Astronauta Pinguim: The most beautiful card in the deck

HKW – Haus der Kulturen der Welt

Part of the video series “The Disappearance of Music”
https://www.hkw.de/disappearanceofmusic

Neat saying about the most beautiful card in the deck. Remember that before you criticize others.

Many of you might remember Astronauta Pinguim from previous posts here, and of course his website featuring interviews with classic experimental electronic musicians.

Milton Babbitt Demonstration on Electronic Music

Milton Babbitt-demonstration on electronic music (1966) part I

Published on Apr 19, 2016 Joe

A bit of electronic music history in via @auralhistories. Milton Babbitt on television.

Milton Babbitt-demonstration on electronic music (1966) part II


Related:

An Interview with Peter Mauzey on Astronauta Pinguim featuring a picture of Milton Babbitt with the RCA MK II synthesizer in 1958.

RIP Milton Babbitt - You can find some of his electronic music compositions and an NPR interview in that post.

A search on Milton Babbit for additional posts - some media content is no longer available as that, unfortunately, is the nature of the internet.

KISS2016: A New Level of Interaction, Joel Chadabe

KISS2016: A New Level of Interaction, Joel Chadabe from Symbolic Sound on Vimeo.

"Kyma’s ability to play complex algorithms in real time creates new musical opportunities for realtime decision-making in improvisational processes, all of which results in the emergence of new musical formats."

Be sure to check out previous posts with Joel Chadabe, including a rare interview with Astronauta Pinguim.

An Interview with Herb Deutsch at The Henry Ford

Note the first Moog ever in the background.

You'll find the full video interview at The Henry Ford here. Afterwards see the live performance here.

"In this interview, Herbert Deutsch recounts his life in music—including the genesis and collaborative process behind creating the first Moog synthesizer with Bob Moog. These two pioneers of synthesis worked together to create a portable electronic instrument with endless sound potential, thanks to the power of “voltage control.” The Moog prototype is an essential part of music history; its sound has continued to impact popular and experimental music alike since the 1960s. Today, Moog Music, Inc. continues to revolutionize synthesis—while paying homage to the root notes of its past."

via @drblankenstein, who interviewed Herb Deutsch at Queens Museum in 2014. You'll find an interview from 2012 by Astronauta Pinguim here.

An Interview with Andrew Rudin on Astronauta Pinguim

Read the full interview on Astronauta Pinguim

"In 1967 Nonesuch Records, a record company specialized in releasing inexpensive classical music records, became interested in having electronic music in their catalogue. First, they released Morton Subotnick's 'Silver Apples of the Moon,' Kenneth Gaburo's 'Music For Voices, Instruments & Electronic Sounds,' and Beaver & Krause's 'The Nonesuch Guide to Electronic Music,' and then, via a recommendation from Robert Moog, Nonesuch became aware of Andrew Rudin's electronic works and commissioned a full-LP composition. In 1968 'Tragoedia - A Composition in Four Movements for Electronic Music Synthesizer,' a piece composed between October 1967 and April 1968 was released, using instruments designed by Robert Moog. Some excerpts from 'Tragoedia' were used by Italian director Frederico Fellini in his 1969 film 'Satyricon.' Andrew Rudin realized a second work for film and synthesized sounds, 'Paideia,' and continued to compose for ensembles and dance companies."

And Interview with Ramon Sender on Astronauta Pinguim

Check out the full interview on Astronauta Pinguim here.

Excerpt:

"ASTRONAUTA - What are your memories about your first meeting with Don Buchla? And how did the arrival of the 'Buchla Box', in 1964, change the compositional process at the San Francisco Tape Music Center?

RAMON SENDER - We were in desperate need of a main mixing board, some pre-amps, etc, but also looking for someone who could designed our 'dream instrument' for us. Buchla came to one of our concerts - or perhaps answered an ad we ran in the newspaper.

Did the Buchla Box change the compositional process at our center? For Subotnick almost immediately. For Pauline more gradually, but more once the Center moved to Mills College and she took over as director. I was in the process of leaving the city when the Buchla first arrived, but then during the winter of 1967-68 I needed a job and Don allowed me to stuff circuit boards for him and live in his manufacturing warehouse. In the warehouse he had a complete Buchla studio set up and I spent happy hours there."

Silver Apples' Audio Command Station From 1968

Silver Apples / Lovefingers from 1968 Uploaded on May 30, 2011 wwwzubarjp

Dangerous Minds has a few pics up of Silver Apples' gear from back in 1968.

“In this shot you can see I have the oscillators mounted horizontally in plywood along with echo units, wah pedal, and so on. Here I am playing the ‘lead’ oscillator with my right hand, keying in rhythm oscillators with my elbow on the telegraph keys, changing the volume on an amp with my left hand, and singing. This was typical.”

Silver Apples played as recently as 2012. You can see videos of that performance here from the excellent Astronauta Pinguim. Note there is no relation to Morton Subotnick. Subotnick was known for his release of "Silver Apples of the Moon" featuring the Buchla Electronic Music Box in 1968.

Herb Deutsch Live Performance at the Henry Ford Museum July 26, 2014

Published on Jul 26, 2014 Astronauta Pinguim

Filmed by Astronauta Pinguim. Note track 3 features the first recording ever on the Moog synthesizer.

Playlist:

1. Herb Deutsch - Lost Your Numer

2. Herb Deutsch on the Theremin at Henry Ford Museum

3. Herb Deutsch - Jazz Images (excerpt)

4. Herb Deutsch on the Minimoog Synthesizer

An Interview with Klaus Schulze on Astronauta Pinguim

You'll find the full interview on Astronauta Pinguim here.

Pictured: Brussels, 1976 © Klaus D. Mueller

Excerpt from the interview:

"ASTRONAUTA - What was your favorite synthesizer in the '70s? And, looking back, what is (or remained as) your favorite synthesizer from the '70s, nowadays?

KLAUS SCHULZE - I always liked the instruments that had a special sound: the 'Minimoog' oscillators have this great deep and full tone; the 'Farfisa Syntorchester' had this 'female solo singing voice' in the higher register, at least the instrument that I owned; the Moog modular system had the wonderful sequencer; the 'Yamaha CS 80' had this and the 'EMS Synthi A' had that... I used every instrument for a certain & special part to create the sounds of my music that I needed and wanted. Also not unimportant were the effect tools and the method I made use of them: echo, repeat, flanger, phase shifter, etc. and not to forget: the recording and mixing technique: building 'rooms', left, right, back, front... (besides all the musical techniques of composing a piece of music, with intro, various parts, tension, breaks, chaos and beauty, rhythm and calmness, repetition, sounds, melodies, surprises, etc, etc, etc...)"

An Interview with David Van Koevering on Astronauta Pinguim

via Fabricio Carvalho on The MATRIXSYNTH Lounge

"David was one of the main [people] responsible for the Mini Moog becoming a very popular instrument in the early seventies, when he decided to travel thru the USA demonstrating and selling the instrument. David Van Koevering was also the developer of the Orchestron, an instrument that was based on Mattel's Optigan, that became very famous when musicians like Patrick Moraz and Kraftwerk members used in their records!"

You'll find the interview on Astronauta Pinguim here.

Pictured:

Top: "On stage: David Van Koevering (2nd from left) and Robert Moog (seated)."

"ASTRONAUTA - How did you meet Robert Moog for the first time?

DAVID - I was traveling and doing musical educational programs in the public schools. There is a picture of my educational presentation in Trevor Pinch's book "Analog Days". I saw an ad in the Music Educators Journal that had a photo of the R. A. Moog Studio in Trumansburg, NY which said "Come Visit Our Backroom". I was performing in the area and decided to visit. Bob Moog was in Europe so I did not meet him then. Awhile later I was performing at a school in Long Island, NY and the principal said "I want you to meet Bob Moog". He had come from Trumansburg, NY to meet me and see and hear my show. Bob and I talked about the last song on my show where I performed on a "Theremin". I had made it from and article that Bob had published in an electronics magazine. After meeting Bob that day he asked if I would like to join him and his family at Carnegie Hall in New York City. It was the first ever live performance of the "Moog Quartet" with Gershon Kingsley. During that concert something switched on in my spirit, I knew I needed to be involved! I had a huge audience and showing the future of music to the younger generation became my goal."

Left: David Van Koevering with Moog theremin.

www.davidvankoevering.com

Astronauta Pinguim Pays Tribute to Bob Moog on Brazil's Radio Putzgrila

Those of you that follow MATRIXSYNTH on a regular basis should be more than familiar with Astonauta Pinguim, most notably for his interviews with the pioneers of electronic music. He just had an article published on the influence of Bob Moog on Brazil's Radio Putzgrila. The article is in Portuguese, however you can find a Googlish version here.

Pictured below: Fabricio Carvalho aka Astronauta Pinguim with Moog tattoo and MATRIXSYNTH T-Shirt from the article on Radio Putzgrila. He has great taste. :)

An Interview with Peter Mauzey on Astronauta Pinguim

Pictured: "Milton Babbitt, Peter Mauzey and Vladimir Ussachevsky with the RCA Mk II synthesizer (1958)."

"At Columbia University, Peter Mauzey was one of the instructors of Robert Moog, that would construct his own synthesizer in 1964 (together with Herb Deutsch), and change the world of music forever with his R. A. Moog Co. (which later became Moog Music). Peter Mauzey himself developed and built a variety of electronic equipment and also was responsible for many features and improvements on the famous RCA Music Synthesizer Mk II, at Columbia-Princeton Electronic Music Center."

Full interview on Astronauta Pinguim here.

An Interview with Electronic Music Pioneer Richard Teitelbaum and the First Moog to Arrive in Europe

via Fabricio Carvalho aka Astronauta Pinguim on The MATRIXSYNTH Lounge.

You'll find the full interview on Astronauta Pinguim here.

"In 1964, Richard received his Master's Degree in music theory and composition at Yale University, and then he went to Italy on a Fulbright. There he met composers Goffredo Petrasi and Luigi Nono, whom Richard has studied and worked with for some time. Also in the mid-sixties, he co-founded the live electronic music group Musica Elettronica Viva, in Rome. In 1967, interested in using brainwaves as controller of sounds, he became aware that american engineer Robert Moog had developed the Moog synthesizer some years earlier and was putting on market his new invention. Richard contacted him and soon became the first person to bring a Moog synthesizer to Europe, in 1967."

An Interview with Paul Bley on Astronauta Pinguim

"In the second half of the '60s, Paul Bley became interested in synthesizers, being one of the first to take a Moog Modular Synthesizer System onstage at the Phillarmonic Hall in New York, on December 26th 1969. His experiments with electronics and synthesizers led to the release of some great 'electronic improvising' albums, from 1969 to 1972, including 'Revenge: The Bigger The Love The Greater The Hate' (1971, credited to Bley-Peacock Synthesizer Show), 'Improvisie' (1971, credited to Paul Bley) and 'The Paul Bley Synthesizer Show' (1971, credited to The Paul Bley Synthesizer Show). It's amazing the experiments that Paul Bley and Annette Peacock made with electronics, passing her voice through the synthesizers on several tracks from this period! Paul Bley also used an ARP 2500 synthesizer during this time."

Read the full interview on Astronauta Pinguim here.

via Fabricio on The MATRIXSYNTH Lounge

Astronauta Pinguim - SESC Vila Mariana (November 14th 2013)

Published on Jan 7, 2014 astronautapinguim·161 videos

"Astronauta Pinguim: Minimoog, Moog Prodigy, Moog MG1, Crumar organ, Korg VC-10 vocoder.
Ramiro Pissetti: percussion.

Recorded live at SESC Vila Mariana - São Paulo - November 14th, 2013."

Halim El-Dabh - Pest Control, Tape Manipulation & The RCA Synthesizer

Astronauta Pinguim has published yet another interview with one of the pioneers of electronic music.  This time around we have an interview with Halim El-Dabh (Portuguese version here).  It is a fascinating read.  He was the first person to create a musical composition using tape manipulation, and the source of his inspiration came from his work in agriculture.

"'My first exposure to electronic sound devices was back in 1943. As an agriculturist studying pest control, I wanted to see if sound-emitting devices could control tiny beetles that attack wheat, corn, alfalfa and beans. I thought that rather than getting rid of the beetles, we could distract them. I used to experiment with clanging together iron rods like bells; then I tried scratching the rods together to see if it discouraged the bugs.'"

"In 1944 Halim decided to record the ceremony of the Zaar (a female religious ceremony), he then treated the recordings he made on the ceremony using studio techniques and electronic devices and voilà, the first piece of tape manipulation in the world was born! (Note that it happened four years before Pierre Schaeffer released his first published works in France). The Expression Of The Zaar was Halim's only piece to be published from this period, but he created another pieces of tape manipulation mostly of street vendors in Cairo."

In essence, this was the birth of musique concrete.

On The RCA Synthesizer: "'The synthesizer was an innovation that gave us a larger expansion of sound manipulation. We used punch cards to input and receive sound from the machine. It took up a whole wall, it was huge. We were able to get very clear sounds of whatever we synthesized whether it was trumpet, violin or any other sound. I especially liked to input my voice. Luening did an input of his piccolo to transform it. I did an input of my drum to transform it and then took the sounds back from the synthesizer.'"

Be sure to read the full interview on Astronauta Pinguim here.   You can find links to additional interviews on Astronauta Pinguim here.

via Fabricio Carvalho aka Astronauta Pinguim on The MATRIXSYNTH Lounge

An Interview with Rick Wakeman on Astronauta Pinguim

Full interview on Astronauta Pinguim

"How many Minimoog model D synthesizers did you have during all your career and how many of those Minimoogs do you still have? Can you tell us a little bit about the history of your Minimoogs?

RICK - I don't know the exact answer, but I think I have probably owned about 20 Minimoogs in my lifetime. I currently have 9. Finding good ones is extremely difficult. I have a very good man who repairs them for me and keeps them in good order. I cannot even imagine not having one. I have bought them for many different countries, and one from Switzerland which amazingly I used to own back in the early seventies!"

via Fabricio Carvalho aka Astronauta Pinguim on The MATRIXSYNTH Lounge

An Interview with Bruno Spoerri on Astronauta Pinguim

Update: in case you read this post when it first went up, be sure to give it another look for a few updates.  It's a bit convoluted with quite a few tangents, but that's how it goes sometimes.

Read the full interview on Astronauta Pinguim here.

The following are some excerpts and tie-ins to other bits of synth history.

-----

Initially a saxophone player, Bruno Spoerri explored electronic music in the 1960s on.

"In 1964 he was invited to a job in an advertising agency and began to work with electronic music using a Ondes Martenot and, after, using lots of synthesizers and also experimenting with electrified/synthesized saxophones..." "As a saxophonist and jazz improviser I always looked for ways to play without a keyboard."

Pictured above is Bruno with his EMS Synthi 100 (videos previously posted here and here).

On the Synthi 100: "I bought the Synthi 100 in 1971. In 1987 I gave it to Felix Visser (Synton) in exchange for a Fairlight CMI; some years he had to sell it at an auction, and I don't know where it is now (I would recognize the instrument, as I did some small changes on it)."  It was listed on Vemia back in 2009 posted here and here. Click though for pics.

In 1974, he recorded the album 'Iischalte (Switched-on Switzerland)'.

Bruno Spoerri - Le Ranz Des Vaches


Uploaded on Jul 25, 2011 Aura Archange Maudit·57 videos

"Bruno Spoerri - Iischalte (Switched-on Switzerland)
1974

Imágenes de la película La lunga notte di Veronique (1966)
http://www.imdb.com/title/tt0183441/

Video made by Aura Archange Maudit"

-----

"On 'Voice Of Taurus' (1978), Bruno Spoerri experiments a lot with electrified wind instruments and also with jazz-rock and rock."

Bruno Spoerri - Hymn Of Taurus (Taurus Is Calling You!)

Uploaded on Nov 19, 2009 MrJJBonanza·29 videos
Re-Published on Sep 30, 2014 Bruno Spoerri - Topic

"First track of Bruno Spoerri's 'Voice Of Taurus'
1978 Gold Records, Switzerland
Cat# 11 061 (Vinyl, LP)

Bruno Spoerri on 'Hymn Of Taurus':
"The rhythm track was created with my very first primitive ring modulator (4 diodes and 2 transformers) that is why it is so dirty The voice went of course through the EMS vocoder, the choir was created through the VAKO Orchestron."

-----

Again, don't miss the full interview with Bruno Spoerri on Astronauta Pinguim here. There's some fascinating history there including Ginette Martenot and the Ondes Martenot, Oskar Sala with his Mixturtrautonium, and Joel Chadabe. Regarding his original gear, "most of my analog gear is sold (most of it to the remarkable Swiss Synthorama of Martin Hollinger), but I still have my first synthi, the EMS VCS-3 (from 1970), the ARP 2600 with sequencer and the Lyricon I and II. I use the lyricon quite often in performances, the other gear mostly for demonstrations to visitors."

I was fortunate enough to visit Synthorama back in 2008. You can find my pics and videos from the visit here. See the Synthorama label for other posts including a one of a kind modular, the Airböurne, created by the curator of the museum, Martin Hollinger.

For more posts featuring Bruno click here and scroll.  Check him out on the Synthophone and Gesture Based Synthesis here.

via Fabricio Carvalho aka Astronauta Pinguim on The MATRIXSYNTH Lounge

You can find links to additional interviews with synth history's early influentials by Astronauta Pinguim here.

An Interview with Joel Chadabe on Astronauta Pinguim

via Astronauta Pinguim where you'll find the full interview.

"Joel Chadabe, native of New York, studied with Elliott Carter at the Yale School of Music. Following three years in Europe, he returned to New York and established an electronic music studio at the State University of New York at Albany.

In 1967, he created the design for an analog-programmable Moog synthesizer and commissioned Robert Moog to build it. In 1977, Joel Chadabe and Roger Meyers developed the PLAY Program, the first software music sequencer. From 1983 to 1994, Joel Chadabe was the president of Intelligent Music, the first company to develop and distribute software and hardware for interactive composing, In 1994, he founded Electronic Music Foundation (EMF), a non-profit organization dedicated to the history and creative potential of electronic music. In 2006, he founded Ear To The Earth, a worldwide network for environmental sound..."

via Fabricio Carvalho aka Astronauta Pinguim on The MATRIXSYNTH Lounge

After checking out the interview with Joel Chadabe, click here and scroll for other interviews with synth legends on Astronauta Pinguim.

Interview with Udo Hanten on Astronauta Pinguim

via Astronauta Pinguim where you'll find the full interview and tons of pics.

"Udo Hanten was born in Krefeld (North Rhine Westfalia, Germany), in 1956. His first instrument was an acoustic guitar, but it was the electronic possibilities that Udo could achieve with that guitar plus a pickup, a tube radio, a spring reverb and a reel to reel recorder that led him choose his career as an electronic musician and producer later on. In the late '60s he started in music, in late '70s he started to work with audio performances and installations, in the early '80s he started to work with video and in the mid-'80s he started with Laserworks. Udo is in the business with all those art forms since then!..."


via Fabricio Carvalho aka Astronauta Pinguim on The MATRIXSYNTH Lounge