Testing DECtalk native "singing" mode command
The first version is produced in normal text to speech, the second version is done by adding the "singing" command with the lower pitch possible. ([_<0,1>])
Here is the spoken text read from the SD card :
1. A robot may not injure a human being or, through inaction, allow a human being to come to harm.
2. A robot must obey the orders given to it by human beings, except where such orders would conflict with the first Law.
3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.
[_<0,1>]1. [_<0,1>]A robot may not injure a human being or, [_<0,1>]through inaction, [_<0,1>]allow a human being to come to harm.
[_<0,1>]2. [_<0,1>]A robot must obey the orders given to it by human beings, [_<0,1>]except where such orders would conflict with the first Law.
[_<0,1>]3. [_<0,1>]A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

Singing mode test with Asimov's Laws of robotics

Composer, artist, daydreamer | autism

My other accounts. 
https://on.soundcloud.com/FTfQF (old)
https://on.soundcloud.com/iivEZ 

Jeremy Keenan's creative practice has manifested as music, sound installation, multichannel audio, and immersive performance. He has performed and exhibited at venues like the Vienna MuseumsQuartier, Whitechapel Gallery, ICA, Roundhouse, Rich Mix, and Cafe Oto in London, the Museum of Contemporary Art in Galicia, Spain, and the Boston, USA Cyberarts Gallery, as well as various galleries and venues in Finland, Italy, Austria, USA and UK.

Jeremy is a director of the London-based sonic arts collective, Call & Response. With Call & Response, he has worked with artists like Jacob Kirkegaard, Robert Van Heumen, Steinbruchel, Mark Fell, Mats Lindstrom, Theo Burt, and Kaffe Matthews.

His current line of practice involves the development of new strategies in generative composition, live electronic music performance, and sound installation. This involves engaging with notions of feedback, the reconfiguration of familiar audio tools like speakers and microphones, and the communicative possibilities inherent in sound. Jeremy composes works using motion, recording, feedback, and light. 

Jeremy has a PhD from Goldsmiths College, London in Studio Composition. He is of no known relation to the anthropologist of the same name.


most of the music is straight from tiktok.  the other music is from a friend

A very industrial sound, you can imagine it being made by engineer’s toiling away day and night on secret machines being made as a force against the pop infested music in the charts, a sound that is very complex, full of swirling beats, distorted noises and a sheer disrespect for style, the music seems worn, distorted.. quite alike the feeling you get from watching an old video of when you were younger. Definitely an underground sound, yet very fun to listen to, full of twisted melodies and corrupt noises slowly feasting on your brain, made by the very cheerful character that is raffy, always looking to create something different and to have fun with his music.

Equipment and Progs : I work only on my pc, using Open Modplugtracker
Started Trackering : in 2003
Group Members : Just me.

a little bit of everything  including  Christmas  music 

What can you say about an artist who grew up in the sheltered village of Bergisch Gladbach, a suburb of Cologne, and who has enjoyed a classical music education since his childhood? Who next to his training on the piano, trombone and alphorn has also won numerous prizes on "Jugend musiziert", operated for years as a choirmaster and also worked with various church choirs?

These are the exact types of boys who are drawn to the untamed and juicy techno beats that can push a sound system to it's limits. This is also what our Roland decided to do. He has been schooling his ear for techno since he is thirteen years old and became to be a enthusiastic supporter of the Detroit school from an early age. He started to worship artists such as Charles Siegling, Jeff Mills, Petar Dundov and Secret Cinema. Very soon, he came to own analogue synthesisers and music software and tried himself as a producer. So far so good.

But in order to be a good techno producer, one needs a good label and a good mentor. After a confirming nod from Riley, his first release happened in February 2008 on Trapez ltd. Since then Roland has proven himself as a distinctive composer that produces with analogue instruments and rarely employs the usage of various music programmes. His method of producing has proven it's worth at the latest since the big successes of remixes from Minilogue's "Space", Lucio Aquilinas "Disco Bus" or Extrawelt's "Im Garten von Eben".

Roland's music is rhythm on a high level. He does not want to function as a ambassador and thus convey a message. For him, techno is functional. He is fascinated when the crowd can delve into the atmosphere of his music and this can be anything - from the highly ordered structures of total minimalism right up to the wild sample and effect chaos of general bass type sequential harmonies and total atonality. He enjoys the freedom of being able to move within this musical freedom.

Singing mode test with Asimov's Laws of robotics

Jean-Luc Deladrière