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Now Playing / Re: Currently listening, part 1
« Last post by Julio Di Benedetto on Yesterday at 04:29:55 PM »
I have been immersing myself in Tear Ceremony.....

Film Decay...Resin...Emulsion.  Film Decay is the one the really resonates with me.

And recent releases from Todd Gautreau aka Tear Ceremony under the name Tapes & Topographies....

Well worth checking out though I imagine the early works as Tear Ceremony from the late 1990's are familiar to most.....its new for me though.
Music Gearheads Tech Talk / Re: The Modular Synthesizer Thread
« Last post by Julio Di Benedetto on Yesterday at 03:53:35 PM »
Thanks for the info like yours really make this modular thread a living breathing personal experience  :).

Yes your mixer is front and center but I understand how the computer is really the core.

From my own experience Im beginning to realize how the Akai APC 40 just shines for live performance, well, my own studio performance that is but still I can envision this out in a live situation.  One Apc may not be enough.  I believe they can be daisy chained so one could almost ignore the computer.

Staring at all the eye candy I was distracted and missed  the story about the Moog 35....thought it was a, they do share a resemblance.  Damn Maths teachers....stick to fractal and algorithmic music ;D

Looking forward to the video of your performance.
Music Gearheads Tech Talk / Re: The Modular Synthesizer Thread
« Last post by LNerell on Yesterday at 11:52:04 AM »
Fantastic pictures did the performance go?

It went well I thought.

It seems the mixer is a focal point for you...could you explain the performance process and how each part of your setup interacted.  Im very interested in what is involved in a modular performance and making it all come together in a live situation. 

Well the mixer is kind of the focal point since everything goes through it. It looks like that because of the two side tables that attach to the mixer rack. I think more central was the computer. I was doing a short (20 minutes) version of my album Taksu, so I ended up using a lot of samples. The modular I had programmed with six different patches that I could play, so it wasn't all samples.

Was a recording made?

Yes and a video as well, it should be done shortly, I will let everyone know when it is up.

Bruno Sanfilippo "The Poet" CD

Argentinian virtuoso piano composer Bruno Sanfilippo, based in Barcelona, is back with his newest album "The Poet", this time the usual ad21 label, he used to co-run with Max Corbacho, is now replaced by 1631 Recordings. This is an emerging and blooming Swedish label, established in the summer of 2015 by Mattias Nilsson and David Wenngren. Yes, Bruno Sanfilippo has been releasing his music, since his move from Argentina to Spain in 2000, mostly through ad21, with some exceptions like Neuronium Records, Spotted Peccary Music or Hypnos Recordings. Back to "The Poet", on this album Bruno Sanfilippo joins his creative forces again with kindred performer souls like violinist Pere Bardagí, already known from "clarOscuro" CD (May 2014), and cellist Julián Kancepolski, introduced on "Inside Life" CD (February 2015). I really enjoy gorgeous drawings on the front and back cover of the 4-panel digipak, layout credit goes to Mattias Nilsson, although I don't know if he is also the artist behind these evocative drawings. If so, another kudos to him!!! I also should mention Ian Hawgood, who is the mastering expert behind "The Poet".

Profoundly weeping interplay of cello and violin strings reveal this intensely cinematic splendor. During the second third of title composition "The Poet", which clocks to 3 and a half minutes, Bruno Sanfilippo joins this pensive sadness with his sparse, yet utterly embracing piano expressions. A truly gorgeous symmetry between all participating artists immediately unfolds in all its intimate authenticity. "Before Nightfall" keeps on exhibiting the virtuosities of their protagonists, again rather minimal, eloquently evocative and lullingly calm at the same time, with piano and violin infused. "Silk Offering", only slightly longer than its predecessors, awakes long buried memories, where longing cello and violin coalesce with subtly permeating piano drama. Nuancing, crescendoing and evanescing through consistently immersing glimpses of stillness. What an exquisitely painted beauty!!! Short "Dead's Hope" reaches pinnacling magnitudes with its fanfarade-like orchestrals. "The Legend Of The Sailor" meticulously counterpoints richly poetic piano subtleties with sweepingly saturating tearful strings. A sonic equilibrium at its most engrossing!!! "An Omen" with its droning cello, hidden dramatic piquancy, ephemeral rumbles, peculiar strings and lachrymose traceries shifts into astonishingly ambiguous terrains, sculpted with awe-inspiring singularities. Bravo!!! The next composition, "The Book Without Words", returns quickly to enticingly poetic paths, where soothing piano blankets masterfully commingle with fully blossoming and impressively undulating textural orchestrations. A triumphantly intense listening experience and an epic chef-d'oeuvre!!! "Seventy Seven Years Later", with 5:17 the longest piece on the album, opens with tranquil piano lyricism, while evocative stringed textures smoothly join the stage and continuously keep on emerging, meandering and climaxing. Textural palette of this narrative composition is stunningly emotive, magnífico, señores!!! "Iron Horse" invites the listener into a deeply contemplative garden, where the still of surrounding sceneries blends with some, I believe, inside-the-piano technique, maybe hitting the strings with some mallet, maybe some manual muting of the strings as well... In any case, this piece is a very refreshing addition to already richly abundant wizardries on "The Poet". Well-done, Bruno!!! "The Four Keys" composition brings back Julián Kancepolski and Pere Bardagí with their powerful expressions, precisely melting sorrowful cello with scenically textured violin. On 2-minute, nostalgically entitled "Abandoned Carousel" excels again Bruno Sanfilippo with his minimal piano poignancy and guides the album into its soothingly enveloping conclusion.

Being a sound architect since 1991, when debuting with "Sons Of The Light" album, Bruno Sanfilippo certainly belongs to the most multifarious composers within ambient and modern classical driven styles. And hugely talented, potential and consistent as well, because with his piano sculptings, on which he focuses since 2007, when returning to his roots, he constantly enriches the scene with his emotive insignias, no matter if solo or coupled with creative contributions of his kindred spirits. Few months ago, when exploring 40-minute "The Poet" for the first time, I wrote this album might be Bruno Sanfilippo's magnum opus. After many spinnings, I still fully stand behind my words!!! Sure, as an aficionado of electronic charged ambient soundscaping, I will always miss gems like "Urbs", "Subliminal Pulse", "Auralspace", "InTRO", "Indalo" (with Max Corbacho) and many others, but who knows, maybe some electronic driven ventures will be resurrected one day. However, jewel like "The Poet" deserves to be experienced, cherished and celebrated!!! Hats off to Bruno Sanfilippo and his guests, Julián Kancepolski and Pere Bardagí, muchas gracias!!! And last but not least, huge thanks also to 1631 Recordings for inviting this crafted composer to their growing roster!!!

Richard Gürtler (Jun 26, 2016, Bratislava, Slovakia)
take these 2 "shorter" tracks for example, both with Bruno Sanfilippo.  These are probably my 2 of my favorite from the artist...

these two represent a good example of what stargazer was referring to as "sparks".  They express something beautifully, succinctly, and there really isn't much need or sense in them going on for much longer.  I guess the track "Pulsum Sancrum"  (second video posted) could be extended or looped a lot longer, but it's not necessary.  These 2 tracks' power is in the brevity, and the fact that the "hook" if you will, is found early and extended often... and that's all you need for a perfect short burst of ambient genius  :)

But when I think of Alio Die for example, generally his work tends to be a slow burn.  Like Grassow and others, its power is the length of time and the effect it has on the listener.  You don't discover the real genius in those works without that longer time span, IMO.

Music Gearheads Tech Talk / Re: The Modular Synthesizer Thread
« Last post by Julio Di Benedetto on June 29, 2016, 07:37:47 PM »
Fantastic pictures did the performance go?

It seems the mixer is a focal point for you...could you explain the performance process and how each part of your setup interacted.  Im very interested in what is involved in a modular performance and making it all come together in a live situation. 

Was a recording made?

Questions, questions, questions.
Music Gearheads Tech Talk / Re: The Modular Synthesizer Thread
« Last post by LNerell on June 29, 2016, 04:55:31 PM »
Here are a couple of other shots of modulars that were at the show.

This one is actually the synth I first learned synthesis on 35 years ago:

It's the moog 35 that Long Beach City College owns. It sat in a storage room for over 20 years not being used (I almost bought this thing off of them at an auction in 1987, but they pulled it out before the auction ended). Two math professor heard about it, the music department gave it to them, they sent it back to moog who refurbished it to this condition. Nice to see it in use again after all these years.

This is my friend Rychards modular synth, he likes LED lights  ;D

This guy named Matt brought his smallish system, it does a lot for it's size:

Lastly a closer picture of my system:

Music Gearheads Tech Talk / Re: The Modular Synthesizer Thread
« Last post by LNerell on June 29, 2016, 03:23:56 PM »
Interesting, I wonder it that would work with Mainstage instead of Live?   :o

BTW here is a pic of me from my live show last week, with my modular as you can see:

Now Playing / Re: Currently listening, part 1
« Last post by stargazer on June 29, 2016, 01:41:33 PM »
NP: Mr. Cloudy - Space Of Variants

This is yet another wonderful dub techno album from 2014 that definitely spreads pre-millennia spheres.
I think a lot of it depends on what the artist is wanting to express, also on the type of artist, or the subgenre.

Shorten Mathias Grassow's drone works down to under 5 minutes and they probably would lose the power of the gradual build up and enveloping of your mind/ earspace.  Same goes with some of the sequencer pieces from Tangerine Dream or Steve Roach- they would lose the effect if shortened up to the extreme.

On the other hand, there are some beautiful short pieces as well as albums composed of unforgettable trakcs that are mostly under the 10 minute mark.  Brian Eno's On Land, Budd and Eno's The Pearl, and endless other examples where had the one track extended indefinitely, there wouldn't have been the opportunity to paint a "grander picture", given fewer elements to express.

I have more to say on this, but alas, time is not on my side at the moment... ;)

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