Podcasts about serge modular

Welcome back to Transmissions—far out conversations for far out times. This week, we're joined by synthesist Jill Fraser. She's lived a remarkable life in music: mentored by Morton Subotnick, she went on work in film and television, with projects like 1974's sci-fi fantasy Zardoz and Paul Schrader's 1979 film Hardcore to her name, in addition to a litany of commercials featuring her inventive sound design. In the '80s, she found herself on the outskirts of LA's thriving punk scene, and now, she's released a new album, Earthly Pleasures, on the storied Drag City label. A science fiction saga in sonic form, it finds Fraser working with tools like her 1978 Serge Modular, Prism Modular and Ableton Push 3 to reconfigure, expand, and transmute revival hymns of the 19th and early 20th centuries, asking the question: what might this music sound like to some extraterrestrial or robotic intelligence countless years in the future? In this thoughtful conversation with host Jason P. Woodbury, Fraser opens up about her working relationship with composer Jack Nitzsche, her excitement about AI technology, and how the sci-fi trappings of Earthly Pleasures belie reflections about art, family, spirituality, and mortality. What did Jill think the first time she say Sean Connery's infamous Zardoz costume, close your eyes and drop into this transmission to find out. Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you'll find nearly 20 years worth of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts. This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

Los orígenes del sintetizador musical—instrumento electrónico que funciona mediante la manipulación de corrientes eléctricas, que modula las ondas produciendo diferentes timbres—nos llevan a finales del siglo XIX, momento en que se descubre la generación de sonido a través de la vibración de un circuito electromagnético._____Has escuchadoBlues Mix (1966) / Joel Chadabe. Realizado con un Moog modular. Waveshaper Media (2019)Chaotic Synthesis Recording #3 / Jason R. Burcher. Realizado con un Buchla 200. Autoedición (2010)Figueroa Terrace / Thomas Ankersmit. Realizado con un Serge Modular. Touch (2014)This Causes Consciousness to Fracture (en Patterns of Consciousness) / Caterina Barbieri. Realizado con un Eurorack modular. Important Records (2017)_____Selección bibliográficaBERNSTEIN, David W., The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde. University of California Press, 2008*DE WILDE, Laurent, Les fous du son: d'Edison à nos jours. Bernard Grasset, 2016*DIDUCK, Ryan Alexander, Mad Skills: MIDI and Music Technology in the Twentieth Century. Repeater Books, 2018*FREKE, Oli, Synthesizer Evolution: From Analogue to Digital (and Back). Velocity Press, 2020GLINSKY, Albert, Switched On: Bob Moog and the Synthesizer Revolution. Oxford University Press, 2022*HENNION, Antoine y Christophe Levaux, Rethinking Music through Science and Technology Studies. Routledge, 2021*JENKINS, Mark, Analog Synthesizers: Understanding Performing Buying from the Legacy of Moog to Software Synthesis. Routledge, 2020O'CONNOR, Neil, Dark Waves: The Synthesizer and the Dystopian Sound of Britain (1977-80). Rowman & Littlefield, 2023PATTESON, Thomas, Instruments for New Music: Sound, Technology and Modernism. University of California Press, 2015*PEJROLO, Andrea y Scott B Metcalfe, Creating Sounds from Scratch: A Practical Guide to Music Synthesis for Producers and Composers. Oxford University Press, 2017STRANGE, Allen, Electronic Music: Systems, Techniques and Controls. McGraw-Hill, 1983TARA, Rodgers, Pink Noises: Women on Electronic Music and Sound. Duke University Press, 2010*VAIL, Mark, The Synthesizer: a Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument. Oxford University Press, 2014WILSON, Nick, Interpreting the Synthesizer: Meaning through Sonics. Cambridge Scholars Publishing, 2020 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

The Lake meets Thomas Ankersmit as he sets up for a concert on his Serge modular synthesizer in a speaker testing facility at Bang & Olufsen in Struer, Denmark.

Episode 56  An Imaginary Movie in Sound   Playlist John Carpenter, “Opening sequence” from Dark Star (1980 Citadel). This record contains incidental music, sound effects and dialogue from the motion picture. Electronic music by John Carpenter. Completed in 1974, the film wasn't released until 1979 following the success of Carpenter's Halloween. The soundtrack followed in 1980. Early synth music from Carpenter for which he used the EMS VCS3 synthesizer. 3:30 Dick Maas, “Main Title” and “Out of Breath” from L'Ascenseur Bande Originale Du Film (The Lift) (1984 Milan). Composed by, Roland synthesizers, Dick Maas. 5:11 Mike Oldfield, “Pran's Departure,” “Worksite,” “The Year Zero,” “Blood Sucking” from The Killing Fields (1984 Virgin). Composed by, guitar, Fairlight Computer, Mike Oldfield; Choral & Orchestral Arrangements, edited by, David Bedford; Choir, Tölzer Boys Choir; Composed by David Bedford (“Worksite”), Mike Oldfield; Conductor, Eberhard Schoener; Orchestra Of The Bavarian State Opera; Asian Percussion, Preston Heyman (“The Year Zero”). 6:56 David Holmes, “You're Going To Belfast,” “The Hunt,” and “'71” from '71 (2014 Touch Sensitive Records). 10:01 Arthur B Rubinstein, “Video Fever” plus dialogue from Wargames (1983 Polydor). Composer, Arthur B Rubinstein; Synclaver II Digital Music System; Linndrum Drum Machine; Roland System 100 Analog Synthesizer, programmed and performed, Anthony Marinelli, Brian Banks. 3:30 Michael Stearns, “Meditation 1” from Chronos (1984 Sonic Atmospheres). Created for the Ron Fricke film and produced for the six-channel discreet surround sound system of the OMNIMAX IMAX theaters. Stearns plays synthesizers made by Serge Modular, Oberheim, Yamaha, and EMU. Constance Demby plays “space” bass. 8:36 Cliff Martinez, “I Drive” from Drive (2011 Lakeshore Records). Composer, performer, Baschet Crystal, Cliff Martinez; Guitar, Mac Quayle; Lute, Sitar, Gregory Tripi. The Cristal Baschet is a contemporary musical instrument developed in 1952 by the brothers Bernard and François Baschet. To play, musicians rub the rods with wet fingertips. Martinez was also known as the drummer for the early Red Hot Chili Peppers. He uses the Baschet Cristal, a kind of glass harmonica, for many of the sustained, ambient tonalities, plus vintage synths and percussion devices to create these beautiful textures. 2:04 Cliff Martinez, “My Name on a Car” from Drive (2011 Lakeshore Records). Composer, performer, Baschet Crystal, Cliff Martinez; Guitar, Mac Quayle; Lute, Sitar, Gregory Tripi. 2:19 Cliff Martinez, “On the Beach” from Drive (2011 Lakeshore Records). Composer, performer, Baschet Crystal, Cliff Martinez; Guitar, Mac Quayle; Lute, Sitar, Gregory Tripi. 6:35 Cliff Martinez, “Rubber Head” from Drive (2011 Lakeshore Records). Composer, performer, Baschet Crystal, Cliff Martinez; Guitar, Mac Quayle; Lute, Sitar, Gregory Tripi. 3:09 Michael Stearns, “Meditation 3” from Chronos (1984 Sonic Atmospheres). Stearns plays synthesizers made by Serge Modular, Oberheim, Yamaha, and EMU. Constance Demby plays “space” bass. 5:05 Popol Vuh, “Sieh Nicht Überm Meer Ist's” from Cobra Verde (1987 Milan). Piano, Synclavier, vocals, Florian Fricke; Synclavier programming, recording and digital mastering by Ralph Graf; Guitar, percussion, vocals, Daniel Fichelscher; Vocals, Renate Knaup. 1:23 Popol Vuh, “Nachts: Schnee” and “Der Marktplatz” from Cobra Verde (1987 Milan). Piano, Synclavier, vocals, Florian Fricke; Synclavier programming, recording and digital mastering by Ralph Graf; Guitar, percussion, vocals, Daniel Fichelscher; Vocals, Renate Knaup. 4:24 Christopher Spelman, “The Final Journey” from The Lost City of Z (2017 Filmtrax). Composed, Arranged, Christopher Spelman; Conductors, Adam Klemens, Pejtsik Péter, Richard Hein; Drum, Jim Berenholtz; Flute, Jim Berenholtz; additional music, Kent Sparling; FILMharmonic Orchestra, The Budapest Film Orchestra, orchestrated by Daniel Halle. 7:51 Background Music, Introduction Vangelis, “Blade Runner Blues” from Blade Runner (1994 EastWest). "Most of the music contained in this album originates from recordings I made in London in 1982, whilst working on the score for the film Blade Runner. Finding myself unable to release these recordings at the time, it is with great pleasure that I am able to do so now. Some of the pieces contained will be known to you from the Original Soundtrack of the film, whilst others are appearing here for the first time. Looking back to Ridley Scott's powerful and evocative pictures left me as stimulated as before, and made the recompiling of this music, today, an enjoyable experience." Vangelis (Athens, April 1994). 8:54 Opening: 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.  

About: Jill Fraser is a composer and electronic music pioneer. She was mentored by Morton Subotnick, studied with Mel Powell and Earle Brown at CalArts and attended master classes with, among others John Cage and Lou Harrison. After finishing her master’s degree in composition she worked at Serge Modular in Hollywood and took her modular synths into the Hollywood studios to score films. Her composing credits on film scores include Personal Best directed by Robert Towne with collaborator, the infamous composer Jack Nitzsche and Hardcore (starring George C Scott, directed by Paul Schrader). Jill has composed both electronic and acoustic music for hundreds of TV commercials for Lexus, BMW, Honda, Porsche, Nissan, Mazda, Mitsubishi, Mattel, Carl’s Jr, NBC, Apple Computers, Adidas, Estee Lauder, Baskin Robbins, Yamaha Motorcycles and many, many others. She has won 3 Clios for original music and is a voting member of the Academy of Television Arts and Sciences. She toured with singer Buffy Sainte Marie and performance artist Ivan E Roth. Her performances with Ivan were part of the vibrant Los Angeles punk and spoken word scene and she played live modular synthesizer, opening for acts including the Minutemen and Henry Rollins. Ivan and Jill released the CD Alphabetical Disorders on Periodic Music featuring “Life is a Noun”. Links: http://www.jillfrasermusic.com/ https://thezzyzxsociety.bandcamp.com/releases https://www.facebook.com/jillfrasermusic

Jim Aikin is one of my heroes - he introduced me (along with David Friend) to synthesizers in a way that I could grasp at the time, but also led me down many musical paths through his album reviews, deft editing of columns and excellent product reviews. I was lucky enough to corner Jim for an interview, and we ripped off a great one! One of the things I love about Jim is that he has real, heart-felt opinions - and is willing to share them. So we get to hear about his views on music, synth development, writing and the publishing industry. But more than those tidbits, we get to hear from someone that has been on the front lines of the synth business for decades. He's written about everything from 2600's to Kontakt libraries, and has a singular feel for synth design from having experienced it all. I'd strongly recommend that you check out some of Jim's writing: his music blog is available at https://synthage.wordpress.com/, and Keyboard Magazine has a collection of his work here. We also reference the review of the Serge Modular in this podcast; you can read it at this link. It was great to chat with Jim, and I look forward to doing it again at some point. In the meantime, enjoy this podcast!

Obsolete Components is proud to present our newest project “Paperface”! Paperface brings the punchy, and versatile sounds of the Serge Modular system and TKB sequencer from 1973. Also featured on this record is Mark's very own hand built Serge replica panel. The Serge produced all sounds and sequences. Working with a synthesizer of this caliber has brought an unlimited depth of sound exploration. Often behaving erratically and having a mind of its own, we were able to capture its essence. Butr, Mark and Matt Thibideau collaborate to explore this beast of a modular synth. The result is five Dub-Techno style tracks (in digital format) and three tracks on high quality limited vinyl for your offering. Please visit us at Bandcamp to preview and purchase it here: https://obsoletecomponents.bandcamp.com/album/paperface You can also visit our website here: http://www.obsoletecomponents.ca And our facebook page is here: https://www.facebook.com/obsolete.components

Obsolete Components is proud to present our newest project “Paperface”! Paperface brings the punchy, and versatile sounds of the Serge Modular system and TKB sequencer from 1973. Also featured on this record is Mark's very own hand built Serge replica panel. The Serge produced all sounds and sequences. Working with a synthesizer of this caliber has brought an unlimited depth of sound exploration. Often behaving erratically and having a mind of its own, we were able to capture its essence. Butr, Mark and Matt Thibideau collaborate to explore this beast of a modular synth. The result is five Dub-Techno style tracks (in digital format) and three tracks on high quality limited vinyl for your offering. Please visit us at Bandcamp to preview and purchase it here: https://obsoletecomponents.bandcamp.com/album/paperface You can also visit our website here: http://www.obsoletecomponents.ca/ And our facebook page is here: https://www.facebook.com/obsolete.components

Obsolete Components is proud to present our newest project “Paperface”! Paperface brings the punchy, and versatile sounds of the Serge Modular system and TKB sequencer from 1973. Also featured on this record is Mark's very own hand built Serge replica panel. The Serge produced all sounds and sequences. Working with a synthesizer of this caliber has brought an unlimited depth of sound exploration. Often behaving erratically and having a mind of its own, we were able to capture its essence. Butr, Mark and Matt Thibideau collaborate to explore this beast of a modular synth. The result is five Dub-Techno style tracks (in digital format) and three tracks on high quality limited vinyl for your offering. Please visit us at Bandcamp to preview and purchase it here: https://obsoletecomponents.bandcamp.com/album/paperface You can also visit our website here: http://www.obsoletecomponents.ca And our facebook page is here: https://www.facebook.com/obsolete.components

Obsolete Components is proud to present our newest project “Paperface”! Paperface brings the punchy, and versatile sounds of the Serge Modular system and TKB sequencer from 1973. Also featured on this record is Mark's very own hand built Serge replica panel. The Serge produced all sounds and sequences. Working with a synthesizer of this caliber has brought an unlimited depth of sound exploration. Often behaving erratically and having a mind of its own, we were able to capture its essence. Butr, Mark and Matt Thibideau collaborate to explore this beast of a modular synth. The result is five Dub-Techno style tracks (in digital format) and three tracks on high quality limited vinyl for your offering. Please visit us at Bandcamp to preview and purchase it here: https://obsoletecomponents.bandcamp.com/album/paperface You can also visit our website here: http://www.obsoletecomponents.ca/ And our facebook page is here: https://www.facebook.com/obsolete.components?fref=ts

Obsolete Components is proud to present our newest project “Paperface”! Paperface brings the punchy, and versatile sounds of the Serge Modular system and TKB sequencer from 1973. Also featured on this record is Mark's very own hand built Serge replica panel. The Serge produced all sounds and sequences. Working with a synthesizer of this caliber has brought an unlimited depth of sound exploration. Often behaving erratically and having a mind of its own, we were able to capture its essence. Butr, Mark and Matt Thibideau collaborate to explore this beast of a modular synth. The result is five Dub-Techno style tracks (in digital format) and three tracks on high quality limited vinyl for your offering. Please visit us at Bandcamp to preview and purchase it here: https://obsoletecomponents.bandcamp.com/album/paperface You can also visit our website here: http://www.obsoletecomponents.ca/ And our facebook page is here: https://www.facebook.com/obsolete.components