Chelsea Bruno's Report

3rd year PhD, Music Composition               

Project title: Research on Modular Synthesis in Berlin

My research focuses on what I refer to as Post avant-garde music composition with the modular synthesizer. My methodology emphasizes ways in which experimentation with these unique instruments can allow new approaches to composition, utilizing their vast scope of sound design and creation. I am also emphasizing how they can be used for unexpected rhythms and how they can be integrated into different genres of music. The unpredictability of the sounds they produce is a major highlight to my new compositions.

The Santander Travel Award helped me go to SUPERBOOTH16, which was the first event in Berlin of its kind. It was a new international modular synthesis convention that was all about innovations in music and sound design technology, to be held annually by Herr Schneider, a pioneer in making these components available to musicians and sound connoisseurs at his shop, Schneidersladen, in Kreuzberg.

Superbooth was not a marketplace, but rather a gathering for the makers, many of whom started from the DIY approach, or a meeting of the minds I like to call it. There is a mutual understanding about what is required to know how to build a modular synthesizer and have the curiosity and desire to discover new sounds; it is a great field for my research because I know I can always learn more about it. Modular synthesis components are multi-faceted in their functions, and allow the engineer to become the musician and vice-versa. The sound of the synthesis components, analogue or digital, allow a haptic sensation for the composer, and they produce a radically different sound quality than virtual studio technological instruments.

I spent three days exploring all the new products on display, meeting the designers, and seeing demonstrations and concerts. This convention was by far one of the greatest experiences of my career. As a specialist in synthesis, my trip to Berlin for SUPERBOOTH16 was extremely invaluable and a one of a kind experience.

The day would start off with a ferry ride for Superbooth guests to the Funkhaus, which was an old broadcasting house for German radio from 1956 to 1990. The rooms where the performances were held were specially designed acoustics for an enhanced listening experience. First thing I would see right when I walked in was the main showcase room for modular synthesis components. I met so many people there, and tried to meet as many people as I could to ask them about their new designs. Many of the UK based modular synthesis companies were exhibiting at Superbooth. I even saw some people I met at the NAMM music convention three years ago, including one of my favorite module designers, The Harvestman. I was especially happy to see the 4MS crew, who had first taught me about modular synthesis and with whom I had done my graduate internship with in 2013 in Portland, Oregon.

What I found at Superbooth16 was a growing world of innovations in sound. Modular synthesis has become an explosive force for musicians and sound designers to focus on the aspects of sound design, and experimentation with electronics, and for me, that is the most important part of my approach to experimental music composition.