This is an album exploring the interplay between random events and deliberate human intervention, something which, in the electronic music field, I call cybersynthesis. I saw it’s creation as being analogous to creating pictures using the medium of Watercolour, whereby the various pigments are allowed to flow randomly in water with the hand of the painter guiding the proceedings with an eye on satisfying various criteria. These criteria define the artist’s intention. The work is the result
The music was made on the Serge Modular Paperface system, with most of the modules being made in the early-to-mid 1970s. However, one panel of the nine used is a modern unit formatted to the Serge standard, made by the British synthesiser manufacturer Loudest Warning. This panel was assembled on my instruction, a service happily provided by the manufacturer, and contains cybernetic functions that I felt were lacking in the other modules in my system, but which fit in with the spirit of the Serge. They were designed to aid in the composition of self-generating melodic and rhythmic patterns
These functions are as follows:
Two Gated Comparators, each one slightly different from the other. These modules take in pitch data, and hold it in memory to be passed out at a sequentially gated step, with up to 8 steps. They create a semi-random series of notes and gates and can be used in conjunction with other modules such as the Quantizer
Window Comparator: This takes a clock input and puts out up to 8 new gates based upon a range set by external CV. It can be used to create complex rhythmic patterns which again are semi-random in nature
And-Comparator. This takes multiple gate events and outputs a new gate only if all inputs fire together. It is useful for selectively thinning out complex events into simpler rhythmic events, also known as rhythmic quantizing
The Slope Detector takes any variable CV and generates various gates depending on the rise and fall time of the input
73 EG. A complex envelope generator based on the original Serge design from 1973. It allows voltage control over most parameters and also generates extra gate outputs under voltage control. In cycle mode it can be used as a complex VC-LFO
Having this extra panel added to my system has opened up the compositional potential of the instrument to a very large extent. All of the melodic elements you hear on this album were generated using what I call ‘cybersynthesis’ principles, which is a fascinating area of electronic music that I have greatly enjoyed exploring on this record
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