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The equipment used on this recording consisted of a Moog modular running the main sequence and clock controlling various components on the ARP 2500 and EMU modular synthesizers to produce the rhythm elements.The bass is a Moog Taurus and the vocal is processed through an EMS 3000 Vocoder….then dubbed to taste!
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« Glass and Herbs » was made around May 2020. I have forgotton what modules I used and what the patch was like, and my system has changed quite a bit since then. The patch likely included the use of the Pittsburgh Lifeforms Touch Controller running through the Toppobrillo Quantimator for the melodic patterns. Oscillators likely the Mannequins Mangrove for the bass, but I'm really not sure about the rest. Looks like I had a 10hp Marbles back then, so that might have contributed to the melodic & rhythmic patterns. I probably also used the Pittsburgh Timetable clock divider/logic (one of my all-time favourite modules) to trigger and shift the timing of things.
This photo from May 2020, so this is probably close to the kind of setup I used (but not this patch)...
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The Sonny Downs Quartet writes and performs music for Buchla 200e. Seven Pavers comprises part of the upcoming Heptology series: music written which focuses on septimal just intonation tuning, using time signtures based on the number seven, with repeating loops of seven bars.
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4. |
Todd Barton - Facet 3
02:35
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Facet 3 is part of a new series of Serge Facets exploring different textures using my original 1979 Serge Modular Music System.
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5. |
Batchas - Be WAD
04:30
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What I like with the Serge Modular System is that I can make one day a massive percussive patch and the next day have a totally different mood with some ambient analog atmosphere. The WAD module is not just an analog delay, it’s an incredible noise generator. It loves feedback as much as I do and it makes sounds I never heard before on any machine.
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6. |
Sion Orgon - Orgasm
03:41
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The front half of Orgasm was created using a Make Noise Erbe Verb fed in to itself via a Doepfer WASP Filter to create feedback.
The second half of the track is 2 x Waldorf Nw1s being fed random CV from a Wogglebug which was then fed through 2 x Delay modules.
I was also triggering samples of my own voice via an external sampler.
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The idea behind this piece follows my previous work looking at relationships between smooth continuous and short noisy sound types. Here, a pulsating tonal soundscape is initiated and maintained as a steady state modulated by sequences of fricative and percussive texture. As if a system is being supplied with mechanical energy and starts working, gradually changing, until it stops after completing various cycles. All sound material for the piece was generated on the historic EMS Synthi100 analog synthesizer at CMRC (ΚΣΥΜΕ).
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This track is closer to my electroacoustic practice, although also something a bit different. The majority of it were done with extremely lo-fi equipment: A battery driven radio with a tiny 1inch speaker, cheap tape dictaphone, and a Korg Monotribe (recording the built-in speaker) & contact mics. All non-synthetic sounds are random snippets from the crappy radio (effectively me “playing” the receiver), either recording it with the dictaphone or with proper mics, whereas the second part uses a very simple Eurorack-setup. This piece is most definitely not live, but composed in the studio. The title can have many meanings, but at least here in Norway, the radio waves are increasingly silent as internet-radio is taking over.
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9. |
JesterN - Whales
06:15
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The piece was created and recorded at the EMS studio of Stockholm using only their large Serge System dating back to the 70s.
The idea of the composition came from trying to do something different compared to my usual standards and focussing on slow evolving timbre, just simple generator modules with some feedback and very slow fade ins and outs. I decided to record 4 independent voices for later quad playback.
This is a stereo version of it.
For two of the voices I used two Timbral Oscillators going to the Wave Multipliers with The two Precision VCOs. For the other two voices I created feedback loops of their output passing through the Resonant Equaliser, Frequency Shifters and Ring Modulators. The piece is the unedited and un filtered recording of the 4 tracks. I just added Reverb at the end.
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10. |
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This is one of the first experiments with the prototype of the electro-acoustic experimental guitar « SPARK », which he has developed in 2021/22 together with the luthiers Kora Jünger and Frank Deimel from Deimel Guitarworks, sent via audio + cv outputs into Make Noise STREGA.
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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11. |
Rex Maximus - Antidote
01:54
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The two tracks ‘Antidote’ and ‘Glimpses’ are some of many pieces of music that I had created with the Buchla Music Easel and two Kaoss Pads over a two-year period from 2020 to 2021. The exercise became an antidote, a balm for the vicissitudes of life during that time. In lockdown - make a patch, no pre organised strategies and away I go. Allowing only the sonics and the unique spacey sounds of the Buchla Music Easel to guide me. Inspired by bebop, free jazz and free improvisation. Obviously not harmonically or melodically similar but similar in spirit and energy. In the visual arts the music would be akin to paintings by Hans Hartung or Cy Twomby. Gestural noisy sonics, squiggles, scratches, scribbles – Bam! Boom! Burp! Blast!
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12. |
Rex Maximus - Glimpss I
03:03
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The two tracks ‘Antidote’ and ‘Glimpses’ are some of many pieces of music that I had created with the Buchla Music Easel and two Kaoss Pads over a two-year period from 2020 to 2021. The exercise became an antidote, a balm for the vicissitudes of life during that time. In lockdown - make a patch, no pre organised strategies and away I go. Allowing only the sonics and the unique spacey sounds of the Buchla Music Easel to guide me. Inspired by bebop, free jazz and free improvisation. Obviously not harmonically or melodically similar but similar in spirit and energy. In the visual arts the music would be akin to paintings by Hans Hartung or Cy Twomby. Gestural noisy sonics, squiggles, scratches, scribbles – Bam! Boom! Burp! Blast!
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13. |
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Circus March is utilizing the Comparator in the SSG for rhythmic timing.
The lower section is fed by a row on the TKB and sampled by a pulse divided clock off the master clock
The top section is being cycled.
All other details are lost in time.
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14. |
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Loving the Cold Winds consists of three tracks of modular synth, improvised on top of each other while listening to the cold wind blowing outside after a dive under the ice.
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I also studied electronics with Serge Tcherepnin, in fact the studio I am writing from was his childhood bedroom in the 50s! I met Maryanne Amacher, Eliane Radigue, Charlemagne Palestine and Ingram Marsahl at Mort's studio, we were all using his Buchla during this period. « Greenline_Poem » was composed on that original Buchla System 100 Synthesizer.
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16. |
Roel Meelkop - Modsong
04:45
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MODSONG is a short piece, exclusively built up with recordings of my modular synth, which I later mixed in my studio.
This track shows my love for gritty, unclean sounds, presented in a straightforward way without much effects being used. These days, I have developed a tendency to create longer pieces but this time my aim was to create a small work with open and dense qualities working together.
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17. |
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When I got back into synthesizers in 2008, after a 20 year hiatus, the first machine I bought was Rob Hordijk's Blippoo Box. I loved how tiny changes in the knob settings sometimes produced dramatic differences in pitches and patterns. As an improviser who for years had reveled in interactive and unpredictable computer electronics this was the perfect source of uncertainty. Oh, and those chickenhead knobs!
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18. |
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19. |
Emerge - Flux
05:56
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The basic sounds for "flux" were taken from 2 improvisations played by Philippe Petit on his SERGE 73/75 synth. EMERGE used parts of these tracks, reworked the sounds and formed a new track on it's own. The idea behind was to find a kind of structure, that is more than it's own single sounds played by one modular synth. Therefore diferent layers of sounds were created and combined and sudden breaks divide the composition into different parts that still are connected on a different level.
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20. |
Luc Debeck - Act 1-2-3
04:54
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Act I-II-III is an experimental piece where I married the Buchla analogue synthesizer with acoustic instruments like Leafaudio Microphonic Soundbox, or my Harley Benton electric violin with which I like to experiment by using a lot of effects in different layers of the mix.
The composition is based on timbral variations and unusual sounds : Gong and varied metallic sounds, a rotating mechanical machine… Conveying a mystical feel as if you were in a remote and unknown place, abstract with a dramatic touch where you also feel loneliness… Influenced by surrealist paintings such as works of Savador Dali, René Magritte and other famous artists, this composition illustrates how I study their works and draw inspiration from them to transpose their art in music.
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21. |
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Bruce and I began exploring Easels together about 8 years ago. We eventually did a lot of quadraphonic performances for years at the local art museum.
Most Saturdays we would jam at my studio with our Easels.
Eventually we began to fondly refer to these sessions as Control Voltage Therapy since we always felt better and ready for the day after an hour or two of these sonic dialog/listening sessions. It eventually became our group name. « Sweep-pulse » is a live improvisation for two Buchla Music Easels accompanying a modern dance performance on 11-14-14 choreographed by Ellie Leonhardt with her students at Southern Oregon University.
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22. |
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I remember it dawned on me one day that the stereo looper I was using of "Exercises", Boss RC-1, can actually play two mono loops when recording and playback channels are separated. That's where two dry, drone-ish sequences in left and right channel come from. What comes in the middle of the tune is a trick I often use: channel 1 of the KS plays a short, spring-reverberated sequence using since from oscillator 1, while I'm playing an ostinato melody by hand on oscillator 2, I'm guessing a filtered one. From 4:15 onwards the sequence becomes slgihtly more pronounced as I was changing the shape of sine. I had the Boss RV-6 on aux (all "Exercises" went straight to mixer with no later overdubs) so I'm sure both the sequence and melody got some reverb treatment.
https://modulisme.info/session/73
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23. |
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Philippe Petit played Buchla 200 & EMS Synthi A Synthesizers + e-bowed Piano Soundboard into a Moogerfooger Ring Modulator & Peavey 5150 + Ampeg SVT-2 Pro bass Amplifiers.
In this video Ben Edwards played his Emu Emulator II and a wine glass
https://www.youtube.com/watch?v=j-pYHP3qoXE
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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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