(Excerpt from my e-book “A Systematic Introduction To Making Generative Music With Modular Synths”, Volume 1. Read more here: https://www.dev.rofilm-media.net/node/331)

Chapter 5.8:

Instruo “harmonàig”

(Modules that are especially useful when making generative music)

(Excerpt from my e-book about this topic: https://www.dev.rofilm-media.net/node/537)

What the pioneers of electronic music worked on, emphasised more than before or even discovered, and how to translate this to our situation today:

Aspect 3:

The relation of composer, instrumentalist and machine (tape)

As promised on social media, here is the complete patch. Just click on the link to download it:

https://www.dropbox.com/s/l8nqt2dtcty3z2m/ultra_9.vcv?dl=0

or simply watch the video here: https://youtu.be/MOmXeFUxHlA

(excerpt from my e-book “New Concepts for Music and Sound”: https://www.dev.rofilm-media.net/node/537)

Experiment 3

In both experiments the composed parts contained rather simple timbres and sound developments – let´s say to “keep our musical feet on the ground” - whereas Ongaku delivered more complex sonic goings on. And the individual parts, the composed one as well as Ongaku´s answer – were rather long, not a real dialogue.

As promised on social media and YouTube: here is the patch:

You can download it here:

https://www.dropbox.com/s/xtynipxafagbkbt/ultra_8.vcv?dl=0

or simply watch the video here: https://youtu.be/QarzPmSrx_M

Enjoy your day!

Rolf

(Excerpt from my e-book about this topic: https://www.dev.rofilm-media.net/node/537)

What the pioneers of electronic music worked on, emphasised more than before or even discovered, and how to translate this to our situation today:

Aspect 1:

The meaning of sine waves, additive synthesis and the real nature of sound

(excerpt from my e-book “New Concepts for Music and Sound”: https://www.dev.rofilm-media.net/node/537)

Experiment 2

Experiment two now. This time it´s not about certain notes nor melodies nor anything serial. This time it´s about timbre, sound and pitches.

(Excerpt from my e-book about this topic: https://www.dev.rofilm-media.net/node/537)

What was so groundbreaking about the goings on in Cologne and Milano (and Paris and London, and....) in the 1950s? What was it that makes us call this early electronic music “revolutionary”? What´s all the fuss about anyway? Why should I care about Boisselet, Stockhausen, Eimert, Madera, Berio, Krenek, Cage and, and, and? Why isn´t it wasting of time to study these old guys when I´m indeed looking for new concepts NOW?

(excerpt from my e-book “New Concepts for Music and Sound”: https://www.dev.rofilm-media.net/node/537)

Experiment 1

Me:

After being nearly forgotten by the public modular synthesis has seen a great comeback in the last, let´s say 10 years. What are the reasons for that?

ChatGPT:

There are several reasons for the resurgence of modular synthesis in recent years:

1. Versatility: Modular synthesis offers a high degree of versatility, allowing users to create a wide range of sounds and music. This versatility has made modular synthesis a popular choice among musicians, producers, and sound designers.