1. "Before We Wake" Performed Live by Mark Mosher at Electro-Music 2012 NY

    02:01

    from Mark Mosher / Added

    173 Plays / / 0 Comments

    A live performance of "Before We Wake" by Boulder-Based Synthesist, Composer, and Performer Mark Mosher. The song is performed on Theremin (pitch-to-MIDI) and a single Percussa AudioCube. Both controllers combined offer 6 dimensions of spatial control of virtual synthesizers running in an instrument rack in Ableton Live 8 on a Windows 7 HP Laptop. Visuals by Michael O'Bannon. Camera 2 video by Jeremy DePrisco.

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    • Boulder Creek Ascent (Timelapse with Absynth Synthesizer Soundscape)

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      from Mark Mosher / Added

      276 Plays / / 0 Comments

      This video is of mountain bike ride up Boulder Creek Trail. It’s shot with GoPro and the first 30 seconds is a timelapse with a shutter speed of 5 seconds compressing a 40 minute ride to the creek down to 13 seconds. The second part of video at the creek is running in normal video mode. The soundscape for first 13 seconds was produced entirely with the Absynth Synthesizer using only camera audio from the creek video footage in the latter half of the video. I used granular synthesis in Absynth to compress the 1:00 long ambient audio recording down to only 13 seconds. For behind-the-scene production notes on this post visit http://www.modulatethis.com/sound-design-tip-sync-picture-absynth-breakpoint-times-406/

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      • Concréte Mixer Convocation at Universty of Denver - Gates Concert Hall GoPro Walk-Through - Lamont School of Music

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        from Mark Mosher / Added

        21 Plays / / 0 Comments

        I shot this video after sound and tech check at the Gates Concert Hall a the University of Denver. This was another edition of Concréte Mixer -- Convocation for the Lamont School of Music, University of Denver with Rick Reid, Mark Mosher, Thomas Lundy and Victoria Lundy at Newman Performing Arts Center - Gates Concert Hall. “I can feel, as if it were quivering in my memory, the whole drama of these last three years of experimentation […] The miracle of concrete music is […] things begin to speak by themselves, as if they were bringing a message from a world unknown to us and outside us.” – Pierre Schaeffer, “In Search of a Concrete Music” The Lamont School of Music is hosting five artists presenting acoustic, analog electronic and digital noises, sound effects and tonal music inspired by the musique concréte form and philosophy. The artists will play in multiple configurations as solos, duos, and other combinations. Mark Mosher will create expressive sample-based “instruments” on-the-fly, building up his instruments in real-time by sampling his own synthesizers as well as capturing audio from contact mics, and output from the other artists. To compliment the music and sound, Mark will also project interactive visuals, and the visuals created by the other artists. Theremin artist Victoria Lundy, and sound designer and musician Rick Reid—all performing solo and interactive work, will join him. Lizzy Mosher will provide vocal drones, and Thomas Lundy will perform dry ice on metal “Copper Heart,” the Carbon Dioxide Orchestra’s signature instrument.

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        • Concréte Mixer Teaser 01: Copper Heart with Dry ICE, Theremin, Moogerfoogers, and Octatrack

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          from Mark Mosher / Added

          150 Plays / / 0 Comments

          SHOW: Concréte Mixer: an evening of solo and collaborative musique concréte performances at the Walnut Room in Denver. The show will be Jan 25th at 9pm and feature performances by: John Gross, Randall Frazier, Victoria Lundy, Mark Mosher, Rick Reid, and Tom Lundy on CO2. $10/$12 at the door. http://www.thewalnutroom.com. THIS VIDEO: This video features the Copper Heart and is just a small taste of some interesting sonic experiences we all have in store for you at the show so we hope you will come to the show and tell your friends. This improvisation was shot at a tech rehearsal in a Denver warehouse. It features Tom Lundy playing the copper heart with dry ice. The rapid cooling of the copper causes the metal emit all sorts of interesting sounds. The Copper Heart has a contact mic on it with the signal being routed to Mark Mosher who is sampling the signal on the fly and shaping and sequencing the sound in real-time with an Elektron Octatrack. So you hear both the original Copper Heart plus the manipulation. Victoria Lundy is playing complimentary parts on a Moog Etherwave Pro Theremin which is being processed by Mooogerfoogers. Mark is also running real-time interactive visuals with Resolume based on live camera input (which can be seen on the right wall at the beginning of this video). For the actual show these images will be projected behind the artists.

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          • "Dark Signals" by Mark Mosher (Live Rehearsal Video)

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            from Mark Mosher / Added

            181 Plays / / 0 Comments

            "Dark Signals" is a song from my album I Hear Your Signals. This video is in HD and I captured the audio full fidelity right from my sound card in real-time and made note edits. It's one of my favorite songs off the album and is becoming a crowd favorite at live shows. A dark original electronica song with driving big beats, bit-crushed high-hats, a dash of ambient texture, and tasty distorted synth leads. Checkout the rippin' synth solo at the 1:42 mark performed live from a Tenori-On matrix controller sending notes to a virtual synth running in Ableton Live. The Moog Etherwave Theremin signal is being converted from analog back to digital and is driving virtual synths as well. You can buy the album name your prices ($0 for Free) over at http://markmosher.bandcamp.com. Mark Mosher www.MarkMosherMusic.com

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            • Dark Signals - Mark Mosher - Mountain Skies Electro-Music Festival May 2012

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              from Mark Mosher / Added

              347 Plays / / 3 Comments

              A video of my original song "Dark Signals" from the album I Hear Your Signals (http://markmosher.bandcamp.com/album/i-hear-your-signals) performed live at the Mountain Skies Electro-Music Festival in Asheville NC on May 12, 2012. Song is performed on keyboards, Theremin, and Tenori-On with interactive light from Percussa AudioCubes. All virtual instruments are hosted via Ableton Live. Visuals by Michael O'Bannon, Primary video by Hong Waltzer. Secondary Video by Anna E Siedzik-Torres from AT Illusions.

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              • Excerpts from Ambient Improv 11/24/2013 (Tenori-On + Waldorf Nave Custom Presets + Octatrack)

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                from Mark Mosher / Added

                122 Plays / / 0 Comments

                This video features excerpts from a live improv session. The rig used is a Tenori-On and Waldorf Nave (play with multi-touch and via CME XKey) on an iPad are food for Octatrack. I'm using all custom presets I've made on Nave for this piece plus processed Tenori-On (using only Octatrack FX). Visuals are produced with Resolume maipulating video footage in 2 layers. I've mapped the MIDI form Octatrack's cross-fader to do double duty to morph Octatrack parameters and cross-fade between the layers. iPad is on a TheGigEasy mount with sidearm. You can just make out Thomas Dolby's signature on my CME XKey.

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

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                  from Mark Mosher / Added

                  560 Plays / / 2 Comments

                  Update: You can now download this song here https://soundcloud.com/markmosher/inside-the-grid-on-altair-iv. "Inside the Grid on Altair IV" is a soundscape created with one patch from scratch using the virtual synthesizer 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 http://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.” Credits: Composed and programmed by Mark Mosher, Mastering by Steve Turnidge Enjoy, Mark Mosher Synthesist, Composer, Performer | Boulder, CO www.MarkMosherMusic.com

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                  • It Doesn't Have to Hate Us to Use Our Molecules by Mark Mosher

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                    from Mark Mosher / Added

                    41 Plays / / 0 Comments

                    http://www.MarkMosherMusic.com Inspired by James Barrat's (http://www.jamesbarrat.com/) book "Our Final Invention: Artificial Intelligence and the End of the Human Era" Music Production Notes All synth elements are from the Nord Lead 4 played live and live sequenced (notes and heave CC automation) live via Octatrack. I recorded audio down to a Zoom H2n in real-time with no edits. Drums are samples in Octatrack. Video Production Notes The computers in the video are just there to capture video from the two of the three cameras used - plus are part of the shot as a story element. One is being used to project a camera in real-time over my right shoulder. So the video is a mixture of post-production composting and practical projection from two web cams processed with Resolume plus a GoPro. All the latency between the different versions of my image are intentional.

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                    • Manipulating a Percussive Soda Can Sample using Pad Pressure on #MadeWithPush #MadeWithLive

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                      from Mark Mosher / Added

                      14 Plays / / 0 Comments

                      I recorded the sound of a pen striking a half-full soda can. I loaded this into Sampler and went to the MIDI panel and mapped "Aftertouch" (pad pressure) to "Loop Length" with a value of -100. Now pad pressure modulate the loop length.

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