My vision of sequencing: loops in perpetual evolution
My first sequencer was the Korg SQ-10
I had made its acquisition during a
trip to Paris may be some time after I bought the
Korg MS-20. The two "brothers" lived together for my greatest happiness in my home studio in my parents' basement. Together with the tape echo chamber RE201 Roland, I made my debut by developing my sequences. The setting up of the loops with the SQ-10 was really complete and intuitive. For example, it was interesting to modulate filters and envelopes by generating three different voltages at the same time. The 3 channels, the 12 steps and the 6 modes were for the time a beautiful technical prowess that I could enjoy.
Korg MS-20. The two "brothers" lived together for my greatest happiness in my home studio in my parents' basement. Together with the tape echo chamber RE201 Roland, I made my debut by developing my sequences. The setting up of the loops with the SQ-10 was really complete and intuitive. For example, it was interesting to modulate filters and envelopes by generating three different voltages at the same time. The 3 channels, the 12 steps and the 6 modes were for the time a beautiful technical prowess that I could enjoy.
Oberheim's mini
sequencer
Another instrument, the Oberheim Two
Voice had a mini sequencer. Despite its eight programming steps
available, the mini sequencer was convenient and pleasant for a fast
search of small sequential lines.
Here too, the association of the Oberheim with the echo chamber RE201 Roland made the result convincing and interesting.
 |
| TVS1, the official model name of the 1974/75 Oberheim 2 voice or OB2 / ob-2 (obie two) |
Here too, the association of the Oberheim with the echo chamber RE201 Roland made the result convincing and interesting.
Today, I work with virtual instruments
VST's allow me to express myself completely and freely. Sometimes I
use various sources to create my loops, such for example as the Moog
Modular sequencer from Arturia.
The sequences come to life
In addition to the search for tones, I
attach great importance to the symbiosis of the different sequential
loops. I particularly like to make them live and grow all along a
track to make them sometimes even "organic". The
complementarity of the sequences is also an element that is
particularly close to my heart.
The sequences can be used as a
structure and/or as the main and/or secondary
melodic line.
melodic line.
As far as the creation itself is concerned, it can do this by working on the parameters and potentiometers of a sequencer, or after having plated some pads chords that evoke my creativity and thus favour the realization of a loop, the reverse is also possible. I have also created note by note a sequence.
👦 I remember an
anecdote when I was 16-17 years old and a sequence came to mind. I
had phoned home, my youngest sister took the handset and asked her to
take our tape recorder to record me. I then sang the loop of
notes to save it on the cassette so that I could in the evening work
on my analogue instruments of the time.
📼
The sequences can be fast or slow,
shiny or deep, come and go, random, pizzicato or legato. They
can also metamorphose, literally play the role of drums and be
percussive. They are the fundamentals of my music. Whether
it is with the instruments of yesteryear or today, I still have so
much pleasure in sculpting and modelling loops. For me, the
synthesizer and sequencer are inseparable.
My vision of
sequencing: loops in perpetual evolution
Berlin School pioneers Klaus Schulze and Tangerine Dream
In terms of reference, I would like to quote the Berlin School pioneers Klaus Schulze and the mythical band Tangerine Dream. I keep in mind my first listenings of the Mirage album with absolutely remarkable and timeless sequences. Crystal Lake obviously will remain for me a key moment in my musical approach, however I would like to point out that in the title Velvet Voyage, which is in my eyes more aerial, more cosmic, hides one of the most sumptuous sequences, so simple and so strong in terms of emotion. Congratulations!
For Tangerine Dream are the Rubycon and Ricochet albums that had marked me with their sequences with their characteristic timbre.
For Tangerine Dream are the Rubycon and Ricochet albums that had marked me with their sequences with their characteristic timbre.
Testimonial Yves Blanc (La Planète Bleue)
«Most of the spacey music is made of three components : synth pads, sequencer loops and (sometimes annoying) solos. Sequentia Legenda is intelligent and sensitive enough to create his - strictly instrumental - music with the first two components only:
the pads and the loops.»
 |
| Laurent Schieber (Sequentia Legenda) and Yves Blanc (La Planète Bleue) |
«In his spacey compositions, where light meets minimalism, and fitted to dream and meditation, there is no room for flashy solo, no room for protruding showing-off,
instead the space is filled with highly sophisticated pads, perpetually changing and loops, themselves shaped in ever-changing patterns, sometimes highly complex,
even if they often seem obvious.»
Yves Blanc (La Planète Bleue)
👍ETHEREAL in the Top Ten at the Schallwelle Awards
It is an honour for me to be able to appear alongside Tangerine Dream,
Johannes Schmoelling and Mike Oldfield in this ranking.
I am delighted to know that my music is appreciated and recognized in Germany,
the country of the Berliner Schule.
[...]
Johannes Schmoelling and Mike Oldfield in this ranking.
I am delighted to know that my music is appreciated and recognized in Germany,
the country of the Berliner Schule.
[...]
Aucun commentaire:
Enregistrer un commentaire