my favorite picks...no special order..newest additions at the end.
a new volume every 101 titles. this is the volume 11.

cloud.selector

cloud.selector vol.11

RichardDevine3

June 2015

Check out our BandPage on Facebook: http://listn.to/RichardDevine - Brought to you by http://www.rootmusic.com

RootMusic BandPage

more stuff that I like..:)

What the Fuck Yey

my favorite sounds in a playlist...no special order..newest additions at the end.
a new volume every 101 titles. this is the volume 11.

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.

TTAR - V.A. 001

Struggle Into The Unknown is created by a single sound source of locks and keys. An extensive amount of recording was done in order to capture the different sounds available within this field. I also built a Max/MSP tool to be used within the composition, as a different way to process the sound. 

The structure of the piece is important as it does follow a loose narrative, which is a reaction to the sound source used. The source of locks and keys has a number of connotations as to what locks and keys mean to people, but a common factor is the fact in which they will unlock something. Relating, the piece is a struggle and a frustrating, frantic and obsessive urge to get into what is locked. The piece starts by looking for a key, using only the sounds of keys in this section and then moves onto a section of only lock sounds. This represents the way in which you would unlock something. The sounds also reflects the human movement of trying different keys and different methods, expressed by the frantic short phrases that build and amount. Original sounds are very much present in the first half of the piece as we move through the key and lock sections, but also processed sounds are added to this to heighten the frantic movement. Within the lock section there is a shift in position as the timbre and movement of the sound acts as if as a listener we have gone inside the lock, hearing the mechanism from inside. Space plays a big part in the piece, and in this section absorbs the listeners in from what was a relatable personal space to a more in depth experience. Directional tendencies of the frantic struggle and constant movement throughout both sections has built into a tension and release development, shown by the turn of a lock, and the dynamically loud clunk.

The door is unlocked. The space in which you are in has changed. Where are you? How do you feel? Was it worth the struggle? Do you like where you are?
...
Get out!

Struggle Into The Unknown (LocksAndKeysSoundSource)

Stix(Hantasive 12'')

5yrs of deadmau5 available at iTunes: http://po.st/5yearsofmau5 

Listen on Spotify: http://po.st/5yearsofmau5playlist

Dillon Francis online: 
http://dillonfrancis.com/
https://twitter.com/dillonfrancis
https://www.facebook.com/DillonFrancismusic

mau5trap online:
http://mau5trap.com
http://facebook.com/mau5trap
http://twitter.com/mau5trap
http://instagram.com/mau5trap

Download at iTunes

deadmau5 - Some Chords (Dillon Francis Remix)

5yrs of deadmau5 available at iTunes: http://po.st/5yearsofmau5 

Listen on Spotify: http://po.st/5yearsofmau5playlist

Shiba San online: 
https://www.facebook.com/shiba.san
https://twitter.com/shibasanmusic

mau5trap online:
http://mau5trap.com
http://facebook.com/mau5trap
http://twitter.com/mau5trap
http://instagram.com/mau5trap

deadmau5 & kaskade - I Remember (Shiba San Remix) - Pete Tong Exclusive

https://soundcloud.com/groups/swift-noise

https://www.facebook.com/events/537677319700403

& , for background, my fav > http://www.theatlantic.com/entertainment/archive/2014/10/the-author-of-white-noise-reviews-taylor-swifts-white-noise/381771/ 

Musical Chairs < A Swiftian Satire

5yrs of deadmau5 available at iTunes: http://po.st/5yearsofmau5 

Listen on Spotify: http://po.st/5yearsofmau5playlist

Botnek online:
http://botnek.com/
https://www.facebook.com/botnek
https://twitter.com/botnek

mau5trap online:
http://mau5trap.com
http://facebook.com/mau5trap
http://twitter.com/mau5trap
http://instagram.com/mau5trap

5 years of mau5

Maths (Botnek Remix)

僕の歌声をクスクスされたので開き直ってひっそりこっそりup
そう自己顕示欲

ゴキブリのうた

Foxxconn Acrobatics : Give it All to The Cloud

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.

9 RICHARD DEVINE - CR HEX MUTANT

5 KINK - TAIL OF PRISMA

4 SURGEON - TECHNO BLUSH

3 BLAWAN - MEG

2 PHASE VI - THETA PHASE

1 ANGLE - FM

innova 923
https://www.innova.mu/albums/jane-antonia-cornish/continuum

Jane Antonia Cornish: Continuum I

Mark Applebaum: The First Decade + The Third Decade

1. Munma - The vow
2. Munma - Love past
3. Munma - Errant wave
4. Munma - Sagittarius
5. Munma & Al Rajul Al Hadidi - Mislead, deluded
Photography by Caroline Tabet

Misplacements//derailments & other disastrous attractions

Just released today my remix of bossFYTE on DETROIT UNDERGROUND
Lil' Dog Toes / Think About It ( Richard Devine Remix)
DETROIT UNDERGROUND 7-inch by bossFYTE.
Order Here:
https://bossfyte.bandcamp.com/track/think-about-it-devine-remix-2

BossFYTE - Think About It ( Richard Devine Remix)

Link to the video of the patch, recorded in one take here: https://vimeo.com/136165676

download to the .wav file :-)

Patch Notes:

Harmonic patch using the new MakeNoise tELHARMONIC is a Multi-Voice, Multi-Algorithm synthesizer, and 4ms Spectral Multiband Resonator. The master clock is the Tiptop Circadian Rhythms. Clock output running into the Modcan Touch Sequencer. Channel output one running into one intellijel Dixie (V1) for the bassline. Dixie output running into a Mutable instruments Ripples filter (LP4), triangle waveform. Second channel output sequencing quantized 8 note sequence to the telharmonic oscillator, creating the first lead sequence in the patch (major scale set). One Mult output taken and sent to the Strymon BigSky reverb pedal to create the delicate swarm pads that rise in and out at the builds. Amplitude control of the slow rises via the intellijel HexVCA, slow rate control from one Modcan Quad LFO. The other output is then taken and sent to the Qu-bit RT-60 reverb. Third output from the Modcan TS sending quantized CV to the MakeNoise STO oscillator variable SHAPE output then sent through lower section of the MakeNoise Optomix. The forth output from the Modcan TS is sending a 4 chord pattern (min9) to the intellijel shapeshifter module in chord mode. This output is then sent to another Qu-Bit RT-60 reverb algorithm. MakeNoise Mysteron plucking guitar like effect being triggered by a 4ms RCD, 5th trigger out. The Mysterson then is running out into a Strymon BlueSky pedal, reverb.

Drum sequencing from TipTop CR, channel one kick drum going to the Nord Drum 2. Second channel number 2 triggering a custom snare drum made on the Nord Drum 2. Channel 6 from the CR triggering a low bass drum, in the key of "C". Clock output from CR into the 4ms SCM being rotated by a intellijel dixie sine wave output running at a slow rate shifting the 16th's hi hat pattern. Noise source for hi-hats are the SSF quantum rainbow 2, purple output running into the MakeNoise Optomix. The high end snare clap sound is by the Synthrotek's DS-M drum module, then being lightly processed by the Synthrotek DLY, slowly CV controlled by a Modcan Quad LFO in random mode creating more glitchy effects. This is then being sequenced by channel number 2 from the tiptop CR. The first lower left side 4ms Spectral Multi-band Resonator processing 72 custom DSP samples, which are being played by one addac wave player. The output is then being sent to a intellijel uVCF filter (hi pass), for the light subtle glitch textures. The second 4ms Spectral Multi-band Resonator, processing another set of 32 samples (noise washes/slow rises/falls) via channel number 4 from the CR tiptop. From here the output is being processed by a Mutable Instruments Clouds (granular mode), being controlled by the Pittsburgh Modular Game System running "Meteor Shower" mode in which the explosion based gates and random control voltages are then being sent to 3rd Dixie, controlling the CV rate time then from there its sent to the "Freeze" input on clouds, processing small bits of audio coming from the second addac waveplayer, The second output coming from the gamesystem is going into the "position" input on Clouds, which is doing some additional glitching to the signal.Main output from a intellijel Mutagen mixer then ran through the Eventide space pedal for extra spatial atmosphere. :-)

Harmonic Symmetry - Modular Patch

Pan-Pot - The Other LP [SECOND STATE: SNDST013CD]
 
CD
Amazon: amzn.to/1FDEKbn
Decks: bit.ly/1VLguYG
Deejay: bit.ly/1iafUpc

DIGITAL
Beatport: btprt.dj/1LRHzlW
iTunes: apple.co/1Laz7DK

Video by Susi Sie:
https://vimeo.com/137354574

'The Other' is a body of work perfectly displaying Pan-Pot's growth as not only artists and individuals, but as a cohesive unit forged into one single, astute mind. Over the span of fourteen tracks the duo have showcased not only their impeccable knowledge of sound craft, but their uniquely diverse scope spanning an abundance of genres and influences.

@pan-pot
@secondstateaudio


Beatport

Pan-Pot - Sleepless Feat L.O.U

Link to the video of the patch, recorded in one take here: https://vimeo.com/139872178

download the free wave file :-)

Patch experiment using the Noise Engineering Variatic Erumption x 2, and Minigorille CV graphic modules x 2. Clock output from the Tiptop Circadian Rhythms into the CV Graphic input 1, left side (purple). Then another output from the TipTop CR taken to the right side (siliver) CV Graphic module. Output 4 from the Tiptop CR sent to the left side Variatic Erumption (ext gate to the hit jack input) which would send very slow burst of random gates. The CV Graphic CV output (PONG sequencer mode 2) A and B would output bouncing ball like CV voltages to the Variatic Erumption CV Pattern, and Time/Division input. This created some very organic scattered sequencing taking one output that was triggering a Snazzy Fx Ardcore running custom frac drums patch.

The other output was running into a trigger input on the Mutable instruments clouds, which is causing the light granular scattering in between the beats. Another output from the V.E. running into the Noise Engineering Basimilus Iteritas, for the FM pluck like percussion sound. Next output from VE running into a 4ms RCD, random triggering spaced out burst to the clock input. From here, the output was taken (4)out to the MakeNoise Optomix set slightly open, which was running a ALM's new "Akemie's Castle" dual voltage controlled oscillator, running out the chord output (OSC A). From the Akemie's Castle the output is going into a Tiptop Z-DSP processed with the The Halls of Valhalla card running program 7 (Asgard). Mult output also taken to the Strymon Big Sky pedal running in "Chorale" mode mix completely wet for delicate melodic swells. Making the rich choral timbres. Another gate output from the Noise Engineering V.E. running into the Mutable Instruments (mystery) module. Output from here sent to the Qu-Bit RT-60 effect module, which is also being triggered (for effects program change) via by the 5 division output from the 4ms Rotating Clock Divider.

Kick drum created using the MakeNoise telHarmonic module, running into a Optomix. Snare and hi-hat sounds courtesy of two Ladik D-333 Rom players. One running the Snares card, and another running hi-hats. Both outputs being summed into the Synthrotek DLY module. The delay input being modulated by a modcan QuadLFO output 1 slow S&H. First sequenced notes via the Mutable instruments Braids running the new "HARM" additive harmonics mode. The quantization was set to "Oinian". Second Braids for other harmony running the "OPSK" smooth sine like melody, VCA mode set to on, with short decay for pluck like quality. Signal for both braids are being sent to another Qu-Bit RT-60 running program number 1-Reverb. Quantization set to "Oinian". Bassline sound created with a Intellijel Shapeshifter output 1, then being run into intellijel uVCF filter in LPF input, then the signal goes out a Qu-Bit RT-60 in program 1 Reverb. 

Ascension - Modular Patch

Link to the video captured here in real-time: https://vimeo.com/150015591

Patch Notes:

This was a patch experiment using the new Mutable Instruments Rings/Clouds Modules, and trying to create strumming/plucking guitar like sounds within a patch. The inspiration came from playing around with the Clouds Parasites 1.3 alternate firmware running in the Resonator mode highlighting the "scatter" (or strum) function. The master clock was the Tiptop Circadian Rhythms module, taking the first 4 outputs into my Nord Drum 2 for the Kick, snare, closed and open hi-hats. From there the clock output from the CR was multiplied and then sent to the Modcan Touch Sequencer. First row output from the TS was sent to the intellijel Shapeshifter creating a two note baseline sequence that comes in at 1:58. The second sequence Row2 output from the TS was sent to the "ALM Akemie's Castle" module OSC A output using the chord function, that comes in at 25 seconds. The gates from the modcan where set to a 16th's pulse sequence. Modulation from the synthesis technology E102 Quad Temporal Shifter output 1 modulating the Multiplier input on Operator 1. The 2, 3 and 4 outputs from the E102 where also modulating the Operator 2, 3, and 4 inputs on the Akemie's Castle. This was creating the harmonic timbre changing as the sequence was playing.

The slowly evolving sweeping noise textures that come in at 1:09 is from the Music Thing Radio Music module. The sample was a white noise sampled lightly filtered and then sent to the intellijel HexVCA with the amplitude CV control via a Intellijel Dixie modulating from slow to high rates (free running). The Make Noise Rene was being externally clocked from the Circadian Rhythm, and was sending out a quantized output to the Mutable Instruments Clouds pitch input creating the chord guitar sequence. The strum sounds on Clouds was played by the 4ms QCD running in 32th division output into the Trigger input. The freeze input was also triggered by a Ladik R-110 Random clock module. The combination of the two created the trill chord like strums.

The bass guitar tone sound that comes in at 1:24 are from the MakeNoise Mysteron, that is being sequenced by the Modcan Touch Sequencer, Row Output 3 was programmed in the same key but a lower octave. The "Rings" module was creating slow attack soft high pitched chords in reverb that come around 2:50. There was additional processing of the Clouds output that was sent into the Tiptop ZDSP module running the "Halls of Vahalla" card program 8 "Ginnungagap" creating the high pitch octave deep reverb shimmer effects. The harmonic slow swells that come in at 3:30 where created using another intellijel Dixie oscillator sine output running into an Strymon "Big Sky" pedal being harmonically controlled by an intellijel µScale V1. The output was being played slowly then processed using the "Choral" mode, creating the slow shimmer swells. The entire mix was sent into the Eventide Space pedal using the "Corridors" patch.

Mutable Instruments Rings : mutable-instruments.net/modules/rings
Clouds Parasites firmware: mqtthiqs.github.io/parasites/clouds.html

Strum - Modular Patch

The Сhamber

4 March 2008 23:00-23:30 (Radio 4 FM)


Laurie Anderson profiles one of the most extraordinary writers and thinkers of the 20th century. William Burroughs was a leading figure of the Beat generation, hugely influential among musicians and artists from the 1970s to the present day and responsible for the dark side of American culture entering mainstream consciousness.

The programme features recordings of Burroughs's spoken word performances over a soundscape of noise and music from artists whom he inspired.


William Burroughs - Nothing Is True, Everything Is Permitted

Pitch Drip

In late 2009, Gur Milstein started building unique musical instruments in his Hollywood California lab. As the market for his creations got larger and hotter other like minded people, who are equally unconventional in their thinking about audio, joined him. Fast forward six years, and today some of the world’s finest electronic musicians synthesize their sounds and form their creations with Tiptop Audio instruments.

Tiptop Audio Records is all about the love of the synthesizer. It is the brainchild of the designers who celebrate these tracks made by artists bold enough to master this new technology. This integration between the Tiptop Synthesizer machine and man highlights the symbiotic relationship between technology wizards and the best of electronic music composers.

Fire up the PA, drop the needle on the record and push the faders up: this party is about a journey on a sea of sound waves!