#21

Jono Podmore Modulisme -1
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“I began to get my head around a Korg MS20 as a teenager when a friend of mine bought one, but the big step was when I first got my hands on an EMS VCS III when I studied music at Middlesex University in the 80s. Although using a patch field rather than patch cables, the system is truly modular and there are no normalled patches. It was at this point I began to really realise the potential of synths that are liberated from the medieval keyboard layout, with its focus on pitch change rather than sound change for expression.” Jono Podmore interviewed at Freq about his @Modulisme session.

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#22

Benge ARP2500
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Benge Korg PS3100
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“I collect systems, and have vintage modulars made by Moog, Buchla (100, and a cloned 200 system), Serge, Polyfusion, Paia, ARP, Modcan, Formant, Roland (100M), Emu and Korg. I am obsessed with modular synths!” Benge interviewed about his @Modulisme session.

http://freq.org.uk/reviews/modulisme-benge/

#23

“I think Buchla was designed to explore the unexpected, so it feels wrong for me to patch, rehearse, record, edit and mix. I spend every day of my life composing on the DAW for my work. That process is very tedious until the very end when it all comes together, and I don’t have the energy or desire to duplicate that process with my modular experience. That being said, my composing process has recently been “do whatever the fuck sounds good”, so I’m trying not to have any particular dogma and aiming to stay open to all processes.” Kevin Rix on Buchlas and more.

http://freq.org.uk/reviews/modulisme-kevin-rix/

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#24

ITATIOM : Inventors Talking About Their Instruments Or Modules starts with the article/interview with Joel Davel and Eric Fox from Buchla USA.

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#25

Furthermore, as a companion PROUD to offer a collection of works made using Buchla-only which took one year of my life to complete. An unprecedented effort documenting the use of one of the most innovative « musical vessel » ever designed, whose extent of the sound spectrum does not seem to belong to this world and the logic lies apart from everything that may have existed before its creation in 1963.

About 9 hours of music which I chose to cut into two parts.

Here’s Buchlaïsms I

  1. Morton Subotnick - As I live I Breathe

  2. Sarah Belle Reid - Collectible Rectangles

  3. Morton Subotnick - Live & Breathe

  4. Miguel Frasconi - Ode To Time

  5. Todd Barton - Maxed Out

  6. Kevin Rix - 81

  7. Klaatu - Barada Nikto

  8. Rachel Aiello - Buchla Sketch III

  9. Bob Ostertag - Pointillism

  10. Stevie Richards - The Electric Music

  11. Miguel Frasconi - Tuning Study #2

  12. Martin Eriksson - Ahrah Lepodahle Go

  13. Joel Davel - Spider Inside Her

  14. The Electric Weasel Ensemble (feat. Bernard Heidsieck) - Improvisation Collective Pour Paris (1978)

  15. Batchas - Liberé

  16. Philippe Petit - Buchlaïsmic

  17. Benge - Improv System 100

  18. Suzanne Ciani - Lixiviation 11 (Live Buchla Concert 1975)

  19. Electric Weasel Ensemble - Live at KTEH Studios (Edit1)

  20. Steve H - Dancing on Saturn’s Rings

  21. Bob Ostertag - Tickled Pink

  22. Nordlys - The Ratcheteer

  23. Laurent Perrier - Post pesto

  24. Batchas - Humanity.

  25. Benge - Improv System 200

  26. So_Takahashi - Natural Process

  27. Dan Preece - Early Riser

  28. Dark Sparkler - This Is Not Lake Michigan

  29. Mutierend - Nowhere Close Home

  30. Rick Reed - Space Age Radio Love Song

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#26

Our platform is celebrating one year of existence this month and for now 31 sessions are online so I’m sharing 1 everyday, October the 28th here’s #28 from Mokira. Mokira is one of the aliases used by Andreas Tilliander who started experimenting with electronic music and analog synths in his early teens and in 2000, being 22 years old, released his debut album on the prestigious Raster-Noton label. The following years he recorded for the even more renowned Mille Plateaux and Force Inc labels. He’s been producing techno music as well as more laidback music, slow tracks and sometimes closer to Terry Riley.

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#27

Thighpaulsandra - Modulisme 3
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For me modular synthesizers are just another tool. I love them and they certainly allow me to explore the extremities of my imagination, but I’m sure if they were all to disappear tomorrow I’d still find ways of making the sounds I want. Sometimes I deliberately avoid using the modular and try to achieve the sound in my head by other means. This could involve external processing with effects or tape, or even making samples of other instruments and modifying them.

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#28

Modulisme - Cray 02
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The very nature of modular means that for most of us who do not buy a pre-made (one company) system, it gives us the freedom to make your own sound worlds. I do like that in electronic music, electronic instruments like synthesizers, effects etc are all very much like psychedelic trip machines that bend time and space. I love electronic music because it takes you to other created sonic landscapes.

#29

Francisco Meirino Modulisme 1
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I guess the first time I really got interested in synthesis was when I was researching the gear that Merzbow was using on his 1990s records. I became curious about that EMS synth he was using on a lot of them… I’m currently working on a new piece The Imitation Of An Action for ensemble and modular synth; the basic idea is to make the acoustic instruments (violin, cello, piano, percussion, bass clarinet) emulate the electronic sounds I do with my synth.

Francisco Meirino interviewed at Freq about his Modulisme session.

http://freq.org.uk/interviews/modulisme-francisco-meirino/

#30

Now I want a painting like that in my studio! :slight_smile:
Is that from Meirino’s modulism session?

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#31

I don’t think so - the original image says it was Francisco’s live setup in 2019.