Paul Beaver & Bernard L. Krause - Nonesuch Guide To Electronic Music - 180g 2LP

Paul Beaver & Bernard L. Krause - Nonesuch Guide To Electronic Music - 180g 2LP

Product no.: PPAN73018

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Paul Beaver & Bernard L. Krause - Nonesuch Guide To Electronic Music - 180g 2LP
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Pure Pleasure - SD1258 - 180 Gram Virgin Vinyl - AAA 100% Analogue

Limited Edition - Mastered by Ray Staff at Air London

Pressed  at Pallas Germany

AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London


180-gram gatefold double LP + booklet
50th Anniversary Edition, now mastered at the correct pitch
Remastered by Ray Staff at Air Mastering, Lyndhurst Hall, London
Among the very first to master and popularize the sounds of the Moog synthesizer were Paul Beaver and Bernie Krause. Their debut album, The Nonesuch Guide to Electronic Music, was something of a primer for the sounds the instrument could make. Though largely devoted to demonstrations of specific sounds, it ended up making far more of an impact than the usual instructional record did, enjoying healthy sales and helping to spread the use of the synthesizer within the music industry.
Beaver and Krause were introduced to each other by Elektra records founder and president Jac Holzman, who was looking to use the synthesizer in an astrological concept album the company was producing, "The Zodiac — Cosmic Sounds". They were in some respects an unlikely pair. It was while sitting together with Krause on a plane ride to the Monterey Pop Festival, in fact, that Holzman conceived of the idea for "The Nonesuch Guide to Electronic Music."
"We felt that any number of companies represented possibilities," responds Krause today when asked whether Elektra was felt to be a natural home for the duo's first album. "But Jac, at the time, seemed to express the levels of creative energy, imagination, and interest unmatched at that moment by any of the other A&R reps."
Adds Bernie, "Neither Jac or us had a clue what we were doing and what the potential market was, although Jac apparently had a gut instinct about it. Paul or I certainly weren't thinking in those terms. Our objective was to get the information out there about synthesis of sound and new definitions of music that resulted from its introduction (i. e. music = control of sound)." The information wasn't solely contained on the vinyl. The double LP was accompanied by a scrupulously notated 16-page booklet, described as a "syllabus" in the introduction, that Krause wrote to detail signal generators, voltage control, modulating, filtering, synthesis of sound, and studio equipment's role in the recording and live performance of electronic music.
As for how the sounds on the album were selected and recorded, "We went through each module on the Moog, one by one, and explained the functions inherent in each. The sounds themselves were selected from the four possible outputs of the oscillators (sine, triangular, continuously variable rectangular, and sawtooth). From these, either individually or in combination, we selected and used the sounds as examples. The only challenge of Moog synthesizers at the time was the relative instability of the oscillators, which tended to drift in pitch. So we constantly had to retune the machine. Otherwise, no problem."
As recording artists, Beaver and Krause would continue to develop their pioneering sounds in unexpected ways over the next few years.
Side 1
1. Peace Three
2. Signal Generators
3. Control Generators
Side 2:
1. Frequency Modulation
Side 3:
1. Amplitude Modulation
2. Ring Modulation
Side 4:
1. Filtering
2. Tape Delay
3. Peace Three
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