Last time we looked into the modular and Euro-rack landscape (2019), it was packed and somewhat passive, in terms of brands and breakthrough ideas. Yet we were wrong! As usual, the independent and edgy have been busy at work, developing new modules, effects and synths - consequently adding new ideas and tools to the craft (or call it art) of electronic sound creation. The story of Abstract Data - Machines For Humans is about pushing the envelope, discovering new possibilities, and remaining independent (small) in structure. Based in the U.K. Abstract Data is a boutique enterprise offering modular synths, effects, desktop and euro-rack modules for musicians and sound artists. Abstract Data also presents a range of drone and experimental music, along with concept based articles surrounding electronic music and sound. "I started building my own little tinker toys, I sold one, and I built another one and I sold that. I did a run where I built three of them and then I did a run of 100... " says founder of Abstract Data, Justin Owens. We spoke to Justin Owen, about the last ten years since the formation of Abstract Data, the challenges, drone based music and new ideas on the horizon.
How and why was AD founded?
Abstract Data has been designing and manufacturing electronic music hardware since 2008 and releasing Eurorack modules since 2010. I started because I wanted some small, basic analogue synths for sequenced Lead and Bassline sounds, for my own music but at the time there wasn't much available without spending big money on highly sought after builds like Roland's X0X series or bigger workstation style synths - so I decided to build one myself. I'm completely self-taught, I had no previous electronics experience when I started and I'm still learning and trying to work it all out 10 years later.
Tell us about the modular music 'scene' in the UK?
I don't really think in terms of 'scenes' and I certainly don't consider myself to be part of a 'scene'. Here in the UK the sort of people that are using modular synths in their music cover just about everything from dance floor styles like Techno to various forms of Electronica and Ambient through to more experimental styles and while there might be some correlation on the types of gear that is used - I would say the backgrounds and musical influences of those people are potentially very different. There is definitely a scene around some of the local synth meets - groups of similar, like-minded people who like to get together to hang out and talk shop and that's great and certainly the sort of people using modulars often tends towards people who like the nerdier, techier side of gear - so even outside of the context of some sort of a scene I guess there is some correlation in the types of people involved. UK artists to name-check would be a very long list but to touch on a few key names that are worth checking out - I'd say Surgeon for the harder end of Techno - although he has recently been doing some more Drone-based pieces as well, Ian Boddy who runs the fantastic DiN label for more Electronica, Ambient, Berlin-school styles and as a complete outlier - Steve Davis who most people would probably know from his career as a snooker player but who also has a long and very interesting association with music.
The 'EVENT BOSS Module' looks very interesting. What is it?
The ADE-33 Event Boss is my attempt at taking all the major algorithms that have ever been used for making electronic music and putting them into a single module. It's basically a pattern and rhythm modulation multi-tool for modular. It has 36 algorithms across 6 different sets that cover Variables, Multiples and Division, Probability and Chance, Logic, Phase shifting and Gate manipulation. It can be used to perform specific functions - for example it can do standard clock division or multiplication across a range of dividers and multipliers - but it's at its most creative when used as a real-time pattern generator for creating musically useful rhythms and patterns.
What are the challenges and downside of being an independent manufacturer?
Running any small business is challenging, working in manufacturing is challenging, working in and around the music and creative industries is challenging - and certainly the last couple of years have been very challenging - so yeah - it's challenging! Getting an original, innovative piece of music hardware from initial concept to release can take years and thousands in investment, there's a significant risk to small and single operator businesses like mine in committing the time and resources for projects like that. But, for me personally, running my own business is also very rewarding. I like being my own boss, I like setting my own course... help bring music into people's lives and be a part of their creative journey - that really means a lot to me. It's also been amazing seeing Eurorack and modular go from a very small, niche market to becoming almost mainstream over the last 5 years. So far the major music manufacturers have only really just dipped their toe into Eurorack and mostly that has been a little half-hearted and maybe a little clumsy. Roland did a series of modules a few years back that never really gained much attention, Behringer have done a few low-priced budget clones and some of the other bigger names have done one-offs but I definitely don't feel like I'm competing with the majors for space.
The last 12 months, with Brexit and the pandemic, that's affected pretty much every part of running the business - and life in general - so this hasn't been a normal year. There are new products in development though - the next will be the ADE-34 Logic Boss MK2 which is the follow up to our debut Logic module the ADE-31 Logic Boss. The first pre-production prototypes of that are starting to head out to beta testers now so it is close to being ready but we're happy to take our time on getting that right before launch.
And your own music?
The upside of lockdown for me personally, has been getting to spend more time making music - which is still an incredibly important part of my life. I produce Techno as Licit ... and I do some live, improvised Drone as Rotator and both these projects help to keep me relatively sane and stable in increasingly insane and unstable times...
M u s i c b y A b s t r a c t D a t a
'Extinction' is the 7th independent album by Audio Pervert. The album [duration 34:10] is dedicated to Climate Justice and the 6th Mass Extinction. The sound is a reactionary outcome to the on-going sacrifice of the ecosystem and the planet for the continuation of industrial civilisation (human progress). An audio-narrative, call it Post-Techno, using minimal resources made of analog instruments, field recordings and virtual processing. Splitting the attention between tone, modulation, rhythm and space. Speaking of a release date? Alexander Robotnick is about to release it on his label. ▶️ Download The Extinction Crude_Out ▶️ Stay Tuned!
Release date - 20th July. Voice samples of Greta Thundberg (Climate Activist) and Ilhan Omar (First Black Muslim Congresswoman in America) inject the truth, albeit from the outer margins of society. 'Extinction' is composed and recorded in Cullera, a sea-side town in Comunidad Valencia, Spain. All proceeds from the sale of this album will be directed to Climate Justice and Environmental Protection Activism. Meanwhile, we urge you to read and understand the gravity of the situation explained by the IPCC Report 2018.
Release date - 20th July. Voice samples of Greta Thundberg (Climate Activist) and Ilhan Omar (First Black Muslim Congresswoman in America) inject the truth, albeit from the outer margins of society. 'Extinction' is composed and recorded in Cullera, a sea-side town in Comunidad Valencia, Spain. All proceeds from the sale of this album will be directed to Climate Justice and Environmental Protection Activism. Meanwhile, we urge you to read and understand the gravity of the situation explained by the IPCC Report 2018.
'En Directo' is a locally motivated DIY scene in the making. From Valencia - the sound and collective flow of energy is fun, is liberating is just for the sake techno! From the landscape of the erstwhile 'Ruta de Bacalao', dotted along Valencia's coastline, through the 1990s, was home to native electronic music, raves, clubs and talent. A new resurrection of the same spirit by a bunch of nerds (anonymous). "We go back to the synthesizers, drum machines, noise generators,
circuits, the odd voice and guitar..". So does that impact the near dead-techno music scene of Valencia? Hard to say. However, As the locals often say 'Amunt' (up)!
Bon Dia ! València Electrònica - "En directe" es un moviment local en procés de creació. El moviment Valencians, anònim, presentarà una serie d'actuacions de música electrònica en dirècte que van desde la música techno, ambient, abstracta i mÃnimal. Segueix-nos!
Bon Dia ! València Electrònica - "En directe" es un moviment local en procés de creació. El moviment Valencians, anònim, presentarà una serie d'actuacions de música electrònica en dirècte que van desde la música techno, ambient, abstracta i mÃnimal. Segueix-nos!
How and why was Erica Synth founded? context to Latvia?
A company was founded on October 1, 2013 when, after spending over 5 years in active DIY synths building, I decided to develop some DIY kits and started to sell them in forums, Muffwiggler mainly. On 2014 Erica Synths moved from my bedroom (literally) in a small, one room office, and on September 1, 2015 engineer Janis and team-rider Kodek to joined the company as partners. At the moment we are team of 7 here in the office, plus two outsourced colleagues - an engineer – analogue designs genius, who works almost exclusively during nights and a guy, who does DIY modules kitting.
The philosophy of Erica Synth?
We believe, any interaction in the world has to be pleasurable. Therefore, our modules are both good looking and intuitive to use. We don’t want users to read 100 pages in user manual we want all controls logically placed, prioritised, so that he/she subconsciously can access any function. Plug and play! Apart from making musical instruments, we promote electronic and experimental music through our Garage project: http://garage.ericasynths.lv/, as well as setting up an initiative to support visually impaired musicians.
What kind of feedback have you received from Erica synth users?
New Erica Synth products? What's new in 2019?
We need to complete the Sample Drum this year and then fill some gaps in modules for an updated Black System. And, perhaps, some standalone instruments! Stay tuned, as exciting instruments and new versions of our synths will be announced.
Let us just quote the feedback we received - Many musicians are literally "IN LOVE with the fusion filter and VCO's" Someones recently said "They've become integral sound shaping tools for me" We got loads of love for our graphic VCO in particular. Some folks loved our drum modules, making first up bass drum sounds..."sounds excellent” We got good feedback for the Pico and Black Series as well -"I highly use the Pico and the Black series a lot live and they are basically my secret weapons” And this is feedback from the bigger names in electronic music, who can 'tell' the difference. We appreciate feedback from all customers, as it helps to improve modules and understand what musicians need. Especially with modules with advanced features, we had lot of really valuable contributions from the customers in hardware and firmware development.
4. What kind of infrastructure does the production of Erica Synths entail?
We have in-house development and marketing, but all manufacturing is outsourced – two assembly factories and several other companies (front panels, enclosures, powder-coating, silkscreen, packaging) are involved in manufacturing process. All our instruments are made in Latvia, and I believe that Latvia has the best infrastructure in the world for electronics manufacturing. Futher, one of our assembly factories – Alfa RPAR – over last few years has developed several music applications specific IC (integrated circuits) and lot of eurorack and standalone instruments manufacturers worldwide are starting to use them.
Which is most selling Erica synth?
DSPs, Drum modules and a Techno System bring us the most of money... Because we achieved making them sound good, look good and be super-functional, especially for live performances. Many producers have written to us raving about the DSP and Drum Modules coming from many different genres of electronic music.
4. What kind of infrastructure does the production of Erica Synths entail?
We have in-house development and marketing, but all manufacturing is outsourced – two assembly factories and several other companies (front panels, enclosures, powder-coating, silkscreen, packaging) are involved in manufacturing process. All our instruments are made in Latvia, and I believe that Latvia has the best infrastructure in the world for electronics manufacturing. Futher, one of our assembly factories – Alfa RPAR – over last few years has developed several music applications specific IC (integrated circuits) and lot of eurorack and standalone instruments manufacturers worldwide are starting to use them.
Which is most selling Erica synth?
DSPs, Drum modules and a Techno System bring us the most of money... Because we achieved making them sound good, look good and be super-functional, especially for live performances. Many producers have written to us raving about the DSP and Drum Modules coming from many different genres of electronic music.
New Erica Synth products? What's new in 2019?
We need to complete the Sample Drum this year and then fill some gaps in modules for an updated Black System. And, perhaps, some standalone instruments! Stay tuned, as exciting instruments and new versions of our synths will be announced.
Photos by Markovskis and Erica Synth.
La Dama, is the 6th independent album by Audio Pervert. Composed and recorded in Monte Alcedo, Comunidad Valencia. Seven compositions [duration 59:30] marks a departure from conventional production into a direction based on narratives, nature, generative data, synthesis and motion. The compositions are exploring techno as a mindset, as virtual space and not just a traditional genre. La Dama (inspired by the ancient Iberian legend, La Dama De Elche, Valencia), is dedicated to the rise of feminism and feminine energy allover the world. The album is available free (Creative Commons Share Alike) in Mp3[Rez 320k] : High Resolution + Remixes [Buy/Share] on Bandcamp. All proceeds from the sale of this album will be dedicated to the Program for Empowerment of Female Talent in India.
Synthesized & Produced at Risk vs. Reward Studio Valencia ESP. Roland SH01. Waldorf Blofeld. DSI Mopho, Generative Midi. Ableton. Max MSP. Super Jupitor. Skinner Box FM. Mastered by Gregory Federov. Ambient archives of 5volts and POL. La Dama De Elche picture by Magpie Aesthetic. Animation & Video by Famous When Dead Valencia [FWD] 2018 © Audio Pervert
Do you dream of wires? Fortunately for you, there are new dreams, new frontiers and new possibilities in the world of synthesis. Modular synthesis as a culture has transcended into a sort of global music phenomena, exiting it's erstwhile 'crazy-scientist' profile. Gone are the days when modular synthesizers and it's zany architecture was viewed as impossible-to-program complex machines, only used by extreme sound nerds or deemed as 'cool furniture' in the corner of a studio. Currently there are over 100 modular synthesizer brands across the world, mostly cloistered in Europe, North America and bits in China, Russia and Japan. Gone are the days of synthesizer monopoly held by Moog, Roland and Korg. Modular sound culture is a great manifest of independent engineers, developers, musicians, designers and artists, which is now being championed by EDM jocks as well serious sound designers, hipsters with long beards, noise artists and certain intelligent DJs. Today, the modular music technology and performance field is a busy playground and there is no such thing as 'too-much-tweaking' ... The newest entrant in this growing field is 'Modular Analog' from Mumbai, India. The first developers and fabricators of modular synths in India.
Modular Analog [MA] is India's first modular and analog synthesis brand. It's formation and growth is a curious story of determination, altruistic ethics and DIY culture. Formed by Dhvanit, Manish and Richard in 2016, based in Mumbai the two enterprising and articulate partners have consistently developed a series of modular synths, midi devices, effects processors as well as patch cables and related power units. Modular Analog is now featuring well over 25 different 'euro-rack' compatible synths, filters, sequencers, kits and components. In India, synthesizer development and research has been nearly non-existent albeit a huge local music industry using American and Japanese synths day in and day out. Though as early as 1996, Radel Instruments based in Bangalore produced simple sample-based synthesizers, mimicking Indian classical instruments such as the Sitar, Veena and Tabla : the devices became a favorite of many foreigners instead of Indian musicians. Off late, developers like Animal Farm Amplification based in Mumbai have created synth-kits, pedals and noise machines. Yet Modular Analog can be decked as a 'pioneer' in the field of modular and analog synthesis in India. Their website claims "a focus on the Indian electronic music community, Modular Analog's goal is to create modular synths and innovative electronic music instruments, for the Indian market at an affordable price". Though modular synthesis and it's esoteric forms of music has been on the far fringe, underground in India, the market within the country remains largely untapped and hence open to speculation. Established brands based in EU and North America remain mostly unaware as well as uninterested about developments within India, which is also the case with most software based music companies. So be it, Modular Analog from India is a flagship effort with international quality fabrication, musician friendly ethics as well as attractive prices. The prices offered by MA are probably the best in the market currently, without compromising on quality or durability.
We asked Richard and Dhvanit a few questions about their enterprise, ethos and products.
What is the ethos behind Modular Analog? How was it formed?
What were the big challenges for MA as of now?
Positively speaking, for us there have not really many big challenges, apart from the the need to 'prove the market' as well as create sustainability in a 'scene' often seen as risky. I think its safe to say we have gradually overcome both. Thanks to some big names and talented artists in the Indian electronic music realm, Modular synthesis has seen a growing and generous spotlight recently. Being artists and engineers (like our tag-line shouts) the fundamental knowledge of building electronic music modules was already at hand. The core team has prior experience in audio engineering, software, hardware and a bit of electronic music production. We build our business acumen from previous ventures and projects. Today, our biggest challenges in two sectors are :
One, finding vendors and fabricators for the very specific needs of 'Eurorack' based modular systems. Two, quality components without spending a fortune and the tedious hassles involved in import issues. Questions of bigger investments when attempting to build modules on a larger scale.
Is MA working with musicians?
Obviously and necessarily yes! While we take pride in our abilities as artists and engineers, Modular synthesis is never just about one artist, or person or a company. It’s an inclusive growing culture and about various communities around the world. Important to remember, that in the end we are making something for an artist. The perspective we get from them is completely different from ours ... Likewise, we are vested in educating ourselves and learning more about synthesis and emerging aspects of electronic music culture in India. Recently we presented our series of modules to the participants and curators at SynthFarm. It was a great experience to be there, to have constructive dialogues and find further inspiration from experts as well as novices present at the residency. Modular Analog is reaching out to many electronic musicians, not just the experienced gurus but also at the grassroots, with emerging sound artists, producers and DJs.
Modular Analog [MA] is India's first modular and analog synthesis brand. It's formation and growth is a curious story of determination, altruistic ethics and DIY culture. Formed by Dhvanit, Manish and Richard in 2016, based in Mumbai the two enterprising and articulate partners have consistently developed a series of modular synths, midi devices, effects processors as well as patch cables and related power units. Modular Analog is now featuring well over 25 different 'euro-rack' compatible synths, filters, sequencers, kits and components. In India, synthesizer development and research has been nearly non-existent albeit a huge local music industry using American and Japanese synths day in and day out. Though as early as 1996, Radel Instruments based in Bangalore produced simple sample-based synthesizers, mimicking Indian classical instruments such as the Sitar, Veena and Tabla : the devices became a favorite of many foreigners instead of Indian musicians. Off late, developers like Animal Farm Amplification based in Mumbai have created synth-kits, pedals and noise machines. Yet Modular Analog can be decked as a 'pioneer' in the field of modular and analog synthesis in India. Their website claims "a focus on the Indian electronic music community, Modular Analog's goal is to create modular synths and innovative electronic music instruments, for the Indian market at an affordable price". Though modular synthesis and it's esoteric forms of music has been on the far fringe, underground in India, the market within the country remains largely untapped and hence open to speculation. Established brands based in EU and North America remain mostly unaware as well as uninterested about developments within India, which is also the case with most software based music companies. So be it, Modular Analog from India is a flagship effort with international quality fabrication, musician friendly ethics as well as attractive prices. The prices offered by MA are probably the best in the market currently, without compromising on quality or durability.
We asked Richard and Dhvanit a few questions about their enterprise, ethos and products.
What is the ethos behind Modular Analog? How was it formed?
We can answer this question in two parts... As far as the culture and ethos of Modular Analog goes, it's not different from the global modular-synth culture. In fact its probably more intense because it’s so new to us and to musicians in India. We are a team of engineers and musicians working in tandem : MA's core strength is based within the team of developers which includes engineers, musicians as well as developers. It’s a very exciting period for us, to be India's first modular synth company and the challenge of 'leading the way'. The idea stemmed from 3 people, sitting around a black table…Richard, Manish and myself (Dhvanit), who were looking to break the monotony felt in the electronic music scene. We wanted creativity and a community. So you can say ModularAnalog was born out of pure necessity, to make a change and to make a difference not just for us, but for every artist, musician and enthusiast in the music scene in India. Modular synthesis is now bit of a global phenomenon, and we feel it is one of most creative ways of making sound and music. We looked around to find that not many Indian artists and producers were 'patching' or had access to modular synthesizers and the crazy possibilities. Hence we strove at the opportunity, almost like saying 'MAKE INDIA SYNTH'! Gradually we have become a 360 degree solution provider, giving aspiring Indian musician the 'Power to Synth'
What were the big challenges for MA as of now?
Positively speaking, for us there have not really many big challenges, apart from the the need to 'prove the market' as well as create sustainability in a 'scene' often seen as risky. I think its safe to say we have gradually overcome both. Thanks to some big names and talented artists in the Indian electronic music realm, Modular synthesis has seen a growing and generous spotlight recently. Being artists and engineers (like our tag-line shouts) the fundamental knowledge of building electronic music modules was already at hand. The core team has prior experience in audio engineering, software, hardware and a bit of electronic music production. We build our business acumen from previous ventures and projects. Today, our biggest challenges in two sectors are :
One, finding vendors and fabricators for the very specific needs of 'Eurorack' based modular systems. Two, quality components without spending a fortune and the tedious hassles involved in import issues. Questions of bigger investments when attempting to build modules on a larger scale.
Is MA working with musicians?
Obviously and necessarily yes! While we take pride in our abilities as artists and engineers, Modular synthesis is never just about one artist, or person or a company. It’s an inclusive growing culture and about various communities around the world. Important to remember, that in the end we are making something for an artist. The perspective we get from them is completely different from ours ... Likewise, we are vested in educating ourselves and learning more about synthesis and emerging aspects of electronic music culture in India. Recently we presented our series of modules to the participants and curators at SynthFarm. It was a great experience to be there, to have constructive dialogues and find further inspiration from experts as well as novices present at the residency. Modular Analog is reaching out to many electronic musicians, not just the experienced gurus but also at the grassroots, with emerging sound artists, producers and DJs.
What Future Plans?
Future Plans ?! Like any smart business and taking a leaf out of Apple's book, those are best undisclosed... Yet we are always working on new ideas, new features and constantly chipping away at optimizing the cost and quality of our products. Hence you can expect regular changes and new releases from us. We are a very young company in a nascent market place which means the change and progress is going to be exponential for a little while more. About new product innovation in the immediate future, expect a whole new array of Digital Modules, Studio Desktop kits , 1U rack-systems plus new aesthetics, colors and designs. Currently also working on increasing stock and availability. Simply put, we will be shifting many gears this year and the future running.
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Cap Mechant [Wave Dream] Long Format Proto Ambient Techno / 13 : 03
Written and produced by Audio Pervert. Continuos Sawtooth Signal. Generative Midi. Doepfer + Waldorf + Jomox + TCElectronic + CLA Waves + Sampled Voices. Ableton. d2A signal maximizer. Released December 21, 2016 Valencia ESP. 2016 Famous When Dead. FWD 3#Catalog
Synthfarm. A three day residency for and by musicians who attempt to demystify the various building blocks of Synthesis, Ableton Live and How to Perform Live Electronic Music - December 2015. Synth Farm was witness to a spectrum of musicians, emerging DJs, studio hacks, synth freaks and sound designers - In discussion, full of questions and exploring the building blocks of electronic music and synthesis through a variety of courses. The in-formation of curriculum, the 3 day event was it's first kind set up by Varun Desai [Littlei / 5volts ] at a completely DIY (inexpensive economic) level. Such efforts are more 'valuable experiences' than the expensive crash-courses offered by music schools and tech-institutions in Delhi and Mumbai.
SynthFarm [4/5/6 December] saw 11 participants, 3 mentors, 2 cooks, 2 dogs and a vast collection of synthesizers, samplers and audio processors wired up. This is the first edition of a planned series of residencies to continue in 2016 and beyond. Approximately 12 hours of formal faculty lessons plus 10 hours of informal discussions, synthesis jams and exchanges were covered in the 3-day residency.
www.synthfarm.in
STUDIO #1 / Da Saz - Modular Science
STUDIO # 2 / The Live Studio by 5volts
STUDIO # 3 / Ableton Live with Audio Pervert
Read the complete project info - http://docdro.id/OWeSsNK
SynthFarm [4/5/6 December] saw 11 participants, 3 mentors, 2 cooks, 2 dogs and a vast collection of synthesizers, samplers and audio processors wired up. This is the first edition of a planned series of residencies to continue in 2016 and beyond. Approximately 12 hours of formal faculty lessons plus 10 hours of informal discussions, synthesis jams and exchanges were covered in the 3-day residency.
www.synthfarm.in
STUDIO #1 / Da Saz - Modular Science
STUDIO # 2 / The Live Studio by 5volts
STUDIO # 3 / Ableton Live with Audio Pervert
Read the complete project info - http://docdro.id/OWeSsNK
The article was originally published at http://www.bordermovement.com/exploring-instability/ - A part of short features representing electronic musicians exploring synthesis and sound-art in India.
"Electronic sound devices are far less restricted and adverse to absolute pitch and timbre "
"Electronic sound devices are far less restricted and adverse to absolute pitch and timbre "
A revolution is on its way, changing the way music and sound can be imagined in the near future" : a prophetic comment made by Pierre Schaeaffer (French sound theorist and music concrete visionary) way back in 1972. " Why does electronic and orchestral music have to be restricted and enslaved to a repeating constant : that of pitch and tempo ? Can you imagine music with tempi ?(constantly changing tempo) " A question posed by Karlheinz Stockhausen (German composer and electronic music pioneer ) in a letter titled " Advice to Clever Children " - Wire Magazine 1995. Stockhausen, Schaeffer, Steve Reich, John Cage and a host of other modernists (dealing in the future of sound and music in the 60s and 70s) were challenging the principle of stable musical instruments and further demystifying the universe of frequency manipulation. This exploration into uncharted and unheard of sounds would lead to modular synthesis and the magic of controlled chance ...
Decades later, as music synthesis would become an art in itself, reshaping again and again from a state of 'medusa' cables running for miles into a universe of modular, subtractive, additive, fm, modeling, virtual and wavetable synthesizers. The future visions had surely manifested itself a thousand times in virtual and real ways, without doubt. Thousands of musicians got sucked into the endless highway of the sound and unsound. Across the world, synthesis of one sort or another accounts for 90% of what we hear in terms of sound and music. Yet within this 90% enormity of homogenized and industrial electronic sounds, beats, chords, styles, trends and techniques, is a tiny presence, a fringe group of artists who continue to push aside the boundaries of absolute pitch and tempo. Kicking the technological curve to produce what we can't imagine yet. Always trying to break the pattern, committed to states of glitch and chance, exploring the 'un'quantized and chaotic effects of sound creation. Effecting the human psych with a medium which is amorphous and androgynous.
" I am exploring instability. Searching the 'other' side of the sound spectrum..." Where most composers usually don't dwell or even reach " comments Lionel Dentan when asked what his vision of electronic music and sound is all about. " Over time I have acquired an acute likeness for music outside the standard methods of creation and consumption. With modular synthesizers the journey of sound has turned unlimited and the aural possibilities infinite ". 16 years now living in India, and having traversed a decade of Indian classical music on the Sitar ( under tutelage of Late Ustad Sattar Bhai - Bangladesh ), Lionel has produced many projects exploring sounds of electronic and acoustic nature, from various countries and cultures. Growing up listening to punk and jazz, Lionel did not foresee his vast musical journey from Switzerland to India. In 2008, Jet Lag (a post-modern sufi pop project) produced by Lionel and David Scufari featuring an international cast of musicians was released by Phat Phish Records, Mumbai.
Background 2001 - 2012 : With his wife Namrata Pamnani, an emerging Kathak dancer and choreographer, Lionel has co-created dance based performances, applying electronic sound upon movement art. Lionel and Ish (Edgecut / Sound Reason) have produced a host of recordings experimenting with concepts of tone, noise and glitch. Several of these compositions have been featured in the Sound Reason Compilation (Volume 1 & 2) produced by Ish in association with Sarai, Goethe Institut and Khoj : This collaboration has further expanded gradually with an international faculty of sound artists / groups such as Rastar Noton and Eisentanz from Germany and Andy Guhl from Switzerland. His extensive participation in the CeC (Carninal of E Creativity) has lead to discovering circuit bent gadgets and his initial foray into D.I.Y synth building ethics. Captain Dubroshniev, another avatar of Lionel featuring the multi instrumentalist Gena Lavrentiev from Moscow is about ambient, melodic and deep frequency manipulated passages. " We tried to imagine the inside of a submarine, stuck in the Aral Sea. The captain exiled, alone in his cabin with some synthesizers .. for life.
His early exploits into synthesis were ad-hoc. Extended improvisations using digital and virtual sources merging with acoustic instruments and effects. Taking live jabs at synthesizers and drum machines along-with his cohort Audio Pervert resulted in " some far out, near mad sound parties at my house " Lionel recounts earlier recording and jam sessions circa 2006 till 08, and the involved 'audio bonhomie' with synthesizers and like minded friends. "We would create bizarre and evolving sound atmospheres. Patching in as many instruments one could… I was not really interested in making 'safe' dance music just because I had gotten a Roland TR606 or the SH101 or even have to quantize my beats to any constant tempo. I discovered CV and the analog synthesizer signal blew my head off. The improvisation jams would go on for 6 to 8 hours. Leaving us empty and quiet in the head, the next day ". Over time, Lionel acquired an array of monophonic synthesizers and boutique sound devices as his main weapons of sound and noise. As contrasting to his understanding of synthesis, his exploration into middle-eastern music structures and instruments ( Saaz, Rabaab and Ud) is a vital link to his dual east-west mindset. On lazy days he would play a bit of jazz and blues on the guitar as well. Yet, Lionel remains rather reticent about his musical journey and the accolades within.
Q. Tell us a bit about the analog sound and modular synthesizers ?
Decades later, as music synthesis would become an art in itself, reshaping again and again from a state of 'medusa' cables running for miles into a universe of modular, subtractive, additive, fm, modeling, virtual and wavetable synthesizers. The future visions had surely manifested itself a thousand times in virtual and real ways, without doubt. Thousands of musicians got sucked into the endless highway of the sound and unsound. Across the world, synthesis of one sort or another accounts for 90% of what we hear in terms of sound and music. Yet within this 90% enormity of homogenized and industrial electronic sounds, beats, chords, styles, trends and techniques, is a tiny presence, a fringe group of artists who continue to push aside the boundaries of absolute pitch and tempo. Kicking the technological curve to produce what we can't imagine yet. Always trying to break the pattern, committed to states of glitch and chance, exploring the 'un'quantized and chaotic effects of sound creation. Effecting the human psych with a medium which is amorphous and androgynous.
" I am exploring instability. Searching the 'other' side of the sound spectrum..." Where most composers usually don't dwell or even reach " comments Lionel Dentan when asked what his vision of electronic music and sound is all about. " Over time I have acquired an acute likeness for music outside the standard methods of creation and consumption. With modular synthesizers the journey of sound has turned unlimited and the aural possibilities infinite ". 16 years now living in India, and having traversed a decade of Indian classical music on the Sitar ( under tutelage of Late Ustad Sattar Bhai - Bangladesh ), Lionel has produced many projects exploring sounds of electronic and acoustic nature, from various countries and cultures. Growing up listening to punk and jazz, Lionel did not foresee his vast musical journey from Switzerland to India. In 2008, Jet Lag (a post-modern sufi pop project) produced by Lionel and David Scufari featuring an international cast of musicians was released by Phat Phish Records, Mumbai.
Background 2001 - 2012 : With his wife Namrata Pamnani, an emerging Kathak dancer and choreographer, Lionel has co-created dance based performances, applying electronic sound upon movement art. Lionel and Ish (Edgecut / Sound Reason) have produced a host of recordings experimenting with concepts of tone, noise and glitch. Several of these compositions have been featured in the Sound Reason Compilation (Volume 1 & 2) produced by Ish in association with Sarai, Goethe Institut and Khoj : This collaboration has further expanded gradually with an international faculty of sound artists / groups such as Rastar Noton and Eisentanz from Germany and Andy Guhl from Switzerland. His extensive participation in the CeC (Carninal of E Creativity) has lead to discovering circuit bent gadgets and his initial foray into D.I.Y synth building ethics. Captain Dubroshniev, another avatar of Lionel featuring the multi instrumentalist Gena Lavrentiev from Moscow is about ambient, melodic and deep frequency manipulated passages. " We tried to imagine the inside of a submarine, stuck in the Aral Sea. The captain exiled, alone in his cabin with some synthesizers .. for life.
His early exploits into synthesis were ad-hoc. Extended improvisations using digital and virtual sources merging with acoustic instruments and effects. Taking live jabs at synthesizers and drum machines along-with his cohort Audio Pervert resulted in " some far out, near mad sound parties at my house " Lionel recounts earlier recording and jam sessions circa 2006 till 08, and the involved 'audio bonhomie' with synthesizers and like minded friends. "We would create bizarre and evolving sound atmospheres. Patching in as many instruments one could… I was not really interested in making 'safe' dance music just because I had gotten a Roland TR606 or the SH101 or even have to quantize my beats to any constant tempo. I discovered CV and the analog synthesizer signal blew my head off. The improvisation jams would go on for 6 to 8 hours. Leaving us empty and quiet in the head, the next day ". Over time, Lionel acquired an array of monophonic synthesizers and boutique sound devices as his main weapons of sound and noise. As contrasting to his understanding of synthesis, his exploration into middle-eastern music structures and instruments ( Saaz, Rabaab and Ud) is a vital link to his dual east-west mindset. On lazy days he would play a bit of jazz and blues on the guitar as well. Yet, Lionel remains rather reticent about his musical journey and the accolades within.
Q. Tell us a bit about the analog sound and modular synthesizers ?
A. Most people might not care one way or another. Yet analog devices and synthesizers
sound way better, warmer or even crazier than virtual or number crunching models of
synthesis. I have spend years in virtual or digital synthesis and that is all fine to a point.
Yet analog synthesizers and their sound sculpting capabilities remain esoteric and special due to the intricacies of each manufacturer and the hardware which gives certain synths a signature sound. The reason 'acid heads' go wow when they hear a typical 303 bass squelch. As for the modular systems, it is the final frontier of synthesis. An open system where individual units such as oscillators, filters, ADSR shapers, matrix sequencers, effects, sampling delays etc. can be routed and patched in any logical progression. The signal flow in modular systems is infinite in terms of modulation and dynamic control. An universe in there [pointing to his modular rack]. You decide everything in there … Within minutes a given atmosphere can evolve into something unimaginable. There are many good virtual modular synths such as the Nord Virtual and the N.I. Reaktor, for one to learn the basics building blocks for all kinds of synthesis. Though its easy to understand why the 'working musician' or even the emerging 'EDM jock' don't care about modular or analog synthesis, as it takes a while to get musically 'useful' results from such open synthesis. There are no presets to dial in and get instant gratification. Guess that is why it is mostly reserved in nerdy, academic or audiophile circles. Though, off late I do see a clear trend in many younger electronic musicians who want to experiment and use analog synthesizers.
Q. Tell us about your approach to playing live ?
A. It has changed a lot over the years. I made many changes in my set-up bit by bit. I prefer to use my modular systems ( Make Noise or Intellijel ) as my principle instrument for extended and experimental performances. I do like using drum machines and monophonic synths (such as the Korg Volcas and Roland SH101) for acid-house and techno inspired sets. My favorite piece of 'ambience and dub' making device is the Moog delay which is a part of my arsenal on most live performances. On more ambient and obscure sound settings I prefer using some of the boutique sound toys such as the Buddha Machine, VTOL and the Leploop. I really dig the circuit bent Gameboy along-with the modified Casio SK1 for glitchy, noisy brain-feeder type of music. The semi modular systems such as the Doepfer Dark Energy and the Epoch are reserved for more harsher and deep bass frequencies, sometimes made even worse with the use old guitar pedals ( the infamous RAT distortion ).
Discog 2007 - 2012
sound way better, warmer or even crazier than virtual or number crunching models of
synthesis. I have spend years in virtual or digital synthesis and that is all fine to a point.
Yet analog synthesizers and their sound sculpting capabilities remain esoteric and special due to the intricacies of each manufacturer and the hardware which gives certain synths a signature sound. The reason 'acid heads' go wow when they hear a typical 303 bass squelch. As for the modular systems, it is the final frontier of synthesis. An open system where individual units such as oscillators, filters, ADSR shapers, matrix sequencers, effects, sampling delays etc. can be routed and patched in any logical progression. The signal flow in modular systems is infinite in terms of modulation and dynamic control. An universe in there [pointing to his modular rack]. You decide everything in there … Within minutes a given atmosphere can evolve into something unimaginable. There are many good virtual modular synths such as the Nord Virtual and the N.I. Reaktor, for one to learn the basics building blocks for all kinds of synthesis. Though its easy to understand why the 'working musician' or even the emerging 'EDM jock' don't care about modular or analog synthesis, as it takes a while to get musically 'useful' results from such open synthesis. There are no presets to dial in and get instant gratification. Guess that is why it is mostly reserved in nerdy, academic or audiophile circles. Though, off late I do see a clear trend in many younger electronic musicians who want to experiment and use analog synthesizers.
Q. Tell us about your approach to playing live ?
A. It has changed a lot over the years. I made many changes in my set-up bit by bit. I prefer to use my modular systems ( Make Noise or Intellijel ) as my principle instrument for extended and experimental performances. I do like using drum machines and monophonic synths (such as the Korg Volcas and Roland SH101) for acid-house and techno inspired sets. My favorite piece of 'ambience and dub' making device is the Moog delay which is a part of my arsenal on most live performances. On more ambient and obscure sound settings I prefer using some of the boutique sound toys such as the Buddha Machine, VTOL and the Leploop. I really dig the circuit bent Gameboy along-with the modified Casio SK1 for glitchy, noisy brain-feeder type of music. The semi modular systems such as the Doepfer Dark Energy and the Epoch are reserved for more harsher and deep bass frequencies, sometimes made even worse with the use old guitar pedals ( the infamous RAT distortion ).
Discog 2007 - 2012
Electronic
http://vimeo.com/user7741082
http://lioneldentan.bandcamp.com/track/sulphabrik
Acoustic
http://lioneldentan.bandcamp.com/
https://soundcloud.com/lionelbaba/sets/jet-lag-2008/
http://vimeo.com/user7741082
http://lioneldentan.bandcamp.com/track/sulphabrik
Acoustic
http://lioneldentan.bandcamp.com/
https://soundcloud.com/lionelbaba/sets/jet-lag-2008/
FURTHER INTRODUCTIONS INTO SOUND ART AND EARLY SYNTHESIS
Pierre Schaeaffer
http://en.wikipedia.org/wiki/Pierre_Schaeffer
Karlheinz Stockhausen
http://en.wikipedia.org/wiki/Karlheinz_Stockhausen
Advice to Clever Children!
http://www.stockhausen.org/ksadvice.html
Pierre Schaeaffer
http://en.wikipedia.org/wiki/Pierre_Schaeffer
Karlheinz Stockhausen
http://en.wikipedia.org/wiki/Karlheinz_Stockhausen
Advice to Clever Children!
http://www.stockhausen.org/ksadvice.html
