Reptileenbu Did you people see the same film I saw?

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

TaryBiggBall It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

ActuallyGlimmer The best films of this genre always show a path and provide a takeaway for being a better person.

pronomen-28329 I Dream Of Wires is an independent documentary about the history, demise and resurgence of the modular synthesizer. It features interviews with modular musicians, inventors and enthusiasts, including Trent Reznor (Nine Inch Nails), Gary Numan, Vince Clarke (Erasure), Morton Subotnick, Chris Carter (Throbbing Gristle), Daniel Miller, Carl Craig, Flood, Cevin Key (Skinny Puppy), James Holden, Factory Floor, Legowelt, Clark, John Foxx and Bernie Krause and more. I enjoyed this documentary a lot.

Gordon P. Smith I stayed up late last night and finally watched this documentary on Netflix, an awesome look at the history of the modular synthesizer. I loved the focus on the academic origins of the modular, the East Coast (Moog, commercial) vs. West Coast (Buchla, artistic) philosophies, and the recent resurgence of modular thanks to EuroRack. I felt that a couple of things were lacking: 1) A mention of Bebe and Louis Barron's groundbreaking 1956 Forbidden Planet soundtrack, for which they created their own electronic circuits that completely avoided the use of oscillators, as part of their own school of thought, years before Buchla and Moog: "The circuit is a wild, living thing that should never be tamed. Oscillators tame the circuit and take the life and breath out of the sound." (I'm paraphrasing from a Keyboard interview) 2) They briefly mentioned softsynths, in a negative way, but completely failed to cover virtual analog hardware, as pioneered in the Nord Lead. The Nord was responsible for bringing KNOBS back to synthesizers, after the love affair with all-digital synths faded, but it was done using digital technology that faithfully reproduced analog components, with the added benefits of lower cost, higher polyphony and more control and modulation possibilities. The Nord Modular, especially its G2X version, is in my opinion the most programmable, playable and reliable synth ever made. Contrary to what they say about softsynths (this is a hardware-based softsynth), I frequently get lost for hours in programming and playing the G2X, it's immersive and endlessly fascinating, with a gorgeous sound and unlimited identities. It's the only instrument I play onstage.

midnight_cinephile For anyone actively involved in synthesizers be it modular,rack mounted,keyboards,plug ins/outs new or vintage on any level will find this doc amateurish and incomplete. Hard to believe that this film was red lighted and budgeted with such an unprofessional script and production values.There are HUGE gaping holes and flaws in the timeline of the development of synthesis.Not one mention of The ondes martenot,Mellotron, Erkki Kurenniemi - who always forgotten in these discussions, Raymond Scott, Daphne Oram,EMS synthi, Delia Derbyshire,The BBC radiophonic workshop,Kid Baltan and Tom Dissevelt and the Dutch hardware inventions/ contributions, Tod Dockstader & James Reichert and all of the soviet synths etc.Just shameful omissions that exemplify a hasty hack job created by someone's trust fund.If you have no knowledge of who Bob Moog or Don Buchla are then I suppose it is a very primitive poorly constructed primer,beyond that there is not much here for the real heads AVOID!

M Nissley Tedious and awful. Almost unwatchably boring. A bunch of old guys relishing the old days with very little to say. Visually it is 1.5 hours of still pictures of knobs, wires, and racks of electronic equipment cut with 70 year old men talking. The whole idea is how great synthesizers are and how they impacted modern music, but no modern music is played or featured, They did not or could not buy the rights to any music to make this doc prove its point. A dull, goofy, bleepy, blurpy interstitial series of synth sounds accompanies the entire thing, but when they talk about a use of the synth, they never play the actual popular music or any kind of example. This is one of the absolute worst documentaries I have ever seen, and I came into it with an appreciation and interest in the subject. This should have been shelved and never released for lack of purpose and lack of the proper resources to pull off the project. I was in shock at how incredibly dull this was.