Emily Sprague patches her modular synthesizer, sets it running, and checks in on it hours, even days, later to figure out where the generative invention has meandered and matured, what strange familiar-yet-unfamiliar music it’s gotten up to. She initiated her relatively recent self-education by mainlining module manuals and studying the videos of a handful of people (notably Lightbath and r beny) whose aesthetic and approach appealed to her (i.e., largely ambient, if gently melodic, and lacking a fixed rhythm). She says she likes tap tempo, for the organic feel, and certain filters, for their ability to self-oscillate. She began to share videos of her own work in part to replenish the well from which she’d drawn, and also out of an awareness that modular synths are a male-dominated thing.
Here’s an early such video, from May 2016:
And here’s a gentle, burbling track from about a year ago:
These are just some of the things we learn in the excellent eighth episode of the Sound + Process podcast hosted by Dan Derks. Interspersed in the podcast are demos of the music that will appear on her forthcoming solo modular synth album. Sprague, who also is part of the folk-pop band Florist, talks about gaining fluency with patching by buying and selling modules, seeing what works for her and what doesn’t, and how warm and welcoming the synth community, in particular on the llllllll.co (also known as Lines) message board, has proved to be.
And after listening to Sprague speak for an hour, you also can check out some of her band Florist’s music, and hear that same voice sing. This track is “What I Wanted to Hold,” off the forthcoming Florist album If Blue Could Be Happiness, which is to be released on September 29, 2017: