A springtime flavored Serge modular improv. Processed with about fifteen compressors and saturation circuits. Enjoy

Ladybugs

Demonstrating the system's filter pinging capabilities is of course another key rite of passage for the so-called "West Coast" (ugh) synthesizer and synthesist. I stumbled onto this rubber band/bouncing ball type patch that reminded me of "Bowery Bum" or "Le Tombeau d'Edgar Poe" by İlhan Mimaroğlu, one of my favorite composers from one of my favorite early electronic music studios (Columbia-Princeton); I chose to name it after the latter piece given that I live only about a mile from Poe's grave in downtown Baltimore.

The rubber band effect is accentuated by a long, heavily modulated stereo delay from Soundtoys PrimalTap, as well as some faux-spring reverb from Logic's Space Designer for '60s flavor. The dry signal from the synthesizer is also mildly massaged by Klanghelm MJUC for transient shaping and overdrive. The patch was not altered during the take except to momentarily stop/start it near the end of this recording.

Study after "Le Tombeau d'Edgar Poe"

Ducks,Waltham

Environment 1 is based on recordings of cicadas combined with electronic sounds to create an
electro-acoustic landscape. The main pitches of the quartet are chosen from spectral analyses
of these insect sounds, and undergo their own transformation mimicking ring modulation. The
goal of the piece is threefold: to act as a field recording of an imagined habitat, to showcase the
inner musicality of the world around us, and finally to blur the lines between synthetic and
acoustic sounds.

Envrionment1ForStringQuartetandTape

PIN PORTABELLA MK3 External Input

PIN PORTABELLA Melodic

EMS SYNTHI A MK1 External Input

Warty performance on the Matt Kuebrich "Roundabout" DIY synthesizer (https://github.com/MattKuebrich/roundabout)

Roundabout n.1

Knas Ekdahl Polygamist and Serge Panels patched together for lots of fun!

Sergitude and Polyamory

En 2011, lors du tsunami qui a frappé le Japon et de la catastrophe nucléaire qui en a découlé, j'ai composé イカルス
(Ikarusu), en réaction au trop plein d'émotion et parce que je ne savais pas bien que faire d'autre.
Aujourd'hui, la catastrophe nucléaire n'est pas terminée : la radioactivité est là pour longtemps et de
l'eau contaminée continue de s'échapper de la centrale.
Comme lors de la catastrophe de Tchernobyl, des villes, des maisons ont été abandonnées.
J'ai pensé cette nouvelle pièce comme un écho ou une séquelle de celle de 2011.
Nous ne sommes plus dans l'irruption du tragique : rien de spectaculaire ici, mais de la durée, de
l'omniprésence diffuse, du parasitage.
Les formes et les matériaux ont volontairement été réduits au plus simple – les seules sources
sonores ont été un EMS Synthi AKS et un récepteur en ligne d'ondes courtes radio.

Villes Fantômes (2014)

Mobile Variations explores space as a composition element. I decided to avoid using prerecorded material in this piece and to create all the sounds from scratch, employing various synthesis techniques. This allowed me to study the very nature of sound, its various shapes and colors as well as the almost endless possibilities of technology. Mobile Variations received Prix at Concours Internationaux de Musique et d’Art Sonore Electroacoustiques-Bourges (2007) and the Golden Euphony prize from the MISAME association and the Bourge Competition in 2010.
Krzysztof Wolek

Mobile Variations (2005) for 6 Channel Surround Tape

for sketches and sundries that don't warrant commercial releases

Study after "Le Tombeau d'Edgar Poe"

EVEN MORE MAOIST THAN CORNELIUS CARDEW

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Niall Munnelly

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