Alessandro Cortini @ Home Room 1

Click here to watch on Vimeo.

Alessandro Cortini @ Home Room 1 from Jason M Clark on Vimeo.

"The Final night of Home Room and the closing reception of the Super Tetricide Art Exhibit. This is part of the performance of Alessandro Cortini playing a Buchla synthesizer."

NAMM: NAMM 2009 with AnalogSuicide.com

NAMM 2009 with AnalogSuicide.com - NIN's Alessandro Cortini and the Buchla 200e, PT. 1!!

YouTube via tarabusch

"NAMM 2009 - Check out our wonderful chat w/ Alessandro Cortini of Nine Inch Nails and Mod Wheel Mood! Here, he describes in nice detail the inner workings of the lovely Buchla 200e!!
http://AnalogSuicide.com
http://modwheelmood.com
http://blindoldfreak.com
http://nin.com
http://buchla.com"
See the write-up on AnalogSuicide.

NAMM 2009 with AnalogSuicide.com - NIN's Alessandro Cortini and the Buchla 200e, PT. 2

Alessandro Cortini's 200e

via Alessandro Cortini's modwheelmood

Be sure to click on the Buchla label below for more Buchla posts including a recent video of Alessandro Cortini and his 200e used in NIN's Ghosts.


sent my way via Richard Lainhart

NSWaves presents Alessandro Cortini 04.03.14. Cobramatic Live Video Synthesis, Sydney.

NSWaves presents Alessandro Cortini 04.03.14. Cobramatic Live Video Synthesis, Sydney. from Cobramatic on Vimeo.

Note this performance was from 2014. Somehow missed this one. The shorter version was previously posted here.

"Alessandro Cortini, live at the 'New Sound Waves' performance at 107 Projects, Redfern, Sydney, Australia 04.03.14
Playing a Buchla Easel with Strymon pedals - Scappa, Senza, Aria from Forse 3.

Live Video synthesis by Cobramatic using LZX, Jones MVIP and Euro synth modules treating original (plus some hijacked) and live video sources via a P10 and video mixer. Live pattern generation and video feedback.

Sound and video quality are not great unfortunately - this is the majority of the show as filmed on an early digital SLR and an iPhone. (The Distorted audio is from the camera recording - not the audio on the night, there is better Audio on the shorter clip here: https://youtu.be/KaBL6PbPEB8 )

Professional Video/Audio is available and hopefully will follow on another channel - (subject to Copyright).
Supporting Act videos will be posted on this channel in future...

Autoglide provided some of the original video used in the show and also recorded the footage of the performance."

Music Easel Senza Aria Scappa

Music Easel Senza Aria Scappa from CatManDeux on Vimeo.

"2022 marks two anniversaries: a half century since the debut of Buchla’s Music Easel and a decade since Alessandro Cortini performed these songs while on a solo tour. This is my attempt at recreating those songs on a more modern Easel reissue. This is inspired more upon the Control Voltage Faire performance.

I’m still working on refining the patching, and I’m not using a TimeLine delay like Cortini did. But I think I’m reasonably close. Thanks for watching! And be sure to check out Alessandro’s Forse series, which the final versions would ultimately appear (years after the live performances)."

Update: you can find additional posts mentioning Alessandro Cortini Forse Series here.

Don Buchla Has Passed Away

It has come to my attention that Don Buchla passed away on Wednesday, September 14, at the age of 79. Anyone coming to this site should be well aware of who he is; who he was to the world of synthesizers. For those that aren't, he was by all means one of the fathers of the modern day synthesizer. Credit usually goes to Bob Moog, mainly for two reasons. One, Bob Moog chose the standard keyboard as the main interface for his synthesizers as they were more accessible to musicians. Two, Bob Moog's approach focused mainly on reproducing the sounds of acoustic instruments. Wendy Carlos' Switch on Bach and Keith Emerson's use of the Moog Modular brought Moog synthesizers to the mainstream.

Don Buchla's instruments, however, focused mainly on the exploration of sound. Artists attracted to his instrument fell more into the realm of what was known as musique concrete. Musique concrete mainly focused on the manipulation of sound, initially composed with electro-acoustic instruments recorded and manipulated on analog tape.

via wikipedia: "Buchla formed his electronic music equipment company, Buchla and Associates, in 1962 in Berkeley, California. Buchla was commissioned by avant garde music composers Morton Subotnick and Ramon Sender, both of the San Francisco Tape Music Center, to create an electronic instrument for live performance. Under a grant from the Rockefeller Foundation Buchla completed his first modular synthesizer in 1963." On the other hand (also via wikipedia): "Moog created the first voltage-controlled subtractive synthesizer to utilize a keyboard as a controller and demonstrated it at the AES convention in 1964." Update: Wikipedia appears to be incorrect on Buchla.  Don Buchla started working on instruments in 1963, and the 100 was his first VC system completed in 1965. It was then sold in 66/67. The first name of the company was Buchla Associates in 66/67 followed by Buchla & Associates in 70/71. This New York times obituary has a good write-up on Don Buchla's work beyond just synthesizers. It also has 1965 as the date for the completion of his first synth.

Please note, this post isn't about who came first. In my opinion they both did and they both had different approaches. Most of you will be familiar with the terms East and West Coast synthesis. They pertain to these two different approaches with Buchla on the West and Moog on the East.

Don Buchla's passing is bittersweet. On the one hand his creations have finally gained popularity and respect in the modern day synthesizer community - a decade ago the focus was primarily on Bob Moog. On the other hand, he passed away not being able to do what he himself wanted to do in the end. He sold the rights to the Buchla name to BEMI, only to later take them to court. The case was settled, but I have been told it was far short from the initial agreement. It is also my understanding that Don Buchla was discouraged from working on creating new instruments.

One thing to consider is that although there were/are many Buchla clones out there that paid tribute to Don's work, it is my understanding that Don wasn't paid licensing for them and that Don wasn't necessarily thrilled by them. Think about it for a bit. One, people cloned his work, two, he did not get paid for his original creations, and three, people buying clones were putting their budgets towards clones vs. his new creations, for example, the 258 clone vs the new 261e. I was told from a reliable resource, that Don never had any interest in re-hashing old products. In a sense, they were more works of art, and he was always interested in creating something new, rather than re-hashing the old. However, I was told he was fine with people creating clones for personal use, just not for sale.

Writing this post is extremely difficult. I didn't know Don personally, but I did meet him a few times at NAMM. The first time I met him was a bit awkward because he doesn't talk fluff. His answers were very short, and he just kind of stood there as if implying, "are we done yet". I then realized, he wasn't implying that at all, he was just hanging out. The second time I met him, I said hello and didn't elaborate much. He then engaged in conversation with me. It was a simple thing, but something I will never forget. The video below with Don Buchla being interviewed by Mark Vail, captures the way I felt perfectly. If you were ever fortunate to meet him in person you will know what I mean. I'm going to miss him greatly, and will always wish I got to know him better.

And a message from Moog Music:

"Dear Don,

There are no words that can accurately portray the profound impact you have had on our lives. We are deeply inspired by your artistry, and your ground-breaking achievements will always inform the work we hold most closely to our hearts. You and Bob, through your distinctive styles, collaboration and friendship, have laid the foundation for our future. Your influence endures in our minds, hearts and hands as we craft tools that give rise to joyful experimentations. We will never truly capture the elegance and beauty that you and Bob achieved, but we promise to never stop trying.

From everyone at Moog, thank you for inspiring us and giving meaning to our life's work.

Love,
Your Friends At Moog"


Published on Aug 27, 2015 Redaktion Megasynth

And a rare performance of Don playing live with his instruments and Alessandro Cortini of Nine Inch Nails (NIN):

Everything Ends Here

Uploaded on Nov 18, 2011 Alessandro Cortini

"San Francisco Electronic Music Festival 2010

Alessandro Cortini + Don Buchla, performing the piece "everything ends here", from Blindoldfreak's 1st EP, 1."

Alessandro Cortini - In The Studio

Published on Jan 8, 2020 FACTmagazine

"Alessandro Cortini may be known to millions of fans around the world as a touring member of Nine Inch Nails, but it’s as a solo artist that the Italian musician has carved out his own space in ambient and synth music over the past decade.

In this episode of FACT’s In The Studio series, we visited Cortini at his space in Berlin, where he talked to us about his life in music and making of his recent album Volume Massimo, as well as his love of Buchla synthesizers and unusual vintage instruments.

Volume Massimo is out now on Mute Records.

Filmed and edited by Frank Zerban
Nine Inch Nails photography by Corinne Schiavone"

Make Noise Strega

video by MAKEN0ISE

Follow-up to this post featuring an interview with Alessandro Cortini.

"Make Noise is proud to introduce Strega!

Strega is an audio alchemical experiment. Activate! Spill the tonic into time and let time decay through the filter to hear the results.

Strega is an instrument designed in collaboration with Alessandro Cortini. Inspired by Cortini's music and sonic experimentations, Strega embodies the seen and unseen, the sign and magic, the alchemy of sound.
Strega is able to conjure audio tones, generate control signals, and process external sounds. Patch the 0-COAST or any other line level source into the Strega to unlock new sounds!

This new instrument takes the same form factor as the 0-COAST and 0-CTRL. It was designed to be controlled by the 0-CTRL or the 0-COAST's MIDI CV B outputs and is equally happy interfacing with Eurorack modules as well.

- Patchable with 7 sources and 13 destinations
- Touch Bridges and Gateways for momentary modulation routings
- Compatible w/ Eurorack Modular Synthesizer Signals
- Input for combining with or processing outside sounds
- Includes patch cables, output cable, and AC Adapter
- Headphone and Line Level Amplifier as well as Eurorack Output
- Small Rugged Steel Enclosure
- Same form factor as 0-Coast and 0-CTRL

Dimensions: 5.5 x 9 x .75 inches
Weight: 1.7lbs
Power Requirement: +15VDC @1A, 2.1mm Tip Positive Connector
Retail price: $599
Shipping in late February

makenoisemusic.com/synthesizers/strega

Alessandro Cortini of Nine Inch Nails and Sonoio at the Control Voltage Faire

YouTube Published on Jul 20, 2012 by GDVid12

The video orientation does change.

"Buchla fest NYC Cortini"

You can find an interview I did with Alessandro Cortini here.
See the Control Voltage Faire label for additional posts on the events.
See https://www.youtube.com/user/GDVid12 for more concert videos in general.

Alessandro Cortini: Forse 1 - All Buchla Music Easel Release in the Works

via Justin of Important Records:

"Beginning this June, Important Records will be releasing a series of vinyl records and a subsequent cd box-set of Alessandro Cortini on the Buchla Music Easel. The first album, 'Forse 1', will be issued as a double LP.  It will feature Alessandro playing an original Buchla Music Easel with a mastery and intimacy unlike anything previously released. It's obvious from these recordings that Alessandro has spent a great deal of time exploring, experimenting, and pushing the Easel to its limits. I think the readers of your site will be really enthusiastic about these recordings as they showcase what the Easel is capable of, and the talents of Alessandro. We are very excited about these releases and pleased that they will coincide with the BEMI Music Easel reboot this June. The masters have been submitted and the artwork is being finalized as we speak.

A teaser video for the album will be available soon and a track from 'Forse 1' will be included in the next Important Records podcast on soundcloud.

www.importantrecords.com
http://www.facebook.com/pages/Important-Records/
https://soundcloud.com/importantrecords/"

MOOGFEST 2016 Lineup & Details Announced

Moogfest 2016 Talent Announcement with Reggie Watts

Published on Dec 8, 2015 Moogfest

"Headlining performances include Gary Numan playing a three night residency of his trailblazing early albums, a two-night residency by GZA, ODESZA, Laurie Anderson, Oneohtrix Point Never, Suzanne Ciani, Blood Orange, and Sun Ra Arkestra; with keynote presentations by transhumanist activist and pharma tycoon Dr. Martine Rothblatt, and computer scientist Jaron Lanier, a pioneer in the field of virtual reality.

More than one hundred other acts are already confirmed to perform, while the conference program continues to develop in partnership with a range of esteemed universities, innovative businesses, and art/technology organizations. Program partners include MIT Media Lab, Google, Duke University, Georgia Institute of Technology, The New Museum’s New Inc., IDEO, Gray Area, and the EyeO Festival.

For the first time ever, Moogfest will take place in Durham, NC. Moogfest activates seventeen venues, throughout the walkable downtown core, from intimate galleries to grand theatres, including a free outdoor stage with participatory, all-ages programming. Durham promises to be an ideal setting for Moogfest: a city uniquely blending diversity, authenticity, world class innovation, and culture, with a long history of great music.

Program highlights:
Pioneers in Electronic Music
Electronic music pioneer Gary Numan will perform his first three albums (Replicas, The Pleasure Principle, and Telekon) over three consecutive nights in three different venues. Musical experimentalist Laurie Anderson weaves stories and song in her solo performance, “The Language of the Future” and then returns to the stage the next day to hosts a daytime conversation.

Future Pop
Headlining talent also charts a zig-zagging course across today’s synthesizer infused pop landscape, from the vibrant electronic duo ODESZA, to the future soul of Blood Orange (playing in North Carolina for the first time), a return of utopian rockers YACHT, and even the comic stylings of Reggie Watts.

Experimentalists
Immersive noise and minimalist sonic-scapes from some of today’s most progressive experimental artists, including sunn O))), Ben Frost, Tim Hecker, Silver Apples, Oneohtrix Point Never, Quintron & Miss Pussycat, Olivia Block, Alessandro Cortini, and Lotic.

Ambient Music Innovators
A rich program of sustained tones and cascading moods led by Daniel Lanois, Brian Eno’s prolific Grammy winning protege, Suzanne Ciani, and the UK’s originators of ambient house The Orb.

Hip-Hop
GZA leads Moogfest’s strongest ever hip-hop and rap lineup, supported by a roster of emerging talent including Lunice, Tory Lanez, Denzel Curry, Dr. Dre protege King Mez, and Well$.

The Future of Creativity
Futurist philosophers set the tone for a mind-expanding conference. Keynotes by Dr. Martine Rothblatt, author, entrepreneur, transhumanist, inventor of satellite radio, and Jaron Lanier, a computer scientist and composer who has pioneered the field of virtual reality. Other visionaries include sound explorer Onyx Ashanti and his 'exo-voice' sonic prosthesis, Tod Machover from MIT Media LAB presenting his work in HyperInstruments, and Gil Weinberg and The Robotic Musicianship Group at Georgia Tech performing with Shimon, an improvising robotic marimba player that uses artificial intelligence.

Orchestral Ensembles
The intergalactic voyagers of Sun Ra Arkestra channel the cosmic philosopher himself. Arthur Russell’s Instrumentals ensemble, making their US debut. Floating Points’ live project veers fluidly from warm electronic to jazz to sonic space rhythms.

CLICK FOR MORE »

A Buchla Music Easel Cake for Alessandro Cortini

How cool is that!

"It tasted as good as it looked. Thank you Chubby Cheek Cakes! Photos by Dave Tada"

via Emilie, sent my way via Alessandro Cortini who claims to now be vintage at age 40. Vintage but never old!

Happy birthday Alessandro! :)

CLICK FOR MORE »

SONOIO - Enough

SONOIO - Enough from Alessandro Cortini on Vimeo.

"Directed & Edited by Matt Sundin and Caspar Newbolt
Director of Photography - Matt Sundin
Gaffer - Craig Ward
2nd Assistant - Justin Tellian"

Video features the Teenage Engineering OP-1. Follow-up to SONOIO Red.

On a related note, Alessandro Cortini & Scott Jaeger of The Harvestman are releasing another batch of SuONOIOs. Pre-order here.

"Hello all,

Today we are starting the pre-orders for the new SuONOIO batch.

A few changes from the previous SuONOIO:

- red circuit board
-samples from the new SONOIO RED record
-blue faceplate with SuONOIO logo

We will also be adding an “upgrade” package for those who already purchased the Blue version, in order for them to be able to use the new samples and integrate a new faceplate.

Thank you for your continued support,

Alessandro & Scott"

HOW TO MAKE: Alessandro Cortini - SCAPPA with Endorphin.es x Andrew Huang - GHOST new V2 firmware

video upload by Endorphin.es

"What if @Alessandro Cortini used Endorphin.es? How would it sound?
Having the GHOST paired with the Furthrrrr Generator for ambience and the Ground Control as a perfect sequencer on hands we could not refuse to replicate some of Alessandro's s masterpieces.
With the new GHOST V2 firmware we now have a shimmer, smoother filter and serial processing: global dry/wet mix, which altogether allows us to even deeper sound design experiments.
Ground Control project files included below."

Make Noise Shared System: Alessandro Cortini: ACMN1 & ACMN2 Pre-Orders

The second release using the Make Noise Shared System modular (pictured) is open for pre-orders at TRASH_AUDIO here.  This one is by Alessandro Cortini.   If you want a copy, you might want to pre-order now.  Richard Divine's release has sold out, and I hear that over 100 of Alessandro's are already spoken for.

Also see:
Richard Devine Share System NAMM Performance
Make Noise Records Shared System MNR001 Richard Divine
MakeNoise Records & Richard Devine's Latest EP "Creature"

IMPREC Podcast #3- "The Synthcast" with Alessandro Cortini & More

"May 10th 2013
Good afternoon friends,

We are pleased to announce the newest podcast from Important Records:


Summary:

IMPREC podcast #3- "The Synthcast"

This weeks show will focus on the role of the analog synthesizer as a creative tool in the production of electronic music, modern composition, and sound art. This podcast highlights artists in the Important Records catalog that have made a connection with specific systems or instruments in the analog domain. Some artists have made momentary, inspired connections and managed to capture those results while others have spent decades exploring and mastering their given voltage-controlled instrument.

Each track represented in the podcast brings something unique and challenging to the table. This is not an attempt to fetishize or promote analog synthesis hardware; it is a snapshot of the results that are yielded by careful study, improvisation, and creative approaches to the technology available to artists at a given point in time. Although some may consider analog synthesis an archaic mode of expression, the tracks here attest to the opposite. There are three tracks featuring the EMS Synthi on this podcast but if you expect to hear something akin to "On The Run", well…you're in for a wild ride.

Track Listing:

Alessandro Cortini makes his Important Records debut with the track "Gloria" from the upcoming Forse 1 album. Alessandro created the Forse series of recordings using an original Buchla Music Easel. 2012

Pauline Oliveros- 'A little Noise in the system' (excerpt) from Reverberations (2012) was created on the Moog III modular system at UCSD in 1968.

Eleh- "Indictiva" from the Return LP. Eleh uses a custom Serge Modular. 2009

Jessica Rylan- 'Phantasia' (excerpt) from Interior Designs. Serge Modular feedback patch with home made electronics. 2006

Space Machine (Yamazaki Maso)- "Track D" from Space Machine 3. Maso uses multiple sound sources including the EMS VCS3, Arp Odyssey, Roland System 100M with various echo/tape delays. 2003

Christina Kubisch- 'Ocigam Trazom' from the Intorno al Flauto Magio exhibition, an interpretation of Mozart's opera 'The Magic Flute'. Performed on the EMS Synthi with processed field recordings. 1985

Astro (Hiroshi Hasegawa)- 'Artificial Lake' realized on an EMS Synthi with Tape Delay. From the album 'The Echo From Purple Dawn'. 2008

Eliane Radigue- 'Triptych Pt. 3' created on the ARP 2500 in 1978. From the album 'Triptych'.


We hope you enjoy the podcast and thank you for you continued support."

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.

TapeOp Convention Modular Synth Class Featuring Peter Grenader, Alessandro Cortini and Dave Wright

Published on Aug 15, 2016 david wright

"live improv modular performance by Peter Grenader, Alessandro Cortini and Dave Wright. Mixed and processed live by Steve Roach. TapeOp Con @ El Conquistador Resort Tucson, AZ 2007"

Alessandro Cortini toronto feb 2009

Alessandro Cortini toronto feb 2009 from Steve Benesko on Vimeo.

via guilty1 in the comments of this post, and the following via Daphne:
"By the way, for those of you in LA, blindoldfreak will be performing at the Knitting Factory on March 10th with CyrusRex.

http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=971514"

The euro-rack modular in the background is kakihara's:
"The rack in the back mine, it is a 5 rows of Doepfer rack with mostly Livewire, Plan B, the Harvestman and some Doepfer modules.
Other performers were "Random Transfer" with his Buchla 18 panel 200e, "Filter 27" with an incredible arrangement of stomp pedals/processors and analog synth in a box, a special guest, Zoe, performed on her persephone with him. I was using along with the synth, MaxMSP and a Novation remote 25 SL controler...I go under the name "Kakihara 079"... I'll set up a webpage soon!
I hope it helps a bit! ;)"

Make Noise Announces Black and Gold Shared System Plus

via Make Noise:

"The Shared System re-made in Black and Gold w/ the Erbe-Verb, Morphagene, TEMPI, and CV Bus added in a steel case with the Make Noise logo. The personal favorite system of Make Noise founder Tony Rolando, this collection of modules is utilized by all artists for the Make Noise Records Shared System Series. It was also utilized by both Alessandro Cortini and Richard Devine for their performances at the 2012 Make Noise Opening party. The Shared System is the deepest and most complex of our systems bringing together all of our synthesis techniques into one system. From analog FM to voltage controlled granularization, the Shared System will go to more sound destinations than most folks have time to travel to in a single lifetime.

The CV Bus was originally designed for Alessandro Cortini's personal Make Noise system. It provides visual indication of level, rate and polarity for up to 4 control signals that will be shared throughout a patch. These 4 control signals are color coded and distributed across the center of the system allowing for quick, clean and intuitive patching. The distribution method is unlike the typical multiple since the control signals will appear beneath their possible destinations allowing for the use of shorter patch cables. The color coding and visual indication makes navigating complex patches easier and more intuitive. Typically, the CV Bus would be used to share the most important control signals in a patch such as your Master Clock.

The CV Bus also has the tools needed for integrating the Make Noise system with the outside world. A 1/4" Mono input with plenty of gain allows for bringing external signals into the system. The optimal 10Vpp signal level is visually indicated. A high quality Stereo Line Driver converts powerful modular synthesizer signal levels to the commonly used Line Level. There is mini-jack inputs for Left and Right, a single Master Volume control, and a TRS Stereo 1/4" output jack. This output is capable of driving long cable out to a PA System or a set of Headphones. It has AC coupling and a built-in limiting circuit (with visual indication) that prevents damage to ears and PA system when the patching gets experimental.

The powder coated steel Case is 2 lbs. lighter than our wood Shared System case without compromising mechanical durability. The sleek matte black finish was selected to match our line of Black and Gold modules. This finish will show the story of your modular synth's travels over the years. If you do not want that story to be told you will want to request your system to be built using our wood 7U case with scratch resistant black urethane coating."