Here is video with an excerpt from a recent live collaboration with myself (NewEcho) & The Aefonic using only two Elektron Analog Four synthesizers. I also provided interactive visuals.
Tag: Video
Visual artist Ray Cassel used my song “Alone” form the album Reboot as the sound track for his latest video piece called EXOWORLDS a Visual Exploration.
An exploration of what worlds and their moons may look like outside our solar system. Visuals by Ray Cassel. Sound design and music by Mark Mosher.
Visit his blog for notes on this piece http://latest.raycassel.com/exoworlds.
“Alone” and Reboot are available on iTunes, Bandcamp, Spotify, Amazon MP3, and Google Play
Enjoy,
Mark Mosher
Cinematic science fiction and horror themes using synthesizers and samplers
MarkMosherMusic.com
This is a 5 minute video highlight from the 2+ hour Denver Synth_Drone Collective performance at Mutiny Information Cafe in Denver for the Textures Ambient Showcase.We setup in semi-circle in the back of the cafe surround by the stacks of books. Most of the footage was shot over-my- shoulder with my GoPro Hero 5 Session as I improvised live visuals with Resolume 6with both live camera input and heavily synthesized video field recordings.
The Denver Synth_Drone Collective (from left-to-right around the semi-circle in this video):
- Kuxaan Sum (Modular, Arturia Microbrute, Various Outboard FX)
- Biostatic (Moog Sub Phatty)
- Sean Patrick Faling (MFB Dominion1, Various Outboard FX)
- Chris Sessions (Access Virus TI2, Ableton Live & Push 2)
- Chris Frain (Moog Animoog)
- Mark Mosher (Resolume, MIDI Fighter Twister | Ableton Live 10, Ableton Wavetable, Tone2 Nemesis, Ableton Push 2)
We plan to release an album of the entire performance in the future. For now check out albums from previous performances:
https://symbolicinsight.bandcamp.com/album/13th-planet
https://symbolicinsight.bandcamp.com/album/ambient-radiation
It’s been a while since I’ve done an update or a podcast or a live show. I’ve been enjoying some travel, hanging with the family, riding bikes, hiking, walking, reading, and listening. I’ve also been spending time studio time to work on new ideas, making field recordings, as well as running some events for the 480+ member strong Rocky Mountain Synthesizer Meetup.
In the meantime, I noticed that a live video has surfaced of my duo A.I. Winter with Michael O’Bannon. It’s the full video 27 minute of a live performance of “Instantiate” from Electro-Music NY 2014 festival on September 7th, 2014. A big thanks to Steve Mokris for recording and posting this!
“Instantiate” is an experimental ambient piece with four movements composed for two Octatracks.”
Watch The Full Performance Here
Note – I also did double-duty on visuals with live camera input. The concept is as the A.I. is watching us, and as it evolves things become more clear to it (and we know how that will end). Watch embedded video.
”From the barren nanoscapes inside our personal devices come furtive anthems hummed by those digital servants who will one day be our overlords…”.
Instantiate” is an en experimental ambient piece with four movements composed for two Octatracks.
Movement 1: Stasis – A still, slow moving “present time”. Drones and melodies with an occasional perturbation to foreshadow what is coming.
Movement 2: Stirrings – Bursts of brief intelligence and control come and go. Perturbations of a minimal but ominous atmosphere. These are simple at first, but evolve toward short periods of chaos that quickly burn out.
Movement 3: Birth – The A.I. begins to build and grow recursively. Structures surface and are repeated and elaborated. While the programmer looks for signs of intelligence from the A.I., the the A.I. is rapidly learning by reviewing and attempting to emulate recordings of a child speaking.
Movement 4: Childhood – The A.I. recognizes its own existence. Consciousness leads to experimentation, gentle but awkward at first, with a growing edginess and over-sensitivity that suggests intrusiveness, lack of predictability and danger. The countdown to Super Artificial Intelligence has begun.
Buy the EP
We were really proud of this dark ambient piece so we made it available as a high-def EP https://aiwinter.bandcamp.com/.
About A.I. Winter
A.I. Winter is a self-appointed harbinger of the progress of Artificial Intelligence toward world domination. It imposes its musical interpretations of cosmic machine consciousness on the world at large.
Michael O’Bannon (Atlanta, GA) and Mark Mosher (Boulder, CO) first met at Electro-Music 2010. Throughout the years they’ve collaborated loosely with Mark on the music side and Michael on visuals. For the first time, Michael and Mark will be joining forces as a musical duo to offer the soundtrack of a cautionary tale considering the risks of super-human artificial intelligence. Michael is a psychologist who explores sound design, the interplay of visual and sound stimuli in performance, and multimedia programming with Max6. Mark, who’s been going deep with Octatrack and Absynth, will be exploring sonic expression via dynamic sampling, real-time morphing and complex granular manipulations.
For more information visit my project page on this collaboration.
This video is part 2 of a live cinematic electronica set I performed at the Boulder Synthesizer Meetup on August 11th 2015 at the Walnut room in Denver. In this video I’m performing both the music and the visuals.
In part 2, I move on from the composed piece “Gonna Rise Up” from the album Fear Cannot Save Us” (which you can download here), and switch to improvisation. For Part 2, I’m improvising only on Octatrack dynamic performance sampler with some synth work on the Waldorf Blofled keyboard with original presets.
This video is part 1 of a live cinematic electronica set I performed at the Boulder Synthesizer Meetup on August 11th 2015 at the Walnut room in Denver. In this video I’m performing both the music and the visuals.
In part 1 I perform an extended version of “Gonna Rise Up” from the album Fear Cannot Save Us” markmosher.bandcamp.com/album/fear-cannot-save-us. For this piece, I was doing live arrangement on the Octatrack plus playing lead synth on the Waldorf Blofeld. The lead patch is an original patch from INIT using OSC2 & 3 for sync with mod wheel. The original lead patch on the album version was done with Zebra 2. To retain some of its character, I used Extreme Sample Convert to multi-sample the Zebra patch then import into the Blofeld for the source for Oscillator 1.
Rig Notes:
This set was performed only on Octatrack dynamic performance sampler with original field recordings and sonic elements from albums plus a Waldorf Blofled keyboard with original presets.
Recording Notes:
Live audio was recorded on a Zoom H2n fed by my sub-mix to house via Mackie 402VLZ3. Main footage is from a GoPro with secondary foot from my friend Chris Frain.
Visuals Notes:
The ONLY video source is from live camera input being run through layers of custom Resolume presets controlled by an Arturia Beatstep live.
"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
Via a Bob Moog Foundation tweet – I just discovered this wonderful video of Bob Moog talking about his history with the Theremin.
Links:
Electronic Musician, Boulder CO
http://www.ModulateThis.com
www.MarkMosherMusic.com
Back in October I did a post called A First Look at the DSI Tempest Drum Machine with Sound Designer James Kojac (Syndicate Synthetique). James is fellow Denver artist and pinged me on Facebook the other night to let me know he finished another video using Tempest. Checkout Syndicate Synthetique on the DSI Tempest – Live Improv Sound Design and BeatFlipping Demo 01.
What’s going on here? Checkout his notes:
My name is James Jaret Kojac / Syndicate Synthetique. I'm a Sound Designer and one of my latest projects has been w,’orking with DSI on the Tempest Drum Machine.
This video is primarily a showcase of what my friends and I have been calling "beat flipping" on the DSI "Tempest". Beat Flipping is essentially an exercise in live improvisation to see how far one can take the same 4bar pattern on one device.
All Patches/Sounds and patterns are all designed from zero'd out custom patch initializations and designed by myself for DSI and/or Myself.This video is 100% Live Tempest. It was recorded into an MBox2 into Reaper at 48/24 .wav with no pre- or post-processing except normalization.
In this video I demonstrate use of polyphonic synthesis, reverse, beat roll, pad pressure modulation routing and obviously a bunch more. As time goes on and I add them, the timed comments should go over a few things as I do them.
Enjoy! More to come…
Tempest OS 1.1
DSI has also updated Tempest since my last post on this to OS 1.1 which now allows you to play use MIDI notes to play the synth engine as assigned to pads. You can see what’s new in the 1.1 ademdum pdf here.
JamesJaret Kojac Links
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- Website: http://synsynth.net/
- YouTube: http://www.youtube.com/user/SyndicateSynthetique
- Soundcloud: http://soundcloud.com/syndicate-synthetique
- Twitter: http://twitter.com/#!/SynSynth
- Vimeo: http://vimeo.com/synsynth
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Mark Mosher
Electronic Music Artist, Boulder, CO
www.ModulateThis.com
Official Web Site: www.MarkMosherMusic.com
Listen/Download Albums: www.MarkMosherMusic.com/music.html
Just found this on youtube – Chemical Brothers "Believe" Live. Enjoy.
