Luminaere will be divided into two parts. The first chapter will take the form of a single piece lasting about twenty minutes. The second chapter will then follow, consisting of four or five tracks.

The idea is to break the material of the first part into several pieces, reusing its elements while refining them so they become more structured and singable songs. There is always a musical objective and a long-term vision behind the process. The goal is to know that the work can be reproduced, even though there will always be some unpredictability — especially with modular synthesis. A modular system does not always meet the patience expected by the musician or by the audience in a live situation.

With Luminaere, it will therefore be possible to carry out a kind of double work of memory: a long piece forming the first chapter, and then a second chapter made of songs that synthesize and reinterpret the first one.

The same spirit underlies both parts. In some ways this approach echoes ideas found in the study of the Mahavairocana Sutra within Shingon Buddhism. That is also why I mentioned in a previous post that “Fragments” remains the main recording project for 2026. For Luminaere, I am not yet sure whether it will be appropriate to release it in the same year.

Musically, however, the rack itself remains the same. A year ago this would not have been possible, so in that sense it is already a success. A single patching configuration will allow the songs to be recreated, although it still requires work: developing reflexes, and learning to improvise while keeping a stable foundation. This improvisation also requires a certain dexterity, juggling between the guitar and the modular system.

With Larachd, triggering events with the foot pedal has become a real advantage. At one point I hesitated about buying an arpeggiator, but in the end I decided against it, because it would require automated processes without actually touching the instrument — or rather the double instrument formed by the guitar and the modular system.

Regarding polyphony, I now tend to work more with ring modulation and with the small matrix module Réseaux by Ritual Electronics. It is a passive module that works in two directions: it can add several attenuated signals together, or on the second channel it can multiply a source and provide four attenuated outputs. In this context, polyphony takes on a completely different meaning than simply using several VCOs.

The Zlob Dual VCO is excellent for this. It provides square, sine, and triangle outputs with two different notes. But when its ring modulation output or signal combinations are routed through Réseaux, and controlled by the Klaviature keyboard from Modular Maritime, it becomes possible to trigger notes that remain technically monophonic yet possess a finesse that cannot be achieved by simply stacking several notes. It also shifts the work toward melody, which can then be enriched through filter modulation or through the Doepfer Photophase/Photophaser. I often use the photophaser with the keyboard or with the modified output.

Another related experiment involves crossing the low-frequency outputs of the Dual VCO through the Cascade module. A trigger is generated by the TSL with a square wave that activates the envelope. However, the signal entering Cascade also receives variations coming from the TSL through FM modulation. I use PWM as an FM modulation source within the TSL itself, which then modulates the square output that triggers the envelope. Because of this particular ratcheting behavior, the result becomes less binary. Crossing the two notes from the Zlob Dual VCO produces two low frequencies at the output with an interesting pulsation. FM has therefore become an essential element for obtaining regular yet original envelope triggers.

I recorded a video demonstrating this setup, but when listening through headphones I noticed a high frequency that did not appear clearly in the recording. So I took notes and will redo the demonstration later.

On another front, I have almost finished sorting my samples in Ableton Live 12. Field recordings from Slovenia, Vietnam, Spain, and other places will go into the Pico Drums module from Erica Synths. In parallel, I also edited field recordings from Vietnam on the Tascam, which will provide another layer of organic rhythmic material passing through Larachd. So there will be two sources of samples.

Within the Erica Synths drum module it is possible to alternate between two sounds, so I will have to see how to make space for that on the rack. Pointeuse is used a little less now, but it remains an important module.

As always, the only way to know is to test things. Imagining too much in advance is limiting; the system always surprises you.

For Luminaere, the texts are still being written, but the foundation is there. I will start testing drafts using a small thermal printer. Since my move I have embraced a minimalist approach, even at that level.

I no longer have a fiber internet connection at home, only a mobile phone that I occasionally use to connect. Today it is possible to reduce and simplify things, and that is often better. Accumulating too much is never a good thing.

As for travel, I will probably go to Sicily in April for four or five days. Before leaving, I want to finish editing the field recordings so that I can work on something new while I am there and continue developing the two chapters of Luminaere.

I also recently discovered the group Silver Apples. I should receive a CD soon. I usually prefer cassettes, but it seems their recordings do not exist in that format.

So that is the work currently underway at the beginning of this spring — a spring that, for my part, seemed to arrive without warning.

Zi