Manmachine, Martin Hekker, and I

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on August 29, 2010

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Digital/Analogue Hybrid Synthesizer Plexus tactical update regarding a polyphonic digital sampler/fm/vco into analogue filter and vca approach to making new sounds. Although a modular approach is possible, the cost and size become significant. A less costly approach uses an existing semi-modular polyphonic analogue synthesizer from Studio Electronics, the Omega Code. This four voice synthesizer has channel inputs and outputs for each voice. FM oscillators can be used from a Yamaha TX802, which has a round-robin system to send four voices out separate outputs. Likewise, the Yamaha Tx16w can be set up to do the same. This is sufficient to trigger the envelopes on the Omega. The range of sounds is at once quite large but then with a consistent color that can become overbearing. Activation of per channel overdrive allows for the creation of electric guitar style feedback synthesis. Some opportunities for modular like interaction exist. One of the more interesting is allowing for a muted

Soundtrack Music for Comics? Well not really. But maybe to extend the comic experience in other contexts, like driving in rush-hour traffic? To make this work well, the comic would need activate the soundtrack quickly. Another purpose of the soundtrack work is to discover a new territory of associations. Music was an important part of Man-machine's beginnings. The comic was conceived of in Evanston, Illinois, in a two-flat apartment building, known as the Zoom house. The first Man-machine drawings occured while listening to Front 242 remixes of fairly brutal, simplistic music. In my head, Front 242's early exploration of tribal rhythms and automatic bass lines combined with the politics of the times: Desert Storm was on the news constantly. I was reading translations of Homer and Virgil and seeing the reflection of our world in antiquity. The recognition had an uncanny quality. Fast forward a half decade. In the mid 90s I was struck by the work of the electronic group

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