Ciat lonbarde cocoquantus

The CocoQuantus is a device by Ciat-Lonbarde composed of two Coco modules (bit digital delays) and a central Quantussy analog brain (nabra). The Quantussy is a five (5) petaled flower, each petal with oscirator, that creates a rhythm, that triggers quantizations of the movements of the other four oscirators. Comes with Universal 12v PSU Sampler, Modulator, Delay and Looper Modular Synthesizer.

The following instruments are assembled in Portland out of local woo and machine assembled circuit-boards that are hazmat free. Ciat - Lonbarde There is a new plumbutter, which we will herein call plumbutter2. It is very much similar to the old plumbutter, but in a new slim case. The sigils are engraved rather than printed. Still features the signature mulberry, walnut and sassafras woodage.

Aux inputs and outputs remain. English USD A portion of each sale goes to making the world more musical. I record a sample with acoustic guitar and loop it, then patch the envelope follower to modulate the pitch and loop speed. After recording the loop I turn down the. Virtual Riot, Bad Snacks, Sarah the Illstrumentalist - Duration: 17:24.

Messing around with the Dolby Switches with acoustic guitar input to one of the Coco delays. Ciat-Lonbarde Cocoquantus via this auction Definitely the hardest piece of gear I’ve ever had to let go. Free Shipping on all orders in DE over 1Euros. Until you procure one, use a nine volt battery to power the instrument.

If you have any questions please ask! Phenomenal and utterly unique synth well suited for experimental, noise, drone, or ambient music. Features two 8bit delays, mic and piezo input with envelope follower, two stereo audio inputs, and a five oscillator analog chaos. Shnth by Shbobo, Ciat Lonbarde via this auction “The Shnth connects via USB to a host computer, a patch is loaded and then it functions as a (very) tactile, standalone synth. Gently used Cocoquantus from synth genius Peter B of Ciat Lonbarde.

Starting out with vinyl noise as a bed from the “lo fi” mode of Strymon Timeline then adding Plumbutter vtriggering the Eventide Pitchfactor. In short, this is the most expensive delay in the world. I bought it brand new not knowing what I was getting into. Other Ciat Lonbarde instruments, like the Plumbutter (ostensibly a drum machine, but it’s not) and the Cocoquantus (ostensibly a dual digital delay, but it’s not), have reputations for being more cryptic and mystical (crypstical?), probably due to the sheer number of routing options they have, the outre concepts they embody, and their inability to be classified in any sort of traditional electronic music device category. Lev Theremin responded that one would need more than two arms, but the Deerhorn makes this possible by extracting gestural information from the radio fields and using it to control pitch and envelope.

Create an account now to save this Clyp before it expires. All sounds are originally from the A4. Some were sampled and looped with the Fostex four-track recorder and the Ciat Lonbarde Cocoquantus. Both machines go back into the Ato add FX. See all artists, albums, and tracks tagged with cocoquantus on Bandcamp.

And then routed both back into the Ato add FX. Besides that, I uploaded an umastered version of this track some months ago. Ciat Lonbarde have very active user communities, we have linked to those at the bottom of this page.

ROLLZThe Rollz-is at heart a drum machine, but one capable of drones and other weird effects. Really adding a pulse input to this thing is the smartest thing that korg ever di there are some many possibilities! The only drums coming from the plumbutter are the gongs, which are also filtering the individual outputs of my volca beats.

Ciat - lonbarde plumbutter being used to clock a korg volca beats. Tetrax and Sidrax into those inputs. Both organs output a stereo signal with the press gestures to one channel and release gesture to the other.

This month we are very fortunate to have the multi-talented Matt Nish-Lapidus aka New Tendencies with us talking about and performing with some very unusual instruments. The output of the CocoQuantus is then gently abused by a Thermionic-Culture Culture Vulture. The tape is an ersatz love letter to nature, a synthetic pastiche of a lush, life-filled swamplan its dense, intricate collages of bubbling growls and scrabbling crackles evoking something robotic yet undeniably organic—not far from the spectral image that. Recorded as a single take.

I wanted this piece to feel like “synthesizer music”, clear and shimmering, yet alien, not rooted in a real acoustic space.