In the piece, all elements are expressions of the Mel-Scale Filterbank of the Subharchord II making itself accountable. In other words, the synthesizer was played in ways so that the filterbank would be activated before the oscillators – though some bleeding does happen –, to evince the timbral qualities and idiosyncracies of the filter design. My approach to playing this filter works with finding rhythms that drift in and out of speech-like as well as call-and-response patterns. Moreover, the editing of the piece blends in a recording of the very "body" of the synthesizer used as a live resonator, adding thus a material presence of the thing itself rather than just the sound it produces electronically. In this way, my piece works out the Filterbank as a composition, something more than the sum of its parts: it must include the construction of the synthesizer itself, the room it was played at, as well as my own body responding to its history – then and now.

Recorded and Mixed by Pedro Oliveira at Studio für Elektroakustische Musik, Akademie der Künste Berlin; December 2022 – February 2023.

With thanks to the AI Anarchies program at Junge Akademie, Clara Hermann, Andrei Cucu.