Thought I would start a thread dedicated to discussion of CL synths.
For the Banana Bois/Gurls.
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Plumbrothers and plumsisters united. 
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Greetings, Plumbrethren.
I have a Cocoquantus and a Plumbutter. I bought them second-hand from someone who got them from Peter while he was still living in the U.S., supposedly they’re among the last (or possibly the very last?) units he put together while he was still living out here.
Someday I will add a Sidrax. Someday…
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I too have a Cocoquantus and acquired a Plumbutter 2 today. Still no idea what I’m doing with it, but pleasantly surprised that my first patches felt musical. It’s a real change of pace from the rigid sequencers I’m used to. Nice to have an environment where you have no choice but to experiment. Freedom by force. Plum town.
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I believe you’re doing it wrong then.
First time I’ve seen Peter talking.
That’s quite a character.
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There is an entertaining chat he had with Hainbach on Single Malt Synthesis.
Wonderfully off the wall.
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This guy must have been a Radio Shack salesman in a past life. I have a friend that has the Cocoquantus who claims it can possibly open dimensional portals if you get deep enough into it. Reminds me of the old 2000’s circuit bent stuff. Noisy, Random and unwieldy. Cool stuff for sure. But, I’m not really into portals. Wish Radio Shack was still around tho.
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My finger is hovering over a PB2 purchase.
I was deliberating whether to go for that or the Coco, but my effects set up is largely CB Habit, MOOD II and Gen Loss II, going into the COSMOS, so my feeling is that this takes care of some of the wonky delay / sample work.
I mostly play my OP1F into this setup and thought the PB2 would offer a bit more in terms of creative avenues.
I sense that a Coco would also be on the horizon sometime, but in the words of Mr. Clumsy; “first things first”
Edit: Plummie on the way, I didn’t hover for long.
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First little snippet of a recording after a week of tangling with the plummie.
Just a simple patch (I think) with the OP-1 going through the Gongues input, then everything sent via CB MOOD II. Was kind of hypnotised for quite a while with this one, seeing what happened with minor adjustments to anything.
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The Coco has landed.
I’m delighted with both of these machines, which I’ve been finding surprisingly intuitive (what with the colours and all) for someone with minimal experience in the world of patching.
It feels so wholesome to interact with them and surrender to their quirks.
edit: some more 
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Didn’t realize this thread existed… The only Ciat Lonbarde gear I currently own is the modest Peterlin. It never completely clicked for me, but every time I’m on the verge of selling it, I mess around with it and end up making something that surprises me… like these glitchy braindance beats:
https://www.instagram.com/p/DGKXdiJxHMv/?igsh=MTJ6NG9kNWdwNHdvNg==
It makes me want to acquire a pb2 or coco. One day…
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pb2 and coco are wonderful instruments. here’s an album i recorded a few years ago with those 2 and a buchla music easel
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I definitely need to spend some time with this but from what I’ve heard it sounds awesome!
… I was really close to acquiring a Plumbutter recently but I ended up using the money to buy a Pulsar-23. I figured I’d rather have something that’s a little more conventional with the ability to get strange, but who knows, it might not be my instrument.
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ooo i quite liked these!
i’ve long wanted a Plumbutter for… personal reasons. i read about the “cities within” idea for the component designs and have been interested since finding out about Ciat-Lonbarde… truly a quirky character and i love quirky characters
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Thank you! And yeah, I’ve also gone down the Ciat Lonbarde rabbit hole. Peter Blasser is a wild genius and the mythos that he’s developed about his creations is unlike anything I’ve seen in the synth world. As appealing as it is to me, I find it a little bit intimidating. Like, I know I’ll eventually acquire more of his synths, but I don’t think I’m ready yet… I’m currently trying to make an experimental pop album, and learning Ciat Lonbarde gear would definitely take me on a long detour.
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destiny-plus gear is probably worth looking at also… I got the model Q 2 recently and its been blowing my mind on the daily.
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Oh I think I saw your recent ig post about the Q-2. It sounds awesome!
I actually reached out to the creator a few months ago to see about going on their waiting list, but I decided to not go through with it for similar reasons of it seeming too esoteric for my current music making process. I’m still really intrigued though. That and the Czochralski cells, but that one is way out of my price range.
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You all think it’s overkill to get a cocquantus2 for sampling and creating rhythms and textures for deep techno? It’s not an impulse buy for me but I’m always on the hunt for one at a decent price. It’s quite expensive. I just read a lot about it and always wonder if most people keep theirs or move on after a while.
What got me into these banana systems is I have a Lorre-mill doubleknot and use it a lot for rhythms and melodies. It really does it for me, especially since it doesn’t take much to get something that works on a record.
So it’s a debate between getting another double knot in a different version and using 2 or saving up for a C2. I have seriously minimized my hardware so I don’t 3 pieces on my desk.
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i think it would be overkill imo. i’ve owned at least 3 cocoq (the most i’ve ever owned any gear, i absolutely love the idea of it), including building a port of the quantussy for the er-301 module (i also make techno). coco has a sound that is impossible to get away from, and it has it in spades. it’s a lovely sound, but you can get very close just putting a bitcrusher after a delay, and can usually tweak the sound more to your liking in a daw. i would suggest getting a coco if the quantussy section is a major draw for you. you can get some very complex fm’d modulation and audio out of it, and is really the heart of the coco in my eyes. you can definitely port it in max, or whatever, but the chaotic modulation of the delay buffers with hands on control of the complexity is really what makes the asking price so high. that said, it’s a very easy piece to flip if you’re not into it, or taking a financial risk by trying it out. ymmv 
it would be hard for me to recommend the other PB synths i’ve owned for techno either - the plumbutter has an extremely (extremely) specific sound, which may or may not work out perfectly with what you’re trying to achieve. the sidrax makes the most sense to me in a mix, but is limited to gestural control. that said, the plumbutter filters and sidrax fm are top tier though, but generally too expensive for me to recommend the whole package
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Thats great detail thanks. I actually am more into the quantussy part than just the delayed/bit crushed sound. I consider that part a bonus. I’m going for exploration and finding textures and hooks in a recorded loop. For example, with the double knot, I make a bunch of 16 bar loops then peruse them over time and just find 1 bar of audio that I like and loop that a lot.
Or if I get a drum pattern going on it that I like, I will just record bars of that and drop it in a track and treat it like a drum break.
I am really into some of the deep techno styles that were coming out of france 10 years ago, lots of modular sounds and creative stuff going on. Also love the minimal grooves of Ricardo Villalabos. So thats what got me into the banana style modular. It is self contained and I can do a lot with just one box.
Was thinking too that I could throw loops into the Coco and just reimagine the sound completely, if that is possible. I believe it can sync to an analogue clock too?
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