[back cover notes]
Electronically produced music has come of age. A whole new world of sound and music can
now be produced by entirely electronic means. With a variety of electronic musical
instruments, sounds never before heard can be invented, providing the composer with an
entirely new dimension of expression. The COPPER PLATED INTEGRATED CIRCUIT uses this new
vocabulary of sound to perform a number of pop tunes, some well known, some original, but
all arranged for the new medium of electronic music. One important element is retained,
however; the human element. This is music which is performed by humans on electronic
instruments with keyboards. The human feeling and interpretation which is so essential in
the expressive arts is retained.
Ultimately, man must decide and the machine must remain the servant. The COPPER PLATED
INTEGRATED CIRCUIT combines the ideas and expression of man with the virtuosity which is
made possible by the new electronic instruments.
With the advent of the electronic age, the contemporary composer was given an entirely new
palette of instrumental sounds with which to work. This extension beyond sounds produced
by the human voice and instruments, plucked, bowed, blown or struck, has opened a
challenging new horizon to the artist. The spectrum has only begun to be surveyed and this
album should hold great appeal to those interested in the application of these new
techniques to contemporary pop music.
Great variety can be obtained by electronically creating the appropriate sound to fit the
mood and intent of the composition. No attempt has been made in this album to imitate the
sound of conventional instruments; rather, new sounds and sound textures have been used
within the conventional framework of pop music.
The electronic music studio in which this album was created consists of a number of
electronic musical instruments. The primary instrument is the MOOG SYNTHESIZER, which
consists of a number of sound-generating and sound-treating devices. This as well as all
of the other instruments used, is controlled by keyboards. This is not computer music; it
is performed live at a keyboard. The human element is the most important factor in any art
and performance is still the key factor in electronic music.
To the creative artist, the new horizon of sound presents an interesting challenge.
With an infinite sound library at his disposal, the composer can invent entirely new
sounds and, in effect, devise new instruments for each element of his compositions. These
new instruments must be pre-conceived since the equipment must be programmed for the type
of sound desired. It is therefore essential to have a knowledge of both electronic
instruments and the acoustical principles of sound to materialize the musical ideas. This
knowledge is embodied in the COPPER PLATED INTEGRATED CIRCUIT, the name we have given to a
"group" of electronic instruments - a "group" that realistically is
only the soundboard for live and creative musicianship.
A wealth of new musical material is available to those with the imagination to make use of
the new electronic resources. And vast musical enjoyment is waiting for the listener with
an interest in the contemporary pop sound. We present in this album a number of pop tunes,
some well known and some original. Some are done with a conventional approach to pop
orchestration, others deliberately display the virtuosity of the new dimension in sound.
All are done with the hope of creating a unique and exciting listening experience.
#1 Integrated Circuit 2:55
This is an up-beat combination of three melodies, each of which becomes the setting for
the next tune, with a harmonic interlude between sections. The lines themselves
chance as the texture becomes more complex.
#2 Jazz Waltz Circuit 1:35
The jazz waltz is a not too frequently used form, but it is one of the my favorites.
A strong bass line gives rhythmic impetus to the Waltz.
#3 Where's Prince Brilliant? 2:40
This is an original composition by a long time musical friend and colleague, Dick Lieb. It
is a rock tune conceived in-terms of the electronic sounds which it embodies.
#4 Circuit Breaker 2:50
The introduction to this piece is pure electronic sound building to a climax and finally
to the melody itself. Various pitched and non-pitched percussive sounds are used in
combination, becoming ever faster and more complex in texture as it progresses. A long
"swoosh" wipes out these sounds and a second "swoosh" brings on the
#5 Hey Jude 3:40
The popular Beatle [sic] tune offers the possibilities for interesting electronic .
treatment because of the repeated last-four-bars of the melody. The repeats ' become
progressively more and more complex.
#1 Resonant Circuit 2:45
A strong beat is used for a melody which changes subtly in sound quality as it progresses.
#2 Love Child 2:20
Dick Lieb has arranged "LOVE CHILD" for a number of electronic instruments in
traditional rock style. It is always a challenge to translate from one medium to another.
Besides the vocal to instrumental translation, that of conventional instruments to
electronic instruments creates many interesting possibilities.
#3 Relay Circuit 2:45
This is a bluesy tune with a simple setting for a simple melody.
#4 Feedback Circuit 4:00
Two melodic elements are used which continue to 'feedback' until they superimpose on each
#5 Revolution and Where Have All The Flowers Gone 5:00
The only attempt to synthesize live sound is used in the battle-scene introduction to the
Beatle's [sic] "REVOLUTION". An electronic
interpretation leads into a very simple setting of "WHERE HAVE ALL THE FLOWERS
GONE" with its hymnlike plea for peace.