“I’ve known Wes Milholen for a while – I first met him as he was working on some of his first replacement faceplates. He was part of the Denver/Boulder modular scene, and we spent time at meetups and performances. I always found his crisp and clean designs to my liking, and found him to be a thoughtful developer and talented performer.
“It was delighted to hear that Future Sound Systems ( FSS ) would be collaborating and working with Daniel Miller of Mute Records. Their two new Eurorack modules Stumm and Makrow presented at Superbooth provide performance friendly ways to mute, group, shift and morph pretty much anything in a modular system. That’s always excited, fresh and welcome and I’m
“The Resynator is a monophonic pitch-tracking synthesizer with a pretty remarkable story. The instrument-controlled unit was invented by Don Tavel in the ’70s to track the pitch of any instrument plugged into it and produce synthesized sounds. As the world’s first synthesizer of its kind, the Resynator was way ahead of its time, but unfortunately
Sometimes lost in conversations about technology or specific musical genre or minutia of social media is the fundamental question of what sound is and what we can discover. From Berlin’s tech/culture conference re:publica, we got to tackle some of those questions.
I got to ask three fascinating individuals about their connection to sound and where future sounds might be discovered. On the panel last week:
Kathy Tafel, now at Native Instruments, has one of the broader backgrounds in the entire music technology realm, spanning the birth of the DAW (Deck II!) to key roles at Apple to her ground-breaking multimedia band D’Cückoo. And now she’s charting the course of projects like Sounds.com and TRAKTOR and – I have to say, I’m optimistic about the direction she’s taking them. (Kathy probably merits a separate story on this site if I can compel NI to agree to it.)
Valentin von Lindenau has diverse work across audio and music, and with his firm kling klang klong has established himself as a rare leader in audio interaction experience and design, in a way that leads this medium internationally.
Lucrecia Dalt has come from Colombia to making a name for herself in the packed artistic landscape of Berlin, with unique poetic-musical hybrids. Maybe better to let her speak for herself:
We tread lots of ground here – I can’t take credit for either the topic/theme or the selection of panelists, but I’m grateful to have participated in the program.
And actually – I’m glad to even flounder on this sort of topic, but ask ourselves those kinds of deeper questions. I have my own opinions, naturally, but I was keen to get these fresh perspectives.
The full topic:
Can music and sounds be developed infinitely, or is everything at some point composed and tried out? If we follow John Cage and reserve the word “music” for eighteenth- and nineteenth-century instrument, the contemporary “organizer of sound” will not only be faced with the entire field of sound but also with the entire field of time. Matthew Herbert on the other hand stands with his manifesto for a kind of artistic self-limitation, demanding for instance that the sampling of other people’s music is strictly forbidden and that the use of sounds that exist already is not allowed (No drum machines. No synthesizers. No presets). For our reality check, we want to discuss what sound engineers, designers and artists are working on right now. Which sounds actually sound new and why? And also – which new applications for such sounds are in the works or theoretically conceivable?
You can find the interview on Sequential’s website here.
“Unlike many Sequential artists who play their trade in the studio or on stage, Andrei Kudryavtsev labors largely behind the scenes as a technologist. With a Computer Science degree and a background as a classically trained pianist, he’s combined his two passions into a lifestyle as an Intel engineer and a synth tech/home studio maven. As
“UDO Audio, a new Synthesizer company from Bristol presented at Superbooth 2019 the Super 6 binaural hybrid Synthesizer. Here is my first look with the designer Axel Hartmann and George from UDO Audio.”