Thursday 31 December 2015
Wednesday 30 December 2015
What A Card
Monday 28 December 2015
Buchla Patterns
Tuesday 15 December 2015
Tuesday 17 November 2015
Sunday 15 November 2015
Tuesday 3 November 2015
Shifting Serge
This patch uses the Analog Shift Register to delay a sequencer pattern by 2 steps before going to a 2nd oscillator. They both go into the Wilson Analog Delay which is being VC'd by the sequencer too
Labels:
modular synthesis,
my music,
Serge Modular,
synth sketches
The Dusseldorf
Just got back from a flying visit to Dusseldorf, where we played as part of the ElectriCity festival. Dusseldorf is the epicentre of european art music, being home to the likes of Kraftwerk (Kling-Klang studio, now defunct) and Joseph Beuys (Dusseldorf Academy of Art)
Here we are in the modernist conference venue
Heres us on stage, thanks to Rudi.
I was lucky enough to be met at the airport my my fellow bandmates, who had gone out the day before for Mal's talk at the music conference
We were playing on the bill before Michael Rother, a very nice man, and one responsible for virtually inventing Krautrock. Here is a little bit of his set I caught on camera
Tuesday 20 October 2015
Thursday 15 October 2015
Really Feral
Feral Mix Trailer from Hugo Cariss on Vimeo.
Wednesday 7 October 2015
Sticker
Sunday 4 October 2015
Shh Now
Friday 2 October 2015
Complete Discretion
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
Friday 28 August 2015
Wednesday 26 August 2015
Inaugural Patch
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
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
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Download DocumentCooking 1
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
Friday 7 August 2015
Saturday 25 July 2015
meTunes
Friday 17 July 2015
Tuesday 30 June 2015
Sunday 28 June 2015
Friday 26 June 2015
Friday 19 June 2015
Thursday 18 June 2015
Wednesday 17 June 2015
Saturday 25 April 2015
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