available at Analog Industries image description via Wikipedia: "Pierre Schaeffer working in his studio with an electronic instrument known as the phonogene; circa 1948."
See this Wikipedia article for more info on Pierre Schaeffer. "Pierre Henri Marie Schaeffer (Pierre Schaeffer {{{2}}} (help·info); August 14, 1910 – August 19, 1995) was a French composer, writer, broadcaster, and engineer most widely recognized as the chief pioneer of musique concrète,[1] a unique form of experimental music that began in Europe during the mid-1900s."
Bottom image is of Delia Derbyshire, Analog Industries' previous T-Shirt run. You can find more info on Delia Derbyshire here on Wikipedia where you'll find the source of the image for the T. "Delia Derbyshire at the BBC Radiophonic Workshop" Of course be sure to see these previous posts including video.
Anyone confirm this was the first piece of musique concrete?
"The first piece of "musique concrete," composed by Pierre Schaeffer in 1948 out of sounds produced by trains.
This is posted as a reference to a series of articles on the problems of composition posed by musique concrete. The article on Peirre Schaeffer can be found here:
If you like this music, please purchase the album:
http://www.amazon.com/L-Oeuvre-Musica..." on Amazon
Update via Joe of Electronic Music Teacher:
"I just want to note that Etude aux Chemins de Fer may be the first piece of Musique Concrete, but it is not necessarily the first piece of "sound collage" tape music. Schaeffer coined the term Musique Concrete (also called "acousmatic music") to describe non-narrative music using "sounds" as the primary source material, divorcing the actual content of the sound from what it represents. (When listening to Etude aux Chemins de Fer we are not supposed to hear trains as trains, but simply as abstracted sounds - elements in the composition.)
The earliest piece of tape-style electronic music might be Walter Ruttman's "audio film" titled "Weekend", from 1930. According to The Transparent Tape Music Festival:
"Weekend is a pioneering work from the early days of radio, commissioned in 1928 by Berlin Radio Hour. In a collage of words, music fragments and sounds, the film-maker and media artist Walter Ruttmann presented on 13 June 1930 a radically innovative radio piece: an acoustic picture of a Berlin weekend urban landscape.
Before making Weekend, Ruttmann had produced the experimental documentary Berlin-Symphony of a Great City (1927) as well as a number of short, experimental abstract animations. After his experience with his films, Ruttmann deliberately sought possibilities for producing an audio-film for radio. "Everything audible in the world becomes material," he wrote in a manifesto in 1929, prefiguring Schaeffer, Varese, Cage and the other giants of the musical avant-garde."
"Pierre Schaeffer - LIVE Improvised Cosmic Tape Music
Do your ears crave NEW sounds?
Inspired by the pioneering innovations of the father of Musique Concréte, Pierre Schaeffer, we set out to improvise with found sounds, synthesizers, loopers and effects.
Join us every Wednesday for a ride on The Galaxy Electric Express 🚀
We perform a LIVE (improvised) Cosmic Tape Music soundtrack for your retro-futuristic travels 💫 You never know what planet you will land on…but you know it’s going to be an unforgettable journey…
Gear:
Buchla Music Easel
1979 Digital Resonator
FM Radio (Koma Elektronik field kit)
Mellotron
Boss RE-20 Space Echo Pedals
Pigtronix Infinity Looper
Monome Grid + MRL
Thanks for listening! Come on a musical voyage with us where we'll send you a new song every day, a cosmic story, and a chance to earn space treasure: https://thegalaxyelectric.lpages.co/5..."
via Fabrique from Matmos: "the 'Coupigny' modular synthesizer housed in the INA/GRM studios at RadioFrance in Paris and used extensively by some of the titans of musique-concrete."
Update via Fabrique: "It seems so as many composers in residence at GRM have recently requested to use it after it was unearthed by composer Christian Zanesi. Built in 66, it has been used by Parmegiani (La Roue Ferris), Bayle, Berio, Schaeffer... (in french) [and Googlish]
And it appears he also built a video effect unit used by Martial Raysse and other artists (Note : Francois not Francis might be a typo):
"1968 - Creation of the GRI (Groupe de Recherche Image) at the ORTF under the direction of Pierre Schaeffer. François Coupigny develops the "truqueur universel" (universal special effects device), which is used by Martial Raysse, Peter Foldès, and Jean-Paul Cassagnac for attempts at coloring the video image from black-and-white images."
Another article that mentions Francis Coupigny: "The two most brilliant technicians who worked with Pierre Schaeffer were Francis Poullin, in the early 1950s, who developed the phonogène and the morphophone, and Francis Coupigny, in the 1960s, who created the console and the integrated synthesiser."
Many of you will be familiar with the Access Virus compositions by Marc-Henri from previous RADIOKLOW posts. Marc-Henri bridges the gap between electronic music and other forms of art. His most recent work is a poem in tribute to Pierre Henry accompanied by the Access Virus. The tribute is hosted on La poésie au cœur des arts : le Blogart which translates to "Poetry at the core of arts". Click through and click on the Access Virus image to get to the piece.
via Marc-Henri:
"This site called 'Poetry at the core of arts' is the net the extension of a book of the same title, an anthology of poetry published by the french publisher : Editions Bruno Doucey. The book contains a poem I wrote about electronic music. The site was conceived to developp an exploration for some of the poets and artists of the book. I am one of them for, poetry , music and painting.
You will find the poem I wrote for the book, three pieces of music composed in january 2014, four poems by other authors of the anthology, three improvisations performed in early february 2014, a former composition called De Haute Vallée you have seen in the form a video in late 2012, an interview in french and some photographs taken at my flat when I was interviewed."
The following is Marc-Henri's poem translated into English:
"Orpheus veil"
Fly down into Orpheus ear,
Where roll clockworks
Of the forbidden stars
And voices shreds seeking vision.
Listen at the well of walls
Echoes of illuminated faces
In their bronze palaces.
Pavings, folds of roses,
The naked heels
Playing the freshness game
With embers
And the childhood kisses.
Travelling back to horizon,
In the limestone of nights,
Is now the prophecy of the spices,
With its tissue gifted with red
And the sobbings of an initiation.
Marc-Henri Arfeux - 2013
----------
Update: the following an English translation of the interview with Marc-Henri Arfeux on "Poetry at the core of arts". It is a fascinating read and reminds me of why I initially got into synths. My first synth was a brand new Oberheim Matrix-6 back in 1986. When I first started exploring the Matrix-6 I had no idea what the parameters did, so I just dived in. For me it was an exploration of sound for the sake of sound and a fascination in creating musical instruments never heard before. The focus was on that exploration rather than the attempt to mimic real world instruments. Much of this spirit is covered in the world of musique concrete and is captured in the interview below. Do not miss the part on the short wave radio. Truly fascinating and an inspiration for sonic exploration.
Note the above video is followed by:
Eliane Radigue - Triptych (1978) FULL ALBUM
Eliane Radigue | Feedback Works 1969-1970 [2012, Full Album]
Video Description:
"Un día me encontré con esta obra casualmente se mimetizaba con el sonido ambiente, fue en una casa de playa , por lo que no era fácil oír por el intenso sonido del mar, estaba atenta, quería escuchar que era lo que realmente sonaba, y no lo encontraba, hasta que aparecen fantasmagóricamente las voces soprano, despacio, atrás de todo, incorporándose poco a poco sutilmente la encuentro reproduciéndose en un lector de cd , aparece mi amigo Gerardo Figueroa, y me presenta a Eliane Radigue, máxima exponente de la música electrónica desde los años en que compartía con Pierre Schaeffer. y Henry en los años 60.............. nunca mas pude encontrar este disco, hasta hoy....por eso lo comparto. tiene la simpleza y sutileza de mezclar los sonidos puros y perderse infinitamente en las islas resonantes..."
Googlish:
"One day I found this work coincidentally blending in with the ambient sound, it was in a beach house, so it was not easy to hear from the intense sound of the sea, I was attentive, I wanted to hear what it really sounded like, and I could not find it, until the soprano voices appear spookily, slowly, behind everything, gradually incorporating the encounter reproducing in a CD player, my friend Gerardo Figueroa appears, and introduces me to Eliane Radigue, the greatest exponent of music electronic since the years I shared with Pierre Schaeffer. and Henry in the 60s .............. I could never find this record, until today ... that's why I share it. the simplicity and subtlety of mixing pure sounds and getting lost infinitely in the resonant islands ... "
"The act of listening is itself the generation of music, to paraphrase Pierre Schaeffer. All the parts are always there, and our ear generates the score.
Date: Saturday, January 9, 2010 Time: 8:00pm - 10:00pm Location: Maison de Radio France - salle Olivier Messiaen Street: 116, avenue du Président Kennedy City/Town: Paris, France
"Experimental French composer Pierre Henry, one of the pioneers of musique concrète, is the subject of this documentary that traces his development of a new sound that shocked the music world. During the 1950s, the radical innovator and his colleague Pierre Schaeffer created a unique form of music based on electronically modified environmental noises.
"The 'Cristal Baschet' is a novel acoustical music instrument of a type of friction idiophones. Vibration as an element is used to produce musical tones by means of friction. These vibrating elements are metal rods embedded onto a heavy plate. The pitch of the sound tone is determined by the rod's length and weight position at the equilibrium point. The vibration is caused when an attached glass rod is gently stroked with wet fingers...
The Cristal Baschet was developed around the same time as musique concrète (Avant-Garde musical style introduced by Pierre Schaeffer and Pierre Henry), Electro-Acoustic music and early Moog synthesizers. The Cristal Baschet produces music similar in style with these other musical forms, but it's completely acoustic without the involvement of an electric amplifying-device."
"Let's use some simple control voltage shapes to inscribe rhythm and intelligibility on unrelated sounds with the Tape & Microsound Music Machine.
"Acousmatic music" is, nominally, music whose sonic origin cannot be seen. It is commonly associated with the GRM (Groupe de Recherches Musicales) and the composers there, including Francoise Bayle, Bernard Parmegiani, Beatriz Ferreyra, Pierre Shaeffer and others. Some info about the importance of gestures to this "school" of composition can be found here: https://www.inventionen.de/Inventione...
Further reading on shapes and gestures in music and listening:
Pierre Schaeffer, Treatise on Musical Objects
James Tenney, Meta Hodos
Allen Strange, Electronic Music: Systems, Techniques, and Controls
Atomic Shadow wrote in to let me know that one of his favorite artists, Else Marie Pade, has passed away at the age of 91. Many of you should recognize her name from previous posts here on MATRIXSYNTH. She was an early electronic music artist, one of the pioneers of Musique Concrete. For those not familiar with the term, via Wikipedia: "Musique concrète (French pronunciation: [myzik kɔ̃.kʁɛt], meaning 'concrete music') is a genre of electroacoustic music that is made in part from acousmatic sound, or sound without an apparent originating cause. It can feature sounds derived from recordings of musical instruments, the human voice, and the natural environment as well as those created using synthesizers and computer-based digital signal processing."
Wikipedia on Pade: "Pade was born in Aarhus, and was educated as a pianist at the Kongelige Danske Musikkonservatorium (Royal Danish Academy of Music) in Copenhagen. She studied composition first with Vagn Holmboe, and later with Jan Maegaard, from whom she learned twelve-tone technique. In 1954, she became the first Danish composer of electronic and concrete music (Bruland 2001). She knew and worked with Pierre Schaeffer and Karlheinz Stockhausen as well as Pierre Boulez.[1]" See the full article for more on her incredible life.
Else Marie Pade - Faust (1962) Published on Oct 18, 2013 Mors Mea
Prolog I Himlen 0:00
Faust Og Mefisto 4:21
Faust Og Magrethes Kærlighed 11:22
Magrethes Fordømmelse 18:46
Rejsen Til Bloksbjerg Og Valborgsnat 23:03
Marc-Henri (aka RADIOKLOW) wrote in to let me know electronic acoustic composer Bernard Parmegiani has passed away at the age of 86. He was mentioned here on MATRIXSYNTH a few times in the past.
The above image is from conceptoradio where you'll find a feature on him in Spanish. The following is some of the text translated to Googlish:
"Editions Mego is refocusing on the work of Bernard Parmegiani under his Recollection GRM series. reissued it "De Natura Sonorum" album first published in 1975 and probably one of the most important works of the French composer. This work consists of twelve movements, constituted in two series of six, combining analogue sounds with electronics, and is a true reflection of his studies at the Research Group Concrete Music (GRM) of Pierre Schaeffer. This work was also inspired by artists such as Aphex Twin or Autechre, since, as well quote the press release, 'has indelibly marked the classical period of electroacoustic music.'"
Bernard Parmegiani: De Natura Sonorum (1975)
Published on Jun 3, 2012 TheWelleszTheatre·1,789 videos
"Bernard Parmegiani (*1927): De Natura Sonorum (1975).
Création 3 Juin 1975, Paris.
Dédié a Michel Descombey et au Ballet Indépendiente de Mexico."
via Marc-Henri: "By a strange mystery of time, the INA-GRM has just released a few days ago a new version of his most important works in CD. Bernard Parmegiani was not so famous as Pierre Henry (still living and now around 85 years) but of the same artistic level in a very different style."
Parmegiani: "La Création du Monde" (Complete)
Published on Aug 29, 2012 NewMusicXX·836 videos
"Bernard Parmegiani: 'La Création du Monde' (1982-84) (Complete)
Lumière Noire (Black Light), Métamorphose du vide (Metamorphosis of the Void), Signe de vie (Sign of Life)
I have received many requests to post this work in its complete form, so here it is."
This piece is an update of the first musique concrète song by Pierre Schaeffer "Etude aux chemnis de fer" (Study of Trains). In Schaeffer's original he manipulates recordings of trains for his composition. This piece similarly uses sounds of Oakland's Bart train as the palate for the composition. All of the sounds except for the synth and the vocal line come from sounds in the Bart.
The concept of the piece takes a rider on a musical journey on the Bart to the Fruitvale station where a wormhole opens (interrupting "your normal commute") and transports the listener to January 1, 2009 2:15 PST when Bart Officer Johannes Mehserle shot and killed Oscar Grant.
"In this clip from the Harvestworks Presentation 'Plogue Bidule, Heads & The Concrète Sound System' Primus Luta discusses the influences for his most recent paths of musical exploration."
"The Women of ELECTRONIC MUSIC! From the 30's to the 70's!
Before synthesizers, electronic music was honed the hard way in universities, by splicing tape loops, distorting sounds, endless dubbing, and blind instinct. Here are the timeless women of future music who created our present...
Since the 1930's, CLARA ROCKMORE was the master of the notoriously difficult Theremin, and later championed by synthesizer-creator Bob Moog; LOUIS & BEBE BARRON created the first all-electronic score for the film "FORBIDDEN PLANET" (1957), using oscillated sounds and tape loops; //STUDIO d'ASSAI (Paris): Danish ELSE MARIE PADE studied under musique concrete founder Pierre Schaeffer, becoming a noted composer; ELAINE RADIGUE used the Buchla and Arp synthesizers in her work, heavily influenced by Buddhist meditation, and records now with laptop improv group The Lappetites; MICHELE BOKANOWSKI has composed for film, televison, and theatre; //BBC RADIOPHONIC WORKSHOP (London): ...was created and directed by DAPHNE ORAM, inventor and sonic pioneer; she was followed by DELIA DERBYSHIRE, who brought Ron Grainer's "DR. WHO" theme to brilliant, eerie life with her studio wizardry; MADDALENA FAGANDINI co-created the proto-Techno single "Time Beat/ Waltz In Space" (1962) with young producer George Martin under the alias 'Ray Cathode'; GLYNIS JONES produced some of the Workshop's classic albums like "Out Of This World" (1976); ELIZABETH PARKER scored many BBC shows including "BLAKE'S 7", and was the person to see the Workshop out in its 1998 finale; //Fluxus performance artist YOKO ONO expanded John Lennon's mind and range with electronic music, musique concrete, and 'happening' experiments; //COLUMBIA-PRINCETON ELECTRONIC MUSIC CENTER (New York): A premiere focal point for international composers since the 50's, including composer and Associate Director PRIL SMILEY; ALICE SHIELDS combined her operatic voice and poetry with the revolutionary synthesizers of the late 60's and early 70's; teacher DARIA SEMEGEN wrote traditional classical music as well as electronic; WENDY CARLOS had massive mainstream success with the all-synth "Switched On Bach", before writing groundbreaking film scores for "A CLOCKWORK ORANGE," "THE SHINING" and 'TRON"; nearby at Bell Labs, LAURIE SPIEGEL spearheaded computer graphics and software design as well as new music; maverick ANNETTE PEACOCK went from Free Jazz piano to the first synthesizers, threading her early 70's raps and rock with freeform electronics; //Argentinian BEATRIZ FERREYRA, who also studied with Schaeffer, is an esteemed composer and teacher; //SAN FRANCISCO TAPE MUSIC CENTER: The crucial West Coast electronic center, including Morton Subotnick, Terry Riley, Steve Reich and PAULINE OLIVEROS in 1962; it moved across the Bay to become the... //CENTER FOR CONTEMPORARY MUSIC (Mills College, Oakland, CA): Oliveros was the first Director, perfecting her signal processing system for live performance; student and now Co-Director MAGGI PAYNE trailblazed video imagery and record engineering along with her music; alum CYNTHIA WEBSTER played in the early synth band Triode, founded electro mag SYNAPSE, and now runs Cyndustries designing software for electronic music, such as the Zeroscillator.
Their innovations led to Progressiv Rock, Krautrock, New Wave, Coldwave, Darkwave, Electro Funk, Industrial, Techno, and Electroclash. Their fringe future music is now the soundtrack of today.
See also:
ALICE SHIELDS -"STUDY FOR VOICE AND TAPE" (1968)
"Sound, the infinite frontier! Science had chopped the world into atoms, components from which to build. Modern art deconstructed reality, reconstructing our perceptions of it. And the first Electronic Music likewise took apart sound and turned it inside out for new compositions. Vladimir Ussachevsky founded the first Electronic Music Center jointly with Columbian and Princeton universities in 1952. He brought in avant composers from countries worldwide with new perspectives and radical expirementation. This included women like Daria Semegen, Pril Smiley, Wendy Carlos, and Alice Shields. In the 50's, Electronic Music was distortions of recordings. Sounds on a tape recorder would be manipulated by feedback, repeated spliced loops, overlapping tracks with multiple recorders, and using oscillators and reverb to sculpt the tempo, tone, or texture. This prevailed in continually advancing ways well through the 1960s. Alice used these techniques in creating this composition. A gifted mezzesoprano, she first sang a poem she'd written. She accompanied this with the first analog Buchla synthesizer, a rare and recent device only beginning to draw the attention of the hippest pop musicians. She then manipulated pitch and speed in textural patterns to supplement the freeform song. This was the cutting edge music of the future, usually heard only in academic circles. But it made its way into film soundtracks (from FORBIDDEN PLANET to Wendy Carlos' A CLOCKWORK ORANGE), Fusion Jazz (Miles Davis, Herbie Hancock), Progressive Rock (from George Harrison's 1969 ELECTRONIC SOUND to Krautrock and Kraftwerk), Funk (Stevie Wonder's T.O.N.T.O., Bernie Worrell), on to the synthesizer explosion of New Wave, then Hip Hop (from Bambaataa's ElectroFunk to Public Enemy's radical sculptures of noise), Industrial (synthetic abrasion), and the Electronica music of today; as such, Alice Shields is a godmother of Le Tigre, Peaches, Chicks On Speed, Lesbians On Ecstasy, and Ladytron, to name a few."
MALARIA! -"Your Turn To Run" (1982)
"The Women of 80's ELECTRO! Coldwave, Darkwave, Synthpop, Industrial!
As synthesizers got smaller and cheaper through the 70's, 'future music' went from acedemia to the street. Punk, PostPunk, Funk, and HipHop artists brought attitude and new styles into the pop vocabulary throughout the 80's that forged the music of today. Here are many women from the first Electro rock era..."
"Brand new never used Make Noise Phonogene in 5U MU DOTCOM Synthesizers.com format. Limited edition of 20 units and we had an extra one left so someone out there is going to be a happy camper...
The Phonogene is a digital re-visioning and elaboration of the tape recorder as musical instrument. It takes its name from a little known, one of a kind instrument used by composer Pierre Schaeffer. It is informed by the worlds of Musique Concrète where speed and direction variation were combined with creative tape splicing to pioneer new sounds, and Microsound where computers divide sound into pieces smaller then 1/10 of a second to be manipulated like sub-atomic particles..."
"French composer Luc Ferrari (1929-2005) was one of the progenitors of Musique concrète and a pioneer of and resolutely idiosyncratic voice within electroacoustic music. Ferrari was an early participant in the Groupe de Musique concrète and, with Pierre Schaeffer and François-Bernard Mâche co-founded the Group de Recherches Musicales (GRM) in 1958. Throughout his career, Ferrari worked in multiple forms: instrumental works, vocal music, text scores, electronic and electroacoustic music, Hörspiele, theatre and films. This is the first English monograph on Luc Ferrari and includes writings, original compositions, notes, text scores, artworks and interviews. Edited by Brunhild Ferrari. English translations by Catherine Marcangeli. Foreword by Thurston Moore. Introduction by Jim O’Rourke. Preface by Brunhild Ferrari. Afterword by David Grubbs."
YouTube Uploaded by DrOctave1 on May 17, 2011
Audibly NSFW.
"scarface in the phonogene and some 4/4 just checking it out and playing around"
via Make Noise
"The Phonogene is a digital re-visioning and elaboration of the tape recorder as musical instrument (Firmware Engineered by Flemming Christensen, Gotharman). It takes it’s name from a little known, one of a kind instrument used by composer Pierre Schaeffer. While it is not an emulation, it does share the primitive, tactile nature of it’s namesake, and expands upon the original concepts. It is informed by the worlds of Musique Concrète (where speed and direction variation were combined with creative tape splicing to pioneer new sounds) and Microsound (where computers allow for sound to be divided into pieces smaller then 1/10 of a second, and manipulated like sub-atomic particles). Having voltage control over every parameter, it is most successful as a digital audio buffer for the modular synthesist.
The Phonogene is comprised of a pair of tool-sets which work well together. Tape Music Tools allow for sounds to be recorded on the fly, layered using the internal Sound On Sound function, manually cut into pieces using the SPLICE function, and re-organized with the ORGANIZE control. Once it is Spliced up, it is possible to create nearly infinite variations of the original loop by modulating the ORGANIZE parameter, and VARI-SPEED allows for the speed and direction of playback to be controlled continuously with one control signal. GENE-SIZE, GENE-SHIFT and SLIDE make up the Microsound Tools. GENE-SIZE divides the audio buffer into progressively smaller pieces called Genes (aka particles, grains, granules). A clock signal applied to GENE-SHIFT will step through those pieces in chronological order, while a control signal (such as the Wogglebug Smooth CV) applied to SLIDE, moves through those pieces in a nonlinear fashion. Using SLIDE, random access of the audio buffer is possible. Obviously, functions such as VARI-SPEED and ORGANIZE are useful for Microsound as well, which is why these functions were grouped into one module. The end result is a sampler/ looper/ audio buffer that is able to exist within a modular synthesizer system, and offer a vast amount of real-time sound manipulation in a fast and tactile way.
There is often the expectation that “bad sounds” such as clicks, pops, distortions, wrong notes, phase in-accuracies and otherwise, should be impossible with modern musical instruments. Many designers are making instruments which are fool-proof, and which guarantee some specific musical result, thus making it easy to create the same music, over and over again. The Phonogene does NOT use this approach. In fact, we have made it very possible to make the “bad sounds” and “mistakes” that have led to some of the greatest moments in musical history (and of course, some of the worst!). With the Phonogene, it is possible to Splice sounds in such a way that you will hear sharp contrasts, clicks and pops. This is the physics of sound! It is possible to slow down a recording to point of complete decimation, so that all that remains is trail of digital artifacts. Such are the limitations of digital sound (at the moment). It is possible to render the source material completely unintelligible, to cut busted loops, to distort digitally, to obscure, to regenerate to the point of almost no signal integrity. This is the nature of the Phonogene. If you seek the perfect looping tool, in the most contemporary sense of the word, then please look elsewhere. If you desire to explore the realm of modular, digital sample manipulation and microsound, welcome!
This module is 20HP and consumes 70mA worth of current."
"The Phonogene is a digital re-visioning and elaboration of the tape recorder as musical instrument. It takes its name from a little known, one of a kind instrument used by composer Pierre Schaeffer. It is informed by the worlds of Musique Concrete where speed and direction variation were combined with creative tape splicing to pioneer new sounds, and Microsound where computers divide sound into pieces smaller then 1/10 of a second to be manipulated like sub-atomic particles."
YouTube via usoproject "Présences Électronique is the festival organized by Groupe de Recherches Musicales (G.R.M.) and jointly produced with Radio France, which explores the link between the concrete music of Pierre Schaeffer and new experiments in electronic music."
available at Analog Industries
Bottom image is of Delia Derbyshire, Analog Industries' previous T-Shirt run. You can find more info on Delia Derbyshire here on Wikipedia where you'll find the source of the image for the T. "Delia Derbyshire at the BBC Radiophonic Workshop" Of course be sure to see these previous posts including video.
