Those familiar with Quintron are most likely familiar with the electrifying sounds of his #1 invention, The Drum Buddy as featured his last couple albums. It’s a welcome companion to the mystifying concert organist from the 9th ward of Louisiana who pounds out his one man performances on his Hammond organ accompanied by various analog machines. Quintron’s technology is that of the hand built, analog, Radio Shack-frequenting type. The Drum Buddy is in the same vintage sounding, gritty vein of being cutting edge in idea, not technology. Quintron doesn’t like to do interviews, he didn’t want to be quoted or recorded for this article. Therefore I’ll do my best to accurately describe Quintron’s #1 invention without the interview format.
The Drum Buddy’s sounds originate with a light source, which is a standard light bulb housed within large cylindrical food or coffee can with holes poked in the sides. The light is edited out as it escapes from the holes and picked up by four light-sensitive (cadmium sulfide) cells which are pointed towards the can at different levels. The amount of light controls the pitch on each given oscillator. This can is also mounted on top of a variable speed, reversible motor, so that as it turns, a point of light will pass the given light cell and trigger an oscillator. Because the points of light are in a set pattern on the can, they will produce a set pattern of four different sounds as the can turns, creating a cyclical or rhythmic pattern, hence, a light activated drum machine.
In action it’s somewhat reminiscent of a loop of player piano paper triggering a light sensitive theremin, creating tones and pulses instead of triggering individual notes of an existing instrument. As it’s played, Quintron will perform along on organ using it for it’s rhythmic qualities, but also he demonstrated a more hands on approach when I saw him live. Kicking in a beat from his drum machine, he’d hand control and spin the body of the can, somewhat like a DJ scratching a record, playing out a sound as the point of light passes back and forth across the sensor. The speed and length of time the point passes produces different attacks and sustain variations. A quick pass will register a tone pulse, but continuous passes back and forth will create stranger voices and variations, or a slow pass creates a wavering bloop who’s tail end decreases in pitch.
The four oscillators are separated as: The Bass Drum, providing the deep pulsating bass thumps (reminiscent of a live heart beat), Space #1, with it’s theremin like upper register squealing, The Snare Drum, which is a higher version of the bass sounding much like space, and Space #2, which adds another layer of oscillating space sounds. Each oscillator has a separate filter or effect which can also be varied. The main bulb itself is also on a dimmer so that when the light is decreased, certain sounds can be cut out entirely.
The Drum Buddy’s sounds aren’t as varied as what you might get even from a cheap electronic keyboard that you can buy Radio Shack, as it makes it’s sounds with raw analog oscillators, but what Quintron wanted to create was a new, but real instrument, that must be learned as it’s own instrument. It strikes me as kind of a really raw analog synthesizer, but with a totally unique hands on-mechanical controls.
Quintron plans to have the third prototype of the Drum Buddy to be built and patented (with more effective effects and filters). He is then planning a Drum Buddy Tour, record and video. On the demonstrational tour he will be taking orders for people who want to buy their own DB which will come with the demonstrational video, sharing his tips and techniques that he has developed as the current sole performer and player of the fabulous Drum Buddy.