WIGGLING 'LITE' IN GUEST MODE

lionelfischer

anyone know of good resources to learn about stockhausen's production on any of his work

abstraktor

www.stockhausen.org
www.stockhausensociety.org

These 2 books have become the standards on his works:

Jonathon Cott/ Stockhausen: Conversations with the Composer
Robin Maconie/ The Works of Stockhausen

There's also: Karl Worner/Stockhausen: Life and Work.

There was a really long Canadian radio interview with him from the early 6o's which is good, but I cant find any link to it (I think I have a copy somewhere).

rec.Koner

This blog is very informative and helpful:
http://stockhausenspace.blogspot.com

By the way, did anybody try to make an attempt of a cover of Stockhausen compositions using modulars?

Kid Narco

A kinda Kontacte vibe.
https://theelectricpentacle.bandcamp.com/track/tic-ensemble

pixelmechanic

Navs

^Thanks!

Now, what is this UBM Eurorack filter he's talking about? hyper

wogglebug

Sorry, it's in German, but it is a FASCINATING peek behind the curtain of Stockhausen's Kontakte.

I'm gonna have to build me one of those rotating tables.

ScubaGeek

Since the subject asks about gear, he used a big EMS Synthi 100 in Sirius.

Photos of performances of Sternklang from the 70's show the musicians using Synthi A and VCS-3 synths.

Mikrophonie I stipulates the use of two bandpass filters, though I'm not sure who built them or if they were DIY or what.

Mikrophonie II involves processing the choir's vocals through ring modulators, apparently using a Hammond organ as the other input.

I've always been curious how he got some of the sounds in Kontakte. I've never seen a clear explanation, in English, of what he used or how he manipulated it. Some of the sounds in that piece sound like percussion instruments, and there's others that have this sort of rubber band/bungee cord quality to them (the sort of glissando effects that turn into percussion sounds).

jcmz

I've gotten pretty close to some stockhausen sounds by running numerous chaos objects in pure data and putting them into a convolution reverb, combine that with Skrewell in reaktor and run it all through some experimental reaktor effects and tweaks. Just can be hard to control some of the randomness, but can get some pretty gnarly sounds.

I'd also recommend checking out the book Stockhausen on Music, not too much on the technical side but offers great insight into his influences and thoughts.

pseudopatch

hey lionelfischer - if you haven't watched the stockhausen british lectures - they are a MUST - here on ubu web: http://www.ubu.com/film/stockhausen_lectures.html

solaris

[interview by Giorgio Sancristoforo]

Pelsea

Stockhausen describes some of the techniques in Kontakte in "Perspectives on contemporary music theory" (ed Boretz and Cone). A lot of the sounds come from a pulse step waveform generator (essentially an audio rate sequencer). He'd draw a waveform, have an assistant set up the machine and generate a few seconds of tape, and if it passed muster, another assistant would splice the tone into the piece. He would often process the waves with a 1/6 octave filter, which can be seen in this photo: http://stockhausenspace.blogspot.com/2015/11/kontakte-planning-design. html
I suspect the thing with the dials is the step generator, but I can't be sure. (My information comes from a conversation with Jaap Spek in 1976, so I may misremember a bit.)