Tipsy Uh-Oh! Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Tipsy Uh-Oh! mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Jazz Album: Uh-Oh! Country: Europe Released: 2001 Style: Leftfield, Space-Age, Downtempo, Easy Listening MP3 version RAR size: 1233 mb FLAC version RAR size: 1812 mb WMA version RAR size: 1752 mb Rating: 4.2 Votes: 813 Other Formats: DXD DTS APE WAV MP4 MP2 DMF Tracklist 1 Hard Petting 3:25 2 Papaya Freeway 2:51 3 Hey! 2:46 4 Sweet Cinnamon Punch 3:28 5 Neon Tetra 2:20 6 Wig Out 2:47 7 Reverse Cowgirl 3:02 8 Swallowtail 2:35 9 Moisture Seekers 3:10 10 Kitty Takes A Ride 2:53 11 Fur Teacup 3:03 12 Pink Mood 1:58 13 Bunny Kick 3:40 14 Suez Motel 3:22 15 XXXmas 2:26 16 Seaweed 3:21 17 Zombie's Mood 2:02 18 Eclipse Of The Sun Virgin 3:13 Credits Artwork – Travis Threlkel Drums – "Yuma Joe" Byrnes* Engineer – Xopher Davidson Flute, Clarinet, Saxophone, Horn – Ralph Carney Guitar – Joe Gore, Rick Maymi Guitar, Bass – Michael Padilla Keyboards, Percussion – Travis Threlkel Mixed By – Mixture 151 Organ, Organ [Optigan], Accordion – Rob Burger Piano – Vince Welnick Producer – Tipsy Producer, Engineer, Guitar, Bass – Alex Oropeza Sitar – Chandra Shukla Theremin – Alyssa Wendt, Scott Moffett Vibraphone [Vibes], Percussion – William Winant Voice – Chie Hayashi, Dana Hamblen, Mayumi Ota, Yuko Ueda Barcode and Other Identifiers Barcode (Text): 7 53027 20032 7 Other versions Category Artist Title (Format) Label Category Country Year ASP 2003 Tipsy Uh-Oh! (CD, Album) Asphodel ASP 2003 US 2001 none Tipsy Uh-Oh! (CD, Album, Promo) Asphodel none US 2000 ASP 2003 Tipsy Uh-Oh! (2xLP, Album, Ltd) Asphodel ASP 2003 US 2001 Related Music albums to Uh-Oh! by Tipsy Tingsek - World Of Its Own The Drastics - Outlaw Tracks rehgrafsivart - Southern Fried Keller Williams - Dream Viggo Mortensen - Please Tomorrow Jim White - Drill A Hole In That Substrate And Tell Me What You See The Imajinary Friends - The Imajinary Friends Tom Waits - The Black Rider Tom Waits - Franks Wild Years Carole Stirn - In The Mood.

Copy Link

Recommended publications

The Celesta Or Celeste Is a Struck Idiophone Operated by a Keyboard
The celesta or celeste is a struck idiophone operated by a keyboard. It looks similar to an upright piano (four- or five-octave), albeit with smaller keys and a much smaller cabinet, or a large wooden music box (three-oc- tave). The keys connect to hammers that strike a graduated set of metal (usually steel) plates or bars suspended over wooden resonators. Four- or five-octave models usually have a damper pedal that sustains or damps the sound. The three-octave instruments do not have a pedal because of their small “table-top” design. The sound of the celesta is similar to that of the glockenspiel, but with a much softer and more subtle timbre. This quality gave the instrument its name, celeste, meaning “heavenly” in French. The celesta is often used to enhance a melody line played by another instrument or section. The delicate, bell-like sound is not loud enough to be used in full ensemble sections; as well, the celesta is rarely given standalone solos. The celesta is a transposing instrument; it sounds one octave higher than the written pitch. Its (four-octave) sounding range is generally considered to be C4 to C8. The original French instrument had a five-octave range, but because the lowest octave was considered somewhat unsatisfactory, it was omitted from later mod- els. The standard French four-octave instrument is now gradually being replaced in symphony orchestras by a larger, five-octave German model. Although it is a member of the percussion family, in orchestral terms it is more properly considered a member of the keyboard section and usually played by a keyboardist.
[Show full text]
A History of Sampling
Organised Sound http://journals.cambridge.org/OSO Additional services for Organised Sound: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here A history of sampling HUGH DAVIES Organised Sound / Volume 1 / Issue 01 / April 1996, pp 3 - 11 DOI: null, Published online: 08 September 2000 Link to this article: http://journals.cambridge.org/abstract_S135577189600012X How to cite this article: HUGH DAVIES (1996). A history of sampling. Organised Sound, 1, pp 3-11 Request Permissions : Click here Downloaded from http://journals.cambridge.org/OSO, IP address: 128.59.222.12 on 11 May 2014 TUTORIAL ARTICLE A history of sampling HUGH DAVIES 25 Albert Road, London N4 3RR Since the mid-1980s commercial digital samplers have At the end of the 1980s other digital methods of become widespread. The idea of musical instruments which solving some of the problems inherent in high quality have no sounds of their own is, however, much older, not PCM began to be explored. In ®gure 1(b) pulse-ampli- just in the form of analogue samplers like the Mellotron, tude is shown as a vertical measurement in which but in ancient myths and legends from China and elsewhere. information is encoded as the relative height of each This history of both digital and analogue samplers relates successive regular pulse. The remaining possibilities the latter to the early musique concreÁte of Pierre Schaeffer and others, and also describes a variety of one-off systems are horizontal, such as a string of coded numerical devised by composers and performers. values for PCM, and the relative widths (lengths) of otherwise identical pulses and their density (the spac- ing between them).
[Show full text]
Optical Turntable As an Interface for Musical Performance
Optical Turntable as an Interface for Musical Performance Nikita Pashenkov A.B. Architecture & Urban Planning Princeton University, June 1998 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology June 2002 @ Massachusetts Institute of Technology All rights reserved MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 7 2002 LIBRARIES ROTCH I|I Author: Nikita Pashenkov Program in Media Arts and Sciences May 24, 2002 Certified by: John Maeda Associate Professor of Design and Computation Thesis Supervisor Accepted by: Dr. Andew B. Lippman Chair, Departmental Committee on Graduate Studies Program | w | in Media Arts and Sciences Optical Turntable as an Interface for Musical Performance Nikita Pashenkov Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on May 24, 2002, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences Abstract This thesis proposes a model of creative activity on the computer incorporating the elements of programming, graphics, sound generation, and physical interaction. An interface for manipulating these elements is suggested, based on the concept of a disk-jockey turntable as a performance instrument. A system is developed around this idea, enabling optical pickup of visual informa- tion from physical media as input to processes on the computer. Software architecture(s) are discussed and examples are implemented, illustrating the potential uses of the interface for the purpose of creative expression in the virtual domain.
[Show full text]
Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in Which Each Key Is a Water Jet
Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in which each key is a Water Jet Steve Mann, Ryan Janzen, Mark Post University of Toronto, Dept. of Electrical and Computer Engineering, Toronto, Ontario, Canada For more information, see http://funtain.ca ABSTRACT General Terms We present a musical keyboard that is not only velocity- Measurement, Performance, Design, Experimentation, Hu- sensitive, but in fact responds to absement (presement), dis- man Factors, Theory placement (placement), velocity, acceleration, jerk, jounce, etc. (i.e. to all the derivatives, as well as the integral, of Keywords displacement). Fluid-user-interface, tangible user interface, direct user in- Moreover, unlike a piano keyboard in which the keys reach terface, water-based immersive multimedia, FUNtain, hy- a point of maximal displacement, our keys are essentially draulophone, pneumatophone, underwater musical instru- infinite in length, and thus never reach an end to their key ment, harmelodica, harmelotron (harmellotron), duringtouch, travel. Our infinite length keys are achieved by using water haptic surface, hydraulic-action, tracker-action jet streams that continue to flow past the fingers of a per- son playing the instrument. The instrument takes the form 1. INTRODUCTION: VELOCITY SENSING of a pipe with a row of holes, in which water flows out of KEYBOARDS each hole, while a user is invited to play the instrument by High quality music keyboards are typically velocity-sensing, interfering with the flow of water coming out of the holes. i.e. the notes sound louder when the keys are hit faster. The instrument resembles a large flute, but, unlike a flute, Velocity-sensing is ideal for instruments like the piano, there is no complicated fingering pattern.
[Show full text]
Mellotron M4000D Soundcard 04, Page 1 of 2
Mellotron M4000D Soundcard 04, page 1 of 2 Here is the sound list for the third Digital Mellotron expansion card, Soundcard 04. Soundcard 01 is the internal card, Soundcard 02 is the first expansion card, Soundcard 03 is the second expansion card Soundcard 04 contains a total of 128 Orchestron, Optigan and Chilton Talentmaker sounds. Orchestron sounds (8 sounds, sampled from instrument): Cello Vocal Choir Flute French Horn Hammond B3 Pipe Organ Saxophone Violins Optigan sounds (61 sounds, sampled from instrument): Scales (21 sounds): B3 number 1 B3 number 2 B3 number 3 B3 number 4 B3 number 5 B3 + Leslie #1 B3 + Leslie #2 B3 + Leslie #3 B3 + Leslie #4 B3 + Leslie #5 Combo Organ #1 Combo Organ #2 Combo Organ #3 Combo Organ #4 Combo Organ #5 Oboe Harmonium Pipe Organ Saxophone Marimba Vocal Choir Mellotron M4000D Soundcard 04, page 2 of 2 Optigan sounds (continued): Chord sets (40 sounds): LoFif from instrument HiFi from mastertapes (4 missing) A01 Banjo Sing-Along A01 Banjo Sing-Along A02 Big Band Beat A02 Big Band Beat A03 Big Organ & Drums A04 Big Top Marching Band A04 Big Top Marching Band A05 Bluegrass Banjo A05 Bluegrass Banjo A06 Bossa Nova Style A06 Bossa Nova Style A07 Cathedral Organ A08 Cha Cha Cha! A08 Cha Cha Cha! A09 Champagne Music A09 Champagne Music A10 Classic Guitar in 4/4 A10 Classic Guitar in 4/4 A11 Country Sunshine A11 Country Sunshine A12 Country Walz A12 Country Walz B01 Dixieland Strut B01 Dixieland Strut B02 Down Home B02 Down Home B03 Easy Does It With Vibes B03 Easy Does It With Vibes B04 Folk & Other Moods Guitar
[Show full text]
PERFORMER ROLE CODES Role Code
PERFORMER ROLE CODES To help calculate the share of revenues that individual performers should receive from use of a sound recording, a performer is assigned a contributor category and role code. Role codes are split into a number of types – not all of which are eligible for payment. Each type is further sorted into different instrumental, vocal or studio personnel performances, so that it is easy to identify what each performer contributed to a sound recording. Payable roles are generally ones which provide an audible contribution to the final sound recording. Non-payable roles are generally studio activities which add no audible contribution to the final sound recording. PAYABLE ROLES There are a number of payable roles. These are broken down into groups depending on the activity or instrument being played. See below all of the roles within each group. BRASS Role Code Alphorn ALP Alto Horn ALH Alto Trombone ATR Alto Valve Trombone AVT Bankia BKA Bass Trombone BTR Bass Trumpet BTP Bass Tuba BTB Brass Bass BRB Bugle BUE Cornet CTO Corno Da Caccia CDC Dung-Chen DUN Euphonium EUP FanfareTrumpet FFT Flugelhorn FLH French Horn FRH Horn HRN Horn HOR Hunting Horn (Valved) HHN Piccolo Trumpet PCT Sackbut SCK Slide Trumpet STP Sousaphone SOU Tenor Horn TNH Trombone TRM Trompeta TOA Trumpet TRU Trumpet (Eflat) TEF Tuba TUB ValveTrombone VTR ELECTRONICS Role Code Barrel Organ BRO Barrel Piano BPN Beat Box BBX DJ D_J DJ (Scratcher) SCT Emulator EMU Fairground Organ FGO Hurdy Gurdy HUR Musical Box BOX Ondioline OND Optigan OPG Polyphon PPN Programmer
[Show full text]
Coalition Threatens Sewer
anmft. waiwfay. oct. » , im f - Houtewffe^s tweet potato product ft no pie in the sky MANCHF.STFR L S WORLD \ started reqiMMing' them," she Mrs. RobhuiM began to look int» ment were then established m a tV w A m o a tM J Urn sweet potatoes are shipfled Mrs. Robinson said the pies Had explained, admitting the ingre the idea o f cdmmercially prodbts MildiHghuildiHg that formerly Roused a whole to Cher-Dac. where tHtyare already been picked up b y m a jo r OPECstiakMfp Lgffjf PiNfelMitfir dients in her pies were “ pretty ingherpies. Although she had done Dairy l^wen. ITiecdmpaigropened grocery distributors, and the com 1 W IS *. iMtlm. — What gtarred basic — hot it was die prnmnlions some interior design and public skinned and processed into pie • tlw dupam of many a its doors May 15 and the i m Yam lining. Mrs. Robinson said about 27 pany recently signed a government OfiMet o f them that made them difrerent . ” relations work, she was “ basically E Sam pfes were s h ip j^ in Jbne. teaws qiigfflofw resigfw hoop K » iMtMMiafeier has bMome mriity for pies were protkiced from each contract allowing It to market the She said she had never really a housewife.” f 'The product logo — Yam E Sam, ‘IMsaM >Bi1i0 r 8 RoWnson Sl^poond box of yams. pies on 90 military bases thought about pursatng mass pro Suddenly. Mrs.'Robinson found a caricature of a sweet potato p a g v S IS WiW- RoMiisofi is fouMdei* and . M il in its infancy, the company nationwide.
[Show full text]
Roundrobin Notes
Origin Lodge Round Robin 4. DREN'S START: “Now It’s My Turn” Jan 29, 2010 Dren: Bass clarinet/noises/airy mallets/processed celli/steam piano noise 1. NAT'S START: "The Icy Yes" Sklark: Drumzamplez (or “Mantra of a Reformed Escalator Fetishist") Kelek: Banjo Nat: Bass Nat: Guitars Kawa: Crackly optigan at end Kawa: Piano, brush pulse Dan: Guitar Melody, Tube Instrument Dan: Lead vox, Mixing Dren: Gamelan bells, tuned drums Mystery Artist: Electric rockin guitar solo 5. SKLARK'S START: “The Order of the Alchemist Sklark: Piano Generals of Origin's Gilded Dawn” Jax: Drum loops (or “O-Lodge 2010”) Kelek: Mixing/Arrangement Sklark: Synthesized vox, plus midi files Kelek: Percussion Nat: Synth bass 2. KAWA'S START: “You the Unfaithful!!!” Kawa: Vox and distorto vox Kawa: Optigan Dan: Guitar fills, rhythm guitar Dan: Bass, Angle 1, Angle 2, Bar, Drill, Saw, Sheet Jax: MIDI organ Dren: Piano/accordion/creepy noises/drum Dren: Mixing, junk perc, strings, a loop or two & boys loops/backwards piano choir Sklark: Organ Kelek: Vox & lyrics Lyrics (by Steven): Nat: Guitar & vox Oo - Fear will chain your soul in prison Jax: Acoustic gtr, Mixing Oo - Free your heart in the Lodge of Origin Lyrics (by Kelek): It was nearly nine years ago today Slumped in the bus was the long faced man When the founders made the game and taught us how to With the barely indistinguishable Cancun tan play He began to sing the sorry song The Tiger Supreme and the Baleful Wizard For the lady who had passed him on Wrote the sacred book and showed us the way Barely had he bottomed
[Show full text]
Basic Collection Soundlist
Basic Collection Soundlist: 1 2 Cellos 51 Mixed Brass 2 2 2 Trombones – 2 Trumpets 52 Mixed Brass B 3 3 Violins (Studio) 53 MkI CRIMSON Organ (STREETLY Tron’s 50th Anniversary) 4 3 Violins (Vintage 1) 54 MkI Marimba (STREETLY Tron’s 50th Anniversary) 5 Augmented String Section 55 MkII (Lowrey) Church Organ (Studio) 6 Bassoon (Vintage 3) 56 MkII CRIMSON 3 Violins (Vintage 1) 7 Boys Choir (Studio) 57 MkII 3 Violins (Vintage 1) 8 Brass B (Vintage 1) 58 MkII French Accordion 9 Bul-Bul-Tara 59 MkII Harpsichord Effect 10 Celeste 60 Moog Bassnotes 11 Cello (Vintage 1) 61 Moog Brass (Vintage 2) 12 Chamberlin Bass Clarinet (Harry’s Collection) 62 Moog Brass 2 13 Chamberlin Mandolin 63 Moog Taurus / MkII Violins + Brass (Studio) 14 Chamberlin Piano (Harry’s Collection) 64 Mystic Grand Piano 15 Chamberlin Rhythmate 35 (Harry’s Collection) 65 Octave String Section 16 Church Organ (Studio) 66 Optigan Majestic Pipe Organ 17 Church Organ (Vintage 1) 67 Orchestra 2 18 Church Organ revised 68 Paravicini Solo Cello (Studio) 19 Combined Choir 2 69 PE 1000 Pipe Organ 20 Eerie 70 Philharmonic Strings 21 Eminent 310 Equinoxe Strings (Vintage 3) 71 Pro-Soloist French Horn 22 Eminent 310 Equinoxe Strings Low 72 Pro-Soloist Trumpet 23 Farfisa Compact Organ 73 Recorder 24 Female Choir (Studio) 74 Roland Vocoder Plus Choir (Vintage 3) 25 Flute (Studio) 75 Second Flute 26 Flute (Vintage 1) 76 Sigma Double Reed 27 GC 3 Brass (Studio) 77 Sitar + Tambura 28 GENESIS 8 Choir (Studio) 78 Sitar 2 29 GENESIS 8 Choir (Vintage 1) 79 Solina Orchestra 30 Gothic (STREETLY Tron’s
[Show full text]
Owner's Manual
- Owner’s Manual - - Quick Start - Copyright ©2019 Quilter Labs IMPORTANT SAFETY INSTRUCTIONS 1 – Read and keep these instructions. 2 – Heed all warnings and follow all instructions. 3 – WARNING: To prevent fire or electric shock, do not expose this equipment to rain or moisture. Do not use this apparatus near water. 4 – Clean only with a dry cloth. 5 – WARNING: To prevent excessive temperature rise, operate product only in free air with unrestricted ventilation. Do not install in confined spaces or near heat sources such as radiators, heat registers, stoves, or other apparatus that produce heat. 6 – Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding plug has two blades and a grounding prong. The wide blade or third prong is provided for your safety. If the provided plug does not fit your outlet, consult an electrician for the replacement of the obsolete outlet. 7– Protect the power cord from being walked on or pinched, particularly plugs, convenience receptacles, and the point where they exit from the apparatus. 8 – Unplug the apparatus during lightning storms or when unused for long periods of time. 9 – The appliance coupler (or attachment plug) is the mains disconnect device and should remain readily accessible when the unit is in use. 10 – Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
[Show full text]
Not Compatible with Original Optigan, Orchestron, Or Talentmaker Players
The very first Panoptigon disc featuring a full 60 tracks of sonic awesomeness! Not compatible with original Optigan, Orchestron, or Talentmaker players. Panoptigon format discs will only be playable on Panoptigon- not on vintage Optigans or Orchestrons! We wanted to make a very basic, broadly-applicable sound akin to the Optigan “Big Organ & Drums” disc. This seemed a good opportunity to present a simple analog synthesizer type sound, since the Panoptigon disc format features 60 tracks, and is mapped to allow for a full 60 keys of chromatic tones. Think of it as a “Super Orchestron” disc with essentially 5 octaves instead of 3. Various typical raw analog waveforms are mapped across the keys, with the notes slowly pulsing in and out in different phases, producing a breathing, organic effect that’s particularly well-suited to all of the Panoptigon’s onboard effects. Apart from the Panoptigon’s hall reverb, no other effects or EQ were applied in this demo. Disc Care and Handling • Handle your discs with care to ensure maximum life. Like a fine phonograph record, take precautions to prevent the disc from being scratched. • Always return the program disc to its sleeve and jacket when it’s not being played, and store it flat. • Although you can hold a disc with your fingers, they should be clean and free of contami- nants. • If a disc does become contaminated, NEVER USE WATER TO CLEAN IT. Clean it with a mi- crofiber cloth, supplemented by a high-quality commercial film cleaner containing a lubri- cant. Read all usage instructions carefully! Some film cleaners dry rapidly, some slowly, and some have potentially dangerous chemicals that require ventilation when being used.
[Show full text]
The Hollywood Reporter Page 1 of 3
Remembering Sparklehorse's Mark Linkous - The Hollywood Reporter Page 1 of 3 Remembering Sparklehorse's Mark Linkous 11:14 AM PST 12/30/2010 by Sofia M. Fernandez SHARE 11 Like 27 Send 0 Comments (#comments) Mark Linkous , the man behind the indie rock band Sparklehorse , took his own life on March 6. He was 47. His last two published recordings as Sparklehorse -- Dark Night of the Soul , a multimedia collaboration with David Lynch and Danger Mouse that was tied up in legal wrangling with EMI for a year, and 2009's In the Fishtank with Austrian experimental musician Christian Fennesz -- capped off a career marked by critical acclaim and personal struggles with depression and drugs. Linkous' music was fragile, earnest and experimental. He could also rock. He was a one-man band, oftentimes playing all of the instruments on a track; from guitar, bass and piano to all manners of keyboard -- pump organ, optigan, chamberlain, mellotron -- to various sound-manipulating combos derived from stripped microphones, drums, distortion pedals or tape looping. Linkous wasn't always into generating music this way, but once it took hold, Sparklehorse's sound was created. David Lowery , frontman of Cracker and Camper Van Beethoven , spent a lot of time with Linkous in the 90s while they both lived in Richmond, Virginia. He tells The Hollywood Reporter that there was a marked progression in Linkous' style after that period, "It was funny because Mark ended up doing a lot of collaborations and things with people that had a lot of electronic elements. When I first met him I remember he was almost allergic to the sound of a drum machine and he ended up basing a lot of Sparklehorse sound around the fact that there would be drum machine a lot of times in area that was rock." Linkous' career took off in earnest in 1996 when Sparklehorse opened for Radiohead on their OK Computer European tour.
[Show full text]