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Philippe Petit - IOU oui
04:01
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The piece was inspired by the ebb and flow of the sea and glacial movement of the Jurassic coastline near to the studio in Cornwall.
It was created using the 288 Time Domain Processor and Spectral Processor units, with the use of the Matrix Mixer module to create complex feedback paths
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4. |
Lampeo - Thank You
03:07
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“transmission” is a piece about trying to get a simple message across through constant noise and distraction. The sombre falling M2nd melodic fragment is the message which as the piece progresses never seems to be able to break through or influence the noisy distractions.
Technically the patch uses the Serge middle and bottom sections of the VCM (wave multipliers) feeding back on itself to create some of the noise elements, mainly the granulated sounds. An oscillator bank provided the other harmonic sound elements. The rhythmic and gestural stream was created by mixing numerous envelopes with CV mixers and xfaders forming “loci” (a concept generously thrown my way by my friend Rex Probe). The idea of “loci” is to create numerous localized points of control in a patch that can be inter-acted with in realtime by human (or potentially non-human) intervention. The WAD and Res EQ processed the audio in places. The piece was recorded in 3 passes and then edited to create the form.
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6. |
Doug Lynner - Occasion 3
17:31
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https://modulisme.info/session/7
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7. |
Tom Djll - Salutes
06:23
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I was working on generating complex sounds out of the DUSG XL and Dual PCO/Peak & Trough modules, in sequences driven by the Sequencer/Programmer and the TKB. The rigid tempo at the opening (at first) reminded me of marching band brass, so I patched in the Kesako Player through the Variable Slope Filter and triggered it so that the sample starting point would vary, scanning randomly over the entire (rather longish) sample. At first, an LFO is sweeping the playback rate to create some drunken record player effects. Sometimes I switched samples manually. An improvisation using two disparate sound sources that nevertheless shared certain sonic qualities, resulting in a rather "classic WDR" sound. HYMNEN was one of the very first electronic music pieces I ever was exposed to, and this ended up sounding at times like a Q&D tribute I guess.
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8. |
So Takahashi - Cyclic
03:32
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https://modulisme.info/session/21
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13. |
Luca Manti - Due Sorelle
08:57
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Samples drive the beginning of the process. When manipulating them through the instrument, some compelling texture may emerge, and vividly merge with the digital sound of the 200e, which lights up a chain of ideas. It is always exciting not to know how your newly or old recorded sound may turn out when squeezed, morphed, filtered, through the Keen Association / Buchla instrument. Futuristic violin sounds are created by a continuous waveform that changes over time, which makes the whole story telling more vibrant and dynamic. It almost feels like the sound involve its whole dense body while sketching some expressive gestures into the soundscape. The dramatic part enters the stage when this gesture-talking sound is being conducted by a continuous controller. It allows me to get the feeling of playing an upright bass, as I used to do back in the days. The uncertainty of the continuous controller gives me the freedom to forget everything about music rules and theory. As this white surface with x-y-z axis, banana cable I/O, trace memory, etc., opens-up the very notion of control. Alluding to a jagged stone formation along the Italian coast, expression and drama lies at the rocky core of “Due Sorelle”, where being-sibling entails alternating states of stormy skies and smooth sea.
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This work was recorded on March 5th 2014 at Elektronmusikstudion EMS, Stockholm, Sweden playing their Serge modular synthesizer, metallic object and contact microphone.
Upon bing invited by Philippe I mixed and mastered at Yaguareté Studios, Buenos Aires, Argentina this month.
Thanks to: Mats Lindström, Ylva Skog, Daniel Araya, Gabrielle Karlsén, Daniel Rozenhall, Leif Elggren and all the friends everywhere.
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Galvanic Echoes was made using two instruments - my Synthi Aks and DSI Polyevolver. I used a 64 HP Make Noise control system with a Rene Mk1, Pressure Points, Brains and clock generator to create a steady pulse on the Synthi. Sometimes adding a little rigid outside control yields interesting results. I used a Htt TBX2B microtonal midi box to retune the Polyevolver’s wavetable oscillators and added a healthy amount of Roland SDE1000 delay which, I think, really defines the mood of this piece. Some of the Synthi fm overdubs are drowning in a Moog 104Z delay. My Moog delay has been with me since 2005 and seems to get dustier as the years go by. Galvanic Echoes was recorded and mixed quickly. It evokes a nice scene in my mind.
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16. |
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Timothy Ellis’s mini-drama ‘Slow Dark’ is like fighting your way through a storm with only a few things to hold on to. Some repetition building familiarity, a sense of certainty in an uncertain landscape. Groaning, seething and driving through as it depicts a sense of urgent despair at a world trying to survive. Recorded February 2021 using various components from Serge Random Source, Make Noise, Buchla, Moog and Erica.
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The bassline that opens the tune comes from the vocoder. I came up with a trick that I use to this day - I use a stereo Y-splitter cable that's connected to Synthi's headphones out that's basically hardwired to "speech" and "excitation" inputs of my Vocoder 1000. That way a I can play around on the Synthi, putting signal out on both channels that are instantly vocoded. Not always and easy task but that vocoder is such a powerful sound shaping tool. Drums are recorded on the Synthi, too. I'm using the ringmod for that, so depending how far apart are the notes on the KS that I'm playing, I can differ volume of sounds, in this case snares. Around 4th minute I'm adding some shimmer on the RV-6. Many years have passed and I still think that rudimentary reverb pedal from Boss sounds beautifully with the Synthi.
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18. |
Batchas - Chrysalide
07:54
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This track was made possible using a Time Domain Processor Model 288v.
The sound processed by the module becomes very lofi.
I’m using here the 288v in pitch mode, with the different available automated options (record/loop) offered by the integrated envelope follower. In this mode, as soon as a signal exceeds a certain threshold, a sawtooth LFO affects the outgoing delayed signal. Below this threshold, the LFO is reset and the signal is pitched down. It’s very obvious at the beginning of the track. When it’s pitched down to the maximum, the signal becomes very crunchy, a typical effect heard also on BBD Delays, which gives a certain character to this track.
The patch is controlled by a 243v Programmable Pulser which allows to automate, activate/deactivate, mute/unmute certain events, transforming a simple oscillator waveform into a mixture of weird organic sounds.
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19. |
Clive Walpole - Beneath
06:48
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20. |
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https://raster-media.net/artists/frank-bretschneider
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Modulisme Marseille, France
Modulisme (translates Modularism) is a media supporting leftfield Electronic music (giving priority to Modular Synthesis but not only). Providing ressources/interviews, a radio program aired via 7 antennas, and above all label-like streaming music for you to listen to… ... more
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