To My Mother, a Bearer of Light

✨ Departure for a Celestial Voyage – Extended Version
In loving tribute to my Mother, a Bearer of Light

Dear friends-listeners,

November 4, 2025 marks three years since my Mother’s departure into the Light.

This Extended version of Departure for a Celestial Voyage is both an intimate and universal homage — a musical offering dedicated to her soul and to all those who have journeyed to the celestial realms.

These extra 3 minutes and 33 seconds are not just an added length of sound — they are a cosmic breath, a sacred space for reflection and communion.

Through them, I wished to let the music rise gently, like a breath of love and gratitude, a radiant prayer ascending into infinity.

"Nothing can extinguish this sacred bond between souls,
for it is woven from eternity.
Music, vibrations, and energy flow and expand
within the light and within love."

Laurent Schieber – Sequentia Legenda
October 28, 2025

 

TO MY MOTHER, A BEARER OF LIGHT
His presence shines far beyond

There are beings whose presence shines far beyond time itself.

My mother was one of those awakened souls — curious, attentive to beauty in all its forms, and moved by its simplest expressions. Music, in particular, was part of that awakening.

It was she who enrolled me, when I was about eight years old, in accordion lessons. But the heaviness of the instrument, and especially the rigidity of solfeggio, quickly discouraged me. Yet, without knowing it, she had just opened the first door to my musical universe.

A few years later, on November 3rd, 1978, she went to the Temple Saint-Étienne in Mulhouse to attend a Klaus Schulze concert (The “X.” Tour). She bought the timeless, mythical vinyl Mirage, unaware that she was handing me the key to a universe that would forever transform my life. That record was a revelation — a true thunderbolt, the musical spark that ignited it all. That precise moment, that suspended instant, awakened in me the calling of synthesizers, the Berlin School… and beyond that, the call of a sonic and spiritual mission.

It was also she who accompanied me to the store "Aux Guitares" in Mulhouse, where I learned about analog synthesis and how to handle instruments like the Minimoog.

IT WAS SHE WHO DROVE ME TO BELFORT
Klaus Schulze’s concert on February 5th, 1983 

And it was she who drove me to Belfort so that I could attend Klaus Schulze’s concert on February 5th, 1983. At the end of the show, Klaus was still there — adjusting his synths, exchanging words with the few who lingered. Too shy, I couldn’t utter a single word. My mother came back from Mulhouse to pick me up. On the way home, filled with excitement, I confessed to her how disappointed I was for not daring to speak to the man whose music had so deeply moved my soul.

Later, I wrote Klaus a letter — never knowing if he ever read it.

 

LONG IMPROVISATION SESSIONS IN MY LITTLE STUDIO
in my parents’ basement, surrounded by my “babies” 

I also remember writing a passionate message on the bathroom mirror, using one of her lipsticks, praising the Polymoog, that magical instrument Klaus owned — the one I dreamed of having.

I still recall those long improvisation sessions in my little studio, in my parents’ basement, surrounded by my “babies”:

the Korg PS-3200, the MS-20 with its SQ-10 sequencer, the ARP Odyssey (another synth Klaus used), the Oberheim Two Voices, the Crumar Multiman-S, and many others…

Each time she came downstairs to call me for dinner, I would startle — I was already floating in another world, headphones on.

More recently, when Sequentia Legenda began to shine publicly, I would give her the first versions of my albums. She kept them carefully, listened attentively, and shared her thoughts — always kind, often insightful.

I believe she was proud of me — of my perseverance, my path, and my fidelity to who I am. Besides music, we often talked about deep and spiritual matters.

She would often say: “If only you weren’t so sensitive!”

But I believe, deep down, that was her way of protecting me. She too was a profoundly sensitive soul.

At the end of her life, lying in her hospital bed, when she could hardly speak, we were all gathered around her. She whispered a few words. My father, leaning close, turned to me and said:

“Mom is asking if you will continue with your music.”

I reassured her, asked her to hold on, and told her that a double album was about to be released — The Berlin School Box — dedicated to her and to my father.

Fate decided otherwise: she left a few days later, journeying to another dimension 🙏

🌠 Epilogue – The Song of Souls

Even now, when my hands rest upon the keyboards and the first notes ascend, I feel her presence — gentle, benevolent, and serene.

Every vibration carries a trace of her gaze, her tenderness, her faith in me.

My music is no longer mine alone: it is the living breath of what she passed on to me — that light of love, that childlike wonder for the world, that trust in the unseen paths of existence.

Mother, you who opened the way, you who taught me to listen to the whisper of the infinite, I keep walking, creating, and resonating — to honor your light and let it shine ever brighter.

And sometimes, when I close my eyes, in the stillness between two notes,

I can hear you softly say:

“Continue, my son… music is your offering to the heavens.”

---

During our last conversation, Michael Scanlon made a very specific request: “Laurent, could you one day put together a clear chronology of your discography? I believe it would be valuable for us listeners, to follow the evolution of your universe.”

I found this suggestion both thoughtful and relevant, and I am grateful for it. May these milestones serve as a guide for those who wish to journey through my sounds — step by step, album after album.

Chronology of Sequentia Legenda’s Discography:

2025 — CHILDREN OF THE SOLAR LIGHT – Revisited version (Digital Version, name your price)
2025 — A RAY OF LIGHT (CDr Digipack & 8 page Booklet, Digital Version)

2024 — DECEM (CDr Digipack & 8 page Booklet, Digital Version)
2024 — Echo of Vibrations (Digital Version, name your price)
2024 — GALACTIC CRYSTALS (CDr Digipack & 8 page Booklet, Digital Version)

2023 — Extended Intuition Into the Unknown (Digital Version)
2023 — Departure for a Celestial Voyage (Digital Version, name your price)
2023 — ALCYONE (CD Digipack & 8 page Booklet, Digital Version)

2022 — The 432 Hz Berlin School Box (Double CDr Digipack & 8 page Booklet, Digital Version)
2022 — ANNO 1880 - Variations on the finale of ELEVATION (Digital Version)
2022 — RESONANCES (CD Digipack, Digital Version)
2022 — ELEVATION [Portal Version 2022] (Digital Version)

2021 — Luminosa Veritas [Xmas 2021 Version] (Digital Version, name your price)
2021 — HEAVENLY RESONANCE (Happy Birthday Version) (Digital Version, name your price)
2021 — CELESTIAL (CDr Digipack, Digital Version)
2021 — THE RETURN (Long Version) (Digital Version)
2021 — Around the Second Moon – Floating Days Edition (Digital Version)
2021 — Deep Sequences [Grenzwellen Version] (Digital Version)
2021 — Five Minutes Around the Second Moon (Digital Version, name your price)

2020 — VOICES 55 [EXCLUSIVE Version] (Digital Version)
2020 — BEYOND THE STARS (CD Digipack, Digital Version)
2020 — CIRCUMNAVIGATION [Study Version] (Digital Version)
2020 — Valentins Traum Exclusive Version (Digital Version)

2019 — FIVE (CDr Digipack & 8 page Booklet, Digital Version)
2019 — CODEX ON THE FLIGHT OF BIRDS (Digital Version)
2019 — THE LUNAR TRILOGY (Digital Version)
2019 — OVER THERE (CD Digipack & 8 page XL Booklet, Digital Version)

2018 — SOLITUDES LUNAIRES [XMas 2018 Version] (Digital Version)
2018 — RENAISSANCE (CD Digipack, Digital Version)
2018 — MIND LAKE [experimental version] (Digital Version)

2017 — THE RETURN experimental version (Digital Version)
2017 — Out of the Silence - Collaboration version (Digital Version)
2017 — ETHEREAL (CDr Digipack, Digital Version)
2017 — Out of the Silence - Exclusive version (Digital Version)

2016 — EXTENDED (Double CDr Digipack & 8 page Booklet, Digital Version)

2015 — AMIRA (CDr Digifile, Digital Version)
2015 — AU REVOIR (Digital Version)
2015 — VIBRATIONS - Blood Moon exclusive version (Digital Version)

2014 — BLUE DREAM (CDr Digipack 3 flaps, Digital Version) 

 

 

            

OVER THERE my sixth album

My sixth album was released on March 3, 2019.
I am delighted to share some information with you here.

 

"When it comes to electronic music, Laurent Schieber alias Sequentia Legenda
is one of the regulars on these pages. And for good reason, because he revives
the Berlin school in a way that convinces genre fans."

Juergen Meurer on 20 May 2019

OVER THERE : A THIRTY-FIVE-YEAR-OLD PROJECT

OVER THERE - 1984
The origin of this project goes back to 1984, when I was 19 years old. Back then, we were at the end of the analog era and the MIDI standard had been introduced. My parents enabled me to set up a home studio and I dreamed of making an album.
I drew inspiration from my collection of analog instruments: modular Korg PS-3200, ARP Odyssey, Korg MS-20 and its SQ10 sequencer, duophonic Oberheim Two Voice, Crumar Multiman S, Roland RE 201 echo chamber and TEAC A3340S 4-track tape recorder.

THE TIME HAS PASSED
Meanwhile, music technology was ever evolving. I therefore eventually separated
from my analog synthesizers for digital instruments, driven by Steinberg’s
Pro-24 recording software.

OVER THERE - 2019
And finally, thirty-five years later, I was lucky enough to be able to realize my dream.
To do this, I used today’s instruments. The software synthesizers were carefully chosen
to create an extended atmosphere of the classic Berlin School period from the
mid-1970s to the mid-1980s.

I hope you will enjoy listening to this album as much as I enjoyed composing it.
And now it's time to let my new album fly on its own.

To my site for more information

 

1. THE RETURN: TO THE ESSENCE OF BERLIN SCHOOL MUSIC

1984: I was 19 years old, surrounded by my analog instruments. All was perfect.
On my own, I composed for long hours, sometimes whole nights. I had a dream then
to create an album, a disc, called OVER THERE. I even created a fabric banner
with an album cover concept. 2019: My youth project has become a reality.

2. FLOATING TIME: A MEDITATIVE BERLIN SCHOOL MUSIC

In the distant fog and breaking waves, the ringing of a bell can be heard.
A craft floating on an unknown sea advances slowly, then gradually embarks on a
progressive flight towards the heavens. In this mystical atmosphere, rumblings from the 

sky andthe depths of the sea mix with floating sequences and
whirling sounds.

3. MIND LAKE: AN INTROSPECTIVE BERLIN SCHOOL MUSIC

„I was immersed in the convolutions of my mind when, suddenly,
I saw a lake of an intrinsic beauty! Eager to go further in my quest, I closed my eyes!
A great serenity seized my whole being. I would have liked, at that very moment,
that this journey would have been endless.“
Michel RebelRaiser

Michel Francart:

"A meditation music ! Thanks !

Une atmosphère très mystique ! Avec le sentiment que le temps ralentit ! Merci !"

Sylvain Lupari (Synth&Sequences):

"This is a stunning album forges with a splendid sequencing work from Sequentia Legenda"

Alain Massard (profilprog):

"C’est une musique qui réveille son intérieur et qui vous transporte" 

Bert Strolenberg (Sonic Immersion):

"Since his fine debut Blue Dream in 2014, French synthesist Laurent Schieber
made his own personal journey through electronic music" 

VolgaRock:

"Like always when I stop by, amazing music, relaxing and inspiring!
ALBUM SOUNDS VERY PROMISING!"

FLOATING TIME IN THE GRENZWELLEN - BERLINER SCHULE

Ecki Eckert Stieg:

"OVER THERE is the title of the new album of the Frenchman Laurent Schieber
alias Sequentia Legenda. The work on this album goes back to 1984 when Laurent started
it at the tender age of 19. But the technical possibilities for him are only now mature
enough to complete it. By OVER THERE : Floating Time."

 

            

www.sequentia-legenda.com

OVER THERE 1984 – 2019

A THIRTY-FIVE YEAR OLD PROJECT

OVER THERE – 1984

Finally, this project dates back to 1984.
I was nineteen then, three years earlier, I had discovered the music of Klaus Schulze.

I lived with my parents and it is in a room of the cellar that I had installed my home studio. Today I would like to thank them for all the attention they have given me and it is also thanks to them that I have been able to emancipate myself musically.

THE ANALOG ERA AND THE ARRIVAL OF MIDI

We were at the end of the analog era and the MIDI standard was pointing its nose. I bought the PS3200 from Korg during a trip to Paris with my father.

I had my own collection of analog instruments, the modular Korg was surrounded by the ARP Odyssey, the MS20 Korg and its SQ10 sequencer, the duophonic Oberheim 2 Voice, the MultimanS Crumar all accompanied by a Roland RE 201 echo chamber and a TEAC A3340S 4-track tape recorder.

I had the idea to make an album called OVER THERE, imagined its cover and printed it on fabric. Looking back, I think I can remember that I had envisaged a mystical and cosmic soundscape. I can still feel a few loops above my future musical landscapes.

My encounter with the modular Korg PS3200

THE TIME HAS PASSED

I had written a letter to Klaus Schulze, unfortunately without an answer. However, I had the pleasure of hearing him and seeing him several times on stage in my region.

Meanwhile, music technology had evolved. I then separated from my analog synthesizers to the profit of digital instruments, an Atari STF 1024 with the software Pro-24 of Steinberg.

It was during my year of military service that I bought my first digital synthesizer. It was the Korg DSS1 which had totally convinced me notably by its chorus sounds.
The reproduction of human voices fascinated me and I always wanted to integrate this major element in my compositions. For this new project, I opted for the integration of voices from the illustrious Mellotron.

More recently, digital instruments have given way to virtual synthesizers.

OVER THERE – 2019

Thirty-five years later, I decided to carry out this project that is close to my heart.

This opus will be in the lineage of the Berlin School, with my own musical vision, a glance towards the essential, a return to the sources.

From now on, I work with the current instruments. The VST's were hand-picked to "stick" as close as possible to the atmosphere of the period from the mid-1970s to the mid-1980s.
I am attentive to the sound grain, to the particular timbre of the analog era in order to preserve the spirit of this beautiful musical movement. The Minimoog, the Jupiter8, the Modular Moog will be very present as in ETHEREAL and in my last album RENAISSANCE. From now on, the Solina and Mellotron (M-Tron) GForce's will join the orchestration, bringing an extra vintage touch.

Three tracks will compose this album. For the second track "FLOATING TIME",
Tommy Betzler (Klaus Schulze, Peacock, Picture Palace Music, P'Faun) will be present.
The German drummer has the Berliner Schule experience since he accompanied
Klaus Schulze on his tours and participated in two of his albums (DIG-IT and JUBILEE EDITION (1997)).

An extract of what will be the atmosphere of this project

 

This extract is still in its experimental version, it is a foretaste, a perspective of my musical vision for 2019. The work remains focused on the symbiosis of the sequences with the pads. It is a sound palette close to the analog era, with the touch of current instruments. The sound landscape of this title is for me the closest to my musical ambition, to my vision of the Berlin School of today and tomorrow.

 

OVER THERE

Official release planned for March 3, 2019

            

www.sequentia-legenda.com

🎼 The sequencer my favorite tool 📶

My vision of sequencing: loops in perpetual evolution

My first sequencer was the Korg SQ-10

I had made its acquisition during a trip to Paris may be some time after I bought the
Korg MS-20. The two "brothers" lived together for my greatest happiness in my home studio in my parents' basement. Together with the tape echo chamber RE201 Roland, I made my debut by developing my sequences. The setting up of the loops with the SQ-10 was really complete and intuitive. For example, it was interesting to modulate filters and envelopes by generating three different voltages at the same time. The 3 channels, the 12 steps and the 6 modes were for the time a beautiful technical prowess that I could enjoy.

Oberheim's mini sequencer

Another instrument, the Oberheim Two Voice had a mini sequencer. Despite its eight programming steps available, the mini sequencer was convenient and pleasant for a fast search of small sequential lines.

TVS1, the official model name of the 1974/75 Oberheim 2 voice or OB2 / ob-2 (obie two)

Here too, the association of the Oberheim with the echo chamber RE201 Roland made the result convincing and interesting.

Today, I work with virtual instruments

VST's allow me to express myself completely and freely. Sometimes I use various sources to create my loops, such for example as the Moog Modular sequencer from Arturia.

The sequences come to life

In addition to the search for tones, I attach great importance to the symbiosis of the different sequential loops. I particularly like to make them live and grow all along a track to make them sometimes even "organic". The complementarity of the sequences is also an element that is particularly close to my heart.

The sequences can be used as a structure and/or as the main and/or secondary
melodic line.

As far as the creation itself is concerned, it can do this by working on the parameters and potentiometers of a sequencer, or after having plated some pads chords that evoke my creativity and thus favour the realization of a loop, the reverse is also possible. I have also created note by note a sequence.

👦 I remember an anecdote when I was 16-17 years old and a sequence came to mind. I had phoned home, my youngest sister took the handset and asked her to take our tape recorder to record me. I then sang the loop of notes to save it on the cassette so that I could in the evening work on my analogue instruments of the time. 📼

  

The sequences can be fast or slow, shiny or deep, come and go, random, pizzicato or legato. They can also metamorphose, literally play the role of drums and be percussive. They are the fundamentals of my music. Whether it is with the instruments of yesteryear or today, I still have so much pleasure in sculpting and modelling loops. For me, the synthesizer and sequencer are inseparable.

  My vision of sequencing: loops in perpetual evolution

Berlin School pioneers Klaus Schulze and Tangerine Dream

In terms of reference, I would like to quote the Berlin School pioneers Klaus Schulze and the mythical band Tangerine Dream. I keep in mind my first listenings of the Mirage album with absolutely remarkable and timeless sequences. Crystal Lake obviously will remain for me a key moment in my musical approach, however I would like to point out that in the title Velvet Voyage, which is in my eyes more aerial, more cosmic, hides one of the most sumptuous sequences, so simple and so strong in terms of emotion. Congratulations!

For Tangerine Dream are the Rubycon and Ricochet albums that had marked me with their sequences with their characteristic timbre.

Testimonial Yves Blanc (La Planète Bleue)

«Most of the spacey music is made of three components : synth pads, sequencer loops and (sometimes annoying) solos. Sequentia Legenda is intelligent and sensitive enough to create his - strictly instrumental - music with the first two components only:
the pads and the loops.»
 

Laurent Schieber (Sequentia Legenda) and Yves Blanc (La Planète Bleue)

«In his spacey compositions, where light meets minimalism, and fitted to dream and meditation, there is no room for flashy solo, no room for protruding showing-off,
instead the space is filled with highly sophisticated pads, perpetually changing and loops, themselves shaped in ever-changing patterns, sometimes highly complex,
even if they often seem obvious.»

Yves Blanc (La Planète Bleue)

👍ETHEREAL in the Top Ten at the Schallwelle Awards

It is an honour for me to be able to appear alongside Tangerine Dream,
Johannes Schmoelling and Mike Oldfield in this ranking.
I am delighted to know that my music is appreciated and recognized in Germany,
the country of the Berliner Schule.
[...]

More info here

            

www.sequentia-legenda.com

Fifteen Questions Interview with Sequentia Legenda

The Daydream Sequence

Interviewer: Tobias Fischer 16 October 2017

17 year old Sequentia Legenda (Laurent Schieber) with her analog equipment.

Part 1

Name: Laurent Schieber
Nationality: French
Occupation: Composer, Producer
Current Release: Ethereal
Recommendations:
In terms of musical art, without any hesitation, I would recommend the Mirage album by Klaus Schulze which was, for me, literally my musical trigger. It’s a work that deserves to be listened to several times in order to discover all its riches.
Tons of credit to Klaus Schulze for this album, as well as for his entire career.
In terms of literary art, I can suggest the French writer Jules Verne's "From the Earth to the Moon". It is a visionary narrative, a work that I particularly appreciate.
During my childhood, I read many of his books and escaped far into my imagination.

More photos

Sequentia Legenda (Laurent Schieber) and love at first sight for Mirage by Klaus Schulze.

Tobias Fischer: When did you start writing/producing music - and what or who were your early passions and influences? What what is about music and/or sound that drew you to it?

 Sequentia Legenda: My passion for Berlin School began by absolute chance.
I was only 16 years old at the time. On that momentous day, I discovered an album amongst my parents' vinyls - one that greatly grabbed my attention, especially due to the clean layout of its cover. A blue and green portrait, a title: Mirage, a name: Klaus Schulze. After examining both the graphic and editorial section, I decided to place the stylus on the record player in order to play the first side. From the first few seconds of listening, it was love at first sight - a true revelation.
This was my musical trigger!

What attracted and even intrigued me the most when listening to this masterpiece, was the singular length of the songs, the fact that there were only two titles, the new sounds. The instruments and effects seemed to me to come from a whole new world. I began to listen repeatedly to the side A and B of the album. I started searching for other Klaus Schulze records in the music shops throughout my city. I spoke about the album to those around me, yet very few people knew who the musician was, much less the instrument known as a synthesiser. Shortly afterwards, I was taking music lessons with a teacher who owned a Rhodes, a Solina and even a famous Minimoog.

The solfeggio courses repelled me and quickly, my teacher came to understand that what really interested me was discovering the instrument. It is therefore with him that I discovered how to properly manipulate the synthesizer, as well as began learning sound synthesis - in this case, subtractive.

My parents finally gave in to my insistent requests and they agreed to finance the purchase of my very first monophonic synthesizer. In no time, the room in my parents' cellar became a small Ali Baba cave and many analogue instruments took their place here:
ARP Odyssey, Oberheim Duo Voices, PS 3200 Korg, MS 20 and SQ 10 Korg - to only name the main ones. 

Tobias Fischer: For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you? How would you describe your own development as an artist and the transition towards your own voice? What is the relationship between copying, learning and your own creativity?

 Sequentia Legenda: As a first step, following the discovery of the Mirage album, I had listened intensively and analyzed the compositions of Klaus Schulze, Tangerine Dream or Jean-Michel Jarre. As a second step, I used the various synthesizers to discover the multiple technical and musical approaches in order to be capable of mastering the different sound syntheses. These were long and exciting periods of experimentation - a genuine learning of sonorous alchemy, a relentless manipulation of the potentiometers, hours of discovery.

At first, I recorded my compositions on tapes using a simple hi-fi tape recorder. Later, I recorded and mixed my work with a TEAC A-3340S 4-track recorder. I was trying to find a sonorous universe that was comparable to that of my models, close to the Berlin School.

My first sequences were created with both the Oberheim Two Voices as well as the Korg SQ10. Often, I would allow myself to go off into long hours of improvisation - sometimes until late at night and always in my parents' basement. This is how my personal style began to develop and little by little, I put my musical structure into practice. At that time, the sequencer already had a predominant position within my compositions.
My own musical vision of the Berlin School began to take shape. 

Tobias Fischer: What were your main compositional- and production-challenges in the beginning and how have they changed over time?

 Sequentia Legenda: The main challenge at the outset was finding the "right" sequence, the one that would make me "daydream", the loop that could grow within my composition. Afterwards came the search between the different pads and loops, in order to find the perfect balance and harmony between both said essential elements.

Even today, this work of dosing between sequences and pads is still carried on. I now have a methodology in order to transcribe the sound structure that passes through my head and thus, obtain a usable frame. The work is much the same, however with increased precision and a greater rigor. The sequences continue to remain one of the pillars of my creations and I commit a lot of time to setting up, to the accuracy of the loops and to the notes. 

One of the big differences is that today, I create many co-existing loops that will complement one another, that will become more complex over the course of sound development and will grow together. I attempt to find harmony between the different elements of my music - in terms of volume, harmonics and stereophonic space. I am a demanding individual and at times, these steps can be time consuming. Ultimately, for me, everything is a question of dosage, sensitivity and emotions. When I isolate myself within my own world, I don’t see the time ticking by. Other times, I find myself in the role of a perfectionist and I therefore have to find the energy in order to end such a process and finalize the piece. 

Sequentia Legenda (Laurent Schieber) in working session for the next album RENAISSANCE.

Tobias Fischer: What was your first studio like? 
How and for what reasons has your set-up evolved over the years and what are currently some of the most important pieces of gear for you?

 Sequentia Legenda: My startout studio was in one of the rooms within my parents' basement. My equipment consisted of analogue instruments, such as the ARP Odyssey, Oberheim Two Voices, Korg PS 3200, MS 20 and SQ 10, a Crumar Multiman S and a Roland RE201 echo chamber.

With the arrival of MIDI, I began transitioning from my analog synthesizers to the benefit of digital keyboards. It was at that moment that I would, for the first time, use software to manage my music - it was Pro24 Cubase installed on my Atari 1040 STF. I could now store my sounds and rework them according to my own will. It was possible for me to edit and save my compositions. It was a true revolution!

Today, I work with synths and virtual effects.
The VSTs allow me a great flexibility of use and I manage to find sounds similar to those of my past synthesizers. I appreciate the Arturia collection, especially the Minimoog and the Modular Moog emulation. 

Sequentia Legenda (Laurent Schieber) in concert with Tommy Betzler in Hamm in 2017.

Tobias Fischer: Could you describe your creative process on the basis of a piece or album that's particularly dear to you, please? Where did the ideas come from, how were they transformed in your mind, what did you start with and how do you refine these beginnings into the finished work of art?

 Sequentia Legenda: I can gladly tell you about my last album, ETHEREAL.
At the base, I had represented a mystical and very aerial universe. I would describe my compositions as "serious" with a touch of nostalgia.

My intention was to integrate the Modular Moog from Arturia in my work for the first time. Therefore, I began to study the different sound approaches for this instrument. I quickly oriented myself towards the use of the modular, as well as its superb sequencer. Its filters are a source of unlimited creation and with subtle automation, it is then possible to nuance the resonances in order to obtain loops that evolve over time. For the three tracks of this album, the modular and its sequencer were used almost identically. The Formant filter (which did not exist on the basic instrument) was a valuable tool for further diversifying the sound modulations of the loops. The next step was the association between the sequences, the pads and the choir. It is precisely in this phase that the sensitivity, the emotions and the tint of the atmosphere, will magnify.
It is also the most time consuming part.

The compositions of ETHEREAL have been finalized by the mastering varnish, composed of different effects in order to highlight and underline certain details of the soundtrack. 

To the original interview

 Testimonial about ETHEREAL

Synth&Sequences Magazine

Somptuous music from my friend Laurent Schieber. Fans of retro and floating EM a la Schulze, you have to get this album from Sequentia Legenda.
Somptueuse musique de mon ami Laurent. Amateurs de MÉ flottante et vintage à la Schulze, Ethereal est un incontournable.

Sylvain Lupari Apr 13, 2017

More Testimonials

            

www.sequentia-legenda.com