What is Krell? Louis & Bebe Barron - Ancient Krell Music (Forbidden Planet) & More

video upload by SoundtracksForLiving

You'll often see videos with references to "Krell" patches. Where did the reference come from? The 1956 film Forbidden Planet and specifically the sounds created for it by Bebe and Louis Barron. The Krell was the intelligent alien race in the film. The above is a playlist I found of various Krell style compositions starting with "Louis & Bebe Barron - Ancient Krell Music." The actual style of composition is considered Musique Concrete which began in the 1940s, much earlier than the film.

"Musique concrète (French pronunciation: ​[myzik kɔ̃.kʁɛt], meaning 'concrete music') is a genre of electroacoustic music that is made in part from acousmatic sound, or sound without an apparent originating cause. It can feature sounds derived from recordings of musical instruments, the human voice, and the natural environment as well as those created using synthesizers and computer-based digital signal processing. Compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, metre, and so on. Originally contrasted with 'pure' elektronische Musik (based solely on the production and manipulation of electronically produced sounds rather than recorded sounds), the theoretical basis of musique concrète as a compositional practice was developed by Pierre Schaeffer, beginning in the early 1940s."

And on the soundtrack for Forbidden Planet via Wikipedia:

"Forbidden Planet‍ '​s innovative electronic music score, credited as 'electronic tonalities,' partly to avoid having to pay any of the film industry music guild fees,[citation needed] was composed by Bebe and Louis Barron. MGM producer Dore Schary discovered the couple quite by chance at a beatnik nightclub in Greenwich Village while on a family Christmas visit to New York City; Schary hired them on the spot to compose his film's musical score. While the theremin (which was not used in Forbidden Planet) had been used on the soundtrack of Alfred Hitchcock's Spellbound (1945), the Barrons' electronic composition is credited with being the first completely electronic film score; their soundtrack preceded the invention of the Moog synthesizer by eight years (1964).

Using ideas and procedures from the book, Cybernetics: Or, Control and Communication in the Animal and the Machine (1948) by the mathematician and electrical engineer Norbert Wiener, Louis Barron constructed his own electronic circuits that he used to generate the score's 'bleeps, blurps, whirs, whines, throbs, hums, and screeches'.[12] Most of these sounds were generated using an electronic circuit called a 'ring modulator'. After recording the basic sounds, the Barrons further manipulated the sounds by adding other effects, such as reverberation and delay, and reversing or changing the speeds of certain sounds.[21]

Since Bebe and Louis Barron did not belong to the Musicians Union, their work could not be considered for an Academy Award, in either the 'soundtrack' or the 'sound effects' categories. MGM declined to publish a soundtrack album at the same time that Forbidden Planet was released. However, film composer and conductor David Rose later published a 7" (18 cm) single of his original main title theme that he had recorded at the MGM Studios in Culver City during March 1956. His main title theme had been discarded when Rose, who had originally been hired to compose the musical score in 1955, was discharged from the project by Dore Schary sometime between Christmas 1955 and New Year’s Day. The film's original theatrical trailer contains snippets of Rose's score, the tapes of which Rose reportedly later destroyed.[22]

The Barrons finally released their soundtrack in 1976 as an LP album for the film's 20th anniversary; it was on their very own Planet Records label (later changed to Small Planet Records and distributed by GNP Crescendo Records). The LP was premiered at MidAmeriCon, the 34th World Science Fiction Convention, held in Kansas City, MO over the 1976 Labor Day weekend, as part of a 20th Anniversary celebration of Forbidden Planet held at that Worldcon; the Barrons were there promoting their album's first release, signing all the copies sold at the convention. They also introduced the first of three packed-house screenings that showed an MGM 35mm fine grain vault print in original CinemaScope and stereophonic sound. A decade later, in 1986, their soundtrack was released on a music CD for the film's 30th Anniversary, with a six-page color booklet containing images from Forbidden Planet, plus liner notes from the composers, Bebe and Louis Barron, and Bill Malone.[21]"

So now when you see a Krell patch posted here on MATRIXSYNTH, you'll know exactly where the reference came from; Bebe & Louis Barron, in 1956, for the film Forbidden Planet.

RIP Bebe Barron

via darthmouth (click for the full article)

"Hollywood, however, had already been utilizing instruments such as the theremin in movie scores for many years, and the first widespread American public exposure to the possibilities of the electronic medium occurred with the 1956 release of MGM's feature film Forbidden Planet. In addition to its elaborate space sets and advanced visual effects, Forbidden Planet featured an exclusively electronic musical score composed by Bebe Barron (b. 1927) and her husband Louis (1920-1989)....

Once they decided on the characters' moods and situations, the couple completed a series of electrical circuits which functioned electronically in ways analogous to the human nervous system. Decisions about the circuitry were strongly influenced by their studies of the science of cybernetics which proposes that certain natural laws of behavior are applicable to both animals and more complex modern machinary. The composers employed their noise-producing circuits to emulate such needed characterizations as serenity, anger, and love....


Bebe and Louis' success signaled the beginning of the effective use of electroacoustic music by the modern movie industry."

You can also find more on wikipedia.
And of course Google Image search where I found the images for this post.



via Peter Grenader of Plan b:
"We have lost a bright little little light and a dear friend. Bebe Barron has passed. She has captivated us with her charm, her modesty and her enchanting smile and her memory will remain in our hearts, our art and our spiritforever."

Update: some nice words from Barry Schrader:

"Bebe Barron (1925 - 2008)

It is with great sadness that I report the death of Bebe Barron on April 20, 2008 at the age of 82, of natural causes. Bebe was the last of the pioneering composers of classical studio electronic music. She was a close friend, an enthusiastic colleague, and a most gracious lady.


Bebe Barron was born Charlotte Wind in Minneapolis, on June 16, 1925. She received an MA in political science from the University of Minnesota, where she studied composition with Roque Cordero, and she also spent a year studying composition and ethnomusicology at the University of Mexico. In 1947 she moved to New York and, while working as a researcher for Time-Life, studied composition with Wallingford Reigger and Henry Cowell. That same year, she met and married Louis Barron (1920 - 1989). Shortly thereafter, the Barrons began their experiments with the recording and manipulation of sound material by means of a tape recorder that they received as a wedding gift. They created a private studio in New York and, in 1955, composed the first electronic music score for a commercial film, Forbidden Planet. In 1962 the Barrons moved to Los Angeles; they divorced in 1970. In 1973, Bebe married Leonard Neubauer, a screen writer. Bebe became the first Secretary of the Society for Electro-Acoustic Music in the United States (SEAMUS) in 1985, and also served on the Board of Directors. In 1997 Bebe was presented the SEAMUS Award for the Barrons life work in the field of electro-acoustic music. She is survived by her husband, Leonard, and her son, Adam.

Bebe’s last public appearance was on January 12, 2008, at an event held at the Hammer Museum in Los Angeles, celebrating the work of her good friend, Anais Nin. Bebe was too ill to speak in public at this point, but she agreed to be interviewed for a video piece that was shown at the event. This is her final interview, and you can see it on YouTube.

Bebe’s final composition, Mixed Emotions (2000) was composed in the CREATE studios of the University of California at Santa Barbara. I'll be putting this work up on the Downloads 2 page of my website, along with some photos of Bebe and myself taken in 2005 at her home on the Photos page within the next week.

I first met Bebe Barron in the middle 1970s; I don't remember exactly when, but I think it was around 1975. I had asked Bebe and her former husband and composing partner Louis to attend a showing of Forbidden Planet that I had arranged as part of a class at CalArts. They agreed to do it, and I quickly became good friends with Bebe and we remained close over the years.

In writing about Bebe Barron, it's impossible not to focus on the pioneering work that she and Louis did in electronic music. They began their experiments in 1948, shortly after they were married. This early work was done using a tape recorder, preceding the work of Luening and Ussachevsky and the switch from disks to tape by Pierre Schaeffer and the GRM. But, to my knowledge, the Barrons' early experiments did not result in any completed works, a state of affairs not uncommon with early pioneers in the field. In 1949 they set up one of the earliest private electro-acoustic music studios and began their experiments with electronically generated sounds. They built their own circuits which they viewed as cybernetic organisms, having been influenced by Norbert Weiner's work on cybernetics. The circuits, built with vacuum tubes, would exhibit characteristic qualities of pitch, timbre, and rhythm, and had a sort of life cycle from their beginnings until they burned out.

The Barrons recorded the sounds from the amplification of these circuits and this formed the basis of their working library. They also employed tape manipulation techniques as part of their compositional procedures. The sound qualities of these various amplified tube circuits and the tape manipulations that they underwent formed the musical language that the Barrons created in their studio. Unlike some of the work being done elsewhere, the Barrons' music reveals long phrases, often stated in tape-delayed rhythms, with the stark finesse of the tube circuit timbres. They created a style that was uniquely their own yet married to the technology they were using.

The Barrons earliest finished work, Heavenly Menagerie (1951) does not seem to have survived in a complete form. But their score for Ian Hugo's film Bells of Atlantis (1952), based on a poem by Anais Nin, who appears on screen, does exist on the film sound track. This may be the earliest extant work of the Barrons and presages what was to come with Forbidden Planet, the music for which was composed in 1955, the film being released the
next year.

The music for Forbidden Planet is truly a landmark in electro-acoustic music. This was the first commercial film to use only electronic music, and the score for the movie displays an attitude towards film scoring that was different from anything that had happened before. In Forbidden Planet, while there are themes for characters and events in the film, as was traditional in the scoring of that day, the themes are composed and perceived as gestalts, rather than as melodies in traditional movie music. Even more important is the fact that the scoring of Forbidden Planet breaks down the traditional line between music and sound effects since the Barrons' electronic material is used for both. This not only creates a new type of unity in the film sound world, but also allows for a continuum between these two areas that the Barrons exploit in various ways. At some points it's actually impossible to say whether or not what you're hearing is music, sound effect, or both. In doing this, they foreshadowed by decades the now common role of the sound designer in modern film and video.

The Barrons composed many other works for tape, film, and the theater in the 1950s. Their studio became the home for John Cage's Project of Music for Magnetic Tape, and they assisted in the creation of Cage's first chance piece Williams Mix (1951-52), as well as works by other members of the group such as Earle Brown and Morton Feldman. As a studio for the creation of their own and other composers' works, the Barrons' studio served as a functioning center for electro-acoustic music at a time when there was no institutional support of the medium in the United States. It's curious, then, that, for many years, the Barrons, their studio, and their works were largely overlooked by composers and historians in the field. Fortunately, that injustice has since been corrected, and, in 1997, it was my great honor to present to Bebe and, posthumously, to Louis, the SEAMUS Lifetime Achievement Award. Bebe was involved with SEAMUS from the very beginning of the organization. She was one of the ten original members who responded to my organizational call and met at CalArts in November of 1984 to form the group, and she was SEAMUS's first secretary. There may have been a little strong-arming on my part to get her to be involved so actively, but Bebe was always ready to support the cause of electro-acoustic music in whatever way she could.

Bebe created a firm legacy in her music. If the importance of one's work is to be judged in any regard by it's influence, acceptance, longevity, and innovative qualities, then the score for Forbidden Planet is an enormous success. It remains the most widely known electro-acoustic music work on this planet. For me, Bebe Barron will always be the First Lady of electronic music."

Update: BTW, if you have Netflix, you can watch Forbidden Planet online in IE here.


Bebe Barron on Anais Nin Uploaded on Mar 5, 2008

TIPTOP AUDIO FORBIDDEN PLANET WORKOUT - DAY 3

TIPTOP AUDIO FORBIDDEN PLANET WORKOUT - DAY 3 from Station 252 on Vimeo.

"Time to try how our 2 systems sound together.

On the left: (mostly) Tiptop Audio system with freshly installed 3 forbidden planet multi mode filters on Hi-Pass duties.

BD808

SD808, RS808 -> Vermona VcDrive -> Forbidden Planet (Hi-Pass) -> Tiptop Audio Z2040 (Low Pass)

Hats909, MA808, ONE with a HH sample going through a VCA (for accents) -> Roland Demora

Tiptop ONE (one shot DOTS sample pitch sequenced from Z8000, gates from Trigger Riot) -> Forbidden Planet (Hi-Pass) -> Z2040 -> R*S Serge ResEQ

Tiptop ONE (V-Hause Chord) -> Forbidden Planet (Hi-Pass) -> Z2040 (Lo-Pass)

TG ONE (playing Glitchmachines sample) -> Doepfer Wasp filter (High Pass)

Modulation sources: 3x Z4000 VC ADSR envelopes, Z3000 oscillator (LFO speed)

Sequenced with Circadian Rhythms, Trigger Riot and Z8000

On the right: A Verbos core in a mixed system

Voice A: Complex Oscillator -> ATC -> Verbos Multi-Delay Processor. Modulated by Math. Sequenced with Voltage Multistage

Voice B: Harmonic Oscillator -> Serge Variable Slope VCF (hi-pass) -> Tiptop Z2040 (lo-pass). Harmonics sequenced with Circadian Rhythms and Doepfer Quad Decay.

Send FX: Z-DSP (Halls Of Valhalla - Chamber), Z-DSP (Tape Delay)"

TIPTOP AUDIO FORBIDDEN PLANET WORKOUT - DAY 2

TIPTOP AUDIO FORBIDDEN PLANET WORKOUT - DAY 2 from Station 252 on Vimeo.

"Rehearsal with my (mostly) Tiptop Audio eurorack system with freshly installed 3 forbidden planet multimode filters on Hi-Pass duties.

In this Video:

BD909, Mid Tom 909, RS808 -> Vermona VcDrive -> Forbidden Planet (Hi-Pass) -> Tiptop Audio Z2040 (Low Pass)

Hats909, MA808, ONE with a HH sample going through a VCA (for accents) -> Roland Demora

Tiptop ONE (one shot DOTS sample pitch sequenced from Z8000, gates from Trigger Riot) -> Forbidden Planet (Hi-Pass) -> Z2040 -> R*S Serge ResEQ

Tiptop ONE (V-Hause Chord) -> Forbidden Planet (Hi-Pass) -> Z2040 (Lo-Pass)

TG ONE (playing Glitchmachines sample) -> Doepfer Wasp filter (High Pass)

MA808 noise source -> Toppobrillo High Pass -> VCA

Modulation sources: 3x Z4000 VC ADSR envelopes, Z3000 oscillator (LFO speed)

Sequenced with Circadian Rhythms, Trigger Riot, Z8000 and Launch Codes.

Send FX: Z-DSP (Halls Of Valhalla - Plate), Z-DSP (Tape Delay)"

Tiptop Audio: Forbidden Planet and Z2040 filtering BD909 and SNR808

Tiptop Audio: Forbidden Planet and Z2040 filtering BD909 and SNR808 from Station 252 on Vimeo.

"One of the reasons I love my modular drum machine is the flexible processing of individual and grouped sounds. In this video I'm testing the Forbidden Planet / Z2040 dual filer configuration for my non metallic drum sounds.

Drums -> Forbidden Planet Hi-Pass -> Z2040 Low-Pass.

FX: 2x Z-DSP loaded with Plate (Halls Of Valhalla) and Delay

also in the mix: Tiptop Hats909 and a white noise off MA808 filtered through another Forbidden Planet.

Sequenced with Circadian Rhythms and Trigger Riot."

The Son of Forbidden Planet - mk 04052010

via BB on the Wiard list: "For anyone interested in Forbidden Planet: I made a complete new score on the movie, also using Wiard filters, the noisering and the Wogglebug."

SoundCloud description:
"This is an attempt to make a 2010 version of the score for Forbidden Planet in honour of Louis and Bebe Barron. To keep things spontaneous I made the score from scratch and didn't redo the original score. So, it's A COMPLETELY NEW SCORE. This music is made entirely with the type of soundgenerators and modulators they could use back in 1954. Well at least the same type of technology. I just used analog equipment like noisegenerators, oscillators, lfo's, ring modulators, voltage dividers, tubes, feedback circuits, lab equipment, spring reverbs, tape delay and an occasional sequential switch.

Lucky enough I had Pro tools to put it all together, imagine that Louis and Bebe had to do it all with tape!

In the track i tagged the scenes in the movie, well i tried to, because actually i never saw the movie.

I have the plan to update this piece now and then on irregular base and put up new mixes with of course new scenes added to it.

I was thinking that maybe other people are interested to contribute to this piece. You could send me your files.

However to keep the score original and pure I formulate these rules:
- all sounds has to be electronic
- all sounds has to be analog and made with analog equipment, no digital sounds
- just original electronic sounds, no samples
- give me a name of the scene you contribute

Just to give you an idea, this is how Louis and Bebe worked on their piece:

The 1948 book Cybernetics: Or, Control and Communication in the Animal and the Machine, by mathematician Norbert Wiener from MIT played an important role in the development of the Barrons' composition. The science of cybernetics proposes that certain natural laws of behavior apply to both animals and more complex electronic machines.

By following the equations presented in the book, Louis was able to build electronic circuits which he manipulated to generate sounds. Most of the tonalities were generated with a circuit called a ring modulator. The sounds and patterns that came out of the circuits were unique and unpredictable because they were actually overloading the circuits until they burned out to create the sounds. The Barrons could never recreate the same sounds again, though they later tried very hard to recreate their signature sound from Forbidden Planet. Because of the unforeseen life span of the circuitry, the Barrons made a habit of recording everything.

Most of the production was not scripted or notated in any way. The Barrons didn't even consider the process as music composition themselves. The circuit generated sound was not treated as notes, but instead as 'actors'. In future soundtrack composition, each circuit would be manipulated according to actions of the underlying character in the film.

After recording the sounds, the couple manipulated the material by adding effects, such as reverb and tape delay. They also reversed and changed the speed of certain sounds. The mixdown of multiple sounds was performed with at least three tape recorders. The outputs of two machines would be manually synchronized, and fed into an input of a third one, recording two separate sources simultaneously. The synchronization of future film work was accomplished by two 16 mm projectors that were tied into a 16 mm tape recorder, and thus ran at the same speed.

While Louis spent most of his time building the circuits, Bebe did all of the composing. She had to sort through many hours of tape, and as she described it, "it just sounded like dirty noise". Over time, she developed the ability to determine which sounds could become something of interest. She may have invented the tape loop too, as she did not recall ever having heard of it before. The tape loop gave the Barrons' sounds rhythm. Together they mixed the sounds to create the otherworldly and strange electronic soundscapes required by Forbidden Planet.

Finaly: this project is for Mike 'Livewire' Brown, I hope that you get better soon."

Music From Forbidden Planet Featured in 2015 Acura TLX Ad

Louis & Bebe Barron - Forbidden Planet : Main Titles Overture

Uploaded on Jan 13, 2011 A Place For The Soundtracks

"Forbidden Planet : Original Motion Picture Soundtrack By Louis & Bebe Barron (1956)."

Here's a fun one in via Todd Barton. Listen to the first twenty seconds in the video above, then the following:


Acura – 2015 TLX – Aliens Want To Be Abducted By Us Commercial Published on Aug 21, 2014 Acura
Update: video was set to private. Found it re-published on Aug 25, 2014 Rocky Mountain Acura Dealers

"Tech so intuitive, it's almost alien."

-----

Forbidden Planet came out in 1956 and featured a soundtrack by the late Bebe Barron & Louis Barron featuring sonic exploration via tape manipulation.

via Todd: "Just saw this Acura TV commercial and the soundtrack is a snippet from Louis and Bebe Barron's original 'sonic tonalities' for Forbidden Planet!"

I really need two more Forbidden Planets

I really need two more Forbidden Planets from Station 252 on Vimeo.

"I re-organized my live system to integrate the 3 three Tiptop Audio Forbidden Planet filters into it, All 3 are in High Pass mode and are replacing some other filter I had. Why? because Forbidden Plant's High Pass filter sounds absolutely great on anything I put through it. The only problem now is I need two more as I have 5 high pass and 3 low pass filters in the current patch.

In this Video:

BD808

Low Tom 909, SD808, RS808 -> Vermona VcDrive -> Toppobrillo High Pass -> Tiptop Audio Z2040 Low Pass

Hats909, MA808, Ride Cymbal 909, ONE with a HH sample gong through a VCA (for accents) -> Roland Demora

Tiptop ONE (one shot DOTS sample pitch sequenced from Z8000, gates from Trigger Riot) -> Forbidden Planet -> Z2040 -> R*S Serge ResEQ

Tiptop ONE (V-Hause Chord) -> Forbidden Planet -> Z2040

TG ONE (playing Glitchmachines sample) -> Doepfer Wasp filter (High Pass)

MA808 noise source -> Forbidden Planet -> VCA

Modulation sources: 3x Z4000 VC ADSR envelopes, Z3000 oscillator (LFO speed)

Sequenced with Circadian Rhythms, Trigger Riot, Z8000 and Launch Codes.

Send FX: Z-DSP (Halls Of Valhalla - Plate), Z-DSP (Tape Delay)"

FORBIDDEN DUB 2

FORBIDDEN DUB 2 from Station 252 on Vimeo.

"BD909 -> Vermona VcDrive -> Forbidden Planet (Hi-Pass) -> Tiptop Audio Z2040 (Low Pass)

MA808, ONE with a HH sample going through a VCA (for accents) -> Roland Demora

Tiptop ONE (one shot DOTS sample pitch sequenced from Z8000, gates from Trigger Riot) -> Forbidden Planet (Hi-Pass) -> Z2040 -> R*S Serge ResEQ

Tiptop ONE (V-Hause Chord sample) -> Forbidden Planet (Hi-Pass) -> Z2040 (Lo-Pass)

TG ONE (playing Glitchmachines sample) -> Doepfer Wasp filter (High Pass)

MA808 noise source -> Toppobrillo High Pass -> VCA

Modulation sources: 3x Z4000 VC ADSR envelopes, Z3000 oscillator (LFO speed)

Sequenced with Circadian Rhythms, Trigger Riot, Z8000 and Launch Codes.

Send FX: Z-DSP (Halls Of Valhalla - Cathedral), Z-DSP (Tape Delay)

http://tiptopaudio.com/forbidden-planet-analog-filter/"

New Tiptop Audio Forbidden Planet Eurorack Analog Filter

Tiptop Audio - Forbidden Planet Analog Filter from Tiptop Audio on Vimeo.

Two user videos from once upon a synth & Sound Provider (note the filter design is influenced by the Steiner-Parker but it is not a copy):

Details via Tiptop Audio:

Tiptop Audio has a new multimode analog filter Forbidden Planet. The Forbidden Planet filter adds 3 new filter options to the Tiptop Audio family of Eurorack modules: High Pass, Bandpass and Low Pass, all inspired by The 1975 Steiner-Parker Synthacon model.

Features:
• Multimode Analog Filter with a great sound
• High Pass, Bandpass, Low Pass: can be used individually or at the same time
• Two VC inputs, one with attenuator
• Self Oscillating up to saturation
• High Pass section is this module’s signature sound
• Bandpass is clear and useful in isolating and sound design
• 12db two-pole Low Pass analog slope
• Smooth-to-whistle-to-aggressive resonance control
• Output volume control
• Size: 8HP – Depth: 30.5mm
• Low Power Consumption: +12V 10ma / -12V 10ma
MSRP: $120"

FORBIDDEN DUB

FORBIDDEN DUB from Station 252 on Vimeo.

"BD909, Mid and Low Tom 909 -> Vermona VcDrive -> Forbidden Planet (Hi-Pass) -> Tiptop Audio Z2040 (Low Pass)

Hats909, MA808, ONE with a HH sample going through a VCA (for accents) -> Roland Demora

Tiptop ONE (one shot DOTS sample pitch sequenced from Z8000, gates from Trigger Riot) -> Forbidden Planet (Hi-Pass) -> Z2040 -> R*S Serge ResEQ

Tiptop ONE (V-Hause Chord sample) -> Forbidden Planet (Hi-Pass) -> Z2040 (Lo-Pass)

TG ONE (playing Glitchmachines sample) -> Doepfer Wasp filter (High Pass)

MA808 noise source -> Toppobrillo High Pass -> VCA

Modulation sources: 3x Z4000 VC ADSR envelopes, Z3000 oscillator (LFO speed)

Sequenced with Circadian Rhythms, Trigger Riot, Z8000 and Launch Codes.

Send FX: Z-DSP (Halls Of Valhalla - Chamber), Z-DSP (Tape Delay)"

[patch] Krell: An Aleatoric Sound (Blofeld)

video upload by Synthesizer Video Service

Also see What is Krell? Louis & Bebe Barron - Ancient Krell Music (Forbidden Planet) & More

"This is a mega-tutorial about how to program the Krell sound from the 1956 film "Forbidden Planet" on a Waldorf Blofeld. You should expect heavy use of modulation and modifiers. But first, we are going to have a look on the history of the Krell patch. Then we start programming with the help of my "Blofeld Modifier Simulator".

Attention! My sorry, I forgot to set the sustain to 65 in envelope 4 :(

[00:00] The Krell Patch (Example)
[01:06] Complaining
[02:38] History of the Krell Patch
[07:30] Programming of Low Bouncing Noise (Part 1)
[17:09] How Not to Do the Low Bouncing Noise
[20:37] Programming of Low Bouncing Noise (Part 2) and Simulator
[29:00] Programming of High Theremin Noise
[36:46] Reverb
[38:14] Arpeggiator
[39:50] Final Patch
[40:53] Summary
[47:38] Outro"

Additional Krell posts

[demo] 10 Minutes of Krell Patch (Blofeld)


"This is a demonstration of a self-playing eternal patch, programmed on a Waldorf Blofeld synthesizer. A lot of modulations and modifiers were used. There was no external post-processing and no external effects were applied. The hands were off the unit and the keyboard, though the arp is playing very slow and long 'notes'.

'Krell' is an alien species from the film "Forbidden Planet" (1956). The soundtrack for these creatures was composed by Louis and Bebe Barron and very popular among modularists. It's a good example for an aleatoric patch - a sound playing with the help of randomness."

Tiptop Audio Forbidden Planet as an Oscillator

Published on Jan 7, 2019 Station 252

"Patched Tiptop Audio Forbidden Planet VCF as an Oscillator. Other than the BD808 it is the only sound source. I run it through Fold Processor and ModDelay Panning Taps on Z-DSP. It is pinged by gates and triggers from Circadian Rhythms (Into Low Pass Input) and by Z4000 envelope (into Hi Pass) triggered from another CR track. Z8000 into QuantiZer into full range CV input. Other Z4000 modulates Fold. Z3000 modulates attack on pinging Z4000. By mistake I patched QuantiZer out also into Band Pass input on Forbidden Planet which surprisingly created weird timbre change that I liked."

Kraft Music: TipTop Forbidden Planet & Moog Grandmother Giveaways

Kraft Music if giving away a TipTop Forbidden Planet eurorack module and Moog Grandmother for their Synths of Summer Month! Full Details at the following links:

TipTop Forbidden Planet

Moog Grandmother

Tiptop Audio Forbidden Planet: Saw and Square Hi-Pass filtering and pinging

Tiptop Audio Forbidden Planet: Saw and Square Hi-Pass filtering and pinging from Station 252 on Vimeo.

Sound source: Tiptop Audio Z3000

No FX were used

http://tiptopaudio.com/forbidden-planet-analog-filter/

0-Coast Patch of the Week #11: Krell

Published on Apr 13, 2017 MAKEN0ISE

All parts here.

"This popular self-playing patch is usually implemented on modular systems, but the 0-Coast is the rare standalone synthesizer with the necessary power and capability. Use this as a jumping off point for your own generative explorations.

Hear Bebe and Louis Barron’s original Ancient Krell Music from 'Forbidden Planet' here"

Louis & Bebe Barron - Ancient Krell Music (Forbidden Planet)

Uploaded on Jan 13, 2011 A Place For The Soundtracks

"Forbidden Planet : Original Motion Picture Soundtrack By Louis & Bebe Barron (1956)."

Building The Krell Muzak Patch

Building The Krell Muzak Patch from todd barton on Vimeo.

"Here's a patch cord by patch cord demonstration of setting up the Krell Muzak 1 patch from scratch on a Buchla 200e with the following modules: 261e, 266e, 281e, 292e, and 291e. A photo of the original patch, audio and video can be accessed here"

Update:

Building the Krell Patch on Black & Gold Shared System Plus

Published on Jan 3, 2018

"The Krell Patch is a popular self-playing music originally developed by Todd Barton on the Buchla 200e system. This video recreates it on the Black & Gold Shared System Plus, adding a couple embellishments and encouraging you to go expand it on your own."

Ben Burtt Demos Forbidden Planet Style Sound Design with Tape

"Ben Burtt presents a Sound Lab with the types of analog tools used to make the music tonalities in FORBIDDEN PLANET – Visit http://bit.ly/n7oZ4r for more photos and video from "Mysteries of the Krell: Making the Sci-Fi Epic Forbidden Planet" on 7/16."

Korg Minilogue XD Beyond Forbidden Planet Analog Digital Hybrid Synthesizer Rik Marston

Published on Oct 2, 2019 Rik Marston Official

"Korg Minilogue XD Beyond Forbidden Planet"
Synthesizer Demo by Rik Marston
***Watch in HD!!*** ***Turn it UP!!*** ***No Talking!!!***

Korg Minilogue XD Beyond Forbidden Planet
Preset Patch Tweaked: Disco Callin
M-Audio Keystation 61 for MIDI controller

Recorded into Ableton LIVE with no extra FX! ;)

Thank you for watching!
Please Like, Share & Subscribe!
More Synthesizer Demos
Ambient Chill Zen Music
Electronic Dance Music
Space & Meteorites
COMING SOON!!
Rik Marston
10/2/2019

The Forbidden Planet Multimode Eurorack Filter - Perfect Circuit Audio Demo

Published on Sep 17, 2018 Perfect Circuit Audio

"Tiptop Audio has a new filter named after the classic sci-fi film Forbidden Planet which had an electronic music score made by Louis and Bebe Barron. This multimode filter has one output and three inputs, one each for low-pass, band-pass and high-pass. The input to the filter for this video is a Serge NTO by Random Source.

Available here: https://www.perfectcircuitaudio.com/t..."

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Supporting MATRIXSYNTH members get %10 off at Perfect Circuit Audio!

See the initial announcement post on The Forbidden Planet for additional demos.

Tiptop Audio Forbidden Planet: Saw and Square Low-Pass filtering and pinging

Tiptop Audio Forbidden Planet: Saw and Square Low-Pass filtering and pinging from Station 252 on Vimeo.

Sound source: Tiptop Audio Z3000

No FX were used

tiptopaudio.com/forbidden-planet-analog-filter/