant fashion. But when talking about events in the development of synthesizers and Electronic Music history, the MOST relevant points are those that deal with influence. There are connections between LeCaine's history and historical elements that led sequentially to other developments, but the Sackbut was not really one. On top of that, Harald Bode's Warbo had what could be called "voltage control" in ways, too... and that was 1937.
@@automaticgainsay I watched a talk recently on the Sackbuts restoration, The Sackbut (apparently had what we would recognise as standard VCF, VCA, VCO topologies. Gustav Ciamaga apparently had experience with LeCaine's VCFs and introduced the Idea to Moog (which is certainly worth exploring). Of course as I mention Bode had as I understand implemented voltage control topologies with tubes, I am certain many other examples could be found both in musical instrument design & more significantly in analogue computing and process control earlier than in musical instrument design.
The Hammond Novachord did not employ the control voltage paradigm. However, it did feature early versions of just about everything that defined a polysynth. And, it was the first top-octave-divide instrument.
trautonium had voltage control in the early 30s with filters, oscillators, and voltage control. Perhaps an episode about Friedrich Trautwein and Oskar Sala is in order
The Trautonium was an incredibly important instrument for a variety of reasons... primarily that it used a neon-based oscillator that generated a sawtooth... that in combination with its dormant filtering meant it was one of the first synths to demonstrate a “subtractive” paradigm. However, it did not employ voltage control in the manner that it is relevant to later synthesis devices.
Although this is a laudatory reprise of Harald Bode's innovations, it does NOT provide accurate information re his "Sound Synthesizer'" circa 1960. It did NOT have voltage controlled modules as stated in this video. Hey, the key is pretty simple, folks: look for CONTROL inputs on such modules (there are none). I have stood in front of the actual instrument in his son Peer Bode's home to confirm this! Or, if you really want to do some real research, take a look at Bode's patent # 3,069,956 (December 25, 1962) that describes his Sound Synthesizer completely. Nope, no voltage controlled modules-with their telltale control inputs. In fact, the "modules" on Bode's Sound Synthesizer were actually a graphic that depicted internal circuits as modules, look again! Yes, of course Bob Moog was influenced by Harald's concept of modularity, as Bob recounted to me personally. I'm certain that Bob Moog and Don Buchla both read the extant literature in the field . . . I take nothing away from Harald Bode (pronounced (BO-duh), who was a true pioneer. I was his friend and associate; he was, in essence, a mentor to me. In fact, I was one of the pallbearers at Harald's funeral. Please, could we have some real research? Find the actual artifacts, please! Best, Tom Rhea.
Exactly, Hugh is well known to have communicated with Moog and others at the time and to have written in the popular journals of the time. His designs date back to ‘45 and through a connection with Gustav Ciamaga influenced Moog’s early filter designs. Le Caine is often disregarded when the history of synths are discussed so it comes as no surprise here 🙃 do a video on Hugh, his life as a musician, motorcycle rider, and trick photographer, coupled with his quiet demeanour and untimely death may make for a surprising video. 😻 and I love the hair! Don’t cut it! 😻
@@jdanielcramer The Ciamaga connection is absolutely fascinating, and I know for a fact that Bob knew of Hugh's work through the trip to Toronto he took when he and Herb smuggled an early Moog modular into Canada! I only wish that Hugh's work had had more of a impact as products.
I think you should grow that old man beard out and brush it up over your other eye. You could hide good in there huh? Sorry, I can't take this guy seriously when he's trying to look 23 1/2 years old. 0:14 seconds
The Bode system has modules, for sure, but it's not a synthesizer at all: it's a set of effects processors in a rack. You could patch them in different orders - just like guitar pedals - but they don't interact nor do any control of each other: There's no voltage control at all. That's a HUGE difference and a leap forward first seen in Bob Moog's system, interactive voltage control. Buchla's instrument was created a year after Moog's in the fall of 1965. They were all brilliant creators, but defining the differences and exact timeline is critical to understanding...
Hey, Brian! Certainly, the layout and intended function is not quite as formalized as what both Bob and Don would come to do, but isn’t that the nature of technological development? As for voltage control: While, as you’ve pointed out in the past, there is no oscillator in this device, and that certainly puts it in a different realm than what Bob and Don would come to do (also, it is not transistorized, which makes a difference, too), the way that the envelope-following Modulator creates voltages from audio, and then the way that those voltages can be applied to other functions certainly constitutes “voltage control,” even if it is a primitive example. And, again, while a different paradigm than an oscillator-based system, what is applied to the tape can be used in the same way various control voltages could be used. While the method is different, it is still the implementation of control voltage to achieve an audio outcome. As for Buchla’s instrument, I’ve been fighting the prevailing inaccuracy of “1963” for over a decade!
@@automaticgainsay Hello! But many studios already had racks of equipment with patch bays - just like the Bode- and decades before. It's not even innovation other than he made the panels look the same and saw it as "a system." No sound generators at all, and significantly - no voltage control at all. In the video above it is said that the Bode system had voltage-control: it did not. CV brings a factor of complexity and power that is 100s of times more powerful than anything to that moment. Almost anyone would conceive of a "synthesizer system" as being generators and processors interacting, specifically with voltage control - otherwise it's just a fancy pedalboard (not a synthesizer). The Bode system is indeed a racked set of processors with a patchbay to reorder them.
Wildest combover I’ve ever seen.. salute to you sir
For anyone who wants to really get in the weeds on this topic, the book Analog Days (2004) is wonderful and genuinely fun to read. Highly recommend.
Thanks bro!
Mark Doty: my grandmother called, she wants her chair back.👀by the way we love mark.
Can I just keep it for a bit longer? I have a few more of these videos to make!
@@automaticgainsay Mark ok here is the deal: she said “yes he can keep it longer... however next time when you bring the milk and cookies, leave the milk at home and just bring the booze” also she said something about “the depends had a leak dont flip the cushion”... what ever that means😳
Really important information. Thank you
Awesome video! I appreciate you guys revealing Harald Bode's contribution to the instruments we love!
We need links to recorded examples of Bode’s earlier instruments.
There's a book coming with several examples of Bode on his instruments...
@@briankehew579 What book? That sounds cool
@@KirbyCurbwhy Tom Rhea's Electronic Perspectives, dozens of examples of very rare instruments.
Love synths! More of these guys plz.
We may not have any more Synth Sounds Of, but I'm definitely here for this new series.
Wait why are they not doing synth sounds of anymore?
@@user-iz3fn3mc9w I don't know and I could be wrong. But I feel like I haven't seen a William Kurk video in a while.
In principle we can even go further to people like Trautwein and Oscar Sala, even Theremin (when talking about ring modulation). But I assume the discovery/invention of the transistor was important in the further development of synthesizers from the 1960's onwards.
I am pretty sure the Electronic Sackbut 1945 also had voltage controlled oscillators, and of course before that and Bode's earlier work voltage controlled oscillators (and voltage control more generally) had been implemented outside of musical instrument design.
The Electronic Sackbut purported employed "voltage control," but the important point is HOW that voltage control was employed. And I don't actually know. It may be in some very relevant fashion. But when talking about events in the development of synthesizers and Electronic Music history, the MOST relevant points are those that deal with influence. There are connections between LeCaine's history and historical elements that led sequentially to other developments, but the Sackbut was not really one.
On top of that, Harald Bode's Warbo had what could be called "voltage control" in ways, too... and that was 1937.
@@automaticgainsay I watched a talk recently on the Sackbuts restoration, The Sackbut (apparently had what we would recognise as standard VCF, VCA, VCO topologies. Gustav Ciamaga apparently had experience with LeCaine's VCFs and introduced the Idea to Moog (which is certainly worth exploring). Of course as I mention Bode had as I understand implemented voltage control topologies with tubes, I am certain many other examples could be found both in musical instrument design & more significantly in analogue computing and process control earlier than in musical instrument design.
Thanks for the content, love keyboards and pedestal clocks! ✌⏳
Hot damn. I’ve never heard of this guy! Everyone goes right from Theremin to Moog.
Not to forget Trautwein/Sala.
Good stuff! Thanks for sharing.
Hey Doty, Phil Oakey wants his hair back!
Good. I'd like to be able to see again. It's been a great loan, though!
@@automaticgainsay Lol.
My mentors.. This is awesome
I wonder how the Hammond Novachord fits into this?
The Hammond Novachord did not employ the control voltage paradigm. However, it did feature early versions of just about everything that defined a polysynth. And, it was the first top-octave-divide instrument.
trautonium had voltage control in the early 30s with filters, oscillators, and voltage control.
Perhaps an episode about Friedrich Trautwein and Oskar Sala is in order
The Trautonium was an incredibly important instrument for a variety of reasons... primarily that it used a neon-based oscillator that generated a sawtooth... that in combination with its dormant filtering meant it was one of the first synths to demonstrate a “subtractive” paradigm. However, it did not employ voltage control in the manner that it is relevant to later synthesis devices.
This is wonderful.
@AutomaticGainsay
is that mini the same from your your "old" minimoog video? Hope that oscillator is still a little drifty!
It is the very same! And yep, good ol' #2 keeps the detuning alive!
Great insite , never heard of him . Thanks
You’re good when you have a Hiwatt sitting on the shelf behind you.
I wonder if Harald Bode is the same Harald Bojé that played in Karlheinz Stockhausen's ensembles.
MORE DOTY CONTENT!
He's the one guy that really understands. There's something special about him🍞🧪🐀🔨
3:25 The #SoundSynthesizer #HaraldBode 👍👍✌️
Buchla vs. Captain Anderton, by the photos ... goodness me.
Trautonium was even earlier and as well German
Great video, can the man introducing the video see?
Through those beautiful locks that is
Press X to Doubt
Sometimes the eyes of presenters are obscured by the hair of those who part it.
Sources for this info in the description would be helpful. Thanks.
chair don't match the hair but great piece!
It's the first time i hear about inchuments, and i don't really get the difference with instruments.
Awescome ❤️
Although this is a laudatory reprise of Harald Bode's innovations, it does NOT provide accurate information re his "Sound Synthesizer'" circa 1960. It did NOT have voltage controlled modules as stated in this video. Hey, the key is pretty simple, folks: look for CONTROL inputs on such modules (there are none). I have stood in front of the actual instrument in his son Peer Bode's home to confirm this! Or, if you really want to do some real research, take a look at Bode's patent # 3,069,956 (December 25, 1962) that describes his Sound Synthesizer completely. Nope, no voltage controlled modules-with their telltale control inputs. In fact, the "modules" on Bode's Sound Synthesizer were actually a graphic that depicted internal circuits as modules, look again! Yes, of course Bob Moog was influenced by Harald's concept of modularity, as Bob recounted to me personally. I'm certain that Bob Moog and Don Buchla both read the extant literature in the field . . .
I take nothing away from Harald Bode (pronounced (BO-duh), who was a true pioneer. I was his friend and associate; he was, in essence, a mentor to me. In fact, I was one of the pallbearers at Harald's funeral.
Please, could we have some real research? Find the actual artifacts, please! Best, Tom Rhea.
dude - your rug has slipped. push it back!
Shouldn't this video be better named "Moog vs Bode"? The contents barely discusses Buchla but the earlier synth pioneer Bode.
Круто ☺️
YO! Flock of seagulls 1998
Moog looks like Lee Anderton
Oh no! Mark has joined the Illuminati 🤦🏼
Maybe not use a Buchla employee(Mark Doty) for this ????
Yeah, because everyone knows he's gonna say it's Don Buchla.
@@automaticgainsay As he always does. Probably why they only have a clip of Doody in the beginning and end, reading from a script. lol
@@automaticgainsay Don't you work for Buchla, too ?
@@DBCisco Except he didn't say that, did he, DB. No, in fact he said it was Harald Bode. Also, he wrote the piece.
So, what was your point?
@@automaticgainsay You realize that the commentator was NOT Mark, right ? Mark is white. You prove you are little more than a troll all the time.
Name of the episode should been Boda and Moog something.. nothing about Buchla in this.
Bo-duh? Or Bo-dee?
Bo-duh.. apologies on the pronunciation fluctuations
Something between Bo-duh and Bo-day would be closest to the German pronunciation. Accent on the “Bo”.
Salute to German innovation.
Need spanish subt pls 💋
I have a new band name. The Hipster Comb-overs
I'm super flattered that you think I'm a hipster. Thank you!
GRAN DOCUEMNTAL PERO POR FAVOR ALGUIEN TRADUSCALO !!!!
......
Hugh Le Caine and the Electronic Sackbut? No Mention? A new peak in Low-Down-Ness.
Hey, Cameron. Hugh's work was fascinating and important. But Harald's work preceded it. What can be done about that?
Exactly, Hugh is well known to have communicated with Moog and others at the time and to have written in the popular journals of the time. His designs date back to ‘45 and through a connection with Gustav Ciamaga influenced Moog’s early filter designs. Le Caine is often disregarded when the history of synths are discussed so it comes as no surprise here 🙃 do a video on Hugh, his life as a musician, motorcycle rider, and trick photographer, coupled with his quiet demeanour and untimely death may make for a surprising video. 😻 and I love the hair! Don’t cut it! 😻
@@jdanielcramer The Ciamaga connection is absolutely fascinating, and I know for a fact that Bob knew of Hugh's work through the trip to Toronto he took when he and Herb smuggled an early Moog modular into Canada! I only wish that Hugh's work had had more of a impact as products.
Seriously, the hair?
ikr?
Loved this … well except for the part where Marc really needed a comb!
What's goin on with the vibe of the guy in the intro..."I wanna make Misfits music but electronic and I'm in my grandma's basement"
I think you've nailed it, Tim.
MOOG! FTW!
Moog = Anderton
Richard Wright in some pictures too!
I wonder why Moog wasn't pronounced like Moog
It was, but Robert wanted to pronounce it mogue.
@@HenritheHorse Thanks, I didn't know that was Robert's choice 👍
@RTOD - Bob told me his "...ancestors had long pronounced it with long o's".
Mohog
Sorry but in the Buchla system you present you put three non Buchla modules like the Eardrill Pendulum Ratchet or two Verbos oscillators...
O boys wig is on backwards.
It was windy
moog wins
that hair. grow up marc.
I think you should grow that old man beard out and brush it up over your other eye. You could hide good in there huh? Sorry, I can't take this guy seriously when he's trying to look 23 1/2 years old. 0:14 seconds
Come on... no self-respecting 23 year old would look like that.
Obstructing your I own vision in an attempt to look cool is dumb.
Really. Please, take that road kill off your head and look us straight in the eye. LOL
The Bode system has modules, for sure, but it's not a synthesizer at all: it's a set of effects processors in a rack. You could patch them in different orders - just like guitar pedals - but they don't interact nor do any control of each other: There's no voltage control at all. That's a HUGE difference and a leap forward first seen in Bob Moog's system, interactive voltage control. Buchla's instrument was created a year after Moog's in the fall of 1965. They were all brilliant creators, but defining the differences and exact timeline is critical to understanding...
Hey, Brian!
Certainly, the layout and intended function is not quite as formalized as what both Bob and Don would come to do, but isn’t that the nature of technological development?
As for voltage control: While, as you’ve pointed out in the past, there is no oscillator in this device, and that certainly puts it in a different realm than what Bob and Don would come to do (also, it is not transistorized, which makes a difference, too), the way that the envelope-following Modulator creates voltages from audio, and then the way that those voltages can be applied to other functions certainly constitutes “voltage control,” even if it is a primitive example.
And, again, while a different paradigm than an oscillator-based system, what is applied to the tape can be used in the same way various control voltages could be used. While the method is different, it is still the implementation of control voltage to achieve an audio outcome.
As for Buchla’s instrument, I’ve been fighting the prevailing inaccuracy of “1963” for over a decade!
@@automaticgainsay Hello!
But many studios already had racks of equipment with patch bays - just like the Bode- and decades before. It's not even innovation other than he made the panels look the same and saw it as "a system." No sound generators at all, and significantly - no voltage control at all. In the video above it is said that the Bode system had voltage-control: it did not. CV brings a factor of complexity and power that is 100s of times more powerful than anything to that moment.
Almost anyone would conceive of a "synthesizer system" as being generators and processors interacting, specifically with voltage control - otherwise it's just a fancy pedalboard (not a synthesizer). The Bode system is indeed a racked set of processors with a patchbay to reorder them.
Уууу
Cool subject matter, but incredibly dry script read.