Électronique

L'approche pédagogique adoptée dans cet ouvrage permet d'acquérir et d'assimiler rapidement les principes fondamentaux des montages électroniques. Sa grande force : l'apprentissage. Les schémas présentés font l'objet d'une réalisation pratique destinée à bien visualiser le fonctionnement décrit par ailleurs dans le texte. Voici donc une source inépuisable de schémas simples que le lecteur peut étudier, expérimenter, modifier ou encore juxtaposer pour maîtriser les bases d'une matière passionnante.

Cet ouvrage doit permettre la résolution de problèmes concrets d'automatisme à partir des éléments généraux qu'il propose …

La Vie Electronique is a series of 3-disc CD releases by Klaus Schulze, reissuing material from his limited edition 50-disc CD box set The Ultimate Edition (2000), which itself collected the previously released limited edition multi-disc box sets Silver Edition (1993, 10 discs), Historic Edition (1995, 10 discs), and Jubilee Edition (1997, 25 discs), along with an additional 5 discs. The series began in 2009 with a plan to release all the music from The Ultimate Edition in chronological order. Four volumes were released in 2009, and four more were released in 2010. The next two volumes were released in 2011, with the next two following in 2012. The thirteenth volume was released in 2013, and the fourteenth and fifteenth volumes in 2014. The sixteenth and final volume, containing five CDs rather than the usual three, was released on May 29th, 2015.

La Vie Electronique is a series of 3-disc CD releases by Klaus Schulze, reissuing material from his limited edition 50-disc CD box set The Ultimate Edition (2000), which itself collected the previously released limited edition multi-disc box sets Silver Edition (1993, 10 discs), Historic Edition (1995, 10 discs), and Jubilee Edition (1997, 25 discs), along with an additional 5 discs. The series began in 2009 with a plan to release all the music from The Ultimate Edition in chronological order. Four volumes were released in 2009, and four more were released in 2010. The next two volumes were released in 2011, with the next two following in 2012. The thirteenth volume was released in 2013, and the fourteenth and fifteenth volumes in 2014. The sixteenth and final volume, containing five CDs rather than the usual three, was released on May 29th, 2015.

Volume Two (three CDs) in this series reissuing all the material found on the long out of print Ultimate Edition box sets (for more background on the series as a whole, see La Vie Electronique 1) is much more interesting than volume one, and the pick of the first six volumes. The music comes from 1972-1975 (but mostly 1972-1973), a rich period of experimentation, as Schulze was gradually forging what would be known as his "classic" sound, nearly palpable by "Blaue Stunde," the 38-minute piece from 1975 concluding the set. This second installment contains more finished works than the drafts-and-jams-packed volume one. "Das große Identifikationsspiel" (42 minutes) is a very good suite of rather experimental music written for a science fiction radio drama by Alfred Behrens. The 27-minute "Titanensee" was done with a ballet in mind, never to be produced; again, it is a strong work in Schulze's experimental vein. However, the undisputed highlight of volume two is a whole album's worth of collaborations with Hans-Jörg Stahlschmidt, a project that had been brought to completion, only to gather dust on a record company's shelves.

The third in Klaus Schulze's series of three-disc compilations of live and rare material (all of it previously released in his 50-disc Ultimate Edition box from 2000) is pure bliss for fans of early-'70s analog synthesizer music. The melodies swoop and whoosh like comets passing by a slowly drifting space station manned by dudes and ladies in unisex jumpsuits with long, perfectly coiffed hair, and beards on the men. Close your eyes and you're there. Many of these tracks are grouped into half-hour suites, but at the same time the whole nearly four-hour document can be seen as one solid piece of art, or a shaving from a vast iceberg. Schulze's droning pulses are like the rhythm of the universe, unending and, while beautiful, totally inhuman. If Kraftwerk was the sound of musicians attempting to become machines, Klaus Schulze's work is the sound of one musician attempting to become a planet. The beeping rhythms, like a heart monitor, provide a slight anchor to keep one from floating away completely as this music spins itself out in ever wider spiraling arcs across endless vistas of empty space, but the ultimate effect is near-total trance.