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The Holmes Archive of Electronic Music

The Holmes Archive of Electronic Music

Auteur(s): Thom Holmes
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 Thom Holmes is your curator and guide to vintage electronic music recordings and audio experimentation. Drawing from his collection of vintage electronic music recordings spanning the years 1930-1985, each episode explores a topic or theme of historical interest. Holmes is the author of the book, Electronic and Experimental Music, sixth edition, 2020.Copyright 2020 All rights reserved. Musique
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  • Chapter 32, Other Analog Synthesizers

    Chapter 32, Other Analog Synthesizers
    May 15 2025
    Episode 173 Chapter 32, Other Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let’s get started with the listening guide to Chapter 32, Other Analog Synthesizers from my book Electronic and Experimental music. Playlist: OTHER EARLY SYNTHESIZER RECORDINGS (PRE-MIDI AND NOT MOOG) Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1. Raymond Scott, “Space Mystery” (1963). Used Scott’s Electronium, a custom-made analog synthesizer/sequencer. 05:08 01:42 2. Pauline Oliveros, “Alien Bog” (1967). Used a prototype Buchla 100 modular synthesizer at Mills College. 33:13 06:53 3. John Eaton, “Soliloquy For Syn-Ket” (1973) from Electro-Vibrations (The Music Of John Eaton). Used the Synket, an Italian-made modular synthesizer of which only six were ever made. 06:38 40:06 4. John Keating, “Earthshine” (1975) from Space Experience 2. Featured the ARP 2600 and Pro- Soloist. 04:09 46:46 5. Patrick Gleeson, “Saturn, The Bringer Of Old Age” (1976) from Beyond The Sun: An Electronic Portrait Of Holst's The Planets. Used Eµ Systems Polyphonic synthesizer. 09:31 51:02 6. Jean Michel Jarre, “Oxygene, Part IV” (1976) from Oxygene. Used the ARP Odyssey, EMS Synthi AKS, EMS Synthi VCS3, and RMI Harmonic Synthesizer and Keyboard Computer. 03:07 01:00:34 7. Bennie Maupin, “Crystals” (1978) from Moonscapes. Featured the E-mu Modular Synthesizer programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned E-mu synthesizers (see previous track for an example of the E-mu Systems Polyphonic synthesizer). Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, E-mu Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the E-mu synthesizer and other instruments. 01:18 01:03:44 8. Pere Ubu, “On the Surface” (1978) from Dub Housing. Allen Ravenstein used the EML Electrocomp 101 modular synthesizer as a member of this band. 02:37 01:05:02 9. Sylvester, “You Make Me Feel (Mighty Real)” (1978) from Step II. One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizer plus String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects, Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 06:34 01:07:40 10. Isao Tomita, “The Sea Named Solaris” (1978) from Kosmos. Used the Roland System 700, Roland Strings RS- 202, Roland Revo 30, in addition to Moog Modular III, Moog System 55, and Polymoog synthesizers. 12:28 01:14:11 11. Moebius, “Song For Lya” (1979) from Moebius. Serge, Oberheim, and Minimoog synthesizers, vocals, Bryce Robbley; Serge, Oberheim synthesizers, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 03:15 01:26:42 12. Pascal Languirand, “O Nos Omnes” (1980) from De Harmonia Universalia. Features the Farfisa Synthorchestra, the famous Italian’s company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), ...
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    1 h et 50 min
  • Chapter 31, ARP Analog Synthesizers

    Chapter 31, ARP Analog Synthesizers
    May 15 2025

    Episode 172

    Chapter 31, ARP Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music

    Welcome to the Archive of Electronic Music. This is Thom Holmes.

    This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.

    The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.

    There is a complete playlist for this episode on the website for the podcast.

    Let’s get started with the listening guide to Chapter 31, ARP Analog Synthesizers from my book Electronic and Experimental music.

    Playlist: MUSIC MADE WITH ARP ANALOG SYNTHESIZERS

    Time

    Track Time

    Start

    Introduction –Thom Holmes

    01:34

    00:00

    1. Elias Tanenbaum, “Contrasts” (1971) from ARP Art. Used the ARP Odyssey.

    05:03

    01:40

    2. ARP demonstration. Roger Powell and Harry Coon, The ARP 2500—How it Sounds, side 2 from The Electronic Sounds Of The Arp Synthesizer 2600 And 2500 (1972 ARP Instruments). Vinyl, 7", 33 ⅓ RPM. Music by Harry Coon and an improvisation by Roger Powell.

    06:19

    06:46

    3. ARP demonstration. Roger Powell and Harry Coon, The ARP 2600—How it Works, side 1 from The Electronic Sounds Of The Arp Synthesizer 2600 And 2500 (1972 ARP Instruments). Vinyl, 7", 33 ⅓ RPM. Narrated and all music by Roger Powell.

    07:38

    13:02

    4. Roger Powell, “Ictus: Primordial Pulse,” (4:57), “Lumia: Dance Of The Nebulae” (5:14), “Fourneau Cosmique: The Alchemical Furnace Of Cleopatra,” (7:42) (1973) from Cosmic Furnace. Featured the ARP 2500, ARP Soloist, ARP 2600, and ARP Odyssey.

    17:50

    20:40

    5. Bobbi Humphrey, “My Little Girl” (1974) from Satin Doll. Featured Larry Mizell on ARP synthesizers.

    06:38

    38:32

    6. Herbie Hancock, “Palm Grease” (1974) from Thrust. Featured the ARP Odyssey, ARP Soloist, ARP 2600, and ARP String synthesizer.

    10:35

    45:16

    7. John Keating, “Starcluster” (1975) from Space Experience 2. Featured the ARP 2600 and Pro- Soloist.

    03:44

    55:50

    8. Joseph Byrd, “The Stars and Stripes Forever” (1976) from Yankee Transcendoodle. Featured the ARP Odyssey.

    03:22

    59:34

    9. Charles Earland, “Sons of the Gods” (1976) from Odyssey. Featured the ARP Pro- Soloist, ARP Axe, ARP String Ensemble, Clavinet and organ.

    05:44

    01:02:58

    10. Jean Michel Jarre, “Oxygene, Parts I, II, and III” (1976) from Oxygene. Used ARP and other synthesizers.

    18:40

    01:08:39

    11. Michel Magne, “Trip Psychiatrique” (1978) from Elements, La Terre(1978). Featured the ARP Odyssey, ARP Omni Polyphonique, and ARP 2600.

    04:35

    01:27:22

    12. Mike Mandel, “Pyramids” from Sky Music (1978). Featured the ARP Odyssey, ARP Pro Soloist, and ARP Omni II.

    05:59

    01:36:51

    13. Eliane Radigue, “Triptych Part 2” (1978) from Triptypch. Composed and performed on the ARP 2500 modular synthesizer.

    11:56

    01:37:52

    Additional opening, closing, and other incidental music by Thom Holmes.

    My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.

    See my companion blog that I write for the Bob Moog Foundation.

    For a transcript, please see my blog, Noise and Notations.

    Original music by Thom Holmes can be found on iTunes and Bandcamp.
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    1 h et 51 min
  • Chapter 30, EMS Analog Synthesizers

    Chapter 30, EMS Analog Synthesizers
    May 9 2025
    Episode 171 Chapter 30, EMS Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let’s get started with the listening guide to Chapter 30, EMS Analog Synthesizers from my book Electronic and Experimental music. Playlist: MUSIC MADE WITH EMS ANALOG SYNTHESIZERS Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1. Delia Derbyshire, “Dance From ‘Noah’ " (1970). Composed for a television program. Used the EMS VCS3. 00:55 01:44 2. Selections from the demonstration disc, EMS Synthi And The Composer (1971). Excerpts from Harrison Birtwistle, “Medusa,” Peter Zinovieff, “January Tensions,” and Tristram Cary, “Continuum.” 06:15 02:34 3. Peter Zinovieff and Harrison Birtwistle, “Chronometer” (1971–2). Featured both the EMS Synthi VCS3 and modified sound recordings of the ticking of Big Ben and the chimes of Wells Cathedral clock. 24:23 08:48 4. Mike Hankinson, “Toccata And Fugue In D Minor” (Bach) (1972) from The Classical Synthesizer. South African record realized using the Putney (EMS) VCS3. 07:04 33:06 5. Electrophon, “Arrival of the Queen of Sheba” (1973) from In a Covent Garden (1973). Electrophon Music was described as the studio where the electronics were recorded and produced in the UK by Radiophonic musicians Brian Hodgson, Dudley Simpson. A variety of synthesizers were used including the obscure EMS Synthi Range, a multi-effect instrument. 03:04 40:10 6. The Eden Electronic Ensemble, “Elite Syncopations” (Joplin) (1974) from The Eden Electronic Ensemble Plays Joplin. Realized using the EMS VCS3 and Minimoog synthesizers. 04:53 43:12 7. Peter Zinovieff, “A Lollipop For Papa” (1974). Realized with the EMS Synthi AKS. 06:26 48:04 8. Peter Zinovieff and Hans Werner Henze, “Tristan” (Long Section) (1975). Tape accompaniment realized with the EMS Synthi AKS. 07:40 54:40 9. J.D. Robb, “Poem of Summer” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS. 02:04 01:02:18 10. J.D. Robb, “Synthi Waltz” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS and Synthi Sequencer 256 (digital sequencer). 01:52 01:04:24 11. Bruno Spoerri, “Hymn Of Taurus (Taurus Is Calling You!)” (1978) from Voice Of Taurus. Realized using a host of equipment, including a few EMS instruments: EMS Synthi 100, EMS VCS3, EMS AKS, EMS Vocoder 2000, Alto Saxophone with EMS Pitch-to-voltage Converter & Random Generator, plus the Lyricon, Prophet-5 Polyphonic Synthesizer, ARP Omni & Odyssey, Minimoog, Moog Taurus Bass Pedal, RMI Keyboard Computer, Ondes Martenot , Vako Polyphonic Orchestron, Bode Frequency Shifter, AMS Tape Phase Simulator, Echoplex, Roland Echo, Roland Rhythm Box, Bruno Spoerri. 02:48 01:06:16 12. Henry Sweitzer, “Open Windows” (1979) from Te Deum. Realized with the EMS Synthi AKS. 11:11 01:09:02 13. Eduard Artemyev, Yuri Bogdanov, Vladimir Martynov, “Le Vent Dans La Plaine,” “Io Mi Son Giovinetta,” and “Why Ask You?” (1980) from Metamorphoses. Composed and realized using the EMS Synthi 100, a large synthesizer unit combining several EMS3 models and connecting circuitry. 08:38 01:20:14 14. Jean-Michel Jarre, “Les Chants Magnétiques,” (side 1) (1981) from Les Chants Magnétiques. Portions realized with the EMS Synthi AKS, EMS Synthi VCS3, and EMS Vocoder 1000. 17:58 01:28:52 15. Alessandro Cortini and Merzbow, “AAMC” (2017) from Alessandro Cortini And Merzbow. Recent recording with all sounds realized using a vintage EMS Synthi AKS. 04:49 01:46:40 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.
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    1 h et 53 min

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