Show Notes
Why We Bleep enters its third year! So again we chat to Mr Tom Whitwell/Music Thing in his shed in Herne Hill, to talk about his NEW THINGS, about the B-word, the manufacturing costs of modules, about the National Grid, visiting an anechoic chamber, Marta Salogni's studio, and about getting up at 6am, and shitposting.
More from Why We Bleep
Heyyy… it’s been a while, but Why We Bleep is back (thank you for your patience!) In this 58th episode, I had the pleasure of speaking to IDM legend: Bogdan Raczynski. Cited as a “massive inspiration” by Aphex Twin (you may be familiar), Bogdan is responsible for one of my favourite IDM albums: “Samurai Maths Beats”.
A hot date with Ripon Cathedral's MIDI port, lunching with Alessandro Cortini and vibe coding baguette calculators… it’s got to be another annual sit down with Tom Whitwell of Music Thing Modular. In this eighth iteration, we’re hosted by Tim Exile at his brand new London space “Timbers.” We dig into the pros and cons of AI in music technology, spatial audio, and some of our gear of the year picks - plus Tom brought in a little surprise for us to play with... If you enjoyed this episode, please share it!
Now here’s someone who know’s their ‘Mid’ from their ‘Side’… where most of us get it wrong, Morgan McWaters is entirely WORNG. Hailing from Melbourne, Australia, Morgan is an independent Eurorack Module designer with some wicked ideas and fresh takes on manipulating stereo sound in modular. In this podcast episode, we hear about Morgan’s beginnings as a tech for a synth band, through to his experiences with WORNG Electronics.
The genesis of Eurorack in 1995, collaborations with Kraftwerk, the 'red stripe' controversy (if you know you know) - in this episode we hear from Dieter Doepfer, in a live interview from Machina Bristronica 2024, about how his Eurorack Modular format went from "Nobody wants that shit" to a blossoming and diverse industry 30 years later.
Discussing the magic of making impossible instruments in Reaktor, making Happy Hardcore Hymns in school, the rise and fall of Endlesss and whether you can take credit for writing music with generative tools…