Categories
(Modulate This) Synth: Absynth

“Inside the Grid on Altair IV” – A One-Note One-Patch Soundscape in Absynth 5

"Inside the Grid on Altair IV" by Mark Mosher. A One-Note One-Patch Soundscape in Absynth 5 from Mark Mosher on Vimeo.

Update: I’ve also made this available as an MP3-320 audio download on soundcloud.

"Inside the Grid on Altair IV" is a soundscape created with one patch from scratch using the Absynth 5. It is performed be pressing and holding a single note for the entirety of the song. While I have used Absynth as the sole instrument for songs in the past (Tracks 3 & 4 on my last album markmosher.bandcamp.com/album/no-ghosts-just-fear), I've never created a patch where one held note triggers the entire composition. Recent works by Absynth creator Brian Clevinger and artist Anthony Distefano have inspired me to do start working on some pieces of this nature and this is my first of many to come.

The audio is CD quality, and the video shows a behind-the-scenes look at Absynth's wonderful 68-stage modulatable envelopes in action. So all the movement and changes in dynamics, pitch, timber are meticulously drawn and programmed as part of the patch. The envelopes also support LFOs on segments. The envelopes can be extremely long and also loop independently which making Absynth fantastic for evolving soundscapes.

Note, I am also using an envelope to change the “effect time” of the Pipe Effect which is a unique audio effect within Absynth. P. 88 of the manual describes it best “Let’s take the image of a string. A loudspeaker (a contact loudspeaker) is connected to a string, which begins to vibrate as a result. You can determine the position of this virtual loudspeaker on the string via the parameter Input Position. Above the string are two pickups, similar to an E-Guitar. The pickups’ positions can be determined through the parameter Output Positions. Changing those two parameters can be compared with changing two microphones. You can modulate the string’s length and the pickups’ position through the LFOs or a MIDI Controller. This way, various flanging, pitch-shifting and rotary speaker effects can be achieved. These effects are particularly apparent when the modulation of the pickups are modulated in op¬posite directions.”

 

 

Enjoy,

Mark Mosher
Synthesist, Composer, Performer | Boulder, CO
MarkMosherMusic.com

Categories
(Modulate This) Brian Clevinger Synth: Absynth

Absynth Creator Brian Clevinger Posts One-Note Soundscape to Accompany the Mayan Apocalypse

 

Brian Clivinger just posted this fantastic one-note soundscape patch “made with Native Instruments Absynth 5 to accompany the mayan apocalypse”. It really shows what can be done with those amazing 68-stage modulatable envelopes!

Enjoy, and talk to you tomorrow :^)

Mark Mosher
Synthesist, Composer, Performer
www.MarkMosherMusic.com

Categories
(Modulate This) Casual Music Instruments Kinect Controllers Space Palette Synth: Absynth Tim Thompson

My First Solo Flight with Space Palette Kinect-Controller

My First Solo Flight with Space Palette from Mark Mosher on Vimeo.

Tim Thompson flew out from San Jose to present on his Space Palette kinect-based casual instrument this week Boulder Synthesizer Meetup (meetup.com/The-Boulder-Synthesizer-Meetup) on Nov 13th, 2012.

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The big news for me is he gave me a Space Palette frame! He actually came in a before the meetup and stayed to configure my system with his custom code and all the dependent parts and taught me how to launch, calibrate and customize.

After he flew home, I tore the system down and put it all back together and got it all running on my own :^). I then swapped out the audio instruments behind the scenes with Absynth patches to make my first solo performance. I shot this video while holding the camera behind the frame as I played. All audio and visuals are interactive and in response to the Kinect tracking my multi-touch movement (X,Y, Depth) through the various windows in the frame.

More here SpacePalette.com

SYNTHESIST MARK MOSHER, Boulder, CO 
Artist Web Site: www.MarkMosherMusic.com
Show your Support with an Album buy: http://markmosher.bandcamp.com/
Synth Geek Blog: www.ModulateThis.com
Local Meetup: http://www.meetup.com/The-Boulder-Synthesizer-Meetup/

Categories
(Mark Mosher Music News) Ableton Live Synth: Absynth Synth: Harmless Synth: Largo

NO GHOSTS. JUST FEAR. – 5 Original Dark Ambient Synthetic Soundscapes

No Ghosts Just Fear cover

New Dark Ambient Album

I’m happy to announce the release of my new album No Ghosts. Just Fear. It’s an EP with five original horror soundscapes. The album is only available as an album download from Bandcamp.com as they supports the high-resolution formats required for proper listening :^)

Here is a link http://markmosher.bandcamp.com/album/no-ghosts-just-fear

Go for the High-Rez Download :^)
The dark ambient sounds and music within these arrangements was created and performed on various virtual instruments (see notes below). In some cases original audio recordings were used as sources then re-shaped with granular synthesis to turn these recordings into playable expressive instruments with huge sonic range and motion.

The album was mastered by the wonderful Gannon Kashiwa who is the Director of Digital Media at the Denver Museum of Nature and Science  – so you'll hear the incredible sonic range and detail of these pieces if you go for the downloads. The streaming versions just don’t do the tracks justice.

With this in mind I’m making the entire album (14 minutes of horror in 5 soundscapes) available for only $3. I hope this is a no brainer price that makes you want to go for the lossless CD Quality FLAC or at least MP3 320 (click here if you have questions about format). A lot of work went into the sonic detail so it’s worth it to take the time to listen on good system with a sub – or with great headphones. No earbuds please – lol.

Liner Notes +

The Liner notes pasted in below with the addition of “Synths Used” for you Modulate This! readers. Note tracks 2-4 each use a single synth and single deep performance preset programmed from INIT.

I hope hearing these tracks inspires you to dig deeper into programming from INIT with a smaller number of synths in your rig. Going deep allows you to create expressive patches and presets with performance in mind and transcend these synths making them true instruments.

I’ll also add that the entire album was produced and mixed with Ableton Live. Gannon Mastered in Pro Tools.

Thanks for your support and If you enjoy the album please pass it on. Happy Halloween!

Mark Mosher
Synthesist & Composer, Boulder, CO
http://www.MarkMosherMusic.com

——————————

DSCN4970ABOUT THE ALBUM
This album contains five original instrumental horror soundscapes by Boulder-based synthesist and composer Mark Mosher. Listen in the dark on a great sound system with a sub-woofer or with good headphones (not ear buds) and let your imagination run wild! Then remember, it’s all in your head :^) 

 

 

CREDITS
© 2011-2012 (CC-BY-NC) Mark J. Mosher www.MarkMosherMusic.com
Composed, Arranged, Programmed, Performed, and Produced by Mark Mosher
Mastered by Gannon Kashiwa
Cover Design by Dave Weed
Cover Photo by Mark Mosher

TRACK NOTES

1 Primeval
Amygdala kicks in as you enter the fear zone. Remember, it's all in your head!

I use hand crafted synthetic sounds (subtractive and additive synthesis) to create strange tones, textures. and rhythms to build tension. Fast note-runs, and radical tempo changes will creep you out. This piece was performed using Percussa AudioCubes. Note I released this as a single in 2011. Even if you've heard it before I recommend you buy the album to get this new high-resolution remix. For this remix I reprogrammed some of the effects, remixed the track a bit, and then re-rendered with highest quality synth settings. Plus this track and all others were mastered by Gannon Kashiwa and it sounds simply incredible!

Synths Used: Waldorf Largo, 4 Instances of Image-Line Harmless. I also used Percussa Improvisor with original sequences controlled from AudioCubes which got fed into Live to drive the virtual synths. Further editing and production was done in Live.

2 Alone in the Dark
When you are alone in the dark your mind will play tricks.

Over the last year I've been spending time listening to the tone. harmonics, overtones, and distortion created by expressive electric guitar greats like David Gilmour. "Alone in the Dark" is my exploration of expressive manipulation of harmonics and distortion with a single synthesizer patch custom programmed. As a result you'll hear me go beyond the sonic range of guitars into the sub-harmonic realm.

Synths Used: Waldorf Largo

3 Fight or Flight
Your brain is on overload as you run for your life through a dark building searching for the exit.

I broke a long complex original audio recording into small chunks called "grains" with a custom patch in a virtual instrument called Absynth. My patch allows me to traverse, manipulate and perform with this massive sample as if it's an expressive instrument with a very unique harmonic palette.


4 Under the Spider’s Web
There is a dim golden light ahead in the dark. Between you and the light, there is a spider and of course a large web blocking your path. Was that something crawling down the back of your neck?

Like the last track, this is custom granular synth performance.

Synths Used: Native Instruments Absynth 5, Rob Papen Predator FX

5 Orbiting Miranda
Inspired by the film Serenity.

I used a variety of custom programmed virtual synths and effects to create this lush but dark ambient piece. Note I released this as a single in 2011. Even if you've heard it before I recommend you buy the album to get this new high-resolution remix re-mastered by Gannon Kashiwa.

Synths Used: Native Instruments Absynth 5, 3 Instances of Tone2 Saurus, Rob Pappen Predator FX & RP-Verb.

Categories
(Modulate This) Synth: Absynth

Absynth 5 Synthesizer Envelope Editing Tips

One of the best features of Absynth 5 are the 68 breakpoint envelopes. If you’ve mainly been shaping envelopes by dragging breakpoints around with your mouse here are some tips on adding even more character and expression to your envelopes.

Type in Breakpoint Times

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You can set the time for a breakpoint manually by entering the number of seconds for the break point. The Abs/BP switch determines the position of the breakpoint on the timeline. From p. 116 in the manual:

Abs/BP Time control: Determines the Breakpoint’s position on the time axis. Enter the duration in seconds. Depending on the setting of the BP Time Toggle on its left, you can either enter the duration since the previous Breakpoint (Bp sec) or since the beginning of the Envelope (Abs sec).

This is such a cool feature because you can not only be very precise but you can create extremely long envelope segments adding subtle motion and character.

Add LFOs and Modulate Breakpoints

I used Absynth quite a while before I bothered to click on the LFO and Control tabs. Using these tabs you can add LFO’s to envelope segments and modulate Amp and Time of a breakpoint using controllers.

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More Tips on Absynth

Mark Mosher
Electronic Music Artist, Boulder, CO
Official Web Site: www.MarkMosherMusic.com
Listen/Download Albums: www.MarkMosherMusic.com/music.html
www.ModulateThis.com

Categories
Ableton Live Effects Plugins Synth: Absynth Synth: Zebra 2.x

How to Trigger Absynth 5 FX Envelopes with MIDI Notes in Ableton Live

absynth-midi

In a previous post I mentioned the use of stand-alone FX versions of synths like Zebrify,  Absynth FX, and Predator  FX as effects processors. Here is a tip for you Absynth FX fans who are using Ableton Live and want to process the output of a another virtual MIDI instrument and then trigger envelopes in Absynth FX.

MIDI Won’t Pass Through By Default

If you drop Absynth FX into a MIDI track  that already has a synth in it – say ZebraHZ – the audio will be processed as you’d expect via the patch settings. MIDI notes however are not passed through to Absynth FX which means the envelopes won’t be triggered.

Ableton Routing to the Rescue

  1. Drop Absynth FX into '”A Return”
  2. Route the ZebraHZ audio to with the “Send A” knob.  I set the track to “Sends Only” so I only hear audio routed through Absynth FX.
  3. Create a MIDI Track in Live and route the MIDI to “A Absynth 5 FX” return. (Click the image above to see the screen shot full screen).
  4. At this point you can arm both the MIDI Track and the ZebraHZ track and play in real-time and notes will go to Absynth FX as well. Instead, I created a MIDI clip with a note pattern that repeats and…
  5. triggers the Absynth FX Envelope while I’m playing different notes in ZebraHZ.

Ok, give it a go and expect crazy and interesting results from the most epic Absynth FX and monster envelopes implementation.

Mark Mosher
Electronic Musician, Boulder CO

www.ModulateThis.com
www.MarkMosherMusic.com

Categories
(Modulate This) Synth: Absynth Synth: Predator Synth: Saurus Synth: Zebra 2.x workflow

Sound Design and Workflow Tip: Make Better Use of the Stand-Alone FX Versions of Your Virtual Instruments

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When I’m producing I use a lot of Ableton Live’s built-in FX. I do this because a) I like them and b) they adhere to the same workflow in everything else in Live so I spend more time making music. Of course sometimes I also want to use a third-party effect for variety or to take advantage of a cool feature. The down-side is that they all have unique workflow and you may find yourself scratching your head a bit rather than making music.

One way to have your cake and eat it to is to make more use of the effects within your favorite virtual synth as stand-alone processors. For example, in my rig, Absyhth, Rob Papen Predator, Slayer 2, Zebra 2 (Zebrify) all have FX only versions of their plug-ins allowing you to route signal through the FX processor sections of these synths.

The advantage of this is your synth chops can now be applied to your FX work and you can get more unique sounds in less time.

The Soul of a Synth in the Effects Processor

In many synths, it’s hard to separate the effects processor from the soul of the synth. Absynth for example has some very unique effects such as the wonderful Aetherizer which is used heavily in many factory patches. By using it as a processor on another synth or audio source you can combine the unique sonic character of the input with this wonderful granular effect.

More on External Input

Want to use your audio input as a modulation source? Both Absynth FX and Zebrifiy have envelope followers. Zebrify also has a pitch follower so you can map the pitch of an incoming signal back to synth parameters.

Below is an example of  my Theremin routed through an audio track in Ableton live with Zebrify in the device chain. As I slowly pitch up on the Theremin, Zebrify processes this signal with two comb filters and modifies the pitch of these filters with a step LFO.

Modulation Mania

Another advantage of using FX from your virtual synths as processor is that most modern virtual instruments are structured to make heavy use of modulation and a modulation matrix. This offers a lot of possibilities for automation and real-time control that often aren’t possible with many stand-alone FX processor plug-ins or even FX in your host.

Unifying Color

I also sometimes apply effects from a single synth FX plugin to all tracks (or a group of tracks) in a mix to help unify the palette of the piece. For example, in my recent track Ambient Drone track “Orbiting Miranda”, I used one instance of Absynth and three of Tone2 Saurus and then used Rob Papen’s Predator FX to do multi-effects with automation on every single track. One of the effects I used is a comb filter which nudged and shifted the timbral character of these synths more towards a center of color I wanted for the piece.

Download MP3 of “Orbiting Miranda”  here.

http://bandcamp.com/EmbeddedPlayer/album=109433115/size=medium/bgcol=ffffff/linkcol=0687f5/t=5/transparent=true/

Presets to Get you Started

When you load the FX only version of these synths, you’ll see factory presets dedicated to just the FX parameters. Jump in, route audio through, and poke around. I was personally blown away at what is possible.

Maximizing Your Investment

I’ll close this by saying you’ve already invested money and time into learning these instruments. If you’ve not explored the use of the stand-alone FX capable plugs in your rig , your really missing out.

Happy producing – and workflow FTW!

Mark Mosher
Electronic Music Artist, Boulder, CO
Official Web Site: www.MarkMosherMusic.com
Listen/Download Albums: www.MarkMosherMusic.com/music.html
www.ModulateThis.com

Categories
(Modulate This) Polls Sound Packs Synth: Absynth

I’m Declaring Absynth 5 the Winner of the Modulate This Holiday Sound Pack Poll

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I’m making great headway on the sound pack work. I’m almost done with the Live pack version and need to get going on the second format. Since Absynth 5 has been in the lead from the start and hasn’t lost this position throughout I’m declaring it the winner! Thanks to all those who participated.

I think the results are a testament to the quality, and depth of Absynth and the fact that after all these years it’s stayed fresh and relevant. Kudos to Brian Clevinger and NI.

The other good news about Abysnth winning is I believe Kore 2 users will be able to load the sounds. I don’t own Kore 2, perhaps I can get someone to help me test – use my contact form if you want to volunteer.

So thanks for voting and if you voted for Alchemy or Blofeld and don’t own Ableton Live, you might want to pick up Absynth for $99 bucks – sale ends today. (Note: I’m not affiliated with NI and don’t benefit from you buying Absynth – just a heads up). I am quite familiar with programming for the runner up synths so perhaps in 2011 I’ll do some sound design work for those formats.

I’ve setup a new landing page for the Free Holiday Gift Pack. Head over there and subscribe to the comment feed for notifications.

Mark Mosher
Electronic Music Artist, Boulder CO
www.ModulateThis.com

Categories
(Modulate This) Found Sound/Field Recording Sound Design Synth: Absynth

Absynth 5 Soundscape Using Field Recordings, Wavemorphing, and Audio Mod for Envelope Following

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I few days back I posted a soundscape to soundcloud called “Which One is Mine”.

http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F7436500&secret_url=false
Which One Is Mine by MarkMosher

Absynth 5 has a feature called Audio Mod which lets you take audio input from a DAW and use it as control voltage of sorts.  Sort of like the digital equivalent of what was shown in yesterday’s post from Marc (DJ Not So Much) “Using Ableton to Provide Control Voltage for a Moog Slim Phatty”.

I used Absynth and Ableton Live to create this sound scape which made up of synthesis, and real-time processing of audio from field recordings. The first recording is a Morse code key I recorded at a train museum in Cape Cod. The second is a recording I made of crowd noise at a University of Colorado basketball game.

I wanted to mention that Absynth 1 was the first virtual synth I bought back in the day. I’ve kept up with it all these years and upgraded to 5 right away when it came out (see this vid showing off some Absynth 5 features). It’s still one of my most used synths so I’m happy to see that it’s winning in the readers poll.

Note: You can get Absynth on sale for $99 for one more day till Nov 29th as part of Native Instruments holiday sale.

PRODUCTION NOTES
I created a custom patch in Absynth 5. I'm sending MIDI notes from an Ableton Live clip to Absynth. This causes Oscillator A to play a fractalized waveform that is morphed by a stepping envelope.

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Oscillator B is set to "Audio In" and I'm routing field recording samples playing in Live audio clips to this Oscillator.

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Oscillator C is a single hybrid waveform. This oscillator's Amp, Pitch and Morph params are modulated live audio signals routing through Oscillator B using "Audio Mod". The first audio clip is the field recording of the Morse code key. The second clip is the crowd sound. The pulsing nature of the sound during the crowd section is a result of AMP envelope on Oscillator B.

Enjoy,

Mark Mosher
Electronic Music Artist, Boulder CO
www.ModulateThis.com
www.MarkMosherMusic.com

Categories
Ableton Live AudioCubes Contollerism Launchpad Synth: Absynth Synth: Gladiator Synth: u-he ACE

New Single “First Orbit” Performed Live + Percussa Audio Cube Presentation Video from Ableton Denver Meetup

On the 14th of March I gave a presentation on Percussa AudioCubes at the Ableton Denver Meetup. David Henderson was kind enough to shoot video and he even took the time to post on YouTube. Thanks David.

By the way, if you haven’t subscribed to his blog yet, you should check it out – http://www.hendersounds.com/. Lots of cool insights on Ableton Live, Monome and more.

As part of this presentation, I decided to perform a brand new single called “First Orbit” using only AudioCubes and a Launchad. The song is in the second video below and starts at the 1:20 mark.

Watch embedded video

http://www.youtube.com/v/bJXGKqf7Z2M&hl=en_US&fs=1&&hl=en</embed></object></div>";” src=”https://modulatethis.files.wordpress.com/2010/03/ed674-6a00d83451cae869e201310fada78a970c-pi.jpg&#8221; style=”BORDER-BOTTOM-STYLE: none; BORDER-RIGHT-STYLE: none; BORDER-TOP-STYLE: none; BORDER-LEFT-STYLE: none” />

In this song I’m using AudioCubes to send MIDI notes and MIDI CC data to Ableton Live 8, specifically to:

  • Change scenes
  • Trigger Artillery 2 FX with MIDI notes
  • Modulate parameters of Ableton Live FX (Redux; PingPong Delay; Arpeggiator Rate, Gate, Distance)

I misspoke in the the video on what synths I’m using in this song. I’m using Gladiator 2, Absynth 5, and U-He Ace. Two synths that are well suited for cubes that are not in this song are Alchemy and Synplant.

The launchpad is used as a visual reference for what is going on inside of Live. at 2:55 I switch to User Mode 2 on the Novation Launchad and trigger a metallic sound then change the Rate by breaking the beam between cubes. I then play notes on the launchpad which plays both Gladiator and Absynth. When I pick up the Sensor cube, I’m modulating arpeggiator Gate and Distance. Opening up the gate makes the Absynth patch much more tonal.

Marc W. from Ableton Denver just gave me additional footage from a second camera angle and I plan to post a video on my channel of just the song by combining footage from both cameras. I’ll also post this live performance of the song in audio format and will also do a studio version down the road and release that as well.

Watch embedded video.

http://www.youtube.com/v/QXavNR1u-k4&hl=en_US&fs=1&&hl=en</embed></object></div>";” src=”https://modulatethis.files.wordpress.com/2010/03/5f208-6a00d83451cae869e20120a946b0fc970b-pi.jpg&#8221; style=”BORDER-BOTTOM-STYLE: none; BORDER-RIGHT-STYLE: none; BORDER-TOP-STYLE: none; BORDER-LEFT-STYLE: none” />

Thanks for watching!

Mark Mosher
Electronic Music Artist, Composer, Sound Designer
Louisville/Denver/Boulder

http://www.modulatethis.com
http://www.markmoshermusic.com
http://www.twitter.com/markmosher

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Download/Buy my album REBOOT on Bandcamp
Buy on iTunes

“First Orbit” Copyright 2010 Mark J. Mosher, licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License.

Categories
(Modulate This) Sound Design Synth: Absynth

Absynth 5 LFO Tips

One of the coolest things about Absynth is that you can draw custom waveforms. The waveform editor is simply fantastic. Custom Waveforms are not just for oscillators. They can also be used for LFO’s.

1) Click the button next to the LFO wave shape to open the waveform selector. 2) Click the “Edit” button.

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This opens the waveform editor. Use the editor to create a unique waveform to be used to shape your LFO.

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Try experimenting with the “Transform” function to shape your wave.image

Click on the LFO to rename it so you can reference the wave shape and apply it to other modulations.

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Another cool feature in Absynth is that you can apply LFO to segments of an envelope. Just click on the LFO tab when working with an Envelope then click on the node at the end of the segment where you want to apply LFO. You can even apply the custom wave shapes you have created.

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Mark Mosher
Electronic Music Artist, Composer, Sound Designer
Louisville/Denver/Boulder

http://www.modulatethis.com
http://www.markmoshermusic.com
http://www.twitter.com/markmosher

image
Download/Buy my album REBOOT on Bandcamp
Buy on iTunes

Categories
Ableton Live Synth: Absynth

Mark Mosher VLog #1 – Creating the patch “Broken Crystals” with Absynth 5’s new Cloud Filter

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In addition to creating tutorial videos, I’ve decided to start a Video Log. Tutorials are very time consuming to produce as they are scripted and require a lot of planning – not to mention time to edit and produce. My video log will be much more casual and it will be a little more like your just looking over my shoulder while I create electronic music and sound.

I’m also working out ways to shoot live video in my studio so I can also add videos that show how I’m using my Tenori-On, APC40, Percussa Audio Cubes, and other controllers.

As always, I’m hoping the content in these videos can help inspire your creativity and save you time with your projects.

For my first entry, I’ve posted a video where I discuss the creation of a patch using the new cloud filter feature in Absynth 5. There is also a tip for Ableton users within this video.

Watch embeded video on YouTube.

http://www.youtube.com/v/f1RpiGAXHSM&hl=en_US&fs=1&&hl=en</embed></object></div>";” src=”https://modulatethis.files.wordpress.com/2010/01/c33dd-6a00d83451cae869e20120a7bc6cee970b-pi.jpg&#8221; style=”BORDER-BOTTOM-STYLE: none; BORDER-RIGHT-STYLE: none; BORDER-TOP-STYLE: none; BORDER-LEFT-STYLE: none” />

Mark Mosher
Electronic Music Artist, Composer, Sound Designer
Louisville/Denver/Boulder

http://www.modulatethis.com
http://www.markmoshermusic.com
http://www.twitter.com/markmosher

image
Download/Buy my album REBOOT on Bandcamp
Buy on iTunes