Due to health problems, I left this forum for a few months.
Today, everything is fine and I walk normally.
I temporarily stopped building my AE Modular, and sold one of my two cases. I have not given up the idea of making an album with an AE Modular system, but I am currently on other projects that have pushed me to rebuild my Eurorack system (started 3 years ago).
I continue to follow this forum with passion, and I still admire Robert Langer's creativity.
it's so good to hear that you feel better now! I'm still enjoying your albums, especially The Pearlman Synthdrome, which is my favourite.
When listening to this album I always have to think of Karate Kata, which to some look like choreographed fighting moves, but are in fact a dictionary of techniques with each move just being a reminder of a concept that could be used effectively in many variations.
As I'm often stuck when trying to come up with a track because I'm trapped in thoughts like "which scale", "I can't find a melody", "chords???" etc. then I listen to that album (also the Zinovieff Synthdrome) and get reminded what synthesizers are all about and then I go back to just sound design and enjoy the sound of modulation on sound sources and filters and then a track develops all by itself.
I'm not sure if that is what you intended when you made those albums, but this is how I feel about them and why they are so important to me.
It's fantastic to hear that you're healing, Jihel I have been following your other adventures via FB. Some interesting points in both your post and the one from admin .
First your point, Jihel : I think it's entirely healthy to pursue alternative routes to sound nirvana, other than just AE Modular. Whilst the design ethic is excellent, and the form factor is amazing, sometimes you just can't achieve what you're hearing in your head with just one source, no matter how varied and deep it is. OK, you could argue that Eurorack is beginning to come close, with its enormous range - but that is at quite a cost. It's for good reason that synths such as the ARP 2600 or the ARP Odyssey were pivotal for some sound designers/synthesiser players. I do have quite a thing for the ARP sound, I will admit
For me, I've travelled into some virtual realms, starting with the CA2600, which instantly started to allow my sound design to go into those ARP zones - and with some well-mapped controllers, I was able to just "play" the synth, rather than simply "mouse" at it. This took me towards designing virtual (and complicated) sequencer setups in CA Voltage Modular that have resulted in some interesting complexities that I couldn't have achieved without considerable expense in hardware, and that I then can fire at real hardware... or not, my choice.
I'm willing to admit that the fast translation of this method of sound design has made me look hard at which items of hardware I'll keep - and certainly which new pieces I'll be buying. There is a balance, and some pieces are just too good to let go.
Next, your point, admin : You already know a lot of my thoughts on this one For me, it's nearly always the sound design that leads to the outcome. OK, if I'm working on a particular set of sequence interactions, the "notes" will play into the timbres used. I really like to play my sequencers, which means setting up a lot of modulation routings, sitting there ready for tweaking. Having said that, there's a massive amount that can be done from that "letting synths do what they're good at" concept, which can either be the whole piece (I try my hand at that), or sitting behind something more traditional, but adding a huge amount of atmosphere.
Something like an ARP 2600 was meant for experimentation (IMO), so doing just that, either with or without boundaries, and just pressing record, will yield mighty interesting sound design. If it doesn't, just delete and start again. I've done the same with the AE Modular, and whilst you have to have a steady hand, and good eyesight, it's completely possible to create huge moving musical backdrops, especially with judicious use of effects in parallel/series. Just don't be afraid to press record and explore. Remember: In (your own) space, no one can hear you scream(ing)
As ever, I've bored myself again... time for coffee...
admin Hi Carsten, Thank you for your kind words and for your support. Yes, with synth you need to think "sounds" before "music theory" or structure (but it also depends on the style of your music). I conceive my music as "abstract electronic" (or abstract ambient); I structure the piece in different movements but I force the overall sound design to dilute this structure. You can hear basic sequences and basic keyboard parts, but their role is to support the overall sound design.
spacedog Hi Andy, Thank you for your kind words. Yes, alternative and mixed "palettes" are important. I use my (unfinished) AE Modular with my (unfinished) Eurorack Modular, and I use too the Cherry Audio Modular (the CA2600 is excellent!) and some Arturia "vintage" stuff. In the "dark ages" of electronic music (yes, I'm old ), we would have loved to have so many choices...