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(Modulate This) Ableton Ableton Live ableton live 10 Synth: Zebra 2.x

Spending More Time on My Music Laptop & Dusting Off Some Original Presets for Synths like U-HE Zebra 2

I find I’ve been spending more time making music and sound with my laptop while in isolation than with hardware. Of course I’m still making music and sound with my Elektron boxes, but I’m just noticing the laptop is getting more use in my day-to-day.

Perhaps it’s because I can just take it anywhere in the house and wherever I end up sitting becomes my creative space. While in the past I might have used my iPad for this sort of thing, I find I’m on my iPad more for reading books, blogs, news and connecting with people so the laptop seems like a break. Topsy-turvy times for sure but a good reminder of the the amazing sonic arsenal of tools that sits within most of our laptops.

As you’ve probably seen in recent posts I’ve been spending a lot of time with Ableton Live and Push 2 along with all of Live’s devices and instruments. Over the years though, I’ve created 100s of presets for some amazing virtual instruments.

So I’ve started a new project to dust off some original presets for Live and other commercial synths and get all the sounds out of the archives and back in play on my laptop.

I just restored my collection of original Zebra presets. Here is a short video from my Instagram of a sound that is quite Krell-like. I’m just holding a single key ūüėÄ.

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(Mark Mosher Music News) (Modulate This) Synth: Largo

Waldorf Largo is Back in My Rig (No Dongle Required Now) + Video of Original Krell Patch for Largo

It’s baaaaaack. Yes Waldorf Largo is back in play in my Ableton Live rig. To celebrate this, I’ve just published a short video of a Krell patch I made called “Cold Space” using Largo with a little inspiration from the Krell channeling themselves through Dr. Morbius.

Look Ma – No Dongle!

A big thanks to sound designer Empty Vessel who tipped me off that that Waldorf had changed their licensing scheme to use activation rather than eLicenser.

I logged into my Waldorf account and went to https://waldorfmusic.com/en/my-software and sure enough – there was an option to to convert the the Syncrosoft License Key. Looks like they made the change back in 2016 so I’m late to this party – but better late than never.

Ironically, I ALMOST recycled the the case that had the Largo CD and contained the Syncrosoft key this week! That would have been super sad – so thanks Empty Vessel!

largo-sounds-newechoRediscovery of Original Presets

I bought Largo back in 2011 and pretty much stopped it within a year because of the dongle buzz kill – and at the time I had a Blofeld. After I reinstalled Largo yesterday I remembered I had made some original presets for it. I dug through my backups and found 40+ original presets including “Cold Space” which is in the video above.

 

 

 

Here is another example of a preset I put on soundloud back in 2011. It shows off the awesome comb filter and FM on the Largo. I have the filters setup in ‚ÄúSerial‚ÄĚ mode. Filter 1 is a comb filter which colors the sound and Filter 2 is low pass to control brightness.

Largo vs Blofeld

largo-vs-blofeld

Since were on the topic of Largo – I wanted to mention that there are differences between Largo and Blofeld. Largo some unique features such as sub-oscillators, 256 vs 25 note polyphony, and an awesome 6-stage chorus to name a few. See my blog post, and corresponding mind map for a more detailed look at Largo vs Blofeld.

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Mark Mosher
Synthesist & Multimedia Artist

Artist Site: NewEcho.com
Electronic Music Tech & Production Blog:  ModulateThis.com

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(Modulate This) Performance Videos

“Tonalities from Orbit #3” – Channeling the Krell with an Improvisation on Nord Lead 4

“Tonalities from Orbit #3” is a¬†video recording of a live interactive soundscape and¬†visual improvisation performed at the Rocky Mountain Synthesizer Meetup October 12th, 2016 at Globe Hall in Denver. It’s performed using only a Nord Lead 4 with custom patches from INIT and Resolume using live camera input with no pre-recorded sequences.

The theme of this meetup was “The Sound of 50’s SciFi: Theremins and Circuits” where Victoria Lundy did a lecture on Thereminist Sam Hoffman ¬†who’s work is synonymous with the iconic SciFi sound. I did a talk on¬†the work of Louis and Bebe Barron to create electronic tonalities for the groundbreaking film “Forbidden Planet”.

After the lectures, Victoria and I each did a performance illustrating some ideas from the talk. In this video I’m using the Nord Lead 4 to to channel the Krell.

Enjoy,

Mark Mosher
Composer, Sound Designer
ModulateThis.com

 

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Fear Cannot Save Us Podcast

Sonic Encounters Volume 01 Liner Notes: Track 012 – Tonalities from Orbit #2

This is the Krell again. We are beaming a 2nd tonality to your station. Are you receiving?

Listen to this episode on Soundcloud. You can subscribe to the Podcast in iTunes, or use this RSS Feed for your favorite podcatcher so you never miss an episode.

If you dig this piece, leave a comment. Checkout my releases here. You can also make a donation to support my art here.

Credits

013 Tonalities from Orbit #2-cover

Music and Cover Art by Mark Mosher.

Performance and Production Notes

This is another piece inspired by the ground-breaking work of Louis and Bebe Barron on the film Forbidden Planet.  I use oscillators as the primary source for the piece.

Blofeld + Launchpad Pro + Octatrack
Blofeld + Launchpad Pro + Octatrack

The soundtrack is¬†live improvisation using the Waldorf Blofled synthesizer with custom programs from INIT. The Novation Launchpad Pro grid performance instrument was used to perform notes with pressure on the Blofeld. In addition to live manipulation of the Blofeld through it’s hardware interface, I¬† live sampled and live looped the audio coming out of the Blofeld into an Electron Octatrack. From there I used the Octatrack’s chromatic mode, morphing with crossfader, and did live sequencing with trig automation. The Octatrack also provided additional effects.

I recorded a video of me performing this piece in the studio https://youtu.be/atDFO0YnnrI

Categories
Podcast

Sonic Encounters Volume 01 Liner Notes: Track 11 – Tonalities from Orbit #1

This is the Krell. We are beaming tonalities to your station. Are you receiving?

Listen to this episode on Soundcloud. You can subscribe to the Podcast in iTunes, or use this RSS Feed for your favorite podcatcher so you never miss an episode.

If you dig this piece, leave a comment. Checkout my releases here. You can also make a donation to support my art here.

Credits

012 Tonalities from Orbit #1-cover

Music and Cover Art by Mark Mosher.

Performance and Production Notes

This is another piece inspired by the ground-breaking work of Louis and Bebe Barron on the film Forbidden Planet I use oscillators rather than samples as sound sources for this piece.

The piece is a live improvisation on the Nord Lead 4 using only expressive real-time synthesis around a single original program from INIT. I recorded a video of me performing this piece in real-time www.youtube.com/watch?v=WvPO_N__LB8.

Categories
In the Lab

Video of First Patch with Reaktor 6 Modular Blocks … And It’s a Krell Patch

krell 001 mm b

In addition to composing and rehearsing, myself and most electronic musicians I know also spend quite a bit of time researching and tweaking their hardware and software rigs.¬†In the last few years I’ve been more inclined to go deeper with narrow set of instruments for my work – both on the hardware and software side of things.¬†Even so, I do spend time researching outside for my normal tool set from time-to-time to keep up with what’s new and sometimes add new instruments¬†to my rig.

Two trends going on around us are the resurgence of analog synthesizers and a rapid growth in the popularity of modular synthesis Рespecially in the hardware Eurorack format. In laymen terms, Modular synthesis is just that.  The sound designer not the manufacturer gets to decide how the signals flow from module to module. The end results can be very unique, evocative and organic sonic results.

krell 001 mm c

Because I travel to many shows, I’ve gone¬†with software-based modular synthesis. This is also a bit lighter on the wallet ;^) Luckily for me, the bar has been raised on the software side of the house with the release of Reaktor 6,¬†a¬†graphical modular software music studio made by Berlin-based Native Instruments.

The big news is Reaktor 6 has added a new interface called “Blocks” which emulates the metaphor of hardware modulars. I just picked up Reaktor 6 yesterday and thought I’d share a video Reaktor 6 of my first patch in action. My goal was to¬†show how just a few modules with a few notes could create something rather sonically complex to show the potential of the system – and for those not familiar with modulars – the kind of sonic mayhem you can create. So please enjoy this¬†simple but fun patch inspired – of course – by the Krell in the film¬†Forbidden Planet.¬†Who knows, maybe you’ll hear some more Reaktor 6 modular action in upcoming Sonic Encounters podcasts episodes.

 

For fellow electronic music artists that read this blog I’m using the Monark oscillator (now available in Block form) to frequency modulating a a factory Bento box oscillator. I’ve got an LFO modulating an LFO which modulates the pitch of Monark OSC + delay time of a Rounds Delay (also now available in Blocks form). If you are familiar at all with modular synthesis, you’ll find Blocks to be very intuitive and inspiring – and much easier to make instruments from from than using only the techniques possible in Reaktor 5.

I’ll close by saying I’ve also started beta testing another modular system based on wireless Percussa AudioCubes. It’s a fascinating take on modular synthesis using smart blocks and infrared.¬†Watch for some posts on this as I get further along.

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