About The Neve Synthesiser

Re-Imagining The Old Analog Recording Console As A Synthesizer

Throughout history engineers all over the world have put endless effort into creating noise-free recording consoles in order to capture the true nature of the sound source. But what if these recording consoles were the sound source? Could the recording studio ever be seen as an instrument? Artists like Brian Eno, Robert Fripp, and Conny Plank amongst others, used technological limitations and noise as key tools in their creative process. Throughout this project I will analyse a particular noise, the Larsen Effect, best known as Feedback. 

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The idea is to organise and understand a behaviour as unpredictable as a Feedback and make it predictable, usable. Any instrument played for the first time might seem intimidating and unpredictable, yet as we spend time with it and start to understand its patterns we are able to control these sounds. In order to deliver a usable product I have decided to organise this instrument by and adhere to the common western musical scale. 

Do the sounds resulting from the process relate perceptually and in a musically useful manner? What I am searching for is a way to transform feedback generated sound into a sampled performable instrument In order to achieve this I will have to unlearn what I have learned about sound processing and sound design and keep an open mind to new concepts that might sound ‘wrong’ or ‘impossible’. The success of our efforts will be judged by what we hear. This paper documents the developments of The Neve Synth inspired from Skweeel (Philippe Chambin, 2014) and The Studio as a Compositional Tool (Brian Eno, 1979) through to its public presentation.

ABout Simulated environments

Re-establishing the relationship between gesture and sound

Simulated Environments is an interactive art installation that explores the relationship between gesture and sound through Virtual Reality.

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What role does visibility play in the experience of music? With laptop performances, the relationship between gesture and sound has been cut. Could Virtual Reality reestablish this relationship? Could it move the computer out of the way and reestablish a direct relationship between gesture and sound?

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Marcos combines his unique sound design, The Neve Synthesiser, with the futuristic technology of Virtual Reality to create a full immersion of sound that is an aesthetic merger of the analog with the digital domain, antiquated with the recumbent. Creating a journey between the seen and unseen, a human improvisation with machines in performance.

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Marcos believes there should not be a dividing line between performer and spectator, so you will notice that during all his exhibitions there are instruments along the installation where anyone can contribute musically to the exhibition, making this space a community orientated environment where everyone is invited to contribute