I know a lot of the folks at Novation on a personal level well enough to say – they’re synth lovers, day job and after hours. What’s great about their latest video series is, some of that comes out.
Of course, yesterday we saw at least one user really hacking a Novation product, the Launchpad Pro, by modding the hardware using a firmware release from the company. And as one frustrated developer shouted at us in comments, that requires a bit of effort. (Not so much for you – you can download a file and use this easily – but modifying real-time firmware of hardware takes some practice!)
This isn’t quite that. These “hacks” have more to do with creatively abusing some features to push the hardware synths to the limit – Circuit, Circuit Mono Station, and Peak. The Circuit in particular has a user community that proved surprisingly advanced, squeezing everything they can out of this budget-priced hardware. But lately the more recent Mono Station and Peak are finding an equally devoted following.
Here’s the whole playlist, which covers sound design techniques (like oscillator sync – okay, that’s more a conventional technique than a ‘hack’), approaches to performance (patch change), working with clock and CV, and other features.
This raises a question, though – these are recent Novation products, so it’s pretty easy to get the manufacturer to do some hot tips.
But which instruments would you like to see covered – new or old – and in what way? What’s missing in tutorials? Let us know in comments. (I realize I just self-selected the answers to that with people who own these Novation synths, so I’ll keep asking this … but also curious what other stuff you Novation lovers own, too!)
The story of electronic music making is ultimately a human one, even as those humans work with machines. So as the Bob Moog Foundation plans a Moog museum and expanded education, we share seven images from the archives that follow a thread through that history.
The Bob Moog Foundation is a non-profit American organization dedicated to continue the legacy of its namesake. And now they’re expanding their educational project for kids, the Dr. Bob’s SoundSchool, which uses sound technology to teach engineering and science as well as culture. Plus they’re raising funds to create a physical Moogseum. And to do that, they’ve got some classic instruments to give away as fundraising items in a raffle (details below).
There are tons of amazing images and artifacts now in the foundation archives. But let’s examine a few that capture a set of moments across that history. Thanks to Bob’s daughter and Moog Foundation Executive Director, Michelle Moog-Koussa, for sending these to CDM. (Captions also courtesy Michelle.)
Roger Powell and Bob Moog with custom modular controller designed by Bob for Roger, at Radio City Music Hall.
Roger donated this controller to the Bob Moog Foundation, and it is now part of their archives and will be present at the Moogseum.
Bob Moog fixing Patrick Moraz’s Polymoog in Switzerland.
Bob Moog and Less Paul with the LAB Series Amp.
Bob Moog, Suzanne Ciani, Roger Powell, UIW.
Bob Moog, Herbie Hancock, Will Alexander, NAMM.
Bob Moog lecturing at University of Michigan about Alwin Nikolias’ first commercially available Moog synthesizer.
Chick Corea and Bob Moog, Asheville Civic Center.
About that raffle:
A Memorymoog, Moog Source, and Moog Rogue will be offered as first, second, and third prizes, respectively. The Moog Trifecta Raffle marks the first time in the Foundation’s history that it is offering more than one raffle prize.
The raffle begins on August 27, 2018 at 12:01am EDT, and ends on September 24, 2018 at 11:59pm EDT, or when all 5500 tickets sell out, whichever comes first. Tickets are $25 each or five for $100, and can be purchased here: http://bit.ly/MoogTrifectaRaffle
Funding raised from the raffle will be used to expand the Foundation’s hallmark educational project, Dr. Bob’s SoundSchool, and to help fund its newest project, the Moogseum, which was announced last week. The Moogseum, a planned interactive, immersive facility that will bring Bob Moog’s legacy and the science of sound and synthesis alive for people of all ages, will be located in downtown Asheville, NC. It is expected to open in April 2019, with an online Moogseum to follow later that year.
All three synthesizers were built in Moog Music’s Buffalo, NY factory in the early 1980s, have been fully restored, and are in excellent technical and cosmetic condition with minor flaws typical with vintage instruments.
The Memorymoog, serial number 1460, has an estimated value of $7,500. It combines six voice polyphony to create a unique polysynth with three voltage controlled, articulated oscillators. Each voice has its own 24dB voltage controlled filter. It is often referred to architecturally as six Minimoogs, and is renowned for its rich sound.
The Memorymoog being offered has been retrofitted with a sequencer and MIDI capabilities, normally found only in Memorymoog Plus models. It has been meticulously serviced by vintage synth specialist Wes Taggart, a lauded technician for Memorymoog restoration.
The Moog Source is a 37 key, two oscillator synthesizer with unique features such as patch memory storage, flat-panel membrane buttons, single data wheel assignment, and more. It has two voltage controlled analog oscillators and the legendary 24 dB Moog filter. The unit being offered is serial number 2221 and has an estimated value of $2,400. The Source has been used by such legends as Tangerine Dream, Jan Hammer, Depeche Mode, Devo, and Vince Clarke.
The Moog Rogue is a compact, two oscillator monophonic synthesizer often referred to as “small but mighty” for its legendary powerful bass sounds. Versatile and user-friendly enough to be used as the Taurus II Bass Pedal synth, the Rogue has been used by Will Butler of Arcade Fire, Vince Clarke, Peter Gabriel, Jonny Greenwood of Radiohead, Howard Jones, and more. The unit being offered, serial number 4462, has been restored by acclaimed restoration house Tone Tweakers, and is valued at $2,000.
It’s dubbed a “Waveform Research Centre” – and Rotterdam’s gear-stuffed WORM laboratory is a science fiction playground for voltages, making music and visuals alike. Let’s go inside.
Dennis Verschoor is a mainstay of the Rotterdam experimental electronic scene, with some decades of artist experience to his name and the legendary Noodlebar performance series. Filmmaker Steve Guy Hellier joins Thonk’s Steve Grimley-Taylor to produce a short film about him and this amazing space: (thanks, Sonic State, hat tip)
From the description:
I first met Dennis whilst I was in the WORM studio on an artist residency in 2017. The WORM studio is like a geological trip through electronic music’s history but I was about to travel even further back. Strange ghostly tones emanated from the old vocal booth next door, it was this space that Dennis had filled with mid 20th century audio test equipment, going back to the roots of audio electronic experiments before commercially available instruments from Moog or Roland, before keyboards, back to Stockhausen, Else Marie Pade, Daphne Oram, Raymond Scott and the like. Why now? is this the logical conclusion of Mark Fisher’s cultural hauntology? do we end up back at the source? the sound of past futures? For Dennis it seemed more a way to dodge the hipsters, and invite collaboration.
Dennis and I had a friend in common Steve Grimley-Taylor, a lover of all things electronic and sound related (founder of Thonk.co.uk). When I expressed the idea of making a film about Dennis, Richard Foster from WORM kindly agreed to let us. This is a short film about Dennis, his journey and his room.
Steve Guy Hellier 2018
You know what time it is, kids? It’s gear pr0n, time. Some waveform pics to get your Friday night started right.
It’s equal parts Polish Radio Experimental Studio and starship control panel. The Apparatum by Warsaw’s panGenerator proves that not only can everything old is new again – maybe it’s even newer.
Take a look:
The Apparatum is a new installation that reboots Communist-era work from the space age, bringing visual and optical and magnetic concepts into a playful synthesizer concept. It’s the latest work from interactive/media shop panGenerator from Warsaw.
In the early adventurous work in electronic music, there was nothing to take for granted. So it makes sense that Polish pioneer Bogusław Schaeffer would imagine an entirely new visual language to accompany the new sounds humans were hearing from their circuits. His Symphony – electronic music cued the engineer with those hieroglyph-like visuals, and inspires the sounds and visual language here.
But maybe that’s what modernity is now: now that we’re no longer wowed by digital, we’re sophisticated enough to see new potential for magnetic and optical techniques that had been discarded in the march to the new. Artists/researchers like Andrey Smirnov, who delve into the world of Soviet optical synthesis and Theremin, have regularly wondered what an alternate future would be like if radical optical and electro-magnetic techniques had continued to develop. Now, in works like this (and work by artists like Derek Holzer) make that alternate reality our own.
The work also draws from the design aesthetics and the engineering of the original, legendary Polish studio:
The physical form is inspired by the general aesthetics of the Studio’s famous “Black Room” designed by Oskar Hansen. The electroacoustic generators and filters were arranged in a modular fashion inside two steel frames – the construction element that we’ve referred to in our design.
Magnetic tape was the primary medium used in the Polish Radio Experimental Studio. We’re also using two types of “tape samplers” – two 2-track loops and three one-shot linear tape samplers. To obtain noise and basic tones we’re utilising purely analog optical generators based on spinning discs with graphical patterns.
This may just look like digital tech aping the original, but they’ve genuinely made a hybrid. DC motors spin discs made of plexiglass, covered in opaque black foil on one side, with an LED and photoresistor. That optical detector feeds an analog signal, fed directly to the mixer. They’re real, opto-analog oscillators.
The magnetic part is real, too. 2-3 second tape loops record samples, with variable-speed playback, on top of 3 one-shots that move the magnetic head along the tape (with in turn varies pitch). So you have digitally-controlled magnetic tape and opto-analog synthesis – a fusion of past and present tech. It takes the historical sound techniques, but produces a more accessible, dynamic interface with the computer – digital input, analog output.
And visitors to the exhibition get real recorded results, too – just as they would if they stepped into the historical electroacoustic studio. There’s a printout of the score, plus a digital record uploaded to a server.
The historical use of tape is reimagined with real, digitally-controlled magnetic tape sampling.
The historical gear that inspired the new invention, side by side with the results.
Visual scores accompany the sonic creations.
The Apparatum will make the trip this weekend to Karlsruhe, Germany, where it will accompany an exhibition on now through the start of next year on the historical Polish studio:
Talk about less is more. The Arturia DrumBrute impact is sure to be a hit at US$349 for a packed analog drum machine – but its newfound focus and re-built sounds also make it more fun to play.
Fitting a drum machine into a smaller size and cutting the price this low does mean taking some things out. But it’s what’s left in that may make people find the DrumBrute Impact appealing.
Arturia has been trying their hand at drum machines for a while. It began on the software side, with the Spark series, but the workflow and functionality of that line never seemed to grab users quite like with Native Instruments’ Maschine or Ableton Live combined with Push, to say nothing of people who want to get away from the computer and use some hardware. The DrumBrute was promising, packing some novel analog sound circuitry together with workflow features from Spark and BeatStep Pro, but its sound felt like a work in progress. (Case in point: my studio neighbor has one and loves it, but he mutes the kick and replaces it with something else. Making drum machines is hard.)
So, that’s the surprise of DrumBrute Impact. The “impact” which I thought was just smart marketing for it being small and cheap actually is a clue to the fact that the Impact has all new circuitry inside. It’s the Arturia brain here, but the soul has been upgraded.
Finally, Arturia have made something that doesn’t just feel like another Roland TR drum machine. And that’s good, because much as I love the TR, having only that color is a bit like having a Wurlitzer but no Rhodes. But simultaneously, it also sounds like a new set of sounds you want to use, without requiring you to invest a huge amount of money in those sounds.
The result: this thing hits really hard. That matters. We’re humans. We like things that go thud. We can feel it. This isn’t theory; it’s visceral.
The sound engine:
You get a full complement of parts, each analog and with controllable parts. “Analog” remains something of a marketing hook, but the important thing about these parts is you get a set of sounds you can manipulate directly. That means:
KICK: pitch and decay
SNARE 1: snap and decay.
SNARE 2: tone and decay.
TOM: pitch, switch between high/low.
CLOSED HAT: tone
OPEN HAT: decay (mute linked to the open hat)
FM DRUM: carrier pitch, decay, FM amount, and mod pitch.
I’ll work on some videos and music in the coming days. Drum machines are all about taste, so you may differ, but I liked each one of these sounds – which is really hard to get on a new machine. (The TR has a huge advantage based on familiarity, too. None of us can really say what we’d think of it if someone brainwiped us and we hadn’t heard any the music made with Rolands over the years.)
More importantly, you get a huge range as you twist the encoders on these, with a sense of power across that range rather than that usual feeling of … okay, this is the sweet spot and the rest is shite.
Snare 2, for instance, can sound like a rimshot or a clap, even, depending on where you adjust it, and lots of things in between. Tom Low easily doubles as a kick with a darker color. The cowbell is an exception, but it’s a nice grown-up homage to Roland.
It’s really the FM voice that’s the big winner, though. And it’s clear you could not only cook up some unexpected percussion with it, but also hack it into a usable, potentially weird if you want, FM bass synth.
If you want lots of I/O, well… come on, this thing is $349. But you still do manage a mono mix out, four separate outs for parts, and dedicated clock in/out, MIDI in/out, and USB.
Arturia could have made this a fairly dumb box that’s just a sound engine, but they crammed a whole lot of powerful features for playing into it, as you might expect from some of their past outings. So you get:
Step sequencing with 64 patterns (64 steps each)
Song mode for chaining patterns
Polyrhythms (set each track to its own length)
Swing, either global or per-instrument
Random pattern variations
Pattern looper, beat repeat
Real-time rolls (with that touch strip again)
Multiple sync options: Internal / MIDI / Clock, including 1PPS, 2PPQ, DIN24, and DIN48
There’s even a metronome that automatically overrides itself on the main out when you plug in headphones.
You don’t have easy MPC-style note repeat, which I personally prefer to those touch rolls, and the drum pads are basic (though you get one for each part, unlike the more expensive Roland TR-8S). Other than that, it’s hard to complain.
One surprise is the distortion circuit. It’s nice, and adds some dirt, but I almost expected something raunchier. Anyway, it’s useful to have, and you can always run those outs through some distortion pedals and really go nuts. I did run it through some light effects and delays, and it sounds unreal.
I mean, what’s to say? This thing is going to sell like crazy. $349 / 299 €. Preorder now, full availability in August.
It’s turning out to be quite a summer for hardware drum machines, with the ongoing success of the Elektrons (and some updates), the breakout hit Roland TR-8S, the coming boutique MFB TanzBar II, and now this as your cost-effective choice. If you’re still failing to play drum machines live or writing dull drum parts, you have no excuse.
Yes, nests of patch cords and racks of modules will make noodle-y noise for chin scratching. It can also make pounding techno – and we’re going inside some of the sonic brains who’ve mastered that.
Our mission: let’s learn how people are actually using modular synthesis to express their musical ideas, and demystify some of the basic concepts in sound creation behind all those cool flashing lights and tangles of wire.
To do that, we need musicians like Florian and Leonard.
Florian Meindl and Leonard de Leonard will join us tomorrow in Berlin thanks to Roland organizing a visit in the artist center they’ve set up in Kreuzberg. These are two producers with a deep knowledge of music history and production skills as well as technical knowledge. They’re proof that musicianship is a combination of engineering and intuition. So whether you’re interests tend to beats or beatless, the main takeaway is that they can master creative sound design as an instrument.
Florian in the studio.
Florian has been a guest with CDM (and Roland) once before. He’s a real workhorse of Berlin’s techno scene, having produced music for about a decade and a half, various high-profile remixes (Hot Chip & Royksopp), and helmed a label (FLASH) that has released a who’s who of quality techno from around the world – with a stunning 130 releases, ranging from Sigha to Noncompliant, and not a dud in the bunch. I have to say from trying to juggle multiple threads like this, this stuff isn’t easy. He’s also some kind of ninja of social media.
Plus, for synth lovers, his Riemann Kollektion and Riemann Modular build businesses around boutique sounds and DJ tools and Eurorack modular, respectively.
Florian’s hybrid DJ sets effortlessly mix from club bangers to fluid modular improvisations – I saw particularly heavy, concrete-shaking sets at both Berlin’s Arena and Griessmuehle recently. I think the key was, the modular stuff never sounded like filler – it was just as dead-on.
Here’s a beautiful example of his music, which goes full-on dark and industrial without ever losing site of groove.
And because the future of DJing is also playing live, here’s his round-up of mixes and live sets:
Leonard’s stunning Sound Provider studio, otherwise known as “okay, that’s a good motivation to try to go to heaven when I die instead of Hell, maybe?”
Leonard de Leonard is a kind of sonic polyglot, a deep expert in modules and synths (well beyond my own modular knowledge – let me be totally clear about that), and with a resume across various genres, in composition, arrangement, and production. He’s also worked in sound design. You can tell a really clever producer/sound creator when it’s musically satisfying to listen to samples of their loops – like, his loop libraries sound better than a lot of producer’s tracks.
We’ll also get to look at Roland’s entry into Eurorack modular, a collaboration with Portland, Oregon boutique maker Malekko. What I appreciate about Roland’s work in modular, and why I would chose to work with them, is that they’re helping give back to the odd and wonderful underground collection of people now making modules. So apart from bringing back some of the vintage Roland System 100 designs that helped shape what modular looks like today, they’re also making a point of showing how their modules fit with other smaller makers, in a larger ecosystem.
With the proliferation of modules, the phrase “Eurorack bubble” has been floating around for a while. But now it appears to be translating into falling prices.
The basic problem is this: more demand means more interest, which translates into more manufacturers, and more production. So far, so good. Then, more distributors pick up the goods – not just boutique operators like Schneider, but also bigger chains.
Where’s the problem? With too many modules out there in the marketplace, and more big retailers, it’s easier for the big retailers to start to squeeze manufacturers on price. Plus, the more modules out in the world, the greater the supply of used modules.
Andreas Schneider has chosen to weigh in on the issue personally. You can read his statement in German:
There’s actually a lot there – though the banner revelation is seeing the cost of new modules suddenly plummet by 30%:
You asked for it: Due to the increased demand for Eurorack modules in Europe, even the large retailers for musical instruments are now filling the last corners of their warehouses and buying complete production runs from manufacturers and everything else they can get. Some manufacturers might be happy about this, but the flooding of the market already leads to a significant drop in prices here and there, some modules are already available with a 30% discount on the original calculated price and yet were still quite hot the other day!
As SchneidersLaden we have decided to go along with this development and of course offer corresponding products for the same price to our customers, although most of them have already bought them when the goods were still fresh and crisp! We’re almost a little sorry about that, but hopefully the hits are already produced and the music career is up and running? Nevertheless, sorry – but the decision for this way lies with the manufacturer and was not our recommendation!
By the way… we don’t advertise with moneyback-warranty… we’ve always practiced it. But please: get advice first, then buy – like in the good old days. Because it’s better to talk to your specialist retailer – we know what we are selling. And by the way: We do free shipping throughout Europe and there are Thursdays on that we are in the shop until nine o’clock in the evening …and real CHAOS serves creativity.
That had to be said – end of commercial break.
Okay, so some different messages. To manufacturers, with whom Schneider seems to place a lot of the blame, the message is to avoid glutting the market by selling so many units that then they lose their price margin. (That seems good advice.) There’s also a “dance with the one that brung you” attitude here, but that’s probably fair, as well.
To buyers, work with specialists, and please research what you buy so you don’t shoulder retailers and manufacturers with lots of returns. That seems good advice, too.
(Hope I’ve paraphrased that fairly.)
It does seem there’s a looming problem beyond just what’s here, though. For the community to continue to expand, it will have to find more new markets. It does seem some saturation point is inevitable, and that could mean a shakeout of some manufacturers – though that isn’t necessarily a bad thing. The used market should also be a worry, though on the other hand, some people do always seem to buy new.
I’d echo what the two posts here say, which is the synth maker world will likely be healthy if manufacturers and consumers do some research and support one another.
Before anyone predicts the sky is falling, I’ve had a number of conversations with modular makers. Those with some experience seem to be doing just fine, even if some have expressed concern about the larger market and smaller and newer makers. That is, those with some marketing experience and unique products still see growth – but that growth may not translate to greener manufacturers who are trying to cram into what is becoming a crowded field.
Electronic music is understood by the general public mostly through artists – tech is just something in the background with knobs. But there’s more to the story than that.
And while it’s certainly well known in synth loving circles, Berlin has accordingly been techno capital and club capital, but is finally getting recognition as a mecca for technology.
These two films take you inside one retailer and one manufacturer that have each championed the return to boutique sonic electronics, to patch cables and modular synthesis, and that have resisted anything like mass market mentalities or commodification.
They could have easily been mistaken as throwbacks, but there’s some futurism to the visions of both Mark Verbos and Andreas Schneider. Schneider’s name is associated with Berlin, having established his shop as the hangout, wallet emptier, and community pillar of the synth scene. Verbos, who was himself once a Berlin resident, has only recently brought the modular business he established in New York City across the Atlantic. And even though their wares are unmistakably fetish objects, I’d say both brands make their value proposition through a commitment to adventurous sound. So yes, you get vintage-looking knobs and slightly anachronistic telephone switchboard interfaces. But the investment, their message says, is in exploring strange new worlds and undiscovered sounds.
Schneidersladen, toured by Synth Anatomy, is a clinic and community hub as well as a place to surrender to gear acquisition syndrome. And it retains the same personality and idiosyncracies that mark the larger synth loving scene.
Mapping the Schneider empire is getting tricky these days, but the short version: Schneidersladen in Kreuzberg is the new retail iteration of what was once Schneidersbüro (at Alexanderplatz, the old location)). ALEX4 is a distribution company. Superbooth, while once just an actual booth at the Musikmesse, is now an event series with its own production company.
At Verbos Electronics, Mark – who cut his teeth as a Buchla expert and repairperson – walks through the passion that drives his business in high-end modules. Side note: Mark is also a consummate live techno musician on his own instruments, having fired up these boxes in the likes of Berghain (and, back in the day, the old Ostgut and Tresor). Hearing him play should leave little doubt that these machines are for dancing, not just chin scratching. (You can, of course, attempt doing both at once. Full support.)
Oh, look, a new MIDI controller keyboard ranks there with “wow, a new moderately-priced mid-sized sedan.” But… Arturia may have a hit on their hands with the MKII KeyLab. Here’s why.
While everyone else guns for the elusive entry level “everyone,” Arturia has won over specific bands of enthusiasts. The BeatStep Pro is a prime example: by connecting to both MIDI and control voltage, these compact pad-sequencer units have become utterly ubiquitous in modular rigs. They’re the devices that prevent modular performances from turning into aimless noodling. (Well, or at least they give your aimless noodling a set of predictable patterns and rhythm.)
Now, is the modular market big enough to sell the majority of BeatSteps Pro? Probably not. But the agnostic design approach here makes this a multitasker tool in every kitchen, and so word of mouth spreads.
So, keyboards. Native Instruments, love them or hate them, have had a pretty big hit with the Komplete Kontrol line, partly because they do less. They’re elegant looking, they’re not overcrowded, and their encoders let you access not only NI’s software, but lots of other plug-ins via the NKS format.
But the KeyLab MKII looks like it could fit a different niche, by connecting easily to hardware and DAWs.
Backlit pads. 4×4 pads (with velocity and continuous pressure – good), which can also be assigned to chords in case finger drumming isn’t what you had in mind.
DAW control. A lot of people record/edit while playing in parts on the keyboard. So here’s your DAW control layout with some handy shortcut buttons.
Faders/mixing. You get 9 faders with 9 rotaries – so that can be 8 channels plus a master fader. There are assignable buttons underneath those.
Pitch and mod wheels. Dear Arturia: thank you for not being innovative here, as wheels are what many people prefer.
And a big navigator. This bit lets you pull up existing presets.
Okay, none of that is all that exciting – we’ve literally seen exactly this set of features before. But Arturia have pulled it together in some nice ways, like adding a dedicated switch to move into chord mode, letting you change MIDI channel with a button on the front panel (hello, hardware owners), and even thoughtfully including not only those shortcut keys for DAWs, but a magnetic overlay to access them.
Still, keyboards from Nektar and M-Audio, to name just two, cover similar ground. So where Arturia set themselves apart is connectivity.
Class-compliant USB MIDI operation. No drivers mean you can pair this with anything, including iOS and Android and Linux (including Raspberry Pi).
Control Voltage. 4 CV/Gate outputs, controlling pitch, gate, and modulation. Yes, four. Also one CV input.
MIDI in and out.
Pedals. Expression, sustain, and 3 assignable auxiliary pedal inputs.
Software integration. This is obviously a winner if you’re into Arturia’s Analog Collection library, which has gone from varied and pretty okay to really, really great as it’s matured. And since there are so many instruments, having this hardware to navigate them is a godsend. There’s also the obligatory software bundle to sweeten the pot, but I suspect the real draw here is out-of-box compatibility with the DAW of your choice – including Pro Tools, Logic Pro X, FL Studio, Bitwig, Cubase, Ableton Live, Digital Performer, and Studio One.
Made of metal. Okay, not the keys. (That’d be awesome, if… wrong.) But the chassis is aluminum, and the wheels are event metal.
There’s a pretty nice piano and a bunch of analog presets built in here, making this a good deal.
I think if your workflow isn’t tied to Native Instruments software and plug-ins, the connectivity and standalone operation here could make the Arturia the one to beat. The thing to check, obviously, is hardware and build quality, though note that Arturia say the keybed at least is what’s found on the Brute line.
There are 49- and 61- key variations, and they come in either black or white, so you can, you know, coordinate with your studio and tastes.
Performing voltages. The notion is now familiar in synthesis – improvising with signals – but what about the dance between noise and image? Artist Oliver Dodd has been exploring the audiovisual modular.
Integrated sound-image systems have been a fascination of the avant-garde through the history of electronic art. But if there’s a return to the raw signal, maybe that’s born of a desire to regain a sense of fusion of media that can be lost in overcomplicated newer work.
Underground label Detroit Underground has had one foot in technology, one in audiovisual output. DU have their own line of Eurorack modules and a deep interest in electronics and invention, matching a line of audiovisual works. And the label is even putting out AV releases on VHS tape. (Well, visuals need some answer to the vinyl phonograph. You were expecting maybe laserdiscs?)
And SIGINT, Oliver Dodd’s project, is one of the more compelling releases in that series. It debuted over the winter, but now feels a perfect time to delve into what it’s about – and some of Oliver’s other, evocative work.
First, the full description, which draws on images of scanning transmissions from space, but takes place in a very localized, Earthbound rig:
The concept of SIGINT is based on the idea of scanning, searching, and recording satellite transmissions in the pursuit of capturing what appear to be anomalies as intelligent signals hidden within the transmission spectrum.
SIGINT represents these raw recordings, captured in their live, original form. These audio-video recordings were performed and rendered to VHS in real-time in an attempt to experience, explore, decipher, study, and decode this deeply evocative, secret, and embedded form of communication whose origins appear both alien and unknown, like paranormal imprints or reflections of inter-dimensional beings reflected within the transmission stream.
The amazing thing about this project are the synchronicities formed between the audio and the video in real time. By connecting with the aural and the visual in this way, one generates and discovers strange, new, and interesting communications and compositions between these two spaces. The Modular Audio/Video system allows a direct connection between the video and the audio, and vice versa. A single patch cable can span between the two worlds and create new possibilities for each. The modular system used for SIGINT was one 6U case of only Industrial Music Electronics (Harvestman) modules for audio and one 3U case of LZX Industries modules for video.
CDM: I’m going through all these lovely experiments on your YouTube channel. How do these experiments come about?
Oliver: My Instagram and YouTube content is mostly just a snapshot of a larger picture of what I am currently working on, either that day, or of a larger project or work generally, which could be either a live performance, for example, or a release, or a video project.
That’s one hell of an AV modular system. Can you walk us through the modules in there? What’s your workflow like working in an audiovisual system like this, as opposed to systems (software or hardware) that tend to focus on one medium or another?
It’s a two-part system. There is one part that is audio (Industrial Music Electronics, or “Harvestman”), and there is one part that is video (LZX Industries). They communicate with each other via control voltages and audio rate signals, and they can independently influence each other in both ways or directions. For example, the audio can control the video, and the control voltages generated in the video system can also control sources in the audio system.
Many of the triggers and control voltages are shared between the two systems, which creates a cohesive audio/video experience. However, not every audio signal that sounds good — or produces a nice sound — looks good visually, and therefore, further tweaking and conditioning of the voltages are required to develop a more cohesive and harmonious relationship between them.
The two systems: a 3U (smaller) audio system on the left handles the Harvestman audio modules, and 6U (taller) on the right includes video processing modules from LZX Industries. Cases designed by Elite Modular.
I’m curious about your notion of finding patterns or paranormal in the content. Why is that significant to you? Carl Sagan gets at this idea of listening to noise in his original novel Contact (using the main character listening to a washing machine at one point, if I recall). What drew you to this sort of idea – and does it only say something about the listener, or the data, too?
Data transmission surrounds us at all times. There are always invisible frequencies that are outside our ability to perceive them, flowing through the air and which are as unobstructed as the air itself. We can only perceive a small fraction of these phenomena. There are limitations placed on our ability to perceive as humans, and there are more frequencies than we can experience. There are some frequencies we can experience, and there are some that we cannot. Perhaps the latter can move or pass throughout the range of perception, leaving a trail or trace or impressions on the frequencies that we can perceive as it passes through, and which we can then decode.
What about the fact that this is an audiovisual creation? What does it mean to fuse those media for a project?
The amazing thing about this project are the synchronicities formed between the audio and the video in real time. By connecting with the aural and the visual in this way, one generates and discovers strange, new, and interesting communications and compositions between these two spaces. The modular audio/video system allows direct connection between the video and the audio, and vice versa. A single patch cable can span between the two worlds and create new possibilities for each.
And now, some loops…
Oliver’s “experiments” series is transcendent and mesmerizing:
If this were a less cruel world, the YouTube algorithm would only feed you this. But in the meantime, you can subscribe to his channel. And ignore the view counts, actually. One person watching this one video is already sublime.
Plus, from Oliver’s gorgeous Instagram account, some ambient AV sketches to round things out.