What The Future Sounded Like colours in a lost chapter in music history, uncovering a group of composers and innovators who harnessed technology and new ideas to re-imagine the boundaries of music and sound. Features music from Pink Floyd, Hawkwind, Roxy Music and The Emperor Machine.
Post-war Britain rebuilt itself on a wave of scientific and industrial breakthroughs that culminated in the cultural revolution of the 1960’s. It was a period of sweeping change and experimentation where art and culture participated in and reflected the wider social changes. In this atmosphere was born the Electronic Music Studios (EMS), a radical group of avant-garde electronic musicians who utilized technology and experimentation to compose a futuristic electronic sound-scape for the New Britain.
Comprising of pioneering electronic musicians Peter Zinovieff and Tristram Cary (famed for his work on the Dr Who series) and genius engineer David Cockerell, EMS’s studio was one of the most advanced computer-music facilities in the world. EMS’s great legacy is the VCS3, Britain’s first synthesizer and rival of the American Moog. The VCS3 changed the sounds of some of the most popular artists of this period including Brian Eno, Hawkwind and Pink Floyd. Almost thirty years on the VCS3 is still used by modern electronic artists like The Emperor Machine.
EMscope Tristram Cary– Superserialismus: Is There a Cure?
Symposium: Mixers and Level Controls
Robert A. Moog- Introduction to Mixers and Level Controls
James Seawright- Fundamental Concepts of Electronic Music Mixers
Gerald Shapiro- Functional Design of Electronic Music Mixers
Hugh Le Caine- Some Applications of Electrical Level Controls
Frederic Rzewski- A Photoresistor Mixer For Live Performance
Fernando von Reichenbach- The Sound Level Photoprogrammer
Robert A. Moog- Construction of a Simple Mixer
Paul Ketoff- The-Synket
Kurt Stone, Joel Chadabe- Reviews
Formed in 1969, Electronic Music Studios (EMS) quickly became innovators for the recording, production and advancement of electronic music. The ideas and designs that bubbled forth out of the ingenuitive minds of Peter Zinovieff, Tristram Cary, David Cockerell and others, led to the creation of some of the most wildly original musical/sound design equipment ever conceived. The VCS3, Synthi A + AKS, Synthi 100, Synthi E, Synthi Logik and the Soundbeam are among these, almost unworldly, devices.
It is often said EMS gear has attained cult status, reaching a fervor of near worship among its users. The Synthi Group is an example and collection of such users. United through the Synthi blog and forum (www.thesynthi.de) and located throughout the world, the group’s members have come together for a planned series of compilation volume releases where the individuality and approach of each member towards their EMS instrument is showcased and broadcasted for all to experience. The listener will hear wildly different examples of styles and sounds that this original, and oft times, vintage equipment can create.
EMS were true pioneers from the very beginning, always looking beyond the culture and times they were surrounded and seemingly trapped in. Still around today, thanks to Robin Wood and Ludwig Rehberg, they are one of the few companies involved with electronic instrument production that have had a continued run since their inception. The Synthi Group have honed the original pioneering spirit and DIY ethic of EMS with their Volume series, a collection of sounds encompassing beautiful dreamscapes, synaesthetic visions, dark ambience, aural abstractions, sonic absurdities, pulsating analog, glitch, ring modulators, and envelope shapers generating trapezoidal geometry. Beginning with Volume 1, the Synthi Group compilations aim to ensure the story of EMS continues well into the future of electronic music production.”
[Synopsis by Alka]