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Tip Top Records

Tiptop Records presents Various Artists 001 – Official Teaser from Tiptop Film on Vimeo.

Tiptop Audio is proud to introduce a new project for 2015: Tiptop Audio Records.
In the recent years musical productions have seen a remarkable return to the use of hardware through analog synthesizers and digital control interfaces. This trend has proven so strong that it prompted a rebirth of modular synths in a new format (eurorack). Tiptop Audio has made a name producing sophisticated but easy to use modules, designed to form a complete system that is especially effective for dance-oriented productions and live sets.
Tiptop Audio Records selected for its first issue some of the most groundbreaking artists using such systems, to present a range of artists who, through their tracks, explore the landscape of dance music in a very fresh perspective. These are the artists who inspire the Tiptop team to make more innovative devices, which in turn make new music (a nice feedback loop).
ANGLE, BLAWAN, CHRISTIAN BURKHARDT JOAO CESER, JOHN TEJADA, JOSEPH FRAIOLI, MOE ESPINOSA (DRUMCELL), KINK, RICHARD DEVINE and SURGEON each contribute a track stamped with their own style and vision. Tracks range from Surgeon’s trademark hard minimal beat, to Kink’s gauzy dreamscape, while Richard Devine and Joseph Fraioli explore the outer reaches of beat based music. The Phase VI team (John Tejada and Moe Espinosa AKA Drumcell) produces an endlessly shifting set of percolating rhythms, Christian Burkhardt and Joao Ceser put some 21st century twists on classic dance floor patterns, ANGLE lay down effortless, sophisticated Continental style and Blawan adds some industrial toned menace.
The release will initially come as a double vinyl edition, with a cover painted by the artist Matteo Giampaglia, and a digital download version will follow.
An original video teaser will introduce the compilation, then other videoclips of the individual tracks will be realized by exciting new visual artists.

CR Hex Mutant Patch

CR Mutant Patch from Richard Devine on Vimeo.

Patch experiment using the Tiptop Circadian Rhythm in group looping mode. I first went in and programed 8 different patterns for each of the 8 groups. Each one was setup at 4 x 16 sequence. So for this patch I had 64 patterns playing top to bottom. I improvised different mutes on the fly, and used the fill function on various channels to repeat pulses/gates at different times. The master tempo was set to 154 then dropped and shifted down to 120 towards the end of the video.
First output from CR channel one was the kick drum from the Hex Inverter Mutant Drum. With CV controls to the “Decay, and Pitch” control via the Modcan Quad LFO running in slow stepped random output with the master setting in “Red” Quad. This caused the slight opening in the kick drum decay.
Second output from the CR sent to a intellijel hub multiplier. From there it was sent to the Hex Inverter Mutant Clap. The second LFO from the Modcan Quad LFO controlled the “REV EC CV” input and the “Pitch CV” control was altered by the LFO-3 output from the Modcan. I also mixed in some external noise from the SSF Quantum Rainbow “Blue” output and mixed in to give more hiss/like texture.
Third output from the CR was running into the Hex Inverter Mutant Hi-hats, Open side. The first LFO output from the Modcan Quad LFO controlling the “Decay CV” control. This output was then taken through a E580 Resampling Mini Delay for tight Karplus delay feedback effect. The 4 output from CR was sent to the trigger input on a Noise Engineering “Basimilus Iteritas” module. The “Pitch” and “Harm CV” controls slightly altered by the zigzag and triangle outputs from a slow rate Dixie in LFO mode. The fifth output from the CR was sent to the “Trig” input on the Hex Inverter Mutant HiHats “Clsd” side. The Filter switch was set to on, and the Fade switch set down. Output 6 from CR was sent to the Tiptop RS808 module. The output was then sent to a Audio Damage “ADM05″ Aeverb module. With the decay control by another Intellijel Dixie running in LFO mode (Sine output). Channel 7 from CR was sent to an intellijel Muti. This clock was sent to three different places. First multi output to the bottom “excite” input on the MakeNoise Mysteron. Second Multi output was sent to the Synthesis Technology E102 Quad Temporal Shifter “Clock” input. The 3rd Mult output was sent to a 4ms RCD. Output 8 was sent to a Mutable Instruments “Braids” running in “META” mode, triggered input with envelope setting set to “PIK”. From the 4ms RCD I took the divide by 1 output and sent it to the 4ms Quad Clock Distributor. From here the 4 QCD outputs went to other modules. First output was sent to the CV control 3 of the intellijel HexVCA. There was a Modcan FMVDO oscillator running out the 90 degree output. CV control over random pitch from the channel 1 output from the E102 non quantize SH mode. The Ratio and Wave CV controls being controlled by a third intellijel Dixie in slow LFO mode (sine output). The output was then taken to the left side Mutable Instruments Clouds Module (Green) Freeze LED. Running custom firmware, in granular cut mode. From the 7th division output was the Intellijel Shapeshifter doing random spurts of static noise, with custom preset. The output from here was sent to the right side Mutable Instruments Clouds Module (RED) Freeze LED. Running custom “Trash Bitz” firmware never released. Processing extreme granular pitch delay sounds from the Shapeshifter. The second output from the 4ms QCD sent to the 2nd Braids oscillator running in “META” mode but limited FM range to cymbal percussion sounds. This output was sent to the QuBit RT-60 which was being effect changed by 3rd output from the 4ms QCD. Changing the effect every 4 counts for randomized reverb throws and delays. 4th output from the QCD sent to the Mungo p0 percussion module, running with a macro machines storage strip being gate triggered by 5th divided out from the 4ms RCD.
Bassline created using a MakeNoise Brains and Pressure Points. 3 notes selected and clocked at 8 division output from the 4ms RCD. MakeNoise STO oscillator Sub out into Mutable Ripples filter 4-pole.
The drones and pads came from the QuBit Nebulae running 4 minute modular recorded drone piece created with two Modcan FMVDO’s running through the Tiptop Z-DSP Halls of Valhalla card, then imported back for slow rate play back. For the half time slow down that starts at 2:26 I took all the percussion sound inputs from the intellijel Mutagen mixer and ran them into a Eventide Pitch Pedal, which was running the H910/H949 program, which added the weird slushy delay effect at this part. I set the mix at zero no effect at first then slowly with my left hand (not in camera view because the pedal was underneath my camera tripod) mixed in the effect from 2:30 on to the end where the BPM slows to 120.
Tiptop Audio:
Hex Inverter Mutant Drums:

First patch with the Mutable Instruments, Clouds, Elements, Streams and Shelves modules

First patch with the Mutable Instruments, Clouds, Elements, Streams and Shelves modules from Richard Devine on Vimeo.

Sequence starts with a cable connection to the clock output from the Steady State Fate Ultra Random module. This clock output was sent to a intellijel hub mult. From here the clock was sent to first to a 4ms RCD/QCD, Delptronics Trigger Man, and to the MakeNoise Rene. First output gates from 4ms RCD 4 divide output to the trigger input on the Braids module top row, running in “WLM” mode. Second multi output was sent to a 4ms QCD output green channel 4, set at division trigger time of 16. This would trigger single notes on the “Elements” module, that begin at 1:42. The playback mode is running in “Secret Easter Egg Mode” :-) The selected note sequence from the QCV output from Rene. Final output from Elements was sent to the Eventide “Pitch” pedal using the “Crystalizer” algorithm.

Clouds – was processing recorded chunks from the drum percussion, kick used from the top row “Peaks” 808 kick drum synthesis model. Then a snare created from the “grey” noise output from the SSF Quantum rainbow running through right side of Streams to make a snare drum, which was running in envelope mode with shape position to the left, short decay. Then a third voice using the blue noise output from the SSF quantum rainbow for hi-hats. Amplitude triggered/controlled by a HexVCA. The drum sequence was programmed from the Delptronics Triggerman, using all 8 patterns stringed together running in pattern play mode but being CV controlled by the S&H # 1 output from the SSF Ultra Random. Output for all voices was grouped and multiplied into two separate mixers. First three channels of the Intellijel Mutamix, which was then sent to output channel B. From there the summed mix was sent into the “left” side input of Clouds. Then triggered in time with the sequence by a 8th division trigger from the 4ms RCD. The freeze input in Clouds was triggered in time 7th divisions from the 4ms RCD, so that the chunks would process and record then play back in spurts of timed randomness. The mode was set in the pitchshifter/timestretcher configuration, where the grains where spliced so that created interesting granular pitching repeats and percussive glitch effects, as the rhythmic beats played through. Focused ranges where selected for the “Density/Pitchshifter” and “Timestetcher/Texture” controls. These where being controlled by the S&H #2 output from the SSF Ultra Random. The 1/volt pitch input was controlled by the toggle A/B output from the SSF ultra random. The clean drum outputs also sent to the channels 5, 6, and 7 on the Blue Lantern “Mix ‘Em Up” module.

Streams left side processing from the MakeNoise Mysteron output, which was being triggered by the 5th division output, for the metallic ripple delay like sounds, with the mutation knob set to counter clockwise, low bit mode.
The “Shelves” module was processing the acid like filter parts that get un-muted at 12 seconds. The sound source running into “Shelves” was the “Braids” module bottom row, running in “CSAW” mode. CV controlled by the CV output from the MakeNoise Rene sent to another intellijel hub mult. From here each CV output was sent to the “Frequency” inputs pink, green and white jacks on “Shelves”. The “Tides” high tide output modulation the CV controlling the top frequency input on “Shelves” Each filter knob was set so the incoming “CSAW” input was being processed like a formant filter effect.

Smooth Sub OSC bassline coming from the MakeNoise STO. This was being CV controlled by a intellijel µScale (B) output. Playing back 8 notes while being triggered from the 2nd division trigger on the 4ms RCD. Triangle wave output from a Intellijel Dixie (syncd) to the sequence controlling the input (1V/Oct). Second STO at 55 seconds, alternating high note triggers from the 1 channel output from the 4ms QCD 6th division output. The second STO output sent to a MakeNoise Optomix for short quick plucks.

The light reverb soft lead at 1:15 from sine wave output from another intellijel Dixie, being CV played from the 1V/Oct input from MakeNoise PressurePoints. The output was then ran into a Strymon “BigSky” pedal running the “nonLinear” reverb algorithm. The Chords coming in at 1:35 played by a Qu-Bit Nebulae module. The 4 chord sequence was hand played and recorded from a Roland Jupiter-6,. The sample was then cut into a 32 bar loop and then was restarted/played from a the 3rd output trigger on the 4ms QCD. This output was manually volume controlled by a Intellijel µAttQuad log/lin attenuator. Grids was being clocked from multi output from the SSF Ultra Random, from here the first output trigger channel was sent into a Addac 101 .WAV Player. Notes sequenced and recorded from the Mutable Instruments “Elements” Module. 4 notes in a specific order was played 4 times 32 bars/samples. This was triggered by the gate input triggered by the Gate Y output on Rene. Trill high notes from Microbe Modular Equation Composer running in Synth3Osc is a 3 osc synth mode.

Mutable Instruments Elements – Incidences/Resonances Patch

Mutable Instruments Elements – First Look – Incidences/Resonances Patch from Richard Devine on Vimeo.

First look at the Mutable Instruments “Elements” Modal Synthesis Oscillator. This patch was inspired by Bernard Parmegiani Incidences / Résonances piece on | De Natura Sonorum | INA-GRM | 1978.
To imitate nature and acoustic instruments, modal synthesis breaks down the creation of sounds into two steps:
1. Synthesizing a noisy and/or percussive excitation signal, which represents the raw energy transferred to the instrument by the musician when (s)he strikes, bows or blows it.
2. Processing this excitation by a resonator modeling the vibrating structure itself – be it a string, tube or plate. Properties such as its size, tuning, shape and material can be simulated by adjusting the parameters of the resonator.

Synthesis Technology – E370/E371 Expander – Drone

Synthesis Technology – E370/E371 Expander – Drone from Richard Devine on Vimeo.

Just doing a Drone test with the E370 and E371 Expander prototype Quad VCO. It’s a combination of features from the E340 and the E350 using a new class of ARM processor with high-quality Cirrus Logic audio DACs. The audio was ran through a new Mutable Instruments module for light processing. :-)

Surachai – Form Volume II


Form Volume II consists of four archived performances and four new recordings. Form Volume II can be found on Bandcamp. The vinyl is shipping out around December 16th, 2014. Since most time, effort, and money went into the physical product – I’ll start there and work backwards.

As a response to the deluxe presentation of Ritual and because Form Volume II wasn’t supposed to exist, I decided to keep the theme of non-existence with the vinyl and artwork by calling it the Void Presentation. Firstly: there is no artwork. The vinyl is clear and with no center sticker making it an entirely transparent vinyl record. Again, the record is pressed at GottaGroov Records. The transparent information card was manufactured by Offbeat Press and the reference I gave them was the winning ticket to Fhloston Paradise from The Fifth Element. The clear jacket is also clear and originally intended for picture discs. If you’re not looking for this album, you’re not going to find it – basically its a marketing nightmare.

Pre-Master & Mastering
Because all tracks were recorded in single takes to stereo or mono tracks and mixing was performed on the fly, the results were raw, hugely dynamic, and sometimes lackluster. All tracks were mixed afterwords and pre-mastered with the Thermionic Culture Vulture Super 15 with a couple dynamic processing UAD plug-ins. I turned these pre-master versions into Shawn Hatfield of Audible Oddities to officially master the album and tame the inconsistencies between the tracks while preserving the dynamics.

“In general, I used all the different input/output transformer stages on my gear, driven just enough to saturate a little. Dave Hill Titans were used to add weight and body, Knif Vari-Mu II mid/side compression to glue things together and further enhance the stereo information followed by a BAX EQ to help open things up a little more where needed. And I also ran them through some custom op amps built around a 1970’s design that impart a smooth character.” – Shawn Hatfield of Audible Oddities.

Despite the length of time between recordings, the recording sessions were almost identical to each other: construct a patch, tweak the patch anywhere from 5 minutes to 2 weeks, record the patch, keep the 1st or 23rd take. There were no limitations of modules used and as you can tell in the videos, there were plenty – although the last track is using only one module.

Form Volume II is not supposed to exist. The album started with Aaron Funk requesting source audio files from a few Form session videos. That was an easy ask: track down the sessions folders, zip up a few bounced files, and send them over Dropbox – that should have been the end of the transaction. But this small request spiraled into obsession to the point where I found myself finishing an album I hadn’t known I was working on for more than two years – in the mountains of Tennessee. The first four tracks were previously recorded from June, 2012 to August, 2014 in Chicago and the last four tracks were recorded in a weekend with Richard Devine and his live system in Tellico Plains, Tennessee in August, 2014.

I’m writing this a day before the official release and am confused after looking at Bandcamp’s best seller’s column for electronic vinyl. Currently, Make Noise Records: Shared System Series – Surachai 7” is number 1 and Form Volume II is in third place. What does this mean? For Make Noise Records, its makes a bit of sense – We’ve released some of the top names in experimental music on our short 5 record, 2 year stint and mine being the last, the momentum is expected. As for Form Volume II being a top seller, initially I’m skeptical. I haven’t utilized active PR for the past 3 vinyl releases and am constantly hopping labels and switching musical styles. The only thing I can think of is that I know who you all are. I order, assemble, pack and ship the vinyl to you and that must mean something. Whatever is driving the sales, thank you for the support over the years.

Form Thirty Recorded in Chicago, IL. June 9 2012
Form Thirty-Two Recorded in Chicago, IL. November 12, 2013
Form Thirty-Four Recorded in Chicago, IL. May 3, 2014
Form Thirty-Five Recorded in Chicago, IL. August 12, 2014
Form Thirty-Six Recorded with Richard Devine in Tellico Plains, TN. August 31, 2014
Form Thirty-Seven Recorded with Richard Devine in Tellico Plains, TN. August 31, 2014
Form Thirty-Eight Recorded with Richard Devine in Tellico Plains, TN. August 31, 2014
Form Thirty-Nine Recorded in Tellico Plains, TN. August 31, 2014

Limited to 250 copies of vinyl
Mastered by Shawn Hatfield of Audible Oddities
Released by BL_K NOISE

Surachai – Form Volume II

Yaybahar by Görkem Şen

Yaybahar by Görkem Şen from Olgu Demir on Vimeo.

This is an acoustic instrument with no electricity or anything… Natural source coded materials which are membrane, coiled spring and string working together. Maybe we can say that this is a new bridge system between string and resonant body. But generally this is a new design and emit obviously natural vibrations and gives new playing abilities.
Very important that it has totally a unique live listening experience!!
Instrument: Yaybahar
Performence: Görkem Şen
Video: Levent Bozkurt
Video editting: Olgu Demir
Sound mix: Mert Aksuna
Place: Alişler Yurdu

Noyzelab – Aphex Twin SYROBONKERS! Interview Part 1 & 2


dave:how accurate is the gear list on syro?

rich: definitely not 100% and there are 1 or 2 mistakes, like i think it says i used a vocoder on the piano track , dot in wrong place or i prob did it wrong, it is mostly right though but misses out a shit load of outboard as i couldn’t remember every eq etc in my lodge.
There were a few plugins used but hardly anything and not worth mentioning really, it is 99.9% hardware not that it matters just sayin.
Plenty more eurorack modules as well obviously but i think i put down the main ones i could remember.
Actually the whole equipment list is pretty weird choices on there actually pretty normal/odd for me i think, its definitely not showing off when u take into account what else I’ve got! just so happened those particular tracks used those things.
the birds on that piano track by the way were picked up by the mic’s at the same time, i angled them slightly towards the doors to pick it up, the birds hear what I’m doing also !-)
Oh and its all programmed, I think I’ve almost got to the point now when i can think music and then program it pretty much in one go, not quite but almost, it was never an ambition actually, it just happened that way.
Most people I know who heard it think its played, which is a really nice complement, coz every little timing imperfection in that is purposefully programmed in…i find it very mediative doing such tiny little things, tempo is regular though so it could be mixed with amen break :)

Part 1
Part 2

Applied Acoustics Systems – Harmonic Geometry

Screen Shot 2014-09-29 at 3.56.53 PM

With Harmonic Geometry, Richard Devine explores our string modeling synthesizer in all its facets. In his distinctive style, he brings us elaborate timbral perspectives and intricate textural spaces using the many shapes and forms of String Studio VS-2. These ingenious constructions materialize into an eclectic collection of sounds spanning modern sci-fi territories, ambiences, surprising percussions, resonant vibrational effects, and exotic instruments. Harmonic Geometry comprises 130 presets divided into eight categories: Pad, Effect, Arpeggiator, Plucked, Synth, Keys, Percussion, and Ambient.

AAS: Harmonic Geometry

Mothership Transmission: SSF Propagate Trigger Shifts

Mothership Transmission: SSF Propagate Trigger Shifts from Joseph Fraioli on Vimeo.

a patch focused around using modulated trigger delays via the steady state fate propagate module.
the main trigger sources are coming from the deplhtronics triggerman and 4MS RCD, the outputs are fed into the SSF propagate where the delay input on each channel is then modulated by the modcan quad LFO with different synced waveforms.
sound sources:
make noise mysteron
verbos harmonic oscillator
cylonix shapeshifter
noise engineering basimilus iteritas
mutable instruments braids
modulation sources:
modcan quad LFO
SSF ultra random analog
make noise wogglebug
make noise maths v2
make noise function
tip top z8000
synthesis technology e355
intellijel dixie
doepfer a-147
processing sources:
mungo d0 with macro machines storage strip
modcan dual delay
tiptop ZDSP with halls of valhalla card
make noise erbe verb
synthesis technology e560
make noise MMG
intellijel ufold
serge resonant equalizer
no computers or editings were using in this videoness.

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