Showing posts with label Paulo Pascual. Show all posts
Showing posts with label Paulo Pascual. Show all posts

[S07E03] July 2025 - Karen Cecilia and Emilee Lord



In the July 2025 edition of the Theremin 30 podcast, host Rick Reid spins theremin music from Spain, Russia, and Mexico, and he interviews Karen Cecilia and Emilee Lord about their Edinborough Fringe production called "Timestamp."

FEATURED MUSIC*

*The full-length recordings featured in this show were used with the knowledge and permission of the artists and composers. Please support the artists by visiting their websites, purchasing their recordings, and attending their performances. 

ADDITIONAL MUSIC

INTERVIEW GUEST

CALENDAR OF THEREMIN EVENTS

MEDIA & NEWS LINKS

SUPPORT THIS PODCAST

CONTACT

CREDITS 

Copyright 2025 Rick Reid 


--------------------------------------------

TRANSCRIPT

Please note: This transcript was created with the help of speech-to-text AI.  It may contain some errors.

David Brower  0:00  
This is Theremin 30. Thirty minutes of Theremin music, news, events and interviews with a new episode about every 30 days. Now. Here's your host, Rick Reid.

Rick Reid  0:18  
Hey there. Welcome to the July 2025, edition of the theremin 30 podcast. I hope you're having a great summer or winter if you live south of the equator. My summer has been rather eventful, so far. I recently fell and fractured one of my fingers. The good news is that it happened to be on my volume hand and not my pitch hand, so I can still play the theremin about as well as I did before the accident. But that reminds me of the old joke where a guy asks his doctor, will I be able to play the violin after the surgery? And the doctor replies, Yes, of course. And the guy says, Great, I never could play it before. Well, I can't hear you, but I suspect you probably aren't laughing at that joke right now, which is fine, because the next half hour will be no laughing matter. I've got some serious new Theremin music from Spain, some new-to-me music from Russia, plus some music from Mexico that you may have missed. And my special guests are Karen Cecilia and Emilee Lord, they'll be performing an original theater piece at Edinburgh Fringe in August, and it involves a Moog Theremini.

Rick Reid  1:35  
Let's start the show now with a track from Paulo Pascual off of his recent four song EP Luces. Then I'll play a rock and anti-war anthem from Selenesphere, from their 2024 album, Moscow Songs, I'll tell you more about both artists On the Other side.

Rick Reid  11:03  
We kicked off the show with a song called Quadrante, or Quadrant in English, by Paolo Pascual from Vigo, Spain. It's from an EP he released in April of this year called Lucws, and it's available as a free download on Bandcamp. Paulo is also part of an ensemble called Modulador de Ondes. I've featured his music on the show a few times, and I interviewed him in the August 2020 episode of Theremin 30. After that, I played In Front of Enemies by Selenesphere. That's from the Moscow Songs album they recorded in Russia and released last November. Moscow Songs features vocalist Julia  Nem and multi-instrumentalist Frankie, who has since relocated to Portugal, where he continues to create music under the Selenesphere, name as a solo artist, to learn more about Paolo Pascual and Selenesphere, and to get their albums, click on their names in this month's show notes at theremin30.com. Frankie plays a very cool see-through Subscope theremin, so be sure to check out the photos on his website. 

Rick Reid  12:06  
It's time now for the theremin 30 calendar of Theremin events. On July 5, Stephen Hamm performs with his Space Family Band in the Vancouver, British Columbia, area. Andrew Levine will perform as part of Duo Luftstrum in central Germany on July 9. Ernesto Mendoza will lead a theremin workshop for beginners and intermediate players on July 12 in Mexico City. Masami Takeuchi will teach a theremin workshop in Hamamatsu City, Japan, on July 18. And on July 26 in the Philadelphia area, The Divine Hand Ensemble will host an album release party. For details about these events and more, visit the calendar page at theremin30.com. And speaking of Ernesto Mendoza, he's been very busy lately. He just published a Spanish-language instruction manual for beginning theremin players called Instrumento Entocable. If I pronounced it correctly. In English, that's UntouchableInstrument. It includes historical information, the basics of how a theremin works, plus practice exercises and links to exclusive instructional videos. For information about how you can get your own copy of Ernesto's manual, Look for the link in this month's show notes at theremin30y.com. Now let's listen to some of Ernesto's music. This track is from his Syntheremin album, and it's called Vimana, which is a Sanskrit word meaning flying chariot. It's from the ancient mythology of India. I kind of think of it as a compact-model flying saucer. 

Rick Reid  16:26  
That was Vimana by Ernesto Mendoza. To learn more about him, click on his name in this month's show notes, or listen to my interview with him in the February 2024, episode of the theremin 30 podcast.

Rick Reid  17:01  
Edinburgh Fringe is a huge live theater festival held in Scotland every summer, and as the name suggests, the performances lean toward the unconventional. This year, two artists from Brooklyn, New York, will take their interactive play to the fest. And I recently visited with musician, playwright Karen Cecilia and dancer, visual artist Emilee Lord to find out about their theremin-infused show called Timestamp. Karen and Emilee, welcome to the Theremin 30 podcast. 

Karen and Emilee  17:29  
Hi. Hi!

Rick Reid  17:30  
Let's start with Karen on the big picture thing here. What is Edinburgh Fringe?

Karen Cecilia  17:35  
It is, I would say the biggest Louisville Fringe Festival. People come from all over the world. Almost every country is represented. It takes over the entire city for three weeks. There is works of dance, theater, comedy, music, stand up and you can see a show every hour on the hour almost. It's really one of a kind experience.

Rick Reid  18:01  
Emilee, what makes it fringe? What does that word have to do with it? 

Emilee Lord  18:05  
I think it's on the fringe, on the edges. So there's big names coming in to perform, but there's also kind of everybody throwing their work into the ring, I think, and asking to be seen in this space. It's very accessible in that way. 

Rick Reid  18:19  
And also, does fringe have to do with it being experimental in nature?

Karen Cecilia  18:24  
Yeah, I think it does. I think fringe allows it to take risks with what is shown there, where it's, you know, not maybe in the commercial theater, but unconventional performances.

Rick Reid  18:37  
The two of you have a show you're doing at the fringe this year called Timestamp. Tell me how that got started.

Emilee Lord  18:43  
What is the origin we remember, we were just having conversations about working aspects of, yeah, working together in the aspect of who we are as performers and makers. And started working into thinking about improvising something together, devising a piece together, that it sort of grew by virtue of us working on it. Then the theme emerged because we were talking about like, well, who, who are we right now? What do we have to say from our personal self, and how do we put that on stage together? 

Karen Cecilia  19:12  
Yeah, and I think also we were both in conversation and and in agreement, and kind of clicked right away that we wanted to try a different form of theater that we wanted to see just where it went if we devised something. So that was really the origins of it.

Rick Reid  19:30  
Karen, how would you give your elevator speech about what timestamp is? 

Karen Cecilia  19:34  
Well, Timestamp is really it's a dialog between movement and sound. The show we use co-authored text me and Emilee. We break down expectations between ourselves, between society, and we actually ask the audience to consider their own expectations, and we incorporate that into the show. So every night's performance. Is actually unique in that we don't know how the audience is going to what they're going to give us, as far as their own expectations that they've either been challenged with, or if they've overcome them.

Emilee Lord  20:12  
It is scripted, so we've written our dialog and our monolog for the piece. The thing that is emergent each night is how we interact, how I how the cerumin and my dance interacts, and how we take the thoughts and feelings the audience chooses to give us and incorporate it. So there's a rote structure that we improvise sections into. 

Rick Reid  20:34  
How does the audience participate in the improvised portion of the performance? 

Emilee Lord  20:41  
So at the beginning of the show, they're asked, they're given little forms to fill out. I have a question about what expectations placed on them, from society or from themselves? Do they want to divest themselves up? Do they want to move past and so they fill out this little form and hand it to us. And then in several sections, there's kind of a ritual. Karen reads through these, and I interpret them, and then we place them in a bowl of water. And kind of work, I think, to ritualize the release of those things, because we're really talking about moving away from the scripted approach to life, like when what you need to do by what age and how you need to be, what you need to have. So all of it is kind of a release of that those ideas, their words, become a section of the script each night.

Rick Reid  21:32  
I imagine that leads to some surprising performances where afterwards you're going, what did, what did, what just happened?

Emilee Lord  21:40  
Yeah, there's some moments where it feels funny, like we're working through some things, and in rehearsal the other day, it got really goofy and like mime, like, just because you're sort of playing with what else the body can do and sound can do to express and unpack this idea of what people are trying to resist in societal expectations, or gender role expectations and those kinds of things. So it feels really serious and it feels really touching and fearful sometimes, and then it also falls apart and ends in laughter in some places as well.

Rick Reid  22:17  
You're playing a Moog Theremini. How did that instrument become part of the show?

Karen Cecilia  22:22  
I wanted to really use it in this show. From the get go. It's such a unique instrument, as you know, and I've been in shows before with it, and I really felt like it lends itself with that kind of ethereal sound that it has to the idea of the expectations and the intangible, or are they things that we grasp? It has that feel and the way Emilee's dance vocabulary moves. It mimics the way that I move, or rather, I mimic the way that she moves when I'm playing. So it really lends itself to this type of work very easily and seamlessly.

Rick Reid  23:07  
Emilee, in your dance choreography, are you communicating with the music or maybe giving Karen clues about what she should do next?

Emilee Lord  23:16  
Well, yes, and no, we've been doing this together long enough that I don't maybe in the beginning we were sort of like, okay, I'm gonna follow you for a minute, and then you follow me, and let's see what emerges. But that was the building process, and now I feel like we're really settled into each other's phrasing and ideas around it. One of the things that was interesting when putting together some of the set choreography was to look at how Karen has to move to play the instrument, which is a very specific physicality. So then a lot of my choreography became arms raised and gestures in the air in front of me and around my head, so it informed my movement and kind of forced me to create phrasing in a different way than I had before, because of the atmospheric nature of the instrument.

Rick Reid  24:05  
And Emilee, have you ever had an opportunity to play Karen Theremini?

Emilee Lord  24:09  
I haven't. Actually, that's a good question. One of the things that was fun to discover when we were first building the piece is that if I dance really close to her, it sort of disrupts something. So I was playing at one point with how my proximity could affect her sound. And then we moved quickly away from that, because I had other things I wanted to discover.

Rick Reid  24:30  
Karen, the Theremini has got some great and some weird and wonderful presets. Are you using some of the presets for the show?

Karen Cecilia  24:36  
Yeah, I have my go-tos that I kind of use for any kind of work that I do with the theremin. But yeah, I'm using, I would say four that I'm definitely using every time I rehearse. I think I try in a different one. Some of them, you know, are, as you said, a little out there, and not really the right feel. But I also use a pedal, and that really adds, to - That's my secret sauce that really adds to the...

Rick Reid  25:07  
Can you reveal the secret of which pedal it is? OR do you just have to go to this show and find out?

Karen Cecilia  25:15  
Well, even then I I do keep it behind the speaker so that it's not really seen. I would just give the hint for those people who are pedal people, that it's a certain color, the name like pedal is based off of the color. That's a big clue.

Rick Reid  25:33  
I'll have to do some research. Is there any pre-recorded audio in addition to your live performance?

Karen Cecilia  25:41  
There's not for the music. There is pre-recorded audio of women speaking sound bites from them, but not from not for me, it's all it's all live and on the spot. So you know, with that, anything can happen.

Rick Reid  25:56  
One practical question that comes up from theremin players that I've known traveling with a theremin. Have you run into any issues or thought about how you're going to get your theremin through security at the airport and all that?

Karen Cecilia  26:09  
Oh, I've done this. I'm a pro at it. So my advice to the other theremin players are obviously you'd put it in your carry-on bag, because you would, I would never trust them to throw that on a belt and throw it into the base of a plane. I wrap it thoroughly and put it on top, because you do have to unwrap it and put it through the X-ray machine. And I tell them, in advance, I have a synthesizer instrument. It's very fragile. I will take it out, I will lay it down. And their response is, what type of instrument? I just kind of keep it simple too. It's a synthesizer.

Rick Reid  26:49  
Thank you so much for taking the time to tell us about your show Timestamp. And I forgot to ask, what does the title mean?

Karen Cecilia  26:56  
Timestamps are moments in life that are so significant that there's stamps in your psyche and your being, and that's, I think, where the title stems from.

Rick Reid  27:09  
Timestamp will be on stage from August 1 through the 23rd at Dovecot Studios in Edinburgh, Scotland. For ticket information, look for the link in this month's show notes.

Rick Reid  27:28  
To finish this half hour. Here's a little taste of Timestamp. This track is called Four Pillars.

Rick Reid  29:16  
Thanks so much to Paulo Pascual, Selenesphere, and Ernesto Mendoza for allowing me to play their music, and a special thanks to my guests, Karen Cecilia and Emilee Lord of Timestamp. Please support these artists by purchasing their music and attending their shows. If you'd like to support this show, visit theremin30.com and look for the tip jar or shop in the merch store and the pro shop. Until next time, I'm your host, Rick Reid, and I'll see you again somewhere in the ether.

David Brower  29:47  
You've been listening to the Theremin 30 podcast. Visit Theremin 30 on the web at Theremin three zero dot com.

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[S05E03] September 2023 - Mike Buffington

 




In the September 2023 episode of the Theremin 30 podcast, host Rick Reid plays theremin music from Australia, Finland, Spain, and the USA. Rick's guest is Mike Buffington of Forgotten Futures. 

FEATURED MUSIC*

  • "Trance Encounters" - The Night Terrors (Melbourne, Australia)
  • "Harmony with Planet X" - Xan Hughes (Kokomo, Indiana, USA)
  • "Watersnake" - Annaglyph (Crockett, California, USA)
  • "In the Heart of Winter, part 2" - Kepa Lehtinen (Helsinki, Finland)
  • "Texturas de pan, a peneira" - Paulo Pascual (Vigo, Spain) 

*The full-length recordings featured in this show were used with the knowledge and permission of the artists and composers. Please support the artists by visiting their websites, purchasing their recordings, and attending their performances. 

ADDITIONAL MUSIC

INTERVIEW GUEST

CALENDAR OF THEREMIN EVENTS

MEDIA LINKS

SUPPORT THIS PODCAST

CONTACT

CREDITS 

Copyright 2023 Rick Reid 


--------------------------------------------

TRANSCRIPT

Please note: This transcript was created with the help of speech-to-text AI.  It may contain some errors.


David Brower  0:04  
This is Theremin 30. 30 minutes of Theremin museum news events and interviews with a new episode about every 30 days. Now here's your host from Denver, Colorado, USA, Rick Reid.

Rick Reid  0:18  
Hey, welcome to the September 2023 episode of the Theremin 30 podcast. It's the Labor Day holiday here in the USA as I finished the show today. In America we celebrate workers by taking the day off. Well everyone but me I'm working on 30 minutes of Theremin music from around the world. Plus an interview with RCA Theremin expert Mike Buffington will be talking about what he has been working on lately. Let's start the show now with an exclusive world premiere of the new single from Australian duo the night terrors featuring Myles brown on Theremin and synthesizers and Sarah Lim on even more synthesizers. Their fourth album is called hypnotic composition for Theremin and electronic music synthesizer. The first single is set for release on Tuesday, September 5, that's tomorrow, but we've got it a day early. This is trance encounters

Rick Reid 9:27  
We started this episode with trance encounters the first single from Hypnotica the brand new album by the night terrors set for release on November 3. After that we heard from Xan Hughes performing harmony with Planet X. Xan is based in Kokomo, Indiana, USA and he has his own channel on Twitch where he live streams, Theremin performances, and even plays along with old horror films. You can learn more about the night terrors and Xan Hughes by clicking on their names in this month's show notes after the breakup got the Theremin, 30 calendar of events and an off field logical tune from Annaglyph look that up in the dictionary. And later in the show I'll visit with Mike Buffington about his limited edition reproductions of vintage RCA Theremin documents. So stay tuned

Rick Reid 10:23  
It's time now for a look at that Theremin 30 calendar of Theremin events. Marla Goodman's Theremin themed art show continues at Kirk's grocery in Billings Montana through September 23. With the concert performance set for September 22. You can see Marla's paintings of their ministry you probably know by following the link in this month's show notes on September 9 as Shelley own hosts and other music and chat live streaming show on YouTube are scheduled guests are Harvey star and Danny dodge, who will be chatting about the STAR Labs ZTR MIDI guitar controllers. Lydia cabina will be performing sci fi favorites on Saturday September 30 For science fiction day at the historic papplewick Pumping Station in Nottingham, England, and synth fest UK takes place October 7 in Sheffield, England. For more details about these events and many more, check out the interactive calendar on Theremin thirty.com. If you have a Theremin related event you'd like me to list on the calendar send me a note with all the details. You can reach me with the contact form on the Theremin 30 website. Let's get back into the music now with the latest single from Annaglyph she sings and plays Theremin and synthesizers on this slithery song called watersnake.

Rick Reid  16:49  
We started that music sent with watersnake by Anna glyph. She has made a very clever stop motion animation music video for that track. Check it out on that Theremin 30 YouTube playlist. After that I played in the heart of winter Part Two from the Helsinki based Film and Television composer kept by LinkedIn and it's from the in the heart of winter EP that came out in March of this year. You can hear all seven tracks on Spotify and other streaming services. Coming up after this break I'll visit with Mike Buffington about some cool new RCA Theremin stuff. So stay right where you are.

Rick Reid  17:52  
Mike Buffington is one of the curators of the RCA Theremin registry. He is also one of the go to guys for restoring RCA Thurman's, his most recent restoration project is worth a lot more than the paper it's printed on. Hey, Mike, welcome to Theremin 30

Mike Buffington  18:09  
Hi, Rick. Thanks again for having me back on. It's great to be here again, 

Rick Reid  18:13  
your previous appearance on the show or you talked about restoring RCA Theremin. But now we have another project we're going to talk about where you're restoring. How do we describe it ephemera? Is that the right word?

Mike Buffington  18:26  
Yeah, I think that's a great word for it because these things are so rare. These are documents that were printed around the time of the RCA Theremin we have an owner's manual. We have a service notes and we have two brochures one just says the RCA Theremin and the other one says the victor Theremin. The goal was to get these things professionally printed and to make them look as authentic and original as possible as if they were new. 

Rick Reid  18:56  
So they don't look old. 

Mike Buffington  18:58  
Right we do have a little tagline that says you know reproduced by Mike Buffington and whatnot. When I say we I have been working with my friend Wally to packer is probably better known under his musical moniker as gocta. He has an interest in most things, vintage and Theremin fall into that category. I've been working with him on some other stuff. He has an interest in a musical instrument called the ondioline. 

Rick Reid  19:24  
Yeah, I caught his concert at Moogfest a few years ago. It was amazing. 

Mike Buffington  19:28  
Yeah, so he's really delve deep into audio lanes almost exclusively at this point. He's still working on new music and he has interest in other instruments but he went kind of crazy on the on the aliens and found all these great documents that were all in French. And so this is sort of the backstory of how I came to do this Victor theorem and stuff is that while he had this 40 Page printed sort of manual book that was a collection of radio journal articles that the inventor George Jennie put out and sort of as a monthly thing, and so they combined all of these articles into one printed document was only available in French. And while they had that document, professionally translated, and then I was given an English copy. And he's like, let's make an English version of this document. So I laid it all out. I did all the work, basically. And he was sort of the project manager of this. So I'd be showing it to him as it's not quite right at present there. And it's partially that extra 20% Because he's a no half measures kind of guy. And I'm a no half measures kind of guy, but he's even more so picky and detail oriented. So it's been really a good working kind of relationship where we're kind of challenging each other to do the best we possibly can. So this was maybe about six or seven years ago that I started this, I became friends with Floyd angles, the OG Theremin community will remember this guy is the guy who restored a lot of Theremins and made missing parts like replica antenna, I became friends with Floyd as I was building my own replica Theremin and starting to fix up them and Floyd and I would talk and I visited him a couple of times. And one time that I visited him the first time he sort of gave me the nickel tour, and we went through basically everything Theremin related in his house over the span of like, two or three days. And he pulled out an original RCA Theremin instruction manual and revisional RCA Theremin service notes. I've never seen either one before the service notes can be found in a compiled book that maybe radio enthusiast will know is an RCA Redbook is what it's sort of colloquially called. So I've seen that document in PDFs of all these things exist, but they're, you know, third generation photocopies, and they're really hard to see and read, and there's pairs and stuff. But these two documents came from the same owner. His name was Ray burrows, he had RCA cabinet number 439. Floyd pulled out the service notes and instruction manual from this and kept it. It's every time I talked to him, he's like, I'm done with it, Theremin stuff. So I would really love to like, buy the original service notes instruction manual from me. And it's like, I'll just send you everything. So a couple months later, I got this box, two boxes in the mail of 1930s. Radio magazines, and all of his notebooks have Clara's stuff. And Henry solomonoff stuff, Bob Moog stuff, just, you know, her literal footlocker worth of all these documents. And of course, in there was the service notes in the instruction manual. So that was really nice to kind of be able to hold this thing and say, Oh, this is mine now. And among this that I didn't notice before was the RCA Theremin brochure. And this is just a little trifold brochure that's black and white. And it says, absolutely new, unique musical instrument that anyone can play. 

Rick Reid  22:54  
It's not a radio, not a phonograph.

Mike Buffington  22:57  
Exactly, exactly. It's, it's the thing that like hypes up the Theremin is being this instrument that if you can whistle, you can, you know, you can play it. It's beautiful. It's got this very Art Deco feel with wavy lines and gradations. And you know, this copies in fairly good shape, but it's kind of been bent in half, and there's creases through it. And so I've got three of sort of the four or five known documents, and I'm saying why it's like, this would be really cool. If we made some reproductions of this. He's like, Yeah, that sounds like a great idea. So we decided to go ahead, because it was sort of my project, I sort of volunteered my time to work on the documents, getting them press ready, and then he would pay for printing them. So I scanned each page at like 2400 dpi, super high resolution, I had, you know, three or four other photocopies from other collections. And if there was some weird like ink spot that kind of, you know, compare all three documents, if all three had them, I would keep it in but if only one added it was kind of a printing error unique to that specific document to the best of my ability I kept in what would have been sort of on the printing plate itself so that it would look as authentic as possible. Even though I got a copy of the service notes from Floyd, it was probably used in a smoke filled house, and it's all crinkly. And somebody used just regular clear tape to tape it up. Because it was basically falling apart.

Rick Reid  24:24  
So you had a big piece of yellow tape fixing a tear in the book. 

Mike Buffington  24:28  
And yeah, there's a rip in the instruction manual that goes like right halfway through the page. And so if you scan that, the tape kind of shows up darker, and you can get that nice, crisp, clean lines of all of all the letters. So what I did was I took you know, if I was re spelling the word the I take a T from one place or if there was an HE together and I move in Photoshop and just sort of rebuilt the whole paragraph worth of damage stuff. We made 500 of these offset printed reproductions and that's kind of a nice number. because there were only 500 RCA therapists when we got them all printed and they were ready to go. I emailed all the people that we've worked with people whose Theron's we've restored and people who are interested in this kind of stuff are owners of nice RCA Theremin. So I know we sold a few and they're going into good hands into sort of the right hands, but we definitely have plenty to sell.

Rick Reid 25:21  
Well, it sounds like it's a perfect companion to an RCA Theremin that's in a museum or in a private collection. Right? Absolutely.

Mike Buffington  25:29  
I have set sitting on one of my RCA s 

Rick Reid  25:32  
you're the only person I know who can say one of my RCAs.

Mike Buffington  25:39  
It's not an obsession. It's not it's not it's not a problem. I'm okay,

Rick Reid  25:46  
how would you answer the question? Like why do these need to be reproduced in the first place?

Mike Buffington  25:51  
You're not going to find a better looking replica instruction manuals, anything you can find out there is going to be laser printed and bound with staples and won't have that beautiful brown cover won't be offset printed won't have that red ink on the cover. And so it's like, Why Why settle for something less than that? And

Rick Reid  26:10  
how does somebody order set of these documents,

Mike Buffington  26:13  
you can go to forgotten futures music.org to check out Wally's project, but at the top there's a link to the store. There's also a link at the top of that store page for the RCA Theremin documents. You can click that and you can choose between a bundle of all four or each object you can buy separately. You can find them on reverb and on eBay. And I believe on Instagram as well. So if you go to forgotten futures, Instagram page, I think they have a store. There you

Rick Reid  26:45  
are a great resource to the Theremin community. Because the work you do keeps history alive the magic of the original theremin alive.

Mike Buffington  26:55  
 I'd love it Theremin community. I love everybody out there. I know so many of you out there and I'm hoping that we're doing something well and doing something good for the community. 

Rick Reid  27:03  
You may never get a chance to own an RCA Theremin but you do have an opportunity to own one or all four of these cool RCA theremin document reproductions. For details follow the link in this month's show notes at Theremin thirty.com. We have just a little bit of time left. So to wrap up the show I'm going to play another brief selection from the documentary score by Paulo Pasquale that I featured in the August 2023 episode from the Negro Purpura soundtrack This is textured just upon a pen Yetta I think I said that kind of right and according to Google Translate that is textures of bread and a sieve.

Rick Reid  29:03  
A big thanks goes to the night terrors Xan Hughes Annaglyph, Kepa Lehtinen, and Paulo Pascual for sharing their wonderful music this month. Please support them by purchasing their albums attending their shows or just sending them a nice note to let them know you appreciate their talents. I also want to thank my special guest Mike Buffington for visiting with me and for all he does to preserve the legacy and history of the RCA Theremin. Also, I'm very grateful to the listeners who support this show with a monthly or one time donations. And finally if you enjoy it, Theremin 30 Please tell your friends about it. There's always room here for more listeners and more recording artists. Until next time, I'm your host, Rick Reid. We'll see you again somewhere in the ether.

David Brower  29:50  
You've been listening to the Theremin 30 podcast visit Theremin 30 on the web at Theremin 30 dot com
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[S05E02] August 2023 - Kip Rosser (part 2)




In the August 2023 episode of the Theremin 30 podcast, host Rick Reid continues his conversation with Kip Rosser that began in the March 2023 episode. Featured music includes recordings by Tharsis Project, Andrew Levine, Paulo Pascual, and Kip Rosser.

FEATURED MUSIC*

  • "Prototype" - Tharsis Project: Ernesto Mendoza and Jon Carr (Mexico City, Mexico)
  • "Live at Cosmos Lisboa" [excerpt] - Andrew Levine (Hamburg, Germany)
  • Selections from "Negro Púrpura" - Paulo Pascual (Vigo, Spain) 
  • Theme from "Idle Hands are the Devil's Playground" - Kip Rosser (Morrisville, Pennsylvania, USA)

*The full-length recordings featured in this show were used with the knowledge and permission of the artists and composers. Please support the artists by visiting their websites, purchasing their recordings, and attending their performances. 

ADDITIONAL MUSIC

INTERVIEW GUEST

CALENDAR OF THEREMIN EVENTS

MEDIA LINKS

SUPPORT THIS PODCAST

CONTACT

CREDITS 

Copyright 2023 Rick Reid 


--------------------------------------------

TRANSCRIPT

Please note: This transcript was created with the help of speech-to-text AI.  It may contain some errors.

David Brower  00:04

This is "Theremin 30," thirty minutes of theremin music, news, events and interviews, with a new episode about every 30 days. Now, here is your host from Denver, Colorado, USA -- Rick Reid!

Rick Reid  00:19

This is the August 2023 episode of the Theremin 30 podcast and the second episode of season five. I took a bit of a break since the last episode I got caught up in my freelance work projects and some health issues, including some weird problems with my voice. But I'm sounding more like myself now. So if you're ready to listen to me, I believe I'm ready to talk. In this episode, I have Theremin music from Tharsis project Andrew Levine, Paolo Pascual and my interview guest Kip Rosser. I had Kip on the show back in March to talk about the Juliet Shaw legacy project, but you only heard about half of the conversation. So this month, I'm going to play the rest of that interview, as Kip talks about his own musical adventures. 

To get things going. Here is the second single from Tharsis project, a collaboration between John Carr and Ernesto Mendoza, with a track called "Prototype." 

Rick Reid

We started the episode with "Prototype by Tharsis project. After that we heard an exclusive edit from the new live experimental album "Andrew Levine Live in Portugal." This track recorded may 3 of this year at Cosmos in the Campolide neighborhood of Lisbon features Andrew on Theremin and electronics with Jose Bruno Purina on bass, and Ernesto Rodriguez on Viola. The full track and the entire album are available on Bandcamp. Click on Andrew's name in the show notes at Theremin30.com. 

After the break, I've got that Theremin 30 calendar of events and film music from Paulo Pascual. And later in the show I'll visit with Kip Rosser so stay tuned.

Rick Reid

It's time now for a look at the Theremin 30 calendar of Theremin events. On August 3 Andrew Levine joins organist Michael Von Hinsenstern for a classical recital in Bat Berka, Germany. Also on August 3, Marla Goodman celebrates the opening of her Theremin-themed art exhibit in Billings, Montana, with a live performance. Then on August fourth, there will be an artist reception and Theremin demos. To learn more about her wonderful theremin artwork, look for the link in this month's show notes. Both August 15 and August 27 are recognized as the birthday of Professor Leon Theramin. Why two birthdays? Well, it has to do with the Russia switching calendar systems a long, long time ago. But that gives us two days to celebrate. So I'm not complaining. For details about these events and many more, check out the interactive calendar on Theremin30.com. If you have a theremin event you'd like me to list on the calendar, send me a note with all the details. You can reach me with the contact form on the Theremin 30 website. And lately I've been a bit lax about finding events to add to the calendar so do help me out by sending me information about your concerts, workshops and other Theremin-related activities. 

"Negro Purpura" or black purple is a Spanish historical documentary that looks at how hallucinogenic fungus was cultivated by farmers in Galicia. The 2021 film directed by Sabela Iglesias and Adriana Villa Nueva has been playing at festivals in Europe this year. Paolo Pascual of Vigo, Spain, created the music for the film, and he sent me some cues to play on the show. Maybe it isn't obvious, but I don't speak Galician particularly well, so I'll give the English titles. First we'll hear "the magic of fungus" followed by "lights in the River."

Rick Reid

That was music by Paulo Pascual from the soundtrack of the documentary film Negro Purpura or black purple. It's a movie about the history of the hallucinogenic fungus that grows on grain in the Galicia region of Northwest Spain. You can watch the film's trailer featuring Paulo Pascual's music on the Theremin 30 YouTube playlist.

Coming up after this break go visit with American thereminist Kip Rosser, so stay right here. 

Rick Reid

I interviewed Kip Rosser earlier this year about the Juliette Shaw Legacy Project. Because we were talking about Juliette Shaw, I didn't have time in the show to share parts of our conversation about his own career as a thereminist. So I'm going to fix that right now. Kip Rosser. Thanks so much for joining us on that Theremin 30 podcast. 

Kip Rosser  18:04

You're very welcome. Happy to be here.

Rick Reid  18:06

You are involved in theremins in lots of different ways. So give me a little brief introduction of your history of Theremining.

Kip Rosser  18:15

I started playing in 1996. And it was a complete fluke. There was a radio station in East Orange New Jersey called WFMU. At that time, they were wild. You never knew what you were going to hear. And they used to put out a catalog called Weird Stuff every year. One year, I got the catalog. And on the bottom right-hand corner was a little, tiny ad that advertised a theremin kit that you could buy. It was 150 bucks back then. It was by Paia, the Paia Thermax. And I had no idea that Moog was still making theremins, that there was an entire theremin community out there. I just knew what a theremin was. So I bought the kit, put it together. And for seven months that's the theremin that I used. After that I realized I could have bought one put together, and I got a Moog. But it wasn't called Moog at the time. It was called Big Briar. It  was a Big Briar Etherwave. And that was really the transition point. Because playing that instrument was completely different. I had to basically relearn how to play the theremin. It was more stable, it was more accurate, I could get a lot more done with it. So I started in 1996. And from there I just practiced for two years before allowing myself to play in public at all.

Rick Reid

You've played with orchestras and...  

Kip Rosser

I've never played with an orchestra I would love to. That's one of my fantasies. But there are a lot of people who have played with orchestras, but I never have. I've played with live musicians on various occasions. Rarely. There was a time when I had a wonderful jazz and classical pianist that I play with regularly. She and I played for years, but she moved away. I played with a concert pianist from San Francisco and one of my CDs is him and myself in 2005. He and I put on the show at the New York International Film Festival called "The Unholy Secrets of the Theremin." One Sunday afternoon in 2005, while we were on stage Bob Moog died. While I was playing his Etherwave Pro. I never met Bob Moog, but I did speak to him on the telephone one time, and he yelled at me. He yelled at me because it was my first public theremin performance, was done on Cape Cod, and very odd wiring, and the theremin wouldn't function no matter what. So I called Moog Music. And Bob Moog answered the telephone. This was around 1998-1999. And we talked a little bit, and he told me I could get a deep cycle marine cell, which is like a car battery to hook up to a power inverter and power the Theremin off of that, which I did, was very expensive at the time, like $200 for a deep cycle marine cell. And he asked me, "How long have you been playing the Theremin?" I said "two years, and it's my first public performance." And he hit the roof. He started screaming at me that Clara Rockmore and Lydia Kavina practiced six and a half hours a day every day for six years before they dared to play in public." And I couldn't believe that. Bob Moog was yelling at me. That was the only time, my only conversation with him at all. He chewed me out for not going for another four years before coming out to play. I always watched interviews with him. I always wanted to meet him. I wish he could have heard me play. I have no animosity towards him at all for yelling at me. It was just his mood that day. I thought it was hilarious. Bob Moog is laughing at me and yelling at me. It was really funny. 

Rick Reid  21:42

You've done some movie soundtrack work, haven't you?

Kip Rosser  21:45

Lydia Kavina, Charles Lester, a couple of other people have played for film scores out of Hollywood. And I've only done one Theremin score. I wrote the score for an independent film by Michael Jason Allen called "An Idle Mind is the Devil's Playground." You can see it on Prime I believe. You can also see it on Tubi. It's a film that's only about an hour long because he knew he didn't want to try to sustain it for longer. It's in beautiful black and white. The cinematography is amazing. And it's sort of his homage to a Twilight Zone. He found me on ReverbNation and contacted me and asked me if I would be willing to write the score for his film. And I said, Sure. So I did. There was another very, very short film by a director named Sabina Ptasznik. She asked me to write a score for Theremin music is more properly, I would call it sound effects for her movie called Gravity. It was also a filmmaker. Her name at that time was Toddy Burton. It was about a 15 minute film. The film composer contacted me and asked him if I would play the Theremin parts in his score. So I was able to do that as well. Those are the only film experiences that I've ever had.

Rick Reid  22:58

Most people know you from your YouTube videos. Tell people about that, who maybe haven't seen them.

Kip Rosser  23:03

Since 2011, apart from the music videos which I occasionally put up, my real focus was putting up tutorials. Starting in 2011, till just last year, I have made theremin tutorials, which to me was the only thing that I thought was really worth putting up. It felt like a contribution. Playing music, you see tons of theremin videos, people playing music, and there are some wonderfully amazingly talented Thereminists out there now. I would argue that there are more theremin players in the world now than there ever have been, ever. I put up these tutorials because I thought this is what I can really contribute. At the time that I started I never knew that there were things online. When I got the Etherwave, it came with a VHS tape of Lydia Kavina's Mastering the Theremin. It changed a little bit about the way I started playing. But my vision for what I wanted to play was always far exceeding my technical abilities. So when I began learning to try to play Bach and Dvorak and things like that, I had to develop techniques that I've never seen before in order to play them. So the evolution of my techniques is what I put up there. I developed techniques that quite honestly, I've never seen anyone do. I've never seen anyone deal with various aspects of the Theremin. So I decided to put up things that I thought it would really help. But then people started texting me or emailing me about the Theremini and how they were having trouble calibrating it. And that inspired an entire Theremini course. 

Rick Reid  24:43

Do you teach Theremin?

Kip Rosser  24:45

Sure.

Rick Reid  24:46

In person in Pennsylvania or online or...

 

Kip Rosser  24:49

Until COVID I could teach occasionally in person. Then COVID happened.

 

Rick Reid  24:55

So I guess now you're teaching more safely over the web.

 

Kip Rosser  24:59

It was actually my son that inspired me to do it. He asked me how come I've never taught online? And there really wasn't any reason why I couldn't. So I created a website just called ThereminLessons.com. People can go there and book a lesson. You look it up by selecting your date on a calendar, and it takes you to PayPal. I get notification. I always respond personally, and we work it out from there. I'd like to find out what model of theremin people are playing, how long they've been playing, do they play any other instruments. All of it helps me to understand where it is they're at and what types of things that we can work on when we're together. And it's great because you can do a lesson halfway across the world. It's fabulous.

Rick Reid  25:44

Let's finish the show now with some movie music by Kip Rosser. Here is the title theme from An Idle Mind is the Devil's Playground, a 2016 indie feature film directed by Michael Jason Allen.

Rick Reid 

That was Kip Rosser with the theme from An Idle Mind is the Devil's Playground. You can learn more about Kip by following the link in this month's show notes.

Thanks so much for joining me for another 30-minute trip into the ether. And thanks to Tharsis Project, Andrew Levine, Paulo Pascual, and Kip Rosser for providing the tunes. Also, thanks to Kip Rosser for sharing stories about his Theremin adventures. I've already started planning the next episode of the Theremin 30 podcast, but I have some room for more music. So if you have professional quality, original theremin music that's either your own composition or in the Public Domain, I'd love to share it with listeners around the world. So contact me through the website. Also please tell your friends about this show and share links to it on social media. You can also rate and review Theremin 30 on Apple Podcasts and Stitcher to help me get the word out. Until next time, I'm your host Rick Reid and I'll see you in the ether.

David Brower  29:47

You've been listening to the Theremin 30 podcast. Visit Theremin 30 on the web at Theremin30.com.
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[S03E03] July 2021 - Duet for Theremin and Lap Steel

  

Duet for Theremin and Lap Steel


The July 2021 episode of the Theremin 30 podcast is a special, super-sized edition. It features music from England, Spain, the USA, Russia, Germany, and Australia, plus an interview with Scott Burland and Frank Schultz of Duet for Theremin and Lap Steel. Host Rick Reid also previews the upcoming Worldwide Theremin Academy.

▶️ Listen to this episode on your favorite podcast platform.

FEATURED MUSIC*

*The full-length recordings featured in this show were used with the knowledge and permission of the artists and composers. Please support the artists by visiting their websites, purchasing their recordings, and attending their performances. 

ADDITIONAL MUSIC

INTERVIEW GUEST

CALENDAR OF THEREMIN EVENTS

MEDIA LINKS

SUPPORT THIS PODCAST

CONTACT

CREDITS 

Copyright 2021 Rick Reid 

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TRANSCRIPT

Please note that this is a computer-generated transcript.  Some errors have not yet been corrected.

David Brower  0:04  

This is Theremin 30, thirty minutes of theremin music, news, events, and interviews with a new episode about every 30 days. Now, here's your host from Denver, Colorado, USA, Rick Reid.


Rick Reid  0:19  

Hello! Welcome to Theremin 30. I came up with the name of this show to indicate that it's 30 minutes long and comes out every 30 days. But you probably noticed that I don't always stick to that 30-day rule. So here it is the beginning of July and I didn't even get a June episode out at all. So to make it up to you, I'm going to break my other rule and let this episode go beyond the 30-minute mark. In fact, this show is going to be longer than two regular episodes. This will give me a chance to play a few really cool longer tracks that wouldn't easily fit into the usual episode format. My special guests this month are the Atlanta Georgia-based ambient group duet for Theremin and lapped steel. And later in the show. I'll fill you in on the Theremin Academy worldwide online events set for July 24 and 25th. So let's get this supersized edition of Theremin 30 started with a new track featuring Uk thereminist Alexx Mazonowicz. This group called New Note Orchestra is made up of musicians who use their talents to help each other with recovery from addiction. They'll be putting on a live streaming concert this first weekend of July July 4 from Brighton England. Tickets are free and there's a link to all the details in the Theremin 30 calendar at Theremin30.com. From their Kind Rebellion album, here's New Note Orchestra with a track called "Astral's Journey part 1."


Rick Reid  15:06  

We started the show with New Note Orchestra featuring Alexx Mazonowicz. They'll be playing live online on July 4. After that, I played "El Mensaje del Rio" or "The Message of the River" from the newest album by Paulo Pascual called Modulador de Ondas, be sure to check out the music video on the Theremin 30 YouTube playlist. Coming up next I'll take a look at the Theremin 30 calendar of theremin events. And I'll play a super-sized theremin track from Chris Conway. So stay tuned.


Rick Reid  15:52  

It's time now for the Theremin 30 calendar. Look at Theremin-related concerts, workshops, and other events happening around the world in the weeks ahead. The first weekend of July Dorit Chrysler will be participating in the Heroines of Sound festival in Berlin. That's actually already started but there are some events left so if you're in the area, be sure to check that out. As I mentioned New Note Orchestra presents a live-streaming concert from Brighton, England on July 4. Leif Rapids will be performing at the Calgary Folk Music Festival on July 23. Itchy-O plays the Denver Sculpture Park on July 24th. Yoko Onishi presents another RCA Theremin Evening on her YouTube channel on July 24. The World Wide Theremin Academy takes place on July 24 and 25th. I'll tell you more about that later in the show. Stranger Strings presents a free lunchtime concert in London, England on July 30. Marla Goodman presents a summer series of theremin recitals from her front porch in Bozeman, Montana, USA on most Thursday evenings. Lydia Kavina continues her Sunday evening workshop series. And Shueh-Li Ong hosts a couple of new episodes of her Music and Chat show this month on YouTube. For details about all of these events and more, check out the interactive calendar on Theremin30.com. And if you have an event that you'd like me to put on the calendar, send me all the details through the website, Twitter or Facebook. Now here's another new recording that was just too long to play in a regular episode from Chris Conway's Splendid Isolation album. Here's a song called "A Genteel Conversation."


Rick Reid  25:05  

That was "A Genteel Conversation" by Chris Conway. It's from his new album Splendid Isolation, which is made up of improvisations he recorded in his home studio in Leicester, England during the pandemic lockdown. To learn more about Chris and the other artists in this episode, visit Theremin30.com and click on their names. Later in this extended edition of the Theremin 30 podcast. I'll preview the 2021 worldwide Theremin Academy. And right after this break, I'll visit with the members of Duet for Theremin and Lap Steel. So stick around.


Rick Reid  26:06  

as you might imagine, Duet for Theremin and Lap Steel is a two-member band consisting of a thereminist Scott Burland and lap steel guitar player Frank Schultz. I played their spacey, ambient music a couple of times on previous episodes. They have a brand new album out so I invited them on the show to talk about that, and about their creative collaboration process. Scott and Frank, thank you so much for being on Theremin 30. 

Scott Burland

Thank you, Rick.


Rick Reid

Let's start with you. Frank. Tell me how you describe your band and its music to people who aren't familiar with Duet for Theremin and Lap Steel.


Frank Schultz  26:42  

I start out with the name and see what kind of look I get from the person I'm talking to go from there. 


Rick Reid  26:49  

Do you have a certain label that you like for the kind of music you create?


Frank Schultz  26:54  

 It's improvised music but more towards the ambient side of things.


Rick Reid  27:00  

And Scott, why don't you tell us how the two of you got together?


Scott Burland  27:03  

I've known Frank for a long time we were involved 16 years ago, maybe you know large group improv session with 15 people on stage. We knew each other. We said hello and got set up. And Frank was playing lap steel. And I had my theremin. And Frank had trouble hearing himself. And there was a bass player standing directly in front of me. And so I was having a hard time getting any kind of signal out of the theremin. And we were both a little disappointed in the outcome of that. But a few months later, Frank called and said, "Hey, would you be interested in trying to lap steel and theremin together?" and I thought that was a great idea. And so we started practicing probably early in 2006. We get together every couple of weeks, and we were both learning our instruments. At that time, I was really a newbie at the Theremin and Frank was learning the lap steel. And also we were using Ableton Live to add effects to our sounds. And so we're learning how that worked. And then things went on from there.


Rick Reid  28:05  

I think people would know the lap steel from country music or maybe Hawaiian music and one of my favorite guitarists Steve Howe uses a steel guitar on some of the Yes recordings. It sounds different when you play it. I listened to your albums and I'm not sure if I'm hearing guitar or not.


Frank Schultz  28:21  

Yeah, exactly. I never learned how to properly play lap steel guitar. So as Scott learned the theremin I learned the lap steel. I learned in a style that suited what we were doing together versus learning the instrument traditionally. So I think that's probably why it sounds the way it sounds.


Rick Reid  28:42  

You have these long, sustained, beautiful shimmering sorts of sounds. And I assume that it's difficult to hold the note that long. How do each of you do that with your respective instruments?


Scott Burland  28:53  

It's challenging to sustain notes for a long time just because of the way the theremin is played. So that's where effects come in. And I can, you know set a long delay or reverb and play around with that. And if I have to adjust my hand that's controlling the pitch, I can do that to try to nail the pitch.


Rick Reid  29:14  

For the lap steel Are you using an E-bow or a Vo Wond or some other sort of device to excite the strings?


Frank Schultz  29:21  

I have used the E-bow probably 10 times in the last 15 years.


Rick Reid

Oh!


Frank Schultz 

To me, it gives a weird harmonic ring that doesn't suit my lap steel very well. But I've been playing a little bit around with that and muting the back part of the string. So it doesn't seem to vibrate quite as much in the sounds a little bit better. So working on that a little bit primarily though, it's the use of violin bow... or effects.


Rick Reid

Oh, okay. 


Frank Schultz 

...or effects.


Rick Reid  29:53  

I tried out lap steel a little bit last year. I got an inexpensive lap steel to try to imitate what I thought you guys were doing and I never could figure it out trade secret right there, I should have you explain how you improvise the music,


Scott Burland  30:07  

there's really not a lot of discussion. But we typically rehearse at Frank's house and his stuff is set up, I show up, set my stuff up, and then we start playing, there's really no discussion about what we're going to do, we start playing, and then it may go for 15 minutes, it may go for an hour and a half. Frank will set the tone, whatever that is, whether it's a rhythmic thing or a drone, or he's bowing the lap steel. And then I'll just listen for a minute and then try to decide what's going to work with that. And then we just go from there, I can change it up. And then Frank can react to that, or vice versa. And next thing we know, it's 45 minutes later,


Rick Reid  30:46  

do you set up some rules for yourself so that you don't repeat a motif or an effect that you've already done on another recording?


Frank Schultz  30:53  

I don't, I tend to use the same types of effects that I've used for a while and just try and tweak those, but nothing really pre-planned.


Rick Reid  31:03  

You have a new album out right now I'm going to attempt to pronounce it. I think it's called Oh-mau-mua. Is that close?


Scott Burland 

So close? It's ʻOumuamua.


Rick Reid 

Say that again? 


Scott Burland 

ʻOumuamua.


Rick Reid 

And what does that mean? And how did you come up with that title?


Scott Burland  31:20  

Ê»Oumuamua is a Hawaiian word. And it translates as messenger from afar arriving first, it was the first Interstellar, what would you call it Frank, first interstellar... 

Frank Schultz  31:32  

Object... 


Scott Burland  31:33  

...object that was...


Frank Schultz  31:34  

...to come into our solar system. 


Rick Reid  31:36  

Oh, so this is that long space rock...


Frank Schultz

Yes.


Rick Reid  31:39  

...that was in the news, what a year or two ago?


Scott Burland

It was observed in 2017.

Rick Reid  31:45  

And did you come up with the title first, and then created music to fit the title? Or was it the other way around?


Frank Schultz  31:51  

We created the music first, and then went through the recordings, and then decided how to handle those as a project, which includes titles and themes and that kind of thing. 


Rick Reid  32:03  

You have one of the tracks as kind of a single Hector, you have a music video out for that we do we have music videos out for Vesta and for Hector. And I say kind of a single because both of those tracks are about eight minutes long. So it's not your typical single, right?


Scott Burland  32:20  

We have trouble with a three-to-four-minute scenario. The four-minute mark is just about when things start to take shape, and kind of make sense. So we go with that it's hard to make all the things happen in four minutes.


Rick Reid  32:31  

I've been to a few ambient shows, and I performed in an ambient show once. And it's definitely a different experience than going to a rock concert, I was curious about how it feels to be performing live for an audience that's drifting off into hypnosis as you play.


Scott Burland  32:47  

I go back to our first performance, which was in December 2006. And I think it struck both of us how quiet The audience was, you could hear a pin drop out there, it doesn't happen every time. But when it does, it's just a nice -- it shows a level of respect for the music. But it also just helps us to not be distracted by people talking or opening up beer cans. And we've played rock clubs, we've had to deal with that. But also, we've played the same venue and have had super quiet crowds. Our preference would be that people just weren't in that sort of dream state where they're just letting the music flow through them and or just listening.


Frank Schultz  33:25  

I think for me, that was the first grouping that I've played in that was this ambient or this droney. At first, I think I was a little concerned that there wasn't much of visual enticement for the audience. And I guess that can play one of two ways either. One way you hopefully good way is people just focus on the music. And so from that, we started showing some film, and I think the film actually helped folks not trying to either figure out what we're doing or wonder why we're not moving. a filmmaker here in Atlanta, Robbie land has cut quite a few films for us to take on tour and actually project live one more entail. I think we've just have gotten accustomed to folks that come out to the show and they don't really expect to rock and roll show. And we certainly don't provide that.


Rick Reid  34:15  

So how can people find out about your new album and any upcoming live performances?


Scott Burland  34:21  

The best place to listen to our music and purchase our music is through Bandcamp and that's DFTALS.bandcamp.com and then through our website, which is duetonline.net and that's typically where we have our tour schedule or upcoming shows listed. 


Frank Schultz  34:43  

You can purchase digital copies of our music through Apple Music and Amazon and all that stuff and as well as on Bandcamp. If you want to go straight to the source then Bandcamp's in place to go. 


Rick Reid  34:55  

This new album is a double album and the CD is limited to 120 five copies. So that's a collector's item. And I do want to mention that your most recent album before this new one came out in the height of the pandemic lockdown and you donated proceeds from the sales to support some nonprofit organizations in the Atlanta area.


Scott Burland  35:19  

Yeah, there was an organization called Giving Kitchen, which helps food service workers during the pandemic to help pay rent or bills or with health situations or health insurance. And then there was another organization, Atlanta Musicians Emergency Relief Fund, which provided help to musicians in those same ways. 


Rick Reid  35:40  

That's really a great and kind gesture and also sets a good example for other artists who might be able to do something similar.


Scott Burland  35:47  

We were pleased to be able to do that. And also just to be able to donate some money to organizations that benefited many of our friends and acquaintances here in Atlanta.


Rick Reid  35:56  

Thank you so much for taking the time to visit with me. And I've been a fan for a few years. I really enjoy your music and it was great to meet Scott a couple years ago at Moogfest.


Scott Burland  36:06  

Thanks for having us. Thanks for listening.


Frank Schultz  36:08  

We appreciate your support over the years for sure. Love the podcast.


Rick Reid  36:12  

Let's listen now to something from their new album that would be too long to play in anything but this supersized episode of Theremin 30 here's Duet for Theremin and Lap Steel with a track called "Vesta."


Rick Reid  44:45  

That was "Vesta" by Duet for Theremin and Lap Steel. Check out the music video for that track on the Theremin 30 YouTube playlist up text I've got more details on the worldwide Theremin Academy so stay tuned


Rick Reid  45:11  

Theremin Academy is an ongoing series of coordinated workshops held each year in France, Germany, England, and Switzerland. Past editions of Theremin Academy have featured workshops and performances by some of the most accomplished professional thereminist from around the world. Of course, the global pandemic forced the cancellation of most Theremin Academy events last year and the first half of this year. So the organizers have come up with a worldwide Theremin Academy that you can attend from your own home. It'll take place on July 24, and 25th. And it'll run continuously for 38 hours. So you can drop in whenever it's convenient and stay for an hour or all day, and everything will be recorded. So if you need to, I don't know sleep or something, you can watch the parts you missed. There will be performances and workshops conducted online from Europe, the USA, and Australia covering a wide range of musical styles and there will be sessions for both beginning and advanced players. There will also be presentations on Theremin history and technology, including the session just for a moment there are many owners, the whole event will take place live over zoom, and you'll have the chance to play in a live Theremin ensemble with other musicians from around the world. It looks to be a great couple of days of learning and fun. If you play Theremin, I'm sure you're aware it can be difficult to meet and collaborate with other Theremin players. So this is a wonderful opportunity for all of us. And I should mention that I'm not involved in planning or organizing the event in any way. But I just think it's going to be a really cool event and I hope to see you there. The registration fee for the event is 30 British pounds. And you can get the details and the full schedule online at Theremin.Academy. There's no dotcom in that it's just Theremin.Academy. And with that in mind, I'm going to finish off this supersized episode of the Theremin 30 podcast with an extended set of recent releases from three of the scheduled presenters and performers at the worldwide Theremin Academy. Lydia Kavina, Oleysasa Rostovskaya, and Miles Brown. I'll have track titles and other details after the set or you can follow along and this month show notes at Theremin30.com


Rick Reid  1:05:49  

We started that final set within "Whims of the Weather for two theremins and accordion" by Lydia Kavina from the album In a Nick of Time. That track features thereminist Lydia Kavina and Trautonia Capra with button accordionist Roman Usipey. The album was recorded back in 2013, but was just released earlier this year. Then I played "Mutation" with Olesya Rostovskaya on Theremin, Sergei Letov on electric saxophone, and Vladimir Goulokov on electric vibraphone from their new album At 9pm After Lockdown. The trio recorded this live improvised performance in Moscow on August 1 2020, the first day after the lifting of lockdown restrictions there. Then we ended that set with an excerpt from Transmogrification a new album by The Narcoleptor, an experimental collaboration between Australian thereminist Miles brown and harpist Mary Doumany. Lydia, Olesya, and Miles will be participating in the worldwide Theremin Academy in late July. Check out this month's show notes for a link to more details in the full schedule of workshops and performances. And that wraps up this special edition of the Theremin 30 podcast. I'll be back around the first of August with a brand new episode and the more fun-sized 30-minute format. I'll have new music from Kevin Sinnott, Japan's 100 member matyromin ensemble Mabel and Da, Steve Stroud, and maybe you. And one final note, if you've been enjoying the podcast, please help me make it grow by leaving a review on the Apple Podcasts website, by recommending the show to your friends, purchasing logo gear in the merch store, or by sending me a small gift to help cover my expenses. Also, consider advertising on the show if you have an album or workshop or some other event that you'd like to promote. You can visit the website for more details about all of that or send me a note through Facebook or Twitter. Also, please do what you can to support the theremin recording artists. Of course, this podcast couldn't exist without their talent and generosity. Until next time, I'm your host, Rick Reid, mind your control zone and we'll see you again soon.


David Brower  1:08:03  

You've been listening to the Theremin 30 podcast. Visit Theremin 30 on the web at Theremin30.com.


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