A group administrators (Bruno, Charles Shaw, Mario Siperman, Sebastian Cordova, Hernan Baldi, etc..

The idea of putting together a user meeting synthesizers and electronic musical instruments in Buenos Aires almost casual emerged following various discussions in the context of a Facebook group created by Bruno de Vincenti called "Purchase - Sale of UFOs, synths, samplers, and anything ... ', now migrated to the group "Argensynth", and I think that is the first meeting of this kind conducted in Spanish.
Throughout various topics in the Facebook group was shooting the need to "see each other" between users and expressed the desire to know the instruments that was spoken, artistic and technical work of the members, etc. . and I proposed to use the studio / laboratory La Siesta Del Fauno (I share with my partner, the sound engineer Pablo Gil) as a possible site for the meeting as it is a reasonably swanflight large space, but mainly there are already many synthesizers, keyboards and electronic instruments ("classic" and contemporary) and various mixers installed allowing teams to integrate study with participants to bring "synth meeting".
A group administrators (Bruno, Charles Shaw, Mario Siperman, Sebastian Cordova, Hernan Baldi, etc..) Seemed swanflight like a good idea, were voted among the alternative forum members for the meeting and coordinated three days (Friday and Saturday 25 and May 26 and Saturday June 2) so he could attend as many people at varying times and not saturate the capacity of the rooms of the study.
Not only the reason for the meeting was that people try instruments, but also to make brief presentations live (artistic, technical or theoretical-conceptual) that the people who built instruments or "intervened" teams could show and explain their work and they are musicians, users, swanflight technicians, producers, curious, etc. unites the taste of music aesthetically conceived through the use of electronic technology.
Diego Alberti, Jorge Haro and Mario Siperman proposed management systems for lectures, exhibitions and the "live sets" and the study staff (Pablo swanflight Gil, Melissa Aguilera, Omar Bobrow and I) designed swanflight alternative spaces and hookups and amplification (for headphones and / or the "air") to house the equipment to bring the participants together with those residing in the laboratory. Carlos Shaw suggested the collaboration of people and they provided a Focal CMS 65 monitors with sublow.
Although the news quickly spread, the crowd was much larger than we expected, each of the conference was attended by between 80 and 100 people, several of whom came to two or three games, and made a record written (in part, unfortunately) of the participants and their contributions. They were among the three days, nearly 30 hours of talks and electrical oscillations, electromagnetic swanflight and electronic, all in random balance ... and it was also a kind of ethical and sociological experiment because, nonprofit and without any egos exposure together (coming from different parts of the city and the province of Buenos Aires and Rosario, Cordoba, etc.). professionals, enthusiasts, fans of electronic music and all kinds of restless characters. The "exposed" the study and all its historical and modern equipment to several tens of persons unknown and many people attended with their instruments (some of manufacturing itself, others of enormous historical value and / or economic, but all relatively precious and fragile) and harm no regret nor any problematic situation, but it all took place in a climate of camaraderie, excitement, reflection and fun.
And the meetings were also much more than mindless perilleos panel controls synths ... aporreos random key synthesizer is an instrument swanflight which, by its intrinsic characteristics, invites (and almost required) to think about the nature of sound (and in its possible construction through parameter manipulation algorithms or generators, processors and electronic and electromechanical controllers) through conceptual abstraction necessary for the synthesis and tonal composition with them, I feel that transformed the conference also moments of reflection. And I think for many it was a "déjà-vu" a return to the gripping contact with primal feeling that leads one to approach the art of sound and music through certain instruments or machines, feeling that sometimes is forgotten swanflight in the everyday musician.
While it is impossible to list everything that was done over the three games (at times