Louis Barron

He was born in Minneapolis on April 23, 1920.

As a young man, Louis had an affinity for working with a soldering gun and electrical gear.

He studied music at the University of Chicago.

Bebe Barron (June 16, 1925 – 1925:6:16, April 20, 2008) and Louis Barron (April 23, 1920 – 1920:4:23, November 1, 1989) were pioneers in the field of electronic music.

She was born as Charlotte May Wind in Minneapolis on June 16, 1925, the only child of Ruth and Frank Wind.

She studied piano at the University of Minnesota and a post-graduate degree in political science.

In Minneapolis, she studied composition with Roque Cordero.

She moved to New York, and worked as a researcher for Time-Life and studied musical composition.

She studied music with Wallingford Riegger and Henry Cowell.

She married Louis in 1947.

They lived in Greenwich Village.

It was Louis who nicknamed her "Bebe".

The couple married in 1947 and moved to New York City.

Louis' cousin, who was an executive at the Minnesota Mining and Manufacturing Company (3M), gave the newlyweds their first tape recorder as a wedding gift.

It was early tape recorder technology that used magnetized plastic tape.

Using their newly acquired equipment, the couple delved into the study of musique concrète.

The 1948 book Cybernetics: Or, Control and Communication in the Animal and the Machine, by mathematician Norbert Wiener from MIT played an important role in the development of the Barrons' composition.

The science of cybernetics proposes that certain natural laws of behavior applied to both animals and more complex electronic machines.

By following the equations presented in the book, Louis was able to build electronic circuits that he manipulated to generate sounds.

Most of the tonalities were generated with a circuit called a ring modulator.

The sounds and patterns that came out of the circuits were unique and unpredictable because they were actually overloading the circuits until they burned out to create the sounds.

The Barrons could never recreate the same sounds again, though they later tried very hard to recreate their signature sound from Forbidden Planet.

Because of the unforeseen life span of the circuitry, the Barrons made a habit of recording everything.

Most of the production was not scripted or notated in any way.

The Barrons didn't even consider the process as music composition themselves.

The circuit generated sound was not treated as notes, but instead as 'actors'.

In future soundtrack composition, each circuit would be manipulated according to actions of the underlying character in the film.

After recording the sounds, the couple manipulated the material by adding effects, such as reverb and tape delay.

They also reversed and changed the speed of certain sounds.

The mixing of multiple sounds was performed with at least three tape recorders.

The outputs of two machines would be manually synchronized, and fed into an input of a third one, recording two separate sources simultaneously.

The synchronization of future film work was accomplished by two 16 mm projectors that were tied into a 16 mm tape recorder, and thus ran at the same speed.

While Louis spent most of his time building the circuits and was responsible for all of the recording, Bebe did the composing.

She had to sort through many hours of tape.

The first electronic music for magnetic tape composed in the United States was completed by Louis and Bebe in 1950 and was titled Heavenly Menagerie.

Electronic music composition and production were one and the same, and were slow and laborious.

Tape had to be physically cut and spliced together with adhesive “splicing tape” to edit finished sounds and compositions.

The American couple is credited with writing the first electronic music for magnetic tape composed in the United States, and the first entirely electronic film score for the MGM movie Forbidden Planet (1956).

He died on 1 November 1989 in Los Angeles.

She died on April 20, 2008, in Los Angeles.