![]() ![]() ![]() ![]() This is, effectively, the template for a whole heck of a lot of what would come to be called IDM. One, its a glimpse inside the imagination of Monolake. The PX18 is important historically for two reasons. (Having just been digging around Soviet-era light organs, software offers some opportunities for media archaeology that hardware may not.) That does, however, point to the possibility of documenting musical practice in software form as archival activity. You can theoretically even download and use it, though you probably wouldn’t want to – it’s somewhat idiosyncratic software and in need of some updates. But in this case, software is leaving a record that’s actually far clearer than the one left by musicians using hardware.Īnd the PX18 is an amazing piece of history – one that exists in software form. We assume that software is ephemeral, likely to be lost to history. ![]() (Gerhard is now plenty busy being CEO of Ableton.)Īnd then there was Monolake’s PX18 sequencer, a step sequencer – cum – timeline with loads of interesting tracker-style and mathematical-musical features. Monolake, which is now just Robert Henke, was both Robert Henke and Gerhard Behles. Remember 1995? Computers onstage were still a comparatively risky proposition – often relegated to MIDI, more prone than today to instabilities, and absent today’s DJ and live performance apps. ![]()
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May 2023
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