![[ C W M ] thumbnail](https://f4.bcbits.com/img/0035483539_42.jpg)
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Gleichzeitigkeit means Simultaneity.
It consists of two recordings originally made in 2015 on a Buchla system and in 2017 on a Eurorack system. In 2021 I combined the two to compose the piece as part of the incidental music for the performance "The Idea of the North" by Dominique Rust, Clarissa Herbst, Michael Wolf, a Zurich artist group.
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This is the second track of a jam improvisation session done at SAE Barcelona studio, on December 20, 2019. Performed by Toni Gutiérrez and recorded live in one take using the Antonus system (ARP 2600 clone) + Antonus Step Brother and Antonus Sidecar (Eurorack expander).
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Flowers for Antonin takes the form of three continuous sections. It is “led” by a solo synthesiser voice, which appears right at the outset. The piece maps the changing relationship of the solo voice against the other layers, which represent more of an ensemble layer. The solo line serves more as a connective thread amidst the more fragmented and discontinuous sections rather than itself being the aural focal point.
The first section (0:00–2:19) is agitated and gestural, and introduces the basic material and atmosphere of the piece, much of which is maintained and revisited throughout the other sections. The solo voice is present from the outset but is integrated and hard to distinguish.
The second section (2:19–8:10) comprises two passages of slightly different characters. The passage between 2:19 and 6:14 is slightly less frenetic than the opening section, allowing for varied and playful interactions between tape and solo voice. Denser sections and percussive interjections are introduced and the lead voice is sometimes subsumed by these events. In the second passage, starting at 6:14, the solo voice again becomes more apparent; high-frequency sine wave chirps create a more continuous element through subsequent passages. The solo part finally becomes indistinguishable as it is subsumed under overlapping layers of gestural events and sound masses.
The final section (8:10 – end) is initiated by a distinctive descending phrase from the solo voice and moves away from the hyper-gesturalism of the previous sections, allowing for the growth of a more “orchestral” sound mass, into which the solo line is completely absorbed, taking the piece to a conclusion.
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I met Rob Hordijk the first time in the late 90s. By that time he was a driving force of the Dutch Nord-Modular comunity, a very active group, dedicated to this DSP-based modular synthesizer, the hottest synth of the time. We became close friends over the years, and I was blessed to have witnessed (and nurtured) his growing interest in analog electronics. Rob hab been experimenting with analog- and digital-soundgenerators in his youth, and now it was the time to get back to it fullfill a vision.
In the following years he developed the iconic table-top instruments Blippoo-Box and Benjolin, and finally a modular enviroment, completely of his own design and make.
The piece „Hordijkology“ was improvised in three sessions on my Hordijk-modular, without any external effects, except for some reverb in the mix.
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« Amuse-gueule » is the outcome of a few sessions, the sort that I regularly do as a practice. I recorded the Blippoo in July and the Hordijk on August 7, 2021. The work as a whole was constructed and finished on August 11.
There are two strains: one is a Blippoo improvisation which I recorded for Wouter van Veldhoven. Wouter has yet to make good on his promise to elaborate it into a work of his own. The more regular, repetitive strain is the Hordijk driven by a Korg SQ-1 sequence.
Mainly I wanted to juxtapose the steady pulse against the irregular landscape of the Blippoo. I find regular sequences in themselves often both enticing and boring so the Blippoo is a welcome counterpart.
https://modulisme.info/session/8/
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Benjolin Synth, Cv with Custom built Oscillator Box & Multi reverb & Delay pedals.
Mixing engineer/additional help from John Karr at Earrevelant Recording, 10/2022
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Serge analog synth + Spring Reverb + Filtered Feedback + Field-Recordings + Prepared Piano Soundboard
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Composed and played by Ernesto Romeo in February 2020, edited and re-composed by Jeremias Fernández (Jeremy Flagelo) in November 2022.
Audio edition and mixing by Jeremias Fernández (November 2022).
Recordings, processings, edition and mixing at studios/laboratories La Siesta Del Fauno in Buenos Aires, Argentina.
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Gino Robair: Buchla 200, drums, guitar
John Shiurba: bass
Eli Crews: rhythm-track engineer
Buchla “modulated filter feedback” recorded at EMS (Stockholm, Sweden).
Assembled at Solitary Confinement by Gino Robair.
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Schneider TM plays an improvised live set with the prototype of the electro-acoustic experimental guitar “SPARK”, which he has developed over the last few months together with the luthiers Kora Jünger and Frank Deimel from Deimel Guitarworks.
In addition to conventional magnetic and piezo pickups, some of which are installed in different positions in the body such as the headstock etc. for expanded sound possibilities, the guitar also has playable reverb springs, one of which is attached to the tremolo construction and can be tensioned. The different sound sources can be combined via a global selector switch and sent to an integrated electronic LesLee, which oscillates back and forth between the signals and is connected to CV In & Out sockets for integrating e.g. modular synthesizers via control voltage.
The "SPARK" can not only be played acoustically, electrically and electronically, but as an electro-acoustic sound object it also offers possibilities for playing techniques that are not typical for guitars.
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Tube Chirper was recorded in my home on an island off the West coast of Sweden. I play a small Bugbrand system, using a special version of the Bugbrand Chirper (with touch pad circuit bending expander), fed through a few old Metasonix TM tube modules and some other pedals.
https://modulisme.info/session/75
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During the period of 2014-2017 Sergey and Alexei worked together quite a lot, performing in SPB, Kemerovo, Moscow, Berlin. From time to time they’ve been siting at Sergey’s studio/rehearsal space in St.Petersburg, producing endless tracks, based on modular electronics, diy devices and tapes. Most of them are still unreleased….
https://modulisme.info/session/9/
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I love sounds that interact and help generate other sounds. So on Slow Gravity, the concept was to drive as much of the audio as I could from a single sound, using envelope followers. So, a granulated sample is scrubbed through on Morphagene, the output is sent to FX and to multiple envelope followers. All of that CV is routed to FX and trigger other sounds in the patch.
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C_FA.PP - June 2019
02:48
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This track is from the same recording session as Datacombs (recorded few years ago, and forgotten, until I rediscovered these sessions whilst tidying up my hard disks in the summer). Even closer to “techno” than Datacombs, at least tempo-wise. I rarely use the same setup for a longer time, so every project has it’s own collection of instruments that define and limit it’s character. These recordings were done over a week when I kept fine-tuning and experimenting with the setup, and then performed everything live late at night during the end of the week. Once I had done the recordings, the setup was dismantled, never to be put together in the same way.
https://modulisme.info/session/74
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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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