From August 17 to 26, the Berlin university of arts [Universität der Künste, UdK] Berlin will host a ten-day introduction into the world of modular synthesis for their Berlin Summer University program called "Berlin Modular Music: Aesthetic Strategies for the Rabbit Hole" with the aim of bringing together both beginners and advanced patchers to experiment, play, and perform with a range of different modular systems. The workshop is led by Kim Feser, a musicologist and lecturer at the UdK and Jessica Kert, a producer, modular live performer and employee at Berlin’s SchneidersLaden.

Ahead of the workshop, we spoke with Jessica about the balance between deliberate patch structure and "happy accidents," her approach to giving workshops, and more. For more information about the course, see here and here.

Can you describe in a few sentences what people might expect from this workshop?

It is basically a deep dive into the world of modular with extensive hands-on sessions with various modular hardware systems, where participants can explore the various  challenges of modular synthesis. Aesthetic and technical aspects are also discussed in depth in both theoretical lectures and practical excursions.

We will also visit the Berlin-based music software company Bitwig, the Berlin-based hardware modular manufacturer Verbos Electronics, the studio of Tobi Neumann – an artist, producer and audio engineer  – as well as the Neukölln store location of SchneidersLaden.

How did this workshop series in collaboration with the UdK come about?

This collaboration came together because of Kim Feser. We had previously worked together on a workshop for Kim’s teaching at Freie Universität Berlin, and found that we work well together as a team. Consequently, we decided to further develop this type of workshop and continue our collaboration, given the high level of demand for it.

The program runs over nine full days, combining lectures, hands-on experience, and excursions, including jam sessions and recordings. Can you tell us more about some of these details?

Each day of the workshop begins with presentations by the instructors, followed by discussions about the history and current state of modular synthesizers and the Berlin modular scene. Other topics will include the similarities and differences between the different modular systems used in the workshop, a detailed look at various module categories, the concepts of "smart patching" and "happy accidents," as well as an in-depth analysis of specific patches on a custom-configured system.

This is then followed by hands-on work with the modular systems, with a focus on completing short tasks and developing projects – either individually or in small groups, with joint jam sessions – paired with more theoretical discussions about the aesthetic concepts and technical challenges involved.

What’s your practical approach to making sure everyone gets hands-on time with the systems?

In total we have eleven, differently configured, modular instruments available in our workspace. They are equipped with headphone outputs and splitters and are connected to the main sound system.

What was the feedback from last year's participants like?

Feedback from last year’s participants was very positive, especially concerning the hands-on experience, which allowed the participants to further develop their skills under our guidance. They also greatly appreciated the opportunity to jam and record their own compositions, as well as being able to meet modular manufacturers and figures from Berlin’s electronic music scene. However, all participants from last year said that they would have liked the course to span a few more days, which we took by heart and made us decide to extend the duration of the course this year.

You'll be teaching alongside Kim Feser, who brings a musicological and philosophical perspective. How does that collaboration work in practice?

Our collaboration complements each other well. Kim will be covering the more academic aspects, with a focus on the musical-cultural “borderlands” of the experimental avant-garde, sound art, and pop/club music, as well as the history and development of synthesizer technology in general. I’ll bring the more practical side as a live performing musician and modular professional, providing access to gear and connections to the modular community.

The workshop is called “Aesthetic Strategies for the Rabbit Hole”, what is meant with that title?

On the one hand, with modular, it is possible to generate a high degree of complexity – perhaps a kind of perfection – in which one deliberately loses sight of the big picture to allow space for chaos. On the other hand, it often makes sense to focus on an aesthetic strategy and ask how the musical goal might be achieved more simply. It is often a matter of finding a balance.

Who is this workshop for, and who might it not be for?

The course is open to everyone interested in this topic, including non UdK students and people of any level of knowledge of modular synthesis, from beginners to advanced users.

One of the excursions will visit SchneidersLaden, where you work as a synthesizer expert. What do you hope participants can take away from seeing it through your eyes?

To me, SchneidersLaden is the epicenter of the modular synthesizer world. I view it as a creative anchor, a space that fosters personal growth, where you are surrounded by people who are not only experts in their field, but also share a passion for modular systems, synthesizers, and electronic music.

It is a place for exchange, whether within the modular and electronic music community, or through hands-on experimentation with the instruments – always with the goal of finding the perfect instrument. You are never on your own when standing in our showroom in front of those modular synthesizer walls waiting to be played. There is always someone there who takes a genuine interest in you and your ideas and goals, ready to answer your questions or provide fresh inspiration. In every respect, it is a truly unique place.

What would you like someone to think about differently after these nine days with you?

I want them to realize that these are just instruments, tools that can be used to achieve a musical goal a person has in mind. Just understanding how the concept of how a modular synthesizer works has a pretty fast learning curve, but bringing this into an actual musical context is the tricky – but also most inspiring – part. It is the person behind the instrument that makes the rules, so it is all about your creativity and ideas you have in mind. That is the most important thing to find out, I think.

Do you have any advice for someone who is intimidated by the world of modular synthesis and hasn’t jumped in yet?

The first step into the unknown is always the hardest, and yet nothing happens without that step! Ideally, you would have someone by your side to explain how a modular synthesizer works. If the opportunity arises, you should definitely visit SchneidersLaden. In addition to advice in the showroom, there are also regular free introductory workshops at SchneidersLaden. Another option for taking that first step is the free software VCV Rack, which allows you to experiment and explore "patching" in a virtual environment before you start assembling your own modular synthesizer. You can also draw inspiration from artists you admire by observing how they work and the instruments they use.