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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.

ALM005 – Dinky’s Taiko

ALM005 – Dinky's Taiko from ALM on Vimeo.

‘Dinky’s Taiko’ is a 12 bit digital drum voice with full voltage control and an analog EQ output path.

Baseck – Mutant Machine – Hex Inverter / Pressure Points – Make Noise // Punk Rock Modular

Circadian Rhythms By Joseph Fraioli

Circadian Rhythms from Joseph Fraioli on Vimeo.

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.
patch basics:
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 :)

Dr. Snares Introduces HexInverter’s Mutant Machine

The new Mystery Mutant Drum unveiled!

Our pal Dr. Snarold showed us around his lab while he played around with his new Mutant Machine, so we caught it on video.

The Mutant Machine is a pure analog percussion synthesis module coming at winter NAMM, 2015 from

It will be a eurorack format synthesizer module and DIY project.

Mutable Instruments – Clouds & Elements Overview

Know what you’re lusting over. Excellent videos by DivKidMusic


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.

Braids v1.6 Illlustrated

Gorgeous visual overview of the newly updated Mutable Instruments’ Braids. Full PDF below.



Braids percussive models from mutable instruments on Vimeo.
Braids Upgrade Procedure
Braids 1.7 Firmware Upgrade

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. :-)

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