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Paul Pignon - Play Me

from Modulisme Session 059 by VA. Synthisis Sonoris III

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about

Born and grew up in the UK. Began playing jazz at 15. Studied physics at Oxford. While there made first forays into non-idiomatic improvisation (1961). Abandoned Ph.D. research at Oxford in favour of music. Moved to Yugoslavia, after a few years of working with tape music at Radio Belgrade was coopted to help found the Radio Belgrade Electronic Studio.

lyrics

“I had previously visited Peter Zinovieff in Putney and was able to propose EMS London as one of the manufacturers to be contacted”. RB also contacted Don Buchla, who did not reply at all, so the contract fell to EMS London (perhaps luckily). Through close cooperation with Zinovieff and David Cockerell the Synthi 100 was born, initially as a custom order from RB.
“I worked on the Synthi 100 in Belgrade for some 15 years, also using a VCS3, that particularly in live performances. Initially my approach was largely “classical” assemblage using a multi-track tape recorder, though greatly facilitated by the then rather ground-breaking digital sequencer of the Synthi 100. From around 1980 on I also began exploring the territory of complex self-exciting combinations of modules made possible by the uniquely flexible patching system of this machine, exploiting volatile semi-unstable combinations of modules which I (much) later began to call creatures, and combinations of such creatures which I now call zoetic engines. Early examples may be heard in Mechanical Cartoons and Play Me. Essentially I make use of the vast number of patching configurations which the unique patch bay contruction of the Synthi 100 enables to create very unstable and reactive patches (circuits), which I since recently have begun to refer to as “creatures”. They can also be made sensitive to external stimuli; in the piece Play Me I was interacting with them via a microphone, playing the clarinet.
In the 80’s both I and Vladan Radovanović were keen to see the Radio Belgrade computerised, as was the trend of the times. As this wasn’t about to happen I took the opportunity to move to Sweden and work at EMS Stockholm (not to be confused with EMS London). So it was computer music and software development for me for some years.
With the “modular synth revival” trend of the last decade or so several Synthi 100’s which had fallen into disuse and disrepair were resurrected, and I got the opportunity to resume my involvement with this machine, in both Belgrade and Athens. There I was able to further explore the zoetic engine approach, which I still consider as unique to the Synthi 100. I have admittedly little hands-on experience of any but EMS synthesizers but as far as I can tell no others permit the kind of “forbidden” patching which can give rise to these living organisms. And they are fundamentally impossible on a digital computer.
I am currently in the throes of trying to create zoetic engines on the Synthi 100’s in Belgrade, Athens and Ghent, and have them talk to each other, and perhaps with occasional humans.

credits

from Modulisme Session 059, released February 4, 2022

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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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