Todd Barton has been composing for films, theatre, radio, quartets, orchestras and more besides over many decades. Nowadays, Todd teaches Buchla, Serge, Hordijk and eurorack online. and is a consulting artist for Buchla Electronic Musical Instruments.
To accompany Todd’s session for Philippe Petit‘s Modulisme platform, Freq interviewed him about a life in modular synthesis.
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?
What was your first module or system?
Serge Modular Music System 1979 built by Serge in the Haight-Asbury in San Francisco.
How long did it take for you to become accustomed to patching your own synthesizer together out of its component parts?
Weeks, months. In 1979 there were not very many books on patching so I chose to just put in four to eight hours a day exploring and learning experientially.
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 form whatever manufacturer that match your needs.
I prefer single-maker systems, probably because I come from a classical/jazz background and these systems feel like a complete self-contained instrument not unlike a guitar, violin or trumpet I can learn deeply.
East Coast, West Coast or No-Coast (as Make Noise put it)? Or is it all irrelevant to how you approach synthesis?

Do you tend to use pure modular systems, or do you bring in outside effect and devices when playing or recording?
Do you find that you record straight with no overdubbing, or do you end up multi-tracking and editing tracks in post-production?
It totally depends on the project. My album from last year, Multum In Parvo, was performed in my studio in one un-edited take.
My recent CD, Spaces, was composed using Logic and lots of studio takes and manipulations.
Do you pre-patch your system when playing live, or do you tend to improvise on the spot?
Improvise on the spot.
Which module could you not do without, or which module do you you use the most in every patch?
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 don’t know.
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?
Rarely and not enough to form an opinion.
What module or system you wish you had?
Have you ever built a DIY module, or would you consider doing so?
Years ago my buddy and I soldered up a complete MOTM system from kits.
Which modular artist has influenced you the most in your own music?
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?
I’m not sure if I could identify individual modules at this point since there are a gazillion makers out there.
However, I can analyse a sound/timbrescape fairly quickly and identify how I could re-create it on any of my systems.
What have you been working on lately, and do you have any upcoming releases or performances?
Just finished a whirlwind of releases and performed this past weekend. I’m planning to home-base in Italy this coming winter 2020 to do concerts and workshops. Things are solidifying for Rome, Brussels, Amsterdam, and possibly Milan, Bologna, Vienna and hopefully Berlin.
Can you outline how you patched and performed your Modulisme session?
Who would your dream collaborator be for a Modulisme session or otherwise?
Bana Haffar 🙂
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