Good overview of a straightforward approach to mastering.
Lovely interview with Sean Hellfritsch on music, sound, and process. Just great – inspiring in the warm, meaningful ways, not the flippant euphoric ones.
Lovely, lovely documentary by Olivia Laing on Arthur Russell.
Lovely documentationn of a live performance by Suzanne Ciani and Kaitlyn Aurelia-Smith.
I've been thinking a lot about pianos and electronics, and this is a nice exploration of the lines I've been thinking along. I think the piano manipulation could be more interesting, but it's certainly in the ballpark of what I'm interested in attempting.
CDM on Buchla – lots of great links and videos, great explanation of why we all care so much.
The Guardian's Buchla obit.
19 September 2016
Although Moog is often credited with having invented the first modular synthesizer, Moog even admitted during his lifetime that Buchla was the first to have a full concept of how to put all the modules together to add up to an instrument. Buchla tended to avoid the term ‘synthesizer,’ preferring to use terms such as ‘electronic instrument.’
That is, I guess, the neatest summation of what I valued most about Buchla – who I came to late. Not just neat synthesizers with tangles of wire, but a clear understanding of how they were instruments. Whilst the System 100 and 200 are all obviously hugely important, for me, nothing summed that up more than the Music Easel. I might still write something about how perfect the Easel is as an electronic instrument; I’ve found that the more I stare at Buchla’s instruments, the more cleverly put together they are. (Not to be a downer on Moog, but some days, I’m sad how dominant the Moog-subtractive East-Coast model is. It’s a great model for synthesis, but god, therea re so many others.)
This also reminds meme of the work I did on Twinklr, and the work I’m continuing to do on something like an instrument:
“…if a designer expects to design legitimate instruments, he has to design them from the outside in,” Buchla continued. “He has to build the outside of the instrument first. This is what the musician is going to encounter. You cannot become obsolete if you design a legitimate instrument from the outside in.”
It was all there, right from the start, and he kept playing and making throughout his life. As somebody pointed out on Twitter: even if you don’t know his instrument or name, his influence is in every music studio in the world, every softsynth, every EDM track. It was all there.
Then again, maybe the most pertinent quotation from the obit is Suzanne Ciani:
“He never wore matching socks, but oddly, as an enthusiastic tennis opponent, always wore pristine tennis whites.”
Great overview of a history of library music, with some nice notes on Trunk Records' involvement in picking a lot of it up later. I love all this stuff.
"The SSS-12 is probably the best hardwood sequencer to ever be put on water. An incredible machine, It stores and plays the last 12 hours of river samples. Custom circuits convert the saltiness of each sample into pitch, the more salt the higher the pitch, giving a sonic impression of the tidal cycle. With its wooden conveyor belt the SSS-12 automatically updates every hour so you always get to hear the last 12 hours of tidal activity."
"Learning to play music is an long exercise learning to to be kind to yourself. As your fingers stumble to keep up with your eyes and ears, your brain will say unkind things to the rest of you. And when this tangle of body and mind finally makes sense of a measure or a melody, there is peace. Or, more accurately, harmony. And like the parents who so energetically both fill a house with music and seek its quietude, both are needed to make things work. As with music, it takes a lifetime of practice to be kind to yourself. Make space for that practice, and the harmony will emerge."