I have practically finished my rack of modulars, and I am quite happy, because without really wanting it, I could see that no one had near or far the same configuration, it was my indirect objective to benefit from a sound that can be related to the sound I wanted to obtain. The objective of the rack, is to contribute to a sensitive, visual and cross-chasing experience
Everything will be done from wavetables, and it is true that filters play a preponderant role. I really changed the way of writing, when we are 90% of the time on production and creation, the setting up exercises can be varied, it is really the will not to do something mechanical above all. I use the same pedals that I have for 3 years but with finer settings.
What is most important in music is the intention that the author or the musician offers, regardless of the form, as long as the creation is formalized properly for listening. It remains a gateway for the listener, it inevitably gives rise to a feeling, an emotion, and that's what is vital.
The only condition is that there is at least one instrument with the intervention of the human body, otherwise it is a music that offers a link between man and machine, but the machine takes over, we need a fair balance between the three, the human spirit, the soul of the machine and the flesh of the body, at this stage we obtain a truly mystical synergy. And it responds to a vibration rate on multiple channels.
This pandemic was an opportunity for me to explore the potential of instruments and equipment that I had not really worked on ... without going into too much detail, I really opted for a monastic life during all this time, and it was not easy, but we learn over time to use this pain to achieve beautiful things and realize that life is also that, and especially not to flee the situation.
That's why I did not leave Paris, I knew this completely empty city with only birds that came on the edges of my window, and also books, a significant number of books. After this experience, I know that nothing can reach me and that I am ready to move afterwards without fear of some infamous feeling of solicitude.
The contacts that I have are not mostly in France, that's why and it has always been the case ... to come back to this configuration, I needed to move forward on something that could sublimate Deep down, when I create and produce CDs I get the possibility of being free, that's the only thing that matters. So this rack allows me to really perform solo performances, I like to play with people but the situation being so, I had to create an installation that allows me to play interactively with all the necessary musical elements without using automations.
In particular, the Animal Factory mod is a piece of jewelry, I have great esteem for its creator. we feel how humanly someone is, even from a distance. When we focus in a moniacal way on our being and on what can interact, we see the true reality, classical life does not allow it, we are constantly influenced by something that prevents us from feeling the slightest breath of wind. Life is riddled with symbols and signs to move forward and be fulfilled.
Regarding the pedals, I've decided to play every day even if it is not to finalize a recording, just test, and see, the freeze pedal coupled with the f13 flanger from A.pedals allows you to use the mode Step with the algorithms, the effect is unparalleled, it's great. Strymon remains a solution that works, whether it's my good blue sky reverb or dig delay, especially for working with wavetables, the blue sky shim mode allows you to multiply the options and forge incredible harmonics, it almost looks like that the Waldorf Nw1 module becomes a classical music orchestra.
What I also lacked was a rhythm, and the pico drum 2 will do the trick, the objective not being to produce a drum-like rhythm but textures accompanying the texts. The Intellijel pad allows rhythms with a noticeably high voltage, but the pressure generates bass, you just have to be careful not to press too much, just the right pressure and voltage, if not all this will lead for a percussive transision.
It is in this, that research on Gregorian and Byzantine mus