EAR M12 MARK II tracking test

Published on Apr 22, 2014 Peter Grenader·25 videos

"The truth will set me free!"

Added to part one here.

EAR MODEL 12 MARK II FILTER VIDEOS

EAR MODEL 12 MARK II FILTER • RES/FEEDBACK DEMO

Published on Apr 21, 2014 Peter Grenader·24 videos

"Did something people have been pleading me to do for years. Ive redesigned the feedback circuit in the model 12, allowing it to cross into full oscillation without sounding like a chicken receiving a pineapple up the wrong end...always a plus. Its going to be incorporated into the dual model 12 and with it, say goodbye to the three dual resonance level switch/ Have a listen, have a look, tell me whatddya think and thanks!"

EAR M12 MARK II tracking test

Published on Apr 22, 2014 Peter Grenader·25 videos

"The truth will set me free!"

Peter Grenader • Je Suis Anonyme

Published on Feb 17, 2014 Peter Grenader·23 videos

"From the album Secret Life, available on iTunes or CD Baby through Coda Recordings (link below).

Je Suis Anonyme (I Am Anonymous) is an A-B-Aprime-Coda arranged as a canon in both a micro and macro sense, meaning the construction of each gesture and the relation of one gesture to another. The process parallels elasticity and soft focus - stretching phrases to maximum duration while keeping elements loosely synced. The entry phrase was recorded in the late Summer of 2009. The work was completed during a three week period in September of 2010. It is distantly familiar to a work I did many years ago entitled "The St. Mathew's Passion, Part 2" (a lot of nerve there)!.

I approached Je Suis Anonyme with a rather empty conceptual pallet. This was by intention. Instead I relied more on noesis, something I became aware of while an art director where the distinct impression was that much of the creation was coming from the unconscious. Allow the piece uncover itself, continue until it tells you it's completed. In print art this manifests as carving an image out of a blank white page. In sound art that relates to silence and attested to synesthesia [1] - the visualization of colors, in this instance cobalt blue hues. Eastern culture defines this as Svadhisthana or The Sacral Chakra. There are other accounts of this phenomena in relation to music by Bela Bartok, Pierre Henry, Oliver Messiaen, Hanspeter Kyburz, Judy Collins and Robert Fripp [2].

JSA didn't begin as a dedication though through it's process it became evident it was a release of sorts to my mother, Harriet Avra Grenader. A final goodbye - something that's been long brewing. By sheer coincidence it was completed in the late evening on September 12th, the eve of her birthday.

TECHNICAL NOTES:

Most of the timbres in JSA were built utilizing source material recorded from the Plan B Model 30 Digital VCO Subsystem prototype in the Spring of 2009. Additional base reinforcement was added using a standard Plan B Model 15 VCO.

While the motifs in JSA may appear to have been generated in a single pass, they are actually the result of many layers of soundfiles. While the melodic progressions were scored utilizing a polyphonic instrument as a reference, governed by the monophonic attributes of the Model 30 the translation of this information involved multitracking. In instances where the required tonal information was not available in the original source material, Amazing Slow Downer was incorporated to generate those frequencies.


REFERENCE:

[2] Robert Fripp - 'Creativity: Finding The Source' (quote used through permission of the author): "Most musicians have experienced those moments of inspiration when magic seems to flow, when every note seems effortlessly right - but such moments are rare and their fleeting existence seems governed by capricious forces beyond our control. Is there any way to bring us into more consistent and productive contact with our Muse?

[1] Color Synesthesia: a phenomena in which voice, music, or assorted environmental sounds can trigger color manifestations which fade when the sound stimulus ends [3]. Until recently, synesthesia was believed to be rather uncommon, effecting only 1 out of 2000 individuals. Later studies indicate this percentage more towards 100 out of 2000 individuals and in some cases paralled to psychic perception in those tested. Although perception is often personalized (composers Liszt and Rimsky-Korsakov famously disagreed on the colors of music keys) sonic variation often affect the perceived hue, brightness, scintillation, and directional movement. In relation to amplitude: loud tones appear brighter than softer tones; in relation to frequency: lower tones are darker than higher tones; in relaiton to timbre: complex timbres appear brighter than purer tones. For some, the stimulus type is limited (music only, or even just a specific musical key); for others, a wide variety of sounds triggers synesthesia.

[3] Cytowic, Richard E; Eagelman, David M (2009). Wednesday is Indigo Blue: Discovering the Brain of Synesthesia (with an afterword by Dmitri Nabokov). Cambridge: MIT Press. pp. 309. ISBN 0-262-01279-9.

PERFORMANCE NOTES:

Je Suis Anonyme received its world premier at the Los Angeles Sonic Odyssey in Pasadena CA in November 2013

Available as a high resolution FLAC download on CD Baby at:

https://www.cdbaby.com/cd/petergrenader"

Electro Acoustic Research Model 27: Feedback demo

Published on Jan 11, 2014 Peter Grenader·22 videos

"This is a demo of the newly incorporated analog feedback loop in the EAR Model 27 After Effects Processor... as yet unreleased. Enjoy (or not)"

Toolbox Synth - Danny Carey of Tool uses drum pads as controller

Published on Nov 7, 2013 Peter Grenader·21 videos

"Finally set aside the time to integrate the Toolbox Synth with drum pads, something I specifically designed this synth to do, at the Tool man cave In Hollywood and Danny Carey tries it out for the first time before their rehearsal begins - October 5, 2013.

A recently acquired Roland drum pad synth is used as a midi controller in this instance via a Doepfer 190-B Midi to CV converter, utilizing gate out to trigger a Plan B Model 10, 1v/octave voltage out to control three Plan B Model 15 VCOs and the aftertouch to provide a secondary amplitude VC in a Plan B Model 25 (VCA section) to provide dynamic response to the pressure applied to the pads, which is offset via a Plan B Model 14 Voltage Processor. Enjoy, or not!"

Plan B Modular: Processing control voltages through 'audio' waveshapers

Published on Jul 7, 2013 Peter Grenader·19 videos

"Incorporating processors which you may intellectually reserve for audio use only - such as waveshapers - to modify control voltage generators, in this instance the Envelope Generator which opens the Timbral Gate via the M25 waveshaper, can lead to results you may not expect, and just may like. Try it!"

Secret Life by Peter Grenader

via Peter Grenader on The MATRIXSYNTH Lounge

"It is with humility and pride that I can announce that my CD - Secret Life - is now available from Coda Recordings on CD Baby and iTunes. (note: only CD Baby includes high resolution FLAC file downloads)

http://www.cdbaby.com/cd/petergrenader

Expanded notes including a bio and description of the compositional and technical considerations for each piece, booklet/traycard/label art templates and alternate audio samples can be found at:

http://www.secretlifeonline.com/"


Peter Grenader is the man behind Plan b.

Plan B Toolbox Synthesizer Built for Danny Carey of Tool

Published on Apr 23, 2013 Peter Grenader·17 videos

"This is the Plan B Toolbox Modular Synthesizer, built for Danny Carey of Tool which will make it's public debut with Tool on Saturday, April 27 at the Rod Laver Arena, Melbourne, Australia - replacing the iconic Synthi AKS Danny has been using for nine years. This was filmed in Danny's studio just before it was packed into it;s road case for the trip. Instrumentation of the synth is as follows:

Row 1:

Subcon/Plan B Model 15 VCO
Plan B Model 15 VCO (x2)
Plan B Model 39 Wave Splicer
Subcon/Plan B Model 37 Utility VCO/LFO
Plan B Model 9 Mixer
Plan B Model 7 ELF Panner
Output module (power) outputs/levels , light

Row 2:

Intelligel Quantizer
Intellijel microfold
Plan B Model 10 Envelope Generator (x2)
Plan B Model 12 Vactrol Filter
Plan B Model 11 Evil Twin Bandpass Filter
Plan B Model 13 Dual Timbral Gates
Plan B Model 25 Multi-Tasking Audio Processor (attenuator/waveshaper, VC, Ring Modulator)

Row 3:

ADDAC Integrator
Plan B Model 23 Analog Shift Register
Plan B Model 28 Programmable Tap Clock
Plan B Model 14 Dual Voltage Processor/Crossfader
Plan B Model 26 Multi-Tasking Control Processor (boolean gates, voltage mirror, portemento)
Plan B Model 24 Heisenberg Generator (slopped and arbitrary random voltage generators)
Plan B Model 21C Mini Milton Sequencer

Row 4:

Make Noise Phonogene
Make Noise Echophon
Intellijel Korgmatrom FIlter
Plan B Model 10 Envelope Generator
Plan B Model 21 Buffered Multiple

http://www.ear-group.net

Case built by Chas Smith"

Plan B Patching techniques: Creative Syncing

Published on Mar 28, 2013 Peter Grenader·16 videos

"This video highlights the audible differences between square and pulse wave influence when sync is used as a sound modifier. The switch on the M37 Mark I converts the square wave output to a 10ms. pulse. This feature is not available on the Mark II, but you can manifest the same attribute by using the PWM output of a Model 15 set to just before it folds away on the positive side."

Buchla schmuchla 3

Published on Mar 12, 2013 Peter Grenader·15 videos

"A Plan B synthesizer demonstrates a timbre unique to it and the Buchla 200. By virtue of the VC waveshaping (morph), the harmonic value of a random three VCO cluster forged by two stepped Model 24 Heisenberg Generators, with a third manifest by combining the source noise output of the two M24's and sampling this through ASR as S+H. The resonance of the Timbral Gate used in this patch is enhanced by modulating the waveshape morph mix of the three VCOs in unison via the same M10 EG that's opening the M13 Timbral Gate. Note that the high amplitude phase of the envelope morphs the sawtooth waves into sines."

All parts here.

Scream 2007: ANALOGLIVE! Performances Now Available

via Peter Grenader:

"It gives me great pleasure - for the first time, ever and with the permission of the composers involved to upload the audio files from the live performance ANALOGLIVE, realized and recorded at the Redcat Theater - downtown Los Angeles November 16th, 2007.

In 2007, in what composer Barry Schrader termed an historic event, the annual SCREAM EAM festival hosted Analoglive!, an ensemble conglomerate of live analog electronic music with film composer Gary Chang, Nine Inch Nails keyboardist Alessandro Cortini, Richard Devine, composer and instrument designer Chas Smith, Thighpaulsandra (of Coil and Spiritualized), Peter Grenader and video artist Paul Tzanetopoulos. Analoglive exists as the only sold out show of the SCREAM Festival's 36 year run.

1) Gary Chang: Sanctuaries: Faith (2007)
http://www.ear-group.net/faith.mp3

2) Chas Smith: The Ghosts on the Windows (2007)*
http://www.ear-group.net/ghosts.mp3

3) Peter Grenader: The Secret Life of Semiconductors - Part Four (2003-2009)
http://www.ear-group.net/slocscream.mp3
[intermission]

4) Alessandro Cortini: Paris 1 (2006)
http://www.ear-group.net/paris.mp3

5) Thighpaulsandra: The Aborted Ascension Of Angel Assassins (2007)
http://www.ear-group.net/assasins.mp3

6) Richard Devine: Captract (2004)
http://www.ear-group.net/richard.mp3

You can find pics from the event here and all posts on ANALOGLIVE here.

Test your analog sound design skills: metal/wood tones

Published on Feb 10, 2013 Peter Grenader·14 videos

"Four sine VCOs.... no ring modulation, no frequency shifting. While incorporation of a Plan B M13 Dual Timbral Gate or other suitable LPG was important in building it's percussive timbre... how is it that it resembles a marimba without ring mod or frequency shifting? Enter your answers below! The video basically traces the patch."

Firmware update to Plan B Model 28 demonstration - external sync

video upload by Peter Grenader

Published on Jan 28, 2013 Peter Grenader·13 videos

"The following is a (rather shaky camera rendering - sorry!) video outlining improvements authored by Phil Gallo to the functionality of the external syncing of the Plan Model 28 Tap Clock in 2010. This video is in response to another video uploaded to youtube (search Model 28 Slop Clock) which highlighted the deficiencies in the initial firmware release.

A comparison was made on that initial video which successfully highlights the Model 28's syncing issues, although it did this through a comparison to a module with completely different functionality - the Analogue Solutions MC01. The MC01 is a Master Clock which divides a signal to attain musical intervals of time from that. The Model 28 however is an upscaler - it takes two input signals, determines the length of time between those two events, replicates that frequency (quarter notes) and as well calculates twice that frequency (eight notes) and three times that frequency (eight note triplets). The technicalities of these two approaches are vastly different. This is not to say that the Model 28 didn't have issues initially with syncing nor to say the MC01 is any lesser for what it does - they just do completely different things. It does point to the fact that the MC01 is not adequate to the purpose of the comparison. In all fairness to the individual who posted this first video, no module has attempted what the M28 does, before or since.

In 2010, after receiving comments that both Phil Gallo (firmware) and I (hardware) were in complete agreement with, Phil Gallo undertook the rather daunting task of effecting improvement, which he did remarkably. After extensive beta testing by Tim Stichcombe and Don Kim, the result of Phil's recoding was the firmware upgrade, which is free and can be acquired by writing me at petergrenader@gmail.com.

Over 300 M28's were produced, 40-50 of which had this upgraded firmware.

The enhancement require that the external input be inverted so it becomes low active as opposed to high active. This can be done by a multiple of options - many manufacturers produce inverters of one type of another. In short, the input signal to be synced must be inverted 180 degrees out of phase. This slight inconvenience is essential for the M28 to sync properly. The net result is not spot on perfect and outputs a very slight flam from the original signal, yet still a vast improvement over the initial release. Without going into the technicalities involved which run deep, I will say there are few people outside of Phil Gallo currently involved in the design of analog/digital modular gear who could have successfully accomplished what he did. It's remarkable.

But you be the judge, please - watch the video, contact me for the free upgrade... and have a great day."

Buchla, Schmuchla part deux

Published on Jan 27, 2013 Peter Grenader·11 videos

"A patch that lets you know you don't *need* a Buchla to have a Buchla. The following done completely on Plan B modules. Two VCOs run into two LPGs, both on 'filter' mode, both being controlled by it's own Model 24, with the stepped random controlling the pitch of the VCO and the smooth opening the LPG. Mixer out to Model 27 set up as a reverb, then on channel of it's stereo out into the Prototype Model 5 ELF Panner. Enjoy (or not!)"

Buchla, Schmuchla III

Published on Jan 27, 2013

Plan B Music Easel

via Peter Grenader on Facebook

"With NAMM behind this, and a new Buchla Music Easel before us, I can now show something I have been working on for close to two years which is now pointless. The Voice - my offering of an Easel type instrument. Circuit board almost completed, even funds available for development. NO use now. Bummed, but strangely relieved at the same time.

L to R - panel 1:

Eight Step Milton Sequencer
Envelope Generator
Envelope Generator
VCO
VCO
Input Amp. Ring Modulator, Wave Splicer
Mixer, Low Pass Gate
Filter
Digital Verb

Panel 2:

Top: Three preset voltages, Leveler, Keybaord Controls, Std VCA
Touch sensative keyboard

16 external inputs, iPad patachable"

Plan B Model 27 third delay algorithm: first glance

YouTube Peter Grenader·10 videos

Follow-up to Plan B Model 27 Prototype.

Plan B Model 27 Prototype

SHort demo of Plan B Digitial Effects Generator prototype affecting delay

Published on Jan 25, 2013 Peter Grenader·8 videos

"Short demo of the Model 27 Prototype being a delay. Enjoy (or not!)"

Model 27 Prototype

CLICK FOR MORE »

CYNTHIA QUAD LOW PASS GATE DOTCOM FORMAT

Note: Auction links are affiliate links for which the site may be compensated.

via this auction
Cynthia (RSS)

"Brand New Buchla type QUAD LOW PASS GATE All-Analog Synthesizer Module in Synthesizers.com / Moog Format!

IN-STOCK! New Mark II Design

Standard Dotcom type Power Connector Included


Add an Organic Quality to Your Sound!
In the beginning there was Light, and the Vactrol opto-coupler was born. (Well, in the early 1960's anyway)!

In these days of quantum-level high-speed electronics it might be hard to imagine why we would actually want to use such sluggish CroMagnon components as the lowly Vactrol, (essentially a photocell and a light bulb)...

Harnessing these into an alchemy of music, fire, and light was the genius of Don Buchla who thought to exploit the quirks or so-called flaws of these components for their musical capabilities instead!

Nothing can match the buttery soft response this circuit evokes when commanded "to dance!" by an impatient pulse or envelope.

That unique flitty, percussive, Subotnick trademark type sound can be realized with these gems because they are based on the original Buchla 292 circuitry. There are four on this panel, each with a switch to determine if there will be additional Low Pass coloring to the signal as it passes.

Often a signal is best processed through two or more of the module's channels in series, and always a delight when used in concert with the Modcan 08A Processor's preamp and envelope follower on external inputs.

Below are four .wav file samples featuring the Cynthia/Buchla Lowpass Gate prototype, demonstrated by Peter Grenader using a single patch in which only the Gate's modes are changed. The attack time of the envelope is increased midway through each to give an idea of the full dynamic effect of this instrument.

"The Low Pass Gates are something that I had no idea what I was buying when I ordered them. Boy am I glad I did! That sound is fantastic, so organic - slippery, rubbery textures - very cool indeed!!"
Steve

Fully Built Module (Not a Kit) Limited Edition, Buy Yours Now!"

Cyndustries QUAD LOW PASS GATE Cynthia MOTM FORMAT

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"Brand New Buchla type QUAD LOW PASS GATE All-Analog Synthesizer Module in MOTM Format!

IN-STOCK! FIRST TIME WE'VE OFFERED THESE IN MOTM!

Standard MOTM type 4-Pin Power Cable and Mounting Screws Included

Add an Organic Quality to Your Sound!
In the beginning there was Light, and the Vactrol opto-coupler was born. (Well, in the early 1960's anyway)!

In these days of quantum-level high-speed electronics it might be hard to imagine why we would actually want to use such sluggish CroMagnon components as the lowly Vactrol, (essentially a photocell and a light bulb)...

Harnessing these into an alchemy of music, fire, and light was the genius of Don Buchla who thought to exploit the quirks or so-called flaws of these components for their musical capabilities instead!

Nothing can match the buttery soft response this circuit evokes when commanded "to dance!" by an impatient pulse or envelope.

That unique flitty, percussive, Subotnick trademark type sound can be realized with these gems because they are based on the original Buchla 292 circuitry. There are four on this panel, each with a switch to determine if there will be additional Low Pass coloring to the signal as it passes.

Often a signal is best processed through two or more of the module's channels in series, and always a delight when used in concert with the Modcan 08A Processor's preamp and envelope follower on external inputs.

Below are four .wav file samples featuring the Cynthia/Buchla Lowpass Gate prototype, demonstrated by Peter Grenader using a single patch in which only the Gate's modes are changed. The attack time of the envelope is increased midway through each to give an idea of the full dynamic effect of this instrument.

"The Low Pass Gates are something that I had no idea what I was buying when I ordered them. Boy am I glad I did! That sound is fantastic, so organic - slippery, rubbery textures - very cool indeed!!"
Steve

Fully Built Module (Not a Kit) Limited Edition, Buy Yours Now!"

An Interview with Alessandro Cortini

Alessandro Cortini is the man behind SONOIO. He played synths for Nine Inch Nails and brought us the SuONOIO synthesizer produced with Scott Jaeger of The Harvestman.  Alessandro  is known for his use of Buchla systems new and old.  He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch for sale on www.sonoio.org.

The following is my interview with him primarily focused on synths.

1. How did the world of synths start for you?

"I was schooled on guitar, back in italy. I am from a very small town so there weren't a lot of bands to play with... I got asked to "help" and record guitars on a record by a local band, called Autobeat, fronted by Franco Naddei (now francobeat). He was really into synths and electronica, so he basically opened a whole new world to me.... He ended up doing a remix for SONOIO on the upcoming remix record which is very cool, considering he was the one who introduced me to Depeche Mode (Alan Wilder is doing a remix too)."

2. What were your first synths and what did you think about them?

"Besides from my friend's instruments, my first "synth" was a Casio VL series, if I recall correctly, when i was 10 years old. On a more involved level, I personally started with software. The first one was Seer Systems Reality on PC...I moved to mac as soon as i could, and started using Cubase's Neon a lot (a small built in VST). Next were Bitheadz Retro AS-1 for synths and Unity DS-1 for samples, all "synced" to Logic (it definitely wasn't as elegant as it should have been).


Emagic's ES-1 was sort of a "step up" because of its integration with Logic...but didn't sound too good.

Bottom line is that I recall being extremely excited and happy for being able to record and compose on my laptop wherever I was, and didn't see the need for hardware synths.... until I borrowed a minimoog and spent a good 4 hours with headphones, a pencil stuck in a key to keep it going and tweaking knobs: that made it obvious that interface, much more than sound, were the reason why it was worth to commit to a dedicated hardware unit.

My infatuation with the minimoog quickly vanished, and moved onto NordLead, Nord Modular and lastly a small used Analogue Systems modular synthesizer. The AS was the beginning of a long relationship with modulars: for once, there were no rules, no predefined paths and no wrong moves (almost).

I expanded my AS until I sold it in order to buy an old paper faceplate Serge, which was then sold once I got Buchla fever…."

3. I still remember the day you announced you'd be working with Nine Inch Nails. What synths did you use at the time and what was that experience like?

"At the time I was still using my nord modular and AS modular.... The audition was odd: I was basically instructed to play on top of a live recording, which I did. The first two songs I played were Wish (on guitar and synths) and Closer. I remember preparing my little patches on the Nord Modular for the audition... I wish I kept those sounds cause they were pretty funny.


The whole NIN experience was amazing, especially the time in the studio working on Ghosts.
I have to admit the reason I left was touring, which became a bit too strenuous and not enjoyable anymore.

I got very involved in the studio side of things: I feel much more at ease working on music in a studio environment than performing live. Live performance always feels like a test, to different extents, generally with little room for spontaneity (my opinion, of course)."

4. Did you explore any interesting synths or new forms of synthesis at the time? I recall Trent Reznor used the Dewanatron Swarmatron for "The Social Network" He is also known for having a few coveted pieces of gear including one of two Waldorf Shadow XTks.

"Trent has a studio full of toys so I had the chance to play with a myriad of instruments I have never seen or heard before...but in the end I would always gravitate towards the modular."

5. You are known in synth circles for you use of Buchla modulars. How did you get introduced to them and what was it that gravitated you towards them vs. other synths? How do you approach the Buchla and how has it impacted your music?

"When I was teaching synthesis at Musicians Institute I basically had to write the curriculum myself. Part of it included an introduction to the history of these instruments and I remember being completely mesmerized by some of the Buchla photos I was able to track down... the way the instrument looked like a toy, like a self contained instrument that first and foremost called you to play with its looks.

I remember when Don announced the 200e series in 2004: I printed the whole site so i could have in my student role book and read it during breaks... I was obsessed.

Peter Grenader was responsible for introducing me to historical Buchla records such as Subotnick's Sidewinder and Sky of Cloudless Sulfur, and his Plan B modules kept my hunger for Buchla inspired technology in check for a while... until I was able to afford my own 200e system.


I am fortunate enough to own both a 200e and a vintage 200 system."

6. How do the Buchla 200e and 200 compare in your opinion, specifically in regards to sound and interface?

"I would say the interface is very close, unless you start analyzing high density 200e modules such as the 251e, where there's a lot going on in a small space. Soundwise, there are similarities, yes, but I see them as two different instruments, and approach them as such.


I love the 200e's 259e wavetable waveform generators, and the ability to use patch storing in a creative way.The 291e is undoubtedly superior to its 200 version, in my opinion. The 222e/223e input port is the culmination of Don's 40 years tinkering with touch surfaces.

The 200e has its own sound and you'd be disappointed if you wanted it to sound like a 200. It just doesn't do it well, mainly because it wasn't designed to recreate that aspect of the 200 instrument, in my opinion, but mostly its interface, applied to modern technology.

7. Recently you've been using the Teenage Engineering OP-1. What are your thoughts on it? How do you like working with it, specifically the physical design and interface, and of course as an audio processing tool?

"I think the OP-1, with its limitations and quirkiness, is a very creative instrument. I can't deny being a bit disappointed by the electro style demos that started popping up once it was announced, but as soon as I got my beta unit it was undeniable it could be used to do completely different things. It goes wherever I go!!! I enjoy the well laid out interface and its sound engines, which are fairly unique in their incarnation. It's a great sketchpad for ideas and sound design, and I have been using it on tour as a vocal effect also."

8. Aside from the Buchla and OP-1, what other synths and/or forms of synthesis do you find yourself gravitating towards when experimenting with sound and music?

"Definitely the more odd looking/sounding ones, preferably without a keyboard."

9. You recently worked with The Harvestman on the SuONOIO. How did that come about and what was that experience like?

"Once I finished recording the first SONOIO record, Blue, I wanted to come up with an interesting product to accompany its release. Something similar to a Buddha Machine, but playable, and something original like a BugBrand synth, but still linked to the album release.... It became clear that it had to be an analog/digital hybrid. Scott was the first to come to mind, as i believe he is extremely talented in bringing the advantages of digital design to an analog interface. After a few phone calls and 3 weeks later, we had the 1st prototype ready....2 protos later, the instrument was done. It was a very quick back and forth collaboration... almost makes us feel guilty, since we had so much fun making it!"

10. Do you see yourself more as a performer, an explorer of synthesis or a bit of both depending on context?


"I really just like playing with instruments and come up with interesting sounds. I am not too good at describing what I do... I just do it!"

11. Is there anything else you'd like to share with our readers?


"I am working on releasing my first instrumental record...it should be out early next year...i am very excited to release it!"

Photos above by Sarah Sitkin



You can find Alessandro Cortini's work at http://sonoio.org/. He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch available.