This one is in via Todd Barton who co-curated the release.
"Cassette label Ultraviolet Light is ecstatic to announce Feedback, a compilation of new works from Todd Barton, Dan Deacon, Dani Dobkin, Robert Aiki Aubrey Lowe, Doug Lynner, Toshimaru Nakamura, Sarah Belle Reid, Ryan Gaston, Jimmy Joe Roche, and Keith Fullerton Whitman. Each track utilizes some form of acoustic feedback, no-input mixing or recursive patching techniques as the central compositional principle.
Closed circuit and acoustic feedback have been prominent features within experimental electronic compositions for well over 50 years. In 1968 Steve Reich made extensive use of audio Feedback in his work “Pendulum Music”. David Tudor and Alvin Lucier incorporated feedback systems in many iconic compositions. Much of John Cage's interest and questions of noise and its relation to music could be seen as an extension of concepts explored when artists introduce feedback into their performances and recording. Arguably the most prolific and influential artist who integrated feedback into her compositions is the French composer Éliane Radigue.
Feedback is released as a 300-copy limited edition cassette with 4-color risograph printed artwork by Never Brush my Teeth. A digital download card is included with each cassette. 60% of the digital sales of the album will be donated to Earth Justice annually.
"Inspired by Doug Lynner's recent Serge feedback performance I revisited a favorite Serge feedback patch with the Wave Multipliers, VCFQ and Resonant EQ . . . surfs up!"
Serge compositions. You can find videos for this release previously posted here. Patch sheet below.
"'Red Waves' is comprised of two groups of pieces, WAD: Trio for Richard Driskell, and, 5 Solos for Simple Slopes.
Though they were recorded about two years apart and did not share the same compositional intents, both pieces share something important about them; they both intentionally use a small module compliment, a panel or less worth, and use the same patch for each of their segments.
In the case of WAD: Trio for Richard Driskell these “limitations” were used to highlight my interactions with a particular module, the Wilson Analog Delay (WAD).
In the case of 5 Solos for Simple Slopes the limitations were imposed to make the point that creativity and musicality can flourish on a small system and indeed can be enhanced by the experience, especially if you have a large system that you have established a workflow for.
For me, the 'Small Modular Aesthetic,' the term I use for this part of my work, is a healthy change-up that I find refreshing and immediate. To use only a single simple patch for multiple pieces extends this even further by necessitating a deeper exploration to find multiple unique voices from it.
For me music made in this way is raw and responsive and relates directly to the real situation for many new synthesists. I hope that Red Waves represents that.
One other thing that all of the pieces on Red Waves have in common is a video recording of each of the 8 performance. The videos of WAD: Trio for Richard Driskell have already been published and can be found on my Youtube channel. I have one of the videos for 5 Solos for Simple Slopes ready and will complete the others in the coming week. Keep an eye out for them!
5 Solos for Simple Slopes was composed and performed with severe module compliment limitations to make the point that creativity and musicality can flourish on a small system and indeed can be enhanced by the experience, especially if you have a large system that you have established a workflow for.
For me, the 'Small Modular Aesthetic,' the term I use for this part of my work, is a healthy change-up that I find refreshing and immediate. To use only a single simple patch for multiple pieces extends this even further by necessitating a deeper exploration to find multiple unique voices from it."
Playlist:
"W" - Part 1 of 3 of WAD: A Trio For Richard Driskell.
"A" - Part 2 of 3 of WAD: A Trio For Richard Driskell.
"D" - Part 3 of 3 of WAD: A Trio For Richard Driskell.
"'I Am Because We Are'
An Announcement of New Explorations and a New Composition Project
Here is 'WAD: A Trio For Richard Driskell.'
It is composed of three improvisations where I explore, for the first time, the Wilson Analog Delay (WAD.) Even though it is not a fully operating module (no input 2, for the moment) it is still remarkable and something that I’ve had few chances to play with.
So here I am, using the WAD from Richard’s Serge with patch elements from the Mystery Serge, combining them for new explorations.
While I hope that these Improvisations are interesting in themselves, I know that the videos will raise some questions about Richard and his Serge system.
I have known Richard as a friend for about a decade. We met at one of my early (I think the first) Church of the Super Serge concerts at Robotspeak in San Francisco. I quickly came to know him as a wonderful photo documenter of the San Francisco experimental music scene. You have seen me represent myself and my music here many times using his beautiful images.
Over time I learned that Richard was also a member (the drummer) of the important early synth punk group, The Units. Eventually, as our friendship developed, I learned that Richard went on to pursue synthesis directly and had a Serge system. One I was familiar with, in fact, because it was used by LX Rudis in his performances and we had shared the stage several times and had even performed together at the Outsound New Music Summit (with Dmitri Bronson) using that same system.
Richard’s Serge is now in my hands.
When I asked Richard how I could talk about how and why his Serge is in my hands, he said that he and these circumstances are an open book.
Richard is in the end stages of cancer. It is his second such fight over the years and while he has persistently fought it and continues to at this time, everyone who is close to him appreciates every day that he is still with us.
When Richard thought about the future of his synth, he decided that it was most important that it remain active in the Bay Area modular music scene. With this in mind, he contacted me and we discussed how, in my hands, the system could continue to be heard and seen, and how it could also take on a community-building role through efforts that I could put forward using it.
Richard’s thoughtful stewardship of his synthesizer and its future is a remarkable sign of the maturity of the Serge world both in terms of age, and more importantly, in terms of the continuity and continuation of our community as an important artistic and technological entity.
As you can see, this trio of improvisations unpacks a lot more than just new music or sonic explorations. It unpacks the whole of what we are as artists, as a community, and as people who support each other because we know each others’ value to what we all are.
With this, I announce a longterm composition project to be conducted at my studio, where composers contribute using the Driskell Serge. The project, being developed to start soon, is called, “I Am Because We Are” and is dedicated to the wonderful artist, musician and community builder, Richard Driskell, to benefit experimental music and the Bay Area modular music scene.
This year's SOUNDMIT 2020 is going virtual. The event begins on Saturday November 14. Videos will of be going up here on MATRIXSYNTH. Above are two playlists featuring guests and exhibitors. Many exhibitors will be giving discounts. Keep an eye on the SOUNDMIT label on the top left of the site for posts.
THE GUESTS
Roger Linn interviewed by Robin Vincent, Dave Smith interviewed by Soundmit and Felice Manzo (LEMI), Suzanne Ciani interviewed by Johann Merrich, Hainbach, Paolo Synthmania live session and Q/A, Tulpa Dusha live modular session and Q/A, Chris Meyer of Learning Modular live session and Q/A, Roby Facchinetti (POOH) interviewd by Danilo Ballo, Riccardo Mazza workshop about “Soundtrack for Silent movie”, Vladimir Kuzmin interviewed by Giulio Curiel.
THE EXHIBITORS
At the time of writing, over 60 exhibitors have joined the event, the full list will be available on website in the coming days and will be constantly updated.
The PERFORMERS
We will also have a substantial live music section with internationally renowned musicians including
Benge
Doug Lynner
Illusion of Safety
thanks to the partnership with Modulisme.info together with the artists of
Torino Modulare
Milano Modulare
Genova Modulare
Sideshape Recordings
"Doug Lynner started out as a keyboard and guitar player in psychedelic rock bands in California in the 1960s. Doug also teaches music composition and is known internationally for his modular synthesis performances and online tutorials. He was editor and publisher of Synapse magazine and currently helms the Neat Net Noise label. Doug improvises as Bloop Quack with R Duck on processed guitar, and the duo hosted a weekly live radio show, Bloop And Quack, on KZSU Stanford 90.1 FM in the Bay Area.
This interview accompanies his session for Philippe Petit‘s Modulisme platform as part of Freq‘s ongoing collaboration with the site."
Serge & Buchla systems pictured. According to Doug, the bottom is at California Institute of the Arts. "It is the Buchla 200 that was in the fabled Studio B-303."
"I first knew Doug Lynner's work as the editor/publisher of Synapse Magazine, an electronic music magazine before most people even knew that was a thing. Doug laid the groundwork for magazine-as-history in our cultural world, and took the opportunity to leverage his position and location (L.A.) to get a lot of great interviews over the magazines short-ish lifetime.
I have a couple of listener requests to have a chat with Doug, which caused me to do a little background work. My God - what a career. Between his CalArts education, the magazine work, his bands and his long history with Serge systems (including being an artist/demo dude for Serge himself), he was clearly a touchpoint for the things that interest all of us.
He continues full-force, doing one-on-one teaching, producing a weekly live performance radio show on KZSU (https://www.podomatic.com/podcasts/bl...) and releasing new work based on his Modular Tonalism system. All of it is intriguing, and after listening to this chat, I'm sure you are going to want to learn more.
"Members Doug Lynner (modular synthesizer) and R Duck (processed guitar) began improvising together several years ago as Bloop Quack. The pace picked up in the summer of 2018 when the pair began airing their weekly, live radio show, Bloop and Quack, on KZSU Stanford 90.1FM in the San Francisco Bay Area
This album consists of sections edited from the Bloop and Quack Show. The on-air performances are improvised and recorded in stereo from the broadcast feed. No additional recording or overdubbing is done. They are mastered for release.
credits
released February 8, 2019
"μHausen (micro-Hausen) is a yearly gathering of electronic noise artists at Camp Happy deep in the Santa Cruz Mountains. Software and hardware synthesizers, including custom and DIY designs abound in this wild afternoon of experimental sound.
"I was asked to compose/perform a modular synthesizer piece for a 50th-year celebration of the film 2001 a Space Oddessy to take place in Santa Cruz CA. It was a sound representation of astronaut Dave Bowman piloting a shuttle through the Stargate to Jupiter. It was done by controlling feedback through an analog modular synthesizer. It is intended to evoke the nearly out of control energy involved in space flight. These are nine related feedback explorations developed in preparation.
"Modular synthesizer supergroup (Peter Grenader, Doug Lynner, Shiro Fujioka) performing in Berkeley, CA. Check out Doug's setup of classic and modern Serge synths (left side), Shiro's mix of modern Eurorack (with a lot of Wiard modules), and Peter's massive Plan B system (designed by Peter, including some modules which are one-off creations) mixed with modern Eurorack."
"A noisy and chaotic demo of the modifications I made to my Silly Serge. The Silly Serge consists of the 2 DIY panels by 73-75.com.
The following modifications were inspired by Doug Lynner's Mystery Serge:
Each Negative Slew, Positive Slew, and Envelope Generator has an added cycle switch (blue switches) that makes the module cycle.
One Positive Slew and one Negative Slew along with all the Envelope Generators have a switch (orange) to connect the output to a VC input pre-attenuator for adjustable feedback.
The yellow jack puts out a 6V pulse when the red momentary switch is engaged.
The white switch is my own idea and might not be for everyone. When it is engaged, the output of the reverb module is connected to the top 1/8" jack that goes to the mixer."
"Elby Designs' Noise Source module from its EuroSerge line is the perfect noise and random source for any system. Use it with mini-plugs or banana connectors.
Doug offers modular synthesizer lessons and consultations. For information write doug@neatnetnoise.com.
"It's the match of the centuries! How does the new, 2016 Elby Designs' EuroSerge Serge Voltage Controlled Filter compare to a 1973 original? Find out when it goes toe to toe with an original VCO from the Mystery Serge, the first commercial Serge.
Doug offers modular synthesizer lessons and consultations. For information write doug@neatnetnoise.com.
"Have you wondered how the new Elby Designs' EuroSerge 1973 Serge VCO compares to an original? Here I compare it to an original VCO from the Mystery Serge.
Doug offers modular synthesizer lessons and consultations. For information write doug@neatnetnoise.com.
