v i c m o d / blog

Buchla Music Instruments the Aussie connection

2012-01-27T18:03:00.001+11:00

I know we all knew the news but I got a surprise phone call today from Lewis Chiodo that blew my socks off.

Lewis, John Fuller, Danny Olesh are the new owners of Buchhla Electronic Instruments. These guys are Aussies and believe me they understand the needs of customers outside the US , so you can look at local support in Europe, Australia etc in the future!

Michael Marans is the CEO in the US

I have known Lewis for 12 years and believe me this guys LOVES synths/ playing synths since he was age 5.

These guys love Buchla as much as all of us and Lewis also has a great music business background.

Their intention with Buchla Electronic Instruments is to keep the brand as cool as it has been in the past allowing Don to do what he excels at ( creating/ designing).

I have no doubt this will be a brilliant future for our beloved Buchla and Don/ Ezra etc.

2012-01-11T20:54:00.004+11:00

Cray - Music for LSD

RM07 Cray - Music for Lysergic Acid Diethylamide C60

http://rocketmachinetapes.blogspot.com/

An hour of mind-melting modular synthesis from Kyneton electronics boffin, Ross Healy.

Recorded in real time using an Akai GXC-730D and a Nakamichi LX3 onto Chrome Type II cassette.

Edition of 50

listen to it here

Cray - Music for LSD

Cray - Sound CLoud

Alex Pearson - TWO

2012-01-05T14:50:00.001+11:00

The first release for the year is from Canadian, Alex Pearson.

Alex Pearson, a sonorous loner living in the East Coast of Canada who has
been resonating sunken tones and decumbent pitches since 2002. Known for his plunging low-
end destructive sound, mainly created on analogue modular synthesizers, D/A A/D subjacently
weaves high notes and subtle details through his trailing pieces - descending his listeners with a satisfied feeling of ruination.

Along side D/A A/D, Alex creates sound in various projects under numerous synonyms
and runs his label Snapped in Half, specializing in odd sounds for odd people.

Two is a slimy, grimy analog treat! Click on image for link.

RIP Richard Lainhart

2012-01-01T09:02:00.004+11:00

We were very happy to be able to release works by Richard.

Although we never met in person he came across as such a gentleman.

You will be missed by us, the synth community and all lovers of your music.

Rest in peace Richard.

Jingle Tones - Todd Barton Buchla Ringtones

2011-12-15T12:10:00.000+11:00

Happy Holidays from Todd Barton and VICMOD Records.

Todd Barton has kindly created a wonderful present in the form

of Buchla ringtones.

They can be downloaded by clicking on the image above.

Todd's album Analogie is available for free or donation here

Great recordings to listen to. This months choices:

2011-12-13T14:13:00.002+11:00

In no specific order

KPLR - UNTITLED (DIGITALIS)

PETE SHELLEY - SKY YEN (DRAG CITY)

RICARDO DONOSO - PROGRESS CHANCE (DIGITALIS)

AFRICA HITECH - 93 MILLION MILES (WARP)

NATE YOUNG - STAY ASLEEP-REGRESSION VOL 2 (NNA)

ONEOHTRIX POINT NEVER - REPLICA (SOFTWARE)

AMPAX CATALOG - DSR.SLIT (PHASERPHONE)

GIORGIO SANCRISTOFORO- MUSIC FOR MAYA DEREN (GLEETCHPLUG)

MARCUS SCHMICKLER - BARI WORKSHOP (PRESTO!?)

FLORIAN HECKER "²/₈ Bregman ⁴/₈ Deutsch ⁷/₈ Hecker ¹/₈ Hõller" 2 x 10" (PRESTO!?)
BEN VIDA/ ANDY ORTMANN - ELECTRONIC MUSIC LP (NHILLIST)

Warren Burt performance Bendigo 3 Dec

2011-12-13T12:10:00.003+11:00

I was lucky to be performing on the same bill with Warren Burt, with the VICMOD Ensemble on the 3rd December in Bendigo, Victoria, Australia.

I recorded bits of the performance. You dont get to hear the stereo panning etc but I am happy to announce Warren will be releasing these tracks on VICMOD Records in 2012.
Warren is using Art Wonk using DNA and Protein computation as 31 notes per octave.
Here is an interview I did with Warren back in 2008.
http://vicmod.blogspot.com/2008/12/warren-burt-interview.html

Richard Scott and Han-Earl Park - Artillery

2011-12-13T10:19:00.001+11:00

Richard Scott and Han-Earl Park

artillery

Now available from VICMOD Records.

Excellent improv album Artillery.

Han is playing guitar and Richard played Buchla Lightning/WiGi, Chimera BCX, Blippoo Box and LiSa and Max MSP software.

http://www.vicmod.net/music/artillery/artillery.html

An interview with Roland Oberheim

2011-11-16T15:11:00.001+11:00

Roland Oberheim is a quiet chap and slow at releasing albums. His only release to date "Zen and the Art of Hard Disc Recording" was recorded in the year 2000 and left on a hard drive only to be rediscovered 11 years later!
by Sam Davis

Who is Roland Obeheim?
I am Roland Oberheim (Ross Healy)

Why the artist name Roland Oberheim?
Some of my favourite synths have been from Roland, the Jupiter 6, 8, SH101 etc and with Oberheim it was the OBXA, Xpander etc. Also it made an interesting artist name. I could imagine a kid who was totally into synths. I also chose the name because whilst I have been focusing on the Cray name and style, at the time the Zen album was too different so Roland Oberheim was born.

Did you use Roand or Oberheim synths on the Zen release?
It was all done on a Pentium 1 probably running Windows 98 or even Windows ME back in the day. I mainly used Soundforge and Fruity Loops and cut everything up in SoundForge. I totally loved SoundForge. You must remember at the time SoundForge and hard disc recording was fairly new. I had sold my Atari 1040ste and bought the Pentium. I soon discovered that the Pentium had absolutely terrible MIDI timing and as I was getting fed up programming beats I decided to do an album where everything was in its own time and space. The only synth I had with me then was a Kurzweil K2600R and that was only ever used sparingly.

How long did it take you to complete the album?
I would start at 9am and work through until 9pm most days, so about 30 days. This was all recorded and cut up in SoundForge, each individual kick and snare, hihat and clap was taken from 1 loop I created and then madly edited each individual sound. It was closer to editing tape than anything.

I can hear room acoustics as well as electronic sounds. What recording devices did you use?
You should be able to hear my squeaky chair and the shower recorded through a wall, the odd breath etc I used a cheap computer mic that came for free with the computer.

What other names have you recorded under?
Amnesia was my dance music name. I released "A Brief History of Amnesia 2056 - 2068" album It was leftfield breakbeat and techno. I also release a leftfield drum n bass e.p in the UK called "Red Tank". Horaku was the name I used as a one off on a compilation, that was an experimental drum n bass track. This was all about 1995 - 1998. I never released a beat album after that as I felt I had gone as far as I could with dance music. I have used about 10 different artist names since 1993.

Why all the different artist names?
I am an electronic musician. Electronic music and the instruments allow me to be anything I want to be in sound. There is nothing worse than being considered a "boxed sound, i.e house, jungle, funk etc" In the old days when synths and computers were not around I can understand a band being one style for comercial reasons and also lack of interest in anything outside what they know but that just doesnt equate when you are an electronic musician living in the world now. I have no obligation other than to myself musically. I do understand that by using so many different names it is hard for people to latch onto me but to me music is all about searching for something new. Saying that I really have decided to only use the name Cray pretty much since the year 2000.

What is it about electronic music you love?
I really love the fact that electronic music has given the individual the power to create their own music without having to resort to a band scenario. Also electronic music is about the pushing of boundaries in composition and sound, it really is our imagination in an audible form. I find nothing more boring that a straight 4 on the floor beat. I can appreciate it in the context of a recording but I feel that most people are cheating themselves by not pushing the boundaries of composition.

Will there be any further Roland Oberheim releases?
I have no plans on doing anymore R.O. releases I would like to work with Ryou Oonishi though:-)

Roland Oberheim's Zen and the Art of Hard Disc Recording is available for free or donation on VICMOD Records. http://www.vicmod.net/music/zen%20&%20the%20art%20of%20hard%20disc%20recording/zen%20and%20the%20art%20of%20hard%20disc%20recordings.html

3 Cray albums out Jan/ Feb 2012

2011-11-09T23:43:00.000+11:00

The next Cray release on Rocket Machine tapes should be available Jan 2012.
It is very different to every other Cray release past, present and future.
Keep an eye out for another Cray album on VICMOD due Feb 2012 and another album by Cray called "Delta Whan" on Digitalis Ltd in Feb 2012.

An interview with Jeffrey Uhlmann

2011-11-02T07:40:00.001+11:00

How didyou get involved in electronic music?

I thinkmy interest was first piqued watching the film "Forbidden Planet" ontelevision. I'm not sure when it was, but it was at a time when the electronicmusic left a bigger impression on me than Anne Francis, so I must have beenvery young. In my early teens I saved some money and wanted to buy asynthesizer. Everything was out of my price range, but the guy at the musicstore said that something called a Micromoog would be coming out late in theyear at around half the price. That was perfect so I placed my order.

Were yousatisfied with the Micromoog?

I wasreally excited for the first few weeks, figuring out what each controller didand generally trying to understand everything that could be done. I spent a lotof time creating emulations of classical instruments, and the way I would workis to let the Micromoog's sample-and-hold (S&H) function generate randomtones while I tweaked knobs. Over time I realized that I could createinteresting sequences that sounded almost polyphonic. At that point I had nomore interest in mimicking classical instruments. In fact, I had no real usefor the keyboard because for me the S&H was all I needed.

Whatprompted you to begin recording?

Ipurchased analog delay and chorus boxes and experimented patching them togetherin loops to create layers of sound that I thought were pretty interesting. Oneday I was at a yard sale where a guy was selling a dual cassette deck. It couldrecord simultaneously from one cassette and an audio input and it could evenrecord on fast-forward. I didn't make much use of those features, but havingthe deck prompted me to record some of my work. When I got my driver's licensein 1978 I was able to go to record swaps where I discovered that there was alot of trading of cassette albums. Live recordings of well-known bands werehighest in demand, and there were some local bands that released cassettealbums, but my albums were very different and gave me a nice little niche. Icouldn't really sell much but I could trade for people's used LPs.

How didyou go about making an album?

I wouldcreate master tapes consisting of one 30-minute piece per side of a cassette.Once I had a dozen or so of those I would dub 3-minute excerpts onto a cassetteand give them names. The tracks were around 3 minutes long only because thatwas the convention for pop albums. I'd create an elaborate cassette cover byphotocopying elements from photographs or magazines. Photocopying was veryexpensive back then, so I created only one master tape with a nice cover whilethe others just had index cards with the track names inserted in the cassettecase. I'd show people the nice-looking master, let them listen to it, and ifthey liked it I'd trade them one of the copies with an index card insert.

Were theyvery popular?

I couldtrade them for real LP vinyl albums, which was good enough for me. I reallynever thought about what happened to them after that. It was quite a few yearslater that I learned that some of them took on a life of their own through whatis now referred to as the cassette underground. That was the post-punk era whenpeople really felt like they were active participants in the process ofdiscovering new artists. I remember going to record stores and heading straightto the import section because I wanted to discover something new that I couldtell other people about. It seems that there were other people who did theirpanning for gold by listening to cassette albums that were being traded around.

How manyyears did you record albums that way?

I only producedalbums using the Micromoog for around five years. My last was in 1982. I wasalready incorporating other instruments, and eventually I just moved on toother things.

What areyour thoughts on electronic music today?

I don'twant to sound like a dinosaur, but there are so many software tools now forcreating music that at some point there will be too much of itfor the public to digest. It just seems inevitable that the single-minded focuson a particular melodic structure will have to give way to an appreciation ofricher sound structures. It's like the way the invention of photographydiminished interest in realistic painting. Anyone could take a photograph withdetail beyond the capabilities of the most skillful painter, so painting as anart form had to move away from the confines of realistic detail to the moreexpressive style of the impressionists.

Anythoughts on the choice between analog and digital electronic synthesis?

There'sno doubt that digital synthesis offers vastly more control than analog devicescan provide. However, the distortion and noise processes associated with analogdevices can produce textures that are sometimes difficult to simulatedigitally. In the early days of sound synthesis people were fascinated by thesound of a pure sine wave because it's unlike anything you hear in nature. Itsinitial appeal derives from its novelty, but eventually there's a desire toproduce sounds with richer textures. To put it another way, if you remove thenoise and distortion from a trumpet sound you can achieve a sine wave, but isthat an improvement?

What areyou doing now with music?

One thingI attempted back in the early 80s was to record a spoken verse that I wrote onthe subject of time and stretch it with tape speed so that the words wouldtransform into unrecognizable sounds. Unfortunately it didn't work because thepitch dropped too low. A few years ago I was able to revisit my originalrecording of the verse and digitally achieve what I wanted. It uses digitalsignal processing but maintains and enhances the textures of the originalanalog source. There's a lot more I'd like to do along those lines.

Fav listening this month

2011-10-29T20:49:00.002+11:00

Great recordings to listen to. This months choices:

Ursula Bogner - Sonne = Blackbox (FAITICHE)

Rene Hell - Extended Nocturnes (Agents Of Chaos)

Christina Kubisch- Magnetic Flights (Important)

Taiyoutou - Japan And The Japanese (Ginjoha)

Max Tanguy - Free Electricity • for magnetic tape and live electronic sound (Agents Of Chaos)

Golden Retriever - Light Cones ( Root Strata)

Ben Vida - Trading Prescriptions ( Los Discos Enfantasmes)

M.Geddes Gengras - Tetragrammaton (Sacred Phrases)

Social Drag - New Age Healer (Stunned)

Sun Araw - Ancient Romans (Sun Ark Records)

Jeffrey Ulhmann - Circuit Theory

2011-10-28T14:11:00.001+11:00

Jeffrey Uhlmann's Circuit Theory, originally recorded in the late 70's is released today!

As per the VICMOD Records way it is available for free or donation. Click image to be taken to the page.

An interview with Todd Barton

2011-10-23T12:21:00.000+11:00

Tellus about yourself.

Cut my analog teeth on my friend DougLeedy’s Buchla Music Easel in the late 70’s. Couldn’t afford a ME so hocked the house and got a SergeModular Music System in 1979. Remember going to Haight/Ashbury and picking it up from Serge. The only book/manual at the time wasAllen Strange’s Electronic Music: Systems,Techniques, and Controls whichI ate, drank and slept with.

I came to electronic synthesis from EarlyMusic (Medieval, Renaissance and Baroque). Have always been fascinated with timbres! My days are still filled with listeningto, exploring and creating new timbres.

My day job for the past 40 years has beenthe Resident Composer for the Oregon Shakespeare Festival in Ashland,Oregon. That position has given meendless opportunities to delve into all kinds of musics, both acoustical andelectronic. In the 80’s I wrote alot for the KRONOS Quartet and did a little encore piece for them called“Galaxians” with a musique concrete tape accompaniment. In 1983 they recorded my Dracula scorefor the Festival.

Excerpts are available here: http://soundcloud.com/user7621213/sets/dracula

It seems like I have always beenexperimenting and exploring music and sound, from performing Electronic ValveInstrument with Anthony Braxton’s Pacific Northwest Creative Orchestra to localfree improv groups: Trapezium, T2 and sonoluminescencehttp://www.sonoluminescence.us/

For more about my musics:

http://web.me.com/toddbarton/demos/demos.html

http://www.toddbarton.com

Yournew release Analogie is recorded using the Buchla 200e. How long have you been usingthe 200e?
I’ve had the 200e for about seven years butin the past year I have devoted daily practice to exploring and deepening myunderstanding and technique of this amazingly open-ended, complexinstrument. The hope was tofinally be able to at least harness a bit of this instrument in service of myexpress needs and desires. Thisnew album, analogie, is a step inthat direction.

What is it about the 200e that inspiresyou? Do you have a favourite module.

It’s endless potential for patchingconnectivity and its responsiveness – it is like a finely crafted acousticinstrument. My favorite module? 266e Source of Uncertainty – I routinelyget lost in it for hours.

Isit your weapon of choice for anything synthetic when recording or do you useother synthesizers?

I tend to obsess for months or years on aparticular synthesizer in my arsenal.

There was a period of 4 months in 2004 whereI just woke up every morning and created a new piece of music on my MoogVoyager in response to the daily photo send down from NASA’s Mars Rover. Eventually, Edmund Eagan in Canadaemailed me and suggested he do a visual re-mix of the image each day. Thus we began posting a daily image andone minute soundscape. As itprogressed Edmund began to animate and do marvelously creative morphings of thedaily images:

http://www.twelfthroot.com/recordings/marsmusings/mm_May07.html

Lately, I’m returning to my Serge and VCS3. I feel an obsession coming on.

Whathave been some of your favourite synthesizers over the years.

Besides the one’s mentioned above. My other favorites are my Jupiter-8which was the second synth I got after my Serge. And I really love the Steiner-Parker Synthacon and Synthasystem – somethingmagical about Nyle Steiner’s filters.

Do you use computer programs to createsounds or just modular synths?

I use computer programs to sample both thesynth sounds I create and the strange sounds I get from my instrument collection:waterphones, hiciriki, anklung, gongs, sho or the environment.

http://www.opb.org/programs/artbeat/segments/view/873

What do you like to listen to?

It changes. Lately, Risset, Subotnick, Stockhausen, Mumma, Takemitsu…yikes, stop me! I’m sonically omnivorous!

Do you have a favourite sound, naturalor synthetic?

White noise and all its derivative sounds:wind in the pines, the sea, interior jet hums, rain, rivers, explosions, breathing.. .

Is there anything you wish for that hasnot been made yet?

I’ll have to think about that.

vicmod ensemble live @ electronic abstraction

2011-10-22T21:14:00.002+11:00

recorded @ electronic abstraction for fringe festival 2011, 21 september.

it is unfortunately in 3 parts and nothing much to see but listening is fun!

http://vimeo.com/29597649

http://vimeo.com/30577770

http://vimeo.com/30941383

vicmod ensemble on the night were :
simon birds, stephen richards, ross healy, owen harris,gerrard jenne and blake stickland.

New Todd Barton album on VICMOD Records

2011-10-15T00:22:00.000+11:00

We are pleased to announce Todd Barton's new release is on VICMOD Records. The album entitled "Analogie" is an all Buchla 200e soundscape fest. It sounds like it came from the early 70's but its totally now. A great use of space to immerse yourself in.

Analogie is a free or donation download with a bonus track!

http://www.vicmod.net/music/analogie/analogie.html

fav top ten listening at the moment.

2011-09-30T09:57:00.004+10:00

In no particular order.

Greg Davis - States 1-4 ( various labels)
Ben Vida & Andy Ortmann split - (Nihilist)
Red Electric Rainbow - Fluorescent Landscape Vol 1 and 2 (Rocket Machine Tapes)
Daria Semegen/ Brulent Arel - Electronic Music For Dance (Creel Pone)
Todd Barton - Analog Textures ( digital download)
Photek - Closer (Tectonic)
Pita - Mesmer (The Tapeworm)
Matt Carlson - Live at the Chapel ( Vimeo)
Outer Space - Last Vacuum Demos Vol 1 (Wagon)
Max Eisenberg - The Dog Synth (Tusco Embassy)

2011-09-01T21:58:00.001+10:00

To celebrate VICMOD Records involvement with the Fringe Festival 2011 night Electronic Abstractions, Melbourne's abstract electronic label are giving away its entire back catalog for free for the month of September!
You can download all previous releases by Cray, Ryou Oonishi, VICMOD Ensemble, Richard Lainhart, Healy/Hassler, Rod Cooper, Steve Law etc
So what are you waiting for start downloading and listening! http://www.vicmod.net

Don't forget 21 September is an amazing night of abstract electronics featuring
ROBIN FOX
COR FUHLER
CRAY
VICMOD ENSEMBLE
WILLIAMS AND HAYES
Tickets on sale via Fringe Melbourne
http://www.melbournefringe.com.au/fringe-festival/show/electronic-abstraction/

21 SEPT FRINGE FESTIVAL ELECTRONIC ABSTRACTIONS

2011-08-23T11:03:00.003+10:00

Tickets are now on sale for the brilliant Fringe Festival night Electronic Abstractions.
Show starts at 8pm, 21 September 2011, Bar Open Fitzroy.
TICKETS PURCHASED VIA FRINGE FESTIVAL MELBOURNE.
TICKETS WILL SELL FAST SO BOOK ASAP!

Promising a night of extreme electronic abstraction, pushing the boundaries of composition and sound design.

ROBIN FOX
COR FUHLER
CRAY
VICMOD ENSEMBLE
WILLIAMS & HAYES

Join Electronic Abstractions blog http://electronicabstractions2.blogspot.com/

Cant wait?

Browse the program and buy tickets online at melbournefringe.com.au
Call our ticketing hotline on 03 9660 9666
Download our free iPhone app MelbFringe11 from iTunes

Interview with Jason E. Anderson of Brother Raven

2011-08-10T10:06:00.019+10:00

Interview with Jason E. Anderson of Brother Raven, Spare Death Icon etc

I see you began as Brother Raven in 2008, were you recording music before that?

Before Brother Raven... Jamie was mostly performing with Bonus, which at the time was a noise-drone duo project with Scott Goodwin, and later became a trio with Matt Carlson. I know they released a few things on JYRK and Root Strata. Jamie's background is in the visual arts, so there's been periods where he's been more focused on that. He's also been involved with experimental video work - check out his JYRK mini DVD.

My background was a little different - I played in improv/noise trio for awhile called BNSF (a disc on Locust Music), I was playing various free improv gigs, performing music for contemporary dance, and doing solo abstract noise shows.

How did you meet?

We knew each other for a few years before we started playing regularly. We jammed in an ad hoc quartet at the Seattle Improvised Music festival in 2007, but beyond that we really hadn't played much together. At the time Jamie was involved with this local space called Gallery 1412, helping put on shows, most of which were focused on improvised music. He and I started to get burnt out on that scene... we were spending more time hanging out, listening to old records. At some point we had the idea to start jamming on regular basis. We played a couple times a month for about 9 months, bouncing back and forth between our living rooms, jamming with locked drum machines and ghetto synths, recording to computer. As soon as we started jamming to tape and freed ourselves from the locked pulsings of the drum machines we discovered our sound.

I think I read that you own a Korg MS2000. What other synths do you use?

Yeah, it was a pretty good purchase, definitely a useful synth... but not good for everything and it has a very identifiable sound, which can be good or bad like anything really. We've got quite a few synths we've used in Brother Raven: Multimoog, Pro-One, Micromoog, ESQ-1, SH-101, tons of ghetto Yamaha FM synths, Yamaha VSS-30, Akai AX-60, Juno 106, etc... Too much equipment often confuses the process of making good music, but it also offers a larger palette... I guess it all comes down to what you're going for.

With you solo releases did you use different equipment and approach writing/recording differently? Millions Mist sounds more digital where Brother Raven sounds more analog.

In BR we don't write songs or tracks, everything has been improvised, recorded live, and sequenced to form our records. Our solo projects don't necessarily follow this model, so there tends to be a different kind of experimentation happening in those - overdubbing, compositional ideas, etc. We use both analog and digital synths on BR recordings, as well as our solo recordings. Analogs are ideal for real time manipulation / sculpting the sounds in real time - which may be why they are more prominent in the BR recordings.

Are there any synths that you currently lust after?

I can't speak for Jamie on this, but I'm pretty satisfied with my current collection. Of course I'd love to own the high end stuff like Buchlas, Synclaviers, Serges... and there's such a huge modular synth renaissance happening right now. Your question makes me wary though... I can say from experience - gear is like drugs - one has to be careful not to get stuck in that addiction loop - it's too easy to get stuck in that consumerist mode of constantly lusting after new gear, thinking about it all the time, and taking time away from making actual work. The best approach is to really master all of the gear one owns - know and understand all that it can do... so you can speak through it. Jeff Witscher/Rene Hell is a great example of this - using the MS-2000 on his last few records (the synth you just asked me about actually). I know that synth and I've jammed with him a couple times and I can tell you that he knows that thing so well, he seems to bend it backwards / turn it inside out.

Spare Death Icon - Survival has a very 80's movie/ TV and computer game feel about it, quite different to your track Foreign Relaxation Technique. With Survival where you trying to create a theme?

SDI seems to be headed towards an all-out B-movie soundtrack vibe, but on occasion, I like to drop in hints of the subliminal, backwards realm that seem to co-exist with these meditations on time and memory. I'm interested in exploring the SDI persona as if it were mirrored in some dark, alternate dimension... and it's nice to be able to move freely from the synth-heavy sequenced sounds to more malleable, cinematic space.

The Brother Raven release Diving into a Pineapple Portal sounds like it has been recorded onto tape. Do you always record to tape?

Yeah, it was recorded to one of Jamie's 4 track cassette recorders that has this defect that causes the sounds get super warbly when it nears the end of the tape. Tape seems to have freed us up quite a bit, as I mentioned we were recording to computer before we landed the overall concept of BR. We both like the sound of tape and how it captures our music - the medium itself has definitely had it's hand in shaping our sound. All of our recordings have been made live to 4 track, with the exception of Eaglevision and the stuff we're currently working on - I guess we've somewhat entered a new phase recently, recording to computer to ease the process and up the fidelity.

What is next for Bother Raven?

Assembling some tapes for a couple bros in the tape scene... recording some new material for future LPs - look out for new stuff on Great Pop Supplement and Aguirre and hopefully more down the road.
http://broraven.com

An Interview with Rastko

2011-08-10T08:00:00.006+10:00

An interview with Rastko from Geneva.

1. Tell us about your beginnings with music.

My grandmother was a piano player at the local ballet school. As a toddler I used to crawl under the piano and listen to her playing. I went to primary music school learning the piano but I hated the rigidness of the school and the endless repetition. But I was always surrounded by music not least from my childhood in Zambia where there where so many sounds and listening to my parents and my older brother's records. Although I ended up doing a lot of physics and math during my early education I always had music in my life either by organizing concerts or making mix tapes for parties. I started going out to the , at that time , only underground club in Belgrade at an incredibly young age and loved the weird people and the new music I was discovering there. My first real encounter with experimental electronic music was in London in the nineties where I studied to become an audio engineer. It was a revelation to listen to pirate radios for the first time and then endless nights of listening to the FSOL transmissions and recordings. While working as a sound editor in Denmark I started composing sound collages for performances and experimental films. I did not even know that there are academic names for the things I was doing but it just felt right to chop field recordings and make rhythms and sound patterns out of them. After a lot of traveling I came back to Belgrade and started doing impro concerts and recordings. First I used a computer in my performance but I got really tired of all the complexity while in the end I felt I was not so free to play. Although I did try to change this and became good at using midi controllers still I could not make radical changes in the sound and it was hard to improvise playing duets with acoustic instruments. So I begun working with a much simpler setup with some home made devices and a circuit bent SK1. In this way I felt much better while performing and I was always giving something unique to the audience. Performance is important to me as that is how I record and compose. By live playing or manipulating the sound, I do very little edits and almost never overdub.

2. Is the Serge modular your first modular? What made you decide to choose it?

Upon my arrival to Geneva I started listening to and reading a lot about the electronic and avant-garde music from the 60'ies. I was especially impressed by the so-called west coast sound from the US. I had a Korg MS-20 and I worked a lot with software modulars so I had some experience with modulars, but I thought that Serge would bring me closer to this sound I liked so much. Not as to copy the sound but just to take that as a starting point. Then I got a very fair offer on a second hand Serge panel and I bought it almost like a "shot in the dark". I could not try it anywhere and I could not imagine how it worked nor really sounded. Now that I have Serge I love the sound of it and the functionality or rather the density of the modules is amassing. It is really a beautiful instrument and it gives me so much joy when I play it. I love the banana plugs as well and I think that all modular formats should have them.

3. What is the Geneve experimental scene like? Any artists we should check out?

The Geneva scene is very rich for such a small city. The concert scene is very good and the organization Cave12 (http://www.cave12.org) brings really good experimental musicians to perform. I like going to most of these concerts. The things they bring to the town is all recommended and there are some local artists who perform as well. My favorite electronic music festival in Geneva is Archipel http://www.archipel.org/.

4. On your new album Plink Plonk you use the Serge and the Sidrassi Organ is that correct? what are the differences in approach for these instruments?

It is actually the Sidrazzi Organ which is a new version of the Sidrassi Organ and it is an instrument built by Peter Blasser from Baltimore US. His instruments are amazing! Sidrazzi Organ is already a instrument you can play straight away while the Serge has to be patched to be able to become an instrument. I am thinking a lot right now about this difference and I am not sure that the act of patching and building an instrument is a legitimate part of a live performance. At least I do not feel good about that. I am now working on a different approach to my live performances and the ideas that Sidrazzi has given will be a part of that. As for "Plink Plonk" I actually added the Sidrazzi Organ to the recording of the Serge. I do not overdub on my other Serge recordings but this time it just felt right and the Sidrazzi Organ added something I really liked to the recordings.

5. I know you frequent Muff Wiggler's forum, are there any other forums you think worthy of mentioning?

I love Muff Wiggler and have learned a lot from the info there and have met some really nice people there. Browsing the Muff takes enough time so I do not frequent many more sites, but I recommend UBU which I visit as well and which is a great resource for the strange and beautiful http://www.ubu.com/. http://www.quadslope.com/ is a Serge user site and forum which is very good and has produced 2 compilations of Serge users music.

6. Do you see your music in images/ shapes or just sound?

You know the childhood dream many have of floating around in air or flying? Well sometimes I get that feeling while playing and listening to my music. It is more the tensions that I feel in the music and less images and shapes.

7. Have you any other recordings released?

I have nine "releases" on my web site.

RIP CONRAD SCHNITZLER

2011-08-09T19:44:00.009+10:00

RIP CONRAD SCHNITZLER
Such an underrated hero of electronic music.
Conrad Schnitzler (1937 - 4th August 2011) was an institution in the German electronic music scene for thirty years. He studied with Joseph Beuys in the mid 1960’s, and in the late sixties joined the then fledgling German rock band Tangerine Dream. He added a bizarre, conceptual approach to Tangerine Dream that catapulted the band to legendary status, documented on the bands first album “Electronic Meditation”. Schnitzler left after that first album, forming with his friends Moebius and Roedelius the band Kluster. Kluster recorded and released three albums before Schnitzler again left, this time to pursue his own work under his own name. Kluster continued with just Roedelius and Moebius under the name Cluster. Since the demise of Kluster, Schnitzler released hundreds of albums, cassettes, and CDs, both on his own, and on various labels around the world. Schnitzler passed away in 2011, victim of stomach cancer. Hist last work was made just 4 days before his passing.

Conrad Schnitzler recordings to buy....
Con '72
Con '85
Blau
Rot
Convex
hell all of them are amazing!

If you want to be totally blown away track down the Japanese boxset The 80's works - 8 CDS of all the early classics!

Florian Hecker suggests

2011-07-27T11:25:00.001+10:00

INTERRUPTIONS #4. Bregman / Deutsch Chimaera - 47 minutes in bifurcated attention. 19.07.2011 (47' 19'')

Florian Hecker suggests an amalgamation of two seminal collections of psychoacoustic works, which demand from its audience a selective piecing-together of distinct units into an overall Gestalt, one that culminates in a chimerical auditory experience.

More releases to check out

2011-07-27T10:24:00.006+10:00

In the last month I have come across these fine abstract electronic releases.....

Do check.......

Gustavo Becerra-Schmidt - self titled (Orba Electroacoustica)
Jose Vicente Asuar - self titled (Orba Electroacoustica)
Temporal Maurauder- Temporal Maurauder Makes You Feel (Spectrum Spools)
Cray - Show Fades (Digitalis Ltd)
Henri Pousseur - Parabolique D'enter (Sub Rosa)
Dub Taylor - Lumiere for Synthesizer and Concrete Sound (Sub Rosa)
Ghostrider - Light Pulse (Digitalis Ltd)
Alexander Rishaug - Shadow of Events (Dekoder)
Caboladies - Renewable Destination ( Students of Decay)
Rene Hell - The Canon ( Agents of Chaos)
Charlatan - Trinagles (Digitalis Ltd)
Xiphiidae - Science Everywhere (Housecraft Records)
Raskto - Plink Plonk (VICMOD Records)

RASTKO release on VICMOD Records.

2011-07-17T23:55:00.004+10:00

Rastko
PLink Plonk
VMDL07

Tracks:

1. punkt
2. cologne
3. reclick
4. tunnel
5. how it should be
6. thought
7. clean part1
8. clean part 2
9. clean part 3

Description:

Plink Plonk is a collection of improvisations recorded live on the Serge modular synthesizer and the Sidrassi Organus at the beginning of 2011

GREAT PIMMON INTERVIEW

2011-06-29T07:57:00.001+10:00

Great Pimmon Interview
http://hw.libsyn.com/p/3/a/5/3a5407c58909c383/Pimmon.mp3?sid=1916ba7eb58c84b4e0b4adeceaffa49b&l_sid=20961&l_eid=&l_mid=2080564

Severd Heads Live

2011-06-29T07:17:00.002+10:00

Severed Heads live

just listen
http://newweirdaustralia.com/2011/06/nwa-radio-severed-heads-live-to-air-set/

9 cassettes to listen to

2011-05-20T02:06:00.007+10:00

9 Casettes to grab so far this year

Ben Vida – Music For Soft Epic (Roots Strata)

Million Mist – Original Motion (Gift Tapes)

J. Hanson – New Ruined Maps (Draft)

Various - Pacific Support (Draft)

A Diller – Still Life (Draft)

M. Geddes Gengras – This Could Be The Last Time (Stunned)

Watersports - Natural History (Dog Daze Tapes)

Samantha Glass – Synthetic Daydreams (Digitalis Ltd)

U Made Ship – Eclectronics (Digitalis Ltd)

Delia Derbyshire night

2011-05-11T06:09:00.003+10:00

A night of Delia Derbyshire!

Join us for a night of sounds extraordinaire and film as we pay homage to an unsung pioneering genius of electronic music. Performing will be three of Melbournes sound-art maestro's playing Delia inspired pieces as well as super 8 visuals and a short film.

line up:

The Delian Mode - 25 min doco about D.D
Eko Eko Azarak - Voice, loops and collected objects.
The Bleach Boys - Proccessed tape loops.
Orang Punjabi - Cracked tape loops, found object manipulation
Sunday, May 22 · 7:30pm - 11:00pm

Location
22 Ovens St (next to Anytime Place)
Brunswick, Melbourne $5

A childhhod memory

2011-05-09T21:04:00.002+10:00

Looking at my Moog Voyager, I just saw the world through my younger self aged 12, looking at the Moog with all the knobs was like being able to create a universe in sound, anything was possible , imagination unboxed.
I think we forget at times that a synth doesnt have to play bass, strings etc.

2011-05-01T14:10:00.003+10:00

Roland Oberheim – Zen and the art of Hard Disc Recording.

Roland Oberheim , great name, is his actual name!

Another hidden treasure, this time from 2001.

Zen and the art of….could well be the sounds of the last day on earth.

A world of space, destruction, chaos and beauty. Broken/fractured drum machine against a dark horizon of synthesis, pre dsp mangling etc.

A future classic.

Only US$5

http://vicmodcray.bandcamp.com/album/zen-and-the-art-of-hard-disc-recording

I love this photo

2011-04-04T22:18:00.003+10:00

gdfp from Muff Wiggler forum uploaded this image and its just about one of my favourite images ever.
Its all DIY too :-)

Tone's Analog Synthesizer Projects and Products: CV Tools Modules are now in production

2011-04-04T07:42:00.002+10:00

Tone's Analog Synthesizer Projects and Products: CV Tools Modules are now in production: "It's been a while in coming but CV Tools Modules are now coming off the production line and going through a burn-in and test process to weed..."

New Buchla modules

2011-04-02T18:51:00.006+11:00

Do check out Buchla and Associates web site 3 new items
http://www.buchla.com

251e

272e

USB Firmware
http://www.buchla.com/series200e_firmware.html

I created this offline catalogue of the wonderful 200e system
http://www.megaupload.com/?d=9C2JB0JZ

AMSynths: Jupiter 6 Filter - AM8060

2011-03-27T18:54:00.001+11:00

AMSynths: Jupiter 6 Filter - AM8060: "Introduction How would you like to trasform a boring Boss Phaser pedal into the awesome multi mode filter from the Roland Jupiter 6? Well re..."

AMSynths: Roland 100M Replica - Major Progress

2011-03-27T18:54:00.000+11:00

AMSynths: Roland 100M Replica - Major Progress: "With a few days off over Xmas 2009 I was able to make some progress in completing my Roland 100M analog synthesizer clone. The main taask h..."

AMSynths: Snow Fall - EMS VCS3 Filter Clone

2011-03-27T18:53:00.000+11:00

AMSynths: Snow Fall - EMS VCS3 Filter Clone: "During the exceptionally snowy weeks of early 2010 I built a redesigned version of this classic filter which was used in the EMS VCS3 and AK..."

Cor Fuhler - WhistleLight

2011-03-17T21:47:00.002+11:00

We are very happy to be releasing Cor Fuhler's solo EMS Synthi AKS album WhistleLight.
I saw Cor Fuhler perfom with Get Jan Prins in Melbourne about 8 years ago and have never forgotten the performance. Since that day I had wanted more Cor Fuhler releases and now we have this amazing solo improv set.

Do check it out!
http://www.vicmod.net/music/whistlelight/whistlelight.html

Interview with Don Hassler

2011-03-06T14:35:00.001+11:00

An interview with Don Hassler

You have a new release out with Ross Healy how did that come about?

I think posting audio files on a sharing site created an opportunity for a long distance friendship and collaboration. I think the work has less to do with the music, rather our mutual love of new music in general.

And you both have never met each other in the real world?

Sadly, no…

I like the way the album is 2 solo performances put together to form a new recording. Did you both work out what to play and when?

On my end, I was just collecting recordings and calling them pieces after naming them. I think we did go back and forward a little, but in the end, it was cut and paste.

What got you into electronic music?

Probably Switched On Bach. I was really into music as early as I can remember. The synthesizer was just too magical to resist.

Your use of the Buchla is fantastic on this new release, you seem to have a great understanding of the synthesizer. Your first solo release also on VICMOD Records, was all EMS Synthi AKS. Do you have different uses and approaches for each synth?

I’m not so sure I would claim to have a great understanding of synthesizers, more I think I just love to work with them. My approach is the same with each; I treat them like a radio. I just try to find stuff with them.

Do you perform solo live or with others?

If what I do can be called performing, then yes, sometimes. I’ve worked a lot with Jason Butcher. He’s amazing, and it has been a wonderful privilege. I’ve also with Dick Robinson, who has been working in electronic music since 1964!

Thanks for your time Don

Metal by CRAY

2011-02-19T19:53:00.002+11:00

Metal by Cray
Just knocked this together in 10 minutes started playing with just the 261e and Strymon El Capistan then added a bit more. Sounds like a guitar but I dont own one, don't even like the things.

4 min track here http://soundcloud.com/cray5656/metal-by-the-virtual-fuqwits

VICMOD Healy Hassler improv modular madness!

2011-02-17T17:48:00.001+11:00

VICMOD is pleased to release .......Modular synth improv at its finest!
Healy/Hassler
Degenerate Stimuli Much Notification
VMDL04

Ross Healy- Serge Modular, EMS Synthi AKS. Recorded Amnesia International, Mobile Unit 1, Melbourne Australia.
Don Hassler - Buchla 200e recorded at home USA.

Don Hassler and Ross Healy have been involved with electronic music for over 3 decades.
Through communications online, via electronic music forums, the two became friends and started to share recordings.
Ross decided to mix Don’s solo Buchla recordings with his own solo Serge/ EMS tracks and that is what you hear today!

Don Hassler, Atlanta, Georgia.
Born 1960 Ohio, USA
30 years of abstract electronic music and sound art.
Performed in free improvisation group Accidents Of Culture in the early 80's.
Created site specific sound sculptures.
Helped develop and taught experimental sound class at now defunct Atlanta College of Art.

Ross Healy, Melbourne, Australia.
Born 1968 Melbourne, Australia.
Has been recording and releasing albums around the globe since 1990 under many artist names and styles.
Ross’ most recent artist name is Cray.
His music has appeared in the odd TV commercial in Japan, TV shows and web pages.
Ross is the co- founder of VICMOD and VICMOD Records.

You can purchase a VICMOD Subscription for US$25 and get a years 12 releases ( one new release a month) plus the entire back catalogue!

purchase individual releases at US$5 for a digital download.

purchase here

Interview with Ryou Oonishi

2011-01-15T01:35:00.002+11:00

Interview with Ryou Oonishi

You have an interesting new release, 7in 45 out on VICMOD Records, the second release within 25 years, please tell us about it and why have you remained so quiet?

I was stalked by the guys at VICMOD a year ago and they told me they loved my cassette release of 7in45, from back in the 80’s. They wanted to re-release it but I wasn’t so interested in releasing it again, I was shocked that anyone had heard it or even remembered it.! I did suggest that I would make a modern day version of it and they were happy with that. The new version isn’t so far removed from its origin.

I have remained quiet musically because I have been away from the planet for a long time, and I had to relearn many things.

What do you mean?

I lost my mind and was institutionalised for about 10 years. I use to believe that I had been stuck between frames of consciousness, on a different plane, I think you would say. I am ok now but only wanted to do this as an experiment.

Can you tell us what equipment you used on the original cassette version and what you are using now.

I had great fun with my equipment back in the day, mostly Roland gear, System 100, Space Echo, tape machines, test oscillators, field recordings and a Sequential Circuits Drumtracks that I use to trigger sounds from tape.

Today I just use a computer running Linux with some home made programs, an editing program, Moog Voyager, turntable and the original recording from cassette.

You say you make your own programs, can you tell us what they are?

Just some time shifting, warping of sound stuff. I don’t really want to talk about the equipment too much, it is very personal.

When you originally recorded 7in45 you were trying to create an atmosphere. I find both recordings to be quite dream like, surreal. I feel as though I am sitting on a hill watching time go by.

I was just trying to create what I could hear in my mind, memories of old Japan etc. I did want to create sound poems with field recordings looping and tone melodies.

Can we expect to hear anymore releases from you?

I don’t know, I am happy with this work. Maybe in another 25 years I will recreate it again!

VICMOD Records new year 12 new releases

2011-01-15T00:54:00.001+11:00

VICMOD RECORDS is starting the new year with the promise of a new release each month. We are offering a US$25 subscription for a full years releases and with the subscription you get access to our back catalogue. The other option is to pay US$5 per release.

The first release for the year is by Japanese man of mystery RYOU OONISHI.

The original version of Ryou's- 7 in 45 was release in limited quantities back in the mid 80's on cassette only. We finally managed to track down Ryou and ask him if we could release his cassette.
He wasnt so interested in releasing the original recordings but did say he would recreate the original with the equipment he currently has.
How could we say no!

Listen/ purchase to 7 in 45 via VICMOD Records web page
February release will be between Don Hassler and Ross Healy.

Kyma outbreak

2011-01-08T08:30:00.001+11:00

Having fun with Kyma, my first week

Top 12 of 2010

2010-12-07T20:52:00.002+11:00

Top 12 releases of 2010

Autechre - Oversteps (Warp)

Mark Fell - Ul8 (Mego)

Marcus Schmickler - Palace of Marvels - Queered Pitch (Mego)

Night Slugs - Night Slugs All stars Vol 1 (Night Slugs)

Mount Kimbie - Crooks and Lovers (Hotflush Recordings)

Hecker – 3 Track (Mego)

Robin Fox – Handful of Automation (Mego)

Sam Prekop – Old Punch Card (Thrill Jockey)

Charanjit Singh – 10 Ragas to a disco beat(Bombay Connection)

Atom TM – Mole C (Rather Interesting)

Ben Vida - Patchwork (Autumn Records)

Merzbow _ Merzbient 12 CD box ( Solimoon)

VICMOD RECORDS FREE TRAX

2010-07-13T12:35:00.001+10:00

VICMOD RECORDS have free tracks of future releases and a live recording here for your listening pleasure.

If you love avant electronics old and new you will love our label.

Keep an eye out for future releases by:

WARREN BURT
CRAY
RYOU OONISHI
JOHAN BROBERG
VICMOD ENS
ROLAND OBERHEIM
and many more

Bubblesound cvWS

2010-06-25T19:07:00.003+10:00

Steven Hayes of VICMOD did a great demo if the Bubblesound cvWS ( control voltage Wave Shaper)

http://www.youtube.com/watch?v=NNJmP-i00yk

VICMOD RECORDS CURRENT / FUTURE RELEASES

2010-04-25T22:51:00.003+10:00

2 NEW RELEASES

2010-04-21T14:54:00.006+10:00

2 new releases. Steve Law and Rod Cooper.

Steve Law's CD is great spikey release of transient synthesis created on ARP 2600 and other tasty vintage gear.

Rod Cooper has created an album of electronic equipment around the world.

Do check them out. (click on image to take you to the VICMOD Records site)

Many more amazing releases to come by the likes of Warren Burt, Greg Long, Cray, Jeffrey Ulhmann, Ryou Oonishi , Roland Oberheim and many more

Tuesday 30 March VICMOD Records label launch

2010-03-30T11:24:00.003+11:00

Melbourne's VICMOD RECORDS will be showcasing some of its releases with a record launch this Tuesday night 30 March @ Make It Up Club, Fitzroy.
The first 6 releases will be for sale. VICMOD RECORDS release "Avant Electronics".

On the night you will see/ hear

VICMOD ENS ( The worlds only modular synthesiser improv group)
Steve Law will perform live electro-acoustics
Rod Cooper will perform music for electric appliances
Cray will create a live mix of all the 20 releases the label will release.

CDs will be available for sale as well as samplers especially created for the night. So come along and support a great new label.

VICMOD RECORDS OUT NOW

2010-03-09T18:35:00.010+11:00

The first 3 releases are now for sale.
http://www.vicmod.net/
Purchase limited edition professionally printed CDR or download. Physical purchase includes bonus sampler mixed by Cray that includes recordings from current and future releases.

File under Avant Electronics

Richard Lainhart - The Wave Sounding Sea. (USA)
An amazing early Moog modular recording from the seventies.
First time release. We will release another Lainhart album later in the year!

Cray - Water Computing. (AUS)
Cray's second computer music album. Extreme sculptured computer music? Keep an eye out for the Cray - Digest series comprising of 7 years of modular synthesis exploration recordings. 40 - 50 CDs release over the coming years.

Don Hassler - No Subsequent Interference. (USA)
Self playing EMS Synthi AKS madness.

VICMOD RECORD label launch, 30 March, Make it Up club. will include future releases buy Rod Cooper, Steve Law , VICMOD ENS who will all be performing on the launch night. There will also be giveaways.

Future releases by
Rod Cooper - Music for electronic appliances
Steve Law - electro acoustic works
VICMOD ENS - Studio recordings from the worlds only modular synthesiser improv group.
Roland Oberheim - Deconstructed drum machine with Zen
Ryou Oonishi - abstract Japanese recordings.
Cray - Digest series
Don Hassler - No Subsequent Interference 2
and much much more.

Modular Planner

2010-02-22T00:06:00.003+11:00

Such a great idea and it is now adding video!
http://mega.modularplanner.co.uk

Tiptop Audio Z8000 Review

2010-02-17T17:48:00.005+11:00

Tiptop Audio Z8000 Review
by Steven Hayes

Introduction:

Tiptop Audio's Z8000 is a CV sequencer/programmer module. It differs from most analog sequencers in that provides ten individual sequencer tracks, eight of which are 4-step, and two that are 16-step. Programming the sequencer tracks is done via a 4x4 matrix of potentiometres, each with an associated LED.

The clever thing about the Z8000 is that the sequencers share the CV values specified by the pot matrix. More specifically, four of the 4-step sequencers produce CV sequences specified by columns of pots, the other four 4-step sequencers determine their CV values from rows of pots. The two 16-step sequencers take their programmed values from left-to-right, top-to-bottom order, and top-to-bottom, left-to-right order, respectively. A natural consequence of the programming pot sharing is that moving a single pot may affect the programming of up to ten sequencers.

Each sequence can respond to a individual clock, direction and reset inputs. Additionally, the clock inputs on the 4-step sequencers are "normalized" by row and column. For example, if you plug a clock source into the top-most row of the 4-step sequencers, the other three 4-step sequencers below it will also receive the same clock - sneaky! Ditto for the column sequences.

Hardware:

The build quality of the Z8000 is up there with the best. Two PCB's sandwiched in plane with the front panel means shallow chassis are fine with this module. I've been running the module on ±15V rails without issue.

The front panel design (28HP) is clearly set out. Although it is quite a dense layout, getting access to the sixteen programming pots isn't too awkward, even when there is a plug in every jack. The sixteen LED's associated with each programming pot are tri-colour, the intent being to give you some idea of which sequence is doing what according to LED colour.

Ins & Outs:

Each of the ten sequencers have separate clock, direction and reset input jacks. Naturally there are ten CV output jacks. Note that the Z8000 does not provide any kind of gate output.

In Use:

By itself, the Z8000 can do very little. It requires an external clock source for starters. A clock divider would be very handy. Maybe a quantizer too...

If you want to accurately program notes on the CV outputs, I'd recommend using a manually gated source (instead of a clock) so you can step through each segement of a sequence at leisure, fine-tuning the CV outputs as you go. The CV output range is 10V peak, so accurately tuning each CV amount requires a very light touch on the pots.

Of course, it's far more fun to just plug a few clock sources into the Z8000, modulate a few things with the CV outputs and explore what results from mindless knob-tweaking. Having no plan means having no expectation, which invariably will lead to a wonderful surprise ;)

Summary:

The Z8000 sequencer/programmer is fine addition to any Eurorack Modular. It is well focused on sequencing CV's, and provides simple mechanisims that can lead to the creation of complex grooves and modulations without much effort. If you are after a note-based sequencer, then there are better options out there, but if you are after a sequencer where modularity is paramount, then the Z8000 comes highly recommended.

Tip Top Audio - Stackables review

2010-02-12T19:16:00.007+11:00

Stackables (Banana patch cords for euro format!)
By Steven Hayes

Along with my Z-DSP came 20 of the Tiptop Stackable patch leads. That is, the plugs on these leads allow you to stack plugs together, much like banana plugs do. The quality of the cables feels excellent, the plugs provide good grip, and stacking one on top of the other gives a reassuring click and feels solid. The cable itself is fairly stiff, so it wants to keep itself away from the front panel - a good thing.

Oddly enough, my biggest concern about using Stackables has to do with the quality of the jacks on the module you're plugging in to. For example, the Bubblesound uLFO has very nice quality jacks, and I wouldn't think twice about using three Stackables high with it's jacks - the connection feels so solid. At the other end of the spectrum, the Elby kits use cheaper jacks that feel relativily loose when you plug into them. Stacking three or four high into these jacks may lead to excessive force on the jacks internal connectors, bending them to a degree where they may need to be replaced. Simple answer is to continue stacking from the other end of one of the cables, that is why there are 2 stacking points per each cable. No need for mults (:

Synthwerks Touch controllers

2010-02-12T14:17:00.004+11:00

Synthwerks

Following on from our previous touch controller post. We now have the Synthwerks MG-1 and FSR-4.

The MG-1 is a manual gate SPDT arcade style pushbutton (fast action - built like a tank) that has one jack normalized to the +12v bus and switches it between the two other jacks (Up and Down). The switch is mechanical so is bi-directional. Any positive voltages present will light the LEDs when present. It is an 8HP module.

The FSR-4 has four separate circuits that produce a scalable CV out that changes depending on the pressure applied to the sensor pads at the bottom of the module (scalable from a very light touch to lean on it hard). The pads respond to pressure of any kind. The pressure CV is also read by a Gate output section and the gate goes high when the Pressure level crosses the front panel Threshold adjustment level. It is a 16HP module.

Tiptop Audio Z-DSP

2010-02-11T06:45:00.014+11:00

Tiptop Audio Z-DSP Review: Part I
by Steven Hayes

The Hardware:

The Z-DSP is 28HP wide, with a sandwich of PCB's stacked in plane with the front panel, so it's not very deep in the chassis. It looks fantastic. The display is bright and clear. The knobs are the same as what Elby ships (not yellow thank god). The knob spacing is about as tight as I'd like, but the knobs don't have any jacks above them, so nothing gets too obscured by your lovely spagetti.The jacks feel solid and tight as one plugs and unplugs. The build quality is better than average (average = Plan B headphone amp I once inspected).

The DSP software cards are actually PCBs with two SMDs covered in "stuff". The socket for the cards holds tightly, so you shouldn't expect anything to drop out mid-performance. It wouldn't matter - you can remove a card while the current program continues to run. Not sure it was such a good idea to colour the cards black though…

I've got the Z-DSP running on ±15V rails with no issues (I did check with Gur first ;) .

Ins & Outs:

The Z-DSP has two audio inputs (you can select between guitar and "synth" level inputs via jumpers), four outputs (two for feedback), plus the ability to insert other modules into the feedback chain via two extra inputs.

The Z-DSP has three CV inputs that are assigned to the current software program, as well as dedicated CV control for left and right channel feeback amounts. There's also CV control on wet/dry mix, program selection, program direction. Last, but not least, is the clock input, so you can control the speed that the program executes at.

In use:

I only been using the Z-DSP for a few hours, and have been concentrating on the "Dragonfly Delay". I am already amazed at some of the sounds and complex drones I've been able to get out of it with the CV control of feedback and DSP assigned controls.

It's pretty easy to let the sound run away when modulating the feedback via CV, which will result in clipping and a red LED doing a dance. Oddly enough, I actually like the way Z-DSP's clipping sounds…

There are two facets of the Z-DSP that I'm particularly enjoying at the moment:

1. CV control of feedback. This is so much fun! It is so easy to discover rythmic patterns by modulating the feedback to a delay program via CV, for example.

2. External clock input. It's impossible to describe the plethora of sounds that can be created when you plug a VCO into the Z-DSP's clock input, grab the VCO's tune knob and slowly sweep it. One second you're hearing raw FM, the next a massive bass note, the next is a high pitched squeal, and lots of amazing artifacts in between. It's completely unpredicatable in a wonderful way. The Z-DSP will function with a low frequecy input to the clock, but the lower the frequency the riskier things become, and it may crash. Having said that, I understand that there is a clock multiplier in the clock input circuit. Right this second I'm sending a 22Hz signal to the Z-DSP's clock input - and it hasn't crashed - and it's making an interesting sound - cool.

Bat Filter

I've finally been able to unplug the "Dragonfly Delay" card and put the
"Bat Filter" through it's paces. 8 different filter programs are available, and they're not simple filters. Often there are two (even three) filters implemented in a program, some organised in series, others in parallel. Many of the filters are 8-pole too.

The filters sound pretty good, but I can tell they are DSP-based. There's a hardness, or at higher frequencies, a glassiness to the sound, that says "digital" to me. I'm not complaining however - I've got plenty of warm analog filters. The Z-DSP is all about flexibility after all, and that's definitely what we've got here.

Like the "Dragonfly Delay", the "Bat Filter" really got interesting for
me when I started messing with the feedback facilities of the Z-DSP. For example, take a CV from a sequencer and feed it to both a VCO and the "feedback" parameter in one of the Z-DSP's filter programs. Feed the VCO into the inputs of the Z-DSP too. The resulting distortion can sound really musical and really add character to the sound if you don't over do it. I like it!

Summary:

I'm really impressed by the Z-DSP. It's a great concept, very well implemented. While it is easy to "get lost" with the Z-DSP, espcially when your CV usage is excessive, I've found that it can be incredibily musical when you don't ask it to do too much at once. I'm particularly fond of the "Dragonfly Delay" - It's just nuts! (in the best possible way)

VICMOD RECORDS LABEL LAUNCH 30 MARCH 2010 MIUC

2010-01-28T10:37:00.007+11:00

VICMOD RECORDS will have a label launch 30 March at Make It Up Club, Melbourne Australia.

Some of the label artists will be performing live.

CRAY ( live mix of all the labels releases and future releases)
VICMOD
STEVE LAW
ROD COOPER
and more.

We will have on sale the first 6 releases by.....

RICHARD LAINDART ( early Moog recordings)
DON HASSLER ( Self playing Buchla and EMS SYnthi)
CRAY ( Digital machine soundscapes)
WHITE NOISE CAROUSEL ( Electro Acoustic chill)
ROD COOPER ( Electric appliances performance)
STEVE LAW ( Electro Acoustic recordings)

Doors open at 8.30.

watch this space.

Make Noise Pressure Points

2010-01-12T20:17:00.007+11:00

YouTube via dkimcg
Newer info on the Make Noise Pressure Points.

Pressure Points is a controller in which 1 of 4 sets of 3 tuned voltages are selected by touching the corresponding printed copper wire at the bottom of the instrument. Touching Pressure Points, you become part of the circuit. In addition to the tuned voltages, a gate signal (Gate OUT) and a control voltage proportional to the amount of pressure applied (Press OUT), are generated when the module is touched. Up to 4 of these modules may be Chained together to create controllers of varying size and complexity. Each of the Gate and Press OUTS are normalized to their respective SUM BUS which is output at the last Gate and Press OUT in the Chain.

2 potentiometers allow the circuit to be adjusted for desired playing response. One is an internal trimmer which may be adjusted to compensate for size of your digits, and moisture of your skin. The other is adjustable from the front-side of the module, and sets overall system sensitivity.

An expansion port on the backside will allow for sequential control via the forthcoming Points Expander, bringing all of the typical functionalities of the analog sequencer to this system.

The Pressure Points operates from a single supply and may thus be powered with a wall-wart or even a 9V battery. Pressure Points will, of course, operate perfectly powered from the dual supplies found in euro rack format cases from Doepfer, MonoRocket, MW. Having the single supply operation allows for greater ease in building of custom enclosures.

The faceplate for the Pressure Points is actualy a printed circuit board. Therefore it will be black, with white and gold graphics.

Best Free IPhone app ever made. Instand Mego (Hecker etc)

2010-01-09T16:14:00.004+11:00

TOPLAp

This free iPhone app is a random noise generator and a puzzle all in one. If you like Heckers work or any of the Mego ( Editions Mego) artists work you will love this.

TOPLAPapp is a sonic puzzle based around a virtual machine for sound synthesis. This machine only accepts a few valid instructions, and you control it by placing each command letter within a grid, along with setting some associated parameter sliders. The machine runs through the grid, following the instructions to create the output sounds, which are usually of a somewhat noisy character, hopefully interestingly so. The historical antecedents include instruction synthesis as pionneered at the Institute of Sonology in the 1970s, and the live coding movement, of modifying a running program as it acts. This app is intended for those interested in more experimental sound art, and is in no way a traditional diatonic melody generator. Don't download this unless you are open to stranger computer music sounds.

Be careful of your ears, this app can produce wild sounds at high volume. Program this sound synthesis puzzle machine by dragging letters TOPLAp to the grid; you can also set a parameter for each position via the slider at each slot. The audio engine whizzes through the states many times per second. Press ! to clear the grid, and ? to randomise. No save or load is allowed, to promote improvisation. Live coding engineered by Click Nilson.

TOPLAP is the Transnational Organisation for the Promotion of Live Algorithm Programming, or somesuch abbreviation (TOPLAP website).

2010 the year of TOUCH

2010-01-09T15:34:00.010+11:00

TOUCH ME
by Ross Healy
In the ever expanding world that is the euro modular format we will see a minimum of 3 companies delivering their take on the touch plates or sensor plates in 2010.

Touch keyboards are not a new deal for the analog synth market with the Buchla and Serge touch panels being in existence since the 70's, but since then there hasnt really been anything like it.

First up is the news from the largest euro manufacturer Doepfer with their take on the Touch keyboard A100 TKB. No further information at this time. We are told it will make an appearance at next weeks NAMM.

Next up is the MakeNoise Pressure Points

Then we have the newest company to the modular world Synthwerks with their FSR-4.

The computer world is also wanting us to touch more with the not too far away Apple iPhone slates that will have multi touch and I wouldn't be surprised if all the amazing iPhone apps will be ported to the iSlate? Think a cheaper and more expansive Lemur.

The one thing all of these have in common, other than the touching, is none of them are for sale as yet, but that wont be the case soon.
All in all we will spend more time triggering sounds via analog and digital instruments than we have in the past!.

Classic Electronic Albums - KLF - Chill Out

2009-12-27T22:27:00.005+11:00

KLF - CHILL OUT (KLF COMMUNICATIONS)
Where do I start with this classic album?
Released in 1990, this is the KLF's first ambient album and what and album it is! Chill Out is a sonic journey, a trip from here to now and then onto the future. But is it really an ambient album? Is it an Electro Acoustic album? You will hear everything from proto KLF "White Room" tracks 3AM Eternal, Last Train To Trancentral etc alongside crickets, sheep, cars, radio news reports right through to Elvis Presley "In the Ghetto" all under heavy usage of delay and a great sense of movement.

Do also check out SPACE by SPACE which is the KLF on a journey to outer space.

Ian Helliwell - Tone Generation series.

2009-12-26T07:55:00.003+11:00

Episode 17 of The Tone Generation by Ian Helliwell.
An amazing set of early electronic music documentaries is up. This latest episode 17 is about the mighty EMS synth company :-)

click on image for link.

Classic Electronic Albums - Aphex Twin - Richard D James Album

2009-12-17T14:13:00.007+11:00

Aphex Twin - Richard D James Album (WARP)

Here is yet another classic album and it could be argued that most Aphex Twin albums are classics, even Classics :-)
This was really his first beat related album since SAW1, that seemed focused, sure I Care Because You Do has some amazing tracks but it feels thrown together.
This release sees Richard improve on his proto jungle/drill n bass production first appearing on the Hangable Auto Bulb eps with tighter rhythmic structure, computer modem sounds and cheesy bells and virtual synth leads, there is almost a nod to Kraftwerk with his track Fingerbib.
The album does sound like it was recorded only on a computer, there is not much in the way or room reverb or micking up his studio space for real reverb as seems to be his fancy of the last few releases.
The track Girl/ Boy Song is pure Aphex magic covering all the recepies for a great Aphex track, manic beats being balanced out buy the most beautiful lush string arrangements. It is that heaven and hell thing all boxed up and ready to blow your mind!.
I could go on for hours about how amazing this album is. RDJ is the shortest album released by Richard, unless you get the US version with the Girl/Boy Song ep included. It is Richards most out there album but aren't they all?

Classic Electronic Albums - Autechre - LP 5 (Warp)

2009-12-16T15:27:00.007+11:00

AUTECHRE - LP 5 (WARP)

This was really the start of Autechre moving more into the abstract beats style that they are still creating today. The accompanying EP7 was released a short time before this and it is also a full length album. The Nord synths are in heavy use here in the form of skitter sequences combined with water tube crunch delay percussion sounds. Don't ask me to name tracks, Autechre were the very reason I lost interest in track titles, they don't really matter, its just a reference point. Autechre's music, more than anyone else I can think of ,create sonic paintings, really sonic masterpieces!
An absolute classic album and I believe they get better and better every release.

Classic Electronic Albums - Meat Beat Manifesto - 99%

2009-12-16T15:21:00.005+11:00

MEAT BEAT MANIFESTO - 99% (MUTE)

This release really has it all, dirty electronic funk, dub, rave sounds, jazz samples, distortion, Janis Joplin interview samples ( Hello teenage America). What more could you want?
Jack Dangers is in fine form here covering producing classic tracks like Radio Babylon, Now, Psyche Out etc. Pure electronic dirty funk bliss!
If you can check out the Japanese version it has about 6 extra tracks.

Classic Electronic Albums - Nitzer Ebb - Belief

2009-12-16T15:15:00.005+11:00

NITZER EBB - BELIEF (MUTE)

This was constantly on play at my place for years. Such a brilliant album full of ARP 2600 sounds and sequences. Classic stripped back electronics tracks like Shame, Hearts and Minds, Control I'm Here - strong thumping tracks and Flood production make this a must have!
I need to check out their new album

Classic Electronic Albums - The Human League - Dare

2009-12-10T11:39:00.005+11:00

The Human League - Dare (Virgin)
Whilst not being my favorite Human League album (Travelogue,Reproduction) this album is a classic electro pop album. With the then newly released Linn Drum through out the album and its shimmering sounding synths this is miles away from the previous two albums . This is really the album that got me into synths and I suppose many others will feel the same.

Sound Of The Crowd is such a cool slab of electropop, Get Carter with is Casio VL Tone synth line, electronic bongos, basslines and lush strings really do make this a must have release. I actually appreciate this album more now for its sound than its pop tunes, not being such a pop person anymore, but it is still a classic electronic release.

Classic Electronic Albums - 808 State- Ninety

2009-12-10T10:41:00.006+11:00

808 STATE - 90 (ZTT/Tommy Boy)
808 STATE were the Weather Report of techno. 90 is such an amazing album that has stood the test of time.If you havent heard it do check it out.

When 90 was released in 1990 we had pretty much three years of amazing techno 12" releases on small obscure labels behind us.This release was a techno album, such a rare entity at the time, maybe the only other people releasing techno albums were Juan Atkins and Derek May.
90 was released in 2 versions, the UK version and the US version on Tommy Boy which featured different track order and extra tracks, its actually pretty much a completely different album to the U.K ZTT release.

I really feel there hasnt been anything like this album before or after its release. 10/10

Classic Electronic Albums - Art Of Noise - Who's Afraid of the

2009-12-10T10:29:00.006+11:00

ART OF NOISE - WHO'S AFRAID OF THE (ZTT)
This has got to be one of my all time favorite albums. A true classic!
Released in 1984, wow that seems so horse 'n' cart now, this album was THE Fairlight CMI album with top notch writing, sampling and production. You will hear cars starting, tennis matches, aircraft flying, wooden rulers used for bass lines, orchestral stabs, , church bells, footsteps, thunderstorms and so much more!

Its a great combination of avant electronics fused with pop sensibility. Its abstract and it works.
Moments in Love was probably the most well known of the tracks but not the strongest track in my opinion. Close (To the Edit) with its car samples, orchestral stabs and reversed shouting female along side huge drum sounds made this an amazing release. 10/10

As a heads up: And what have you done to my body god is a 4 CD release with only tracks, remixes and demos form this classic album.

Taken from Wikipedia
Art of Noise (also The Art of Noise) were an avant-garde synthpop group formed in 1983 by producer Trevor Horn, music journalist Paul Morley, and session musicians/studio hands Anne Dudley, J.J. Jeczalik, and Gary Langan. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators. The band is noted for innovative use of electronics and computers in pop music and particularly for innovative use of sampling.

LFO - LFO

2009-12-07T15:27:00.003+11:00

Puts on track LFO by LFO :-)

Just arrived the Bubble Sound uLFO. I havent had a chance to plug it in yet, but these two can keep a human busy for hours :-)

Quick non tech review of DSI TETRA

2009-11-18T11:25:00.009+11:00

Quick non tech review of DSI TETRA by Ross Healy

Got the DSI Tetra yesterday. Its my first DSI product and I must say its a great size ( standard novel size), built like a tank and sounds great.

You will need to use the editor to get the most out of it and even buy the Pro editor as this allows morphing etc.

Only down side was there are 4 Banks and a hell of a lot of the sounds are similar but this is where the love of synthesis comes in. I have quickly created about 10 sounds and I am very happy with the result. I have managed to get Aphex SAW(Selectred ambient works 2) sounds, Autechre glitch synth sounds, Oval like screetch sounds, Richard H Kirk/ Jupiter 8 stab sounds etc

Its sound does remind me of Oberheim OBXA and I love the panning function like the Xpander.

All in all I give it a 9/10 would like to have heard a bit more preset variety.

Newish revamp Buchla 259e

2009-11-15T17:46:00.009+11:00

Its a Twisted Waveform Generator!

After much pressure from Buchla fans, Don has finally caved in and re-released the 259e!

Slight changes in working with this gem with an A,B,C memory.

The best thing is as the 200e modules are all firmware based you can return your firmware key for the updated version!

image by Yotsuba&!

The Second most amazing thing to happen to euro format this year!

2009-09-06T18:10:00.007+10:00

The Second most amazing thing to happen to euro format this year!

by Ross Healy

Having just sold my Serge the main thing I miss is the freedom via the use of banana cables.
Euro users who have never used banana cables will soon be amazed at how cool they really are when the talented, outside the box thinking euro company TipTop Audio release 1/8" banana cables for the ever expanding euro format.
I do hope they release different colour versions.

Oh the first amazing thing was Motu Volta released earlier this year.

VICMOD ENSEMBLE LIVE

2009-08-29T22:34:00.004+10:00

Just came across these VICMOD ENSEMBLE live vids

http://www.youtube.com/watch?v=WKtoJII7pkk&feature=related
http://www.youtube.com/watch?v=WKtoJII7pkk&feature=related
http://www.youtube.com/watch?v=9W6xG0ydoLE

EMS Synthi Group Vol 1

2009-08-18T18:55:00.001+10:00

ca297 - Various - The Synthi Group Vol. 1

Artist: Various
Title: The Synthi Group Vol. 1
#ca297
Date: 2009-08-16
Keywords: irritating; 50-60’s electroacoustic music; live electronics; psychedelic; experimental; avant electronics; electronic; space music; ambient drone; drone; glitch; improv; psychedelic rock; noise; electro; other

Tracklist:

Track 1
Artist: Don Hassler
Title: No Subsequent Interaction Synthi Recording No. 1 - 2:04 (320 kbps)
Device: EMS Synthi A MK1
Genre: irritating
Contact: http://www.donhassler.com
Location: USA

Track 2
Artist: The Vegan Surgeons
Title : VCS3ImprovC - 6:53 (320 kbps)
Device: EMS VCS3 Mark I, recorded and processed
digitally through Audiomulch
Genre: 50-60’s electroacoustic music
Contact: http://www.myspace.com/thevegansurgeons
Location: Scotland

Track 3
Artist : Trap & Zoid
Title : Gnomes evasion - 5:26 (320 kbps)
Device : EMS Synthi A + Aria AD10 analog delay,
recorded live in one take with Edirol R-09HR, unprocessed.
Genre : live electronics / psychedelic / experimental
Contact : http://www.myspace.com/trapandzoid
Location : Brussels, Belgium

Track 4
Artist: Cray
Title: 29days laterrr - 6:15 (320 kbps)
Device: EMS Synthi AKS, Pencils,
live improvising into Audiomulch.
Genre: Avant Electronics
Contact: http://www.discogs.com/artist/Cray
Location: Melbourne, Australia

Track 5
Artist: Sam Samshuijzen
Title: Simple - 2:55 (320 kbps)
Device: Modified EMS Synthi AKS
Randrum pulse generator/divider for the returned ES
triggering of the synthi 4 track analog tape recorder
Remixed with a digital system into a 4 channel composition (4C).
This is the stereo mix of those 4 (2C).
Done in Studio Denkraam, Ede NL, 1980.
It's called simple, because it makes basic use of a
sequence voltage for one oscillator, while playing
the realtime voltage to another oscillator simultaneously.
Genre: Electronic
Contact: http://www.xs4all.nl/~samzen/
Location: Netherlands

Track 6
Artist: Pin
Title: Can the sound change - 6:40 (320 kbps)
Device: EMS Synthi AKS, multilayering of sounds, recorded and processed
digitally through ProTools.
Genre: Experimental
Contact: http://www.thesynthi.de
Location: Germany

Track 7
Artist: Mono-Poly
Title: Do you observe? - 6:01 (320 kbps)
Device: EMS Synthi AKS cv-ed by Blippoo Box witch processes
audio + Delay and Reverb
Genre: Experimental
Contact: http://mono-poly.blogspot.com
Location: Netherlands

Track 8
Artist: Werd
Title: Smirk - 1:44 (320 kbps)
Device: EMS Synthi A & Roland Space Echo 201
Genre: Exp.,broadcasted in 1979 by radio KRO Hilversum 4
"Collage van Alledaags en Zeldzaam"
Contact: http://werdav.tripod.com/index.html
Location: Netherlands

Track 9
Artist: Johan Schurer
Title: FrogWaltz - 2:05 (320 kbps)
Device: EMS Synthi AKS
Genre: Experimental
Contact: http://www.myspace.com/johanschurer
Location: The Netherlands

Track 10
Artist: Impulsantwort
Title: Ich kann den Strom in der Wand hören - 7:00 (320 kbps)
Device: EMS Synthi AKS 80 treated by EMS Soundbeam recorded via RME
Fireface,
processed digitally through ProTools.
Genre: Drone
Contact: http://www.impulsantwort.com
Location: Germany

Track 11
Artist: THM
Title: Setting Sun - 6:45 (320 kbps)
Device: EMS Synthi AKS (London UK model from 1975), only some Roland
RE-301
Chorus Echo and SRV-330 Reverb added; recorded and processed digitally
via Cubase 4
Genre: Space Music / Ambient Drone
Contact: thm[at]pandora.be
Location: Belgium

Track 12
Artist: Delia (Leo Learchi - Luca Isabella - Daniele De Rossi)
Title: Trilogia per Delia (live excerpt) - 5:18 (320 kbps)
Device: EMS Synthi A, AKS, E, Digisound 80 modular synthesizer,
field recordings, PC.
Genre: Experimental
Contact: http://www.myspace.com/leomodular
Location: Italy

Track 13
Artist: Alka
Title: Interrupt Structure - 3:57 (320 kbps)
Device: EMS Synthi Mk1 AKS partially processed through the Elektron
Machinedrum
SPS1 UW Mk2. Further processing and recording through Apple Logic Pro.
Genre: Electronic / Glitch / Experimental
Contact: http://www.reverbnation.com/buryn
Location: USA

Track 14
Artist: Tunnel
Title: Descent - 6:08 (320 kbps)
Device: EMS VCS3 Mk II, Boss DD-3 Delay
Genre: Improv / Experimental
Contact: http://www.myspace.com/tunnelx
Location: Australia

Track 15
Artist: D. Skevington
Title: Block I - 5:10 (320 kbps)
Device: Layers of direct and amplified Synthi A.
Genre: Psychedelic/Rock
Contact: http://www.myspace.com/danielskevington
Location: UK

Track 16
Artist: Synthiaks
Title: Bump - 3:30 (320 kbps)
Device: EMS Synthi AKS, live recording.
Genre: Experimental
Contact: baby_tog[at]hotmail.com
Location: UK

Track 17
Artist: Maelem
Title: Dripping party - 6:59 (320 kbps)
Device: EMS Synthi A
Genre: Noise
Contact: http://www.myspace.com/maelem
Location: France

Track 18
Artist: Splitradix
Title: Harmony Suitcase - 4:37 (320 kbps)
Devices: EMS Synthi A, Roland TR808, Sequential Circuits Pro One,
Roland System 100 101, Roland SH101, Roland MKS80, Roland RE301
Genre: Electro
Contact: http://www.myspace.com/splitradix
Location: Berlin, Germany

Track 19
Artist: Level-Repeat
Title: Syncophant - 5:32 (320 kbps)
Device: Live Performance using a modified EMS Synthi AKS.
Making heavy use of oscillator sync.
Genre: Experimental
Contact: http://www.myspace.com/levelrepeat
Location: United Kingdom

cover front
booklet
cover back
disk label image
Download.zip
booklet (PDF)

Synopsis:
Formed in 1969, Electronic Music Studios (EMS) quickly became innovators for the recording, production and advancement of electronic music. The ideas and designs that bubbled forth out of the ingenuitive minds of Peter Zinovieff, Tristram Cary, David Cockerell and others, led to the creation of some of the most wildly original musical / sound design equipment ever conceived. The VCS3, Synthi A + AKS, Synthi 100, Synthi E, Synthi Logik and the Soundbeam are among these, almost unworldly, devices.

It is often said EMS gear has attained cult status, reaching a fervor of near worship among its users. The Synthi Group is an example and collection of such users. United through the Synthi blog and forum (www.thesynthi.de) and located throughout the world, the group's members have come together for a planned series of compilation volume releases where the individuality and approach of each member towards their EMS instrument is showcased and broadcasted for all to experience. The listener will hear wildly different examples of styles and sounds that this original, and oft times, vintage equipment can create.

EMS were true pioneers from the very beginning, always looking beyond the culture and times they were surrounded and seemingly trapped in. Still around today, thanks to Robin Wood and Ludwig Rehberg, they are one of the few companies involved with electronic instrument production that have had a continued run since their inception. The Synthi Group have honed the original pioneering spirit and DIY ethic of EMS with their Volume series, a collection of sounds encompassing beautiful dreamscapes, synaesthetic visions, dark ambience, aural abstractions, sonic absurdities, pulsating analog, glitch, ring modulators, and envelope shapers generating trapezoidal geometry. Beginning with Volume 1, the Synthi Group compilations aim to ensure the story of EMS continues well into the future of electronic music production.
(Synopsis by Alka)

Contacts:
http://www.thesynthi.de
http://thesynthigroup.blogspot.com/
http://www.myspace.com/thesynthigroup

VICMOD plays

2009-08-17T19:37:00.000+10:00

VICMOD ENSEMBLE
CRAY
CLEANINGLADY
ABRE OJOS

VICMOD Ensemble will perform live improvise modular tweaking to a selection of silent films.
Also preforming on the night will be Cray, cleaninglady and Abre Ojos. SHould be a fun night. Starts 7pm.Glitch Bar.

Steven builds ASM2 WIZARD

2009-08-13T16:13:00.006+10:00

One of our VICMOD members Mr Steven Hayes has built the ASM2 Wizard.
Pretty sweet job :-) Can't wait to hear it

Cray vs cleaninglady update

2009-08-10T14:51:00.002+10:00

Cray has swine flu and has to cancel the 11th show but Stephen Richards(cleaninglady) will go it alone with feedback mixer and sax.

Cray vs cleaninglady 11 August

2009-07-27T14:16:00.003+10:00

Due to popular demand Cray vs cleaninglady will perform at Make It Up Club
11 August 2009.

Expect another improv session of screeching saxophone and ear piercing live electronics

Make It Up Club
Bar Open
317 Brunswick Street
VIC

The Tone Generation

2009-07-25T16:52:00.004+10:00

The Tone Generation radio documentaries.
Ian Helliwell has created 17 amazing radio documentaries on early electronic music.
The first 10 episodes cover individual countries, or close to it, then there is an hour long episode on the RCA computer and so on..
You will hear music by all the well known pioneers of electronic music, Xenakis, Cage, Henry, Nono etc as well as many you may have never heard of i.e Douglas Lilburn.(Do check out his triple CD!)

All of the incidental sounds are by Ian.

Really worth listening to. 10/10

someone filmed last night

2009-07-09T12:51:00.003+10:00

CLICK THE IMAGE TO GO TO VIMEO

live tonight

2009-07-08T16:22:00.004+10:00

This is what I am using tonight with Stephen Richards on Saxophone.
As this is not a VICMOD gig I wont use a modular.
instruments used: Ekdahl Moisturizer, Bugbrand Postcard weevil, 1x chopstick.

cray vs cleaninglady

2009-06-25T14:22:00.016+10:00

Cray vs cleaninglady will perform a live improv set .
8 July
stutter @horse Bazaar
397 Little Lonsdale Street, Melbourne

Cray (Ross Healy) will be performing on an assortment of strange analogue noise machines VS cleaninglady (Stephen Richards) play screetching saxophone and various wind instruments.

Should be a blast!!!!!

Ekdahl Moisturizer

2009-06-23T20:05:00.006+10:00

Just picked up this amazing fun effect box, I would call it a musical instrument.

Its a playable Spring Reverb with lovely sounding filter and built in LFO.

It is a really great looking , great sounding unit.

I hope to interview Karl Ekdahl soon it see what makes him tick.

check out this great vid

Funny VICMOD review

2009-05-25T11:22:00.006+10:00

Simon Birds found this funny review of us :-)
There were 6 of us :-)

taken from here

VICMOD RECORDS got talent!

2009-05-19T19:49:00.002+10:00

VICMOD Records is a new experimental electronic music label.

We are interested in recordings that push boundaries in sound synthesis and arrangement. Recordings can consist of digital computer music, analog synthesis etc.

The label will release limited editions* of each recording and once they have sold people can buy the digital version indefinitely. * limited edition versions will come with extra bonus tracks and art etc.

We are currently working on the website and will have the label up and running hopefully by August 2009 at the latest. We already have 3 albums ready for release.

If you are interested in sending finished recordings ( we prefer full albums) please send them to:
Ross Healy
3rd Floor
172 - 192 Flinders St
Melbourne 3000
Victoria
Australia

Please submit your CD with music and data bio, photo and contact information.
We will need 320 mp3 recordings and also wav file recordings.
If we decide to release your stuff we will run the label professionally and will treat the artist with the respect they deserve.
If we do not decide to use your album, fear not we will not copy or distribute your recordings without your authority.
Please let all your friends know.

vicmod play with pussy

2009-05-17T16:11:00.005+10:00

This Thursday, 21 May at the Toff, Swanston St, Melbourne VICMOD ENSEMBLE will be performing an all modular set and then joining psych rock mind fuck artists Slocombe’s Pussy. Expect sonic madness and pussy galore!

Toff in Town, Thursday 21st May

Doors open 8:30pm, $10 grown ups / 7$ good excuses.

CURTIS ROADS SHORT VISUAL DOCO

2009-05-14T13:09:00.004+10:00

I owe so much of my digital sound world to Curtis Roads.
He is up there with Subotnick, Cage, John Chowning, Don Buchla, Pierre Henry, Parmegiani, Xenakis, Hecker etc
Click on the photo to take you to a 3 part doco.

5 may 2009 phone vid

2009-05-09T07:39:00.002+10:00

Many thanks Graeme Trott

MORE 5 MAY PHOTOS

2009-05-09T06:41:00.014+10:00

Many thanks for the new photos Stephen Richards

Synth only night, Make It up Club , Bar Open 5 MAY 2009

2009-05-07T22:01:00.014+10:00

For a short period of time last night you could have been excused not knowing what century we were living in, what with Public Image Limited blasting out the bar speakers downstairs and upstairs, before the performance, The Human League’s Reproduction album was happily playing away followed by tracks by Morton Subotnick and Alvin Lucier. Plus the fact I could see 2 Korg MS20s a Roland MC202, EMS VCS3 and a Roland System 100M.

What brought me back to now was seeing new modular synths consisting of a mish mash of euro modules (Livewire, Harvestman, Doepfer, DIY) a few laptop computers and a Buchla 200e. I wanted to look at this room forever!

The night started off with an amazing low end rumble courtesy of Stephen Richards on his Roland MC202. It was great to see the MC202 being used differently.

Next up was Mathew Brown and friend on 2 Korg MS20’s a Korg sequencer and a new NI Maschine, again an amazing use of the Korgs , great transient glitchy stabs of sound, thwaps and clicks.

Steve Williams (EMS VCS3) and Steven Hayes (Roland System 100M) played a pulsed set of off kilter minimal techno sounds with EMS frequency screeches.

Cray was next up using a combination of Buchla 200e and computer. Its best to describe Cray’s sound as Avant electronics, think not quite a wall of noise and not quite pure Music Concrete. What followed was panning transient sounds, and what I can only describe as futuristic engines starting up and slowing down, with creaking sounds and so much more.

Abre Ojos was next ( Euro modular)for an immersive drone set. Its great to sit down and phase out Abre’s Ojos. Sounds slowly build up with droning vocals to creep up and wash over you. Would be great to hear it in a cave!

VICMOD Ensemble were the last performance for the night. 4 Modular synths, what looked like a very early proto EMS VCS3 that Don Banks could have owned and assorted electronic boxes. This was a completely different sound to their last performance. Each member started 3 minutes apart giving the audience more indication as to who was playing what. It wasn’t the wall of sound I was expecting instead it sounded like a futuristic society of nanobots having a conference. A great performance.

All round the night was a huge success and any night where you only see synthesis is a great one in my books. There should be lots more of it!

Photos Simon Birds and Graeme Trott

5 MAY MODULAR MADNESS LIVE

2009-04-27T14:58:00.012+10:00

5 MAY - MAKE IT UP CLUB, FITZROY,VIC, AUSTRALIA @ BAR OPEN
(Doors open 8pm)

A night of modular analog synths, computers and little boxes or tricks.

Cray (Ross Healy) will be making a rare live appearance featuring a computer music live set, then Ross and his Buchla 200e will join VICMOD ENSEMBLE for an all analog modular performance.

Abre Ojos (Scott Baker) will also be performing a solo set on his diy modular then joining VICMOD ENSEMBLE.

Also on the night
Steve Wiliams
Mathew Brown
Stephen Richards

Should be another great night of synth sounds!

Buchla 254 and 258v vid

2009-04-25T21:06:00.005+10:00

here is a short vid of my 200e with the new Verbos 254 and 258v.

here is a longer version

In the vid I am using 3 oscillators 259e,261e and 258v

Buchla clones arrive

2009-04-21T11:38:00.003+10:00

Many Thanks to Mark Verbos for the great work...cant wait for the 259 :-)

2009-04-13T20:37:00.008+10:00

Make Noise are not just another euro rack modular company. With just a few modules to their name they have made quite a racket.Amazing modules, great designs and great sounds!
I just had to interview Tony Make Noise Rolando.

➢ What made you start MakeNoise?
While on the road with the band, I found myself repairing echoplexes,
farfisa combo organs, wurlitzer pianos, tube amps, stompboxes and what were then cheap analog synths such as the Pro One or Roland Juno.
Honestly, I have never owned a piece of music electronics that I did not open up! My skills at that point were limited to what I was taught by a well respected, retired engineer in Chicago. He let me hang out around his shop and ask questions-showed me what to look for, gave me some guidance in soldering (though my father had already taught me how to solder pretty well). In 2003, the band broke up for the last time... I had nothing but time on my hands. We lived within walking distance of the Brooklyn Public Library. They had a great collection of 60's and 70's era electronic engineering texts. Books written by guys like Bob Pease ("Troubleshooting Analog Circuits" was a good one, hopefully it is still there). My interest in analog design turned to obsession. I took a job with Moog Music, and learned what manufacturing of analog electronics is all about!
Billy Corgan (of smashing pumpkins fame) came to visit the Moog plant. I think most people reading this would be surprised to find out that he is a synth-geek, and is especially enthusiastic about modular synthesizers.
He said something that really stuck “... the current generation of musicians are more interested in creating new and unique systems for making music than in mastering a single musical instrument...”
I later had the revelation that the modular synthesizer is the perfect
combination of musical instrument and musical system. The artist is able to construct a unique system, from the selection of modules, to organization of those modules and the case in which they reside. The system may be de-constructed and reconstructed at will. The open
architecture leads to unique technique and the tactile, physical nature of the system encourages expressive and spontaneous performance.

> You built a Wogglebug for me a year ago. You have since released the modDemod, QMMG and Format Jumbler. What can we expect next from MakeNoise?

With great pleasure and special thanks to Grant Richter, the euro rack
format Wogglebug.

> How has the response been to your products?

Response from the end user has been a thrilling element of running Make Noise. It may seem ridiculous to some, but I feel as though I am a small contributor in the music that is made with Make Noise instruments, and so I get a real kick out of hearing it.

> I see MakeNoise to be a kin to The Harvestman, in the sense you are really both bringing out extremes in modules. Do you see your company mainly looking towards the noise/experimental end of the market?

I try to design for maximum functionality. Ideally, all Make Noise will
scream like a choir of dying insects, AND sing soft lullabies for
baby... but mostly the dying insect bit.

> Do you like Noise as a genre? Who are some of your favourite artists?

When I was 14, my friend went to California to visit his brother, who
had a legendary record collection. He returned with cassette dubs of
several albums, one of which he gave to me because, he said, “...it
sucked.” The tape had Sonic Youth's “Confusion is Sex” on side A and
their “EVOL” album on side B. To this day, I have never been so
frightened by a piece of music as I was upon the initial plays of those
two albums. My vision of what music could be, and the role of noise
within music was forever changed. A couple years later, 1988 I think, I
went to a record sale at the library in my town. I bought records like
crazy then, choosing most of them based on the cover art, just trying to find something new in a town that was consumed by classic rock format radio. Sure I came home with a lot of bummers like “Klaatu,” but on that day in 1988, I came home with Morton Subotnik's Silver Apples of the Moon and an even more amazing album called “Electronomusic” by John Pfeiffer! It took me many years to understand how those records were made, and I suppose that is also part of how I came to start Make Noise!

My favorite stage performance utilizing noise came from Keiji Haino. I was 18, visiting NYC for the first time. I read about a show hosted by Thurston Moore, at the Knitting
Factory, it may have been one of the early No Fun festivals... This was when the ceiling in the bar was actually knitted! This man stepped on stage wearing all black leather, and playing an all black Gibson SG. He had on black shades too... He played that guitar the way Conan the
Barbarian worked a sword! 10 years later I walked through the studio where EVOL was recorded and I screamed into the cavernous, concrete live room. It was awesome to hear the ambience of that album imparted on my own voice! I had just moved to NYC, I had no home, no job and no money. Not much changed for 2 years.

Recently I have enjoyed strange noise from Surachai, D/AA/D and Carlos Gioffoni. I am completely awestruck by Richard Devine's composition “Matvec Interior” from the album “Cautella.” It is noise as electro-acoustic brain massage therapy.

Still, I sometimes feel the BEST noise is what we make by ourselves setting alone in front of a loud analog computer with a handful of patch cables and hours to kill!

> I have just ordered your QMMG, I love its features and the artwork is so beautiful. I cant think of what style the art reminds me of but its
30s, 40s style?

Thanx! Grant Richter described the Wogglebug artwork as “post-bauhaus,” might that be applied to the QMMG as well?
I like hieroglyphs and non-linguistic indicators. Mostly I find inspiration in the mechanical drawings and schematics for the design.
All of my artwork is done utilizing the same software that I use to layout the printed circuit board. My goal with the module artwork is to have a system that looks less like laboratory equipment and more like the musical instrument on which that artwork is printed. All other
musical instruments have little, if any, text printed on the instrument body. If an interface is well designed and the user's manual well written, the text legend on the front panel is redundant. Once the artist learns how to use the module, it will be like habit where to
insert which type of signal, and which control does a certain function.

> You use to work with Bob Moog? What was that like? Are you still at Moog?

On August 21st, 2005, my partner, Kelly, and I flew into Asheville, NC
to visit with friends. This was the same day that Bob Moog passed away.
I would have never known that Bob Moog and company resided in Asheville, NC if I had not read of his death in the paper the following day. A few months later it was then Kel's idea that I call Moog Music and ask for a job. I learned a great deal working for that company, and it would take many pages to describe the experience.

> Could we see a complete Make Noise modular system in time?

Yes, my goal is a system which could be operated with ease while blindfolded.

> What can we expect to see from Make Noise in 2009?

You will have to talk to me in person to find out. I'll have a table at No Fun Fest this year. Come see me.

http://www.nofunfest.com/2009.html

A day in the life of a synth nut

2009-04-08T13:29:00.011+10:00

Its been a while..... lots happening.

VICMOD will be performing live again over April and May with special guests.

Currently waiting for my Buchla modules to be returned, Plan B modules awaiting return, Serge /Buchla cabinet to be collected from the mighty Ken Stone this Friday. Yay!

Then Mark Verbos has the Buchla clones coming yay! yay!.

And then a bit later in the year Bugbrand Modular should be here, really excited about this...also expect an interview with Tom Bug at some stage...

Recent music listening for an open mind:

Shasta Cults -3in (Feed and Seed)
Hecker - Acid in the style of David Tudor (Editions Mego)
Parallel Worlds - Shade - (Din)
Cray - unreleased recordings (from the 50 cd archive).
Degenerate Stimuli Mulch Notification - Don Hassler/Ross Healy (Digitalis Industries)
Lecture - Allesandro Cortini
SND - Atavism (Raster Noton)
A sound a day - via the 12k site (12k)
Doug Theriault - Of Zero
Pauline Oliveros - Four Electronic Pieces 1959-1966 (Sub Rosa)
Miki Yui - Small Sounds (Bmb Lab)
Magneticring - Live at Solus Festival Vancouver
Don Hassler/ Jason Butcher - Kavrana Live
Hecker - Live @ WDR (Tochnit Aleph)
Musique Non Suck - Early Electronic Mix
Douglas Quinn - Antartica
Bogdan Raczynski- Alright (Rephlex)
Atom TM - Leidgut (Raster Noton)

Back soon with VICMOD dates

Interview with Mike Brown of Livewire Electronics.

2009-01-27T21:38:00.039+11:00

Photo byKenneth Reeves

Livewire Electronics modules give the overall impression that you have discovered abandoned 50’s alien test equipment.
With this in mind, I had to interview Mike and see what made this mad scientist tick.

Mike tell us a little about yourself.

This is the one I usually dread... (I'm not one for talking about

myself much) but how about this:

Played in a few bands during the '80s & '90s... if anyone

remembers Cafe'Noire, Aura Circuit, or my solo project,

Electronium (probably not... haha)

Studied electronic music at Cal State University San Bernardino

under Dr.Raymond Torre-Santos (now at Hunter College in New

York). At the time they did not have an electronic music

program, so when I showed up for recitals with my reels

of tape music... the jury of music dept. administrators

threw me out... haha...2 years later they had a full blown

electronic music major program. figures.

I had always wanted a modular synth... but being married

with small kids,had no hope of justifying the expense.

Then around 1994, I discovered a book in the local library...

"build your own synthesizer" by Thomas Henry.

I thought "I can do *this*!" so I set about gathering parts

from local surplus stores and schematics from anywhere

I could get them... library books mostly... I was on the

internet, but this was pre-web days I think...

So then I went about starting small fires for the next

six years or so... ;)

Eventually, the circuits began to actually work... and

then I was thoroughly hooked.

A few years later, the idea came about to start

Livewire... mostly from the fact that I absolutely

ABHORRED my corporate day job. I started the business

while still working as a project manager for a bank, and

it took another six months to a year before I built up

the courage to make the leap to full-time self employment...

and I've never regretted the decision.

Now, one thing I must say... the thing I like the most

about this business is the camaraderie of the boutique

synth community... Dieter Doepfer, Wowa Cwejman,

Jered Flickinger, Eric Barbour, Yasi Pererra, Jurgen Michaelis,

Bruce Duncan, Carsten Schippmann and of course, the

one and only Ken MacBeth... these guys were all amazingly

supportive and helpful... and in turn, it has been my great

pleasure to help out guys like Scott Jaeger and Josh Holley

get started with their eurorack lines.

So that about brings us to 2008... Steve has done

a fantastic job in following through with my vision to bring

all Livewire products to factory assembly. We are now

delivering products to dealers in quantities we never

could have managed before. A huge debt of gratitude goes to Steve for

taking Livewire to the next stage.

Can you remember what “that” moment was when you were blown away by electronic music?

Wow... that's a big question. let's see... When I was *really* young, I

remember hearing "Funeral for a Friend/Loves Lies Bleeding" on Elton John's

"Yellow Brick Road" LP... honestly, that was probably my first real

awareness of synthesizers.... (yeah, I know... pretty lame, huh?) after

that... I remember my friend's hippie older brother playing this record for

me through headphones... it was "Autobahn" by kraftwerk. now that REALLY

blew me away... then the late 70s & early 80s came... some records I

specifically remember would be "TVOD" by The Normal, "Metal Beat" by John

Foxx, the "Leave in Silence" 12" by Depeche Mode, that first Heaven 17 LP...

what was it called?, "Rage in Eden" by Ultravox (Conny Plank's work...

amazing), the "Replicas" LP by Gary Numan, "Your Silent Face" & "Temptation"

by New Order... all this stuff really got me into electronic music. it was

like an explosion really... all this great music and most of it made with

synths. then in the 90s I remember the first time I heard "Papua New

Guinea" by FSOL... and then all that big beat stuff... "Block Rocking Beats"

& "The Rockefeller Skank"... and then drum n bass... and IDM... Autechre &

Aphex Twin... man, so much great stuff.

The Dual Cyclotron was the first Livewire?

Yes and no.... the FrequenSteiner was technically the first Livewire module,

but that was just a clone of Nyle Steiner's design... the Dual Cyclotron was

the first module that I designed all myself, from scratch.

You have an amazing collection of old test oscillators. Why?

Hmmm..... why......? a good question. I guess I became obsessed with the

idea of building a big modular synth out of them once I discovered you could

buy them on ebay for $5 and $10... and y'know... they just look so cool.

What's interesting about working with them, is you have to really adopt a

different approach to get any kind of 'music' out of them... because you're

working with machines that really aren't meant to make music... sometimes

they really aren't meant to even make sound! so you have to approach it

with a different way of thinking...

In the end, this really affected my ideas when it came to module design...

particularly with things like the dual cyclotron... which is specifically

inspired by the way I used to patch up certain pieces of test equipment.

Your modules seem old school circa 50’s era electronics but in an alien

dimension. What is it that you love so much about Livewire?

Hmm... another good question.... I guess what it is is that I am designing

modules for myself, generally... I design stuff based on the things that *I*

like... things that *I* want a modular to do... and I suppose it's based on

that 1950s SciFi aesthetic... which is one of my favorites... y'know lab

coats & Tesla coils & great big dials & switches. NASA stuff.

Why do you think there is a growing interest in modular synths?

I think it is because people like to turn knobs... pretty simple. a laptop

touch pad can get pretty boring.

Do you think you will ever run out of ideas?

Nah... too many good ideas... I'll more likely run out of time! ;)

Two of your modules the Dalek and Vulcan make me think you are a Doctor Who and Star Trek fan?

Well growing up in America in the 1960s & 70s I was a big Star Trek

fan... but only of the orig TV series. now my kids & I are huge Doctor Who

fans... we don't miss it!

I see on the back of my AFG quotes from The Matrix, are there any other quotes I may have missed on other boards?

There are quotes on every module... you just have to look harder on some ;)

The Dual Cyclotron has quotes in the form of a riddle... 3 excerpts from the

lyrics of 3 different songs... but all related... so far Daniel Miller is

the only one who has been able to guess the connection (but he cheated... as

he's part of the riddle!)

We have seen some of the Livewire module prototypes. Can we expect new modules released in 2009? 

Yeah, definitely... there will definitely be new livewire modules released

in 2009... of the prototypes you've already seen, the Subdivider & Chaos

Computer will probably be released this year... along with the expander

modules for the AFG.  plus, I have a couple of modules that I have not shown

that I plan to release soon..... stay tuned!

Photo Ken MacBeth