1. Tiptop Records presents Various Artists 001 - Official Teaser

    01:31

    from Tiptop Film / Added

    10.1K Plays / / 1 Comment

    http://www.tiptoprec.com http://www.tiptopaudio.com 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.

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    • CR Hex Mutant Patch

      04:06

      from Richard Devine / Added

      6,469 Plays / / 10 Comments

      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: http://www.tiptopaudio.com/cr.php Hex Inverter Mutant Drums: http://shop.hexinverter.net/category.php?id_category=20

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      • SoundMorph - Richard Devine's Modular UI - Making of

        03:31

        from SoundMorph / Added

        60 Plays / / 0 Comments

        Purchase Modular UI here: http://soundmorph.com/index.php?page=products&spack=modular Richard Devine interview Making Of "Modular UI" soundpack with SoundMorph.com Modular UI is an advanced user interface library designed by world renowned sound designer and musician Richard Devine. Designed and sourced entirely from Richard Devine’s personal and exclusive Eurorack modular synths and processors collection, the Modular UI soundpack combines the retro, clean sound of analog with the futuristic tech of the new wave of advanced analog and digital synthesis from modular synths, evoking flashbacks of iconic sound design heard in both classic and modern sci-fi films. The Modular UI soundpack gives you access to sounds created by one of the masters of modular synths and sound design, and is sourced from equipment that would take a lifetime to purchase and assemble, giving an incredible value to this soundpack both artistically and financially. Utilizing many Eurorack modules that have not yet been released to the public and containing samples equally suited to sound designers and electronic musicians alike, Modular UI is in a class by itself! Modular UI features 1,000+ sounds and 5.99Gb of 24bit/96khz .WAV files, all meticulously embedded with Soundminer & Bashead metadata, including: - Calculations and Text - Data Crunching - Data Micro Calculations - FM Confirm Tones - FM Hybrid Gestures - FM Solo Bleeps - Hologram Pad - Micro Gestures - Modular random generations - Solo Beeps - Subtle Hi Tech Modular - Text Typing - 5Gb of Modular Source Recordings

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        • SoundMorph - Richard Devine's Modular UI - Launch

          00:51

          from SoundMorph / Added

          86 Plays / / 0 Comments

          Purchase Richard Devine's Modular UI library here: http://soundmorph.com/index.php?page=products&spack=modular Richard Devine's "Modular UI" soundpack launch trailer with SoundMorph.com Modular UI is an advanced user interface library designed by world renowned sound designer and musician Richard Devine. Designed and sourced entirely from Richard Devine’s personal and exclusive Eurorack modular synths and processors collection, the Modular UI soundpack combines the retro, clean sound of analog with the futuristic tech of the new wave of advanced analog and digital synthesis from modular synths, evoking flashbacks of iconic sound design heard in both classic and modern sci-fi films. The Modular UI soundpack gives you access to sounds created by one of the masters of modular synths and sound design, and is sourced from equipment that would take a lifetime to purchase and assemble, giving an incredible value to this soundpack both artistically and financially. Utilizing many Eurorack modules that have not yet been released to the public and containing samples equally suited to sound designers and electronic musicians alike, Modular UI is in a class by itself! Modular UI features 1,000+ sounds and 5.99Gb of 24bit/96khz .WAV files, all meticulously embedded with Soundminer & Bashead metadata, including: - Calculations and Text - Data Crunching - Data Micro Calculations - FM Confirm Tones - FM Hybrid Gestures - FM Solo Bleeps - Hologram Pad - Micro Gestures - Modular random generations - Solo Beeps - Subtle Hi Tech Modular - Text Typing - 5Gb of Modular Source Recordings

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

            03:36

            from Richard Devine / Added

            12.3K Plays / / 16 Comments

            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 "WLIN" 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.

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            • Mutable Instruments Elements - Incidences/Resonances Patch

              04:52

              from Richard Devine / Added

              12.5K Plays / / 14 Comments

              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.

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              • Synthesis Technology - E370/E371 Expander - Drone

                01:14

                from Richard Devine / Added

                4,796 Plays / / 6 Comments

                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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                • MakeNoise Mysteron - Retrometabolism

                  03:53

                  from Richard Devine / Added

                  17.9K Plays / / 17 Comments

                  This patch was inspired from the Industrial Guitar Tones patch from the Mysteron Manual via (Walker Farrell (@VortexRanger). Instead of using a DPO in tune to a fth, or octave + above Mysteron I used a intelljiel quantizer, shifting through a 5 note scale, which was running into the Pitch1 input. The output was then put into a Synthesis Technology E580 resampling mini-delay, setting the offset time very low, while setting the feedback almost at 90%. Mix was set at 50%, while the offset CV control was being controlled by channel 1 output on the Modcan Quad LFO, which was being clocked by the SSF Ultra Random. The output from here was sent to the MakeNoise Erbverb reverb, that was being controlled by the seed out on the Animatter BrainSeed module, which was clocked from a SSF UltraRandom and using the A, A/B and B S&H outputs going into the "type", !!, "generation"and "depth" inputs. 4 note low bassline using one MakeNoise STO sequenced from one Brains and Pressure Points, running and /8 clocked speed from the A-160 Clock/Trigger Divider. Purple noise output creating the micro hi-hats triggered swing triplets via the 4ms QCD, and slow white noise rises from the SSF white noise output, controlled by a Dixie "triangle" wave output running and synced at a slow rate. Noise output then running into the Mungo d0 adding little glitches to the signal. The kick drum is the Tiptop 808 BD, set with a very short decay time, sequenced from channel 1 on the TriggerMan. Rich 4 part harmony chords recorded from a Roland Jupiter-6, and then played from the Qu-Bit Nebulae module triggered in time by a divided 32 from the doepfer A-160 to reset loop playback with the entire sequence. Reverb throws from multiplied output from Mysteron into the intelljiel HexVCA, channel 6 being opened by channel 4 random S&H output from the Modcan Quad LFO. Scattered single notes via the Mutable Instruments Braids triggered by the intelljiel "uscale", 16 note lowpass gate openings via the Optomix. http://www.makenoisemusic.com/mysteron.html

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                  • Reebok ZJet

                    00:38

                    from RichardDevine Music&SoundDesign / Added

                    47 Plays / / 0 Comments

                    Reebok ZJet SFX Launch trailer, all sound effects and editing. Venables & Bell & Partners 2014.

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                    • MuffWiggler @ Tokyo Festival of Modular

                      06:26

                      from Muff Wiggler / Added

                      Fond memories of Tokyo, Japan. Earlier this year MuffWiggler had the pleasure of attending and exhibiting at Tokyo Festival of the Modular, this video highlights some of the fun.

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