Graphic designer, illustrator and modular synth enthusiast. Founder of Papernoise, a small design studio located in northern Italy, specialised in graphic design for the world of music.
Time for some modular beats, the video above shows a live-performed version of Waveguiding by Joseph Fraioli (who’s track Swarm we have seen in our first post about modular music). The track opens in what we could almost call “classic IDM” fashion, with some complex rhythmic structure (I think mostly curtesy of Circadian Rhythms) and then later adds more melodic/harmonic layers to it. The structure is simple, but effective.
His Vimeo page tells us that:
Joseph has established a reputation for complex and fearless sonic experimentation with his ten critically acclaimed albums as Datach’i, which seamlessly weave together everyday sounds with avant-garde textures and beat making
His Vimeo channel (which can be found at vimeo.com/jafbox) features several similar videos. The choices in titling his pieces (eg. Circadian Rhythms, Basimilus Acid or Nebulæ) hint at him focusing quite a bit on the technical side of modular music and the video’s description usually contains a detailed overview of the patch and the modules used. Still, most of his videos are not technical demos, these works are musically refined, with a great attention to detail and timbre and go way beyond what we usually see and hear in this type of videos.
Time for some modular beats, the video above shows a live-performed version of Waveguiding by Joseph Fraioli (who’s track Swarm we have seen in our first post about modular music). The track opens in what we could almost call “classic IDM” fashion, with some complex rhythmic structure (I think mostly curtesy of [...]
If you haven’t heard about I Dream of Wires yet, then you have probably been abducted by country-music-loving aliens, who erased your memory. It’s THE documentary about modular synthesizers and it’s going to premiere in Berlin at the end of the month. What’s even better, the even will host a performance by legendary modular synth musician Morton Subotnick!
So here’s the Info again:
Where: Babylon Kino, Rosa-Luxemburg-Strasse 30, 10178 Berlin When: 28.07.2015, 7PM How much: 20€ / 30€ with DVD
We have a couple of interviews with the authors in the works for you. So stay tuned for more!
official website: idreamofwires.org
The film will then be available on DVD in Europe, USA, Canada and Japan, and digitally on the following dates:
USA (distribution First Run Features):
iTunes: July 21 / DVD: August 4
EU/UK/International (distribution Monoduo Films):
iTunes + Vimeo On Demand: August 10 / DVD: August 4
Canada (distribution KinoSmith):
iTunes: August 4 / DVD: August 4
If you haven’t heard about I Dream of Wires yet, then you have probably been abducted by country-music-loving aliens, who erased your memory. It’s THE documentary about modular synthesizers and it’s going to premiere in Berlin at the end of the month. What’s even better, the even will host a performance by [...]
Berlin-based Jasper Walden is one of those modular synth musicians who enjoys and develops the art of playing for an online audience. He started just 10 months ago – with a relatively compact system, playing the above piece titled Descent – and has hence uploaded 8 more videos. He tells us a bit more about Descent and why he got into modulars:
This one was my first modular video. I didn’t initially plan on doing a video. The approach was to have 2 melody-lines that work good together, because I usually was only able to have a drone and a melody on top – not two melodies working hand-in-hand.
Inspired to get a modular, very likely because how it looks and then it makes these lovely unexpected sounds, which I couldn’t create with anything else. Plus it’s great to have everything in one place : sequencer, effects, wavefolders, etc. and at hand. No browsing, no routing. All modular and all hands on. But I haven’t realised that before I had a bunch of modules. The type of music I recently make on my modular synth is inspired a lot by Alessandro Cortini, especially his live performance ‘Trash Audio at the Apothecary’.
Jasper Walden, who studies physical engineering at the Technical University of Berlin, used to play piano and drums, but as of lately he’s focusing more on the modular synth and extending his knowledge of music theory. His approach to music comes from counterpoint and movie scores. He tells us that he hasn’t used the modular to play live yet.
[…] I would perform with my modular – I have never done so tho. Problem is, when performing with a modular synth, it is hard to keep it interesting for an audience for more than 20minutes without silence in between.
For techno that’d probably work – but with this melody-merging-type of music I’d either have to re-patch or need a massive modular synth. Which I totally need! 🙂
Berlin-based Jasper Walden is one of those modular synth musicians who enjoys and develops the art of playing for an online audience. He started just 10 months ago – with a relatively compact system, playing the above piece titled Descent – and has hence uploaded 8 more videos. He tells us a bit more about Descent and why he got into [...]
The Youtube channel Labor Camp has some great videos showing the Monome Teletype in action. Since this makes for a nice addendum to the previous post about coding and modulars, here they are, including the original description text.
UPDATE: Piotr from Labor Camp tells us that all of the Teletype action in the videos has been scripted by him, expect for one, which is a factory script. The scripting language seems to be really straightforward and easy to get into.
Two short captures of the first couple of days with monome teletype module. In sample 1 teletype drives everything, including the PO-12. This involve some self-patching, and the internal teletype clock.
In sample 2 monome meadowphysics drives teletype, which in turns drives the rest of the setup. Sample 2 is basically one of the scenes that came preloaded on teletype, which I patched into my case almost randomly.
Main modules in both samples are teletype, Make Noise Mysteron, drone bed provided by E350 processed through Z-DSP running Halls of Valhalla, and Mutable Instruments Braids.
These are three variations of one scene written in teletype. It’s a more abstract, somewhat generative texture engine, with a single tone pattern. All the tempos and structures are derived from the internal teletype metronome (M).
Teletype controls Make Noise Mysteron, Erbe-verb, and TE PO-12
Is only two modules: teletype patched directly into Mutable Instruments Elements. Included is a closeup of the teletype screen crolling through all the scripts.
Same scene as the previous two clips, except an external clock (gate from white whale) toggles the internal teletype clock on/off on every pulse, and scrambles some variable values resulting in evolving structures. Modules involved are: monome teletype, white whale, Make Noise Sto, Mutable Instruments Elements, and ZDSP running Halls Of Valhalla.
A slightly more expansive arrangement with monome teletype at the center. Teletype is driven by meadowphysics triggers, further breaking up patterns, and controlling pitch variations derived form a single, internal sequence. Additional PO-12 drums are driven by teletype, and processed through CV-controlled Audio Damage Grainshift.
This is an abridged performance of two iconic minimalist compositions by Steve Reich (“Piano Phase” and “Clapping Music”). Each composition consists of two “layers” of shifting patterns. I decided to use these patterns as an exercise in constructing a scene in teletype, where each pattern evolves in it’s own right, while staying in a fixed relationship to the remaining patterns.
In the beginning of the video you will see all the screens from teletype explaining how the scene was constructed. In the TRACKER view you can see the first two patterns on the left are the 12 note sequences of the “Piano Phase”. Even though they are identical, I set up two patterns independently, as they are being read at slightly different speeds. The leftmost pattern is being clocked by external triggers, while the rightmost one is being clocked by internal teletype metronome M, the tempo of which is calculated in script 1. The “Piano Phase” theme are rendered by the two oscillators of the Make Noise DPO. The two patterns on the right are simple 1s and 0s defining the sequences of claps based on Reich’s composition. These are triggering pulses that control white noise bursts, and MI Elements.
The Youtube channel Labor Camp has some great videos showing the Monome Teletype in action. Since this makes for a nice addendum to the previous post about coding and modulars, here they are, including the original description text. UPDATE: Piotr from Labor Camp tells us that all of the Teletype action in the videos has been scripted by [...]
Here comes another chosen wave, but this time we have something unusual: Kentucky Route Zero, a game, an independent one from a small company called Cardboard Computer. There’s certain analogies between indie games and modulars. Both are mostly being made by small companies for a niche audience, so it’s only fitting that the soundtrack to Kentucky Route Zero was partially created using a modular. As a sidenote: the instrument employed is no eurorack, it’s an old EMU system owned by the Art Institute of Chicago, but I think my point is still valid.
The above video shows Cardboard Computer’s Ben Babbitt working on the score for the XANADU sequence in Kentucky Route Zero. As the notes on the youtube video say, the “line-out recording got corrupted, so this is audio from the room”, nonetheless it’s beautiful to see the instrument that produced this wonderfully organic sounds.
For comparison, here’s a video of the XANADU scene in the game (it’s a playthrough video, so it might contain spoilers!).
… and finally, this is the same track from the soundtrack album:
It’s interesting how different the music sounds in the game from what we have heard in the live video at the beginning. We got in touch with Ben Babbitt and asked him how this score was produced and talked a bit about electronic music and modular synths.
Horizontalpitch: Why did you choose to work with a modular, and especially an old one like that EMU system?
Ben Babbitt: Working with a modular synthesizer happened mostly because we were trying to create a sense of time relative to when XANADU was made in the game world. That particular EMU system was built around 1977 for the sound department at the college we all went to. Using that EMU specifically rather than another analog synthesizer was a bit of a coincidence, because I happened to have access to it around the time we were working on that scene.
HP: The EMU system at the university, was right next to what appears to be an old Moog modular, what made you choose the EMU over the Moog?
BB: I chose the EMU rather than the Moog simply because that was what I had experience using. I took a class on the study of analog synthesis that used the EMU to demonstrate the concepts and put into practice what we were learning about. I did have a chance recently to mess around with some of the new Moog reissues of their modular systems from the 70’s and they’re amaaaazing.
HP: What was your process when recording the music for the XANADU scene? Did you record the music in one take or was a lot of editing and production involved?
BB: The process for making the music for XANADU involved recording long instances of improvisation and then going back and constructing compositions in a collage-like way, for the most part. Finding interesting and suggestive moments and then building upon them. Although, some of the pieces were also more immediate than that.
HP: Would you like to work more with that kind of instrument in future soundtracks?
BB: I really enjoy working with that kind of instrument and would love to do more of it, yes.
HP: What were your main sources of inspiration for the KRZ soundtrack and, more specifically, for the XANADU scene?
BB: Hmmm…for XANADU specifically, 60’s/70’s institutional electronic music was a main reference. Composers like Delia Derbyshire, Laurie Spiegel, Daphne Oram, Eliane Radigue, Karlheinz Stockhausen, etc. The visual and narrative elements of the game are also usually the main instigators of any creative decisions I make. Broader influences on my work are many because of the various instances of music performed by characters in the game.
HP: Do you own a modular system… or are you thinking about getting one?
BB: So this is probably completely sacrilegious to say on a website about modular synthesizers but I’ve been really into this software synth called Bazille that’s designed with a modular interface. I always love it when I can get my hands on a hardware system, but actually Jake Elliott [one of Ben’s associates at Cardboard Computer, more about him at dai5ychain.net Ed.] is much more active in that world and has quite a rig built up that he plays with regularly. He performs every Sunday with it on an internet radio station.
A bit like in Louis and Bebe Barron’s soundtracks, Babbitt’s work on the XANADU scene fuses underscoring, music that happens in the scene and sound effects into one glorious sonic construct! The analogies actually go a bit further than that. For instance, there’s a similar approach to composition, both in Ben Babbitt’s and the Barrons’ music: both worked by recording longer passages with the machine and then assembled them in a sonic collage. Finally, the organic computer XANADU in the game is, in certain regards, similar to the Barron’s “self-destructing machines”, so perhaps this could only lead to a similar approach.
If I got you interested in this game and want to get a copy (it’s really worth it btw!), I suggest you buy it from the Humble Bundle Store, you’ll get it DRM-free and cross platform. Plus, and this might be the most interesting aspect, you’ll get the OST bundled with it as a bonus!
Here comes another chosen wave, but this time we have something unusual: Kentucky Route Zero, a game, an independent one from a small company called Cardboard Computer. There’s certain analogies between indie games and modulars. Both are mostly being made by small companies for a niche audience, so it’s only fitting that the [...]
When we defined the main concept behind Horizontalpitch, the main idea was to make something closer to a magazine, than to a blog. For this reason, we really like the idea of having a cover that changes periodically.
This new cover photo comes from Elizabeth Busani, who is an illustrator and photographer from Italy. While not making any music herself, she happened to marry a man affected by incurable modularitis, and hence came into contact with the wonderful world of Eurorack. You can see more of her work clicking on the links below:
What I Am Made Of by Elizabeth Busani. When we defined the main concept behind Horizontalpitch, the main idea was to make something closer to a magazine, than to a blog. For this reason, we really like the idea of having a cover that changes periodically. This new cover photo comes from Elizabeth Busani, who is an illustrator and [...]
We’ve launched this blog only two months ago, so we’re basically in what you could call “beta” phase. Things are subject to testing and revision. As part of these revisions we decided to change Some Exciting Examples Modular Music into this new series called Chosen Waves. We didn’t just change the name, we also tweaked the concept a bit:we’ll usually feature only one track/video at a time and in exchange for that we’ll hopefully post more often. Sometimes we might add a little interview.
So let’s get this started with this recording of a live performance of the French project amnésie. Here’s what he says about himself on his soundcloud page:
amnésie is the solo project of Wilfried Thierry.
It began back in 2001 with lecollectif17ans a noisy and iconoclast crew. At that time he released some tracks on various compilations (Skam, Idwet) and won an Autechre remix contest.
He then joined Ego Twister Records and released his first EP, Redken Style.
After that he released many tracks and remixes on various compilations, mixing weird electro and ironic vocals.
Now he’s back to what he loves most : mixing noise influences with electro, digging into synthesis using his modular synth.
This one is been sitting in my bookmarks for a long time and I keep getting back at it again and again. As you can see from the photo he performed this live with a lot of modular gear. The recording spans over 45 minutes and is a dense, brooding mix of distorted basses, noisy sounds and electro/techno beats. It’s one of those immersive and hypnotic sound voyages, best enjoyed in the dark, late at night. I suggest you listen to it in one go. Without spoilering too much, the best part comes at the very end, but how you get there might strongly influence its effectiveness, so don’t rush it.
If you liked the above track, amnésie recently released an 2-track album on the French label Ego Twister records
We couldn’t help but get in touch with Wilfried Thierry and ask him a couple of questions about his music and his approach to live modular performances.
Horizontalpitch: I know from personal experience that performing live with a modular synth can be a tricky thing to do. How do you approach this?
Wilfried Thierry: Yes it’s tricky, but I prefer things that are not 100% perfect but really done live. I’ve played electronic music for years and the modular is the first instrument that gave me a total freedom and control over everything.
I’ve had a duo with Yan [from Ego Twister Records, Ed.], called FUTUR and I experimented with him the use of modular on stage. We played improvised music, and as we were two, it was simpler for me to start this way. You can find on youtube a video in Le temps machine [Youtube link, Ed.].
The sound is also very important to me. I’ve been using analog synths on stage for more than 10 years. I don’t want to cheat the audience with fake analog sounds coming from a computer.
I feel more like a live guy than a studio one and want to use instruments that inspire me.
HP: The complicated thing might seem the inability to store settings or patches, which you can just recall during a live performance. Do you start with a patch and then work on that or do you have more “configurations” prepared and then just switch between those?
WT: Well that’s not a problem for me. My patch is mostly prepared and I can switch between different parts of the patch when I need different elements. But I also patch live when necessary. I rehearse a lot so that everything is under control, I know my instrument by heart, that doesn’t seem more complicated to me than when I play guitar.
HP: What else do you use in combination with the modular? Or is it just the modular?
WT: When playing with amnésie, I use my modular and a DSI Mopho X4 for chords. That’s all. I’ve built my modular as an advanced “groovebox”. I just sometimes regret I don’t have a third hand !!
HP: Final question, what’s your favourite module?
WT: My favourite module is the one that led me to eurorack : Make Noise René. It’s the first one I bought and I still love it as day one. Using it live is really great. For amnésie I have programmed two scales that I play in many different ways, I don’t know any other tools as versatile (except a very old MiDi sequencer I used when reedited by Cycling 74 : M).
So that’s it for today’s Chosen Waves, we might talk a little bit more with Wilfried Thierry about his music and modular synths in the future.
In the meantime, if you have tracks or videos you’d like to share with us, leave a comment below or send us an email using the link on top of the page!
We’ve launched this blog only two months ago, so we’re basically in what you could call “beta” phase. Things are subject to testing and revision. As part of these revisions we decided to change Some Exciting Examples Modular Music into this new series called Chosen Waves. We didn’t just change [...]
“This life-like quality makes our approach very different from what’s called the classical electronic music studio, which uses oscillators, filters, equalizers, and other laboratory instruments, […] Luening and Ussachevsky were getting started with that at the same time we were. I felt that that was the wrong direction, because laboratory instruments are made to be very precise and very definite, and people aren’t. Art isn’t.”