Buchla 264t Quad S&H / Polyphonic Adaptor

Tiptop Audio 18HP
SAMPLER QUANTIZER UTILITY RANDOM

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Licensed Eurorack reissue of the Buchla 200-series 264 quad sample-and-hold. Four S&H channels with per-channel sample/track switch, an internal quad-channel ART quantizer (minor/chromatic/major), a 4-voice polyphonic dispatcher and global offset/modulation CV.

Patch Ideas · 10

★ Four-tap CV delay from one source
LFO to the common CV input · separate/common = common · four different clock divisions to the four pulse inputs · each channel samples the same LFO at its own rate · four staggered CV outputs from one source
▸ Show diagram
Patch diagramPatch diagram with 7 modules and 9 connections. Signals: 5 cv, 4 clock.264tLFOClock DivFilter AFilter BFilter CFilter DSwitch: commonS/T all: sampleCV IN 4cvPULSE IN 1clkPULSE IN 2clkPULSE IN 3clkPULSE IN 4clkCV OUT 1cvCV OUT 2cvCV OUT 3cvCV OUT 4cvOutcv÷1clk÷2clk÷4clk÷8clkCutoffcvCutoffcvCutoffcvCutoffcv11. common inputcvclock
★ Four-voice poly from mono source
sequencer CV to common · sequencer gate to POLY IN · NUMBER OF VOICES = 4 · four ART outputs fanned to four 259t oscillators · each new note dispatches to the next voice · instant four-voice poly with auto voice-stealing
▸ Show diagram
Patch diagramPatch diagram with 7 modules and 10 connections. Signals: 4 audio, 1 cv, 4 pitch, 1 gate.264tSequencer259t OSC 1259t OSC 2259t OSC 3259t OSC 4MixerSwitch: commonNUMBER OF VOICES: 4SCALE: major · KEY: CCV IN 4cvPOLY INgateART OUT 11v/octART OUT 21v/octART OUT 31v/octART OUT 41v/octPitchcvGategateART1v/octOutaudioART1v/octOutaudioART1v/octOutaudioART1v/octOutaudioIn 1audioIn 2audioIn 3audioIn 4audio11. commonaudiocvpitchgate
Two-voice arpeggio via 245t
245t CV to common CV · 245t pulser to POLY IN with voices=2 · pulse outputs 1 and 2 back to gate inputs 1 and 2 on the S&H · ART outputs 1 and 2 to two 259t voices · two-voice call-and-response arp
▸ Show diagram
Patch diagramPatch diagram with 4 modules and 6 connections. Modules: 264t, 245t, 259t 1, 259t 2. Signals: 1 cv, 2 pitch, 2 gate, 1 clock.264t245t259t 1259t 2Switch: commonNUMBER OF VOICES: 2CV IN 4cvPOLY INclkPULSE IN 1gatePULSE IN 2gatePULSE OUT 1gatePULSE OUT 2gateART OUT 11v/octART OUT 21v/octCV OutcvPulser OutclkART1v/octART1v/oct121. common2. feedback gatecvpitchgateclock
Noise-driven quantized random
noise to common CV · slow clock to all four pulse inputs (via mult) · four uncorrelated quantized random notes on ART outs · set KEY/SCALE for tonal coherence · four 259t voices play chord-like stochastic textures
▸ Show diagram
Patch diagramPatch diagram with 4 modules and 6 connections. Modules: 264t, Noise, Clock, Mult. Signals: 1 cv, 5 clock.264tNoiseClockMultSwitch: common · SCALE: m · KEY: AS/T all: sampleCV IN 4cvPULSE IN 1clkPULSE IN 2clkPULSE IN 3clkPULSE IN 4clkOutcvOutclkInclkOut 1clkOut 2clkOut 3clkOut 4clk11. four quantized voicescvclock
★ Stepped envelope from 281t ramp
281t slope output to common CV input · fast clock samples at regular intervals · the ramp gets stair-stepped into discrete CV levels · classic Buchla 'step from slope' per the manual's example
▸ Show diagram
Patch diagramPatch diagram with 4 modules and 3 connections. Modules: 264t, 281t, Fast Clock, Filter. Signals: 2 cv, 1 clock.264t281tFast ClockFilterSwitch: commonS/T ch1: sampleCV IN 4cvPULSE IN 1clkCV OUT 1cvSlope OutcvOutclkCutoffcv11. stepped rampcvclock
Sample-vs-track glide comparison
separate mode · same CV source split to all four CV inputs via mult · ch1+2 in sample, ch3+4 in track · identical pulse to all four · stepped outs on 1+2, gliding outs on 3+4 · live comparison of S&H vs T&H timbres
▸ Show diagram
Patch diagramPatch diagram with 4 modules and 9 connections. Modules: 264t, CV Source, Mult, Clock. Signals: 5 cv, 4 clock.264tCV SourceMultClockSwitch: separateS/T 1-2: sample · S/T 3-4: trackCV IN 1cvCV IN 2cvCV IN 3cvCV IN 4cvPULSE IN 1clkPULSE IN 2clkPULSE IN 3clkPULSE IN 4clkOutcvIncvOut 1cvOut 2cvOut 3cvOut 4cvOutclkcvclock
Jumper-muted gate selection
set rear jumper to 10 (0-10V) · 245t sequencer CV into common with stages exceeding 8 octaves · those high stages mute on ART outputs · use as a pattern-silencing technique where specific steps drop out of the melody
▸ Show diagram
Patch diagramPatch diagram with 3 modules and 3 connections. Modules: 264t, 245t, 259t. Signals: 1 cv, 1 pitch, 1 gate.264t245t259tJumper: 10 (0-10V)Switch: common · SCALE: M · KEY: DCV IN 4cvPULSE IN 1gateART OUT 11v/octCV OutcvPulsergateART1v/oct11. high stages mutecvpitchgate
FM-flavored arpeggio via modulation input
base CV source drives common input · audio-rate oscillator to MODULATION IN · in S&H mode each note has random timbre jitter · switch a channel to track mode with long gate and you get in-tune FM on that voice only
▸ Show diagram
Patch diagramPatch diagram with 6 modules and 6 connections. Modules: 264t, Sequencer, Long-gate, Audio OSC, 259t 1, 259t 2. Signals: 1 audio, 1 cv, 2 pitch, 2 gate.264tSequencerLong-gateAudio OSC259t 1259t 2Switch: common · S/T ch1: sample · S/T ch2: trackMODULATION: ~1 o'clockCV IN 4cvPULSE IN 1gatePULSE IN 2gateMODULATION INaudioART OUT 11v/octART OUT 21v/octPitchcvGategateOutgateOutaudioART1v/octART1v/oct121. random jitter2. in-tune FMaudiocvpitchgate
Live transpose by offset
any poly patch running · wiggle OFFSET during performance · ART outputs snap up or down by octave-quantized steps · instant key-change without touching KEY switch · dramatic drop/lift gesture
▸ Show diagram
Patch diagramPatch diagram with 4 modules and 4 connections. Modules: 264t, Sequencer, 259t 1, 259t 2. Signals: 1 cv, 2 pitch, 1 gate.264tSequencer259t 1259t 2Switch: common · SCALE: m · KEY: CCV IN 4cvPOLY INgateART OUT 11v/octART OUT 21v/octPitchcvGategateART1v/octART1v/oct11. turn OFFSET livecvpitchgate
Auto-tune every bar
bar-gate (once-per-bar pulse, e.g. clock ÷16) into the tune switch via external button-tap sim · unusual trick: use a module that can trigger a tactile switch press, or manually press between sections · keeps ART oscillators tuned through a long set
▸ Show diagram
Patch diagramPatch diagram with 5 modules and 4 connections. Modules: 264t, Slow Clock, 259t 1, 259t 2, Sequencer. Signals: 1 cv, 2 pitch, 1 gate.264tSlow Clock259t 1259t 2SequencerCV IN 4cvPOLY INgateART OUT 11v/octART OUT 21v/octART1v/octART1v/octPitchcvGategate11. manual Auto-Tune press each barcvpitchgate

Behaviors

Sample vs track per channel flip a channel's S/T switch

Sample mode latches the input voltage on rising edge of pulse and holds until the next pulse. Track mode passes the input through while pulse is high, then freezes on fall. Mixing modes across channels lets one pair emit stepped CV while another glides following a moving source.

Common-input broadcast separate/common switch set to common

A single CV patched to the rightmost CV input is routed to all four S&H channels simultaneously. Four different pulse inputs then sample the same source at four different moments — turning any CV into a four-tap delay of itself.

Polyphonic voice rotation patch source into POLY IN, set NUMBER OF VOICES

The adaptor treats the four S&H channels as a round-robin voice bank. Each pulse at POLY IN advances to the next voice (up to NUMBER OF VOICES), sampling the current common-CV input into that voice's S&H and emitting its pulse output. Instant 1-to-4-voice poly from one CV+gate pair.

ART quantization with key/scale CV OUT level rises

The four CV outputs are internally tapped into a quad quantizer that outputs over ART. KEY switch picks root (C-B); SCALE picks minor/chromatic/major. Useful even without ART oscillators: the CV outputs remain unquantized, so ART outputs give a quantized 'ghost' copy for a second voice.

Offset transposes ART in octaves turn OFFSET

OFFSET adds ±2V to CV outputs. On ART outputs, this effectively transposes the quantized note pool by octave (ART's quantizer rounds to scale tones). Gesture for live transposition without touching the key/scale.

Modulation: FM vs randomness patch audio to MODULATION IN, adjust knob

With S&H in sample mode and ART out driving pitch, the modulation input injects randomness between sample edges (since the CV is latched). In track mode with a long gate, the modulation rides through to ART as in-tune FM. Same patch, two very different sonic results depending on S/T switch.

Auto-tune vs Initial Tune press press/hold tuning switch

Short press sends Auto-Tune to ART oscillators — fast recalibration for drift after warm-up. Long hold sends Initial Tune, which performs a full per-oscillator calibration (blinking LED walks each oscillator in turn). Recommended after 30-40 minutes of warm-up.

Range jumper trade-off change rear jumper from 10 to 5

Default 10 (0-10V) lets some incoming voltages exceed the 259t's 8-octave ART range — out-of-range voltages silence notes, which can be used intentionally to gate out stages of a 245t sequencer. Setting to 5 (0-5V) compresses input to 8-octave range so all stages play.

Controls

S&H channel 1-4 Sample/Track switch (×4) Up = track-and-hold (output follows input while pulse is high) · down = sample-and-hold (output latches on rising edge)
Per-channel; mix modes across the four channels freely
CV input routing separate/common switch separate = four independent CV inputs feed their own S&H · common = rightmost CV input is broadcast to all four channels
Common mode turns a single CV source into four S&H taps
Polyphonic adaptor NUMBER OF VOICES switch 1-4 position slider · sets how many S&H channels the poly adaptor rotates through on each pulse
Single polyphonic input distributes to 1, 2, 3 or 4 voices in sequence
ART quantizer SCALE knob Three-position: m (minor) · ch (chromatic) · M (major) · selects the scale used for ART output quantization
Affects all four ART outputs simultaneously
ART quantizer KEY switch (12-position) 12-position rotary · picks the root key (C through B) for ART quantization
Combines with SCALE knob to define the note pool
CV outputs (all 4) OFFSET knob ±2V bipolar offset added to all four CV outputs · shifts the sequence up/down · transposes ART outputs by octave-quantized amount
Center = unity; CCW = −2V; CW = +2V
Modulation input MODULATION knob Zero-to-max attenuator on the audio-rate modulation input · signal is mixed into the CV outputs
Zero silences modulation; max passes full amplitude
ART link Tune / Initial Tune switch Momentary · short press sends Auto-Tune message to ART-equipped oscillators · long hold sends Initial Tune (per-oscillator calibration)
Only meaningful when ART outputs are connected to a 259t/compatible
ART quantizer Input range jumper (rear) Jumper sets quantizer input scaling · default '10' (0-10V, Buchla-native) · alternate '5' (0-5V, matches 259t's 8-octave range)
10 setting can mute notes outside 259t range; 5 keeps all notes playable

I/O

IN · 4

  • PULSE INPUTS (×4) gate/trigger GATE
    Per-channel trigger/gate input that drives S&H sampling or track gating · sample mode latches on rising edge · track mode follows input for pulse duration
  • CV INPUTS (×4) ±10V typical CV
    Per-channel control voltage input sampled/tracked by the channel's S&H · rightmost jack doubles as common-input when switch is set to common
  • POLYPHONIC INPUT (pulse) gate/trigger GATE
    Master trigger input for the polyphonic adaptor · each pulse advances to the next voice (1→2→3→4→1)
  • MODULATION IN AC audio CV
    Audio-rate input mixed into all four CV outputs (scaled by MODULATION knob) · produces FM on CV outs, randomness on ART in sample mode, in-tune FM on ART in track mode with long gates

OUT · 3

  • CV OUTPUTS (×4) ±10V CV
    Per-channel sampled/tracked CV output · unquantized · affected by OFFSET and MODULATION
  • ART OUTPUTS (×4) ART digital
    Per-channel quantized digital ART message for ART-capable oscillators (259t) · carries pitch + tuning commands · key/scale applied
  • PULSE OUTPUTS (×4) gate/trigger GATE
    Per-channel pass-through or voice-dispatched pulse output · in poly mode, fires when that voice receives the rotation