Why is Will Gregory rooting around in skips for 70s analogue monosynths? Because, for electronic musicians, they revive the expressive thrill of performance
Wendy Carlos’s 1968 record Switched On Bach unleashed the Moog synthesiser on the general public in a spectacular way. She created her groundbreaking albums using a multitrack recorder in the studio, allowing one person to layer up all the parts, one at a time. I was listening to it recently, and found myself wondering if anyone had tried to recreate this orchestra-of-synths concept in real time by assembling a large group of keyboardists, synths and amplifiers in a room all together. Live.
I was also partly inspired by a sense of guilt looking at a room full of old synthesisers languishing unused and clogging up my studio; 10 phone calls later there we all were trying to wrestle our way through Bach’s third Brandenburg Concerto, hooting with laughter.
If sunlight falls on them they shoot off the grid and suddenly you have a roomful of what sounds like sick bagpipes
Continue reading...by Will Gregory via Electronic music | The Guardian
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