Pierre-Luc Lecours

Music and video: Pierre-Luc Lecours

Musicians:
Julie Delisle – Flutes and synthesizer
Emilie Girard-Charest – Cello
Huizi Wang – Percussion
Pierre-Luc Lecours – Synthesizer

Concert sound technician: Frédéric Le Bel

The concert was recorded live on May 14, 2022 at Ausgang Plaza during the Temporel 2022 festival organized by Codes of Access.

You are based in Montréal, how is the scene there? Would you tell us more about your surroundings? Composers you like, feel close to?

I have been living in Montréal for most of the past 20 years. It is an incredibly creative city with vibrant scenes in many different fields.
I now live on the eastern edge of the island, close to a large park that is home to elk and wild turkeys.
My musical influences change over time. Recently, I’ve been listening to the latest Two Fingers album, Éliane Radigue (I love the Quatuor Bozzini interpretation of Occam Delta XV), Grand River, Abdul Mogard, Anna Thorvaldsdottir, Catherine Lamb, Steve Reich, and György Ligeti.

Your artistic practice covers many different mediums and aesthetics, and is characterized by a search for expressiveness in projects exploring an artistic process aimed at drawing relationships between form, format, and content. How do you achieve such things?
Would you develop on that?

I’m not sure if I always achieve it, but it’s more of a goal to find the most coherent way to present an idea. This might involve finding the right medium, sonic material, or articulating the idea in a way that feels right and makes sense both conceptually and perceptually.

You like to break down barriers and find a dialogue between various (electroacoustic and instrumental) music cultures and heritages, and the exploration of new forms of audiovisual expression.
Do you encounter problems related to preconceived ideas, limitations or rules imposed by these respective genres?
Must you convince the temple guardians? How can you achieve such mixity?

I made music for nearly a decade before receiving academic training, which gave me the chance to discover many things on my own and then seek a more structured education. I studied at the music faculty at the Université de Montréal, where I had very open and supportive teachers.
I think rules and limitations concerning music genres are often self-imposed.
I try to find the best way to express an idea, whether that means using notes, textural sounds, rhythms, or articulations.
I don’t concern myself with contemporary gatekeepers; I make music and follow the direction that feels right to me.

Your label Empreintes DIGITALes, for instance, could be considered as an institution in academics.
Highlighting diplomas obtained, prizes won in various competition often confined to an elitist milieu?
How do you fit in there?

I think Empreintes DIGITALes has done important work by providing the Acousmatic world with a channel to release music that often had no other outlet.
As for how I fit in, I believe the Acousmatic music I created some years ago found its place on the label, and I am proud to have released it there.
I will likely release more in the future if my creative journey leads me in that direction.

What have you been working on lately, and do you have any upcoming releases or performances?

I’ve been involved in a variety of projects recently:
One ongoing collaboration is with composer and baritone saxophonist Ida Toninato. We just returned from about a month of touring with our performance “Homeostasis,” which we presented at Sonica 2024 in Scotland, and then at Mutek Argentina, Mutek Chile, and Festival Nonconventional in Bogota.
We’re also finalizing an album set for release later this year.

The Ensemble Modulaire, which I direct, has been presenting its first concert featuring pieces for four modular synthesizers by Myriam Boucher, Nicolas Bernier, and myself at Live@CIRMMT past February.

As part of my academic research, I’ve been working on three modular synthesizer studies over the past year. I had the opportunity to collaborate with performer Maryse Legault on these studies, allowing for testing and feedback. I’ve since taught them to two other musicians, which has helped refine the instructions further.
Additionally, I did perform a new piece by Andrew Noseworthy, composed for my modular system and a resonant space, past November.

What do you usually start with when composing?

I spend a lot of time thinking and evaluating what I want to achieve.
I try to read and gather inspiration, then I plan everything out, writing down the formal aspects of the piece if possible.
Once I have a clear plan, I head into the studio and start working.

How do you see the relationship between sound and composition?

For me, sound is my main way of connecting with composition.
Even when I work with musicians, notation comes after I’ve connected with the sonic elements of the piece.

How strictly do you separate improvising and composing?

I don’t separate them at all!
When I play live, I like to have moments where I can improvise and interact with the musicians I’m playing with.
In the studio, many ideas come from structured improvisation sessions on my synth.

Do you find that you record straight with no overdubbing, or do you end up multi-tracking and editing tracks in post-production?

I generally do a lot of overdubbing, but I try to do one-take recordings to capture a live feel.

What type of instrument do you prefer to play?

I mostly record on my modular synthesizer now.

Obviously, you are interested in gesture and physical movement to create music, right? What is your favorite way to achieve such expression?

I like to have controllers in my setup to achieve fast and articulated gestures.
I always have an Intellijel Planar2 in my system and often a Make Noise Pressure Points.

How were you first acquainted with modular synthesis? When did that happen and what did you think of it at the time?

The first time I realized the incredible potential of modular synthesizers was with the project QUADr, the electroacoustic quartet I founded in 2014 with Myriam Boucher, Alexis Langevin-Tétrault, and Lucas Paris. We played on four amplified bicycle wheels and a modular synthesizer.
I then started using Reaktor and Pure Data software to access this modular mindset.

How does it marry with your other compositional techniques?

Quite well, actually.
It satisfies the direct connection I try to achieve with sound when creating. It allows me to use my guitarist/musician skills while having access to an infinite range of articulations.

Your compositional process also involves using acoustic instruments that you process or combine with electronics. How do you work to marry electronic elements with your acoustic material?

I have a very instrumental approach to electronic/electroacoustic composition in terms of orchestration. I try not to prioritize one over the other and make them interact based on their musical functions and registers.

What was your first module or system?

I started with a semi-modular synth (Arturia Minibrute 2) and gradually built my modular synthesizer.
I added modules slowly, buying them when I felt the need for a specific kind of interaction with sound.

How long did it take for you to become accustomed to patching your own synthesizer together out of its component parts?

It’s still an ongoing process!
I like to revisit the manuals of my modules occasionally to discover new functionalities and get new patching ideas. I’m always impressed by how many features I wasn’t using!

Quite often, modularists are in need of more, their hunger for new modules never satisfied. How do you manage this?

I’m a slow buyer; it takes me forever to purchase new equipment.
When I buy a module, I’ve usually had it in mind for several months. I currently have two 104hp, 7u racks, which satisfy most of my creative needs.
But, with an unlimited budget, I would definitely have more projects.

Do you prefer single-maker systems, or making your own modular synthesizer out of individual components from various manufacturers that match your needs?

I have a lot of Instruo modules, which I love, but I tend to make choices based more on my needs rather than on the manufacturer.

How has your system been evolving?

My setup varies greatly depending on the project I’m working on.
When recording music, I have all my modules ready to use. Once the music is composed, I try to fit everything I need into a 7u 104hp rack, which is the largest size you can bring as carry-on luggage on an airplane.

Instrument building can be quite compositional, defining your sonic palette. Would you say that the choice and way you build your systems are integral to your compositional process, or do you seek new modules to sound-design specific ideas?

This is an excellent question!
I tend to have an interpretative approach to the modular synth. My system has evolved to support this approach to music creation and interpretation. I like to get into a flow state and create patches inspired by ongoing processes. However, I usually have a clear idea of certain sounds or articulations I want to achieve and find a way to create them with my instrument.

Do you tend to use pure modular systems, or do you bring in outside effects and devices when playing or recording?

It depends on the project. In live settings, I often use a hybrid approach with a MIDI controller to adjust EQs, volumes, and add effects like reverb or distortion. When recording, I don’t tend to add many effects afterward, other than mixing EQs and plug-ins.

Do you pre-patch your system when playing live, or do you tend to improvise on the spot?

I do a lot of pre-patching, even when I take a more improvisational approach. I use an external device from Erika Synths, the matrix mixer, which allows me to create 16in/16out patch presets.

Which module could you not do without, or which module do you use the most in every patch?

Other than utility modules, I tend to use my Instruo CS-L all the time because of the extensive modulations it offers.
I also frequently use my Intellijel Planar2, which is extremely powerful for intuitively controlling many parameters.
Most of my live set now depends on the Erika Matrix Mixer; it has been a game-changer for me, allowing me to change presets between sections or pieces without extensive repatching.

What do you think can only be achieved by modular synthesis that other forms of electronic music cannot or make harder to do?

Modular synthesis offers immense freedom in expressing a musical idea. It allows for the development of a very personal relationship with your instrument and a unique approach to its interpretation.
Even though the possibilities of sounds and interconnections are vast, they are still limited by the modules you have and how they interact, which, for me, expands creativity.
In the long run, it becomes an extremely powerful and expressive tool for interpretation.

Have you used various forms of software modular (e.g., Reaktor Blocks, Softube Modular, VCVRack) or digital hardware with modular software editors (e.g., Nord Modular, Axoloti, Organelle), and if so, what do you think of them?

These are great ways to create your own systems and sounds. They provide a modular mindset, which is perhaps the most exciting aspect of modular synthesizers. More than the gear and modules, the mindset of modular synthesis allows you to produce highly interconnected systems that create unique blends of sound, and these software tools enable this approach.

What would be the system you are dreaming of?

More than a specific system, I dream of a broader cultural development of modular synthesis. I would love to see more modular synthesizers in contemporary music ensembles, popular music, and other genres.
Additionally, I would love to see a culture of musical interpretation emerge, with covers of well-known modular synth pieces.

Are you feeling close to some other contemporary modularists? Which ones?

I feel close to several interpretation-oriented modular synthesis performers, like Luis Puzo, who composes and interprets for modular synthesizer and ensemble.
He even composed a concerto for modular synthesizer and orchestra, which is quite an achievement.

Which pioneers in modularism influenced you and why?

Suzanne Ciani’s improvisation sets from the 70s have influenced me a lot. I love how organic her interpretations sound; they were so early in synth history and yet so musical and expressive.
I also admire the work of Éliane Radigue, a true pioneer in the ambient deep listening genre, and Bernard Parmegiani for his mix of synthesized sounds with instrumental and object recordings.
The early work of Pauline Oliveros and Hugh Le Caine also influenced me during my studies.

Any advice you could share for those willing to start or develop their “Modulisme”?

Modular synthesis is an incredible instrument that opens so many creative possibilities.
It’s important to go slow and allow your instrument to evolve with your interests and creative needs.

https://pierreluclecours.com/

Chroma Blanc / Live @ the Ausgang Plaza

Chroma Violet / Live @ the AusgangPlaza

Chroma Noir / Live @ the AusgangPlaza