{"id":8872,"date":"2017-01-10T10:47:51","date_gmt":"2017-01-10T09:47:51","guid":{"rendered":"http:\/\/blog.cronicaelectronica.org\/?p=8872"},"modified":"2017-01-09T23:48:19","modified_gmt":"2017-01-09T22:48:19","slug":"new-release-jos-smolderss-nowhere-exercises-in-modular-synthesis-and-field-recording","status":"publish","type":"post","link":"http:\/\/blog.cronicaelectronica.org\/?p=8872","title":{"rendered":"New release: Jos Smolders’s \u00e2\u20ac\u0153Nowhere: Exercises in Modular Synthesis and Field Recording\u00e2\u20ac\u009d"},"content":{"rendered":"

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\nCr\u00c3\u00b3nica is elated to present Jos Smolders’s new CD, \u00e2\u20ac\u0153Nowhere: Exercises in Modular Synthesis and Field Recording\u00e2\u20ac\u009d!<\/p>\n

During his preparation, setting up the paper, wetting the brush and grinding the ink stone, the calligrapher is in deep concentration. Then, when he is ready, he performs the drawing in a few swift strokes.<\/p>\n

My works have always been precise, meticulously edited. In the last decade or so I have left the idea of a preconceived\/designed composition. There is only a vague idea before I start recording. Through my Zen practice I have become interested in the approach described above. I translated the calligrapher\u00e2\u20ac\u2122s method to my sessions with the modular synthesizer. I concentrate while connecting the patch and setting the parameters at the start of a session. Then I start the various sonic movements, letting things flow and interfering only when necessary. Afterwards I leave the original sounds intact as much as possible, trying to limit overdubs and extensive editing. The flow of the \u00e2\u20ac\u02dchere\u00e2\u20ac\u2122 and the \u00e2\u20ac\u02dcnow\u00e2\u20ac\u2122 guides me.<\/p>\n

Jos Smolders<\/em><\/p><\/blockquote>\n