Sape Traditional Music and Modular Synthesizer
Baséput
Release date: August 13, 2024
Rayhan Sudrajat, aka Baséput, is an ethnomusicologist, lecturer, and electronic artist. He plays electroacoustic music, mixing modular with traditional indigenous voices.
This album is the recording of a show at the Bogor Nature Fest 2024. It starts out with a heavy noise modular patch that sets up a beautiful jump when bell tones enter the mix and take over melodically and rhythmically. Rayhan then adds layers of traditional vocals that are sampled and manipulated. Finally, to finish the piece, he plays the Sape, an Indigenous instrument from Borneo.
Modular World/Bill McGuire (BMcG): What are the base components of the modular setup?
Baséput:
The core of my setup is anchored by the Rossum Electro-Music Assimil8or sampler, a unique tool that serves as the primary sound source in my compositions and performances. This sampler is central to my work because it allows for a broad spectrum of sonic manipulation, a feature that is crucial when working with a system that does not rely on traditional analog oscillators. Instead of generating tones from raw waveforms, I base my sound palette entirely on samples, drawing from an extensive collection of field recordings, traditional instruments, and experimental sounds. This sampling-based approach offers immense flexibility, enabling me to merge modern electronic aesthetics with the rich textures of traditional music.
For sequencing, I've predominantly relied on the Fraptools Usta for the past five years. The Usta has proven invaluable in shaping the rhythmic complexity of my albums and EPs and the overall structure of my compositions. Its ability to handle polyrhythms and non-linear sequencing gave my music a distinct, evolving quality that aligned well with the unpredictable nature of modular synthesis. However, as I moved toward more intricate setups and live performances, I found that my needs had evolved. The Usta, while powerful, lacked some of the MIDI capabilities and live-friendly features I began to prioritize.
After a thorough evaluation of alternatives, I chose the Torso T-1 sequencer. The T-1's exceptional functionality for live environments, immediate access to complex patterns, and generative sequencing capabilities make it a perfect fit for maintaining live electronic music's spontaneity and dynamic nature. Its intuitive interface has streamlined my workflow, reducing the gap between technical execution and creative expression during performances. In my recent live sets, including the one captured in the accompanying video, the T-1 has allowed me to fluidly manipulate sequences and adapt to the improvisational demands of a live audience.
In addition to the sampler and sequencer, I use an eight-channel mixer, a tool essential to balancing and blending the various sonic elements that form the backbone of my performances. The mixer's role is crucial—it harmonises the contrasting textures from traditional instruments like the Sape or modular synth patches. Alongside the mixer, I employ utilities like VCAs, attenuators, and other signal processors to fine-tune each sound's dynamics and spatial placement. This meticulous control over the audio path allows me to maintain clarity and coherence in what could otherwise be a chaotic sonic environment.
BMcG: Describe the vocals a bit. What are you using for the sampler? Are there some lyrics?
Baséput:
One of my work's most significant cultural influences is the vocal style known as "Sasana Kayau," originating from the Katingan ethnic group of Borneo. This oral literature style, used in rituals to honor ancestors and spirits, carries a profound spiritual resonance. In my thesis, I dedicate a significant portion (pages 115–125) to exploring its intricacies and tracing its historical and cultural roots. The Sasana Kayau is more than just a vocal technique—it embodies a worldview in which music and ritual bridge the physical and spiritual realms. I weave this vocal style with electronic soundscapes in my compositions, creating a dialogue between tradition and modernity. My passion for the Sasana Kayau vocal style is evident in my work, and I invite those interested in more profound insights to consult my thesis, where I comprehensively analyze this cultural artifact within the context of the Katingan people's rituals.
You can read my Thesis here: https://bridges.monash.edu/articles/thesis/The_Function_and_Meaning_of_the_Gandang_Ahung_in_the_Hindu-Kaharingan_Religion_and_Ritual_of_the_Tiwah_amongst_the_Katingan_Awa_Central_Kalimantan_Indonesia/13146683/1?file=25272692
Another essential tool in my arsenal is the Make Noise Morphagene, a “granular" sampler that excels in live manipulation. I've been using it since 2019, primarily because of its unique ability to blend seamlessly with the Sape, a traditional lute from Borneo. The Morphagene allows me to stretch, twist, and recontextualize sounds in real time, creating intricate layers of texture that enhance the meditative qualities of my music. In one of my notable performances at the Bogor Nature Fest, I opened with a reverential acknowledgment of the land and the spirits of the forest. This was a profoundly personal moment, informed by the Sasana Kayau ritual, where honoring the environment and ancestral spirits is integral to the performance.
BMcG: Are the traditional-sounding bell tones that come in at about 3:30 modular or sampled?
Baséput:
A critical aspect of my sound design comes from field recordings I've captured in various locations across Indonesia, particularly Bali and Borneo. The samples I use include the Reyong, a Balinese gamelan instrument, and the Upui, a lesser-known instrument from Borneo.
These recordings are not just ornamental but serve as the foundation for much of my sonic exploration. By integrating these traditional sounds into a modern electronic framework, I aim to create a sonic landscape where the past and present coalesce, offering listeners a unique auditory experience deeply rooted in cultural heritage and forward-thinking in its execution. asked Baséput some questions about this festival, his modular rig, and use of Indigenous instruments
BMcG: What was the music festival? Was it multiple days? Were there other electronic artists?
Baséput:
The Bogor Nature Fest was a remarkable experience, spanning three days and two nights in the lush forests of Bogor, Indonesia. The environment perfectly complements the music, reinforcing the connection between sound, space, and nature. I was fortunate to have my family with me.
The video also shows my daughter approaching me during the set—a beautiful reminder of music-making's personal and communal dimensions. The festival brought together various artists, including electronic pioneers like Gowa and Kinski. Gowa's ability to craft immersive soundscapes and Kinski's mastery of rhythm were highlights of the event. As part of Indomodular, a group dedicated to modular synthesis, we are happy to see such appreciation for electronic music in a setting that celebrates technology and nature.
Watch Baséput on Modular World Episode 18, the Indonesian Spotlight - The first spotlight show ever!
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