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McLaren, Norman – Rythmetic: The Compositions of Norman McLaren [2xLP] – New LPPioneering Scottish Canadian animator Norman McLaren (1914 1987) creator of seminal short films Dots, Neighbours, Synchromy and many more is remembered in first ever release of soundtrack works, self composed from the 1940s to 1970s and forecasting the following half century of electronic music. Rythmetic: The Compositions of Norman McLaren by Norman McLaren Norman McLaren was once described by composer, music theorist, and mathematician Milton
Pioneering Scottish Canadian animator Norman McLaren (1914-1987) - creator of seminal short films Dots, Neighbours, Synchromy and many more - is remembered in first ever release of soundtrack works, self-composed from the 1940’s to 1970’s and forecasting the following half-century of electronic music.
Norman McLaren was once described by composer, music theorist, and mathematician Milton Babbitt as “the first electronic musician.” In addition to his pioneering work in animation, the electronic soundtracks McLaren created for his own films employ astonishing foresight and a characteristically precise methodology. They also crystallise boundless creativity, wit and whimsy, and illuminative brilliance into a unique insight to his remarkable mind, with or without visual accompaniment.
Rythmetic: The Compositions of Norman McLaren marks the first time his soundtracks have been released on record, carefully curated from his most important film works, hours of archival tapes, and multiple versions of the same key compositions. It represents an essential overview of McLaren as a composer, in neat dovetail with McLaren the filmmaker. Both are crucial figures in the respective developments of their fields, opening doors to a future that might not have existed without McLaren.
Pioneering Scottish-Canadian animator Norman McLaren (1914-1987) - creator of seminal short films Dots, Neighbours, Synchromy and many more.
"Hypnotic pointillist elegance...Not dissimilar from sounds that would emerge decades later. A rewarding experience."
The Wire
“McLaren’s visuals matched the electronic timbres of his compositions, literally carving sound from image, showing exactly what you hear."
MOJO
“Absolutely adorable music.”
BBC 6 Music
Pioneering Scottish-Canadian animator Norman McLaren (1914-1987) - creator of seminal short films Dots, Neighbours, Synchromy and many more - is remembered in first ever release of soundtrack works, self-composed from the 1940’s to 1970’s and forecasting the following half-century of electronic music.
Norman McLaren was once described by composer, music theorist, and mathematician Milton Babbitt as “the first electronic musician.” In addition to his pioneering work in animation, the electronic soundtracks McLaren created for his own films employ astonishing foresight and a characteristically precise methodology. They also crystallise boundless creativity, wit and whimsy, and illuminative brilliance into a unique insight to his remarkable mind, with or without visual accompaniment.
Rythmetic: The Compositions of Norman McLaren marks the first time his soundtracks have been released on record, carefully curated from his most important film works, hours of archival tapes, and multiple versions of the same key compositions. It represents an essential overview of McLaren as a composer, in neat dovetail with McLaren the filmmaker. Both are crucial figures in the respective developments of their fields, opening doors to a future that might not have existed without McLaren.
As an animator, McLaren was renowned for utilising or inventing techniques at their very vanguard and shaping to his needs the rudimentary technology of the era. Many of these techniques and technological adaptations, developed at the National Film Board of Canada over the 1940’s and 50’s, would eventually become adopted into standard practice for animation. He also blazed new trails for soundtrack composition: having heard the glue of spliced film reel produce sound as it passed through his equipment, he began meticulously applying his own cuts and notches to the tape and measuring the frequency values of the tones these striations would emit. Over years of refinement, he created a series of cards to correspond to eight octaves of musical notes, frequency by frequency, and to recruit these cards to compose his soundtracks. It was a way to maintain total creative control and freedom over his own work - every single frame would be processed “the McLaren way”.
“He could have used a synthesiser,” writes long-term assistant, friend, and filmmaker of McLaren documentaries Don McWilliams, also at the National Film Board, “but he had his own method and he stuck with it.” John Cage was an ardent fan, inviting McLaren to his infamous downtown NYC socials and once even writing to McLaren to beg a recommendation for his recruitment at the National Film Board.
Unsurprisingly, McLaren was musically capable and aware throughout his career. He was an inquisitive listener, often drawn to rhythmic expression found outside western music, and he collected records for both reference and enjoyment. West African and Chinese music were particular pleasures, as well as the gypsy jigs that in his youth had informed his own practice as a violin player.
The opening piece to this compilation, “Now Is The Time”, is crafted from trilling, birdsong arpeggiations of dulcet high frequency tones that chatter and warble in scattered dialogue. Accompanying the clouds, multiple suns, and dancing figures of the film, the soundtrack is alive with joy and wonderment. Next, “Rythmetic”, soundtracking McLaren’s famed numeric sequence visualisation, pitters and patters with the types of glitching rhythms so coveted by contemporary electronic music almost a century later. Even from these first pieces alone, it is readily apparent that McLaren could not have achieved the effect he desired with scored instrumentation. The “McLaren way”, so crucial to his process, is as much foundational to his soundtracks as it is to the films themselves.
Despite his acclaim and recognition within the world of film and animation - he won an Oscar, a Palme d’Or, is a favourite of George Lucas’, and is recorded in UNESCO’s cultural heritage archives (none of which interested him) - Norman McLaren is not a Walt Disney, Tex Avery, Chuck Jones, or an Ub Iwerks. His work is unflinchingly outré. Seeking out experimental, innovative, and unconventional modes of storytelling, his creative expression went even deeper than pioneering methodology and a prolific output, becoming part of the man himself as his working hours in the studio became longer and longer as his career blossomed. Even his straightest films are decidedly odd at their core, revealing not only a playful and joyously childlike sense of humour, but also the perpetual pursuit of perfection that fuelled his filmmaking throughout his life.
A gay man, McLaren also resisted the normative social structures of the day in his personal life, acutely aware of the legal implications of his relationship with lifelong partner and fellow NFB director Guy Glover. He also remains revered as the most generous and trusting of teachers, bringing under his wing young or inexperienced filmmakers in whom he saw passion and promise. His second protegee George Dunning, who went on to produce Yellow Submarine for the Beatles, had only recently graduated when McLaren brought him to work in the NFB studios.
Towards the end of McLaren’s career, McWilliams asked him how he perceived his own legacy; how Norman McLaren would be remembered in a hundred years’ time. “A filmmaker who made some interesting films,” was his reply. Modest, funny, wise, and yet knowingly sly. An answer most McLaren.
William Norman McLaren was born 11th April 1914 in Stirling, Scotland. He died January 27th 1987 in Hudson, Canada.
L’univers du pionnier de l’animation Norman McLaren s’est construit avec minutie et rigueur. L’artiste canadien d’origine écossaise travaillait cellule par cellule, employait ou inventait des techniques d’avant-garde et adaptait la technologie rudimentaire de l’époque à ses besoins. Nombre de ses techniques et de ses adaptations technologiques, mises au point à l’Office national du film du Canada dans les années 1940 et 1950, sont depuis devenues pratique courante dans le domaine de l’animation. Toutefois, pour parvenir à la vision unique et envoûtante qui le distinguait de ses pairs, Norman McLaren devait employer un processus lent, chronophage et infiniment exigeant. Le perfectionnisme acharné, le dévouement et l’ardente persévérance de l’artiste s’étendaient aussi aux trames sonores qu’il créait pour ses œuvres cinématographiques.
Dans les années 1930, après avoir entendu la colle (ou le « ciment ») d’une bobine de film montée produire des sons lorsqu’elle passait dans son équipement, Norman McLaren commence à appliquer méticuleusement ses propres coupes et entailles sur la pellicule et à mesurer les fréquences sonores que ces stries émettent. Après des années de perfectionnement, et inspirés par le film Pitsch und Patsch du cinéaste suisse Rudolf Pfenninger, Norman McLaren et sa collaboratrice de l’époque, Evelyn Lambart, créent une série de cartes correspondant à huit octaves de notes de musique, fréquence par fréquence. Ils utilisent ces cartes pour composer de la musique. Ainsi, le cinéaste conserve-t-il une entière liberté et un contrôle créatif total sur son travail : chaque image est traitée « à la manière McLaren ».
Même si le processus était compliqué, Norman McLaren était fier de son système. « Il aurait pu employer un synthétiseur, écrit Don McWilliams, assistant de longue date, ami et écrit Don McWilliams, assistant de longue date, ami et réalisateur de films sur le célèbre animateur, également à l’Office national du film, mais il avait sa propre méthode et il s’y tenait. » Le compositeur, théoricien de la musique et mathématicien Milton Babbitt – lauréat des prix Pulitzer et MacArthur – a dit de Norman McLaren qu’il était le premier musicien électronique. Admirateur inconditionnel, John Cage invitait Norman McLaren à ses célèbres soirées new-yorkaises. Il lui a même écrit pour le supplier de le recommander auprès de l’Office national du film.
Sans surprise, Norman McLaren a conservé cette conscience et cette maîtrise musicales tout au long de sa carrière. C’était un auditeur curieux, souvent attiré par des expressions rythmiques hors de la musique occidentale. Il collectionnait les disques, à la fois comme référence et par plaisir. Les musiques d’Afrique de l’Ouest et de Chine, en particulier, le séduisaient. Il aimait aussi les gigues tziganes qui avaient nourri sa pratique du violon dans sa jeunesse. Bien qu’il eût étudié la composition de bandes sonores, et même fait carrière dans ce domaine un temps, McLaren considérait ses talents musicaux comme « boiteux et peu mélodiques », selon Don McWilliams. Il s’était également demandé publiquement si une bande sonore pouvait exister sans un film. Cette collection cherche à prouver le contraire : Norman McLaren était un compositeur indéniablement doué. Il a vu et entendu, pour ne pas dire accompli, ce que le reste du monde allait finir par apprécier. Il a cristallisé sa créativité illimitée dans des compositions lumineuses, pleines d’esprit et de fantaisie, d’une clairvoyance avant-gardiste, pour nous laisser une expérience d’écoute fascinante, avec ou sans les films associés.
Bavardages, gazouillis, dialogues épars : le morceau d’ouverture de cette compilation, « Now Is The Time », se compose de trilles, d’arpèges de chants d’oiseaux et d’aigus tout en douceur. Empreinte de joie et d’émerveillement, la bande sonore accompagne les nuages, les multiples soleils et les figures dansantes qui apparaissent à l’écran. Ensuite, « Rythmetic », indissociable de la célèbre séquence de chiffres animés de Norman McLaren, fait entendre des sons rapides et légers, caractéristiques des glitch beats si prisés par la musique électronique expérimentale contemporaine, près d’un siècle plus tard. Dès ces premières pièces, on constate que Norman McLaren n’aurait pu obtenir l’effet qu’il souhaitait avec des partitions. La « méthode McLaren », si essentielle au processus de l’animateur, se révèle aussi fondamentale pour ses bandes sonores que pour ses films.
Norman McLaren a remporté un Oscar et une Palme d’or, il comptait parmi les artistes préférés de George Lucas et son nom figure aux archives du patrimoine culturel de l’UNESCO, mais rien de tout cela ne l’intéressait. Malgré la reconnaissance dont il bénéficiait dans le monde du cinéma et de l’animation, Norman McLaren n’avait rien d’un Walt Disney. Son œuvre est résolument excentrique. L’animateur cherchait en permanence des modes de narration expérimentaux, novateurs, non conventionnels. Son expression créative dépassait de loin une méthodologie avant-gardiste et une production prolifique : elle était devenue partie intégrante de l’homme lui-même, à mesure que ses heures en studio s’allongeaient et que sa carrière fleurissait. Même ses films les plus convenus – et leurs bandes sonores – ont quelque chose d’étrange. Ils révèlent un sens de l’humour ludique et joyeusement enfantin, mais aussi la quête perpétuelle de perfection qui a alimenté le travail du cinéaste tout au long de sa vie.
Homosexuel, Norman McLaren a également résisté aux structures sociales normatives de l’époque dans sa vie personnelle, conscient des conséquences juridiques de sa relation avec Guy Glover, partenaire de longue date et lui aussi cinéaste à l’ONF. Il était de plus membre du Parti communiste de Grande-Bretagne. Ses parents l’avaient envoyé en Russie peu avant la Seconde Guerre mondiale dans l’espoir de guérir ses penchants politiques : son séjour a produit l’effet inverse.
On continue de vénérer l’enseignant généreux et de confiance, qui prenait sous son aile des cinéastes jeunes ou inexpérimentés en qui il voyait une passion, une promesse. Son deuxième protégé, George Dunning, qui allait produire Yellow Submarine pour les Beatles, venait tout juste d’obtenir son diplôme lorsque Norman McLaren l’a embauché dans les studios de l’ONF. Don McWilliams parle d’une commande que Norman McLaren avait reçue et dont il avait réalisé seul les premières images avant de confier le reste du travail à Don McWilliams en lui demandant de faire comme lui aurait fait.
Vers la fin de la carrière de Norman McLaren, Don McWilliams a demandé à l’artiste comment il percevait son héritage, comment on se souviendrait de lui dans cent ans. Il a répondu : « Un cinéaste qui a fait quelques films intéressants. » Modeste, drôle, sage et tout à fait habile. Une réponse à la hauteur de Norman McLaren.
William Norman McLaren est né le 11 avril 1914 à Stirling, en Écosse. Il est décédé le 27 janvier 1987 à Hudson, au Canada.
The Wire
“McLaren’s visuals matched the electronic timbres of his compositions, literally carving sound from image, showing exactly what you hear."
MOJO
“Absolutely adorable music.”
BBC 6 Music
Pioneering Scottish-Canadian animator Norman McLaren (1914-1987) - creator of seminal short films Dots, Neighbours, Synchromy and many more - is remembered in first ever release of soundtrack works, self-composed from the 1940’s to 1970’s and forecasting the following half-century of electronic music.
Norman McLaren was once described by composer, music theorist, and mathematician Milton Babbitt as “the first electronic musician.” In addition to his pioneering work in animation, the electronic soundtracks McLaren created for his own films employ astonishing foresight and a characteristically precise methodology. They also crystallise boundless creativity, wit and whimsy, and illuminative brilliance into a unique insight to his remarkable mind, with or without visual accompaniment.
Rythmetic: The Compositions of Norman McLaren marks the first time his soundtracks have been released on record, carefully curated from his most important film works, hours of archival tapes, and multiple versions of the same key compositions. It represents an essential overview of McLaren as a composer, in neat dovetail with McLaren the filmmaker. Both are crucial figures in the respective developments of their fields, opening doors to a future that might not have existed without McLaren.
As an animator, McLaren was renowned for utilising or inventing techniques at their very vanguard and shaping to his needs the rudimentary technology of the era. Many of these techniques and technological adaptations, developed at the National Film Board of Canada over the 1940’s and 50’s, would eventually become adopted into standard practice for animation. He also blazed new trails for soundtrack composition: having heard the glue of spliced film reel produce sound as it passed through his equipment, he began meticulously applying his own cuts and notches to the tape and measuring the frequency values of the tones these striations would emit. Over years of refinement, he created a series of cards to correspond to eight octaves of musical notes, frequency by frequency, and to recruit these cards to compose his soundtracks. It was a way to maintain total creative control and freedom over his own work - every single frame would be processed “the McLaren way”.
“He could have used a synthesiser,” writes long-term assistant, friend, and filmmaker of McLaren documentaries Don McWilliams, also at the National Film Board, “but he had his own method and he stuck with it.” John Cage was an ardent fan, inviting McLaren to his infamous downtown NYC socials and once even writing to McLaren to beg a recommendation for his recruitment at the National Film Board.
Unsurprisingly, McLaren was musically capable and aware throughout his career. He was an inquisitive listener, often drawn to rhythmic expression found outside western music, and he collected records for both reference and enjoyment. West African and Chinese music were particular pleasures, as well as the gypsy jigs that in his youth had informed his own practice as a violin player.
The opening piece to this compilation, “Now Is The Time”, is crafted from trilling, birdsong arpeggiations of dulcet high frequency tones that chatter and warble in scattered dialogue. Accompanying the clouds, multiple suns, and dancing figures of the film, the soundtrack is alive with joy and wonderment. Next, “Rythmetic”, soundtracking McLaren’s famed numeric sequence visualisation, pitters and patters with the types of glitching rhythms so coveted by contemporary electronic music almost a century later. Even from these first pieces alone, it is readily apparent that McLaren could not have achieved the effect he desired with scored instrumentation. The “McLaren way”, so crucial to his process, is as much foundational to his soundtracks as it is to the films themselves.
Despite his acclaim and recognition within the world of film and animation - he won an Oscar, a Palme d’Or, is a favourite of George Lucas’, and is recorded in UNESCO’s cultural heritage archives (none of which interested him) - Norman McLaren is not a Walt Disney, Tex Avery, Chuck Jones, or an Ub Iwerks. His work is unflinchingly outré. Seeking out experimental, innovative, and unconventional modes of storytelling, his creative expression went even deeper than pioneering methodology and a prolific output, becoming part of the man himself as his working hours in the studio became longer and longer as his career blossomed. Even his straightest films are decidedly odd at their core, revealing not only a playful and joyously childlike sense of humour, but also the perpetual pursuit of perfection that fuelled his filmmaking throughout his life.
A gay man, McLaren also resisted the normative social structures of the day in his personal life, acutely aware of the legal implications of his relationship with lifelong partner and fellow NFB director Guy Glover. He also remains revered as the most generous and trusting of teachers, bringing under his wing young or inexperienced filmmakers in whom he saw passion and promise. His second protegee George Dunning, who went on to produce Yellow Submarine for the Beatles, had only recently graduated when McLaren brought him to work in the NFB studios.
Towards the end of McLaren’s career, McWilliams asked him how he perceived his own legacy; how Norman McLaren would be remembered in a hundred years’ time. “A filmmaker who made some interesting films,” was his reply. Modest, funny, wise, and yet knowingly sly. An answer most McLaren.
William Norman McLaren was born 11th April 1914 in Stirling, Scotland. He died January 27th 1987 in Hudson, Canada.
L’univers du pionnier de l’animation Norman McLaren s’est construit avec minutie et rigueur. L’artiste canadien d’origine écossaise travaillait cellule par cellule, employait ou inventait des techniques d’avant-garde et adaptait la technologie rudimentaire de l’époque à ses besoins. Nombre de ses techniques et de ses adaptations technologiques, mises au point à l’Office national du film du Canada dans les années 1940 et 1950, sont depuis devenues pratique courante dans le domaine de l’animation. Toutefois, pour parvenir à la vision unique et envoûtante qui le distinguait de ses pairs, Norman McLaren devait employer un processus lent, chronophage et infiniment exigeant. Le perfectionnisme acharné, le dévouement et l’ardente persévérance de l’artiste s’étendaient aussi aux trames sonores qu’il créait pour ses œuvres cinématographiques.
Dans les années 1930, après avoir entendu la colle (ou le « ciment ») d’une bobine de film montée produire des sons lorsqu’elle passait dans son équipement, Norman McLaren commence à appliquer méticuleusement ses propres coupes et entailles sur la pellicule et à mesurer les fréquences sonores que ces stries émettent. Après des années de perfectionnement, et inspirés par le film Pitsch und Patsch du cinéaste suisse Rudolf Pfenninger, Norman McLaren et sa collaboratrice de l’époque, Evelyn Lambart, créent une série de cartes correspondant à huit octaves de notes de musique, fréquence par fréquence. Ils utilisent ces cartes pour composer de la musique. Ainsi, le cinéaste conserve-t-il une entière liberté et un contrôle créatif total sur son travail : chaque image est traitée « à la manière McLaren ».
Même si le processus était compliqué, Norman McLaren était fier de son système. « Il aurait pu employer un synthétiseur, écrit Don McWilliams, assistant de longue date, ami et écrit Don McWilliams, assistant de longue date, ami et réalisateur de films sur le célèbre animateur, également à l’Office national du film, mais il avait sa propre méthode et il s’y tenait. » Le compositeur, théoricien de la musique et mathématicien Milton Babbitt – lauréat des prix Pulitzer et MacArthur – a dit de Norman McLaren qu’il était le premier musicien électronique. Admirateur inconditionnel, John Cage invitait Norman McLaren à ses célèbres soirées new-yorkaises. Il lui a même écrit pour le supplier de le recommander auprès de l’Office national du film.
Sans surprise, Norman McLaren a conservé cette conscience et cette maîtrise musicales tout au long de sa carrière. C’était un auditeur curieux, souvent attiré par des expressions rythmiques hors de la musique occidentale. Il collectionnait les disques, à la fois comme référence et par plaisir. Les musiques d’Afrique de l’Ouest et de Chine, en particulier, le séduisaient. Il aimait aussi les gigues tziganes qui avaient nourri sa pratique du violon dans sa jeunesse. Bien qu’il eût étudié la composition de bandes sonores, et même fait carrière dans ce domaine un temps, McLaren considérait ses talents musicaux comme « boiteux et peu mélodiques », selon Don McWilliams. Il s’était également demandé publiquement si une bande sonore pouvait exister sans un film. Cette collection cherche à prouver le contraire : Norman McLaren était un compositeur indéniablement doué. Il a vu et entendu, pour ne pas dire accompli, ce que le reste du monde allait finir par apprécier. Il a cristallisé sa créativité illimitée dans des compositions lumineuses, pleines d’esprit et de fantaisie, d’une clairvoyance avant-gardiste, pour nous laisser une expérience d’écoute fascinante, avec ou sans les films associés.
Bavardages, gazouillis, dialogues épars : le morceau d’ouverture de cette compilation, « Now Is The Time », se compose de trilles, d’arpèges de chants d’oiseaux et d’aigus tout en douceur. Empreinte de joie et d’émerveillement, la bande sonore accompagne les nuages, les multiples soleils et les figures dansantes qui apparaissent à l’écran. Ensuite, « Rythmetic », indissociable de la célèbre séquence de chiffres animés de Norman McLaren, fait entendre des sons rapides et légers, caractéristiques des glitch beats si prisés par la musique électronique expérimentale contemporaine, près d’un siècle plus tard. Dès ces premières pièces, on constate que Norman McLaren n’aurait pu obtenir l’effet qu’il souhaitait avec des partitions. La « méthode McLaren », si essentielle au processus de l’animateur, se révèle aussi fondamentale pour ses bandes sonores que pour ses films.
Norman McLaren a remporté un Oscar et une Palme d’or, il comptait parmi les artistes préférés de George Lucas et son nom figure aux archives du patrimoine culturel de l’UNESCO, mais rien de tout cela ne l’intéressait. Malgré la reconnaissance dont il bénéficiait dans le monde du cinéma et de l’animation, Norman McLaren n’avait rien d’un Walt Disney. Son œuvre est résolument excentrique. L’animateur cherchait en permanence des modes de narration expérimentaux, novateurs, non conventionnels. Son expression créative dépassait de loin une méthodologie avant-gardiste et une production prolifique : elle était devenue partie intégrante de l’homme lui-même, à mesure que ses heures en studio s’allongeaient et que sa carrière fleurissait. Même ses films les plus convenus – et leurs bandes sonores – ont quelque chose d’étrange. Ils révèlent un sens de l’humour ludique et joyeusement enfantin, mais aussi la quête perpétuelle de perfection qui a alimenté le travail du cinéaste tout au long de sa vie.
Homosexuel, Norman McLaren a également résisté aux structures sociales normatives de l’époque dans sa vie personnelle, conscient des conséquences juridiques de sa relation avec Guy Glover, partenaire de longue date et lui aussi cinéaste à l’ONF. Il était de plus membre du Parti communiste de Grande-Bretagne. Ses parents l’avaient envoyé en Russie peu avant la Seconde Guerre mondiale dans l’espoir de guérir ses penchants politiques : son séjour a produit l’effet inverse.
On continue de vénérer l’enseignant généreux et de confiance, qui prenait sous son aile des cinéastes jeunes ou inexpérimentés en qui il voyait une passion, une promesse. Son deuxième protégé, George Dunning, qui allait produire Yellow Submarine pour les Beatles, venait tout juste d’obtenir son diplôme lorsque Norman McLaren l’a embauché dans les studios de l’ONF. Don McWilliams parle d’une commande que Norman McLaren avait reçue et dont il avait réalisé seul les premières images avant de confier le reste du travail à Don McWilliams en lui demandant de faire comme lui aurait fait.
Vers la fin de la carrière de Norman McLaren, Don McWilliams a demandé à l’artiste comment il percevait son héritage, comment on se souviendrait de lui dans cent ans. Il a répondu : « Un cinéaste qui a fait quelques films intéressants. » Modeste, drôle, sage et tout à fait habile. Une réponse à la hauteur de Norman McLaren.
William Norman McLaren est né le 11 avril 1914 à Stirling, en Écosse. Il est décédé le 27 janvier 1987 à Hudson, au Canada.
credits
released November 29, 2024
All music composed, performed, and produced by Norman McLaren
+
Synchromy
Mixing + Re-recording – Roger Lamoureux
Mosaic
A film by Norman McLaren and Evelyn Lambart
Sound – Ron Alexander
Neighbours
Sound - Clarke Daprato
Rythmetic
A film by Norman McLaren and Evelyn Lambart
Liner notes/Notes de pochette: James Vella
Translation by/Traduction par: Pénélope Mallard and Fleur Neesham
Mastered by/Masterisé par: Noah Mintz at Lacquer Channel Recordings
Artwork by/Illustration et mise en page de l'album: Steve Lewin
Special thanks to/Un merci spécial à: Don McWilliams, Nathalie Bourdon,
Mary Graziano, François Jacques, Peter Kallianiotis, Saskia Latendresse, Rob McLaughlin,
Mira Mailhot, Adam Abouaccar, Jonathan Bouchard, Meryem Alaoui
This project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters and Ontario Creates.
Ce projet est financé en partie par FACTOR, le gouvernement du Canada et les radiodiffuseurs privés du Canada et Ontario Creates.
All music composed, performed, and produced by Norman McLaren
+
Synchromy
Mixing + Re-recording – Roger Lamoureux
Mosaic
A film by Norman McLaren and Evelyn Lambart
Sound – Ron Alexander
Neighbours
Sound - Clarke Daprato
Rythmetic
A film by Norman McLaren and Evelyn Lambart
Liner notes/Notes de pochette: James Vella
Translation by/Traduction par: Pénélope Mallard and Fleur Neesham
Mastered by/Masterisé par: Noah Mintz at Lacquer Channel Recordings
Artwork by/Illustration et mise en page de l'album: Steve Lewin
Special thanks to/Un merci spécial à: Don McWilliams, Nathalie Bourdon,
Mary Graziano, François Jacques, Peter Kallianiotis, Saskia Latendresse, Rob McLaughlin,
Mira Mailhot, Adam Abouaccar, Jonathan Bouchard, Meryem Alaoui
This project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters and Ontario Creates.
Ce projet est financé en partie par FACTOR, le gouvernement du Canada et les radiodiffuseurs privés du Canada et Ontario Creates.
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Definitely reduces fatigue. Easy to use. Great response with less space needed for mouse movement. Stays charged for months you actually forget to charge it, ask me how I know :). I play video games with it and never have any issues with the movement and response time of mouse. And since my car wreck where I broke my thumb this is the only mouse that gave me the same as before the wreck abilities to move and operate the mouse. Highly recommend. One very broken thumbs up :)
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Reviewed in the United States on May 31, 2026
★★★★★ 4
Experience after one year of usage
Number of Items: 1
I had mainly used a MX Master 2S before this and because of my heavy usage I did start to feel uncomfortable after a few hours of use every day and that's when I decided to purchase MX Vertical. Now after almost 9 months of usage this has become the mouse I use on a daily basis, completely replacing MX Master 2S.
Comfort: It took me about a day or two to really get used to using it because of the positioning and ever since then my wrist has never felt any discomfort, literally. I don't have a mouse pad but because of the angle that my wrist is contact with the desk when I use it, this has never been a problem. What I also love about the ergonomic design is that my hand can actually just rest on it when not doing specific tasks, and it just fits my palm perfectly.
Functionality: I don't use it for gaming so I can't comment on that. However, comparing it with my Master 2S, there are some very obvious disadvantages. If you use Excel sheets a lot, or anything that requires horizontal viewing, the scrolling option is terrible. You can set up the function key on Logi Options+ and I use the side buttons for scroll right+left mainly because how easy it was to use with the Master 2S's side scrolling buttons. It is not comparable at all. With Master 2s, horizontal scrolling is smooth and precise. With this, it's basically useless. There are sites that just aren't responsive to the side buttons and when they do, you can never get to the precise point you want. Huge disappointment with that because I don't really use the side buttons for anything else. There is also no scrolling control with the middle button unlike the Master 2S, so you can't really scroll vertically as fast as you can when using Master 2S either. However I do use the middle button sometimes to just do the job for me so I'm ok with its basic functionality.
The top button is mainly used as a look-up button for me, so far its working pretty well and honestly it probably makes not much difference if they just completely take this button out for me. Maybe some people can find use in it as a switch for scrolling or mouse speed, or something else. Overall, the customizability of these buttons is very good, and depending on personal use, I can see it being very useful.
Battery life: Battery life is fantastic, never had any problem with it yet. I haven't really kept track but with my heavy daily usage (probably 10+ hours with no intense gaming), it can usually go for more than a month. You can also use it while it's being charged.
Durability: I have unfortunately knocked it over the desk a couple times on hard vinyl floor and there seems to be no problem with it at all. Before purchasing this I saw some comments about how it stopped functioning after being dropped to the floor and I was really worried about it. However that is not my case at all. It is very durable in my opinion and does its job perfectly even after dropping it a few times.
Overall, extremely comfortable to use. It helped with my wrist pain tremendously and now I use it for hours without feeling any discomfort. The functionality is severely disadvantageous compared to Master 2s and 3s, and possibly other gaming mouses as well, but if you are here because of wrist pain, this is the right product.
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Reviewed in the United States on May 24, 2024
★★★★★ 5
Finally, a comfortable vertical mouse for guys with large hands!
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I've been using the Logitech MX Vertical Wireless Mouse for about 8 years now, and I love it. Any time I have to use a traditional mouse it's an uncomfortable disappointment.
If you haven't used a vertical mouse yet, there are a couple things you need to know.
First - this is just a normal mouse, but it's turned about 60-degrees to the right. This let's your hand rest on the mouse in the natural position your arm wants it to be in without any effort to rotate.
Second - you will knock it over, repeatedly, for a few weeks. Because you're used to a mouse that's a just an inch and a half or so tall, your natural movement from keyboard to mouse is going to be interrupted by the height of the MX Vertical. In time, you will get used to this, but for a week or two, you will knock it over when moving to the mouse, and when moving back to the keyboard. Don't worry, your muscle memory will change and this will stop.
Third - once you get used to using the MX Vertical, you won't want to use any other mouse. It's a dramatic change in ergonomics, and you will feel the strain your wrist and forearm are under any time you have to use a traditional mouse.
There are other verticals that are also great, but as a guy with large hands, this is the best I've found. I have 4 of these now - one at my office, one at my dining room table, one at my desk, and one that travels in my backpack. I don't need all of these, but its handy having them where I need them. Another reason for this is the mouse can pair with 3 devices. I have different devices in each of these locations, so it's handy not having to re-pair when I move between locations.
The MX Vertical fits my hand perfect, and all buttons are where my fingers and thumb are naturally positioned. I've dropped them, knocked them down, bumped and tossed them and they keep on working properly, so from a durability standpoint, this will last. It's easy to pair with a push of a button - working with my Windows computers, MacBook, android phone and iPad. This thing just works great!
The only downside I'd mention is the coating. After a couple of years, the coating tends to migrate where you apply pressure. This is most apparent where the thumb and pinky finger rest. This doesn't cause any functional issues, and is entirely cosmetic, but just be aware that after a couple years it won't look pristine.
All-in-all, this is the vertical mouse to buy if you're a guy with larger hands. Get one, get used to it, and you won't regret it.
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Reviewed in the United States on February 6, 2026
★★★★★ 5
Highly recommend! Best in the market bar none
Number of Items: 1
I would like to say this is the perfect mouse and probably the best mouse you could buy on the market and it doesn't even come close. You can modify the mouse however you like with a click on the app. It's truly been a life changing experience with this mouse. With that being said, the perfect mouse does have a few flaws but nothing that would make me not recommend it to anyone only just be aware of these things. 1. It's a vertical mouse, sometimes it gets in the way and your wrist will knock it over, it will happen I promise you. 2. Logitech has a Flow feature meaning you can connect the mouse to three different computers at once if need be, qyeah I'll say it again, three computers connection! Wow! Well I only use it for two computers, the Flow works flawlessly but my gripe is how it sometimes doesn't sync with my Logitech keyboard Ergo K860, unfortunately, the keyboard doesn't come with the same Flow feature meaning I have to depend on the mouse to do it and it doesn't work sometimes and I have to switch between the mouse transition button to the key board transition button which makes for a long headache sometimes. 3. Believe it or not connection is sometimes an issue, it losses Bluetooth connection often and it doesn't matter which computer I use I have the same issues at work and home so I use the dongle for straight connection. Oh wait there are issues with the dongle connection too? Say it ain't so? It is! The issue comes when you have two dongles like me, the keyboard and the mouse, and try to connect both, like I said I have two computers and Logitech will not allow for their ”universal dongle” to connect to two different computers at the same time terrible design flaw. 4. Again, this mouse is incredible but it can sometimes be a little too much incredible, I know, I know but hear me out. The mouse is flawless fast, one quick wrist jerk and that mouse pointer on the screen is jumping all over the place, it's been hard to find a happy medium with the pointer, it's either you adjust to slow it down, making it too slow, or adjust to make it fast, which is too fast, again no happy medium even though there are plenty of settings to toggle with. I believe most vertical mouse tend to be that way anyway only with this mouse you can really tell the difference and that could be a good thing or bad thing depending on your perspective, it's sometimes a bad thing for me on Excel sheets. So the final verdict is this is still the best mouse out there and worth every penny and I would still give this 10 stars if possible, it's been a wonderful experience with this mouse. Again, the negatives are not bad or to make someone not buy it and considering the other features this mouse can do I recommend anyone who works all day on a computer to buy this product I highly recommend it.
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Reviewed in the United States on July 28, 2021
★★★★★ 5
Excellent Ergonomic Mouse for Long Workdays
Number of Items: 1
If you spend many hours at a computer and are looking for a comfortable, high-quality mouse, I highly recommend the Logitech MX Vertical. It has made a noticeable difference in my daily comfort and productivity.
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Reviewed in the United States on June 5, 2026