Podcasts about modular synthesis

Guest and HostGuest: Seth Cluett, Director of Columbia University's Computer Music Center | On LinkedIn: https://www.linkedin.com/in/seth-cluett-7631065/ | Columbia University Computer Music Center Bio: https://cmc.music.columbia.edu/bios/seth-cluettHost: Sean Martin, Co-Founder at ITSPmagazine and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/Show NotesMusic and technology have always shaped each other, and few places embody that relationship as deeply as the Computer Music Center (CMC) at Columbia University. In this episode of Music Evolves, Sean Martin sits down with Seth Cluett, Director of the Computer Music Center and Assistant Director of the Sound Art MFA program at Columbia, to explore the center's rich history, its role in advancing music technology, and how it continues to shape the future of sound.The Legacy and Mission of the Computer Music CenterThe CMC is housed in the same 6,000-square-foot space as the original Columbia-Princeton Electronic Music Center, which dates back to 1951 and is one of the world's oldest university-based electronic music research facilities. This was the birthplace of early electronic music, where pioneers learned to use cutting-edge technology to create new sounds. Many of those musicians went on to establish their own studios around the world, from Egypt to Japan.The center has played a role in major milestones in music history, including the work of Wendy Carlos, a former student known for Switched-On Bach, the score for Tron, and The Shining. The first piece of electronic music to win a Pulitzer Prize was also composed here. Today, under Cluett's leadership, the focus remains on creativity-driven technological innovation—allowing composers and artists to explore technology freely and push the boundaries of what's possible in sound and music.One of the center's guiding principles is accessibility. Cluett emphasizes the importance of lowering barriers to entry for students who may not have had prior access to music technology. The goal is to make sure that anyone, regardless of background, can walk into the studio and begin working with 80% of its capabilities within the first 20 minutes.Exploring the Labs and StudiosThe episode also includes a tour of the labs and studios, showcasing some of the center's groundbreaking equipment. One highlight is the RCA Mark II Synthesizer, the world's first programmable music synthesizer. Built in the late 1950s, this massive machine—seven feet tall and weighing over a ton—was instrumental in shaping the sound of early electronic music. The system worked by punching holes into paper to control sound generation, similar to a player piano. While no longer in use, the CMC has collaborated with iZotope to model some of its effects digitally.The tour also features Columbia's electronic music studio, which houses synthesizers from Buchla, Serge, and Moog—the latter being developed by Bob Moog, who was once an undergraduate at Columbia. The center's modern design emphasizes a seamless workflow between analog and digital technologies, allowing students to quickly create, process, and experiment with sound.Another key space is the immersive media and spatial audio research facility, which features a 12.1-channel loudspeaker sphere for ambisonic sound, along with a 32-capsule microphone that captures highly detailed audio environments. This technology is not only shaping music but also fields like virtual reality, data sonification, and interactive media.The Future of Music TechnologyLooking ahead, Cluett highlights the increasing interplay between AI, machine learning, and music composition. While some companies promote AI-generated melodies, he believes that truly expressive, human-driven composition remains essential. The role of technology, he argues, is not to replace human creativity but to enable new forms of expression. The CMC is at the forefront of this shift, experimenting with real-time audio processing, interactive performance systems, and embedded sensors that enhance live music experiences.As music and technology continue to merge, Columbia's Computer Music Center remains a key player in shaping the future of sound. Whether through pioneering hardware, software innovation, or fostering the next generation of creative minds, the center proves that music technology is not just about engineering—it's about expression, accessibility, and the pursuit of artistic joy.

Guest and HostGuest: Scott “Shagghie” Scheferman, Artist: Raw. Analogue Techno. | On LinkedIn: https://www.linkedin.com/in/scottscheferman/ | Bandcamp: https://highsage.bandcamp.com/Host: Sean Martin, Co-Founder at ITSPmagazine and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/Show NotesThe latest episode of Music Evolves brings a fascinating discussion with Scott “Shagghie” Scheferman, a longtime cybersecurity professional and electronic music creator. Host Sean Martin sits down with Scheferman to explore the intersection of creativity, technology, and music—challenging the traditional definitions of hacking and how it applies to the artistic process.The Hacker Mindset in MusicScheferman, who has spent decades working in cybersecurity, explains how his approach to music is deeply influenced by the hacker mindset. Traditionally associated with computers and networks, hacking is about problem-solving, exploration, and pushing boundaries. For Scheferman, that same mentality extends to music—whether modifying effects pedals beyond their intended use, experimenting with modular synthesizers, or applying unconventional methods to sound creation.This perspective reframes the way we think about creativity: hacking isn't just breaking things—it's about finding new ways to build. In music, that could mean repurposing technology, combining analog and digital tools, or embracing unexpected results to drive innovation.The Role of Technology in Music CreationA core theme of the conversation is how technology shapes the way music is created and experienced. From the early days of analog synthesizers to today's AI-driven tools, technology has always played a role in expanding musical possibilities. Scheferman describes his studio setup, filled with modular synthesizers, custom effects pedals, and digital sequencing tools, as an evolving playground for sound experimentation.One of the key takeaways is that while technology can enable creativity, it can also introduce constraints. Whether it's the frustration of a technical failure or the overwhelming options provided by AI-driven music tools, technology isn't just a tool—it's a collaborator. Sometimes, the best results come from working within limitations or intentionally breaking the rules.AI, Automation, and the Future of MusicThe conversation also touches on artificial intelligence and its growing role in music composition. AI tools can generate melodies, suggest chord progressions, and even simulate human-like performances. But does AI-enhanced music lose something essential?Scheferman shares his thoughts on where technology ends and artistry begins. While AI can assist in generating ideas or automating tedious processes, it doesn't replace the human connection to music. He sees AI as a tool for acceleration rather than substitution—something that can help musicians explore new ideas but should not dictate creative choices.This is particularly relevant when it comes to live performance and improvisation. A computer can generate perfect beats and sequences, but can it capture the spontaneous interplay between musicians, the imperfections that make a performance feel alive? That's still an open question.The Human Element in SoundBeyond the technical aspects, Scheferman and Martin discuss the emotional power of music. Whether it's an acoustic guitar, an electrified soundscape, or a fully synthesized production, music has the ability to transport listeners to different states of mind.They reflect on how people connect with sound—how live performances create an irreplaceable energy, how vinyl records provide a tactile experience that digital streaming lacks, and how technology might change the way future generations perceive and create music. The question remains: as digital tools become more dominant, will we continue to crave raw, unprocessed sound?A Collaboration of Sound and EmotionAs the episode wraps up, Scheferman shares a track he created with his wife, Kati Rockit, blending electronic production with rock-influenced vocals. Their collaboration highlights another key theme of the episode—music as dialogue. Whether between humans and technology or between two creative partners, the best results often come from interplay, not isolation.This episode of Music Evolves is a must-listen for anyone interested in how technology and creativity intersect. It challenges assumptions about what it means to be a musician in the digital age and invites listeners to rethink how they interact with sound.

Composer and Sound Designer Robert Aiki Aubrey Lowe tells Caro C about his preferred sound modules and working methodologies, plus shares details some of the film and TV projects that he has recently been collaborating on.Chapters00:00 - Introduction01:35 - Finding A Musical Voice04:38 - Choosing Modular Synthesis10:18 - Avant Garde Artistry17:14 - Current Modular Setup23:19 - Other Favourite Modules 28:11 - Composing For TV And Film34:03 - Combining Hardware And Software#morphagene #spectraphon #dxg #optomix #proworkout #arbharRobert Aiki Aubrey Lowe BiogRobert Aiki Aubrey Lowe is an artist, curator and composer based in Brooklyn, New York. Robert is known for his work with modular synthesis combined with voice. Along with analogue video synthesis works, he has had exhibitions of his work at John Michael Kohler Art Center, Museum of Art and Design, Kunsthal Charlottenborg and the Broad.Over the last several years Robert has collaborated on projects or provided sound in a featured artist capacity for such films as “End of Summer”, “Sicario”, “Arrival”, “Last and First Men” with Johann Johannsson and “It Comes at Night” with Brian McOmber. In recent years Robert has scored “Candyman” for Nia DaCosta, “The Color of Care” and “Power” for Yance Ford, “Master” for Mariama Diallo, “Grasshopper Republic” for Daniel McCabe, docuseries “Telemarketers”, “UNION” for Brett Story and Stephen Maing, “The Man In My Basement” for Nadia Latif, “Life After" for Reid Davenport and “Seeds” for Brittany Shyne. Through collaboration Robert has worked with Tarek Atoui, Ben Russell, Ben Rivers, Rose Lazar, Nicolas Becker, Rashaad Newsome, Jóhann Jóhannsson, Hildur Guđnadóttir, Sabrina Ratté, Philippe Parreno, Evan Calder Williams, Ariel Kalma, Susie Ibarra and YoshimiO, as well as many others.https://robertaikiaubreylowe.bandcamp.com/Caro C BiogCaro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album 'Electric Mountain' is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This 'sonic enchantress' (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.URL: http://carocsound.com/Twitter: @carocsoundInst: @carocsoundFB: https://www.facebook.com/carocsound/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

In this occasional series exploring modular synthesis and live performance, William Stokes talks to Tony Rolando, electronic musician and founder of modular company Make Noise. Tony talks about his beginnings in the industry and how Make Noise has relaunched in 2025 with a new team and a brand new module release, which he then showcases in an exclusive performance alongside four additional modules.Chapters00:00 - Introduction05:22 - Creating Social Media Posts12:10 - Recent Innovations In Modular14:02 - Revisioning Jettisoned Music Technology21:08 - Module 1: Maths 30:17 - Module 2: Morphagene47:42 - Module 3: Qpas 57:57 - Module 4: Bruxa01:12:52 - Module 5: New Universal Synthesizer System01:27:40 - The PerformanceTony Rolando BiogTony Rolando is a self-taught musician and electronic musical instrument designer who started his career building electronics for artists, such as the light controlled mixer for Simon Lee's “Bus Obscura,” working for Moog Music and playing in bands. He has recently released music with Important Records and the Asheville, NC based Ceremony of Seasons.Tony is the founder, lead designer and co-owner of Make Noise, a modular synth company launched in 2008, known for modules such as the Morphagene and 0-Coast, popular with artists like Thom Yorke and Robert Lowe, aka Lichens. They operate out of Asheville, NC and have global distribution through a number of music tech dealers.https://tonyrolando.bandcamp.com/www.makenoisemusic.comWilliam Stokes BiogWilliam Stokes is a producer, writer and artist in three-piece avant-psych band Voka Gentle. As well as being a critic and columnist for Sound On Sound, conceiving the popular Talkback column and heading up the Modular column, he has also written on music and music technology for The Guardian, MOJO, The Financial Times, Electronic Sound and more. As an artist in Voka Gentle he has made records with producers from Gareth Jones (Depeche Mode, Grizzly Bear, Nick Cave) to Sam Petts-Davies (Radiohead, The Smile, Roger Waters), has had songs featured on franchises from FIFA Football to The Sims and has toured across the UK, Europe and the USA, playing festivals from Pitchfork Avant-Garde in Paris to SXSW in Austin, Texas. He has collaborated with artists including the Flaming Lips' Wayne Coyne, Morcheeba, Panda Bear and Sonic Boom. Alongside being a guitarist and pianist, he is a synthesis enthusiast with a particular interest in sampling and explorative sound manipulation. As a producer and engineer, he has made albums with acclaimed avant-garde musicians from composer Tullis Rennie to Mute Records artist Louis Carnell. “I'm always seeking out the most ‘out-there', experimental, risk-taking musicians I can find to work with,” he says, “to capture vibrant, detailed recordings and create three-dimensional mixes of music that might otherwise struggle to know where to begin in the studio environment.” Stokes currently lectures in Music Production at City, University of London.https://www.vokagentle.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Electronic music pioneer and composer Suzanne Ciani discusses her career highlights in conversation with William Stokes, including early performance struggles due to her determination to present shows in quadraphonic, a career resurgence thanks to Moogfest and why she loves working with the Buchla interface.Chapters00:00 - Introduction01:06 - The First Female To Score A Movie04:01 - Having More Than 20 Albums04:36 - Golden Apples Of The Sun07:55 - Live Performance Struggles11:57 - A Love Of Programming14:09 - Interacting With A Buchla17:14 - A New Way Of Performing Music22:32 - The Buchla 250 MARF25:36 - Making A Comeback At Moogfest29:36 - Creating Spatial Content38:40 - A Meeting Of Art And Science 41:36 - Future Plans"I didn't build the machines, I certainly didn't design them, but I could interact with them and use them, you know, and that's what I liked".#buchla #moogSuzanne Ciani BiogSuzanne is a five-time Grammy award-nominated composer, electronic music pioneer, and neo-classical recording artist who has released over 20 solo albums including "Seven Waves," and "The Velocity of Love," along with a landmark quad LP “LIVE Quadraphonic,” which restarted her Buchla modular performances. Her work has been featured in films, games, and countless commercials as well. She was inducted into the first class of Keyboard Magazine's Hall of Fame alongside other synth luminaries, including Bob Moog, Don Buchla and Dave Smith and received the Moog Innovation Award. Most recently, she is the recipient of the Independent Icon Award from A2IM, The Golden Ear Award and the SEAMUS Award.Suzanne has provided the voice and sounds for Bally's groundbreaking "Xenon" pinball machine, created Coca-Cola's pop-and-pour sound, designed logos for Fortune 500 companies and carved out a niche as one of the most creatively successful female composers in the world. A Life in Waves, a documentary about Ciani's life and work, debuted at SXSW in 2017 and is available to watch on all digital platforms. Ciani is a graduate of Wellesley College and holds a Masters in Music Composition from the University of California, Berkeley.http://sevwave.com/https://transversales.bandcamp.com/album/golden-apples-of-the-sun-3William Stokes BiogWilliam Stokes is a producer, writer and artist in three-piece avant-psych band Voka Gentle. As well as being a critic and columnist for Sound On Sound, conceiving the popular Talkback column and heading up the Modular column, he has also written on music and music technology for The Guardian, MOJO, The Financial Times, Electronic Sound and more. As an artist in Voka Gentle he has made records with producers from Gareth Jones (Depeche Mode, Grizzly Bear, Nick Cave) to Sam Petts-Davies (Radiohead, The Smile, Roger Waters), has had songs featured on franchises from FIFA Football to The Sims and has toured across the UK, Europe and the USA, playing festivals from Pitchfork Avant-Garde in Paris to SXSW in Austin, Texas. He has collaborated with artists including the Flaming Lips' Wayne Coyne, Morcheeba, Panda Bear and Sonic Boom. Alongside being a guitarist and pianist, he is a synthesis enthusiast with a particular interest in sampling and explorative sound manipulation. As a producer and engineer, he has made albums with acclaimed avant-garde musicians from composer Tullis Rennie to Mute Records artist Louis Carnell. “I'm always seeking out the most ‘out-there', experimental, risk-taking musicians I can find to work with,” he says, “to capture vibrant, detailed recordings and create three-dimensional mixes of music that might otherwise struggle to know where to begin in the studio environment.” Stokes currently lectures in Music Production at City, University of London.https://www.vokagentle.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Pedals are not just for guitars. Here Paul White connects his extensive pedal collection to a modular synth system, effectively using the pedals as additional modules and suggesting some creative ways of setting up and combining them to create a range of sounds for different applications.(00:00) - Introduction (01:05) - Connecting Your Pedals (01:54) - Using A Delay Or Reverb (04:12) - Adding Some Overdrive (05:01) - Adding Effects With Pitch Shift (06:00) - Using Chorus To Thicken A Sound (06:51) - Tremolo And Vibrato (07:17) - Phasers And Flangers (08:33) - Adding An Envelope Filter (09:44) - Creating Textures With Granular Delay (10:49) - Ring Modulator Effects (12:15) - Combining Effects (14:56) - Adding In An Arpeggiator (15:46) - Creating A Softer Sound Chapters00:00 - Introduction00:42 - Connecting Your Pedals01:31 - Using A Delay Or Reverb03:49 - Adding Some Overdrive04:38 - Adding Effects With Pitch Shift05:37 - Using Chorus To Thicken A Sound06:28 - Tremolo And Vibrato06:54 - Phasers And Flangers08:10 - Adding An Envelope Filter09:21 - Creating Textures With Granular Delay10:26 - Ring Modulator Effects11:52 - Combining Effects 14:33 - Adding In An Arpeggiator15:23 - Creating A Softer Sound#StrymonCloudburstPaul White BiogPaul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing. He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer's Manual.Having established his own multitrack home studio in the 1980s he's worked with many notable names including Bert Jansch and Gordon Giltrap. He's played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn't see why everyone else shouldn't too!http://www.cydoniacollective.co.uk/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

In this first part of an occasional series exploring modular synthesis and live performance. William Stokes talks to experimental electronic musician Scanner about his career, the choice of his favourite modules he'll showcase in his closing performance and the friendliness of the modular community. Chapters00:00 - Introduction01:13 - The Tate Modern Installation02:52 - Working With Laurie Anderson06:40 - The Origin Of The Name Scanner10:47 - Module 1: Morphagene14:30 - Module 2: Mimeophon18:52 - Module 3: Equation Composer24:08 - Module 4: QU-Bit Prism26:51 - Finding Your Sound With Modular29:22 - Module 5: QU-Bit Nano Rand31:16 - Module 6: Instruō øchd DivKid 33:12 - Modular Social Community 35:31 - Modular Aesthetics38:38 - Module 7: Bela Gliss42:37 - The PerformanceMorphagene - https://www.makenoisemusic.com/modules/morphagene/Mimeophon - https://www.makenoisemusic.com/modules/mimeophon/Equation Composer (discontinued) QU-Bit Prism - https://www.qubitelectronix.com/shop/p/prismQU-Bit Nano Rand - https://www.qubitelectronix.com/shop/p/nano-rand Instruō øchd - https://www.instruomodular.com/product/ochd/Bela Gliss - https://uk.shop.bela.io/products/glissRobin Rimbaud BiogScanner (British artist Robin Rimbaud) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music. To date he has scored 65 dance productions, including the hit musical comedy Kirikou & Karaba Narnia, Qualia for the London Royal Ballet, and the world's first Virtual Reality ballet, Nightfall, for Dutch National Ballet.More unusual projects have included designing sound for the Philips Wake-Up Light (2009), the re-opening of the Stedelijk Museum, Amsterdam in 2012 and the new Cisco telephone system used in many offices around the world. His work Salles des Departs is permanently installed in a working morgue in Paris whilst Vex, the residential house by Chance de Silva architects, featuring his permanent soundtrack, won the RIBA London Award 2018.Committed to working with cutting edge practitioners he collaborated with Bryan Ferry, Wayne MacGregor, Mike Kelley, Torres, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.http://www.scannerdot.comWilliam Stokes BiogWilliam Stokes is a producer, writer and artist in three-piece avant-psych band Voka Gentle. As well as being a critic and columnist for Sound On Sound, conceiving the popular Talkback column and heading up the Modular column, he has also written on music and music technology for The Guardian, MOJO, The Financial Times, Electronic Sound and more. As an artist in Voka Gentle he has made records with producers from Gareth Jones (Depeche Mode, Grizzly Bear, Nick Cave) to Sam Petts-Davies (Radiohead, The Smile, Roger Waters), has had songs featured on franchises from FIFA Football to The Sims and has toured across the UK, Europe and the USA, playing festivals from Pitchfork Avant-Garde in Paris to SXSW in Austin, Texas. He has collaborated with artists including the Flaming Lips' Wayne Coyne, Morcheeba, Panda Bear and Sonic Boom. Alongside being a guitarist and pianist, he is a synthesis enthusiast with a particular interest in sampling and explorative sound manipulation. As a producer and engineer, he has made albums with acclaimed avant-garde musicians from composer Tullis Rennie to Mute Records artist Louis Carnell. “I'm always seeking out the most ‘out-there', experimental, risk-taking musicians I can find to work with,” he says, “to capture vibrant, detailed recordings and create three-dimensional mixes of music that might otherwise struggle to know where to begin in the studio environment.” Stokes currently lectures in Music Production at City, University of London.https://www.vokagentle.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

In this episode we explore some patch ideas from my recently acquired Patch Deck as well as a 90HP patch from my trip to Seattle! Patreon: https://www.patreon.com/nullphiinfinity Bandcamp:  https://nullphiinfinity.bandcamp.com/Instagram: https://www.instagram.com/nullphiinfinity/Youtube: https://www.youtube.com/@Nullphiinfinity   ★ Support this podcast on Patreon ★

Welcome to another episode of Poducer, the podcast for producers! In this episode, we dive deep into the Chicago beat-making scene and the world of modular synthesis with our special guest, Fess Grandiose. Support Us by Buying a Hat https://poducer.bigcartel.com/product/poducer-green-corduroy-ball-cap Sponsorships: QUAKE Earplugs Use code "POD15" at checkout to save 15% https://quake402.bigcartel.com/product/dub-mufs-v2 Affiliates: https://www.lalal.ai/?fp_ref=poducer Follow Fess Grandiose: https://linktr.ee/fessgrandiose https://www.instagram.com/openbeats/ Follow Poducer: https://linktr.ee/poducerpodcast Chapters: 00:00 Introduction and Name Discussion 01:31 Fess Grandiose's Background and Role 02:14 Working at Reverb and Open Beats 05:13 First Concert Experiences 07:32 Musical Influences and Transition from Metal to Hip-Hop 16:04 Starting Music Production and DJing 24:17 Influence of Gear and Producers 26:13 Reverb's Fest Picks and Favorite Gear 31:03 Roland's Impact on Music Technology 34:51 Overhyped Brands and Behringer's Controversies 41:53 Teenage Engineering and New Innovations 48:39 Community and Networking in the Beat Scene 52:06 Origin of Open Beats 57:24 Inclusivity and Multi-Genre Approach at Open Beats 01:01:12 Advice for Starting an Event 01:05:42 Evolution and Future of the Beat Scene 01:12:07 Impact of AI on Music Production 01:19:04 Best Stem Separators 01:21:59 Comparing Music Conferences: NAMM vs. Superbooth 01:27:28 Starting a Modular Journey 01:35:43 Boutique Brands and Pedal Comparisons 01:40:19 Unique Characteristics of Maths Module 01:44:51 Exploring Modular and Pedal Integration 01:53:06 Enhancing Sampling Through Synthesis Knowledge 01:55:13 WFXR Duo and Modular Performances 02:00:00 Improv and Live Performances 02:02:49 Most Impactful Concert Experience 02:07:46 Shoutouts and Community Support 02:11:09 Chicago Beat Scene vs. Other Cities 02:15:16 Where to Find Fess Grandiose Online 02:16:24 Closing Remarks

Join us as we talk with Omri Cohen about his journey into modular synthesis, how he uses VCV rack to make stunning and inspiration music that takes us on a wild journey! Omri shares with us his advice for getting into modular synthesis as well as mushroom and fungi!If you're interested in supporting the podcast, please subscribe to the S1gns Of L1fe and Jon Audio channels on YouTube. For the video version of this show, please subscribe to the Harmonic Horizons YouTube Channel to keep up with all the latest episodes.S1gns Of L1fe: https://www.youtube.com/@s1gns0fl1feJon Audio: https://www.youtube.com/@jonaudioHarmonic Horizons: https://www.youtube.com/@HarmonicHorizonsPodcastFor bonus content including additional podcast material, head over to the S1gns Of L1fe Patreon page. Paid members get access to Beyond The Horizon - our new series of extended conversations with our guests, as well as several other benefits such as early access to all of his videos, exclusive ambient tutorials, over 100 preset packs for various synthesizers, one on one coaching for ambient and electronic music, and tons more.S1gns Of L1fe on Patreon: https://www.patreon.com/s1gnsofl1feIf you'd like to support Jon Audio and the work he does head over to his YouTube channel and subscribe. You can also check out his Gumroad page for a selection of free and paid preset packs. Finally he also has a Patreon page where subscribers get access to additional content such as exclusive music, presets for various synths such as pigments and diva, specialized courses and more.Jon Audio Patreon: https://www.patreon.com/jonaudioContact us or would like to be a guest on the show, email: harmonichorizonsp...

This week I am extraordinarily excited to have Jason Lytle of Grandaddy on the show. We talk about his process and the upcoming GD album, Blu Wav which comes out February 16th. https://www.grandaddymusic.com/ Fair warning, I ramble and babble A LOT on this one! My new Xmas MIxtape is on Bandcamp: christMIXtape Vol 3: https://timheld.bandcamp.com/album/christmixtape-vol-iii Pod Mod store: https://www.podularmodcast.com/store support pod mod on patreon (https://www.patreon.com/podularmodcast) thank you: 4ms: https://4mscompany.com/ patchwerks: https://patchwerks.com/ qubit electronix: https://www.qubitelectronix.com/ novation: https://novationmusic.com/en/synths/summit waveform magazine: https://waveformmagazine.com/

2 pages left.Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.I got some new music up on Bandcamp, an album of icy mellowness called Winter Sketchbook.

3 pages left.Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.I got some new music up on Bandcamp, an album of icy mellowness called Winter Sketchbook.

THE LAST FOUR PAGES!!!!!Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.I got some new music up on Bandcamp, an album of icy mellowness called Winter Sketchbook.

Holy smokes, 350th episode. Can you believe it?Anyway...Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.I got some new music up on Bandcamp, an album of icy mellowness called Winter Sketchbook.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.I got some new music up on Bandcamp, an album of icy mellowness called Winter Sketchbook.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.I got some new music up on Bandcamp, an album of icy mellowness called Winter Sketchbook.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.I got some new music up on Bandcamp, an album of icy mellowness called Winter Sketchbook.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.I got some new music up on Bandcamp, an album of icy mellowness called Winter Sketchbook.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.I got some new music up on Bandcamp, an album of icy mellowness called Winter Sketchbook.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.I got some new music up on Bandcamp, an album of icy mellowness called Winter Sketchbook.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.I got some new music up on Bandcamp, an album of icy mellowness called Winter Sketchbook.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.I got some new music up on Bandcamp, an album of icy mellowness called Winter Sketchbook.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for chewable boner pills.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for chewable boner pills.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for online therapists.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for online therapists.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for online therapists.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for online therapists.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.

LIVE episode from Waveform PDX with Moffenzeef (https://www.moffenzeefmodular.com/), Schlappi Engineering (https://schlappiengineering.com/), AI Synthesis (https://aisynthesis.com/) and , Mordax (https://www.mordax.net/products/data) THREE BODY still in stock at Patchwerks! https://patchwerks.com/products/schlappi-engineering-three-body-oscillator SPONSORS After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.

Alex, ALX_106 (https://www.alx-106.com/), returns to Pod Mod to talk WMD (https://wmdevices.com/), Trade Shows and Live Performance [PATREON]((https://www.patreon.com/podularmodcast) Cool Oscillators: XPO from Make Noise (https://www.makenoisemusic.com/), COCO from After Later Audio (https://afterlateraudio.com/blogs/news/the-coco-system), and Three Body from Schlappi Engineering (https://schlappiengineering.com/). Crater Lake XPO Performance: https://youtu.be/A7ONY-O7TQM Waveform PDX Tickets and Info (https://www.waveformpdx.com/) Waveform Inversion Saturday Night Show (https://www.facebook.com/InversionPDX) SPONSORS After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.

This week I play around with the XPO from Make Noise (https://www.makenoisemusic.com/), COCO from After Later Audio (https://afterlateraudio.com/blogs/news/the-coco-system), and Three Body from Schlappi Engineering (https://schlappiengineering.com/). Crater Lake XPO Performance: https://youtu.be/A7ONY-O7TQM Waveform PDX Tickets and Info (https://www.waveformpdx.com/) Waveform Inversion Saturday Night Show (https://www.facebook.com/InversionPDX) [PATREON]((https://www.patreon.com/podularmodcast) SPONSORS Novation Circuit Rhythm (https://novationmusic.com/en/circuit/circuit-rhythm) After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/

This week we have my friend, mentor and boss, Lenny Helton of After Later Audio on Pod Mod to discuss the new Mutable Instruments Classics (https://www.youtube.com/watch?v=DbWZskcqi_o), ALA's new COCO, or Create your Own Complex Oscillator system (https://youtu.be/YQNgBMvgXNM)and more! Waveform PDX Tickets and Info (https://www.waveformpdx.com/) Waveform Inversion Saturday Night Show (https://www.facebook.com/InversionPDX) If you would like to volunteer, reach out to Jef HERE: waveformpdx@gmail.com [PATREON]((https://www.patreon.com/podularmodcast) Check out Jef's podcast here https://listen.stitcher.com/yvap/?afdp=stitcher://show/649193&afwebdp=https://www.stitcher.com/show/649193&deeplink_value=stitcher://show/649193 SPONSORS Novation Circuit Rhythm (https://novationmusic.com/en/circuit/circuit-rhythm) After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/

This week we get to know the mind behind upcoming Portland synth event Waveform PDX, Jef Drawbaugh Waveform PDX Tickets and Info (https://www.waveformpdx.com/) Waveform Inversion Saturday Night Show (https://www.facebook.com/InversionPDX) If you would like to volunteer, reach out to Jef HERE: waveformpdx@gmail.com [PATREON]((https://www.patreon.com/podularmodcast) Check out Jef's podcast here https://listen.stitcher.com/yvap/?afdp=stitcher://show/649193&afwebdp=https://www.stitcher.com/show/649193&deeplink_value=stitcher://show/649193 Tim's new track NOSTALGIA (https://timheld.bandcamp.com/album/nostalgia) SPONSORS Novation Circuit Rhythm (https://novationmusic.com/en/circuit/circuit-rhythm) OBSIDIAN SOUND MASTERING (https://obsidiansound.net/) After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/

Velocity 2022 live Pod Mod Panel with Old co-host Ian Naturebot Price, Lisa Bella Donna, Daedelus and Walker Farrell [PATREON]((https://www.patreon.com/podularmodcast) Tim's new track NOSTALGIA (https://timheld.bandcamp.com/album/nostalgia) SPONSORS Tiny Crush Mixing (https://tinycrushmixing.com/booking/#ICare) Novation Circuit Rhythm (https://novationmusic.com/en/circuit/circuit-rhythm) OBSIDIAN SOUND MASTERING (https://obsidiansound.net/) After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/

I process and share my VELOCITY experience with you. Next week we have the live episode coming!!! BUCHLA NOW Album (https://ultravioletlight.bandcamp.com/album/buchla-now) Tim and Tess STUTTER PUNK (https://selfcenter.bandcamp.com/album/stutter-punk) [PATREON]((https://www.patreon.com/podularmodcast) SPONSORS Tiny Crush Mixing (https://tinycrushmixing.com/booking/#ICare) OBSIDIAN SOUND MASTERING (https://obsidiansound.net/) After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/

Let's explore modules from XAOC Devices (http://xaocdevices.com/main/minsk/) , Music Thing Modular (https://www.musicthing.co.uk/) , Mystic Circuits (https://www.mysticcircuits.com/), Qu-Bit (https://www.qubitelectronix.com/shop/aurora), DPW (https://dpw.se/product/zero2-z-2-dual-zero-difference/), Schlappi Engendering (https://schlappiengineering.com/), Techno Logic (https://synthculture.com/about), [After Later Audio] Music from: Super Hydro (https://superhydro.bandcamp.com/album/kushman-in-cakefield) A Grape Dope (https://agrapedope.bandcamp.com/album/arthur-king-presents-a-grape-dope-backyard-bangers) VELOCITY (https://velocityseattle.com/) [PATREON]((https://www.patreon.com/podularmodcast) SPONSORS Tiny Crush Mixing (https://tinycrushmixing.com/booking/#ICare) OBSIDIAN SOUND MASTERING (https://obsidiansound.net/) After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/

Let's explore modules from Mystic Circuits (https://www.mysticcircuits.com/), Qu-Bit (https://www.qubitelectronix.com/shop/aurora), DPW (https://dpw.se/product/zero2-z-2-dual-zero-difference/), Schlappi Engendering (https://schlappiengineering.com/), Techno Logic (https://synthculture.com/about), After Later Audio (https://afterlateraudio.com/), Modular For The Masses (https://modularforthemasses.square.site/product/nyquistnightmare/4?cp=true&sa=true&sbp=false&q=false), Make Noise (https://makenoisemusic.com/synthesizers/black-and-gold-shared-system-plus), and 4ms (https://4mscompany.com/). Music from: Animals At Night (https://theanimalsatnight.bandcamp.com/album/duets) Strakt (https://strakt.bandcamp.com) VELOCITY (https://velocityseattle.com/) [PATREON]((https://www.patreon.com/podularmodcast) SPONSORS Tiny Crush Mixing (https://tinycrushmixing.com/booking/#ICare) OBSIDIAN SOUND MASTERING (https://obsidiansound.net/) After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/

This week we chat with Chelsea and Tobias from Techno Logic (https://technologicsynthculture.com/) about the unlikely synth-community they have built and cultivated in Spokane, WA VELOCITY (https://velocityseattle.com/) [PATREON]((https://www.patreon.com/podularmodcast) SPONSORS Tiny Crush Mixing (https://tinycrushmixing.com/booking/#ICare) OBSIDIAN SOUND MASTERING (https://obsidiansound.net/) After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/ NYQUIST NIGHTMARE (https://modularforthemasses.square.site/product/nyquistnightmare/4?cp=true&sa=true&sbp=false&q=false)

Let's talk content creation with the illustrious Johno Wells (https://errorgrid.bandcamp.com/track/beelem), founder of Modular World (https://www.youtube.com/c/ModularWorld) and Qu-Bit (https://www.qubitelectronix.com/)Product Specialist. VELOCITY (https://velocityseattle.com/) [PATREON]((https://www.patreon.com/podularmodcast) SPONSORS Tiny Crush Mixing (https://tinycrushmixing.com/booking/#ICare) OBSIDIAN SOUND MASTERING (https://obsidiansound.net/) After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/ NYQUIST NIGHTMARE (https://modularforthemasses.square.site/product/nyquistnightmare/4?cp=true&sa=true&sbp=false&q=false)

This week we discuss the importance of mixing, among other things, with Tiny Crush Mixing ((https://tinycrushmixing.com/))'s Hugo R.A. Paris! (https://hugoparismusic.com/releases/) VELOCITY (https://velocityseattle.com/) [PATREON]((https://www.patreon.com/podularmodcast) SPONSORS OBSIDIAN SOUND MASTERING (https://obsidiansound.net/) After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/ NYQUIST NIGHTMARE (https://modularforthemasses.square.site/product/nyquistnightmare/4?cp=true&sa=true&sbp=false&q=false)

This week we finally get to talk to IIITAIII!!!! Check out his new album, PANIC IN SLOW MOTION (https://iiitaiii.bandcamp.com/) VELOCITY (https://velocityseattle.com/) PATREON ((https://www.patreon.com/podularmodcast)) [Ornament and Crime Video (https://youtu.be/-v0l9Dsg9Mo) ​ TINY CRUSH MIXING (https://tinycrushmixing.com/) ​ SPONSORS After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/ ZORX Electronics: https://www.zorxelectronics.com/

This week we have NIK COLK VOID (Factory Floor, Carter Tutti Void, NVPR) and ALEXANDER TUCKER (MICROCORPS, NONEXISTENT, Grumbling Fur) on the show to talk about their new collaboration, BROOD X CYCLES and their debut album, Sleep Nameless Fear (https://state51.greedbag.com/buy/sleep-nameless-fear-0/) – out on 21 June 2022 via The state51 Conspiracy. VELOCITY (https://velocityseattle.com/) PATREON ((https://www.patreon.com/podularmodcast)) Ornament and Crime Video (https://youtu.be/izvy7WAeOQc) TINY CRUSH MIXING (https://tinycrushmixing.com/) SPONSORS After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/ ZORX Electronics: https://www.zorxelectronics.com/

This week we talk with world renowned multi-instrumentalist Yann Tiersen (https://www.yanntiersen.com/) about his new album and his current tour! VELOCITY (https://velocityseattle.com/) PATREON ((https://www.patreon.com/podularmodcast)) Ornament and Crime Video (https://youtu.be/izvy7WAeOQc) SPONSORS After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/ ZORX Electronics: https://www.zorxelectronics.com/

This week we get to know the mastermind behind Animals and Synthesizers (https://animalsandsynthesizers.bandcamp.com/), Tomer Baruch. VELOCITY (https://velocityseattle.com/) PATREON ((https://www.patreon.com/podularmodcast)) PODULAR MODCAST AND FRIENDS VINYL (https://mysterycircles.bandcamp.com/album/podular-modcast-friends) SPONSORS Odsidian Sound Mastering: https://obsidiansound.net/ After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/ ZORX Electronics: https://www.zorxelectronics.com/

This week I talk a bit about Velocity 2022 (https://www.velocityseattle.com/) and also take your suggestions on topics to discuss! ​ PATREON ((https://www.patreon.com/podularmodcast)) PODULAR MODCAST AND FRIENDS VINYL (https://mysterycircles.bandcamp.com/album/podular-modcast-friends) ​ SPONSORS Odsidian Sound Mastering: https://obsidiansound.net/ After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/ ZORX Electronics: https://www.zorxelectronics.com/