#jamuary2024 12 Ripplemaker ('Buchla Easel') & Korg Volca Modular (Mini 'Buchla')

video upload by SynthAddict

"Time for some 'west coast' synth action...

Enjoy the wierd, wacky, and sometimes noisy timbres from Buchla-style digital synthesis with complex oscillators, wavefolding, etc.

The Volca Modular is running a modified Krell patch.
Krell patch is a generative style patch based on the amazing sound design from Louis and Bebe Barron for Forbidden Planet in 1956, where the characters discover the old Krell civilization."

At last: the Krell Patch on a Frap Tools modular system!

video upload by Frap Tools

"It's time to confront ourselves with a pinnacle of modular synth techniques: Todd Barton's Krell Patch.

Inspired by Bebe and Louis Barron's soundtrack for the 1956 sci-fi film "Forbidden Planet", this patch revolves around a 'modulation feedback': a single LFO drives the whole patch and triggers many S&H circuits that generate random voltages, which, in turn, constantly modulate the LFO speed and shape.

Original track from the film score: [below - also see this post]
Original Todd Barton's Tutorial: [posted here back in 2012]

00:00 Introduction
01:03 The krell patch as per Todd Barton's instructions
14:25 An extra tip with the USTA sequencer"

Ancient Krell Music

video upload by Louis & Bebe Barron - Topic

"Provided to YouTube by The Orchard Enterprises

Ancient Krell Music · Louis And Bebe Barron

Forbidden Planet

℗ 1956 Planet Records

Released on: 1999-01-06

Auto-generated by YouTube."

[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."

Mingle Mangler Synthesizer

video upload by Sharpe Sound Design

"Mingle Mangler is an upcoming synthesizer designed specifically for Decent Sampler. My synth was inspired by composers like Louis and Bebe Barron, Vangelis, and Hans Zimmer from films with deep atmospherics such as Forbidden Planet, Blade Runner, and Dune. It essentially makes finding unconventional sounds easy and fun by avoiding extensive menus and offering upfront controls that are MIDI controllable.

This virtual instrument is exclusive to Decent Sampler.

Features:

• 82 controls (MIDI Learn)
• 13 oscillators
• Fine tuning
• Drift
• 9 LFOs
• Velocity tracking
• Toggle switching (MIDI Learn)
• Glide
• High pass filter
• Low pass filter
• Resonance
• Phaser
• Delay
• Convolution reverb
• Chorus
• ADSR (per oscillator)
• Waveshaper
• Wavefolder"

below this time does not exist by Todd Barton

https://toddbarton.bandcamp.com/album/below-this-time-does-not-exist

"The title comes from a phrase in one of my favorite books, The Order of Time by Carlo Rovelli. Back in February 2020 while in Italy my daughter and I were fascinated by Rovelli’s poetical unfolding of relational quantum mechanics for the lay person. At that time I selected a few phrases that piqued my imagination and creativity as composition titles for a future album. Coincidentally and spontaneously one day my daughter, Ursula, snapped a photo of me in the Tuscan sunlight which turned out to be quite extraordinary and evocative. We talked about it being the cover for this album. The future has arrived . . . enjoy!

released December 2, 2022

Instruments used:
Buchla Music Easel, Buchla 227e System Interface Module, 1979 Modular Stereo Microsound Processor, Makenoise Erbeverb, Makenoise Mimeophon, Intellijel Planar 2, TC Electronic Ditto X4 Looper, TC Electronics T2 reverb, U & I Software Metasynth.

Influences:

Though their influences may not be apparent, these Elders have guided me endlessly…

Beatriz Ferreyra, Eliane Radigue, Bebe Barron, Roland Kayn, Morton Subotnick, Gordon Mumma, John Cage, David Tudor,
Toru Takemitsu and Witold Lutoslawski."

Ian Helliwell's Tone Generation

[Note: I'm not seeing how to skip episodes in the player above aside from sliding the progress bar to the end to get to the next one.]

You might remember Ian Helliwell mentioned in previous posts on the site here, including his book Tape Leaders. Atomic Shadow wrote in to let us know about his 34-part history of electronic music titled Tone Generation [player above/episode list below], as well has his work on SoundCloud.

The following is a short blurb from his website, http://www.ianhelliwell.co.uk:

"Leaving school and full time education aged 16 armed with six O-levels, Ian is a self-taught and self-funded multi-media artist, working in music, film, animation, analogue electronics, instrument building, collage, installations, live performance, light show projection, graphic design, writing and film programming.

Ian coined the term ‘creative soldering’ to best define his ‘intuitive electronics’ approach, and since the 1990s he has designed and built a unique range of electronic tone generating machines – Hellitrons and Hellisizers – which he uses to realise his compositions."

"The Tone Generation is Ian's audio series looking at the early period of electronic music history, focussing on experimental tracks mostly drawn from his CD and record collection.

TG 34 - Louis & Bebe Barron
TG 33 - Cybernetic Serendipity
TG 32 - Electronics in Space
TG 31 - Synthetic Sound
TG 30 - Beaver & Krause
TG 29 - Electronics in Rock 2
TG 28 - Electronics in Rock 1
TG 27 - Edinburgh Festival Concert 1961
TG 26 - Electronic Odyssey 1967
TG 25 - QEH Concert 1968
TG 24 - Analogue Synthesizers
TG 23 - Electronics for Feature Films
TG 22 - Moog
TG 21 - Buchla
TG 20 - Electronics and Voice
TG 19 - Women in Electronics
TG 18 - Computer Music
TG 17 - EMS
TG 16 - Electronics for Expos
TG 15 - Electronic Music Authors
TG 14 - Electronics for Dance
TG 13 - Electronics in Jazz
TG 12 - The RCA Synthesizer
TG 11 - Expo 58
TG 10 - EM Worldwide
TG 9 - Canada
TG 8 - USA
TG 7 - Soviet Union & E. Bloc
TG 6 - Scandanavia
TG 5 - Holland & Belgium
TG 4 - Italy
TG 3 - Germany
TG 2 - France
TG 1 ..."

SISTERS WITH TRANSISTORS

SISTERS WITH TRANSISTORS from Monoduo Films on Vimeo.

VIRTUAL THEATRICAL - ONE WEEK ONLY!

SISTERS WITH TRANSISTORS is the remarkable untold story of electronic music’s female pioneers, composers who embraced machines and their liberating technologies to utterly transform how we produce and listen to music today. Theremins, synthesizers and feedback machines abound in this glorious ode to the women who helped shape, not just electronic music but the contemporary soundscape as we know it.

Avant-garde composer Laurie Anderson narration accompanies fascinating archival footage to trace the history of the technological experimentation of sound, the deconstruction of its parts and the manipulation into something altogether other. While traversing a range of musical approaches and personalities, from academia to outsider art to television commercials, we meet Clara Rockmore, Bebe Barron, Suzanne Ciani, Laurie Spiegel, Daphne Oram, Pauline Oliveros, Delia Derbyshire and Eliane Radigue, fascinating and enigmatic musical geniuses and their peculiar way of hearing the world.

https://vimeo.com/ondemand/sisterswithtransistors/534043397

https://sisterswithtransistors.com

The Galaxy Electric - Improvised Electroacoustic Music - Bebe and Louis Barron Theme

Published on Mar 24, 2020 The Galaxy Electric

"Thanks for listening! Come on a musical voyage with us where we'll send you a new song every day, a cosmic story, and a chance to earn space treasure: https://thegalaxyelectric.lpages.co/5...

The Avant-Garde meets Sci-Fi Soundscapes

Inspired by the famous 1950s electronic music duo behind the film score for Forbidden Planet, Bebe and Louis Barron - we set out to improvise in the style of their early work with avant grade artists like John Cage and Anais Nin, whose poetry is featured in this video.

Join us every Wednesday for a ride on The Galaxy Electric Express 🚀

We perform a LIVE (improvised) Cosmic Tape Music soundtrack for your retro-futuristic travels 💫 You never know what planet you will land on…but you know it’s going to be an unforgettable journey…

Gear:
Buchla Music Easel
1979 Digital Resonator
Buchla 266 Source of Uncertainty
DIY MFOS Noise Toaster"

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..."

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

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

Todd Barton Building his Aleph Patch on Eurorack with Random Source Serge Modules & More

Building My Aleph Patch Published on Dec 3, 2017 Todd Barton

"5 years ago I created a patch that I called The Krell https://vimeo.com/48466272 [posted here]
It was developed on a Buchla system and its name paid homage to Bebe and Louis
Barron and their pioneering electronic music from the film Forbidden Planet.

For the past many months I’ve be working of a similar yet different patch I call
The Aleph after the short story of the same name by visionary and imaginative writer, Jorges Luis Borges. web.mit.edu/allanmc/www/borgesaleph.pdf
'an Aleph is one of the points in space that contains all other points.'

This patch was developed using a constellation of eurorack modules. Hopefully this description and walk-through of building the patch will be a catalyst for others to develop, enjoy and explore!

My thanks to fellow travelers along the way who have encouraged, prodded and given me feedback: Bruno Liberda, Daniel Cramer, James Cigler, Gerald Good, Darrin Wiener, Bruce Bayard, Adam Scramstad, Charles Seeholzer, Michael Vannice, Robert Coburn, Federico Placidi, Colin Spiby, Michael Maag and Matrixsynth to name a few… Thank you!"

Also see The Aleph Patch Explained.

experimentalsynth :: The Krell Suite by Chris Stack

Published on Oct 28, 2017 experimentalsynth

"The Krell Suite was inspired by one of Make Noise’s Patch of the Week videos, a demo of their 0-Coast version of that abstract electronic music staple, The Krell Patch, based on Louis and Bebe Barron’s ground-breaking soundtrack for the movie Forbidden Planet. Stream and download at https://chrisstack.bandcamp.com/album..."

An Interview with Barry Schrader Questions 6F: The Barnum Museum & 7 Current State of Synths

The final two questions in my interview with Barry Schrader are now live. Barry discusses what may be his magnum opus, The Barnum Museum, followed by his take on the current state of synthesizers. There are some tie ins to his previous work on Atlantis as well as Louis and Bebe Barron.

"If someone were to ask me what I considered to be my best work, there’s no question in my mind that I would respond that it’s The Barnum Museum. Taken as a whole, this is my longest and most ambitious composition, and one that took me four years to compose. At this time, it remains my last completed work.

The idea for The Barnum Museum came from a short story by one of my favorite living authors, Steven Millhauser. Millhauser is a unique writer, and, so, difficult to classify. He’s been compared to such authors as Calvino and Borges, as well as other writers classified as “magical realists,” but I think he’s in a class by himself. The Barnum Museum is a short story in a collection with the same title. I was fortunate to get permission from Millhauser and his agents to base the work on his story. I was especially lucky that Millhauser agreed to a years-long email correspondence about the work: I would send each movement to him as I finished it and he would comment on the work and my ideas behind it. This was invaluable help in my completing the piece.

P. T. Barnum established two museums in New York City in the nineteenth century. Barnum's American Museum was on the corner of Broadway and Ann Street from January 1, 1842 to July 13, 1865 when it burned to the ground. Barnum built a second museum soon after, but it was also destroyed by fire in 1868. The attractions made the venue a combination of a zoo, museum, lecture hall, wax museum, theatre, and freak show. At its peak, the museum was open fifteen hours a day and had as many as fifteen thousand visitors daily."

Don't miss the full interview question here. You can also go back to the beginning of my interview with Barry Schrader here.

And don't forget, Barry Schrader's Soundtrack to Galaxy of Terror is currently available for Pre-Order.

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."

Puer Autem Krell: Make Noise 0-Coast

Published on Jul 4, 2016 Genshi Media Group

"This is my attempt at a 'Krell' patch using only the Make Noise 0-Coast analog synth and the Strymon El Capistan dTape Echo. If you don't know what that is, Google 'Todd Barton's Krell Patch'. In short, it's a sci-fi soundscape created by an evolving, self-generating patch; inspired by Todd Barton's Krell patch on the Buchla which, in turn, was inspired by the first electronic film score for a movie 'Forbidden Planet' from 1956 by Bebe and Louis Barron. If you do not 'get' what this exercise in synthesis is about, then simply move along..."

Sonic Encounters Podcast 013- Tonalities from Orbit #2

Published on May 9, 2016 Mark Mosher

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

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. I improvise using Waldorf Blofeld (original programs), Novation Launchpad Pro to control Blfoeld, plus an Elektron Octatrack.

More show notes and subscription info here https://sonicencounters.com/2016/05/0..."

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.

An Interview with Barry Schrader

Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in.  New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process.  If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com.  This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!

CLICK FOR MORE »

Marooned by Mark Mosher

"Instrumentation: 90% Nord Lead 4 Synthesizer (performance instrument with all original signature sounds), 5% Octatrack (performance sampler for original field recordings/samples and on-the-fly sequencing), and 5% Tenori-On (performance instrument and on-the-fly sequencing)

Music inspired by Louis and Bebe Barron

Artistic process inspired by Joan Miro, Clyfford Still, and Darwin Grosse

(c)(p) 2015 Mark J. Mosher (BMI) - CC-BY-NC"

"Marooned is an original cinematic electronic soundscape. I think of it as a score for a film yet to be made. An Earth ship crashes on a massive moon and the only hope for the crew's survival is making it across a harsh landscape to an alien outpost for a first, and uninvited, encounter.

This soundscape is in the same universe and is a prequel to my alien invasion concept album series Reboot, I Hear Your Signals, and Fear Cannot Save Us. Unlike the first three albums which contained shorter composed and often groove-based songs, this album contains a single long-form recording combining electronic tonalities and abstract expressionist music.

This work is an example of live sonic storytelling and was recorded in one pass (with no prerecorded sequences, overdubs, or edits) after weeks of improvising and rehearsal.

1 DESCENT
0:00 Approach
0:59 System Failure
1:30 Crash, Ejection, Blackout

2 ON THE SURFACE
2:08 Regaining Consciousness
4:14 Being Scanned

3 OUTPOST IN SIGHT
5:06 The Traverse


4 ENTER THE OUTPOST
7:10 Point of No Return
8:04 Solving the Airlock Puzzle
8:53 Moving Through the Darkness
9:30 The Trap

5 CAPTURED
10:47 March to Chamber

6 INSIDE OUR HEADS
15:00 Extracting Secrets of Man and Machines

7 DREAMING OF HOME
18:22 Extracting our Dreams
credits
released 28 April 2015

Written, performed, programmed, and produced by Mark Mosher

Cover photo and design, liner notes, and graphical score by Mark Mosher

Instrumentation: 90% Nord Lead 4 Synthesizer (performance instrument with all original signature sounds), 5% Octatrack (performance sampler for original field recordings/samples and on-the-fly sequencing), and 5% Tenori-On (performance instrument and on-the-fly sequencing)

Music inspired by Louis and Bebe Barron

Artistic process inspired by Joan Miro, Clyfford Still, and Darwin Grosse

(c)(p) 2015 Mark J. Mosher (BMI) - CC-BY-NC

www.markmoshermusic.com"

Update:

Excerpts from Mark Mosher "Marooned" Live Textures Ambient Showcase

Published on Apr 28, 2015

https://markmosher.bandcamp.com/album...

"I performed 'Marooned', a my 20-minute cinematic electronic soundscape in 7 movements, on April 26th, 2015 at the Textures Ambient Showcase at the Mutiny Information Cafe in Denver. This is 3m30so video of excerpts from that show shot with a GoPro I had on a bookcase behind me.

Marooned is an original cinematic electronic soundscape. I think of it as a score for a film yet to be made. An Earth ship crashes on a massive moon and the only hope for the crew's survival is making it across a harsh landscape to an alien outpost for a first, and uninvited, encounter.

This soundscape is in the same universe and is a prequel to my alien invasion concept album series Reboot, I Hear Your Signals, and Fear Cannot Save Us. Unlike the first three albums which contained shorter composed and often groove-based songs, this album contains a single long-form recording combining electronic tonalities and abstract expressionist music.

This work is an example of live sonic storytelling and was recorded in one pass (with no prerecorded sequences, overdubs, or edits) after weeks of improvising and rehearsal.

B&W photo in video by Chris Sessions chrissessions.com/"

Serge vignettes vi -- forbidden serge

"homage to Bebe and Louis Barron and others from the 1950's who found sound to be the final frontier. . . . . . . . . .
these are all self-generating patches, single pass. . . . .
enjoy!"

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!"