Tuesday, 1 September 2015

Spiders From Moors




I have just had my EMS gear serviced and calibrated in preparation for my appearance at the Barbican later this month. DID I MENTION I AM PLAYING AS PART OF THE DISCREET MUSIC CONCERT ON THE 26TH SEPTEMBER? Please come along! I have been asked to play the synthesiser and tape parts live on stage, what an honour - Discreet Music is one of my favourite albums, and it was Brian Eno's first release in his seminal ambient series of albums. It was the very first ambient record! Anyway, my gear is all fit and ready thanks to Keith, but when we opened the VCS3 up there were two SPIDERS inside - they had not harmed the circuits though, just spun a few ambient webs and eaten some ambient flies

You can listen to an interview with Leo Abrahams and David Coulter about the gig below (about half way through the program)

Saturday, 29 August 2015

Moor Rothko


Rothko helped quite a lot in the making of the video in the previous post. He chased the drone all over the place

Moor Video


Friday, 28 August 2015

I Dream of Ghosts


New Wrangler remix out now on THIS compilation - music from the documentary I Dream Of Wires. Yeah!

Wednesday, 26 August 2015

Inaugural Patch


The first full patch in the new studio. Its all running together with the same clock triggering everything. In this vid: Polyfusion AS-1 Sequencer, ARP 2500, Serge Modular and EMS stuff (OK I played that by hand). Thanks to Phil Jones for capturing it on his nice camera...

Friday, 21 August 2015

Settled On A Platform




I am in a real magazine! Yes, there is an interview / feature on me and my London studio in this months Computer Music. Its also online here

Thanks so much to Danny for doing the interview - that was a very long phone call mate!!

Just a few corrections, for the record: my tape machine is 16 track not 24; the first computer sequencer I got on the Atari was C-Lab Notator, not Studio Vision (that was my 2nd sequencer, when I got a Mac); my 20 Systems album wasn't synced up using midi - on that record, if a synth had a built in sequencer I used that on the track, otherwise I played it by hand; "Kyma, it's a bit like Max, but not quite as complex" Kyma is as complex as Max, if you want it to be! Other than that its a brillo interview and hopefully I don't come across as too much of a nobber

Thursday, 20 August 2015

Cooking 2


Here are some facts about the AS-1 sequencer:

1] Its V.cute


2] It is very small and compact having 16 steps and a lot of nice control features

3] My model has the serial number "DEMO" - so I guess this was one of the first units produced and used by the guys at Polyfusion to show people what it could do


4] The AS-1 was one of the first stand alone step sequencers. I can only think of a few dating from the 1970s: the ARP 1601, the Oberheim Mini Sequencer and the Korg SQ10. The Polyfusion is the coolest looking though. For some reason it reminds me of K9 which is a nice thought

5] The AS-1 came with an amazing user manual that has to be one of the BEST LOOKING USER MANUALS EVER DESIGNED! Its so cool that I scanned my version and made a PDF for you

Cooking 1


Look I found a super-rare Polyfusion AS-1 Sequencer on the Bay to match my Polyfusion Modular system! Here it is in action:

Sunday, 9 August 2015

Moor Info




Here is some more moor music information:

The music on this album was created on a Yamaha VL1-m. It is an instrument of immense complexity and depth, but like many innovative large-scale instruments it has been long forgotten and superceded by smaller, cheaper, more compromised iterations. VL1 is the first example of a digital sound processor that uses the principles of waveguide technology to produce acoustic instrument simulations. Waveguides are physical bodies that limit waves (sound waves or any other kind of wave) in a special way to produce a desired effect. As soon as digital computers became powerful and affordable enough for the huge amounts of processing required, waveguide principles began to be used in the simulation of real-world instruments. During the late 1980s, Yamaha worked alongside Stanford University in the development of waveguide synthesis, using a combination of digital delay lines and filters to model the properties of acoustic instruments. The result was the release of the instrument in 1994, VL1, and the keyboard-less rack mount version (which I have), VL1-m

VL1 was primarily designed to be played using a breath controller, an electronic device you blow into to control sound settings. However I decided to use a small MIDI keyboard with great physical control output to create my interface with VL1-m. For example, I used the keys to select and trigger the locations and durations of notes, velocity, wheels and after-touch controllers to guide other parameters such as wind or pressure arc, damping, the absorption of certain frequencies, etc

VL1 also includes 3 high quality FX processors, various EQ modules, mixers, dynamic filters, resonators, exciters, and so it goes on. All in all, even though it is not easy to harness all this power by editing via its tiny screen, it was possible to create every element of this album from inside this small black box

Saturday, 8 August 2015

Moor Music




Booklet: