Good thing we’re not a news site because Borderlands for the iPad has been out for a couple years but the developer, Chris Carlson, has recently released version 2 – so thats kind of news? There are a lot of things to be said about the elegant interface, constant inspiration, and possibilities but I have work to do, so lets just say – it gets me away from my mouse and keyboard, produces beautiful results, especially if you load your own files, and is the perfect tool for the particular tasks I have been assigned. Unfortunately the iPad I’m using is not mine, so I’m recording as much as I can with the time I have.
Also, I’m too stupid and busy to think of a clever way to give away these promo codes for Borderlands so, uhhh…
7HTF794NFHEN, NLEPFXK96KHT. (Up high, down low…too slow)
We got to visit master synthesist and Nine Inch Nails collaborator and live performer at his home studio. It was an amazing place, stuffed full of beautiful rarities. What follows is the first part of our chat.
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.
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: tiptopaudio.com/cr.php
Hex Inverter Mutant Drums: shop.hexinverter.net/category.php?id_category=20
a patch focused around the tiptop audio circadian rhythms (CR) as the heart of the system that provides the main clock source and triggers for events.
the programming was done on all 8 channels of the CR in 2×32 mode. fills are set to 16th note. mutes, fills and additional programming are performed on the fly.
CR ch 1: main kick
sound source is the blue lantern BDv4 going through the modcan frequency shifter.
CR ch 2: snare
sound source is the make noise mysteryon who’s pitch is being modulated by the mod can quad lfo who’s synced to the CR main clock output. the output was split into a separate VCA who’s being opened by the sound machines light plane and sent to the mungo d0 with macro machines storage strip. the storage strip is being sequenced by the CR main clock output.
CR ch 3: closed hat
sound source here is the SSF quantum rainbow blue noise.
CR ch 4: open hat
sound source is the SSF quantum rainbow white noise though the intellijel µfold and then a bit of delay from the synth tech e580.
CR ch 5: glass percussion as well as delayed bass and end melodic thing
glass percussion sound source is the noise engineering BI. pitch modulation from the tiptop z8000. delayed bass is an intellijel dixie square run through the cwejman res-4 and.end melodic thing is the harvestman piston honda MKII.
CR ch 6: chord bursts
this is the intellijel/cylonix shapeshifter in sequence mode then run thorough the qu-bit electronic RT60 reverb.
CR ch 7: tonal accents
sound source is braids in meta mode. also being sequenced by the CR and pith modulated by the tiptop z8000.
CR ch 8: sub kick
sound source is the tiptop audio BD808.
acidy bass: trigger source for the acidy bass is the intellijel metropolis that is synced to the CR via the clock output. sound source is the intellijel rubicon thats being FMed by a DIXIE sine, then put through the cwejman MMF1 in low pass.
tonal drones: trigger source here is the divided output of the intellijel metropolis into two make noise pressure points that have been micro tonally tuned. the sound sources here are synth tech e350 and make noise DPO that share a common mutable instruments peaks ADSR. the sounds are then processed through the serge resonant equalizer and tiptop audio zdsp with halls of valhalla reverb card.
hi plucked melody in mid section: this is the qu bit nebulae playing back a sample of mutable instruments braids in PLUK mode playing a melody sequenced on metropolis then fed to the mungo d0. the nebulae is then processed through flame FX6 reverb.
no computers or external hardware were used in this performance :)
March 1st, 2015
1354 West Wabansia
FREE. Shake off the frost and bring your systems.