I started experimenting with synthesizers in January 1988, in my early 20s, en Buenos Aires.
At the end of the 80s and early 90s, at the height of the rise of digital, I felt that analog technologies -although considered obsolete- could complement each other very well in a sound art dominated at that time by samplers, MIDI, digital synthesizers and computers. In 1994 I incorporated two devices that clearly went beyond the concept of synthesizers as "musical instruments": the ARP 2600 and the EMS Synthi AKS... both equipment are literally self-integrated portable labs for electroacoustic art, involving enormous possibilities for self-generativity, external signal processing (something I had already found fascinating in the Korg MS20), and the creation of the whole range of articulable harmonic and inharmonic spectra with extremely flexible shapes from very inspiring front panels.
In particular the Synthi AKS - with its attaché format, its joystick, its interconnection matrix, its digital / analog sequencer, its capacitive keyboard, its voltage-controllable decay and reverb, etc. - it turned out to be (and is still to this day) one of the most fascinating devices for electroacoustic sound art. The AKS (I bought the first of my Synthis from the great Argentine composer Alicia Terzián, who used it in the 70s to make a couple of works and then kept it for almost 20 years in a closet) is the synthesizer that has accompanied me to the most concerts in the last three decades, I have recorded it in countless musical productions, it is one of the most captivating didactic tools when I teach sound synthesis and it is an incredibly seductive piece of technological art and I find it permanently inspiring, both for its wild sound and for the conceptual and practical genius with which it was conceived.
In 2006 I met the Synthi 100 from the Gabinete De Música Electroacústica De Cuenca (in Spain, now restored) and I had my first contact with the VCS3 of a friend from Madrid. In addition to the ergonomic differences between the VCS3 and the Synthi AKS (both beautiful equipements!) I was surprised by the difference in sound between the two models (distant in just a couple of years in the making), which I confirmed when in Argentina I was able to add a second Synthi AKS to my setup. For a while I used two Synthi (unforgettable experience) and then I swapped one AKS for the VCS3 Mark II and then that one for the VCS3 Mark I, The Putney. All the Synthi / VCS3 that I used (including a couple more AKSs from other colleagues) are instruments with their own personality, "living beings" full of artistic proposals that invite feedback in such a magical way that I feel they manage to be part of my being, I feel that they are machinic manifestations of my existence as part of a cosmic totality!
The piece "El Maestro Se Inspiró" is the title that my bandmates from Klauss jokingly put when one day for a recording session in our La Siesta Del Fauno studios I interconnected my Synthi AKS and VCS3 The Putney and performed a jam of a 15-minute take in which the mutual dialogue between the EMS and myself ran through extremes of extreme dynamics that left me hypnotized.