100SILEX, de 0 à 100 s: Noise
1517 THE MUTANT MACHINE Dynamic Analog Percussion Engine
MICROCONTROLLER FREE ANALOG PERCUSSION SYNTHESIS unique Inverter Core oscillators form the MEMBRANE. Each analog oscillator has three waveforms to select from capable of synthesizing everything from heavy-hitting bassdrums to classic 909-style snares and other complex timbres modular design gives the Machine many auxiliary purposes, great for modular sound design of many varieties, and not just percussion the SNAPPY section is comprised of a voltage controlled noise oscillator, for modelling the noisy part of drum timbres both MEMBRANE and SNAPPY elements have an external input for replacing the built-in sound sources, opening up many avenues of possibility 13 control voltage and audio inputs, for a fully modular drum experience 7 audio and CV/gate outputs for maximum integration with other modules dedicated outputs for each WAVE and NOISE oscillator mean you can use the Machine as a complex VCO in your system, when not synthesizing percussion WAVEFORM SCANNING FEATURE GENERATES COMPLEX TIMBRES the MEMBRANE’s waveforms can be scanned through automatically by the wavescanner’s voltage controlled clock generator, or an external clock or VCO can be used SCAN FREQ CV forms a unique form of timbre control, making the Machine act like a complex oscillator at its WAVES output the ENABLE input allows you to gate the wavescanner on and off with a CV or gate signal ARCHITECTURE OF THE MACHINE The Mutant Machine is a dynamic analog instrument capable of generating a wide palette of sounds, ranging from various forms of analog percussion to complex drones and oscillations. To achieve this, the Machine features two synthesis sections which are summed together at the final output: MEMBRANE and SNAPPY. Like the other Mutant Drums, the MEMBRANE and SNAPPY circuits began their mutation as classic analog percussion techniques and have been reimagined for 21st century modular synthesis. The MEMBRANE forms the main body of the sound by way of two analog VCOs, and the SNAPPY section further adds to the timbre by contributing noisy elements to the mix. A noisy CLICK which occurs at the beginning of the SNAPPY sound can have its volume adjusted independent of the main decaying SNAPPY texture. The waveforms which make up the MEMBRANE can be selected manually by button press, or the WAVESCANNER can be used to automatically scan through the available analog waveforms. By modulating the frequency through which waves are scanned, unique, complex sounds are created. Experimentation is encouraged by the many modulation inputs and outputs available to you. The Machine features 8 CV and gate inputs for modulation as well as two external audio inputs, for bringing other modules into the Machine’s core. There are many audio outputs for maximum versatility, allowing you to use the Machine to create drones and alien timbres for use elsewhere in the modular analog system.
http://www.hexinverter.net/mutant-machine

1515 Patternicity: Finding Meaningful Patterns in Meaningless Noise - Scientific American

http://www.scientificamerican.com/article/patternicity-finding-meaningful-patterns/

1454 Old Europa Cafe: ELECTRIC SEWER AGE [COIL] - Bad White Corpuscle (OLD EUROPA CAFE)
ELECTRIC SEWER AGE [COIL], Bad White Corpuscle, OLD EUROPA CAFE ,music, label, mailorder, industrial, neo folk, dark ambient, neo pop, neo classic, martial, noise, minimal, ambient, ebm, traditional, neo cabaret, military pop, combat folk, power electronics, etheral, heavenly voices, apocalyptic folk, black ambient
http://www.oldeuropacafe.com/main.php?nav=pd&prdct=12564

1422 p h o n o g r a p h y . o r g
phonography, field recordings, sound, sonic, environment, community, ambient, noise, independent, sampling, electronic, microphones, compilations
http://www.phonography.org/index.htm

1366 NoiseGuide - View Forum - Gear

http://forum.noiseguide.com/viewforum.php?f=2

1319 therevox : custom musical instruments
Inspired by the Ondes Martenot s au ruban controller, the ET-4 is controlled by moving a finger along a reference keyboard shaped to provide tactile feedback. Dual pressure sensitive intensity keys control the amplitude of the ET-4 s two independent analog oscillators. Combined with a filter, white noise generator and internal spring reverb the ET-4 is an expressive and versatile performance synthesizer.
http://therevox.com/

1288 Twitter / makenoisemusic : pressure points
Make Noise @makenoisemusic @nihadtule no need for combiner, use multiple or @tiptopaudio stackcables. Pressure Points Gate outs are designed to be combined at input. Répondre Retweeter Favori Plus 9:41 AM - 28 Mars, 13
https://twitter.com/makenoisemusic/statuses/317315487019192321

1172 INDEX: Blank Cassettes | Tape Tardis
CASSETTE TYPES The Type I Normal Bias Cassette The Type II Chrome Cassette The Type III Ferro-chrome/Ferrichrome Cassette The Type IV Metal Cassette INDIVIDUAL CASSETTES 1980s White Label High Bias Agfa FeI Ferrocolor HD (1983) Agfa High Engery Low Noise (1976) Akai SX 90 BASF Chromdioxid II (1982) BASF Chromdioxid II (1984) BASF Chromdioxid Super…
http://tapetardis.wordpress.com/contents-index/

1097 synth books
Here's a list of books relating to synthesizers and electronic music that we think are worth reading. Click on the image to go to Amazon.com and view more information and purchase them. Feel free to suggest a book. We do not sell books. Synthesizers.com Modular Analog Music Synthesizers Synthesizers.com, synthesizer, synth, synthesizers, modular, analog, arrick, analogue, keyboard, music, sound, effects, patch, vco, vcf, vca, ladder, oscillator, voltage control, low pass, filter, amplifier, envelope generator, CD, MP3, reverb, pan, fade, mixer, noise, sample, hold, sequencer, roland, moog, SEM, oberheim, yamaha, arp, 2500, 2600, vintage, vocoder, filter bank, ring modulator, sampler, clipper, rectifier, fuzz, multiple, processor, switch, interface, state variable, noise
http://www.synthesizers.com/books.html

1073 vicmod
make noise interview makenoise
http://vicmod.blogspot.com/2009/04/make-noise-are-not-just-another-euro.html

1007 Advanced Programming Techniques for Modular Synthesizers / Nord Modular
1 Introduction 1.1 The Purpose of this Document 1.2 Acknowledgements 2 Oscillator Waveform Modification 2.1 Sync 2.2 Frequency Modulation Techniques 2.3 Wave Shaping 2.4 Vector Synthesis 2.5 Wave Sequencing 2.6 Audio-Rate Crossfading 2.7 Wave Terrain Synthesis 2.8 VOSIM 2.9 FOF Synthesis 2.10 Granular Synthesis 3 Filter Techniques 3.1 Resonant Filters as Oscillators 3.2 Serial and Parallel Filter Techniques 3.3 Audio-Rate Filter Cutoff Modulation 3.4 Adding Analog Feel 3.5 Wet Filters 4 Noise Generation 4.1 White Noise 4.2 Brown Noise 4.3 Pink Noise 4.4 Pitched Noise 5 Percussion 5.1 Bass Drum Synthesis 5.2 Snare Drum Synthesis 5.3 Synthesis of Gongs, Bells and Cymbals 5.4 Synthesis of Hand Claps 6 Additive Synthesis 6.1 What is Additive Synthesis? 6.2 Resynthesis 6.3 Group Additive Synthesis 6.4 Morphing 6.5 Transients 6.7 Which Oscillator to Use 7 Physical Modeling 7.1 Introduction to Physical Modeling 7.2 The Karplus-Strong Algorithm 7.3 Tuning of Delay Lines 7.4 Delay Line Details 7.5 Physical Modeling with Digital Waveguides 7.6 String Modeling 7.7 Woodwind Modeling 7.8 Related Links 8 Speech Synthesis and Processing 8.1 Vocoder Techniques 8.2 Speech Synthesis 8.3 Pitch Tracking 9 Using the Logic Modules 9.1 Complex Logic Functions 9.2 Flipflops, Counters other Sequential Elements 9.3 Asynchronous Elements 9.4 Arpeggiation 10 Algorithmic Composition 10.1 Chaos and Fractal Music 10.2 Cellular Automata 10.3 Cooking Noodles 11 Reverb and Echo Effects 11.1 Synthetic Echo and Reverb 11.2 Short-Time Reverb 11.3 Low-Fidelity Echo and Reverb 12 Distortion Effects 12.1 Distortion using Nonlinearities 12.2 Multiband Distortion 12.3 Polynomial Distortion 12.4 Distortion using Time-Variant Systems 13 Frequency and Pitch Shifting 13.1 Frequency Shifting 13.2 Pitch Shifting 14 Spatialization 15 Emulating Classic Synths 15.1 General Guidelines 15.2 Yamaha DX7 15.3 Octave Cat 15.4 ARP Odyssey 15.5 Casio 15.6 Hallsey Mark 1 and 2 15.7 Other Emulations
http://www.cim.mcgill.ca/~clark/nordmodularbook/nm_book_toc.html

967 Anarchestra: www.anarchestra.net
Anarchestra is a group of exerimental musical instruments and the people who play them. The instruments, built by Alex Ferris, are predominantly steel with a few adapted parts, such as tuning machines and mouthpieces. The instruments were built to encourage non-musicians to explore the making of sound, to allow experienced musicians to make sound unconstricted by their technical habits and preconceptions, and to provide an alternative vocabulary of musical sounds. Musical Instrument Construction,Musical Instrument Design,Experimental Musical Instruments,Experimental Music,New Music,New Musical Instruments,Avant-Garde Music,Improvisation,Collective Improvisation,Free Jazz,Anarchist Music,Anarchist composition,Anarchist Aesthetics,Aesthetics of music,Music theory,Alternative Music,Alternative Tuning,Steel Musical Instruments,Welded Musical Instruments,Punk,Noise,Noyz,21st century music,post-modern music
http://www.anarchestra.net/

916 HughLeCaine.com - Bonjour
Biographie On a qualifié le scientifique et compositeur canadien Hugh Le Caine (1914-1977) de "héros" de la musique électronique. Il a grandi à Port Arthur (maintenant Thunder Bay) dans le nord-ouest de l'Ontario. Très tôt, il a commencé à construire des instruments de musique et à expérimenter avec des appareils électroniques. Dans sa jeunesse, il imaginait des "sonorités merveilleuses" qu'il pensait pouvoir réaliser à l'aide de nouvelles inventions électroniques. Hugh Le Caine travaillant dans le laboratoire de physique de l'Université Queen à Kingston en Ontario, en 1938 Après l'obtention de son diplôme de maîtrise en science à l'Université Queen en 1939, il s'est joint au Conseil national de recherche du Canada (CNRC) à Ottawa. Il a travaillé au développement des premiers systèmes de radar et en physique atomique, se distinguant comme scientifique et publiant d'importants articles dans ces domaines. Chez lui, il poursuivait ses recherches en musique électronique et en génération de son. Il a monté son studio personnel en 1945 où il a débuté son travail indépendant sur la conception d'instruments de musique électroniques tels que la sacqueboute électronique, un instrument monophonique très élaboré qui est maintenant reconnu comme le premier synthétiseur contrôlé par tension. Par la suite, Le Caine a développé des systèmes de contrôle par tension pour une grande variété d'applications. En 1948, Le Caine est parti en Angleterre pour quatre ans où il a fait des études en physique, poursuivant son travail en musique électronique à son retour au Canada. Grâce aux démonstrations publiques de ses instruments, il a obtenu la permission de déplacer ses activités musicales au CNRC et de s'y consacrer à plein temps en 1954. Pendant les vingt années qui ont suivi, il a construit plus de vingt-deux nouveaux instruments différents. Il a collaboré au développement de deux des premiers studios de musique électronique à l'Université de Toronto (inauguré en 1959) et à l'Université McGill à Montréal (inauguré en 1964). Le laboratoire de Le Caine au CNRC a fourni pratiquement à lui seul l'équipement pour ces deux premiers studios. Les composantes de la saqueboute ont été séparées en unités indépendantes - ou modules - permettant au compositeurs de leur assigner une tâche spécifique au sein d'un ensemble. Le Caine a enseigné aux deux universités et a influencé toute une génération de compositeurs de musique électroacoustique. Ses nombreux articles et démonstrations personnelles ont eu un effet catalyseur dans la communauté canadienne et internationale. Il a exercé une influence indirecte sur le développement du synthétiseur modulaire Moog par l'entremise de Gustav Ciamaga, qui était familier avec les filtres de Le Caine et qui a par la suite encouragé Robert Moog à développer son filtre passe-bas contrôlé par tension. Un des aspects les plus importants des instruments de Le Caine est sans doute leur efficacité pour la performance, leur maniabilité. Son obsession pour le "beau son" l'a conduit à concevoir des instruments capables de produire un jeu expressif nuancé caractéristique de la tradition orchestrale. Il avait un sens aigu des besoins de l'interprète afin que celui-ci puisse exécuter les gestes qui, selon Le Caine, constituent l'essence de la musique. À cet égard, la sensibilité au toucher a été un élément essentiel et a été utilisée pour les claviers, les mixeurs et autres composantes, sous des formes d'application mécanique, électronique et au moyen de la sensibilité à la lumière. Sur ce point, les conceptions de Le Caine étaient tellement avancées que certaines des possibilités qu'il a développées n'ont connu d'application commerciale que dans les années 1980. Idéalement, un instrument de musique devrait offrir de bonnes qualités sonores et une certaine flexibilité dans son contrôle. Or ces deux objectifs ne sont pas toujours compatibles. Les instruments traditionnels exigent habituellement une longue formation avant que l'interprète puisse tirer parti de leurs qualités musicales. Dans la conception de ses instruments électroniques, Le Caine a tenté de mettre l'accent sur la maniabilité de l'instrument sans compromettre l'intégrité de la musique. Chacune de ses créations est une étude unique sur l'équilibre et le raffinement. Sur le CD, HUGH LE CAINE, COMPOSITIONS, DOMONSTRATIONS 1946-1974, nous pouvons entendre les enregistrements réalisés par Le Caine, où il explore et fait la démonstration des possibilités qu'offrent huit de ses instruments. Dripsody, sa composition de 1955 construite à partir du son d'une seule goutte d'eau, compte encore parmi les exemples les plus joués de musique concrète. Malgré l'accueil favorable que ses compositions ont à juste titre connu, Le Caine a conservé une attitude critique à leur égard : "Je ne me considérais pas comme un compositeur. Toutefois, j'ai senti que la seule façon de comprendre l'intérêt du compositeur pour un instrument était de l'utiliser moi-même dans les différentes formes musicales actuelles." Son humour dépréciateur à l'égard de lui-même est évident dans certains des titres qu'il a donnés à ses compositions, tel que A Noisome Pestilence (le titre est un calembours : l'anglais "noisome" signifie répugnant ou fétide, mais suggère également "noise" qui signifie bruit, d'où la traduction adoptée, "Une peste bruyante"). Lorsqu'on lui a demandé pourquoi il avait nommé sa première composition Dripsody, il a répondu : "Parce qu'elle a été écrite par une goutte."
http://www.hughlecaine.com/fr/

894 Sonic State - News (Video Item) WNAMM11: Make Noise PhonoGene, Tape splicer and looper
(Video Item) WNAMM11: Make Noise PhonoGene, Tape splicer and looper Synths, Make Noise, WNAMM11: Make Noise PhonoGene,Tape splicer and looper Tony Rolando from Make Noise shows off his new PhonoGene Tape splicer/ Looper Eurorack module. A mix of sampler, splicer and tape echo in digital form it can dice up your audio sample and give you control over many parameters in real time. Also on show was the new Modumix balanced modulator and the Timbre Mixer a low pass gate with a damper circuit. All should be available Q1 2011
http://www.sonicstate.com/news/2011/01/21/wnamm11-make-noise-phonogene/

890 Make Noise PhonoGene, Tape splicer and looper
(Video Item) WNAMM11: Make Noise PhonoGene, Tape splicer and looper Synths, Make Noise, WNAMM11: Make Noise PhonoGene,Tape splicer and looper Tony Rolando from Make Noise shows off his new PhonoGene Tape splicer/ Looper Eurorack module. A mix of sampler, splicer and tape echo in digital form it can dice up your audio sample and give you control over many parameters in real time. Also on show was the new Modumix balanced modulator and the Timbre Mixer a low pass gate with a damper circuit. All should be available Q1 2011
http://www.sonicstate.com/news/2011/01/21/wnamm11-make-noise-phonogene/

872 Boomkat - Your independent music specialist
Boomkat - A specialist music website selling VINYLs, CDs, DVDs and DIGITAL DOWNLOADS, brought to you by a dedicated team who have been operating in this field for 10 years - building up a huge resource of information and opinion about music that exists beyond the radar... Our product extends to cover the most underground forms of Electronic music, Hip Hop, Post-Folk, Alt.Country, IDM, Electro, Acoustica, Post-Rock, Ambient, Micro House, Detroit Techno, Mentalism, Electropop, Indiepop, Grime, Free Jazz, Modern Composition, Cologne Techno, Future Disco, Drone, Sublow, Soundtracks, Noise and out and out post-generic objects of wonder. Electronic Music, Electronica, IDM, Warp, Autechre, Aphex Twin, Boards Of Canada, Arovane, Bola, Experimental, Dance, Dance Music, Records, Vinyl, Skam, CCO, Morr Music, Kid 606, Isan, City Centre Offices, Pole, Matmos, Anticon, Mush, Schematic, Drexciya, Hip Hop, Mille Plateaux, VVM, Ryoji Ikeda, Fennesz, Mego, Raster Noton, Rephlex, Squarepusher, Skanfrom, Marumari, Force Inc, Stereolab, Herbert, Geiom, Neo Ouija, Tzadik, Team Doyobi, Black Dog, Ulrich Schnauss, Opiate, Bjork, Thrill Jockey, Scape, Gonzales, Benge, Toytronic, Gimmik, Abfahrt Hinwil, Kompakt, Berlin, Tigerbeat 6, Cex, Twerk, Neuton, Maurizio, Tikiman, Prefuse 73, Akufen, Cologne, A-Musik, Boomkat, Boomcat
http://boomkat.com/

807 La compression démystifiée - Audiofanzine
Dossier La compression démystifiée cours, article, apprendre, articles, processeur de dynamique, processeurs de dynamique, compression, expanseur, gate, limiteur, maximiseur, noise gate, compresseur
http://fr.audiofanzine.com/processeur-dynamique/editorial/dossiers/la-compression-demystifi-e.html?utm_source=facebook

590 Infernal Noise Machine Standalone Device » Flight of Harmony - New ways to make noise.
synth
http://www.flightofharmony.com/product-lines/inm/infernal-noise-machine-standalone-device

567 Alesis Andromeda A6 Analog Synthesizer step sequencer
Alesis Andromeda A6 Analog Synthesizer step sequencer (C) the Sequencer.de Synth DBase Alesis, Andromeda A6, Analog Synthesizer, step sequencer, mmsynth, synthesiser, gear Analog Synthesizer ALESIS AndromedaA6 built in 2000 16 Voices / Stimmen 16x Multitimbral Memory / Speicher standard info © sequencer.de value / Gebrauchtwert 1750 € in 2005 (not rare) Tech lin + exp FM hard+soft sync ring filterFM subtractive analog hybrid tech: no Waves pulse saw triangle sine noise white pink red 2 OSCs + 2 Sub, 2 Filter lpf hpf bpf notch self reso 2-4 Pole info © sequencer.de 3 LFOs pulse sym triangle saw random noise, 3 ENVs ADLDSRR loop info © sequencer.de Ctrl/Trig midi deluxe, 0 Keys repond to AT/VEL velocity aftertouch Arpeggiator yes advanced Sequencer step sequencer © sequencer.de - do not use this on ebay or site without permission/backlink! no copies/derivates/modification! read disclaimer click images to enlarge - auf bilder klicken zum vergroessern. - SynthID#157 - INFO: LEGEND / LEGENDE<
http://www.sequencer.de/syns/alesis/AndromedaA6.html

464 Ksplice » Attack of the Cosmic Rays! - System administration and software blog
It’s a well-documented fact that RAM in modern computers is susceptible to occasional random bit flips due to various sources of noise, most commonly high-energy cosmic rays. By some estimates, you can even expect error rates as high as one error per 4GB of RAM per day! Many servers these days have ECC RAM, which uses extra bits to store error-correcting codes that let them correct most bit errors, but ECC RAM is still fairly rare in desktops, and unheard-of in laptops. For me, bitflips due to cosmic rays are one of those problems I always assumed happen to “other people”. I also assumed that even if I saw random cosmic-ray bitflips, my computer would probably just crash, and I’d never really be able to tell the difference from some random kernel bug. A few weeks ago, though, I encountered some bizarre behavior on my desktop, that honestly just didn’t make sense. I spent about half an hour digging to discover what had gone wrong, and eventually determined, conclusively, that my problem was a single undetected flipped bit in RAM. I can’t prove whether the problem was due to cosmic rays, bad RAM, or something else, but in any case, I hope you find this story interesting and informative.
http://blog.ksplice.com/2010/06/attack-of-the-cosmic-rays/

463 Combien de fabricants de modules Eurorack ?
I'm mainly compiling this list for my own reference. If anyone knows of another make, let me know. Eurorack synthesizer module makers, 2010: 4ms (USA) http://www.4mspedals.com/eurorack.php Analogue Solutions (UK) http://www.analoguesolutions.co.uk/ Analogue Systems (UK) http://www.analoguesystems.co.uk/index2.htm Bananalogue (USA) http://bananalogue.com/ Bubblesound (USA) http://www.bubblesound-instruments.com Cwejman (Sweden by way of Poland) http://www.cwejman.net/ Cyndustries (USA) http://www.cyndustries.com/modules.cfm Doepfer (Germany) http://www.doepfer.de Elby Designs (Australia) http://www.elby-designs.com/panther/panther.htm Encore Electronics (USA) http://www.encoreelectronics.com/ Endangered Audio (USA) http://smashingguitarsasheville.com/endangered-audio FLAME (Germany) http://flame.fortschritt-musik.de/start.htm Flight of Harmony (USA) http://www.flightofharmony.com/ Future Sound Systems (UK) http://www.futuresoundsystems.co.nr Harvestman (USA) http://www.theharvestman.org/menu.php Hinton Instruments (UK) http://hinton-instruments.co.uk/paprod/analogue/switchmix/ Livewire (USA) http://www.livewire-synthesizers.com/ Macbeth (Scotland & England) http://macbethstudiosystems.com/ Makenoise (USA) http://www.makenoisemusic.com/ Malekko Heavy Industry (USA) http://www.malekkoheavyindustry.com/ Metasonix (USA) http://www.metasonix.com MFB (Germany) http://www.mfberlin.de/Produkte/Module/module.html Oakley/Krisp1 (UK) http://www.krisp1.com/3u/3u.htm STG Soundlabs (USA) http://www.stgsoundlabs.com Synthesis Technology/MOTM (USA) http://www.synthtech.com/ Synthwerks (USA) http://www.synthwerks.com/ Tip Top (USA) http://www.tiptopaudio.com/ Toppobrillo (USA) http://www.sdiy.org/toppobrillo/TWF/TWF.html WMD (USA) http://www.wmdevices.com/
http://forum.anafrog.com/phpBB/viewtopic.php?f=29&t=1105

347 Pixelh8 - Multidisciplinary Artist and Techno Anthropologist » Software
The Pixelh8 Music Tech Master Stroke DS is a real time synthesizer for the Nintendo DS system it allows for extensive sound design and is the natural evolution of the Music Tech Series allowing for the classic chip tune sound on a modern device. The new system allows for keyboard style play by pressing “X” to bring up the 2 Ocatve Xylophone or classic Music Tech mode by using the directional pad to control the sounds in the same way as the Music Tech Game Boy and Pro Performer Game Boy Advance. Loads of new combinations are possible as you can now combine interval settings with time based effects as well as using the noise channel instead of tone and the easy change between menus allow for quick change during performance. All sounds are produced via the on board sound chip and no samples or sample manipulation is used, this is a real time chip tune synth for the DS.
http://pixelh8.co.uk/software/

315 exp etc
An Anthology Of Noise & Electronic Music Marcadores: Anthology of Noise and Electronic Music, • avantgarde, • classical, • electronica, • experimental, • noise
http://experimentaletc.blogspot.com/2010/05/anthology-of-noise-electronic-music.html

212 Push-Pull :: Synthés + Prod musicale en tous genres...
Construction d'un synthé modulaire Mars 2008: Avec mon complice Xewin nous commençons à cogiter sérieusement sur un système modulaire. Très vite nous choisissons de panacher des modules commercialisés (comme ceux de synthesizers.com) avec des modules DIY du projet Yusynth. Les modules retenus à construire sont les suivants: 2x EMS Filter 2x Minimoog Filter 2x Fixed Filter Bank 2x Haible Wavefolder 2x Saw Animator 2x Sample/Hold + Noise 2x Dual Slew Limiter 4x VC LFO2 8x ADSR 1x Pulse Delay 6x Multiples
http://www.pushpull.ch/modulaire.htm

107 ROTOR discos: La tienda de discos de Música electrónica de vanguardia : Sobre ROTOR
Rotor nació en 1986 basándose en la labor de Discos Esplendor Geometrico, el primer sello independiente surgido en España dedicado a publicar exclusivamente música electrónica (22 LPs entre 1985-1989). Se convirtió en el primer catálogo en nuestro país especializado en la venta por correo y promoción de música electrónica de vanguardia. rotor discos mp3 descargas wav música electrónica vanguardia industrial techno minimal ambiental experimental meditativa electro avanzada noise
http://rotordiscos.com/sobre.php

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