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.
Things have been a little quite over here at Modulate This! HQ because I've been super busy working with my my good friend Darwin Grosse to form a new duo called (no)poem. Stay tuned for some upcoming behind-the-scenes posts where I'll share some insights into how we put the duo together as well as some notes on the tech and artistic elements of the our upcoming tour. For now here is a little background on the project.
I am excited to be returning for my fourth Concréte Mixer show. At this event, I will use an Octatrack dynamic sampler to incorporate real-time audio output from other musicians at the event to create expressive "instruments" on-the-fly. I will also perform a solo piece manipulating field recordings with infrared AudioCube controllers. To accompany the music and sound for the show, I will also be providing interactive visuals with live camera input.
“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 Walnut Room in Denver has been a loyal supporter of experimental and ambient artists, and is a beautiful venue with superior sound and the best audio engineers in town. On January 30, five artists from different realms of performance and composition will convene at the Walnut Room to present an evening of acoustic, analog electronic and digital noises, sound effects and tonal music inspired by the musique concréte form and philosophy. 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. He will be joined by electronic musicians Rod Tanaka and Mike Metlay, theremin artist Victoria Lundy, Concréte Mixer curator Thomas Lundy, and sound designer and musician Rick Reid all performing solo and interactive work.
On April 25th I performed in a set at the Mixed Signals concert at the Dairy Center for the Arts in Boulder. I was joined by Antidata (aka Wes Milhomen) who performed a set with modulars, Andromeda, and some Elektron gear and Victoria Lundy who performed on Theremin. One of my favorite parts of the evening was our last song which was a collaborative jam (as seen in photo above taken by photo by Bret W. Moreland). Wes was on Andromeda, Victoria on Theremin, and I used a Nord Lead 4 for the piece.
I wanted to turn you on to a few electronic-music events that I will be participating in this week in Boulder.
Boulder, CO Date: April 24 School: University of Colorado, Boulder Time: 11am (faculty meet), 2pm (break-out sessions - student only), (Public Event @ 6:30pm) Presenter(s): Mark Mosher (Artist), Ben Samples (Artist), Dave Hillel (Ableton) Venue: University of Colorado at Boulder, College of Music, Room# N1B46, 18th & Euclid, Boulder, CO 80309-0301 RSVP: No RSVP needed More Info: Eventbrite
Ableton is proud to partner with University of Colorado at Boulder for the Ableton University Tour, a day and evening of student workshops and public presentations held at the University of Colorado campus in Boulder, CO. Students are invited to join Ableton representatives and Certified Trainers for an afternoon of break-out sessions exploring composition, sound design, production techniques and performance utilizing Ableton Live and Push. Day time activities will be followed by a free evening presentation open to the public, featuring performances, tips and tricks and unique approaches for music-making from artists and Ableton experts. Special guests for the Boulder event include Mark Mosher (Artist), Ben Samples (Artist) and Dave Hillel (Ableton).
I’ll be performing a concert set at the at the Dairy Center for the Arts next Friday April 25th at 8pm. In this concert I’ll be performing songs from my cinematic alien invasion album series including songs from my new album Fear Cannot Save Us which is now available on Bandcamp, iTunes, Amazon,and CDBaby. Joining me in this concert will be Wes Milholen (aka Antidata) on modular synthesizer systems, and Victoria Lundy on Theremin.
I’m helping to organize this show and we’re going to use a similar show format that was used for award winning Watt? Show (see this post on our Westword Magazine Best of Award). In this format each artist play a set. As with our Watt? show. We’ll also be back in the wonderful Performance Space at the dairy which has elevated show seating and comfy seats. There is a bar and snack bar in the lobby and you can bring your wine or beer into the theater. It’s just a great way to see a show of this sort.
We’ll kick the show off with Wes Milholen (aka Antidata) performing a set that features original pieces on analog modular synthesizers. Next up will be Victoria Lundy will be playing a variety of classical and original ambient pieces on Theremin. There will be a brief intermission followed by my set with will also include “invader cam” which is an synchronized interactive visual performance.
Something new we’ll be adding in this show is that we’ll have visuals for all three performances. We’ll close the show with a collaborative piece we worked up at a recent rehearsal.
To give you a feel for what the show will be like, here is a soundcloud set with music from all the artists.
We rehearsed the flow and progression from modular, to theremin, my all digital set followed by a collaborative piece and worked really well so I hope you’ll join us for the show.
I'll be performing in a very interesting experimental music concert later this month. Instead of playing my composed electronica songs, I'll doing some very unique collaborative pieces where I capture, shape, and perform with audio from other artists performing live. This includes a performance with a copper heart played with dry ice (see video below).
I'll also be performing a solo piece using some field recordings I've made. I'll be providing interactive visuals from live camera input from stage for most of the evening. Read on for more info and scroll to the bottom for videos which will give you a taste of what to expect.
PRESS RELEASE “Today’s serious composer of electronic music will often incorporate some techniques of musique concrete. Prerecorded voices or instruments are often used as a source of sound to be manipulated by the composer, and used, along with electronically produced signals, as the principal music signals of a composition. It has been all but forgotten that in 1951, when the Germans opened their studios in Cologne under the artistic guidance of Eimert and Stockhausen, musique concrete was considered a separate vocabulary and not to be confused with the new German developments of oscillator developed sounds. Early writings on these subjects made clear distinctions between musique concréte and electronic music.” “The primary aim of musique concréte is the alteration of the listeners perceptions.” – Herb A. Deutsch, electronic music pioneer. The Walnut Room in Denver has been a loyal supporter of experimental and ambient artists, and is a beautiful venue with superior sound and the best audio engineers in town. On January 25, five artists from different realms of performance and composition will convene at the Walnut Room to present an evening of acoustic, analog electronic and digital noises, sound effects and tonal music inspired by the musique concréte form and philosophy. 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. He will be joined by experimental musician Randall Frazier, theremin artist Victoria Lundy, noisician John Gross, and sound designer and musician Rick Reid all performing solo and interactive work. A special treat is the revival of the dry ice on metal “Copper Heart,” the central instrument from the former Carbon Dioxide Orchestra, which has been stored since about 1999! BIOS Randall Frazier: Orbit Service is the musical project of Colorado-based producer/engineer Randall Frazier (helmet room, Bela Karoli, Kal Cahoone) produced in collaboration with Kim G. Hansen (Antenne), Dennis Swanson (Day Dissolved Dream) and Kirill Nikolai (Still Light). Orbit Service’s mystical leanings steer them close to the likes of Sol Invictus, but OS zigs where neo folk zags, giving them a sonic momentum that leads to a much outer part of outer space. This beautifully crafted set smells like moist earth covered in leaves. Orbit Service’s mining of ever deeper moods has yielded a subtle treasure that glows like distant sun. http://orbitservice.bandcamp.com | http://www.helmetroom.com/. John Gross has been performing noise since 1994. He has appeared in Zoologist, Burn heavy, Page 27 Robot Mandala, and Suicide Notes. John is the curator of the Denver Noise Fest, and has performed around the country at Ende Tymes Fest, the International Noise Fest, and the Albuquerque Experimental Fest. https://soundcloud.com/noise27. Victoria Lundy has been playing theremin in the Denver experimental/underground/punk scene since the 90s. She was a member of the avant garde Carbon Dioxide Orchestra, who opened for the legendary Silver Apples in 1997; is a founding member of Denver’s acclaimed nerd rock band The Inactivists and has appeared all of their 6 CDs and EP, and as a guest player live and in recordings with other local artists. She also was a member of Jackson Induced Mutant Laboratory and performed with them at the 2011 Denver Noise Festival and at the 2013 Denver Post Underground Music Showcase with ambient project Pythian Whispers. Victoria has appeared at many venues in denver as well as Boulder’s Dairy Center for the Performing Arts, and demonstrated the theremin at the World Science Fiction Convention. http://fandalism.com/victorialundy. Mark Mosher is an electronic musician, sound designer, composer and performer from Boulder, CO. He has performed festivals and theaters around the country such as Electro-Music Festival NY, Electro-Music Festival in Asheville NC, Pacific Northwest Synthfest, Art Institute of Sunnyvale, Georgia Tech, Midwest Electro-Music Experience, University of Denver’s Performance Black Box, The Dairy Center for the Performing Arts and more. His 2012 dark ambient album NO GHOSTS. JUST FEAR. cracked the Top 10 on Bandcamp’s BestSelling Experimental Albums in Week of October 8th 2012. At this event, Mark will be performing musique concréte by creating expressive sample-based “instruments” on-the-fly on a computer-less state-of-the-art hardware sampler called the Octatrack. He will build up his instruments in real-time by sampling his own synthesizers as well as capturing audio from contact mics, and output from other artists. He will then then perform with these instruments live. To compliment the music and sound, Mark will also project interactive visuals. http://markmoshermusic.com/. Rick Reid has been the sound designer for more than fifty theater productions in the Denver area. He also performed soundtrack music for the locally-produced web video series “Lucha Libre: El Tecolote vs. The Body Thief From Dimension X” and will be playing theremin in the soundtrack of the upcoming indie feature film “The Cosmic Creature.” Rick has self-released two electronic music albums. He has also been a voice actor on several local and national TV and radio advertising campaigns. In his daytime gig, Rick creates movie previews for the Starz, Encore and MoviePlex television networks. Find Rick on the web at www.RickReid. com. Thomas Lundy will be playing dry ice on metal.
TEASER VIDEO FOR ONE OF THE COLLABORATIONS
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.
SOLO PIECE EXAMPLE
All be doing a solo piece where I simultaneously create music and sound from field recordings and manipulate visuals. I’ll be using an Octatrack, a laptop running Resolume and Absynth via Plogue Bidule host controlled by a Livid Base. I’ll also use a Tenori-On as Octatrack food. Below is a flickr photo set of the rig sand some rehearsals.