While Benge uses a quantizer after the 960 Martin Peters tunes his sequencers by ear/hand – and that’s the possibilty that intrigues me. What I did find was a video of Benge demonstrating it.īenge also provides a grand tour of basic sequencer techniques demonstrated on Moog, ARP, Roland, Serge, and Buchla modular systems, as well as a little diversion with the VCS3.įollowing up on Benge’s sequences I came across this thorough demonstration of classic Berlin School sequencing with a Doepfer MAQ16/3 and a Q960 (a recreation of the Moog 960). The idea of a sequencer broken into smaller component modules intrigued me, but I haven’t been able to find much information on it on the web. Along with tracing the beginnings of the E-Mu Modular he also mentions the modular sequencer developed for the system. One of the recent guests on Darwin Grosse’s Art + Music + Technology podcast was E-Mu Systems Dave Rossum. It too provides a good trace – a journey in sound of the arc from evolving textures to precise presets. I was thrilled to receive the CD as a gift when it first came out nearly a decade ago, feeling that it nicely mirrored the first 20 years of my own life. Starting with the Moog Modular 1968, moving through ARP, Serge, Roland, Oberheim, and Yamaha in the 70s, and ending with the Fairlight and Synclavier, amongst others, in the 80s. The Art + Music + Technology episode with E-Mu’s Dave Rossum provides a good example of this arc – and the spiral back to the beginning that we’ve now reached.īenge’s 20 Systems presents 20 pieces of music created with 20 different synthesizers, one from each year between 19. I’ve been thinking about the development of synthesizers over the years – the gradual change from modular systems that lent themselves to ever-evolving textures to banks of presets and large libraries of relatively short sounds.
Building a sequencer audulus portable#
The ARP Odyssey marks is an interesting point in the development of sythesizers with some of the flexibility of the modular systems it grew out of and the fixity of a portable performance instrument that became the norm.
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