Tristram is credited by some as the father of tape music, originating tape music techniques in World War II. He’s notorious to the general public and sci fi fans as the composer of the music for the Daleks in Doctor Who (along with other music) — like an evil counterpart to Delia Derbyshire, who built the studio Cary would later use. But he was also a pivotal composer of music for film, electronics, voice, and instrument alike, a well-known Australian music critic, a leading figure in studios and academies, and, oh, yeah, he did the visual design (product design, really) for the legendary portable VCS3 "Putney" synth from EMS, the synth maker of which he was a founding Director.

It’s safe to say that, out of this web of contributions to electronic sound, Tristram Cary is another of those people who charted the course for what music technology is today. From the technology to his extensive music to his work in popularizing musique concrete in England, his impact is felt even by those who don’t know his name.

Christian Haines writes to let us know of Tristram passing, evidently following a long illness.

If you don’t know his work, there’s no time like the present to discover what he’s given us.

Official Tristram Cary Site

Wikipedia article, with lots of references and an extensive composition list

Resources at the Australian Music Centre

EMS, the "Moog Music of England", lives on (apologies to our UK readers, but Americans are just discovering EMS); see also the Synthi blog

And for a little Tristram Cary listening:

Trios LP by Tristram Cary (EMS) is a trio of EMS synth plus turntables; full tracks on the Synthi blog courtesy the composer. Really brilliant sounds:

And, you know, looking at all of this I’m reminded of why things like the Dalek connection are important. For whatever reason, mysterious science fiction worlds have been the entry point for listeners around the world into the sometimes alien and frightening new timbres of electronic music. We’re all lucky enough to have grown up in a time in which we’re challenged to create music that evokes other parts of the universe, real and imaginary.

Christian sends along a complete obituary provided by the Director of the Elder Conservatorium, David Lockett:

Tristram was born in Oxford on 14th May 1925. He served in the Royal Navy from 1943-6, specialising in radar and thereby receiving training in electronics. During his war service he independently developed the idea of what was to become tape music, and began experimenting as soon as he was released from the Navy in late 1946. From 1954 he found himself able to live by score commissions, and from that time produced a large variety of concert works and scores for theatre, radio, film, TV, public exhibitions etc.

He was founder (in 1967) of the electronic music studio at the Royal College of Music, and designed and built his own electronic music facility, one of the longest established private studios in the world. The equipment from this studio was brought to Australia, and most of it was incorporated into the expanding teaching studio at the University of Adelaide. He was also a founder Director of EMS (London) Ltd, and co-designer of the VCS3 (Putney) Synthesiser and other EMS products. He called upon a wide range of resources for generating film, TV, theatre, radio or concert music, special dialogue treatments, or anything in the area of specialised sound. His wide experience as a composer included all aspects of instrumental and vocal ensemble, any facet of electronic music, or combinations of several types.

Tristram played a pivotal role within the Elder Conservatorium until 1986, when he left the University to resume self-employment. During 1988-90, he was largely occupied with writing a major book on music technology which was published in London as The Illustrated Compendium of Musical Technology in May 1992 (Faber & Faber). The American version – substituting Dictionary for Compendium – is distributed by Greenwood Press, Connecticut.

In 1995 and 96 there were performances in London and Adelaide to mark his 70th birthday, and a new suite based on his music for the Ealing film The Ladykillers won The Gramophone Award for best film music CD in 1998.

Apart from composition activity, Tristram was a respected music critic for The Australian newspaper. In recent years he held the position of Honorary Visiting Research Fellow at the University of Adelaide, in which capacity he continued his computer music research. In 2001 the University also conferred on him the degree of Doctor of Music. In 1991 he was awarded the Medal of the Order of Australia (OAM) for services to Australian music. In 1999 he received the SA Great Music Award for the year, and Symphony Australia commissioned a new work – Scenes from a Life – to mark his 75th birthday in 2000. He received the Adelaide Critics Circle 2005 Lifetime Achievement Award on December 5, 2005.

Shocklee describes his role with Public Enemy as a kind of teacher, helping Chuck D, poet, meet digital production technology. In the years since, he’s expanded that teaching role to include young people around the world, and he’s got some strong opinions about the importance of learning the craft of recording and music in general.

Fittingly, we sat down for a few moments in a classroom.

Interview: Hank Shocklee, Pt. I – On music making from cdm tv on Vimeo.

What a lot of people may not know about Hank Shocklee is that beyond being a Public Enemy veteran, he’s also been deeply involved in the music industry. Unlike so many armchair industry quarterbacks, Shocklee has worked with the major artists (from Madonna to Peter Gabriel) and had a significant stint as Senior Vice President for Universal MCA Records. That means when Shocklee criticizes the industry as musically illiterate, he speaks from the perspective of someone who’s been on both the inside and outside of the majors. (He’s now producing and scoring music independently, and drove his entrepreneurial spirit into his own Shocklee Entertainment.)

Criticizing is one thing — but Shocklee had advice for how artists can guide the direction of their own career. He talks about the limitations of the industry, how the music community can grow beyond it, and how visual media could finally become a serious domain for musicians. (We agree with that.)

Interview: Hank Shocklee, Pt. II – On music business from cdm tv on Vimeo.

Some were disappointed that the Segway was not, as promised, “an invention that will “sweep over the world and change lives, cities, and ways of thinking.’” But there’s hope, in the form of Brisbane, Australia-based electronic duo Segue’s vision for the future. Clearly, the first Segway was just a 1.0 device. What it needs is additional accessories to make it the globe-shifting device it should have been. It needs a beer fridge, Ableton Live sync, and Monome control.

Okay, backing up to the “real” Segue, Segue is the combination of Leo Hede and Dave Dri. They regularly team up with visualist Jaymis Loveday, a big force behind CDM and co-editor of Create Digital Motion. Sadly, for now, their rig is not built out of tricked-out Segways, though I’m hopeful for the future:

With two laptops, synths, MPC sampler, MIDI controllers and FX units all triggered live on stage, Segue are willing to walk the tightrope in the live arena where some contemporaries baulk at performing without a safety net. “It’s the eternal and much argued balance between risk and self indulgence” Dri says wryly, and reaction to their sets so far suggests the risk is paying off big time. Leo is more abrupt with his explanation of the extent of their stage setup, stating with a characteristic smile “this is what we enjoy, so this is how we play”.

If you’re interested in their music, here’s some additional background:

Segue’s Chemical Brothers remix featured on Palms Out Sounds [at AU dance site inthemix.com.au]
Chemical Brothers – EBW9 Segue remix [seguesound.com]
About Segue

And if you’re in Melbourne, go check out Segue + CDM’s own VJ Jaymis at Smashbang lounge on October 5 — erm, 5 October.

But I dare someone out there to do something as outlandish as the sketch above.