Modulisme: Doug Lynner

Doug Lynner started out as a keyboard and guitar player in psychedelic rock bands in California in the 1960s. Doug also teaches music composition and is known internationally for his modular synthesis performances and online  tutorials. He was editor and publisher of Synapse magazine and currently helms the Neat Net Noise label. Doug improvises as Bloop Quack with R Duck on processed guitar, and the duo hosted a weekly live radio show, Bloop And Quack, on KZSU Stanford 90.1 FM in the Bay Area. 

This interview accompanies his session for Philippe Petit‘s Modulisme platform as part of Freq‘s ongoing collaboration with the site. 

When did you first become aware of modular synthesis as a particular way of making music, whether as part of electronic music in general or more specifically as its own particular format, and what did you think of it at the time?

I became aware of modular synthesizers soon after I became aware of synthesis in general. This was before the popularisation of keyboard synthesizers, though to me the keyboard was already the 800 lb gorilla in the room. That was because, as I marvelled at the sounds that the Moog Modular made, I was uncomfortable with the keyboard and the obvious limitations that it brought to the table. I wanted to make music more like the Columbia, Princeton and Bell Lab people that I had been listening to.

Though it didn’t have any press reviews like Moog did, at the same time I learned of the Buchla Synthesizer. While I understood it less, I was interested in it more because it triggered my musical imaginations.

What was your first module or system?

The first commercial synthesizer that I used was a EMS VCS3 (Putney). Though it was not really modular, it fully took advantage of one of the primary characteristics of a modular synthesizer; it was totally patchable with its pin matrix system. I really enjoyed it and it served as a great first hands-on experience with synthesis.

How long did it take for you to become accustomed to patching your own synthesizer together out of its component parts?

It felt very natural to me from the beginning since it was my first exposure to synthesis. I didn’t know anything else. It was four or five years later when I first used keyboard synthesizers and entered the world of predetermined audio and VC pathways.

Do you prefer single-maker systems (for example, Buchla, Make Noise, Erica Synths, Roland, etc) or making your own modular synthesizer out of individual components from whatever manufacturer that matches your needs.

When it comes to modular synthesizers I have always used Serge. My career and the existence of the Serge brand have occupied the same time frame. In fact, my paper-faced Serge is the first commercial Serge. I was the first demo artist for the new Serge company too. I will say, however, that I very much enjoy the 3U Serge variants for being able to reconfigure my Serge for different applications. I do that constantly with my Elby Serge variant.

I often use Cynthia Zeroscillator too. I have always valued it as my most stable VCO until recently. I have some new Elby Serge-style VCOs that are very stable and accurate that I use much more now.

East Coast, West Coast or No-Coast (as Make Noise put it)? Or is it all irrelevant to how you approach synthesis?

To the degree that the terms describe using a traditional controller or not, I am definitely a West Coast guy. I don’t think there is any deep meaning or utility to the terms. I don’t know what No-Coast means, though it is clever turn of marketing terms. Is it like the colour of the universe? Beige?

Do you tend to use pure modular systems, or do you bring in outside effect and devices when playing or recording?

With my own current experimental compositions I use outboard reverb, but otherwise my outboard activity is typically limited to recording, mixing and mastering needs. Otherwise it is all modular.

When doing non-experimental projects such as songs, I may use anything from a virtual synth to a real ukulele. I don’t often use a modular on these.

Do you find that you record straight with no overdubbing, or do you end up multi-tracking and editing tracks in post-production?

Because my core focus is live performance, most of my studio recordings mimic that situation and are straight without overdubs. I do sometimes record the primary clock of a piece to allow overdubs if needed, and I do edit occasionally.

Do you pre-patch your system when playing live, or do you tend to improvise on the spot?

It is a combination of both. I always pre-patch, but I change patch elements during the performance as needed.

Which module could you not do without, or which module do you use the most in every patch?

I consider the Smooth and Stepped Generator to be the most indispensable Serge module. It epitomises the Serge concept of patch programability because of the astounding number of functions that it can accomplish. Look how much it has been copied! The 1973 Envelope Generators are the modules that I use the most. They are wonderfully versatile. The most eloquent module has to be the Analog Shift Register. Its beauty is revealed as soon as you use its nickname, the Arabesque Generator.

What do you think that can only be achieved by modular synthesis that other forms of electronic music cannot or makes harder to do?

I like the one to one physical relationship while shaping sounds that a modular provides me. I also like the ability to interact with the fundamental elements of sound with little interference from designer choices. I feel that it also excels at a fundamental goal of mine — to use sound for its own sake, without an undue relationship with any specific genre.

Have you used various forms of software modular (eg Reaktor Blocks, Softube Modular, VCVRack) or digital hardware with modular software editors (eg Nord Modular, Axoloti, Organelle), and if so what do you think of them?

I am familiar with them but I haven’t spent much time with them. An exception is a digital modular synthesizer called Trilobite. I consulted with the designer, Wayne Jackson, on a few modules in the original release. I saw Wayne over the holidays and it looks like a new version of it may be in the offing.

What module or system you wish you had?

I love the opportunity to experience any system or module. I am fortunate that I get to experience many more than I personally own through my students. They have a vast selection between them. I personally have always been desirous of a Wilson Analog Delay. Perhaps one will find its way to me some day!

Have you ever built a DIY module, or would you consider doing so?

I am not at all talented in that way, but I do admire people who are. I should learn more and I am open to it, but I have great technical support from Kevin Braheny Fortune and Elby Designs so there isn’t a big need for me to.

Which modular artist has influenced you the most in your own music?

I suppose that would be Morton Subotnick.

Can you hear the sound of individual modules when listening to music since you’ve been part of the modular world — how has it affected (or not) the way that you listen to music?

Oh yes, most definitely. For me, the first skill that I acquired was to hear the components of sounds in my environs in terms of the modules that could be used to recreate them. The second skill was to apply that to new sound creation. The modular synthesizer has been the biggest influence in my hearing and my music in my life.

What have you been working on lately, and do you have any upcoming releases or performances?

I am always performing, which is my passion. 2020 will also see new solo releases from me, including a release of my Swedish concert in radio format, and new material from Bloop And Quack, and some of its radio quests for the last two years.

Can you outline how you patched and performed your Modulisme session?

I performed this special concert live in my studio in one pass on the morning of 4 September 2019 after patching the synthesizers the previous day.
I performed it on the Mystery Serge (an original paper face Serge), a modern Eurorack Serge realisation by Elby Designs, and a Cyndustries Zeroscillator.

There are two primary instruments, one tonal and one noise. The performance is influenced by my last two albums where I explored feedback (Up From Down) and developed my concepts of my minimalist genre, modular tonalism (Modular Tonalism).

Who would your dream collaborator be for a Modulisme session or otherwise?

My favorite modular player at this time is Shiro Fujioka. We are planning a recording session together soon for an upcoming release.

*

• Doug Lynner’s Bandcamp site
• Bloop And Quack website
• Neat Net Noise website
• Modulisme