Podcasts about Minimoog

This week, I'm joined by JoE Silva, the author of The Minimoog Book and host of Athens 411, who chose the film Moog to discuss.We talk about how JoE first met Robert Moog and then went on a 14 year journey to write The Minimoog Book, Rush's Geddy Lee writing the preface to the book, the incredible stories surrounding Sun Ra as one of the first musicians to get a Minimoog, the strange era where digital synths overtook analog synths, how shy and gentle Robert Moog was, Moog's onstage work with Yes, the synth company's humble beginnings, the music industry's fear of synths replacing 'real' musicians, Kraftwerk, why live music was the most important factor for Moog making his instruments, JoE's time with Eno, the amazing early documentary footage of the Moog factory, Bernie Worrell & Rick Wakeman's outdated conversation in the film, DJ Spooky, Taco Bell's 'Island Of Electronicus, Stereolab, our top 3 synth parts of all time and more. So let's set the oscillators to the max on this week's episode of Revolutions Per Movie!JoE SILVA: https://www.athens441.org/aboutTHE BOOK: https://bjooks.com/products/the-minimoog-bookTHE FILM: https://www.youtube.com/watch?v=yRsSSjqZ1ykREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Episode 174 Chapter 33, Digital Synthesizers and Samplers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 33, Digital Synthesizers and Samplers from my book Electronic and Experimental music.   Playlist: DIGITAL SYNTHESIZERS AND SAMPLERS   Time Track Time Start Introduction –Thom Holmes 01:38 00:00 1.     Jon Appleton, “Syntrophia”(1978) from Music For Synclavier And Other Digital Systems. Composed and performed on the Synclavier, Dartmouth Digital Synthesizer, Jon Appleton. 08:55 01:40 2.     Claude Larsen, “Nitrogen” (1980) from Synthesis. Sounds a bit like “Oxygen” by Jarre from 1976. Programmed, performed, Fairlight CMI Music, Roland System 700, Oberheim TVS-1 Four Voice, Polymoog, Roland MC 8 Micro-Composer, Syntovox vocoder, Claude Larson. 02:31 10:36 3.     Eberhard Schoener, “Fairlight 80” (1980) from Events. Featured the Fairlight CMI played by Schoener and vocals by Clare Torry. 04:20 13:04 4.     Eberhard Schoener, “Events - A La Recherche Du Temps Perdu” (1980) from Events. Mellotron, Violin, Piano, Moog, Oberheim, Fairlight CMIsynthesizers, Eberhard Schoener;  Fairlight CMI, Morris Pert; Gong, Percussion (Gede, Kempli, Rejong), Furst Agong Raka; Gong, Percussion (Gender, Lanang, Rejong), Ketut Tama; Gong, Percussion (Wadong, Rejong), Rai Raka; Percussion, Morris Pert; Fender electric piano, Roger Munnis; tenor saxophone, Olaf Kübler; Drums,  Evert Fraterman, Pete York; Electric Bass, Steve Richardson; Electric Guitar, Ian Bairnson. 11:07 17:26 5.     Klaus Schulze, “Death Of An Analogue” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS. 12:20 28:31 6.     Klaus Schulze, “The Looper Isn't A Hooker” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS. 07:05 40:52 7.     Joel Chadabe and Jan Williams, “Song Without Words” (1981) from Rhythms For Computer And Percussion. "The equipment used in RHYTHMS is a portable minicomputer/digital synthesizer system designed and manufactured by New England Digital Corporation in Norwich, Vermont, expressly for making music.” This was an early Synclavier without a keyboard controller. Synclavier digital synthesizer, Joel Chadabe; Percussion, Vibraphone, Marimba, Slit Drum, Log, Wood Block, Temple Block, Cowbell, Singing Bowls, Jan Williams. 07:24 47:54 8.     Don Muro, “Deanna Of The Fields” (1981) from Anthology. Vocals, Piano, Electric Piano, Acoustic Guitar, Electric Guitar, Synthesizer, Korg M1 Music Workstation, Bass, Drums, Percussion, Don Muro. 02:52 55:18 9.     Nervous Germans, “Hometown” (1981) from Nervösen Deutschen. Bass, Producer, Micki Mäuser; Drums, Udo Dahmen; Guitar, Manni Holländer; Vocals, Casio VL Tone micro keyboard, Grant Stevens. 05:15 58:10 10.   Tuxedomoon, “Blind” from Time To Lose, Blind. Effects, Guitar, Peter Principle; Casio M-10, Blaine L. Reininger; Vocals, Moog, Soprano Saxophone, Steven Brown; Vocals, Winston Tong. 07:44 01:03:26 11.   Herbie Hancock, “Rough” (1983) from Future Shock. Fairlight CMI, AlphaSyntauri, Emulator, Herbie Hancock; Background Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Prophet-5, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 06:54 01:11:00 12.   Wendy Carlos, “Genesis,” “Eden,” and “I.C. (Intergalactic Communications)” (1984) from Wendy Carlos' Digital Moonscapes. Programmed All Sounds programmed and performed on the Crumar GDS/Synergy digital synthesizer, Wendy Carlos. 15:20 01:17:50 13.   Ron Kuivila, “Household Object” (1984) from Fidelity. Casio VL toneand homemade electronics, Ron Kuivila. 09:34 01:33:20 14.   Lejaren Hiller, “Expo '85” (1985) from Computer Music Retrospective. Four short pieces highlight the versatility of the Kurzweil K250: “Circus Piece - A Cadential Process” (4:04), “Transitions - A Hierarchical Process” (2:12), “Toy Harmonium - A Statistical Process” (1:41), “Mix Or Match - A Tune Generating Process (5 Examples)” (3:44). 11:55 01:42:52 15.   Third World, “Can't Get You (Out Of My Mind)” (1985) from Sense Of Purpose. Yamaha DX7, Prophet 5, PFR Yamaha, Grand Piano Yamaha Acoustic, Organ Hammond B3, Clavinet Mohner D6, Percussion, Vocals, Michael "Ibo" Cooper; Backing Vocals, Glenn Ricks, Meekaaeel; Bass, Rhythm Guitar, Backing Vocals, Percussion, Richie "Bassie" Daley; Drums Yamaha Acoustic Drums, Electronic Drums Simmons, Drum Machine D.M.X., Drum Machine Linn Drum Machine, Percussion, Backing Vocals, Willie Stewart; Keyboards, Lead Guitar, Rhythm Guitar, Harmonica, Acoustic Guitar The Washburn Electro Acoustic, Vocals, Percussion, Stephen "Cat" Coore; Lead Vocals, Backing Vocals, Bill "Bunny Rugs" Clarke; Percussion, Neil Clarke; Percussion, Binghi Drums, Junior Wedderburn, Tschaka Tonge. 03:37 01:54:46 16.   George Todd, “Sound Sculptures” (1985) from Music For Kurzweil And Synclavier. Synclavier Digital Music System, George Todd. 09:02 01:58:22 17.   Russ Freeman, “Easter Island” (1986) from Nocturnal Playground. Electric Guitar, Acoustic Guitar, Guitar Synthesizer, Keyboard Bass, Emulator II, Linn 9000 Drum programming, Russ Freeman; Drums, Percussion, David Renick; Percussion, Emulator II programming, Steve Reid; Alto Saxophone, Brandon Fields. 05:30 02:07:22 18.   Donald Steven of G.E.M.S., “Images - Refractions Of Time And Space (1986)” from Group Of The Electronic Music Studio - McGill University. Yamaha DX7, Laurie Radford; Bass, John Oliver; Electric Flute, Jill Rothberg; Percussion, Elliot Polsky, François Gauthier. 11:42 02:12:52 19.   Jane Brockman, “Kurzweil Etudes” (1-3) (1986) from Music For Kurzweil And Synclavier. Kurzweil K250, Jane Brockman. 10:19 02:24:32 20.   Richard Burmer, “Across The View” (1987) from Western Spaces. Emulator II plus an analog synth, Richard Burmer. 04:38 02:34:48 21.   Sonny Sharrock Band, “Kate (Variations On A Theme By Kate Bush)” (1990) from Highlife.  Electronics, Korg M1, Korg Wave Station, Dave Snider; Bass, Charles Baldwin; Drums, Abe Speller, Lance Carter; Guitar, Sonny Sharrock. 05:52 02:39:32 22.   Second Decay, “Taste” (1994) from Taste. Produced with the Roland Compu Music CMU-800R workstation and without MIDI; Simmons Electronic Drums,Thomas V.. Other synths used: ARP Odyssey, ARP 2600, PPG Wave 2.0, Emulator I and II, Roland SH-101, SH-7, CR-78, TR-808, MC-4, TR-606, EMS Synthi A, Solina String, Mellotron, Crumar Performer, Teisco 110F, Wasp, Linn LM-1, SCI Pro-One, Minimoog, Korg Mono-Poly, SQ-10, Elektro Harmonix Minisynth, Vocoder and effect devices, Compact Phasing A, Roland Echos RE 201, SRE 555.  04:20 02:45:18   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 173 Chapter 32, Other Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 32, Other Analog Synthesizers from my book Electronic and Experimental music.   Playlist: OTHER EARLY SYNTHESIZER RECORDINGS (PRE-MIDI AND NOT MOOG)   Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1.     Raymond Scott, “Space Mystery” (1963). Used Scott's Electronium, a custom-made analog synthesizer/sequencer. 05:08 01:42 2.     Pauline Oliveros, “Alien Bog” (1967). Used a prototype Buchla 100 modular synthesizer at Mills College. 33:13 06:53 3.     John Eaton, “Soliloquy For Syn-Ket” (1973) from Electro-Vibrations (The Music Of John Eaton). Used the Synket, an Italian-made modular synthesizer of which only six were ever made. 06:38 40:06 4.     John Keating, “Earthshine” (1975) from Space Experience 2. Featured the ARP 2600 and Pro- Soloist. 04:09 46:46 5.     Patrick Gleeson, “Saturn, The Bringer Of Old Age” (1976) from Beyond The Sun: An Electronic Portrait Of Holst's The Planets. Used Eµ Systems Polyphonic synthesizer. 09:31 51:02 6.     Jean Michel Jarre, “Oxygene, Part IV” (1976) from Oxygene. Used the ARP Odyssey, EMS Synthi AKS, EMS Synthi VCS3, and RMI Harmonic Synthesizer and Keyboard Computer. 03:07 01:00:34 7.     Bennie Maupin, “Crystals” (1978) from Moonscapes. Featured the E-mu Modular Synthesizer programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned E-mu synthesizers (see previous track for an example of the E-mu Systems Polyphonic synthesizer). Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, E-mu Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the E-mu synthesizer and other instruments. 01:18 01:03:44 8.     Pere Ubu, “On the Surface” (1978) from Dub Housing. Allen Ravenstein used the EML Electrocomp 101 modular synthesizer as a member of this band. 02:37 01:05:02 9.     Sylvester, “You Make Me Feel (Mighty Real)” (1978) from Step II. One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizer plus String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects, Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 06:34 01:07:40 10.   Isao Tomita, “The Sea Named Solaris” (1978) from Kosmos. Used the Roland System 700, Roland Strings RS- 202, Roland Revo 30, in addition to Moog Modular III, Moog System 55, and Polymoog synthesizers. 12:28 01:14:11 11.   Moebius, “Song For Lya” (1979) from Moebius. Serge, Oberheim, and Minimoog synthesizers, vocals, Bryce Robbley; Serge, Oberheim synthesizers, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 03:15 01:26:42 12.   Pascal Languirand, “O Nos Omnes” (1980) from De Harmonia Universalia. Features the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 07:15 01:29:56 13.   Henry Kucharzyk, “Play Dot Sam” (1981) from Walk The Line - Three New Works By Henry Kucharzyk. This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. “Samson” was formally known as the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 03:05 01:37:08 14.   Terry Riley, “The Ethereal Time Shadow” (1981-82) from Music from Mills. Used two Prophet V synthesizers, tuned to just intonation and employing sequencing. 08:51 01:40:12   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

Episode 171 Chapter 30, EMS Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 30, EMS Analog Synthesizers from my book Electronic and Experimental music.   Playlist: MUSIC MADE WITH EMS ANALOG SYNTHESIZERS   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Delia Derbyshire, “Dance From ‘Noah' " (1970). Composed for a television program. Used the EMS VCS3. 00:55 01:44 2.     Selections from the demonstration disc, EMS Synthi And The Composer (1971). Excerpts from Harrison Birtwistle, “Medusa,” Peter Zinovieff, “January Tensions,” and Tristram Cary, “Continuum.” 06:15 02:34 3.     Peter Zinovieff and Harrison Birtwistle, “Chronometer” (1971–2). Featured both the EMS Synthi VCS3 and modified sound recordings of the ticking of Big Ben and the chimes of Wells Cathedral clock. 24:23 08:48 4.     Mike Hankinson, “Toccata And Fugue In D Minor” (Bach) (1972) from The Classical Synthesizer. South African record realized using the Putney (EMS) VCS3. 07:04 33:06 5.     Electrophon, “Arrival of the Queen of Sheba” (1973) from In a Covent Garden (1973).  Electrophon Music was described as the studio where the electronics were recorded and produced in the UK by Radiophonic musicians Brian Hodgson, Dudley Simpson. A variety of synthesizers were used including the obscure EMS Synthi Range, a multi-effect instrument. 03:04 40:10 6.     The Eden Electronic Ensemble, “Elite Syncopations” (Joplin) (1974) from The Eden Electronic Ensemble Plays Joplin. Realized using the EMS VCS3 and Minimoog synthesizers. 04:53 43:12 7.     Peter Zinovieff, “A Lollipop For Papa” (1974).  Realized with the EMS Synthi AKS. 06:26 48:04 8.     Peter Zinovieff and Hans Werner Henze, “Tristan” (Long Section) (1975). Tape accompaniment realized with the EMS Synthi AKS. 07:40 54:40 9.     J.D. Robb, “Poem of Summer” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS. 02:04 01:02:18 10.   J.D. Robb, “Synthi Waltz” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS and Synthi Sequencer 256 (digital sequencer). 01:52 01:04:24 11.   Bruno Spoerri, “Hymn Of Taurus (Taurus Is Calling You!)” (1978) from Voice Of Taurus. Realized using a host of equipment, including a few EMS instruments: EMS Synthi 100, EMS VCS3, EMS AKS, EMS Vocoder 2000, Alto Saxophone with EMS Pitch-to-voltage Converter & Random Generator, plus the Lyricon, Prophet-5 Polyphonic Synthesizer, ARP Omni & Odyssey, Minimoog, Moog Taurus Bass Pedal, RMI Keyboard Computer, Ondes Martenot , Vako Polyphonic Orchestron, Bode Frequency Shifter, AMS Tape Phase Simulator, Echoplex, Roland Echo, Roland Rhythm Box, Bruno Spoerri. 02:48 01:06:16 12.   Henry Sweitzer, “Open Windows” (1979) from Te Deum.  Realized with the EMS Synthi AKS. 11:11 01:09:02 13.   Eduard Artemyev, Yuri Bogdanov, Vladimir Martynov, “Le Vent Dans La Plaine,” “Io Mi Son Giovinetta,” and “Why Ask You?” (1980) from Metamorphoses. Composed and realized using the EMS Synthi 100, a large synthesizer unit combining several EMS3 models and connecting circuitry. 08:38 01:20:14 14.   Jean-Michel Jarre, “Les Chants Magnétiques,” (side 1) (1981) from Les Chants Magnétiques. Portions realized with the EMS Synthi AKS, EMS Synthi VCS3, and EMS Vocoder 1000. 17:58 01:28:52 15.   Alessandro Cortini and Merzbow, “AAMC” (2017) from Alessandro Cortini And Merzbow. Recent recording with all sounds realized using a vintage EMS Synthi AKS. 04:49 01:46:40   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

Episode 169 Chapter 28, Moog Analog Synthesizers, Part 2. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 28, Moog Analog Synthesizers, Part 2 from my book Electronic and Experimental music.   Playlist: CLASSIC SYNTHESIZER ROCK— FROM TAPE COMPOSITION TO SYNTHESIZERS   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     The Beatles, “Tomorrow Never Knows” (1966). Tape loops and Lennon's voice fed through the rotating Leslie speaker of a Hammond organ. 02:57 01:42 2.     Spooky Tooth and Pierre Henry, “Have Mercy” (1969). Featured tape composition by the French composer of musique concrète as part of a collaborative rock opera. 07:55 04:40 3.     Emerson, Lake, & Palmer, “Lucky Man” (1971). Featured the Moog Modular played by Keith Emerson; one of the first rock hits in which a Moog was the featured solo instrument. 04:39 12:34 4.     Yes, “Roundabout” (1971). Featured the Minimoog, Mellotron, Hammond Organ and other electronic keyboards played by Rick Wakeman. 08:33 17:10 5.     Elton John, “Funeral for a Friend/Love Lies Bleeding” (1973). Featured the ARP 2600 played by Dave Henschel. 11:10 25:42 6.     David Bowie, “Speed of Light” (1977). Produced by Brian Eno. Used an EMS AKS synthesizer and Eventide H910 harmonizer for the electronic effects and sounds. 02:47 36:46 7.     Gary Wright, “Touch and Gone” (1977).  Used Polymoog, Clavinet, Oberheim, and Fender-Rhodes electronic keyboards. 03:58 39:32 8.     Gary Numan, “Cars” (1979).  Early synth-rock success using electronic keyboards without guitar. Multiple Polymoog synthesizers. 03:52 43:28 9.     The Art of Noise, “(Who's Afraid Of?) The Art of Noise” (1984). Art rock devised by Anne Dudley and Trevor Horn exploring the sampling capabilities of the Fairlight CMI. 04:23 47:20 10.   Grace Jones, “Slave to the Rhythm” (1985). Featured the Synclavier programmed and played by Trevor Horn. 09:39 51:43   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

On the January 24 edition of the Music History Today podcast, we have Aretha, Adele, the minimoog & it's Michael DesBarres birthday For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

Episode 136 Sun Ra and Stockhausen—An Imaginary Encounter in Electronic Music Playlist   Time Track Time Start Introduction –Thom Holmes 14:28 00:00 Karlheinz Stockhausen,  “Es (It)” (1969) from Aus Den Sieben Tagen (from the Seven Days) (1973 Deutsche Grammophon). Composed by, electronics (Filters, Potentiometers), spoken voice, technician (Sound Direction), liner notes, Karlheinz Stockhausen; Elektronium, Harald Bojé; Piano, Aloys Kontarsky; Drums, Percussion (Tam-tam, Flexatone, Guero, Bamboo Flute, Jew's Harp, Rolf Gehlhaar; Drums, Percussion (Tam-tam, Flexatone, Guero, Jew's Harp, Alfred Alings; Viola, Johannes G. Fritsch. The Elektronium was an electronic instrument in the form of an accordion, invented by Hohner in 1952. From the cycle of compositions entitled Aus den Sieben Tagen. Es (10th May 1968). This is the complete cycle for the work consisting of 7 albums recorded at the Georg-Moller-Haus (Loge) in Darmstadt, from the 26th to 31st August 1969. This is different than the earlier recordings from Cologne that were released separately. Comes in a sturdy box together with a tri-lingual 20-page booklet. Each record is packed in its own cover. 23:04 14:30 Sun-Ra and his Astro Infinity Arkestra, “Space Probe” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley.” Recorded at Gershon Kingsley's New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year. 17:45 37:30 Sun-Ra and his Astro Infinity Arkestra, “The Code Of Interdependence” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley; Drums, Danny Davis, John Gilmore; Oboe, Marshall Allen; Tenor Saxophone, John Gilmore. Recorded at Gershon Kingsley's New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year. 16:50 55:16   Opening background music: Sun Ra and his Solar Myth Arkestra, “Seen Three Took Four” from The Solar-Myth Approach Vol. 1 (1970 Actuel). Piano, Minimoog, Electric Organ, Clavinet, Sun Ra; Tenor Saxophone, Percussion, John Gilmore; among a huge host of others. Introduction to the podcast voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 135 An Electronic Music Mixed-Bag Playlist Time Track Time Start Introduction –Thom Holmes 06:28 00:00 John Bischoff, “The League Of Automatic Music Composers: Recording, December 17, 1978” from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Computer, David Behrman, Jim Horton, John Bischoff, Rich Gold; Mixing, "Blue" Gene Tyranny. “The League Of Automatic Music Composers makes music collaboratively by forming microcomputer networks. … For this performance, “each composer independently created a music program for his own microcomputer; we then mutually designed ways to internconnect our computers, and modified our programs to enable them to send data back and forth.” 08:40 06:58 Frankie Mann, “I Was a Hero” from “The Mayan Debutante Revue” (1979) from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Organ, bass guitar, voice, composed by Frankie Mann. “The Mayan Debutante Revue” is a reinterpretation of religious history. The work is a performance piece  involving tape, slides, and one female performer.” 09:22 15:38 Frankie Mann, “How to be Very Very Popular” (1978) (excerpt) from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Tape editing, organ, synthesizer, voice, composed by Frankie Mann; voices, Julie Lifton, Ellen Welser, and unknown others. “How to be Very Very Popular” began as a letter-tape to my best friend. … Later I began composing electronic music, initially using homemade circuits and later using expensive synthesizers in college electronic music studios. My friend and I continued to send each other letters cross-country in tape form.” 08:49 24:58 Maggi Payne, “Lunar Dusk” from Lovely Little Records (1980 Lovely Music Ltd.). Recorded at the Center for Contemporary Music, Mills College, February 4, 1979. Composed, electronic music by Maggi Payne. This piece was “composed using the Moog and Aries synthesizers and the twelve-track recording studio at” Mills College. “Major concerns … are spatial location of sounds and complex timbral changes.” 07:59 33:46 The Commodores, “Machine Gun” from Machine Gun/There's a Song in My Heart (1974 Motown). Single release featuring the early Commodores on this instrumental with Lionel Richie wailing along on the ARP Odyssey. 02:42 41:42 Billy Preston, “Space Race” from Space Race/We're Gonna Make It (1973 A&M). Single release. Preston was best known for his piano, Hammond, and Fender Rhodes work on Beatles' records and his early solo work. By this time, he had picked-up on the unique sounds that synthesizers could conjure. He was inspired to create this song while experimenting with the ARP Pro-Soloist synthesizer. 03:26 44:24 George Duke, “Part 1 - The Alien Challenges The Stick / Part 2 - The Alien Succumbs To The Macho Intergalactic Funkativity Of The Funkblasters” from Master Of The Game (1979 Epic). Written by Byron Miller, David Myles, Ricky Lawson; Producer, Acoustic Guitar, Arranged By, Bells, Clavinet, Composed By, Fender Rhodes, Keyboards, Organ, ARP Odyssey, ARP String Ensemble, Minimoog, Oberheim, Prophet-5 and Crumar synthesizers, written by and vocals, George Duke; Bass, Byron Miller; Drums, Ricky Lawson; Guitar, David Myles. 09:21 47:46 Steve Roach, Side 2, “T.B.C.” (5:06); Canyon Sound (2:58); Time For Time (3:33); Reflector (6:50) from Traveler (1983 Domino). All music composed and performed on synthesizers by Steve Roach. American Roach has such a great legacy of electronic music that is clearly distinguishable from the German wave of the 1970s. This is from his first, official album released in 1983. 17:56 57:02 Reynold Weidenaar, “Twilight Flight” (6:56) (1977), “Close Harmony” (4:44) (1977), and “Imprint: Footfalls to Return” (5:04) (1981) from Reynold Weidenaar / Richard Brooks Music Visions (1986 Capstone Records). Weidenaar was formerly the editor of Bob Moog's Electronic Music Review journal (1968-70) and an early user of the Moog Modular synthesizer. He was director of the electronic music studio at the Cleveland Institute of Music and at the time of this recording was on the faculty of the NYU films and television department. Twilight Flight” for electronic sounds was composed in 1977. “Close Harmony” for electronic sounds was composed in 1977. “Imprint: Footfalls to Return” for soprano voice and electronically modified sounds of the bare feet of Bharata-natyam Indian dancer was composed in 1981. 16:50 01:14:58 Eric Siday, three short works, “Night Tide” (2:56), “Communications No. 2” (0:24); and “Threat Attack” (2:05) from Musique Electronique (1960 Impress). Hard to find original disc by Siday, before he ventured into commercial recording using the Moog Modular synthesizer. His intereste in electronic music was deep, and he was one of the first customers of Robert Moog when his synth became available. 05:28 01:31:58 Hans Wurman, “Etude In C Minor, Op. 10, No. 12” (1:54) and “Waltz In D-Flat OP, 64, No. 1 (1:24) from Hans Wurman – Etude In C Minor, Op. 10, No. 12 (1970 RCA). Arranged and performed on the Moog Modular synthesizer by Hans Wurman. Brilliant interpretations of two classical pieces. 03:22 01:37:14   Opening background music: Einstürzende Neubauten [ein-sturt-zen-deh noy-bau-ten], “Der Tod Ist Ein Dandy” from Halber Mensch (1985 Some Bizarre). Noise metal from this dependable source of industrial music. (06:39) Introduction to the podcast voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Nos asomamos a una de las exposiciones que podemos disfrutar en el Festival Internacional del Camino de Santiago que reúne la colección de instrumentos de Luis Delgado. Entre ellos, el arpeggione al que Schubert dedicó una sonata, el sintetizador Minimoog usado en 'La naranja mecánica' de Stanley Kubrick o los sonidos de la música western de Ennio Morricone o Wendy Carlos.

Episode: 2296 Moog the man and Moog the machine: a lesson in engineering design.  Today, we meet a musical engineer with guest scientist Andrew Boyd.

In questo episodio ho il piacere di avere come ospite Paolo Marenco. Conosco personalmente Paolo da alcuni mesi ma ne avevo sentito parlare in quanto gran musicista, in questo episodio Paolo ci racconta dellla sua passione per i synth e ci fa ascoltare il suono del Minimoog, l'iconico sintetizzatore che noi tutti abbiamo ascoltato su centinaia di dischi.Una bella chiacchierata e dei suoni pazzeschi accompagnano quest'episodio, il penultimo della prima stagione, ascoltate fino alla fine perchè dopo i saluti ci sono due brani dei Mistral Pusher, la band di Paolo. I due brani sono 4 Space Party e Supacana.Godetevi la puntata con un bel paio di cuffie e una birra, lascio i link qui sotto per ascoltare I Mistral Pusher, buone onde a tutti!!Ig @mistralpusherMistral Pusher | Spotify

Bentornati su Rumore Bianco! Oggi parliamo di e ascoltiamo i suoni dell'ARP 2600 di Maurizio Guzzi, alla fine dell'episodio ascoltiamo un brano in cui Maurizio ha utilizzato il suo l'ARP 2600 del 1972.Maurizio era già stato ospite di un episodio di Rumore Bianco, ascoltatelo se ve lo siete perso!Fatemi sapere cosa ne pensate! 

Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 11:57 00:00 1.    Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order. 12:48 11:57 2.    The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart. 5:33 24:44 3.    Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles' first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis. 16:59 30:14 4.    Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel. 4:16 47:10 5.    Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele. 2:30 51:24 6.    J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968. 2:31 53:54 7.    Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers. 5:06 56:22 8.    Bill Evans, “I'm All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano. 5:42 1:01:24 9.    Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson. 9:07 1:07:05 10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin;  Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore. 2:28 1:16:12 11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 2:43 1:18:38 12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 3:34 1:21:20 Sun Ra's flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord. 13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 9:31 1:24:52 14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra's rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:05 1:34:25 15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:40 1:36:30 Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey. 16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson). 9:19 1:39:08 17.  Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin. 10:36 1:48:18 18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson. 7:33 1:58:46 The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s. 19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell. 6:39 2:06:19 20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis. 4:40 2:12:54 21.  Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis. 2:52 2:17:32 22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company's demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson. 2:43 2:20:24 23.  Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 7:25 2:23:04 24.  Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 2:00 2:30:28 25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer's purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer. 4:29 2:32:26 26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 5:32 2:36:52 27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 4:44 2:42:22 28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner. 9:51 2:47:04 29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:12 2:56:54 30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:26 2:58:06   Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.  

On the January 24 edition of the Music History Today podcast, we have Aretha, Adele, the minimoog & it's Michael DesBarres birthday ALL MY MUSIC HISTORY TODAY PODCAST LINKS - https://allmylinks.com/musichistorytoday --- Send in a voice message: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

Benvenuti a un nuovo emozionante episodio del nostro podcast dedicato al mondo affascinante dei sintetizzatori modulari. Oggi vi presento Emanuele Nanni, papà, medico, e artista. Stregato da un live dei Genesis si avvicina ai synth, e da lì al suo sistema Buchla è un attimo... Emanule in questo episodio ci descrive il suo approccio creativo, ci da moltissime e interessantissime informazioni sul mondo Buchla e ci fa ascoltare due estratti da un live per Bologna modulare. I due brani si intitolano rispettivamente Staring at the ground e A loscious meal.Qui di seguito trovate alcune opzioni per ascoltare la musica di Emanuele e per contattarlo.@enanni3883Bandcamp - Emanuele NanniPotete ascoltare una compilation di cui fa parte anche un brano di Emanuele qui:https://modulisme.bandcamp.com/album/modulisme-session-096

Idag har vi ett specialavsnitt om MiniMoogen och precis som synthen i fråga inte är speciellt mini är dagens avsnitt inte heller speciellt kortklippt. Vi pratar om synthens historia, gräver lite bland minnen om våra Minis vi ägt samt plockar fram ljudexempel och jämför med MiniMoog VST pluggar. Det och mycket annat i dagens avsnitt, häng med till det syntetiska landet där tre oscillatorer definitivt är fler än två.Länkar1.) Vangelis Antarctica - https://open.spotify.com/album/4laD2qU7EURjXbVMbazkj0?si=1l-8SAXRSfWF8bNtoG1Yuw2.) BASTL Outsidify - https://www.youtube.com/watch?v=_xoTQ84cJ7g3.) Martin Hallden - https://open.spotify.com/album/7FnSSQefL1fB4ucfEpOGT4?si=cM09FrsbRDyWxlHfDkL0tAMinimoog länkar / referenser1.) Niklas Minimoog vokalt ljud: https://www.youtube.com/watch?v=0z0K3bxTfgc2.) Niklas dubbla Minimoog: https://www.youtube.com/watch?v=DCQPatVjvqY3.) Minimoog Model D archive - https://minimoogmodeld.com/archive/04.) The Birth of the Minimoog - https://artsandculture.google.com/story/the-birth-of-the-minimoog-moogseum/BwWxC5g1sP9LAA?hl=en5.) The History of the Minimoog Prototypes - https://www.youtube.com/watch?v=_5d86qnNAhg6.) Softube Model 72 - https://www.softube.com/model-72-synthesizer-system7.) Arturia Mini V - https://www.arturia.com/products/analog-classics/mini-v Hosted on Acast. See acast.com/privacy for more information.

Episode 110 Before and After Ambient, Part 1 Playlist Erik Satie, “Vexations” (1893-94), First, we will hear two piano versions (1 and 4) of this short work that was intended to be played repeatedly in one sitting 840 times in succession. The piano version was performed by Jeroen van Veen on the album Satie, Complete Piano Music (2016 Brilliant Classics). Then, we will hear an electronic version by Bhutan from Vexations (2016 Venado). Argentinean group Bhutan realized this electronic version of the Erik Satie piece in 2016. I thought it would be fitting to open the program with this because Satie's was one of the first works to be recognized in recent times as a kind of proto ambient composition. Satie preferred the term “furniture music” and thought that it would be suitable for background sound during a dinner party. The Bhutan version, realized in electronic instrumentation, is a fitting bridge of the old and the new when it comes to ambient compositions. John Cage, “In A Landscape” (1948) from In A Landscape played by Victoria Jordanova (2007 Arpaviva Recordings). This early Cage work was originally arranged either for piano or harp. It is very much the interpretation that makes this akin to ambient music. I selected this version for electric harp because it maintains the original's sense of suspended time and energy. I also like William Orbit's version but he took the orchestration to greater lengths and transforming it into something not so ambient. There is also a really quiet piano version by Stephen Drury which remains true to Cage's original intent of being “soft and meditative” with “resonances” being sustained by depressing both pedals throughout the performance. But I included this version for electric harp by Jordanova because it is more in tune with the electronic nature of the music we feature in this program. Morton Feldman, “Projection 1” (1950) from Arne Deforce, Yutaka Oya, Patterns In A Chromatic Field (2009 Aeon). Cello, Arne Deforce; Piano, Yutaka Oya; composed by, Morton Feldman. This is an acoustic work by Feldman (I couldn't find any electronic renditions) but I include it to draw similarities to the work of Harold Budd, also a pianist. In fact, Feldman was a long-standing favorite of Budd. Raymond Scott, “Sleepy Time” from Soothing Sounds for Baby, Volume 1 (1964 Epic). This legendary work is from a set of electronic and ambient records that Scott produced in the early 1960s as background music to help babies go to sleep. The electronic music was produced with his own creation, the Electronium, a from-scratch built custom synthesizer that combines electronic sequencing with tone generation and various filters. Eliane Radigue, “Vice - Versa, Etc. (Mix 1)” (1970) from (2013 Vice - Versa, Etc.). Processed tape reorder feedback. Realized at the composer's studio in Paris. Premiered in 1970 at Galerie Lara Vincy in Paris, on the occasion of a group exhibition. The stereo synthesis presented here was made in Lyon at Studio Fluorescent between 2010 and 2011 by Emmanuel Holterbach. Produced, composed, recorded using feedback by Eliane Radigue. Originally conceived as a sound installation, using several reel-to-reel tape players controlled through a mixing desk. The tapes could be played at different speeds, either forward or backward, right channel only, left channel only or simultaneously. The audience could create their own mix. Teresa Rampazzi (N.P.S.), “Environ” (1970) from Musica Endoscopica (2008 Die Schachtel). Created in 1970, this work represents a kind of reproduction in electronic sound of an ambient environment, peppered with noise and even voice. Rampazzi was a pioneering female composer of electronic music who founded the N.P.S. (Nuove Proposte Sonore) group and studio, where this was realized. Harmonia, “Hausmusik” from Harmonia (1974 Brain). Recorded and produced June - November '73 in the Harmonia home studio. Guitar, Piano, Organ, electronic percussion, Michael Rother; Organ, Keyboards, Guitar, electronic percussion, J. Roedelius; Synthesizer, Guitar, electronic percussion, D. Moebius. Brian Eno, “Discreet Music” (excerpt) from Discreet Music (1976 Obscure). Synthesizer with Digital Recall System, Graphic Equalizer, Echo Unit, Delay, Tape, Brian Eno. Brian Eno (b. 1948) worked with tape delay much in the manner defined by Oliveros for I of However, he expressed a somewhat indifferent attitude toward the outcome. He described the realization of Discreet Music (1975): “Since I have always preferred making plans to executing them, I have gravitated toward situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend toward the roles of planner and programmer, and then become an audience to the results.” Eno's composition consisted of a diagram of the devices used to generate the music. His approach was identical to that of Oliveros except that the sound material was specifically melodic and he did not modify or interact with the sound once the process was set in motion. The result in Discreet Music is the gradual transformation of a recognizable musical phrase. These 10 minutes are excerpted from the beginning of the extended work lasting 31 minutes. Brian Eno, “Through Hollow Lands (For Harold Budd)” from Before and After Science (1977 Island). Bass, Paul Rudolph; Vocals, Bell, Mini-Moog, CS80, AKS synthesizers, piano, guitar, Brian Eno. This is one of the only tracks that I would consider to be ambient from this album. Robert Ashley, “Automatic Writing” (excerpt) (1974–79) from Automatic Writing (1979 Lovely Music). This work was much talked about when it was released on record by Lovely Music Ltd. in 1979. Ashley wrote it over a five-year period after having just come back from his self-imposed exile from composing in the early 1970s. He performed it many times in various formative stages with the Sonic Arts Union before finally committing it to disc. It does indeed have a vocal, but it is also imbued with quiet, ASMR kinds of sounds that mesmerize. The basic musical material of Automatic Writing was the spoken voice, closely miked, uttering what Ashley characterized as “involuntary speech”: random, seemingly rational comments that might not make sense at all, depending on the context in which they were heard. These 10 minutes are excerpted from the beginning of the extended work lasting 46 minutes. Sri Dinesh, “Le Chant Des Étoiles” from Para Symphonie (1978 Alain Grima). French album of music to accompany meditation. It consists largely of short, repeated organ patterns and falls within the frame of mind for which ambient music was intended. Brian Eno, “2/2” from Ambient 1: Music for Airports (1978). Engineer, Conny Plank (yes, the producer of Kraftwerk). Composed, conceptualized, produced and engineered by Brian Eno. Theresa Rampazzi, “Atmen Noch” (1980) from from Musica Endoscopica (2008 Die Schachtel). Conrad Schnitzler, “Control B” from Control (1981 Dys). Edition of 1000 copies. An electronic work by Schnitzler, who played the devices, produced, and recorded the music. Opening background music: Brian Eno and Peter Chilvers, Bloom 3.2 (10) (2014 Opal Ltd.). Bloom is a generative music application that composes ambient music. This recording was made using Bloom running in “Classic” mode on a Macbook Pro running Ventura 13.5.2. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

This month on TNT, your hosts Thanh + Tim dive into the debut solo album from Japanese electronic maestro, composer, producer, artist, actor and activist Ryuichi Sakamoto, and his 1978 output “Thousand Knives.” This marks the second in our two-part series on artists that have recently passed, with Sakamoto sadly departing this world for the great beyond on March 28, 2023, at the age of 71.

Sarah Belle Reid is a performer and composer. She plays trumpet, modular synthesizers, and a wide array of electronic gadgets. Sarah holds a Doctorate of Musical Arts from the California Institute of the Arts. She teaches music technology and modular synthesis at universities and her own online programs. Sarah spoke about how she combines her classical training with electronic music production and sound design. She explains how she keeps curiosity and joy central to her work. Sarah and I discussed the importance of mindset and perspective in the creative arts.  Sarah's Learning Sound and Synthesis Course opens again in August 2023! Listen on Apple, Spotify, Google, YouTube Show Notes: Sarah's Official Site - https://www.sarahbellereid.com/ Learning Sound and Synthesis Course - https://www.soundandsynthesis.com/ How to Design Your First Modular Synth Patch Free Course - https://www.soundandsynthesis.com/firstpatch2022 Sarah's Facebook featuring her Create with Courage posts - https://www.facebook.com/sarah.bellereid Now's by Sarah Belle Reid and David Rosenboom - https://reidrosenboom.bandcamp.com/album/nows Support Sarah on Patreon - https://www.patreon.com/sarahbellereid Sarah's YouTube - https://www.youtube.com/@sarahbellereid No Input Mixer Tutorial - https://youtu.be/oUhfkaVUPY8 The Art of Is by Stephen Nachmanovitch - https://amzn.to/44rikXq Zen Mind Beginner's Mind by Shunryu Suzuki - https://amzn.to/44MSJIT Brian Funk Website - https://brianfunk.com Music Production Club - https://brianfunk.com/mpc  5-Minute Music Producer - https://brianfunk.com/book Intro Music Made with 16-Bit Ableton Live Pack - https://brianfunk.com/blog/16-bit Music Production Podcast - https://brianfunk.com/podcast Save 25% on Ableton Live Packs at my store with the code: PODCAST - https://brianfunk.com/store This episode was edited by Animus Invidious of PerforModule - https://performodule.com/ Thank you for listening.  Please review the Music Production Podcast on your favorite podcast provider! And don't forget to visit my site https://BrianFunk.com for music production tutorials, videos, and sound packs. Transcript: Brian Funk: Hello everybody. Welcome to the music production podcast. I'm your host, Brian Funk. On today's show I have Sarah Bell-Reed and Sarah is a performer, composer, trumpetist, modular, synthesis, that's hard to say. She makes a lot of really wide ranging music and one of the descriptions I really enjoyed was that it's graceful, danceful, silk falling through space and a pit full of centipedes. Which describes just how it goes from so many different extremes from more traditional classical sounds all the way to far out stretching the definition of music with noise and a lot of the electronic stuff that goes into it. She's a doctorate of music arts at California Institute of the Arts, teaches music tech and modular synthesis online. I've been watching the introduction to modular synth course, which is cool. Sarah, it's great to have you here. Thanks for taking the time. Sarah Belle Reid: Thank you for having me. I'm happy to be here. Brian Funk: You have a very impressive resume of stuff you do and it's so wide ranging. I think it's really cool that you have this, it's like the nice place music is going, especially music education, where people are starting to take the traditional stuff and bring in some more new stuff, some of the more cutting edge stuff that's happening out there. And it's such a nice thing to see that you're bringing that to your performances, your music, and also your teaching. Sarah Belle Reid: Yeah, yeah, well, thank you. Brian Funk: Heh. Sarah Belle Reid: I think for me, you know, I have a very traditional background in my musical training. But I always had this feeling, even though I didn't quite know how to describe it or what it meant, but I always had this feeling that there was something more that I wanted to be able to explore in my music making. And so when I found and was introduced to these more experimental aspects of making music, like improvisation and just experimental electronics and all of that, it really felt like. all of the puzzle pieces were coming together. It wasn't a replacing of everything I had developed as a traditional or classically trained trumpet player. It was just like, oh, now this story makes sense. Now my Brian Funk: Mm-hmm. Sarah Belle Reid: voice feels more complete. You know what I mean? So it's like it all came together. Brian Funk: Yeah, I've found that for myself too, just over time, the different things in your life that feel so separate from each other. Sometimes they start coming together into this one path and you need a little time to see that happen. At least I definitely did. Sarah Belle Reid: Yeah. Yeah, for sure. Brian Funk: And it's nice too because sometimes the music education departments are very steeped in tradition and kind of resist this stuff. They see it as something that they, you know, almost like a challenge to it, maybe. I'm not sure, but I've run into that myself occasionally with trying to bring in just I teach high school English as a day job and trying to bring in like music production, Ableton Live stuff Sarah Belle Reid: Yeah. Brian Funk: into it. Not everyone is interested. Some people in the music departments were really excited and other people were kind of like, that's not music. I kind Sarah Belle Reid: Oh. Brian Funk: of got that feeling. Do you encounter that ever, some of those different challenges and how people see it? Sarah Belle Reid: Oh, of course. Brian Funk: haha Sarah Belle Reid: Absolutely. Yes. Both in, you know, in educational spaces and just in the world, you know. with people having different musical experiences, different backgrounds, different perspectives, different things that they like. Sometimes the music that I'm really interested in and that I make is challenging to listen to. Sometimes it doesn't have a traditional obvious hook or even a repeatable rhythm that you can snap along to. Sometimes it's just very... kind of amorphous and more like... sound design. You know, a lot of the time people, some people will say, oh, your music is more almost like experimental sound design than it is quote unquote music. To me, in my opinion, it's all music. Like all sound is music. But yeah, people sometimes express all kinds of opinions. And I've definitely, I've had some challenging conversations with people who don't get it and don't want to get it. But I've also had some really exciting deep conversations that are more based in curiosity. People who don't get it and are like, okay, what is happening? You know, I don't know what I'm hearing. What am I hearing? Can Brian Funk: Right? Sarah Belle Reid: you tell me how to begin to listen to this? And I love those kinds of conversations. You don't have to get it right from the beginning. You know what I mean? In fact, I feel like that mentality of, you know, you have to get it when it comes to music actually can really perpetuate that siloed. way of thinking that you can find in some educational systems, like what I believe you were talking about, where it's like, this is classical music, this is jazz, this is pop music. Brian Funk: Right. Sarah Belle Reid: I feel like if we could give everyone a little more permission to not understand things and have that be okay, we would be Brian Funk: Hmm. Sarah Belle Reid: able to maybe blend a little bit more freely between all of these different modes of making music. Brian Funk: Right, yeah, that's cool you Sarah Belle Reid: It's Brian Funk: say Sarah Belle Reid: just Brian Funk: that. Sarah Belle Reid: a thought. It's just something I've been thinking about. Brian Funk: Well, I guess you probably get a lot of the, sorry you play your trumpet so nice, but these buttons and knobs. Sarah Belle Reid: Well, I even get, believe it or not, it depends on the concert and the audience, but I've even had people come up to me afterwards and say, do you, after a long performance on trumpet, be like, well, do you ever play a nice melody on that thing, on that horn, you know? Yes, in fact, I do. Thank you for asking. It's just a mix. You know, everyone has different backgrounds and perspectives that they're coming from, so. Brian Funk: Well, art, you know, especially when it's new, always challenges people and Sarah Belle Reid: Exactly. Brian Funk: it divides people. And that's part of what's nice. Sarah Belle Reid: Yeah. Brian Funk: And there's people, I don't know who it's credited to, but just kind of, it's better to have people love it and people hate it than just to have people, okay, I've heard Sarah Belle Reid: Right? Brian Funk: this before. It's Sarah Belle Reid: Have Brian Funk: more Sarah Belle Reid: people Brian Funk: of that Sarah Belle Reid: forget Brian Funk: again. Sarah Belle Reid: about it. Brian Funk: Yeah. Sarah Belle Reid: Yeah, I once had a mentor tell me that early on and I'm so grateful that they shared that with me because it's really stuck with me. If you move someone with your music, even if you're moving them in a way that maybe feels slightly negative or they don't like it or they don't get it, you're still stirring something up within them. Brian Funk: Mm. Sarah Belle Reid: You're expanding their life in that moment. Your music changed them in some way. It made them question how they think about music. It made them hear new things. That's actually incredible. Brian Funk: Yeah. Sarah Belle Reid: And so from my perspective, it's not that I gave up, but I let go of the priority of trying to have everyone like my music many, many years ago, and now I'm focused on sharing really meaningful listening experiences with people as one of my primary goals in making music. Brian Funk: I imagine trumpet came first. Sarah Belle Reid: Yep, actually, well, piano way back and then trumpet and then electronics. Yeah. Brian Funk: How did you get introduced into that electronic world? What was it that, was it like somebody, a friend or? Sarah Belle Reid: I was in grad school in California, so it was pretty, you know, relatively late. I had been playing trumpeted music for many years at that point, but I had never even seen a synthesizer. I had no idea about this world at all. And for some reason, I decided to join a class called interface design, which is a class where you actually design and build your own. musical interfaces or interfaces for musical expression. So it could be something that has buttons and knobs on it, like an Ableton push, something that maybe is a MIDI controller, or it could be, you know. anything you could imagine that you might want to use to control sound. So people were building wearable sensor-based things that they would then give to dancers and the dancers would move around and that would give them data to turn into a synthesized sound or to control lighting. And I really wanted to build a gestural interface to go on my trumpet. That was kind of where it started. So I had never used Ableton. I had never used a synthesizer. I had never even used like an effects pedal, but I Brian Funk: Hmm. Sarah Belle Reid: was like, okay, I wanna do this because this sounds really cool. How can I turn my trumpet into some kind of controller for electronics and visual? At the time I was really interested in like coded visuals and stuff like that. I don't do a ton of that anymore. But so I started there. And then once that thing was built, I realized. you can't make electronic music without understanding how electronic instruments work. So then I started to work with modular synths and more in Ableton and different programs on my computer to kind of pull it all together. Brian Funk: Right, right, so that Sarah Belle Reid: Yeah, Brian Funk: pulled you right into that world. Sarah Belle Reid: exactly. It's kind of a strange introduction into the world of electronic music, but I'm grateful for it. So. Brian Funk: It's something that I really was interested in when I first started getting into computer-based music. I started on guitar, playing in rock bands, not trained or anything like you, but more grimy punk rock angle. Once I started finding out about MIDI controllers and that you can put them together and map them how you want, it really made me think about just instrument design in general. Sarah Belle Reid: Yeah. Brian Funk: Just how amazing it is that certain things like a trumpet or like a guitar or piano have stuck around for so long Sarah Belle Reid: Yeah. Brian Funk: and still seem almost like these unsolved puzzles that have so much left to give. And now... there's all these new kind of ways of looking at music. And it's a really fun time. There's always something new coming Sarah Belle Reid: Yeah. Brian Funk: out. That's a totally exciting new way to create music that Sarah Belle Reid: Yep. Brian Funk: sometimes relies on skills you have already. And sometimes it enables people that have no musical training at all to Sarah Belle Reid: Yeah. Brian Funk: create really interesting music. You have, um, can you describe what you did to your trumpet a little bit? Sarah Belle Reid: Yeah, I Brian Funk: I've Sarah Belle Reid: can... Brian Funk: seen some pictures and like, it's, it's kind of, it's like space age almost. Sarah Belle Reid: Yeah, so basically what it is, it's a little collection. So basically it's run with a microcontroller, an Arduino, which is a little tiny microcontroller that you can get for, I think, 20 or 30 bucks. And it allows you to attach different sensors to it and read the data from the sensors. And so I built this little enclosure that goes onto the trumpet and it detects the motion of the valves, so the pistons that you use to change to play different notes, and also the amount of pressure that you have, that your left hand has on the trumpet as you're holding it, and also the tilt. There's an accelerometer in it as well, so as you move the horn up and down or side to side, it will detect that as well. And then that Arduino, like I said, it just reads the data and allows you to transmit that data onto a computer. And from there, you have to get creative and figure out what you want to do with it. If you want to use it as MIDI to control a MIDI synth, or if you want to convert it to some other data format, which you can do and send it to another program and so on and so forth. But the real music making starts at the computer end of things. Brian Funk: Hmm. Sarah Belle Reid: And the device, which I call MIGSI, which is Minimally Invasive Gesture Sensing Interface, remember folks, I did this in grad school. It was very much my thesis, so it's super nerdy. I apologize. Brian Funk: That's cool though. Sarah Belle Reid: But yeah, that part is really just about sensor data capture, like gestural Brian Funk: Hmm. Sarah Belle Reid: data capture, yeah. Brian Funk: Right. And you have to then, like you're building the instrument, you're building this thing, and then you have to decide what all of that stuff does, which Sarah Belle Reid: Yeah. Brian Funk: can change for, I'm sure every performance. Sarah Belle Reid: Exactly. And that's the most challenging and also the most rewarding part. I co-designed Migsie with someone named Ryan Gaston, who I was in school with at the time. And we, I remember we got to the point where all of the sensors were working. The data was flowing to the computer and we were just looked at each other and we're like, what the heck do we do now? Like, what do you do with seven streams of numbers? How do you turn that into music? It's a big challenge. But, um, you know, you just go to go piece by piece and you, you can, basically you can think, well, maybe this when this number goes up that means there's more reverb applied onto this sound or maybe when this number goes down maybe we divide this string of numbers into like three sections and we use each section to trigger a different sound and you start you start small like that and then the ideas start to kind of click as you go Brian Funk: Right, that's Sarah Belle Reid: yeah Brian Funk: pretty much the same advice I give people with Ableton Live and programming your MIDI controllers. Sarah Belle Reid: Yeah. Brian Funk: I do a class for Berklee Online, it's a sampling with Ableton Live, and there's a live performance portion, and I explain to the class, like, look, I'm not expecting something ready for prime time at Madison Square Garden or something like that. It's just build it small. Start with one little thing you wanna do. Sarah Belle Reid: Right. Brian Funk: and try that out because it's different than picking up any other instrument because you have to build the instrument and then you have to decide what it does and then you have to make music and perform Sarah Belle Reid: Exactly. Brian Funk: it. Sarah Belle Reid: And often what I've learned over and over and over again is that simpler is better when it comes to mapping things like mini controllers or anything. In my experience anyway, you often think, well, I have 10 fingers and I've got 34 buttons, like, let's use them all. But, and, you know, some people are really great at that kind of thing. For me, I've really realized that Less is more. Sometimes just three or five really meaningful controls can be more than enough to make an expressive piece of music. Because it's not all about triggering a sound, and then that's it. It's triggering a sound. Maybe it's loud this time and softer this time or different pitches and all of the different things you can do to the sound once you trigger it. I hope that makes sense. I feel Brian Funk: Definitely. Sarah Belle Reid: like I kind of went on a little. But less is more is the moral of the story. Brian Funk: It's the same thing I've done with my live performance set in Ableton. Um, it's the same set I created almost 15 years ago Sarah Belle Reid: Right. Brian Funk: and it just gets save as save as, and you just change something. And it kind of started like slowly. It went up and I added things and then Sarah Belle Reid: Yeah. Brian Funk: it kind of got a little over complicated Sarah Belle Reid: Yup. Brian Funk: where I have these buttons might Sarah Belle Reid: Yeah. Brian Funk: as well make them do something. And my performances, when I listened back to them, sounded like somebody that was afraid the audience might think I'm only checking my email on my computer. So Sarah Belle Reid: I'm Brian Funk: I'm Sarah Belle Reid: sorry. Brian Funk: like overcompensating, doing way more. It didn't serve the song or the music, but it looked cool. You Sarah Belle Reid: Right, Brian Funk: know, Sarah Belle Reid: you were busy. You had your hands Brian Funk: I was Sarah Belle Reid: full. Brian Funk: busy. And by now it's tapered off a lot. It's Sarah Belle Reid: Yeah. Brian Funk: nowhere near as complicated as it was at one point. Because, yeah, it's just... I agree with you a lot, the simple stuff is where it's at, used effectively. That's fun. You've done some really cool stuff recently. I wanted to talk to you about, it was one of the big things that got me to reach out to you with the creative, um, the create with courage Sarah Belle Reid: Mm-hmm. Brian Funk: for 30 days or 30, maybe it's 31 days Sarah Belle Reid: Yeah. Brian Funk: you did just a post on Facebook is where I was seeing them. And just offering some wisdom information, some experiences from your past. Sarah Belle Reid: Right. Brian Funk: What, what inspired you to start doing that? Sarah Belle Reid: Well, I was thinking a lot about... why I make music. It's a big question that I actually ask myself fairly often. I think it's just helpful to check in. And for the record, I don't think that there's any right or wrong answer for a person to have. I just think it's a nice exercise of self-reflection to be like, why am I doing this? What's meaningful about this to me? Because it will change as we grow as artists and go through life, I think. I was thinking a lot about this. A couple of the really big driving forces behind why I am an artist and why I dedicate my life to making music has to do with creating and sharing connections with people through sound, as I mentioned a little earlier on, and also joy. It's a really simple thing, but just being joyful and doing what I love and sharing that with other people. And in the last couple of years, as I've been doing more online teaching, I've also come to really, really value the pursuit of courage and creative courage. And in particular, one of the reasons why I teach is because I want to be able to help people make more music that they absolutely love with joy and courage. I want to help people make the kind of music that they will listen back to and be like, Yeah, like, heck yeah. Like, I did that Brian Funk: Hmm. Sarah Belle Reid: thing and that feels like a true expression of myself. And I am so excited to share that with the world. You know, like, I went for it. I didn't compromise along the way because I was nervous about what someone would think, which is something that I used to do a lot. And I'm sure many people can relate to. You know, I didn't, like, dim it down for fear that it wouldn't be accepted. I just did my thing. Loud Brian Funk: Hmm. Sarah Belle Reid: and... And so those were the values. It was this idea of connection, joy, and then courage. And I was just sort of chewing on it and thinking it over. And yeah, the idea of... walking the walk a little bit and just seeing, okay, well, what would it look like if every day I shared something that required me to be courageous Brian Funk: Hmm. Sarah Belle Reid: and myself and to be vulnerable and just open about what I've learned in life and what I've gone through that's helped me get to where I am today. Maybe that could help people bring a little bit more of that into their lives. And as an added bonus, I can connect with people along the way. you know, through the discussions in the comments and everything on the posts. Brian Funk: Mm. Sarah Belle Reid: So that's sort of how it came up. And, uh, it was an amazing experience. It was 30 days. And every single day I shared some kind of lesson, um, you know, or experience that I've had in life that has had, that is somehow related to being a musician or being a creative person. And, you know, going through sometimes very challenging times, sometimes really awesome times, and just everything that you learn from it, and how you grow with it. Brian Funk: Hmm. Sarah Belle Reid: Yeah. Brian Funk: Yeah, there was definitely a lot of vulnerability shared, Sarah Belle Reid: Yes. Brian Funk: which I thought was really nice. Especially coming from someone with your background, you have a doctorate in music, right? So like, it's very, it's the kind of thing that I think a lot of people would feel like your past, right? Like you've, you've received the credentials, you're playing the festivals, you're doing all these things that... It's nice, it's refreshing. It's something I've Sarah Belle Reid: Yeah. Brian Funk: gotten doing this podcast as well is that I haven't had anyone tell me it's easy or that, yeah, I just make music, you know, just comes Sarah Belle Reid: Yeah. Brian Funk: out of me. Like anything, masterpiece after masterpiece, nobody says that. Even Sarah Belle Reid: Yeah. Brian Funk: people like you would have thought that really had it figured out, still have these struggles and vulnerabilities. Sarah Belle Reid: Well, and I think that's part of, that's another really big reason why I wanted to do this is because usually, it sounds like your podcast is an exception to that, which is great, but a lot of the time online, you see the perfect finished product, right? You see the album after months or years of work. You see the perfectly curated social media feed. You see everything going super well. And it can be baffling. Like it can be like, how are they doing this? What is wrong with me? Brian Funk: Right? Sarah Belle Reid: get that perfect schedule in my studio or make a track a week or whatever you're seeing someone else do. And I think that such a big part of the growth that I've been able to have over the years as a musician has come from being able to see into other people's real lives and see them working through... mindset struggles or insecurities or life being full of surprises or like, hey, I suck at this and like, I've got to go and practice really hard. And like getting to see that happen, like see people just go from really not having that skill to like a month later, really having that skill because they put three hours a day in the practice room and made it happen, you know. So I guess what I realized is that a lot of the time online, that's missing. You don't see that process-based aspect. Brian Funk: Right. Sarah Belle Reid: Yeah. Brian Funk: Yeah, you kind of get the flashy Sarah Belle Reid: You Brian Funk: finished Sarah Belle Reid: just get Brian Funk: product. Sarah Belle Reid: the, Brian Funk: Yeah. Sarah Belle Reid: yeah, and then it really, and then it's easy for someone to be like, wow, I'm never gonna be there. Like, Brian Funk: Hmm. Sarah Belle Reid: I guess I'm not cut out for this. That's the sentence I hate hearing the most is, and it's something I once used to say to myself, I guess they have something I don't have, like some secret ability. Brian Funk: Right, Sarah Belle Reid: So I Brian Funk: like Sarah Belle Reid: kind of Brian Funk: some Sarah Belle Reid: felt Brian Funk: gifts. Sarah Belle Reid: like some gift, you know, and of course people have, we all have our own unique little gifts. All of us do. And, and anything is learnable and figure out a bowl and it just takes some grit and perseverance and, and courage, and you got to take action and do the thing, you know? Brian Funk: Hmm. Sarah Belle Reid: So I really wanted to share that with others and, be honest about how I got to where I am and also what I'm in every day still. Brian Funk: Right. Sarah Belle Reid: Very much. Brian Funk: That's an important gift really, because you mentioned the joy of it, but this is the very thing that brings so much people so much frustration and Sarah Belle Reid: Yeah. Brian Funk: self-doubt. And I mean, it's funny when you mentioned also like, why do I make music? Like sometimes I get these feelings too. I'm like, what am I making these silly songs for? I'm like a grown-up now. You know, like, let's do something important with my time. Right. And... Sarah Belle Reid: Right. Brian Funk: I think about that and when it's not coming together, when it's not working out, then that's when I'm really vulnerable for that kind Sarah Belle Reid: Yeah. Brian Funk: of feeling. And there's no joy in that. Sarah Belle Reid: Right. Brian Funk: And at least, and you said there's no right or wrong reason, which I think is so true too because I have a lot of friends that just have an acoustic guitar that they strum after work in the backyard. Sarah Belle Reid: Mm-hmm. Brian Funk: It's not to record anything. It's not to write a song. It's... maybe learning a riff or just because they like to hear the sound under Sarah Belle Reid: Yeah, Brian Funk: their fingers. Sarah Belle Reid: yeah. Brian Funk: And sometimes we lose that in this quest to whatever Sarah Belle Reid: Mm-hmm. Brian Funk: it is, whether it's to make songs, finish things or get releases out. It is a real fast way to lose the joy of it. And Sarah Belle Reid: Yeah. Brian Funk: I think with something like music where, especially if you're trying to make a career There's, there's so many safer bets for like careers that at least if you're going to do music, you should be having fun. You should be enjoying Sarah Belle Reid: It's Brian Funk: it. Sarah Belle Reid: so Brian Funk: Cause that's, Sarah Belle Reid: important. Brian Funk: that's Sarah Belle Reid: Yeah. Brian Funk: the reason you would ever be crazy enough to do this. Sarah Belle Reid: Yeah, it's so important and yeah, it's something over the years that I have lost and found and lost and found again and what I've realized for myself is that... Joy is something I can come back to on purpose. I just have to be aware of it. I have to remember. I have to remember to be like, "'Okay, Sarah, how can this be fun?' It sounds like such a silly question, but when you're in the studio and things aren't working and you're like, ah, this sucks, ah, I suck. And then all of the stuff comes in, all of the thoughts and the, oh, Brian Funk: Damn opens, Sarah Belle Reid: no one's Brian Funk: yeah. Sarah Belle Reid: gonna Brian Funk: Heh. Sarah Belle Reid: listen anyway, and blah, which I call mind trash. That's what all of that is. It's like in that moment, it's not easy, but the most valuable thing you can do is just be like, okay, breaks. And then how can I make this fun right now? Brian Funk: Hmm. Sarah Belle Reid: And maybe the answer is pick up some random instrument that you haven't played in a while. Or maybe the answer is take your battery-powered synth out and sit in the backyard or whatever it is that just feels... fun and just come back to that joy and that reason why you're doing it. For me, a lot of the time it's like, I'm not going to do this right now. I'm just going to improvise. I'm just going to play because for me Brian Funk: Hmm. Sarah Belle Reid: that is fun. And when I start doing that, basically a hundred percent of the time. maybe 90% of the time, it just gets me out of my head. I'm gonna be real. And I reconnect to the sound and my breath and my body and my music and something clicks, you know? Brian Funk: Hmm. That's a great question to ask. What would this look like if it were fun? How could I make this into something fun? Sarah Belle Reid: How can this be more fun? Yeah. I also love the question, how could this be easy? That's a little bit of a side note, slightly different Brian Funk: Hmm. Sarah Belle Reid: question, but that's a bonus power move right there because we are so Brian Funk: Right. Sarah Belle Reid: good at over-complicating things. So I Brian Funk: Mm-hmm. Sarah Belle Reid: love asking myself that one too. It's like, I've got a big project, I've got to get it done today or this week. How can this be easy? Brian Funk: Yeah, I had a really funny and silly one of those moments just like a week or two ago with this podcast where with the art, I finally have somebody helping me do some editing with the podcast. Animus, shout out to him, his help has been so great and tremendous. But sometimes I stick in episodes that are just me talking Sarah Belle Reid: Uh huh. Brian Funk: and I was getting really stressed out. I was like, oh, the art. is going to get all messed up because it's going to say like this number of episode and then mine's going to come. I'm like, oh, what am I? And I was like, why do I need the number on there? Sarah Belle Reid: How Brian Funk: And Sarah Belle Reid: can Brian Funk: I was Sarah Belle Reid: this Brian Funk: like, Sarah Belle Reid: be easy? Brian Funk: oh my God, this is a problem I don't need to have. But it just, it was the kind of feeling that made me like look at everything in my life and be like, what else am I doing this to? Sarah Belle Reid: Yes. Brian Funk: Where else am I trying to put Sarah Belle Reid: Oh, Brian Funk: numbers where they don't need to Sarah Belle Reid: right. Brian Funk: be? Sarah Belle Reid: That is some deep wisdom. That's good. Brian Funk: I'm sorry. Sarah Belle Reid: That's a funny example, but it's so true. If you're anything like me, if you hadn't noticed that, you could have agonized over that for like Brian Funk: I did. Oh, Sarah Belle Reid: some Brian Funk: I did. Sarah Belle Reid: time. Brian Funk: Yeah. Sarah Belle Reid: Yeah. Brian Funk: There was like months, like two months. I was like stressing me out. Sarah Belle Reid: Oh, well I'm really glad you came to that Brian Funk: Yeah, Sarah Belle Reid: realization. Brian Funk: simple thing. Sarah Belle Reid: Yeah. Brian Funk: But it's such a good question. It reminds me, I don't know where I heard this because I would love to attribute this to somebody, but it was like, we say like, this brings me joy, this brings me joy. And then the person just turned around is like, no, you're taking joy in it. Take joy in it. So it makes that feeling of like having fun and like enjoying Sarah Belle Reid: Mm-hmm. Brian Funk: something for what it is. more of an action than something that happens to you. Sarah Belle Reid: Mm-hmm. Brian Funk: And that again has been really helpful for me in Sarah Belle Reid: Mm-hmm. Brian Funk: certain situations where I'm thinking like, music isn't bringing me any joy. I was like, well, I have to take joy in it. Like, Sarah Belle Reid: Uh-huh. Brian Funk: what is it about it that makes it fun? I guess it's another way to look at it. So. Sarah Belle Reid: Yeah, yeah, it's valuable. The I don't sorry, I don't know if you want to change topics, but one other thing that popped into my mind is just that it gets to be fun. Like you have Brian Funk: Mm-hmm. Sarah Belle Reid: permission, permission granted, even the most quote unquote, serious, professional, legitimate insert, whatever qualifying word you want musician. is allowed to have fun, Brian Funk: Mm-hmm. Sarah Belle Reid: right? And like somehow I feel anyway, maybe I'm just speaking from my own, or I'm certainly speaking from my own experience, but. it almost felt, when I was in school at times, it almost felt like fun was a waste of time. Like fun was not focus, fun was Brian Funk: Mm. Sarah Belle Reid: not the discipline that was needed. Fun was goofing around, you know, it wasn't valued Brian Funk: Kid Sarah Belle Reid: in Brian Funk: stuff. Sarah Belle Reid: the same way. Yeah, yeah, like you said a minute ago, Brian Funk: Yeah. Sarah Belle Reid: like why am I, I'm an adult, why am I making Brian Funk: Right. Sarah Belle Reid: these funny songs or whatever? And I just think that, For me, realizing and embracing that when I have more fun, I make better music. It does Brian Funk: Mm-hmm. Sarah Belle Reid: not mean all my music sounds cartoonish and goofy and like, ha ha, some of it does, but that's not the end result. It just means that I am more embodied in the process. I'm more present, I'm more joyful, and as a result, everything works better, right? Brian Funk: Yeah. Sarah Belle Reid: Because I'm moving in flow with myself. I'm not fighting against myself. Brian Funk: Yeah, the play aspect, play music, you know, Sarah Belle Reid: play. Yeah. Brian Funk: play music. It's so important. We were saying we, having trouble remembering things on the spur of the moment, and I'm trying to think of a book now, but it was all about improvisation and it Sarah Belle Reid: Mm. Brian Funk: talked a lot about play. Oh, the art of is, the art of is, is what the book is called. I think, now I'm not sure. Sarah Belle Reid: Hahaha Brian Funk: I'll write it down, put it in the show notes, but it... It just struck me like that's where so much fun happens. And when you're, when you are a kid, suppose you're on like a playground or something, you're just making up rules. You're coming up with things on the fly. You're not trying to decide if it's acceptable or if it's, you know, smart enough or intelligent Sarah Belle Reid: Yeah. Brian Funk: enough, which is something I struggle with a lot with my music. I always feel like I'm not being clever enough. Sarah Belle Reid: Mm-hmm. Brian Funk: It's Sarah Belle Reid: You're Brian Funk: just. Sarah Belle Reid: not alone. Brian Funk: which spirals me out of Sarah Belle Reid: Yeah. Brian Funk: the joy of doing it. But that, when I get playful though, then I'll do something weird that I wouldn't normally do. That would be maybe a little unorthodox that might sound clever later on, right? But it was just because I was kinda being silly or just Sarah Belle Reid: Yeah, Brian Funk: letting go of things. Sarah Belle Reid: letting go. Exactly. You take risks when you're in a playful Brian Funk: Hmm. Sarah Belle Reid: state. You're curious. Curious is the magic word for me personally. When I'm playful, when I'm having fun, I get curious. I ask myself, what if? What, not in a bad way, not what if no one likes it, but what would happen if I did that? Ooh, what if Brian Funk: Right. Sarah Belle Reid: I put those sounds together? Ooh, what if I map my controller in this way? Ooh, what if I do it all backwards? And that curiosity is, in my opinion, is where like... innovation comes from. It's the people who are like, oh, I wonder if I connect this and this way instead of that way. Oh, look, I just stumbled across this cool new technique that people will use for the next 40 years, you Brian Funk: Right? Sarah Belle Reid: know what I mean? Brian Funk: Yeah. Sarah Belle Reid: And so I love that. And for me, that is like the magic mindset space. If I can get into a playful, curious space, I know I'll be okay. Yeah. Brian Funk: Yeah, it's helpful with other people too, especially Sarah Belle Reid: Yeah. Brian Funk: people you get along with that you're comfortable with. Sometimes that can help you get there Sarah Belle Reid: Oh Brian Funk: a Sarah Belle Reid: yeah, Brian Funk: bit. Sarah Belle Reid: for sure. Yeah. Brian Funk: In watching some of your videos, I came across one that I thought was really, I mean, there were a lot, but the one that stuck out to me was when you were playing with mixers to create Sarah Belle Reid: Mm-hmm. Brian Funk: feedback. So it was like, I forget what you title it, but basically you're plugging the outputs of the mixer back into the inputs and creating all these. stuff you're not supposed to do. Like you're not allowed to do that, Sarah Belle Reid: I'm Brian Funk: right? Sarah Belle Reid: sorry. Brian Funk: If you went into a studio and started doing that, they'd throw you out. What are you doing? You're going to break something. It's going to, but you were taking that noise really, feedback and just interesting, well, things people wouldn't think is interesting that would normally think was wrong, but that was something you were using then to create something interesting. Sarah Belle Reid: I'm right. Brian Funk: And Sarah Belle Reid: Yeah. Brian Funk: that's a playful thing. That's the kind of thing you might If you let a kid that didn't know what they were doing, just start connecting things they would Sarah Belle Reid: Yeah. Brian Funk: come up with. But a trained professional would never think to do that. Sarah Belle Reid: Yeah, that's true. Yeah, the technique that you're referring to is called no input mixing. And yeah, exactly. It's a feedback based technique where you patch the outputs of a device back into its own inputs. And by doing that. you are creating a feedback loop and it will start to self-oscillate, which means it will start to produce its own tones. And they are inherently super chaotic and unpredictable. And something that's so fascinating about working with feedback is, in my opinion, is that you, because of the chaotic nature of the feedback loop that you've created, you're trying to do. So for example on a mixer, you know some mixers have the three band EQ like high, mid, low EQ knobs for example. You could turn the mids up and you'd expect the mids to be boosted but it might actually cause the sound to go from a steady tone to like a choppy, sputtery sound. Or you could turn the volume knob up and instead of it getting louder the pitch will go down strange nonlinear interactions because of the way that you have it self-patched. And I love that. I find it delightful and super intriguing because it it's like an invitation to listen in a really deep way. Again a really curious way because you don't know what's gonna happen. And this instrument, this object that is like usually has a very specific role in your on your desk all of a duo partner and Brian Funk: Right. Sarah Belle Reid: it's like jamming with you. You know and you can do this kind of feedback patching with synthesizers too. It's one of my favorite techniques to use on a modular or any kind of synth. It's not just mixers that you can do it with if anyone's curious. Brian Funk: So you would just patch those outputs. That was a famous thing people did with the Minimoog. They would put the, I think it was like the headphones back into the external Sarah Belle Reid: Yeah! Brian Funk: input. Sarah Belle Reid: Yeah, the only thing just for anyone who's trying for the first time, um, it's just really important that you have your main outputs should, should always have a volume control attached Brian Funk: All right, Sarah Belle Reid: to them. Don't Brian Funk: maybe Sarah Belle Reid: use those Brian Funk: a limiter. Sarah Belle Reid: in the feedback loop. And, and I recommend never using headphones if it's your very first time doing feedback based patching, because the volume is very unpredictable. So Brian Funk: Yeah. Sarah Belle Reid: just make sure you've got some kind of master volume control. And I've been doing this now, feedback patching for, you know, well over a decade. and I have not broken anything, and a signal is a signal, and it's all gonna be okay inside the instrument. The main thing you have to worry about potentially damaging are your ears and your speakers. So just keep your volume low. Use a limiter, it's a great idea, and you'll be fine. Everything will be groovy, and you'll make some cool sounds. Yeah. Brian Funk: Yeah, yeah, I can definitely agree with that advice. I've had that situation where maybe I'm trying to record the band and somewhere along the way, I routed something the wrong way and everyone's headphones just starts squealing. Sarah Belle Reid: He, oh no. Brian Funk: People falling out of their chairs. It can Sarah Belle Reid: Yeah. Brian Funk: be horrifying and scary when it happens. Sarah Belle Reid: Oh yeah, when you're not expecting it for sure. Brian Funk: But it's that unpredictability. It's almost like a collaborator Sarah Belle Reid: That's right. Brian Funk: when you get that kind of stuff. My first exposure to feedback was with electric guitars and turning up the distortion, putting them in front of the amp. And you get these overtones. And you can almost get melodies depending on what guitar you have. You get different things screeching out of it. Sarah Belle Reid: Yeah. Brian Funk: And it becomes an art in how Sarah Belle Reid: Yeah, Brian Funk: to. Sarah Belle Reid: yeah, and it's beautiful. I mean, there's so much music throughout history that, you know, it's a short, relatively short history of electronic music so far, but so many people exploring feedback in such beautiful ways. And it's not always crazy. you know, blasting noise. Like you said, sometimes it's delicate, ghostly tones and Brian Funk: Hmm. Sarah Belle Reid: little chirps. Like it can be very beautiful and tender even. It's just all about how you kind of dial it in, you know, which just comes down to making small movements, turning knobs slowly Brian Funk: Right. Sarah Belle Reid: and listening. Brian Funk: I've sampled feedback a long time ago off my guitar and I was gonna make an instrument out of it inside a sampler in Ableton Live. And I was really surprised at how soft it came out because it's not that way when you're doing it live, especially through a guitar amp. Sarah Belle Reid: Yeah. Brian Funk: I'm sure you probably have family members that are very understanding of strange noises coming out of wherever Sarah Belle Reid: Oh yeah, Brian Funk: you're Sarah Belle Reid: well... Brian Funk: working. I have the same thing and my wife is... totally cool about me making any kind of noise. But a year or two ago, I was recording an album and I decided I wanted all these guitar feedback tracks going on, so I had this little amp and just cranked it up. And I was just sampling it, because I was like, I'm going to also make a collection of these so I can have Sarah Belle Reid: Yeah. Brian Funk: them. And that was the one time she came down. She's Sarah Belle Reid: I'm sorry. Brian Funk: like, what's going on in here? Because to just be squealing and squeaking away, she probably thought like Sarah Belle Reid: That's Brian Funk: I Sarah Belle Reid: so Brian Funk: blew Sarah Belle Reid: funny. Brian Funk: up or something. Sarah Belle Reid: that. Yeah. Yeah, my family's put up with a lot. Brian Funk: I think anybody that's making music, even if you're just in a traditional thing without experiments you're looping the same thing over and over and over and over just to tweak things so people around you get used to you just incessantly. It's a really nice way to think though with that sound and useful sound for music can kind of just come from anywhere. There's really nothing that's off limits after a while when you start thinking in that way. Sarah Belle Reid: Totally. I'm working on a piece right now and we... I just spent, this was a couple of weeks ago, but I spent the day at an old, abandoned sawmill, like a cedar sawmill, sampling the big, they have these incredible big saw blades, huge, like six feet wide, and when you hit them, strike them with different things, they just sound incredible, and they ring for like, some of them 15 seconds, like a long decay ring. Just gorgeous. cedar logs that hadn't been cut into boards yet. And they're all different thicknesses and different lengths. And so if you whack them with like a stick, they're like, like different, they're like giant woodblocks, but like low, like base Brian Funk: Right. Sarah Belle Reid: woodblocks. And they all have different pitches. It's beautiful. And so I've been using all of those types of sounds as like percussion for this piece, as opposed to using, you know, real drums. It's all Brian Funk: Right. Sarah Belle Reid: just clanging metal from, you know, from the sawmill and pots and pans are my favorite. I mean, your kitchen is the ultimate sample playground. I'm sure you've told people that a million times, but like open up the cupboards, get the pots Brian Funk: Yeah. Sarah Belle Reid: and pans. Yeah. Brian Funk: And the kitchens usually have a cool reverb to them. Maybe they're like, it's not like carpeting usually in kitchens, Sarah Belle Reid: Right. Brian Funk: so they kind of have like this room sound. We do an assignment with the Berkeley class where you just go through your day and just find sounds. Your normal routine, but like listen, pay attention. And so many people never get past breakfast, Sarah Belle Reid: I'm sorry. Brian Funk: you know, because the kitchen is just loaded with appliances Sarah Belle Reid: Oh yeah, Brian Funk: and different Sarah Belle Reid: I love Brian Funk: pots Sarah Belle Reid: that. Brian Funk: and pans and jugs. It's really cool. And everyone's is different. You would think after a while that everyone's song would sound the same, or everyone's just sampling their kitchen. But every, that's like what I think is some of the beauty of it too, is that just everyone's atmosphere is unique, especially when you start adding up all the individual pieces. Maybe Sarah Belle Reid: course. Brian Funk: we have a pot and pan that sounds similar, but once we start opening cabinets and drawers and then we got a whole new palette. Sarah Belle Reid: Yeah. And also how you, you know, what you do to those samples, right? Like, do Brian Funk: Hmm. Sarah Belle Reid: you use the slam of the cabinet door as like a little percussive hit or do you time stretch it or do you, you know, speed it up so it's this like really high little piccolo sound, you know? That's where it gets really... really individualistic. Some people, some person might hear a melody in the way that the doors close and make a whole piece about that and someone else might not hear that and instead they might hear like a really awesome rhythm and they might run with that. So I think yeah music is everywhere. Anything is an instrument. It all comes back to curiosity to me. It's just a big loop. It's Brian Funk: Yeah. Sarah Belle Reid: a big feedback loop. Yeah. Brian Funk: Positive feedback loop. Do you use any particular gear to do this? Do you have like some giant rig with furry microphone windscreens? Sarah Belle Reid: Honestly, it depends if I'm in my, so when I can, I bring things into my studio just so that I can record in a more acoustically dampened space, but often if I'm out and about, I'm just using a simple Zoom field recorder, nothing fancy. It does, it could certainly be a fancier setup, but I. I haven't upgraded anything yet and it's actually been years and it works well. Brian Funk: Mm. Sarah Belle Reid: Most important thing to get, which I didn't get early on, is like a good wind sock of some kind or windscreen, because that's the Brian Funk: Right. Sarah Belle Reid: one thing that will really rain on your parade when you're trying to record outside is the KRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Brian Funk: Yeah, just that low rumble of the wind. Yeah. Sarah Belle Reid: It's more, in my opinion, it's more important to get the sounds and like, be creative with them than it is to get the most perfect, Brian Funk: Right. Sarah Belle Reid: high quality, pristine recording. Um, Brian Funk: I say the same exact thing. Sarah Belle Reid: yeah. Brian Funk: You're better off to have it. And you have a Sarah Belle Reid: I, Brian Funk: phone probably Sarah Belle Reid: that's what Brian Funk: on Sarah Belle Reid: I was Brian Funk: you. Sarah Belle Reid: just about to say is I've even, I've even recorded samples on my phone. I don't do that anymore because I have this zoom recorder, which is great, but that's how I started was just using my computer mic, like a built-in mic and my phone and just voice memo and everything. Brian Funk: Yeah. Sarah Belle Reid: And. It's fine. It's a place to start. Brian Funk: I was doing a class a week ago with Berkeley. And I was like, oh, I'm going to do this. I was trying to sample my voice through this microphone, but for whatever reason, my interface wasn't connecting with my Sarah Belle Reid: Mm. Brian Funk: computer. So I had those Apple AirPod, not Sarah Belle Reid: Mm-hmm. Brian Funk: these ones, but the ones with the wire. So they were old ones when they still had the eighth inch jack. So however long Sarah Belle Reid: Hmm. Brian Funk: ago that was. And I just sampled my voice through it to make an instrument that I could put inside a sampler. And I loved the quality of that cheap mic. In some ways, I almost like the bad mic better. Because once you start stretching it, repitching Sarah Belle Reid: Right. Brian Funk: it, weird things happen that aren't in the clean recording Sarah Belle Reid: Yeah, Brian Funk: that you can get, Sarah Belle Reid: totally. Yeah, I think it's Brian Funk: it's Sarah Belle Reid: all Brian Funk: important Sarah Belle Reid: just. Brian Funk: to just Sarah Belle Reid: Yeah, Brian Funk: get it. Sarah Belle Reid: exactly. It's just get it make start making things you can always upgrade like your gear later if you want to but start making stuff now. And you never know like you're to your point, you might end up liking it even better. You're not the first person I've heard you say who says that it's like, there's just some kind of magical quality about that. You know, kind of quote unquote crappy quality, bad recording. It's like actually Brian Funk: Yeah. Sarah Belle Reid: got some life to it, you know? Brian Funk: I find sometimes in the context of a recording, that quality helps the sound kind of stick out Sarah Belle Reid: Mm-hmm. Brian Funk: where it doesn't get lost in all the other really nice recordings. It's got its own little texture, its own little Sarah Belle Reid: Yeah. Brian Funk: space in the mix that you can really dial in. Sarah Belle Reid: Yeah. Brian Funk: So you've got a course that's about to start up, you said, Sarah Belle Reid: Yeah, Brian Funk: learning sound and synthesis. Sarah Belle Reid: that's right. Brian Funk: So that sounds like fun after we've been talking a little bit about some of Sarah Belle Reid: Yeah. Brian Funk: your philosophies in there, I'm sure. Sarah Belle Reid: Oh yeah. Yeah. That is, it's a, so it's next round is starting in late August and it opens every year, twice a year. But it's, as the name suggests, learning sound and synthesis. It's a class that's all about sound design and making music with modular synths and You know, that could be to do sound design for video games, or you could, you know, take the class to make your own music, your own electronic music, dance music, experimental music. A lot of folks are in the class with a focus on film scoring. Basically, what I teach is a very, very comprehensive how-to and synthesis technique. course that focuses on universal synthesis concepts rather than specific instruments because I'm really interested in giving people you know, the technique and the knowledge that they need to use any instrument they want, whether it's a virtual synth that runs on their computer or the synth inside of Ableton or some Moog desktop synth or a keyboard synth or whatever. And I don't want to, you know, lock people out of the class by saying, sorry, if you don't have this one particular Euro Rack, you can't come and learn. So I teach using VCV Rack, which is a really amazing free modular synth. program that runs on your computer. And I really, really love it. And yeah, we start there and people go a million directions Brian Funk: Mm. Sarah Belle Reid: from, excuse me, from there. Brian Funk: Well, that's Sarah Belle Reid: Yeah. Brian Funk: cool because so much of it is based off these building blocks. Sarah Belle Reid: Exactly. Brian Funk: And that's something I didn't know when I first tried to play a synthesizer. I didn't understand that there were these commonalities Sarah Belle Reid: Yeah. Brian Funk: between all of them. They all looked like different spaceships to me. Sarah Belle Reid: Yeah. Brian Funk: And I felt like I had to learn every single one, but soon you start to see the pieces and how they Sarah Belle Reid: That's Brian Funk: come together. Sarah Belle Reid: exactly, that's the thing that all of my students say and it's so exciting when they get to that point. Usually a month or a month and a half into the class, people start saying. oh wow, like I just realized how this instrument that I've had over here collecting dust on my desk works. Like I get it now because, you know, we basically, the philosophy behind the class is kind of like the under the hood approach to learning synthesis. So instead of learning how the... you know, the Moog Matriarch works or how any of those instruments work on the top level, you're learning how each individual component works, like really deeply what's up with oscillators. Not just, yeah, we know they drone, but like, did you know that you can, you know, use oscillators for 50, 100 different things, and then they can be chaotic and noisy and, and droney and all of this and like what's up with LFOs and how can we use as them as sound sources and how can we use them as control sources and all of that. So by the time you go through that, you not only know how VCV rack works and how modular synths work, but you go back to your various other instruments that you have and it all starts to click because you're like, wait a second. I get it. Brian Funk: Right. Sarah Belle Reid: it's an oscillator, it's an LFO, I know how those things work, that's a filter, and you're able to make more music with them than you were able to before, which is really exciting. Brian Funk: Hmm. Yeah, you just start to see the Sarah Belle Reid: You Brian Funk: kind Sarah Belle Reid: start Brian Funk: of main Sarah Belle Reid: to see Brian Funk: idea. Sarah Belle Reid: all the connections, yeah. Brian Funk: Yeah. Sarah Belle Reid: Yeah. Brian Funk: Right. Do you have a favorite synthesizer? I mean, Sarah Belle Reid: Ooh, Brian Funk: I would say you'd probably Sarah Belle Reid: I don't Brian Funk: go Sarah Belle Reid: know. Brian Funk: modular stuff, but I don't Sarah Belle Reid: Yeah, Brian Funk: know. Sarah Belle Reid: I am a big fan of modular and in particular, I mean the reason why I love modular is because of the flexibility. I also love, you know, I have a Hydra synth, which is a keyboard based poly synth, I love it. But the reason why I love it is because of all of the flexibility that I learned on my modular that I can bring into how I patch it and how I customize Brian Funk: Right, Sarah Belle Reid: the sounds Brian Funk: gotcha. Sarah Belle Reid: on the HydroSynth because it's very flexible. These days, what I've been really enjoying are very small modular synths. I, you know, very limited. I've put together, I don't know the exact size, but just a tiny little case, two rows, fits in a backpack. And I'm just living with it as though it is a fixed. signal path synth, or not fixed signal path, but like those are the modules. They're not swappable. Brian Funk: of the component. Sarah Belle Reid: Yeah, Brian Funk: Right, Sarah Belle Reid: and Brian Funk: right. Sarah Belle Reid: you do, of course, make your own patches within them, but I'm not changing them out every couple weeks, which is something that some folks do a lot of in the Brian Funk: Yeah. Sarah Belle Reid: modular world. And I've really enjoyed that because it feels more like my trumpet or like a keyboard where it's an instrument that I can really get to know on a really deep level that's not constantly changing. And I like the smallness of it because it forces me to be really creative and limitations, you know, are my best friend in the studio is just reduce the limitations, again, less is more. And I find that by, you know, giving yourself fewer options, you have to make better creative decisions and you try things that you probably wouldn't try otherwise. Brian Funk: Yeah, I think that is what creativity is. It's Sarah Belle Reid: Yeah. Brian Funk: making do with what you have. Sarah Belle Reid: Yeah, yeah, Brian Funk: And Sarah Belle Reid: yeah. Brian Funk: you're in this box. Not necessarily in the module, but Sarah Belle Reid: That's the trouble Brian Funk: I don't Sarah Belle Reid: with Brian Funk: f- Sarah Belle Reid: modular synths, though, is that you can always grab another one, right? So Brian Funk: Right. Sarah Belle Reid: I always try to encourage people to keep it small and just see what you can get out of that, because there's always something you haven't tried before. Guaranteed. Brian Funk: Yeah, I don't feel particularly creative when I'm scrolling through 9,000 kick drum samples, trying to find the one I'm going to use in my song. And I can imagine what modular it's, I've not gone too far down that road, mostly out of fear of getting carried away. Sarah Belle Reid: Um, yeah. Brian Funk: Because I've been in front of walls of them. Sarah Belle Reid: Yeah, yeah, Brian Funk: And Sarah Belle Reid: yeah. Brian Funk: it kind of like, what? And then to just know that you can always get a new one and swap it out. It's, I don't know. I think I'd go bankrupt real fast. Sarah Belle Reid: Yeah, that's why I mean in like, I totally hear you and you're not alone. Brian Funk: Hehehe Sarah Belle Reid: But that is a big reason why like the class that I teach and the community around it, the learning sound synthesis community is it's really, we're really focused on like making music first Brian Funk: Mm. Sarah Belle Reid: and foremost. It's not so much about the gear. Of course, the gear is a big part of the discussion because we're learning how it all works and, and people need advice on what, Music is always the number one goal, and I think that really helps. For one, it feels more inclusive. It feels more welcoming. It's like you don't need the big sprawling synth in order to make awesome music with modular synths. You can open up your phone and get like a modular synth app and like, that's fantastic. Start with that. It's perfect. VCV Rack's free. I love it. It sounds really great. There's actually a ton of VCV Rack modules that are direct emulations of digital modules that you can get in Euro Rack format. And they run the same code. and they Brian Funk: Right. Sarah Belle Reid: sound fantastic. So it's a perfect place to start and for many people it's not just a starting point, it's the perfect setup for them, you know, for years. I use VCVRC all the time, especially when I'm on the road. I Brian Funk: Mm-hmm. Sarah Belle Reid: just don't want to travel with like a massive, you know, rig. Brian Funk: Yeah, that's a big consideration when you're playing out and touring especially. Sarah Belle Reid: Yeah. Brian Funk: Like what are you carrying around with you? I know for myself, like a lot of times I'm going alone too. And if I'm going into like New York city and Brooklyn, I want to be able to carry everything in one trip Sarah Belle Reid: Yeah. Brian Funk: because I'm lucky if I park a half a mile away from the club. And I don't want to leave half my gear in the club and Sarah Belle Reid: No. Brian Funk: half in the car. So I've made it that that's been a really helpful limitation for me. Like what can I fit on this table and what can I carry? Sarah Belle Reid: Yeah. Brian Funk: Because for a little while I was getting interested in it was wasn't modular, but it was modular ask with MIDI controllers because you're kind of. Sarah Belle Reid: Yeah, lots of pieces. Brian Funk: You got all your little pieces together, so you keep adding to that next thing you know, like you're out of control real fast. Sarah Belle Reid: Yeah, I understand. Brian Funk: Yeah, I'm sure it's so I'm guessing having that kind of limited space is practical as well as great for creativity. Sarah Belle Reid: Yeah, exactly. I honestly think it's a win-win. I mean, some of the best shows I've ever played have been the ones that I've been forced to. really, really re rethink things because I'm like, okay, I'm flying. It needs to fit in the overhead. I also have a trumpet, so I'm really limited, right? It's like my trumpet case has to come on the plane. So then I'm like, what can I slide into that carry on, Brian Funk: Yeah. Sarah Belle Reid: you know, or into my backpack or something like that? But again, it just. It gets you thinking in a creative way. It gets you looking for sound everywhere in a more resourceful way. And I've found it really liberating. Brian Funk: Yeah, I agree. I've gone to almost no guitar pedals. You know, just really a tuner and a little bit of a noise gate. And it's just so nice. I used to rely on the delay pedal and the reverb and all these other things to make my parts interesting, but taking that away forces you to really pay attention to what you're playing Sarah Belle Reid: Right. Brian Funk: and the music much Sarah Belle Reid: Yeah. Brian Funk: more than... pressing buttons. Sarah Belle Reid: We like pressing buttons too though, it's okay. Brian Funk: It's fun. Sarah Belle Reid: Ha ha Brian Funk: There it Sarah Belle Reid: ha. Brian Funk: is. It's, there's nothing like it, but it, it's such a slippery slope. I think for myself, um, I avoid the like pain of trying to create by adding gear and then complicating things, you know, maybe pain's not the right word, but like, kind of like the fear of. Sarah Belle Reid: Yeah. Brian Funk: I don't know if I'm going to make anything good. So if I can kind of just fiddle with stuff, Sarah Belle Reid: Right. Brian Funk: I'm a little off the hook. Sarah Belle Reid: I can relate to that for sure. You can make something great though. Brian Funk: I will Sarah Belle Reid: Yeah, Brian Funk: try. Sarah Belle Reid: you got it. Brian Funk: Yeah. So where can people sign up for the course? You also have a free one we should mention too. Sarah Belle Reid: Oh yeah! Brian Funk: That was really cool. I've been watching a little bit of that. You have great energy too. I think that's a nice, you know, reason why people should come to you is that you're excited about it. And you transmit that really well over the videos. Just, hey, this is really cool everyone. You should check it out. Sarah Belle Reid: Yeah, well, I teach because I am genuinely passionate about teaching and about this topic. Like, I am all fully in and in love with what I teach. And so, yeah, I'm happy to hear that comes through. Yeah, I really do it. I do it because I love it. I'm also really passionate about helping people get started in electronic music and not only get started, but go deep into electronic music and make awesome music. Who... who for whatever reason feel like they're not cut out for it. That's a big kind of personal mission. If you, for whatever reason, just feel like you're not smart enough, or you feel like, oh, I'm the least techie person in the room. I've heard that so many times. Or they've got it and I don't have it. Maybe you believe in yourself, but you're just. intimidated, super normal, super common. And modular synthesis is an intimidating thing to get into because there are a million options and it can just be daunting, right? Like where do Brian Funk: Yeah. Sarah Belle Reid: I start? What do I need first? But at the same time

KEVIN ESTRELLE - Pyramids on Mars - Pyramids on Mars is music that really sounds like it's from Mars!! Every once in a while there comes along a band that is so different or unique, you would think they were dropped on Earth from another planet. Pyramids on Mars is one of those bands. What first catches you, is that they are an instrumental band. A combination of elements such as hard rock, industrial, metal and psychedelic rock. And then... the lead guitar comes soaring in. Well crafted, beautiful, melodic phrases so catchy and memorable they will be stuck in your head the rest of the day. The guitar has become the "vocals" of the music. It is the solo project of guitarist Kevin Estrella. He wanted to do something musically different that would stand out from the crowd. "Pyramids on Mars is the embodiment of who I am, really. My musical influences, my philosophies on life, the universe and our place in it." Kevin went on to say, "I have always been attracted to space, and a lot of my sound is influenced from my childhood growing up in the '70's. Some of my favorite TV shows back then were Star Trek and Space: 1999. Plus I am a huge Rush and Pink Floyd fan! Thus I use a lot of analog synthesizers like the Minimoog and Oberheim Polyphonic. Predominant of the '70's era and used exclusively by those bands. They are just so warm and mysterious sounding, they resonate with me." - http://www.pyramidsonmars.com

Hoy os vamos a acercar el segundo trabajo de Jeff Lorber Fusion, una formación mítica liderada por uno de los más grandes teclistas de los últimos años, Jeff Lorber. El disco se llamó Soft Space y fue editado en el año 1978. En el participan, además de la banda de Lorber, dos músicos esenciales para entender el desarrollo del jazz en los años 70s y 80s, el pianista y teclista Chick Corea y el saxofonista y flautista Joe Farrell. Esperamos que lo disfrutéis. TRACKS 1-The Samba 2- Katherine 3- Black Ice 4- Curtains 5- Proteus 6- Soft Space 7- Swing Funk CREDITS Jeff Lorber - piano acústico, Fender Rhodes, sintetizador Moog, Oberheim 4 Voice Lester McFarland - bajo eléctrico Dennis Bradford - batería Terry Layne - flauta, saxofón alto, saxofón tenor Dean Reichert - guitarra acústica, guitarras eléctricas Bruce Smith - congas, percusión Ron Young - congas, percusión Chick Corea - Minimoog solo (1), Minimoog (5) Joe Farrell - saxofón soprano (2), flauta (3)

It's all about the vibe! Adam talked about recording the Bloc Party Alpha Games, overdubbing cymbals, recording like Al Schmitt, guitar pedals mixing in the box, why the Mini Moog has nothing new to say, and where to use Slate Virtual Console. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Adam Greenspan A Grammy-nominated engineer, mixer, and producer who had a pretty good start to his career engineering Faith No More's “Album of the Year” at age 20. He later spent time at two world-class studios, Westlake Audio and The Village Recorder, working with artists such as Marilyn Manson, Rage Against the Machine, and Bono before going freelance in 2000. Adam has been a guest on the show for episode RSR289 when we talked about his background in music. Today we will see what's new in his studio. Thanks so much to Adris Evelis at JZ Microphones for making our introduction. THANKS TO OUR SPONSORS! https://UltimateMixingMasterclass.com https://www.Spectra1964.com https://MacSales.com/rockstars https://iZotope.com/Rockstars use code ROCK10 to get 10% off any individual plugin https://jzmic.com Use code ROCKSTAR to get 40% off the Vintage series mics plus get a FREE shock mount ($120 value) https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% off https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/41EUvInitzHuunTO3hsWOj?si=47e697a94ea445e8 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/397

In this episode Greg and Anthony perform together showing us how the Minimoog sound and part was created for the chorus in “Thriller” and how Greg's embellishments made Michael want to dance. Quincy knew that Rod Temperton's arrangement would deliver nuances that make all the difference in a production. And Quincy also created a bond of trust and feeling of family between all the musician's in the room. Visit: www.storiesintheroom.comSupport this podcast at — https://redcircle.com/stories-in-the-room/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Episode 90 The Electronic Music of Ryuichi Sakamoto Playlist Ryuichi Sakamoto and Alva Noto, “Second Dream” from The Revenant (Original Motion Picture Soundtrack) (2015 new regency Music). Composed, performed, and produced by Alva Noto, Ryuichi Sakamoto. 1:13 Ryuichi Sakamoto and Taylor Deupree, “Jyaku” from Disappearance (2013 Commons). Piano, Electronics, Ryuichi Sakamoto; Synthesizer, Tapes, Loops, Acoustic Guitar, Mixer, Taylor Deupree. 9:59 Alva Noto and Ryuichi Sakamoto, “Avaol” from Insen (2005 Raster-Noton). German release featuring Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 2:50 Alva Noto and Ryuichi Sakamoto, “ax Mr. L.” from revep (2006 Raster-Noton). German release. Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 4:20 Alva Noto and Ryuichi Sakamoto, “mur” from revep (2006 Raster-Noton). German release. Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 8:14 Ryuichi Sakamoto, “Solari” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 3:52 Fennesz and Sakamoto “0322” from Flumina (2011 Touch). Guitar, Laptop, Christian Fennesz; Piano, Laptop, Ryuichi Sakamoto. Recorded at Amann Studios, Vienna and KA+B Studios, NY and Japan. 5:35 Ryuichi Sakamoto, “Sunset” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. This album is listed as one of his special projects consisting of diary sketches in sound. Described as “an ambient oriented compilation of Sakamoto's music journal from 2001 after eye-witnessing 9/11 from his home NYC.” This one of his most moving essays in sound, consisting of his piano sketches treated with electronics. The progression of the album is presented in the order of the day and concludes with “Radical Fashion.” 8:47 Ryuichi Sakamoto, “Night” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. 7:37 Ryuichi Sakamoto, “Radical Fashion” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. 5:07 Ryuichi Sakamoto, “Zure” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 5:12 Ryuichi Sakamoto, “Out of Horse” from The Revenant (Original Motion Picture Soundtrack) (2015 new regency Music). Composed, performed, and produced by Ryuichi Sakamoto; Ondes Martenot, Motoko Oya. 3:57 Ryuichi Sakamoto, “Borom Gal” from Heartbeat (1991 Virgin). Concertmaster, strings, David Nadien; Lead vocal and words, Youssou N'Dour; Music by Ryuichi Sakamoto, Youssou N'Dour; Programmed, Performed, and mixed by Ryuichi Sakamoto. This is one of those star-studded albums that had pop appeal. Still, the electronics and digital editing of this track, especially in 1991, make this track stand out. 3:57 Ryuichi Sakamoto, “Fullmoon” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 5:13 Ryuichi Sakamoto, “Nuages” from Heartbeat (1991 Virgin). Lead Vocals, Houria Aichi; traditional song; Programmed, Performed, and mixed by Ryuichi Sakamoto. This little work from Heartbeat always reminded me of something you would have expected to hear in the movie Blade Runner. 2:15 Ryuichi Sakamoto, “Island of Woods” from Thousand Knives Of (1978 Better Days). On this album, not necessarily this track, Sakamoto plays Ryuichi Sakamoto plays: Moog III-C w. Roland MC-8 Micro Composer; Polymoog; Minimoog; Micro Moog; Oberheim Eight Voice Polyphonic w. Digital Programmer; ARP Odyssey; KORG PS-3100 Polyphonic; KORG VC-10 Vocoder; KORG SQ-10 Analog Sequencer; Syn-Drums; Acoustic Piano;Marimba. Recorded from 4/10 to 7/27, 1978 at Columbia Studio No.1, No.2, & No.4, Tokyo. 9:51 Ryuichi Sakamoto, “Stakra” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 3:41 Ryuichi Sakamoto, “Tokyo Story” from Sweet Revenge (1994 Elektra). Produced, composed, keyboards, computer programming, Ryuichi Sakamoto. Recorded at 11-K Studios, NYC, Clindton Studios, NYC, Paradise Studios, Tokyo, Unique Studios, NYC, Sedic Studios, Tokyo, Metropolis Studios, London, Westside Studios, London, Skyline Studios, NYC, Right Track Studios, NYC. 1:17 Ryuichi Sakamoto, “Plankton” (excerpt) from Plankton (Music For An Installation By Christian Sardet And Shiro Takatani) (2016 Milan). French recording of an installation piece by Sakamoto. The entire work is nearly an hour long; this is an excerpt from the beginning of that work. Mixed, produced, composed by Ryuichi Sakamoto; Producer, Lucille Reyboz, Yusuke Nakanishi; Sound programming, Satoshi Hama; Video programming, Ken Furudate, Ryo Shiraki. 7:47 Ryuichi Sakamoto, “Undercooled (Alva Noto Remodel)” from Bricolages (2006 Warner Music Japan). Rap, MC Sniper; Remix, Alva Noto. This is an interesting album of Sakamoto remixes with a rap track reimagined by the mixing of Carsten Nicolai. 4:44 Ryuichi Sakamoto, “A Wongga Dance Song” from Esperanto (1985 School). Composed, Arranged, and performed by, Ryuichi Sakamoto. This is one of Sakamoto's early explorations of the power of the digital sampler and editing. Music created for a dance performance by the company Molissa Fenley and Dancers. 10:06 Ryuichi Sakamoto, “20220214” from 12 (2023 Commons). Composed, produced, performed by Ryuichi Sakamoto. In answer to a question about how these recordings were done, Sakamoto replied: “They were all recorded in the small studio that was in my temporary abode in Tokyo. Depending on the piece, two or four mics were used to record the piano.” More answers to questions by Sakamoto are found here. 9:10 Ryuichi Sakamoto, “20220304” from 12 (2023 Commons). Composed, produced, performedby Ryuichi Sakamoto using sounding objects such as stones, chimes, and fragments of pottery. 1:09 Ryuichi Sakamoto, “Life, Life” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. Sho, Ko Ishikawa; Vocals, Luca; Spoken Word, David Sylvian; Words by, Arseny Tarkovsky. 4:24   Opening background tracks: Ryuichi Sakamoto, “Before Long” from Neo Geo (1987 CBS). Piano, Ryuichi Sakamoto. 1:20 Ryuichi Sakamoto, “Ulu Watu” from Esperanto (1985 School). Composed, Arranged, and performed by, Ryuichi Sakamoto. Music created for a dance performance by the company Molissa Fenley and Dancers. 3:57 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation: For additional notes, please see my blog, Noise and Notations. SiteSakamoto can be found here. The recent story about Ryuichi Sakamoto on NPR can be found here.

Episode 89 The Theremin Part 2: Recordings After 1970 Playlist Ultimate Spinach, “(Ballad of The) Hip Death Goddess” from Ultimate Spinach (1968 MGM Records). This American psychedelic rock band was from Boston, Massachusetts, although they had a sound that had more an affinity with the free spirit of San Francisco. The Theremin has a prominent part in this song, following the vocalist and filling in some interesting instrumental parts. Bass and Feedback, Richard Nese; Vocals, Drums, Tabla, Bass Drum, Bells, Chimes, Keith Lahteinen; Vocals, Electric Guitar, Guitar, Kazoo, Barbara Hudson; Vocals, Electric Piano, Electric Harpsichord, Organ, Harpsichord, Twelve-String Guitar, Sitar, Harmonica, Wood Flute, Theremin, Celesta, Ian Bruce-Douglas; Vocals, Lead Guitar, Guitar Feedback, Sitar Drone, Electric Sitar, Geoffrey Winthrop. 8:11 Hawkwind, “Paranoia Part 2” from Hawkwind (1970 Liberty). Hawkwind was a pioneering space-rock and psychedelic group from the UK. They were known to use a theremin during their early years—1969 to 1973 and revived its use on stage in later performances using a Moog Etherwave model in the 2000s. This first album features a theremin added to much of the sonic textures, sometimes overtly but often run through effects to provide a looming background, as in this song. It is sometimes difficult to distinguish, but I think there is a theremin providing some of the droning background and then sporadic bursts of tones beginning around 4:25. 14:54 McKendree Spring, “God Bless the Conspiracy” from 3 (1972 Decca). Electric Violin, Viola, Theremin, Michael Dreyfuss; Electronics (Ring Modulator), Tom Oberheim; Vocals, Acoustic Guitar, Dulcimer, Fran McKendree; Electric Bass, Larry Tucker; Electric Guitar, Martin Slutsky. This progressive band with experimental leanings was a quartet without a drummer. Dreyfus later said, “In God Bless the Conspiracy and No Regrets I was able to play viola and Theremin at the same time by bringing my body closer to the Theremin (to change pitch) while playing a harmony part on the viola,”(2006). He played a Theremin beginning 1969. He may have used a Moog theremin, such as the Troubadour. 6:53 Linda Cohen, “Horizon Jane” from Lake Of Light (1973 Poppy). Folky album from Philadelphia featuring several electronic musicians. Acoustic Guitar, Bass, Piano, Polytonic Modulator, Jefferson Cain; Classical Guitar, Composer, Linda Cohen; Flute, Stan Slotter; Producer, Electric Guitar, Matrix Electronic Drums, Modulator, Sitar, Synthesizer, Craig Anderton; Minimoog, Theremin, Charles Cohen. 3:36 Ronnie Montrose, “Space Station #5” from Montrose (1973 Warner Brothers). Ronnie Montrose added a custom-built Theremin to his equipment with the pitch antenna mounted on his aluminum (silver) Velano guitar so that he could play both at the same time. Volume for the theremin was controlled by a black box mounted on a mike stand, to which he stood nearby. He was recording with it throughout the 1970s. Here is a great live clip you where you can see how he played it. Note the end of the clip where he put the theremin guitar up against the speaker and wails on the volume control of the theremin control box. Bass, Bill Church; Drums, Denny Carmassi; Guitar, Theremin-Guitar, Ronnie Montrose; Vocals, Sam Hagar. 5:36 Arthur Brown's Kingdom Come, “Time Captives” from Journey (1974 Passport). Fender Bass, Percussion, Vocals, Phil Shutt; Bentley Rhythm Ace, Vocals, Arthur Brown; Electric Guitar, Vocals, Andy Dalby; Mellotron, ARP 2600, EMS VCS 3, Piano, Theremin, Percussion, Vocals, Victor Peraino. 8:37 Michael Quatro, “Get Away” from In Collaboration with The Gods (1975 United Artists Records). Brother of Detroit rockers Suzi and Patti Quatro, he had a flare for progressive rock and electronic keyboards in the 1970s. The Theremin makes frequent appearances on this album, this track in particular. Arranger, Piano Baldwin, Electric Piano Gretsch Electro, Piano Tack Piano, Sonic Six Synthesizer, Effects Univox Phaser, Univox Stringman, EC-80 Echo, Elka Electric Piano, Hammond Organ, Minimoog Synthesizer, Univox Mini-Korg, Electroharmonix Boxes, Mellotron Violin, Cello, Flute, Effects Wah-Wah Pedals, Effects Syntha-Pedal, Bass Nova Bass, Horns, Organ Pipe Organ, Sounds Ring Modulation, Maestro Theremin, Electronic Effects, Percussion , Michael Quatro;Bass, Lead Vocals, Arranged By Arranging Assistance, Dave Kiswiney; Drums, Kirk (Arthur) Trachsel; Guitar, Teddy Hale. 4:04 Melodic Energy Commission, “Revise The Scene” from Stranger In Mystery (1979 Energy Discs). This is the first album from this Canadian space-rock, psychedelic and folk troupe from British Columbia. The Theremin was a key instrument in their ensemble and was custom-built by group member George McDonald. His Theremin would eventually be known as the Galactic Stream Theremin and would take some 25 years to build and evolve into a six antennae instrument for “tuning into the performers body motions.” During this recording, a simpler, more traditional version was used. Gas & Steam Bass, Bells, Tambourine, Mark Franklin; Dulcimer, Bowed Dulcimer, Khaen, Gongs, Flute, Randy Raine-Reusch; Hydro-electric Guitar, Custom-made Theremin, Aura, Wall Of Oscillation, George McDonald; Percussion, Tablas, Brass Tank, Glockenspiel, Roland SH5 Synthesizer, Organ, Paul Franklin; EMS Synthi AKS, Delatronics, Electric Guitar, Del Dettmar; Wordy Voice, Guitar, Piano, Organ, Roland SH 1000 Synthesizer, Gongs, Vibraphone, Kalimba, Stone Drum, Egyptian Shepherd's Pipe, Xaliman. 6:13 The Nihilist Spasm Band, “Elsinore” from Vol. 2 (1979 Music gallery Editions). Canadian group that used all hand-made instruments, including the kit-made Theremin by Bill Exley. Bass, Hugh McIntyre; Drums, Greg Curnoe; Guitar, John Clement, Murray Favro; Kazoo, John Boyle; Pratt-a-various, Art Pratten; Vocals, Theremin, Bill Exley. Recorded live at the Toronto Music Gallery, February 4th 1978. 5:14 Yuseff Yancy, Garret List, “Sweetness” Garrett List / A-1 Band, “Sweetness” from ‎Fire & Ice (1982 Lovely Music). Alto Saxophone, Byard Lancaster; Maestro Theremin, Electronics, Youseff Yancy; Vocals, Genie Sherman. 4:11. Todd Clark, “Into the Vision” from Into The Vision (1984 T.M.I. Productions). Guitar, Cheetah Chrome; Theremin, Bat-wing Guitar with ARP Avatar, Todd Clark; Found Vocals, William Burroughs. 8:38 Danielle Dax, “Yummer Yummer Man” from Yummer Yummer Man (1985 Awesome). UK artist Danielle Dax. Wah Guitar, Steve Reeves; Guitar, Slide Guitar, Organ, David Knight; Producer, arranger, lyrics, Vocals, Theremin, Tapes, Danielle Dax; Drums, Martyn Watts; Music by Danielle Dax, David Knight. Dax is an experimental English musician, artist, and producer, born as Danielle Gardner. 3:16 Mars Everywhere, “Attack of the Giant Squid” from Visitor Parking (1989 Audiofile Tapes). Cassette release from this space-rock band from the 1980s. Electric Guitar, Electronics, Tape, Ernie Falcone; Synthesizer, Theremin, Keyboards, Tom Fenwick. 5:03 Jon Spencer Blues Explosion, “Vacuum of Loneliness” from The Jon Spencer Blues Explosion (1992 Caroline). This NY band uses an original Moog Vanguard (circa 1960). This rock and blues band was active from 1991 until 2016. Baritone Saxophone, John Linnell; Drums, Russell Simins; Guitar, Vocals, Judah Bauer; Tenor Saxophone, Kurt Hoffman; Trumpet, Frank London; Vocals, Guitar, Moog Vanguard Theremin, Jon Spencer. Here is a video of a live performance of The Jon Spencer Blues Explosion with a Moog Vanguard Theremin (just after the 39-minute mark). 3:02 Calvin Owens and His Blues Orchestra, “Vincent Van Gogh” from That's Your Booty (1996 Sawdust Alley). Trumpet solo and vocals, Calvin Owens; Maestro Theremin, Youseff Yancy; Alto Saxophone, Tenor Saxophone, Eddy De Vos, Kurt van Herck, Peter Vandendriessche; Backing Vocals, B. J. Scott, Frank Deruytter, Mieke Belange, Yan De Bryun; Baritone Saxophone, Bo Vander Werf, Johan Vandendriessche; Bass, Ban Buls, Roman Korohek; Cello, B. Piatkowski, X. Gao; Drums, Cesar Janssens, Laurent Mercier; Guitar, Marty Townsend, Yan De Bryun; Keyboards, Rafael Van Goubergen; Organ, Peter Van Bogart; Saxophone, Jimmy Heath; Tenor Saxophone, David "Fathead" Newman, Shelly Caroll Paul; Trombone, Marc Godfroid, Yan De Breker; Trumpet, Andy Haderer, Rüdiger Baldauf; Violin, D. Ivanov, E. Kouyoumdjian; Vocals, Archie Bell, Otis Clay, Ruby Wilson. 6:23. David Simons, “Music For Theremin And Gamelan (1998-1999), parts I and II” from Fung Sha Noon (2009 Tzadik). Theremin, Rob Schwimmer; Gamelan, Theremin, Sampler, MIDI Controller, Percussion, Marimba, Zoomoozophone, 43 Pitch Zither, Harmonic Canon, Slide Guitar, Chromelodeon harmonium, David Simons; Gamelan, Barbara Benary, Denman Maroney, John Morton, Laura Liben. 6:09 (part I) and 6:29 (part II) Lydia Kavina, “Voice of the Theremin,” composed by Vladimir Komarov from Music from The Ether, Original Works For Theremin (1999 Mode). TVox Tour model theremin, Lydia Kavina. Arranged, mixed, performed by Lydia Kavina. 8:11 Lydia Kavina, “Free Music #1,” composed by Percy Grainger from Music from The Ether, Original Works For Theremin (1999 Mode). TVox Tour model theremin, Lydia Kavina; mixed and spatialized, Steve Puntolillo. This work was originally written for theremin although Grainger had many ideas around how this type of “free music” should be played. This native Australian was fascinated by the sounds of the real world and invented a mechanical machine for making such sounds. In 1938, Grainger said, "...Out in nature we hear all kinds of lovely and touching 'free' (non-harmonic) combinations of tones, yet we are unable to take up these beauties and expressiveness into the art of music because of our archaic notions of harmony.” His adaptation of free music for theremin was an attempt to create sounds that were new to music. This version was multitracked by Kavina and an old acquaintance of mine, sound engineer Steve Puntolillo, to recreate the parts for four theremins. 1:19 The Kurstins, “Sunshine” from Gymnopedie (2000 Rouge Records). Composed by Roy Ayers; Minimoog, ARP String Ensemble, Organ, Guitar, Sampler, Drums, Rhodes Electric Piano, Greg Kurstin; Moog Theremin, Theremin Vocoder, Moogerfoogers, Pamelia Kurstin. 3:47 The Kurstins, “Outside” from Gymnopedie (2000 Rouge Records). Composed by Greg Kurstin; Minimoog, ARP String Ensemble, Organ, Guitar, Sampler, Drums, Rhodes Electric Piano, Greg Kurstin; Moog Theremin, Theremin Vocoder, Moogerfoogers, Pamelia Kurstin. 3:55 Hecate's Angels, “Shrink-Wrapped Soul” from Saints And Scoundrels (2004 redFLY Records). Los Angeles-based Pietra Wexstun is a composer, singer, keyboard and theremin player. Vocals, Farfisa organ, piano, theremin, sound effects, Pietra Wexstun; bass, Bill Blatt; guitar, Stan Ridgway; drums, Elmo Smith. 3:52 Pamelia Kurstin, “Barrow In Furness” from Thinking Out Loud (2007 Tzadik). From Kurstin first solo record. Composed, Produced, Theremin With L6 Looping Pedals and Microsynth Pedal, Guitar, Piano, Pamelia Kurstin. She played the Etherwave Pro Theremin by Moog fo this recording. Pamelia Kurstin, video with she and Bob Moogdiscussing the Etherwave Pro when it was introduced. Kurstin uses the Etherwave Pro Theremin by Moog Music. 5:12 Barbara Bucholtz, “SixEight” from Moonstruck (2008 Intuition Records). Bucholtz was a German theremin player and composer. She played a TVox Tour model theremin. Drums, Sebastian Merk; Music By, Contrabass Flute, Sampler, programmed, engineered, produced, and recorded by Tilmann Dehnhard; Trumpet, Arve Henriksen. 4:01 Herb Deutsch, “Longing” from Theremin One Hundred Years (2020 Electronic Sound). Composer, Herb Deutsch; Piano, Nancy Deutsch; Moog Melodia Theremin, Daryl Kubian. Recording from 2012. The beloved Herb Deutsch, who died recently at age 90, was an early collaborator with Bob Moog on the creation of the synthesizer. Herb became acquainted with Bob by purchasing a Theremin kit—a Moog Melodia model, in the early 1960s. He was primarily responsible for convincing Moog to add a keyboard to his modular unit. Also, this is taken from a terrific compilation of modern Theremin artists to benefit the New York Theremin Society. Check it out. 3:38 M83, “Sitting” from M83 (2016 Lowlands Festival). This is a live recording from Holland. “Sitting” was a song on M83's first album in 2001. But it didn't have a theremin part until they decided to spice-up the live interpretation of the song in 2016. Jordan Lawlor uses a Moog Theremini when M83 performs this in concert. He puts down his guitar, grabs some drum sticks, beats a rhythm on some electronic drums while dancing in place and moving his hands around a theremin. You can hear the theremin in this track but don't mistake it for the keyboard tones that Gonzalez is playing on his modular system. A longer sequence of theremin begins at 1:38 in the audio. You can view the video here, beginning at 26:54 into the show. M83 is a French electronica band founded in 1999 by Anthony Gonzalez, who remains the only sole member from the original outfit. Performing members on this live tour included: Anthony Gonzalez, lead vocals, modular synthesizers, keyboards, guitars, piano, bass, drums, percussion, programming, arrangement, mixer, production; Loïc Maurin, drums, percussion, guitar, bass, keyboards; Jordan Lawlor, guitars, vocals, multi-instrumentalist; Kaela Sinclair, Dave Smith and M-Audio keyboards, vocals; Joe Berry, piano, synthesizers, electronic wind instrument, saxophone. 4:03 Radio Science Orchestra, “Theme from Doctor Who” (2019). This UK-based band unites theremin, ondes martenot, Moog and modular electronics, for its performances. They've played such events as the TEDSummit, the British Library, and Glastonbury Festival. They made a concert recording with Lydia Kavina in 2009 of the Theme from Doctor Who. This version was made more recently and appears to also include Kavina. She plays the TVox Tour model theremin made by her husband G. Pavlov. 2:18 Thorwald Jørgensen, Kamilla Bystrova, “Moderato” from Air électrique: Original Music For Theremin And Piano (2020 Zefir). Jørgensen is an accomplished Dutch classical theremin player. Piano, Kamilla Bystrova; Liner Notes, Design, Moog Etherwave Pro Theremin, Thorwald Jørgensen. 2:10 Dorit Chrysler, “A Happy Place” from Theremin One Hundred Years (2020 Electronic Sound). Issued with the magazine's 7” vinyl and magazine bundle Electronic Sound Magazine, issue 70. Written, produced, and performed by Dorit Chrysler. 2:06 Dorit Chrysler, “Calder Plays Theremin Side A” from Calder Plays Theremin (2023 NY Theremin Society/Fridman Gallery) Written for Theremin Orchestra in 5 Movements, Chrysler's work is based on a commissioned sound piece by The Museum of Modern Art in conjunction with the exhibition Alexander Calder: Modern from the Start. Chrysler identified two of Alexander Calder's sculptures, Snow Flurry, I (1948) and Man-Eater with Pennants (1945), to interact and “play” multiple Theremins on site. I believe the Theremin are various Moog models. Calder Plays Theremin is a co-release of the NY Theremin Society and Fridman Gallery. 8:48   Opening background tracks: Ronnie Montrose, “Open Fire” (excerpt) from Open Fire (1978 Warner Brothers). Bass, Alan Fitzgerald; Drums, Rick Shlosser; Guitar, Custom-built Theremin mpounted to his electric guitar, Ronnie Montrose; composed by Edgar Winter, Ronnie Montrose. 2:09 Hooverphonic, “‎L'Odeur Animale” from The Magnificent Tree (2000 Columbia). Guitar, Raymond Geerts; Keyboards, Bass, Programmed by Alex Callier; Vocals, Geike Arnaert; Maestro Theremin, trumpet, Youseff Yancy; Fairlight, Effects, Dan Lacksman. 3:46. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation: For additional notes, please see my blog, Noise and Notations.

Episode 86 Merry Moog 2022 Vintage Holiday Music Performed on the Moog and other Synthesizers Playlist Frank Luther with Zora Layman, “Christmas Bells” from Christmas In Song (1939 Decca). This is the original 78 RPM release featuring a vocal quartet, bells, and music played on the Hammond Novachord. 0:38 Frank Luther with Zora Layman, “Christmas Day in the Morning” from Christmas In Song (1958 Vocalion). This is a reissue of the 1939 release featuring a vocal quartet, Zora Layman, bells, and music played on the Hammond Novachord. The stereo is simulated. There are some nice moments for the Novachord on this record. 3:12 Paul Tanner, “Holiday on Saturn” from Music for Heavenly Bodies (1958 Omega). This rare disc features Tanner playing the Electro-theremin, an imitation of the Theremin that was a box with an audio oscillator inside and a rotary dial to control the pitch. Tanner, a renown studio musician and trombone player, later provided the sound of the Electro-theremin on the Beach Boys hit Good Vibrations (1966). 4:16 Greg Lake, Emerson, Lake & Palmer, “I Believe In Father Christmas” from I Believe in Father Christmas (1995 Rhino). Produced by Keith Olsen; written by Greg Lake, Peter Sinfield; vocals, Bass, Acoustic Guitar, Electric Guitar, Greg Lake; Drums, Percussion, Carl Palmer; Hammond organ, Piano, Moog Synthesizer, Keith Emerson. This is the original version released in 1975 with a choir and Moog Modular. It differs significantly from the stripped-down mix, also included on this CD, originally appearing on Works Vol. 2 in 1977 and then later in 1994. Rhino Records was kind enough to package all of ELP's X-Mas related tunes onto a CD EP in 1995, from which this version comes. 3:34 Keith Emerson, “Troika (From Prokofiev's Lieutenant Kije Suite)” from The Christmas Album (1995 Rhino). This is the Prokofiev composition that Greg Lake adapted into “I Believe in Father Christmas.” Later on, Emerson released this interpretation of the Prokofiev piece on The Christmas Album” that appeared in the US in 1995. It doesn't appear on the original UK version in 1988. And again, this is taken from the nifty holiday CD EP also released in 1995 by Rhino. This album was made with instruments from Korg, Ensoniq, Alesis, and Opcode. 4:19 Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:44 Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 4:46 Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:52 Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Don wrote the original synthesized version of the NPR “All Things Considered” theme. It was created in his Electronic Studio of the University of Wisconsin. He used a Moog Modular Synthesizer plus a Fender Rhodes, Polymoog, and ARP string synthesizer and 16-track recorder. 1:02 Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:34 Douglas Leedy, “Good King Wenceslas” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. Leedy was an American composer, performer and music scholar. He founded the electronic music studio at UCLA where he had access to both Moog Modular and Buchla synthesizers, and it was during this period from about 1969-71 that he was commissioned to create several albums of electronic music. His training as a minimalist and experimental composer always flavored his music with unexpected sounds and patterns. 3:05 Moog Machine, “O Holy Night” from Christmas Becomes Electric (1970 Columbia). Moog Modular Synthesizer. 2:43 Armen Ra (Armen Hovanesian), “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). Moog Etherwave Pro Theremin. Armen Ra is an American artist and performer of Iranian-Armenian descent. He plays Theremin. His music fuses Armenian folk music with modern instrumentation, along with melodic lounge standards and classical arias. 4:43 Don Voegeli, “Carol of the Drum” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01 Philippe Renaux, “Noël Blanc” (“White Christmas”) from We Wish You A Cosmic Christmas (1977 Sinus). Belgium. Minimoog, Arp Axe, Arp Soloist, EMS Synthesizer, Stringman Crumar, Fender Rhodes, Electronic Drums. 3:21 Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:58 Joseph Byrd, “Carol of the Bells” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:12 Андрій Кок (Andriy Kok), “Небо І Земля” (“Heaven and Earth”) from Різдво На Галичині. Колядки (Christmas in Galicia. Christmas carols) (2006 Ліда). Folk singer, accordion and synth player Andriy Kok has recorded many albums of Ukrainian folk music in addition to a number of holiday songs and carols. 5:00 Douglas Leedy, “In Dulci Jubilo” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 1:14 Bernie Krause, Philip Aaberg, “Deck the Halls” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. He later turned his attention to audio ecology and the recording of nature sounds, particularly of animals. This very special Holiday recording is composed entirely of animal sounds. Some you'll recognize as the natural animal voices themselves. Others may sound like instruments, but they are actually digitally transformed animal sounds. Wild Sanctuary Productions invites you to enjoy a truly unique celebration of both the wild kingdom and Holiday Spirit. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (K 2000/Emulator III) Phil Aaberg. 8:12 The Royal Philharmonic Orchestra, Paul Freeman, and The Chicago Synthesizer-Rhythm Ensemble, John Tatgenhorst, “The Little Drummer Boy” from Turned On Christmas (1985 Columbia). Conductor, Paul Freeman; synthesizers, The Chicago Synthesizer-Rhythm Ensemble; Orchestra, The Royal Philharmonic Orchestra. Keyboards & Synthesizer Concepts: Ed Tossing; Electric Bass, Steve Rodby or Bob Lizik; Drums, Tom Tadke; Guitars, Ross Traut and Bill Ruppert; Percussion, Russ Knutson. 4:08 Montana Sextet, “Little Drummer Boy Jam” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor And Bass Drum, Gene Leone. 8:46 Montana Sextet, “Have Yourself a Merry Little Christmas” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor and Bass Drum, Gene Leone. 4:56 Mannheim Steamroller, “Good King Wenceslas” from Christmas (1984 American Gramaphone). Arranged, conducted, produced by, Chip Davis; Drums, Percussion, Soloist Recorder, Black Oak Hammered Dulcimer, Soprano Dulcian, Crumhorn, Bells, Vocals, Dry Ice, Chip Davis; Lute, Bass, Eric Hansen; Baldwin SD-10 Synthesizer, Harpsichord, Clavichord, Toy Piano, Prophet 5 Synthesizer, Fender Rhodes, Vocals, Bells, Jackson Berkey; Classical Guitar, Twelve-String Guitar, Ron Cooley; Flute, Willis Ann Ross; French Horn, David (High D) Kappy; Harp, Mary Walter; Oboe, Bobby Jenkins; Strings, Bill Ritchie, Grace Granata, Michael Strauss, Michelle Brill, Richard Altenbach, Richard Lohmann, Roxanne Adams, Wayne Anderson. 3:39 Don Voegeli, “Jingle Bells” long, short, and tag from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:56 Don Voegeli, “Lully, Lullay - The Coventry Carol” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01 Fossergrim, “Ave Maria” (2020 Bandcamp). Fossegrim is billed as “Dungeon Synth music from the Adirondack Mountains.” In Scandinavian folklore, Fossergrim is is described as an exceptionally talented fiddler. No fiddles here. I think Fossergrim is one Ian Nichols of Albany, New York. Check out his Bandcamp presence. 3:54 Phillip Fraser, “Rub A Dub Christmas” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. 2:53 Phillip Fraser, “The Lord Will Provide” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. There is some crazy synth material on this track. Despite it being recorded in 1985, it sounds quite analog for a synth. 3:17 Unconditional Loathing, “Carol, with the bells” from Holiday Mood (2018 Bandcamp). Every artist dreams of releasing an album of hit holiday songs that will surprise the world and bring great wealth. This is not that album. But it is remarkably noisy and dark. Check out Unconditional Loathing, from Fargo North Dakota, on Bandcamp. Self-described as “A footnote in the history of Midwestern noise that refuses to completely go away.” 1:51 The Smurfs, “Deck the Halls” from Merry Christmas With The Smurfs (1983 Dureco Benelux). This album is in English from the Netherlands. 2:17 Vatto Lofi, “Holiday Lofi” from A Merry Lofi Christmas EP (2021 Bandcamp). Providing a low-fidelity tune for the holidays, but I don't know if “lofi” refers to the low-fidelity sound that is currently a thing (and it does sound like that) or is the actual name of this Icelandic musician. 2:21 Rotary Connection, “Silent Night” from Peace (1968 Cadet Concept). I think this holiday album from the famed psychedelic soul ensemble was perhaps only their second album. Produced by Charles Stepney and Marshall Chess, I've included this track not only because it features some crazy electric guitar but also because Minnie Riperton's five-1/2-octave vocal range could effectively imitate a Theremin, which begins in this track around 1:30 into it. In an interview I once heard her say that one of her childhood fascinations was imitating that “science fiction stuff” with her voice. Interestingly, Charles Stepney also included a Moog synthesizer, used sparingly, on some Rotary Connection tracks, but I've heard none on this album. Co-producer Marshall Chess often added Theremin to Rotary songs but this is not one of them. It's pure Ripperton. The Rotary Connection vocalists: Bobby Simms, Jim Donlinger, Jim Nyeholt, Minnie Riperton, Mitch Aliota, Sidney Barnes, Tom Donlinger; The studio band, Leader, David Chausow; Bill Bradley, electronic effects; guitar, Bobby Christian; bass, Louis Satterfield; bass, Phil Upchurch; bass vocals, Chuck Barksdale. 3:52 Klaus Wunderlich, “Sleigh Ride” from Multi Orchestral Organ Sound (1982 Teldec). Wunderlich was a prolific musician who mastered the Hammond Organ. Occasionally, he performed with a synthesizer and this track comes from an album not of holiday music but of various favorites, performed in the style of the original artists. This is a Leroy Anderson song arranged in the Anderson style. The MOOS (Multi Orchestral Organ Sound) was produced by the Wersi organ company in Germany. This organ/synth/drum machine hybrid was also known as the Wersi Galad and play both synth and traditional organ sounds. There is a current musician advocate for this instrument in Florian Hutter (listen to the next track), of Germany. 3:11 Florian Hutter, “Frosty the Snowman” privately released (2022 No Label). Florian is a living master of the vintage Wersi Delta and Atlantis synthesizer/organ hybrids with a built-in rhythm box. In recent years he has begun to release his music on Spotify. This is taken from the first or second day of his Christmas Special 2022 during which he releases a new tune every day. I don't normally feature tracks recorded from YouTube, but this was too good to pass by and it fits with the vintage music played in the previous track by Wunderlich. Check him out. 2:34 Edwin Hawkins, “The Christmas Song” from The Edwin Hawkins Christmas Album (1985 Birthright). Produced when the Yamaha DX-7 became the top selling synthesizer on the planet, this is a great example of its tidy, digital sound. Richard Smallwood, keyboards, synthesizer; Edwin Hawkins, keyboards, synthesizer; Joel Smith, Drums and Fender bass; Kenneth Nash, percussion. Sounds like one or two Yamaha DX-7s. 3:57 Ryuichi Sakamoto (坂本龍), “Father Christmas” from Merry Christmas Mr. Lawrence (戦場のメ)(1983 Virgin). Music By, Composed By, Performer, Ryuichi Sakamoto. Our best wishes to Mr. Sakamoto who is suffering from Stage 4 cancer. In June he said, “Since I have made it this far in life, I hope to be able to make music until my last moment, like Bach and Debussy whom I adore.” 2:06 Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Not be confused with an album by the same name by The Moog Machine in 1969. Unnamed synthesizer programmed and performed by Bob Wehrman and John Bezjian. From Marina Del Rey in California. 1:46 Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 Keith Emerson, Emerson Lake & Palmer, “Nutrocker” (live) from Pictures at an Exhibition (1972 Cotillion). A fitting reworking of Tchaikovsky arranged by Kim Fowley and performed live, Newcastle City Hall, 26 March 1971. Hammond C3 and L100 organs, Moog modular synthesizer, Minimoog, Clavinet, Keith Emerson; bass guitar, acoustic guitar, vocals, Greg Lake; drums, percussion, Carl Palmer. "Nut Rocker", a rock adaptation of The Nutcracker originally arranged by Kim Fowley and recorded by B. Bumble and the Stingers in 1962. 3:48 Richie Havens, “End of the Season” from Alarm Clock (1970 Stormy Forest). A melancholic reflection on life from Mr. Havens, totally synthesized on the Moog Modular by Bob Margoleff. 3:32 Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 Opening background music: Jean Jacques Perrey and Sy Mann, “Rudolf the Red-Nosed Reindeer” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 2:16 Moog Machine, “Twelve Days Of Christmas” from Christmas Becomes Electric (1970 Columbia). Arranged by Alan Foust; Synthesizer Tuner, Norman Dolph; Moog Modular Synthesizer, Kenny Ascher. 3:55 Jean Jacques Perrey and Sy Mann, “Silent Night” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 1:52 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation For additional notes, please see my blog, Noise and Notations.

KEVIN ESTRELLE - Pyramids on Mars - Pyramids on Mars is music that really sounds like it's from Mars!! Every once in a while there comes along a band that is so different or unique, you would think they were dropped on Earth from another planet. Pyramids on Mars is one of those bands. What first catches you, is that they are an instrumental band. A combination of elements such as hard rock, industrial, metal and psychedelic rock. And then... the lead guitar comes soaring in. Well crafted, beautiful, melodic phrases so catchy and memorable they will be stuck in your head the rest of the day. The guitar has become the "vocals" of the music. It is the solo project of guitarist Kevin Estrella. He wanted to do something musically different that would stand out from the crowd. "Pyramids on Mars is the embodiment of who I am, really. My musical influences, my philosophies on life, the universe and our place in it." Kevin went on to say, "I have always been attracted to space, and a lot of my sound is influenced from my childhood growing up in the '70's. Some of my favorite TV shows back then were Star Trek and Space: 1999. Plus I am a huge Rush and Pink Floyd fan! Thus I use a lot of analog synthesizers like the Minimoog and Oberheim Polyphonic. Predominant of the '70's era and used exclusively by those bands. They are just so warm and mysterious sounding, they resonate with me." - http://www.pyramidsonmars.com

Episode 80   Electronic Music for Astral Tripping Or, Better Music Through Pharmacology  Playlist Hal Blaine, “Flashes” from Psychedelic Percussion (1967 Dunhill). Drums, Hal Blaine; Electronics (Moog), Paul Beaver; Keyboards, Organ, Electric Piano, Mike Lang; Percussion, Emil Richards, Gary Coleman. 2:22 Raymond Scott, “LSD”public service announcement for the film, The Trip (1967), plus some electronic music snippets from Electronium (2007 Electronium). I'm not sure who the voice of the announcer is but the recording was produced by Raymond Scott and and I sandwiched the PSA between two snippets of Scott's electronic music. Let this be a warning to you. 1:58 Mort Garson, “Astral Projection” from Ataraxia–The Unexplained (Electronic Musical Impressions Of The Occult) (1975 RCA). Composed with an electronic music score (Moog Modular) by Mort Garson. 5:12 Pierre Henry, “Electro-Genèse” from Mise En Musique Du Corticalart De Roger Lafosse (1971 Philips). Live improvisations recorded Feb. 15-21, 1971 by Pierre Henry using Roger Lafosse's Corticalart device, allowing one to transform brainwaves into electronic signals for further raw manipulations. Technical realization by Groupe Artec (Bordeaux) with electroacoustic equipment from Apsome and J. Heuze. I thought that we needed at least one piece that tapped directly into brain waves. 7:39 Ron Jacobs, “Eating Food” and “Listening to Music” from A Child's Garden Of Grass (A Pre-Legalization Comedy) (1971 Elektra). Timely yet instantly dated, this relic capitalized on explaining marijuana to squares. The Electronic Music was by Alex Hassilev, which probably means that Paul Beaver did the synthesizer patchwork (both were involved in 1967 on the Zodiac Cosmic Sounds by Garson). 3:31 Nik Raicevik, “Methedrine” from Numbers (1970 Narco). Although Raicevik went by the name 107-34-8933 for the initial release of this record on his Narco label, it was re-released by Buddha Records under the title Head by Nik Raicevik. Buddha dropped him and Raicevik went on to create several more crazy electronic albums for his Narco label. This was primarily a Moog Modular album. 5:59 Steve Hillage, “Hurdy Gurdy Glissando” from L (1976 Atlantic). This album was produced by Todd Rundgren and featured some of his Utopia bandmates, Kasim Sulton (bass) and the mind-blowing Roger Powell on synthesizers (R.M.I. Keyboard Computer, Minimoog). But the star is guitarist Steve Hillage (Guitar, Guitar-synthesizer, ARP, EMS, Voice) and a 15th Century Hurdy Gurdy by Sonja Malkine. This is an extrapolation of the Donovan Leitch song, “Hurdy Gurdy Man,” also featured on the album. 8:54 Eberhard Schoener and the Secret Society, “Trance-Formation” from Trance-Formation (1977 Harvest). Bass Guitar, Hansi Ströer; Choir, Members Of The Tölzer Knabenchor; Guitar, Andy Summers; Keyboards, Raimund Elleder; Orchestra, Orchestra of the Munich Chamber-Opera; Percussion, Nippi; Moog Synthesizer, Organ, Piano, Mellotron, Conductor Orchestra Conducted By, Composed By, Arranged By, Produced By, Sleeve Notes, Eberhard Schoener; Vocals, Mary Gregoriy, Monks Of The Monastery of Sama. 11:42 Kitaro, “Astral Trip” from 天界 = Ten Kai / Astral Trip (1978 Wergo). Shakuhachi, Biwa, Ryusuke Seto; Sitar, Lavi; Moog, Korg, ARP, and Roland synthesizers, Koto, Mandolin, Acoustic Guitar, Drums, Percussion, Bass, Kitaro. Written and Arranged by Kitaro. 7:40 Ozric Tentacles, “Lull Your Skull” from There Is Nothing (1986 Self-Released). Bass, Adam Mace; Drums, Nick Van Gelder; Guitar, Keyboards, Ed Wynne; Keyboards, Joie Hinton. 3:00 Bill Nelson, “Opium” from Sounding The Ritual Echo (Atmospheres For Dreaming) (1985 Cocteau Records). "Sounding the Ritual Echo was recorded in the privacy of my own home on broken or faulty tape machines & speakers, each track possessing its own technological deformity. For this I offer no apology as the music owes its existence to a very personal & selfish obsession. As a direct result, some pieces will require a little patience.” Bill Nelson. 1:44 Michael Magne, “Trip Psychiatrique” from Elements Nº 1 "La Terre" (1978 Egg). Bongos, Percussion, Grégori Czerkinsky; R.M.I. Keyboard Computer, ARP Odyssey, ARP Omni Polyphonique, ARP 2600, and Minimoog synthesizers, Clavinet D6, Electric Piano (Fender and Yamaha, composed, adapted, arranged by Michel Magne; Drums, Syn-drums, Jean-Paul Batailley. 4:35 Pure Energy, “Spaced Out” from Spaced Out (12” vinyl) (1983 Say What!? Records). From the Netherlands. Need I say more? I'm not sure if this was about space or being spaced-out but it is definitely psychologically disorienting. This is the long version. 7:35 Acid Mothers Temple & The Melting Paraiso U.F.O., “Stone Stoner” from Absolutely Freak Out (Zap Your Mind!!). Bass Monster Bass, Acoustic Guitar, Vocals, Other Cosmic Joker, Tsuyama Atsushi; Drums, Ichiraku Yoshimitsu; Drums, Percussion, Other Sleeping Monk, Koizumi Hajime; Electric Guitar, Synthesizer, Other Dancin' King, Hiroshi Higashi; Electric Guitar, Violin, Tambura, Effects Cosmic Ringmodulator, Rds900, Synthesizer, Organ, Electric Harpsichord, Vocals, Other Speed Guru, Producer, Engineer, Kawabata Makoto; Jew's Harp, Electric Guitar, Other Erotic Underground, Magic Aum Gigi; Narrator Cosmic Narration, Other Freak Power, Wellens Johan; Saxophone, Mano Kazuhiko; Vocals, Suzuki Chisen; Vocals, Synthesizer, Acoustic Guitar, Other Beer and Cigarettes, Cotton CasinoVoice, Other Cosmos, Ginestet Audrey; Recorded at Acid Mothers Temple and FTF Studio, May to July, 2000. Yes, this is what psychedelic music should sound like. I promise to do an entire podcast around Japanese psychedelic music soon. 16:19 Opening background music: Steve Hillage, “Hurdy Gurdy Man” (edit) from L (1976 Atlantic). Steve Hillage (Guitar, Guitar-synthesizer, ARP, EMS, Voice) and a 15th Century Hurdy Gurdy by Sonja Malkine. This is a cover version of the Donovan Leitch song, “Hurdy Gurdy Man.” Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

Episode 78 Strange Synths Little Heard Sounds from Unique Synthesizers Playlist David Behrman, “Pools Of Phase Locked Loops,” from My Dear Siegfried (2005 XI Records). Synthesizers (homemade), David Behrman, Katharine Morton Austin. Recorded live at Radio Bremen in May 1972 and commissioned by Hans Otte. At a time when commercial models of analog synths were widely available, Behrman and other musicians such as Gordon Mumma and David Tudor insisted on creating purpose-built instruments using the same principles. Behrman explains, “The homemade synthesizers had 32 voltage-controlled triangle-wave generators built around a chip utilizing a circuit design called the Phase Locked Loop. The chip made smooth glides possible from one pitch to another. The homemade synthesizers also had voltage-controlled amplifiers, rows of small knobs and frequency counters with the aid of which the performers could retune individual oscillators during a performance.” 14:00 John Ridges, “Fugue In G” (Bach) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). This work was made using a computer-controlled music synthesizer which its makers dubbed Mesmerelda. It was comprised on 200 integrated circuits that could create 96 different pitches assigned to six separate channels. Only one waveform was used, a square wave, and there was no envelope control. Hence, the simple organ-like tone of the piece. 4:49 John Ridges, “Ruffles” (Ridges) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). From the same album comes “Ruffles” performed by composer John Ridges. This track featured a slightly more advanced computer music synthesizer they called the AD8. It featured up to eight synthesis boards each one relating to a single channel. So, eight pitches could be played at a time and there was filtering, waveform generation other than square waves, and simple envelope generation to provide a slightly more advanced sound. As Ridges wrote in the liner notes, with pride, “these pieces are generally free of the bizarre noises usually found on electronic synthesizer albums.” The pieces were recorded in real time without overdubs. 2:36 Patrick Gleeson, “Star Wars Theme (Luke's Theme)” (Williams). (1977 Mercury). Recorded and mixed at Different Fur, San Francisco, July 1977. The piece showcases various beds, rhythms, and sounds made using the E-mu modular synthesizer, also known as an Eµ synthesizer (it's original name). "Selections from the film performed on the world's most advanced synthesizer." Drums, Billy Cobham, Harvey Mason, James Levi, Ronnie Beck; Lyricon, Lenny Picket; Vocals, Sarah Baker; keyboards, performer (Breath Controller), engineered, produced, arranged, and conducted by Patrick Gleeson. 5:36 Bennie Maupin, “Crystals” from Moonscapes (1978 Mercury). Eµ synthesizer (E-mu Modular Synthesizer) programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned an Eµ modular synthesizer (see the earlier Star Wars album which also featured this same synth.) Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, Eµ Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the Eµ synthesizer and other instruments. 1:19 Sylvester, “You Make Me Feel (Mighty Real)” from Step II (1978 Fantasy). One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizers. String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects , Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 6:34 Pere Ubu, “I Will Wait” from Dub Housing (1978 Chrysalis). This second album from this Ohio group always figured high on my playlist of favorites. I was mostly fascinated by the synthesizer fills and hijinks by Allen Ravenstine that punctuated much of the group's music with the quirkiest of sounds, all blended and mixed to provide many weird hooks and twists. This is another example of the EML, Electro-comp duphonic modular synthesizer although almost used in a polar opposite way than Sylvester. This is a unique sound from the time. Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Ravenstine is still active and an electronic musician although he has left the EML for other synthesizer frontiers. He remains very much the experimental improviser. 1:45 Pere Ubu, “Navvy” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:40 Pere Ubu, “On the Surface” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:37 Pascal Languirand, “O Nos Omnes” from De Harmonia Universalia (1980 Polydor). I am featuring a track that uses, among other instruments, the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 7:16 Moebius, “Clone Zone” from Moebius (1979 Plastic Poison). Yes, a progressive rock group that utilized the modular synthesizers developed by Serge Tcherepnin, Rich Gold, and Randy Cohen at CalArts in late 1972. By the mid-1970a, Tcherepnin left CalArts and began to manufacture his instruments in Hollywood. Serge modules were designed to bring many elements of the circuits controllable by the performer, patching them in unusual ways beyond what was considered normal for a given module. The model used on this album probably had a 16-stage sequencer introduced by the company, and I think you can hear such patterns in this song. Listen for the bubbling, sequenced sounds that are contrasted to the monophonic solos of the Minimoog and patch sounds of the ARP Odyssey. I think the track opens with the Serge pattern. Drums, Evan Kaplan; Minimoog synthesizer, Bruce Courtois; Roland Sh3a, AP 2600 synthesizers, Steve Roach; Serge modular, Minimoog synthesizer, vocals, written by, Bryce Robbley; Serge modular synthesizer, Doug Lynner. 4:55 Moebius, “Song For Lya,” from Moebius (1979 Plastic Poison). Serge, Oberheim, and Minimoog synthesizers, vocals, written by, Bryce Robbley; Serge, Oberheim synthesizers, written by, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 3:15 Henry Kucharzyk, “Play Dot Sam” from Walk The Line - Three New Works By Henry Kucharzyk (1985 Artifact Music). This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. Samson stands for the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 3:06 Salvatore Martirano, “The SalMar: Part One” from The SalMar Construction (2014 Sub Rosa). Another escapee from the 1970s was this performance at IRCAM in Paris in 1983. Salvatore Martirano, an American composer, invented the one-of-a-kind Sal-Mar Construction designed for real-time performance of electronic music. It was created from 1969 to 1972 at the University of Illinois. The analog synthesizer looked like a large drawing table with an array of 291 touch-sensitive connections to enable the sound generating circuits. Behind it all were some computer circuits salvaged from the Illiac II computer music system and they generated random sequences with which the performer could interact while managing four parallel processes governing the 16 oscillators, applying pitch, timbre, amplitude and envelope parameters to the sound. Martirano toured the world with the performing/composing music machine and described his live performances in the following manner: “The composer, in performance, interacts with the machine as it composes, creating spontaneously four melodic lines which move throughout the concert space via a network of 24 overhead speakers.” This performance was by Martirano while in Paris at IRCAM. 18:59 Herbie Hancock, “Rough” from Future Shock (1983 Columbia). Hancock was well known as an experimenter of new synthesizer technology. During the early stages of the home computer revolution, Hancock used an AlphaSyntauri synthesizer as part of his ensemble of instruments. The AlphaSyntauri was an add-in synth for the Apple II computer, with its own sound-generating circuit board. The company was around from about 1980 to 1985. Its claim to fame what that it was much more affordable than the digital synthesizers made by New England Digital and Fairlight, each of which cost in the $30,000 to $50,000 range. The AlphaSyntauri was $1500. At this price you got 16-voice polyphony, 16 digital oscillators, and envelope generator, keyboard, and a sequencer capable of storing up to 7000 notes. It's affordable sequencing was a major attraction. This was before the Apple Macintosh was introduced, and with that the AlphaSyntauri was made immediately obsolete. But not before Hancock was able to work it into some of his electronic jazz tracks. If you listen carefully you can pick-out the sounds of the AlphaSyntauri because of all of the other synths and instruments on this track. Backing Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Fairlight CMI Synthesizer, AlphaSyntauri Synthesizer, Emulator Synthesizer, Herbie Hancock; Prophet-5 Synthesizer, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 6:55 Opening background music: P.F.M. (Premiata Forneria Marconi), “Storia In "LA"” from Jet Lag (1977 Asylum Records). Italian progressive rock band founded in 1970. Album recorded at Kendun Recorders, Burbank, California, January, 1977 and Scorpio Sound Studio, London, February, 1977. Mixed at Scorpio Sound Studio, February 1977. Mastered at RCA Studio, London. Bass, Moog B12 Synthesizer, Patrick Djivas; Drums, Percussion, Franz Di Cioccio; Electric Piano, Organ, Moog Synthesizer, Flavio Premoli. 6:28 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

Gary Numan's first full album was the self-titled Tubeway Army, released on Beggars Banquet in 1978, when he was just 19. Recorded with his bandmates Paul Gardiner and Jess Lidyard, the album saw the band transition from punk to a new style of music, helped by Gary's discovery of a Minimoog and his interest in sci-fi novels. Featured on this album was the largely-acoustic track 'Everyday I Die'. The short song had a rather naughty subject matter, but would go on to become a fan favourite for decades to come. This episode delves into the making and meaning of the song, the various different versions, and why it is so loved by Numan and Numanoids to this day. Clips used: 'Everyday I Die' (Beggars Banquet) 'Listen to the Sirens' (Beggars Banquet) 'Everyday I Die' (1980, Living Ornaments, Teletour) (Beggars Banquet) Dubstar - 'Everyday I Die' (Beggars Banquet) 'Everyday I Die' (2002 version) (Jagged Halo/Artful Records) 'Everyday I Die' (Andy Gray remix) (Jagged Halo) 'Everyday I Die' (2020 acoustic)

Anyone who's into generative music knows the Turing Machine, by Music Thing Modular. A random looping sequencer that shaped the way we play with zeros and ones, creating melodies, modulation and cross-rhythms. In this conversation, Tom Whitwell from Music Thing Modular, shares the creative process behind the Turing Machine. He also discusses other modules like the Minidrive, which is designed around the Minimoog overdrive circuit and initially inspired by the legendary Grampian Spring Reverb overload. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/music-thing-modular

Buchmann, Anjawww.deutschlandfunk.de, CorsoDirekter Link zur Audiodatei

Episode 74 The Polyphonic Synth Journey of Fusion Jazz   Playlist Jan Hammer, “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). I am including two versions of the same track from Jan Hammer, a master synthesist who moved from monophonic to polyphonic synths gradually, making the best used of the expressive qualities of each technologh. This track is from 1975 and uses Oberheim modules, probably the 2-voice or even 4-voice, but along with the Minimoog and what sounds like an uncredited Mellotron. Hammer was insistent in the notes for this solo album that none of the sounds were made with the guitar. This makes the contrast of this track with the next version performed live with Jeff Beck and even more interesting contrast. Producer, Engineer, Piano, Electric Piano, Moog and Oberheim synthesizers, Drums, Percussion, Composer, Jan Hammer. 4:30 Jeff Beck With The Jan Hammer Group, “Darkness/Earth In Search Of A Sun” from Live (1977 Atlantic). Here is the same tune written by Hammer for his solo album, now performed live with Jeff Beck. I think one can assume that all soloing in done on a Minimoog while all other synth sounds, including strings, are provided by the Oberheim modules and Freeman string synth. Bass, Fernando Saunders; Drums, Tony Smith; Guitar, Effects, Jeff Beck; Moog, Oberheim, and Freeman synthesizers, Electric Piano, Timbales, Jan Hammer; violin, string synthesizer, Steve Kindler. 7:55 Billy Cobham, “Leaward Winds” from Magic (1977 CBS). Early days of the Oberheim polyphonic, used again as background comping and fills to back-up the guitar and piano leads. Bass, Randy Jackson; Guitar, Peter Maunu; Piano, Oberheim Synthesizer, Mark Soskin; drums, producer, Billy Cobham. 3:38 Herbie Hancock, “Hang Up Your Hang Ups” from Man-Child (1975 Columbia). Along with Jan Hammer, Herbie Hancock was an early pioneer of using polyphonic synths in his ensemble. While I don't hear the Oberheim module being played until about the 5:30 mark in this track, I wanted to include it because Hancock uses many synths at his disposal to achieve the overall sound. The next two tracks from the Eddie Henderson album Mahal used a similar but updated keyboard ensemble, including the Oberheim 8-voice polyphonic and Prophet 5 synths. Bass, Henry Davis, Louis Johnson, Paul Jackson; Drums, Harvey Mason, James Gadson, Mike Clark; Guitar, David T. Walker, Blackbird McKnight; Guitar, Synthesizer, Melvin "Wah Wah" Watson; Percussion, Bill Summers; Piano, Fender Rhodes, Arp Odyssey, Pro Soloist, 2600, String Ensemble, Oberheim Polyphonic Synthesizer, Hohner D6 Clavinet, Herbie Hancock; Saxophone, Flute, Ernie Watts, Jim Horn; Soprano Saxophone, Wayne Shorter; Soprano Saxophone, Tenor Saxophone, Saxello, Bass Clarinet, Bass Flute, Alto Flute, Bennie Maupin; Trombone, Garnett Brown; Trumpet, Bud Brisbois, Jay DaVersa; Tuba, Bass Trombone, Dick Hyde. 7:27 Eddie Henderson, “Cyclops” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:19 Eddie Henderson, “Prance On” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:17 Rolf Kühn. “Cucu Ear” from Cucu Ear (1980 MPS Records). This German disc features keyboardist Rolf Kühn and highlights the Roland Jupiter 4, a 4-voice polyphonic synth. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Jupiter 4 Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:05 Rolf Kühn. “Key-Alliance” from Cucu Ear (1980 MPS Records). On this track the Roland Jupiter 4 is played by Joachim Kühn, brother of Rolf. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Roland Jupiter 4 Synthesizer, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:41 Didier Lockwood, “Ballade Des Fees (Quartet Without Drums)” from Live In Montreux (1980 Disques JMS). Look who's featured on this album by French violinist Dider Lockwood—it's Jan Hammer again. Only this time he's using an unnamed “polyphonic synthesizer.” Your guess is as good as mine on this one, although he was using Oberheim and Yamaha CP70 keyboards around this same time. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 4:50 Didier Lockwood, “Fast Travel” from Live In Montreux (1980 Disques JMS). Another track with Jan Hammer using an unnamed polyphonic synth. There is a really smart Minimoog solo beginning as about 1:21, polyphonic fills are most apparent around beginning around 4:08. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 7:06 Georges Acogny, “Karimagie” from First Steps In (1981 String). This track uses a Polymoog effectively for some nice runs and comping, beginning around 3:40. I do not know what instrument was used to create the the white noise heard in the opening and throughout since I don't believe you could do that with the Polymoog. Bass, Dominique Bertram; Composed By, Khalil Chahine; Drums, Paco Sery; Guitar, Georges Acogny, Kamil Rustam; Percussion, Sydney Thiam; Piano, Patrick Gauthier; Soloist [Acoustic Guitar], Larry Coryell; Soloist [Bass], Nicolas Fizman; Soloist [Electric Guitar], Kamil Rustam; Polymoog synthesizer, Rachid Bahri. 8:30 Georges Acogny, “1st La Rosée” from First Steps In (1981 String). Acogny is a guitar player so the polyphonic synth tends to play a supporting role to the string work on this track. In this case, the Prophet 5 is used, most notably at about 30 seconds into the track. Bass, Nicolas Fizman, Electric Piano [Fender Rhodes], Olivier Hutman, Guitar, Kamil Rustam, Guitar [Ovation], Georges Acogny, Piano, Jean-Pierre Fouquey, Soloist [Trombone], Hamid Belhocine, Prophet 5 Synthesizer, Didier Egea. 4:37 Combo FH, “Zelený Muž (Green Man)” from Věci (Things) (1981 Panton). Here is a short track that uses the Italian-made Farfisa Syntorchestra, a rare keyboard made in 1978 that had a split keyboard, part polyphonic string synthesizer and part monophone synth section. Mostly used on European tracks by German composers including Klaus Schulze, here is an unusual jazz fusion example from a group in the Czechoslovakia. This group was known for its unusual instrumentation, including lead bassoon heard on this track. Bass Guitar, Václav Pátek; Bassoon, Percussion, Milan Sládek; Percussion, Richard Mader; Organ, Farfisa Syntorchestra synthesizers, Percussion, Leader, Daniel Fikejz; Percussion, Bořivoj Suchý. 1:48 String Connection, “Quasi String Waltz” from Workoholic (1982 PolJazz). Recorded in Poland and distributed by the Polish Jazz Society. This album features some strings sounds played on the Polymoog, which was still being used for its unique sounds even by this late date, because the Polymoog had been retired by this time. Listen for fills and chords beginning around 1:08. Bass Guitar [Gitara Basowa], Krzysztof Ścierański; Drums [Perkusja], Zbigniew Lewandowski; Piano [Fortepian Akstyczny], Violin [Skrypce], Polymoog Synthesizer, Krzesimir Dębski; Piano, Hammond Organ , Polymoog Synthesizer, Trombone [Puzon], Janusz Skowron; Tenor Saxophone [Saxoton Tenorowy], Soprano Saxophone [Saxofon Sopranowy], Andrzej Olejniczak. 3:19 Mike Elliott, “For Janny” from Diffusion (1983 Celebration). Another interesting album of guitar-based fusion jazz with synthesizer touches. Seemingly self-produced in Minnesota. Although the Minimoog is also used on this recording, I selected a track that was primarily using the Polymoog, beginning around 50 seconds. Fender Bass, Rick Houle; Drums, Gordy Knudtson; Flugelhorn, Bobby Peterson; Gibson ES-347 guitar, Ryoji Matsuoka Flamenco guitars, solid body kalimba; Mike Elliott; grand piano, Polymoog and Mini-Moog synthesizers, Ricky Peterson; Producer, Mike Elliott. 4:42 Martin Kratochvíl & Jazz Q, “Trhanec (The Muffin)” from Hvězdoň Asteroid (1984 Supraphon). From Czechoslovakia, a brilliant ensemble of musicians led by keyboardst Martin Kratochvíl. Here is another mix of monophonic synths and the polyphonic Oberheim 4-voice, heard in the opening riff that's repeated throughout. Bass Guitar, Přemysl Faukner; Drums [Bicí Nástroje], Pavol Kozma; Electric Guitar [El. Kytara], Twelve-String Guitar, Fender Rhodes, Minimoog, ARP Omni, Oberheim 4-Voice Polyphonic synthesizers, Leader [Vedoucí], Engineer [Recording], Recording Supervisor [Recording Director], Martin Kratochvíl. 4:34 Opening background music: Short piece by Thom Holmes using the Arturia Prophet 5 plug-in. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess

YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess

YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess

YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess

YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess

YouTube: https://youtu.be/nt_1L0TTGxM Album is available on streaming services from 9/06/22 ▼ TRACK lIST: 01. We Fight Back INTRO (Live) 02. We Fight Back (Live) 03. In The Morning (Live) 04. Calm My Mind (Live) 05. Future (Live) 06. Abandoned City part 1 (Live) 07. Abandoned City part 2 (Album Bonus Track) 08. Abandoned City part 3 (Album Bonus Track) Composed & produced: Greg Helden Mix & mastering: Greg Helden Cover design: KMV Studio Distribution: Mugo - MyMusic Label: Kręci Mnie Vinyl CONCERT TEAM: Camera: Łukasz Łukasiewicz Camera: Jakub "Gonzo" Woźniak Music videos: Greg Helden Production manager: Ireneusz Woźniak Video production: Zajafka Pictures Instruments: AudioTech Pro INSTRUMENTS: SYNTHS: Novation Summit, Studiologic Sledge 2.0 SYNTHS VST: Lethal Audo, Yamaha DX7, Jupiter 8, Mini Moog, Emulator II KEYBOARD: Native Instruments Komplete 61, Akai Fire SOFTWARE: FL Studio 20 Audiotech is the exclusive distributor in Poland of companies producing solutions for professional recording studios, as well as for homerecording. Among them are: Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. Audiotech jest wyłącznym dystrybutorem na Polskę firm produkujących rozwiązania dla profesjonalnych studiów nagrań, a także dla homerecordingu. Wśród nich są m.in. Arturia, EVE Audio, Focusrite, Heritage Audio, KRK, Novation. https://audiotechpro.pl/ https://www.youtube.com/c/AudiotechProfess

Episode 72 Remembering Klaus Schulze Playlist 1. Klaus Schulze, “Synphära” from Cyborg (1973 Kosmische Musik). Recorded at Klaus Schulze Studio. Cello, Contrabass, Flute, Violin, Cosmic Orchestra; Composer, Organ, EMS VCS3 Synthesizer, Vocals, Percussion, Klaus Schulze. 22:55 2. Klaus Schulze, “Some Velvet Phasing” from Blackdance (1974 Brain). Recorded at Delta Acoustic Studio, Berlin. Bass Vocals, Ernst Walter Siemon; Composer, mixer, producer, EMS VCS3, Synthesizer, Organ, Piano, Percussion, Trumpet, 12-String Acoustic Guitar, Orchestra, Klaus Schulze. 7:56 3. Klaus Schulze, “Totem” from Picture Music (1975 Brain). Recorded at Klaus Schulze-Studio, Berlin, 1973. EMS VCS3 Synthesizer; ARP Synthesizer Odyssey (Strings; Percussion on 'Totem'); ARP Synthesizer 2600 (Solo-Voice); Farfisa Professional Duo Organ; Drums, Percussion, Phaser, Echo-Dolby-Revox, Quadro Teak-Tape recorder, 16 channel-Barth-mixer. 23:02 4. Klaus Schulze, “Mindphaser” from Moondawn (1976 Brain). Recorded at Panne-Paulsen Studios. Composer, producer, “The Big Moog” synthesizer, ARP 2600, ARP Odyssey, EMS Synthi A, Farfisa Synthorchestra], Farfisa Professional organ, Crumar keyboard, Sequencer Synthanorma 3-12 sequencer, Klaus Schulze. This was the first album for which Schulze used a Moog Modular Synthesizer, which he had acquired from Florian Fricke of Popul Vuh. 25:05 5. Klaus Schulze, “Crystal Lake” (Xylotones, Chromwave, Willowdreams, Liquid Mirrors, Springdance, A Bientot)” from Mirage (1977 Brain). Recorded at Panne-Paulsen Studios. “An Electronic Winter Landscape. Dedicated to Hans Dieter Schulze.” Schulze provided detailed notes inside the album about his electronic music systems as well as the “PA system” for his live shows, which had become coveted events by this time. Here I've transcribed it for you. 29:06 Instruments: ARP Odyssey, ARP 2600 + Sequencer, 2 Mini Moog, Micro Moog, Poly Moog, Moog CIIs (4 Units + 2 Sequencer) The Musical Universe, EMS Synthi A, Farfisa String Orchestra, Farfisa Synthorchestra, Farfisa Professional Duo Organ, 3 Crumar Keyboards, 2 PPG Synthi + Computer Sequencer, 12 Octave Filter Moog, Octave Filter Bank Ems, 2 Revox A77 Dolby + Speed Control For Echo, AKG Bx20 Reverb Unit, AKG Bx15 Reverb Unit, Compact “A” Phaser Specially Built By K. Schulte/Berlin. PA System: Dynacord, 8 Bi00 Bass Cabinet 1 X 15 Gauss, 2 Bass Cabinet 2 X 15 J.B.L., 4 Di000 Cabinet 1 X 15 Gauss, 8 H60 Horn J.B.L./Gauss/Electro Voice, 56 Pt7 Tweeter Piezzo, 2 Phase Linear 700 Amp, 2 Phase Linear 400 Amp, 2 Klerk Tennik 27 Bank Graphics, 1 Spectrum Analyser, AKG Microphone. Monitor System: 2 Bi00 as above 28 Pt7 As Above, 4 H60 As Above, 1 Phase Linear 700 Amp. 6. Klaus Schulze, “Frank Herbert” from "X" (1978 Brain). Recorded at Panne-Paulsen Studios. Moog Modular Synthesizer, PPG Synthesizer, Minimoog, ARP Odyssey, Korg Polyphonic, Polymoog, EMS Synthi A, Mellotron, Sequencer, Drums, Revox Echo, AKG Bx 20 Hall, Dynacord Speakers, Composed, Arranged, Recorded, Mixed, liner notes, and produced, Klaus Schulze; Drums, Harald Großkopf. “"This work is dedicated to my oh so dear synthesizers. Klaus Schulze.” "X." was recorded from January to summer 1978 in Frankfurt. 10:42 7. Klaus Schulze, “Dune” from Dune (1979 Brain). Produced, keyboards and synthesizers, text and music, Klaus Schulze; Cello, Wolfgang Tiepold; vocal, Shadows of Ignorance, Arthur Brown. The cover photograph was taken by Schulze, is a snapshot taken during a scene of the Soviet science fiction film Solaris. 30:05 Opening background music: Klaus Schulze, from Irrlicht: Quadrophonische Symphonie Für Orchester Und E-Maschinen (1972 Ohr). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

Subscribe on Spotify ∙ Stitcher ∙ Apple ∙ Pocket Casts ∙ Google ∙ TuneIn ∙ RSS* Node recordings on Discogs* 2020 interview with Dave Bessell* 1995 interview with Ed Buller & Gary Stout about the making of the EP* 2014 Interview about the making of Node 2* David Bessell's Youtube Channel has a few videos of Node in the studio* Terminus* Olivine* Here's a TV feature about the whole event* * The only way to own the Media is to search around for a second-hand copy, however Tom had some FLAC files and loaded the up to YouTube. Let's see how long they stay up there! * After the 1995 EP and album, Node made a second album in 2015 that is on Spotify etc. and there's a recording of a concert at RCM. That's all folks!* Hold the press. what's this!?!?Speaking of trainsHautologists on Parade - Who's getting spooked by the ghosts in the machine?* Radiohead discover the Ondes Martenot* LCD Soundsystem like a blend of new and old, it seems...* See what I mean...?* Hot Chip, a band that looks like the staff-room of a mid-seventies comprehensive, also like a blend of old and new* ...but how did they get the hottest girl in school to play drums with them?Three examples vintage-synth nostalgia-popNot to imply that Node sounds like pop music, ofc.That Minimoog solo styleIn which, for only a few seconds at the end, Coldcut deploy that rapid legato Minimoog solo style with pota, mod and filter sweep, so popular with certain players in both jazz and rock.Do You Mean Like This, Tom?We couldn't leave this discussion without some honourable mentions…This, obviously……and here's the Turangalila that Gav was talking about…Subscribe to Gas Giants This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit gasgiants.substack.com

Chris and Jody jump aboard the Mini Moog D bandwagon. Or rather talk about the history of the Mini Moog and how it came to be. The breakdown of what goes into a Mini Moog, the idea of what made it special and unique. The ground it broke and the path it created. What artists were known to have used it and help make it popular. Plus Friday Find and... It's also not unlikely that there will be some nonsense discussed.

"Remember, pronounce it Mohg rather than Mooog. Robert Moog did not invent the synthesizer. He just made it so that it was in the reach of the regular musician. This week is the anniversary of his releasing the MiniMoog so here is an hour on how his invention worked and how it came to be part of modern music."

Episode 42 of The Ambient Vault podcast features special guest Samuel Edmund.  Samuel Edmund is the moniker of Jae Ryan when he makes broken, worn and nostalgic ambient music.Jae has been generous to share tracks from his debut album “Due To”. “Due To” was released on Folded Note Records a few months ago and the tapes sold out within 24 hours!“Due To” is an album full of live improvisations where Jae used a Minimoog, Buchla Music Easel, Digital Mellotron & Ciat-Lonbarde instruments.  “Due To” was Jae's attempt to capture the strange emptiness brought on by lockdowns and COVID while still trying to provide plenty of hopefulness for the future.  A second edition cassette of “Due To” is available now. Link to the album and all things Jae are listed below. Thanks as always for listening!  Jae also hosts a Podcast called “The Deerhorn” which focuses on Ciat-Lonbarde instruments. Each episode is a conversation with various members of the Ciat-Lonbarde community and focuses on the artists new releases, recording process, personal history & their love for various gear.  The Deerhorn often features the artists of Seil records & Folded Note Records.  Recently, Jae was also a guest on the wonderful Podular Modcast as well.The 4 tracks on this EP were made shortly after Jae moved from Edmonton to Vancouver.  He fell head over heels for the new city and each track on this is a love letter to his favourite places to skateboard in Vancouver.  When he's not head first into a modular filled studio, Jae can usually be found skateboarding, hiking, cycling and taking pictures.Due To:https://foldednote.bandcamp.com/album/due-toJae's personal Bandcamp:https://samueledmund.bandcamp.comJae's YouTube:https://www.youtube.com/channel/UCdBo6YNb4ExdxftqAJ_djqQJae's Podcast:https://podcasts.apple.com/ca/podcast/the-deerhorn/id1535334953Jae on PodMod:https://podcasts.apple.com/ca/podcast/episode-165-jae-ryan-host-of-the-deer-horn-podcast/id1363821591?i=1000531569908If you enjoy the podcast, you can help support future episodes by subscribing to the podcast and leaving a review, following Brian on Instagram @heldbymachines, and subscribing to his YouTube channel.  You can also check out the Instagram page Brian curates for his late grandfather, gospel pianist James Miller.  https://www.instagram.com/jamesmillergospelpianist/?hl=en  Thanks!Email: brianeverettmiller@yahoo.com.  Brian on Instagram:https://www.instagram.com/heldbymachines/Brian on Youtube:https://youtube.com/channel/UCSAWKkRtE8tVTvD1r202tRw

Chapters00:34 - Introduction01:39 - Why Start The Foundation?05:04 - The Three Parts Of The Foundation07:54 - Unusual Items In The Archive09:50 - What did you learn about your father from the archive?10:45 - Who inspired Bob Moog?14:40 - The Moogseum23:35 - What Synth's Are Available?24:46 - The Electronic Voyager documentary28:51 - Did making the movie reveal anything new about your father?30:50 - The impact of the Minimoog33:55 - When can we see The Electronic Voyager Film?34:47 - How important is the work of the BMF and other similar organisations?https://moogfoundation.org/https://moogseum.org/https://www.indiegogo.com/projects/electronic-voyagerMoog musical clips provided by:Danniielle O'Connor (Moog Voyager) - http://pulseeternal.com/ Ernesto Romeo (Minimoog Model D) - https://klaussband.bandcamp.com/ Moot Booxlé (Memorymoog & Minimoog) - http://mootbooxle.bandcamp.com/ Suzanne Aston (Moog Voyager XL) - http://synthsbythesea.com/wp/ Brian Oliva (Theremin) - https://www.getsemanimusic.com/ Michelle Moog Koussa BiogMichelle Moog-Koussa, Bob Moog's third daughter, was born in 1968, just as Wendy Carlos released her groundbreaking album Switched-On Bach, which brought the Moog synthesizer to the fore of the public consciousness. She is the founder and Executive Director of the Bob Moog Foundation, a position she has held for the past 16 years. She has grown the Foundation from a grass roots, volunteer-based organization to one that has nationally recognized goals and accomplishments, a staff of seven, and a worldwide network of supporters. She has been the driving force behind the Foundation's vision to carry Bob Moog's pioneering legacy forward by igniting creativity at the intersection of music, science, history, and innovation.At the forefront of this vision is the Foundation's hallmark educational project, Dr. Bob's SoundSchool. Michelle stewarded this project from an occasional volunteer outreach effort to a standardized 10-week curriculum that teaches the science of sound through the magic of music to second grade children in nearly 100 classrooms in Asheville, North Carolina. While Dr. Bob's SoundSchool currently serves 3,000 children a year, Michelle is leading the Foundation to expand this project nationwide.Michelle also oversees the preservation of the Bob Moog Foundation Archives, a vast array of historic materials ranging from photos to schematics, from correspondence to prototypes. The Bob Moog Foundation shares the materials with other research institutions and museums, and opened its Moogseum in May 2019, and interactive facility where the Foundation's educational and historic preservation initiatives converge.Michelle has written the foreword for The Synthesizer Book, by acclaimed writer and historian, Mark Vail, and has been featured on numerous video and podcasts. Michelle gave a talk at TEDx Asheville in 2017 entitled, Inspired: The Journey of Discovering my Famous Father, which can be viewed here.Rob Puricelli BiogRob Puricelli is a Music Technologist and Instructional Designer who has a healthy obsession with classic synthesizers and their history. In conjunction with former Fairlight Studio Manager, Peter Wielk, he fixes and restores Fairlight CMI's so that they can enjoy prolonged and productive lives with new owners.He also writes reviews and articles for his website, failedmuso.com, and other music-related publications, as well as hosting a weekly livestream on YouTube for the Pro Synth Network and guesting on numerous music technology podcasts and shows.He also works alongside a number of manufacturers, demonstrating their products and lecturing at various educational and vocational establishments about music technology.www.failedmuso.comTwitter: @failedmusoInstagram: @failedmusoFacebook: https://www.facebook.com/failedmuso/ 

Shane figured out how to play "Mary Had a Little Lamb" at age three. Too tiny to actually reach the piano keys, he picked out the notes by reaching up and feeling for them with his fingertips. Thus began his lifetime of music. He's created music hand in hand with legends of the recording industry, ranging from Elvis Presley and Paul McCartney to Arif Mardin and Ahmet Ertegun. His diversity as a player, arranger, producer and composer is amazing: pop to classical, jazz to R & B, country to alternative, appearing in one form or another on many thousands of recordings. Born in Huntington WV, Shane began formal classical piano training with Edith Sweeney before reaching his fourth birthday and moved to Portsmouth, Ohio when he was 7. There he continued piano studies in the years to follow with his adored teacher, Dorothy Knost. With her guidance, he began winning the coveted "Guild" piano competition awards year after year. At age twelve, while beginning junior high school, he met the inspirational Ralph Harrison, the McKinley Junior High School Band Director. Ralph asked Shane to join the school's orchestra and the big-band swing band. He also studied and performed choral music with another wonderful teacher and friend, Charles Varney, and with Bob McCoy at Portsmouth High School. Shane also began playing with many local musicians and bands in the Tri-State area. His family moved back to Huntington for his senior year, where he attended Huntington High School and enrolled at Marshall University, where he studied with Mary Shepp Mann. At the end of his freshman year, he left Huntington to "...travel and play music!...". He eventually moved to Dallas TX and soon enrolled in the jazz program at North Texas State University. By age nineteen, he was working in Dallas music production houses and studios, playing piano and organ two to three days a week on everything from film scores and records to radio libraries and jingles. He withdrew from NTSU and, seeking work as a studio musician, moved to Memphis. Within just a few weeks, he was blessed by reuniting with the legendary Jim Stewart of Stax Records and began working as a staff pianist/keyboardist in the Stax Rhythm Section. He also worked as a session pianist at Pepper/Tanner and with producers Al Jackson Jr., Willie Mitchell and Chips Moman. In 1971, Chips asked Shane to join the American Studios Rhythm Section as a staff pianist, where he worked with music icons such as Arif Mardin and many others. Learn more about creating financial and emotional freedom at www.freedomhacknow.com In 1972, Shane was in such demand as a pianist/session keyboardist from his work in Dallas and Memphis that he moved to Nashville. Word of his talent and abilities spread rapidly and he was soon working constantly. In 1974, he was contacted by Paul McCartney and performed on the "Junior's Farm/Sally G" sessions. Subsequently, Shane was called to play on several tracks on Elvis Presley's "Promised Land" album. Presley was so impressed with Shane's keyboard work that he personally requested Shane accompany him as pianist on the forthcoming '76 tour. His studio career continued at lightning speed, as he performed on and arranged hundreds of records for major artists. He also became an early explorer of synthesis and digital recording, purchasing a Mini-Moog in 1971 and purchasing his first digital audio recording system in 1981. In the late 80's, Shane had the great fortune of meeting legendary record mogul Ahmet Ertegun. Ahmet realized Shane's abilities and versatility and recruited him as a staff producer. He worked closely with Ahmet and with many of Atlantic's artists until April 2001, when he started his own independent production company. He returned to Nashville, TN in 2004 and continues to reside there. Shane currently performs live with Lynda Carter and is a member of the Musician's Hall Of Fame. As a producer/arranger, he's been twice nominated for a Grammy and received two Dove awards and one Cleo award. Shane is able to enrich any project he's part of, and he continues to be one of the most sought after talents in the industry.   Break free from whats holding you back from creating financial and emotional freedom! www.freedomhacknow.com    

In una puntata di Jazz Anthology dell'ottobre 2019 avevamo ascoltato alcune novità della RareNoise, fra cui un album del quartetto del pianista e tastierista Jamie Saft. Ritroviamo Jamie Saft in due album RareNoise usciti quest'anno. Music from the Early 21st Century è cointestato a Bobby Previte, batteria, Saft, organo Hammond, Fender Rhodes e MiniMoog, e Nels Cline, chitarra. L'organico fa pensare a quello degli Hammond trio, ma la musica è ben diversa: questo è caso mai un Hammond trio passato attraverso l'esperienza dell'hard rock, di Hendrix, del free jazz, di un chitarrista d'avanguardia come Sonny Sharrock. Musica di tutt'altro tipo in The Gerry Granelli Trio Plays Vince Guaraldi & Mose Allison: classe 1940, Granelli è il batterista del fortunatissimo album A Charlie Brown Christmas di Vince Guaraldi, e ha lavorato poi regolarmente con quel singolare pianista e cantante che è stato Mose Allison. Granelli non è un habitué della rivisitazione di momenti del proprio passato, su cui torna qui con classe, con Bradley Jones al basso e con Saft che al pianoforte dà un'altra prova della sua versatilità e del suo talento.

赛博世界的迷失和伤感聊《银翼杀手》原声音乐作者：马海平从《银翼杀手》到《银翼杀手：2049》整整三十五年，这部史上最重要的科幻电影把人工智能和生物科技的主题推到人类的面前。《银翼杀手》的地位如此崇高，除了其科技上的前瞻性和寓言性，还因为它建立了“赛博朋克”美学的模板，影响了之后的影视，音乐，时尚，游戏众多领域。如今我们可以把《银翼杀手》看成一个系列，按照时间线来看还包括1997年的同名电子游戏，和今年的三部短片《银翼杀手：2022黑暗浩劫》，《银翼杀手：2048无处可逃》，《银翼杀手：2036复制人黎明》，这里我想来聊的是这个系列的原声音乐。由于1982年版《银翼杀手》影片票房惨败的副作用，其原声唱片同样扑朔迷离，版本混乱。直到影片上映十二年后的1994年才发行了官方版本的电影原声，但这并不影响非官方的版本在粉丝之间疯狂流传。正如电影本身的意义在十多年后才开始发酵一样，希腊音乐家Vangelis的这部作品已经影响了80年代至今的几乎所有流派的电子音乐。Vangelis在采访中提到，他在创作《银翼杀手》的原声之初就和导演Ridley Scott达成一致，音乐将不同于《漫游太空2001》的古典音乐嫁接，也会区别于《星球大战》的史诗风格，《银翼杀手》大量运用电子合成器的音色作为声音的基调。“我首先用电子乐器找寻和搭建曲子的基础结构，然后往上加我想要的管弦乐，定音鼓，木琴和打击乐等音色。我创作并非靠纸和笔写乐谱，更多的是依靠磁带录音机记录我所演奏的内容。一层一层的叠加尝试着不同的可能性，最后确定我想要的声音。” Vangelis在采访中说道。 也正因为如此，Vangelis一个人几乎掌控了该电影的原声的所有作曲、演奏、录音、后期的工作，他把所有的素材都录制在磁带录音机上，在工作室里一边看着电影片段一边实时作曲，这和传统的电影音乐制作方式完全不同。更像如今的电子音乐家在自己的“卧室工作室”工作。事实上范吉利斯在八十年代的作品已经大量采用合成器作曲。在制作《银翼杀手》原声音乐的这段时间里，他的工作室里堆满了各种电子乐器，最主要的是Yamaha公司出品的CS-80电子合成器，我们在影片中听到的大多数高声部的电子管弦乐和贝斯都来自这台乐器。Roland 公司出品的VP-330合成器则负责的电影原声中的音效。传奇的Rhodes Fender电钢琴也在影片中有着出色表现。制作过程中还使用的乐器包括Prophet 10, Roland Jupiter 4,MiniMoog一系列经典的合成器…这些乐器依然足以让现在的电子音乐家两眼放光。除了电子乐器以外Vangelis还收集大量不同的打击乐器，我们在影片开场听到的辉宏的定音鼓，动物市场那场戏的非洲鼓，这些声音都来自他的工作室。1997年出版的电子游戏版本中也套用了82年电影的原声。 也许是因为82年版本的原声音乐太难以超越，《银翼杀手：2049》的原声却十分难产，导演Denis Villeneuve曾经邀请与其合作过多部电影的冰岛作曲家Johann Jahannsson 为《银翼杀手：2049》作曲，但最后导演觉得他的作曲离原版风格太远，转投近年好莱坞炙手可热的配乐大咖Hans Zimmer和Benjamin Wallfisch。笔者虽然非常喜欢Johann Jahannsson为《降临》做的原声音乐,但也相信如果配成极简主义的学院派风格，所有的粉丝都会骂街。Villeneuve没有下错棋，最终在电影院里我们再次体验到电子合成器音乐的魅力。电影系列还推出三部短片，也同样依照Vangelis的风格制作配乐，值得一提的是渡边信一郎执导的动画短片《银翼杀手：2022黑暗浩劫》的配乐找来黑人音乐家Flying Lotus操刀制作，结尾曲《Almost Human》的歌词 “I'm almost human. Finally breathing, what is this feeling? ”,点出仿生人身份迷失的主题。预料之中，无论新版制作再精良也无法动摇Vangelis版本的原声在粉丝心中的地位，老版的声音更细腻清晰，每首曲子更像一首完整的作品，可以在家细细回味。而《银翼杀手：2049》的原声唱片在声音设计上更花功夫，也许在影院的体验更为震撼，但整体可听性不如原版，也许由于近年来Hans Zimmer参与太多的好莱坞大片配乐，又正值《敦刻尔克》刚刚下线，这种声音炸耳朵的配乐让听众有些审美疲劳。 新旧两个版本的电影原声有些地方相互呼应。都有一首叫作《blade Runner》的曲子，都出现在片尾字幕处，老版本合成器琶音带来紧张的压迫感，而新版的《blade Runner》简直是老版本的加强版。同样的调式，更重的节奏，声音处理更震撼。新老版本都为女主角设计了专有的配乐，老版是《Rachel's song》新版是《Joi》。新旧两个版本中唯一一处旋律相同的曲子是《Tears in Rain》，这也是整个电影系列中最著名的曲子，老版中这段音乐出现老版在仿生人Roy临死前说完那段 “Tears in Rain”的经典台词之后，新版则出现在主角K完成自己的使命后倒在雪地里的奄奄一息的段落。 爵士老歌也是《银翼杀手》电影系列的特点，老版本的《One More Kiss, Dear》和新版本的《One for My Baby》,以及断断续续出现在地下舞厅那段戏的猫王名曲《Can't Help Falling in Love》。导演运用爵士歌曲和电子乐拉开音乐质感，凸显出剧情的张力，这些曲子都出现在激烈的打斗后，老版出现在Deckard猎杀仿生人Zhora之后，而新版则是在Reckard和K的打斗结束后，短暂的舒缓了观众的紧张情绪，也让我们深信仿生人是一种活生生的存在，他们拥有自己的情绪，性格甚至是音乐品味。日本动画导演押井守在他的影片《攻克机动队：无罪》和《空中杀手》故技重施，也用了爵士歌曲点缀影片的情绪。可以看出《银翼杀手》的影响力远远大于电影本身。就电子音乐来说，Vangelis影响了80年代众多的合成器摇滚乐队，而在美国芝加哥和底特律在80年代中后期兴起的House和Techno音乐从来不避讳的这张原声唱片对自己的影响，很多音乐家作品可以看做把《银翼杀手》的配乐舞曲化，唱片中的曲子也被后来的音乐人当做采样无数次的使用。再让我们回看《银翼杀手》的精神内核，人类与未来科技碰撞后的无助，无论是人类还是仿生人，他们依赖科技生活甚至因为科技而诞生，而“高科技”带来的却是“低生活”。整个电影的呈现出感觉光怪陆离的诡异感，但如果你只把好奇心放在视听的刺激上，那可能你并没有抓到重点。因为在我看来《银翼杀手》传递的是一种迷失和伤感。这部电影原声就是一个很好的证明，尤其是82版中大量的蓝调音乐元素，《love Theme》和《Blade Runner Blues》都加入了萨克斯风的演奏，这样忧伤的音乐，无论你身处洛杉矶，伦敦或是北京上海，生活在当下大都市的人们能感受到这种迷茫的共鸣。而政治和社会的因素也埋藏在电影中，比如《银翼杀手：2049》出现的苏联CCCP标志和俄国芭蕾舞的虚拟投影，是因为在Philip K. Dick的原著小说《仿生人会梦见电子羊》的世界设定中苏联是依然存在的。82版电影中大量日本和东方的元素，是由于80年代日本经济对世界经济的巨大影响，正因为如此，影片中也出现了日本能剧的音乐。 谈论科幻电影绕不过《银翼杀手》，谈论电子音乐绕不过《银翼杀手》的电影原声。无论是“赛博朋克”或者“废土文化”这些名词其实都无法精准的定义《银翼杀手》这个电影系列，严格的说,如果“赛博朋克”以1984年William Ford Gibson的小说《神经漫游者》为起点的话，《银翼杀手》要比其早两年上映。所以我并不想对《银翼杀手》系列过度解读，因为正如电影本身一样，很多经典的桥段出于歪打正着的偶然，有些是出于拍摄经费捉襟见肘的无奈之举，而电影上映之初票房和人气也算不上一部成功的商业电影，哪怕《银翼杀手：2049》这样新世纪的大制作依然属于较好不叫座。应该说《银翼杀手》虽然名气很大，但始终是一部小众才能理解的电影，而正是这样的小众艺术潜移默化的影响了当今的科技和文化发展。《银翼杀手》系列配乐是《银翼杀手》美学的重要组成部分，在下一个三十五年里，这种音乐美学还会在电子音乐的世界里蔓延。 。

We talk about the classic EMI12345 MKIV desk that was used for Dark Side of the Moon recording, its up for auction - then we're on to the talk of Behringer's talk of making an affordable Minimoog clone, then its the Deckard's Dream CS80 rackmount clone, the Arp 2600 sample library from Samples From Mars, and generally getting inside an instrument, whether it be hardware or software.

We start with a healthy does of Roland Boutique range after details were leaked online over the weekend, before the official launch., then Marc Doty tells us about the Mini Moog raffle and how to get PWM on a Mini. We're then on to the new Sensel Morph, a sensitive touch input device, a great performance from Rachel Claudio, then we ponder the work of Jaques Attali and the Crisis of Proliferation.