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I finally made the repository to my Rust software synth public. It's not finished yet, but if anyone wants to have a look already, I'd appreciate any feedback (regarding sound, usability, documentation, whatever).

Also, this is your chance to go down in history: If you come up with any nice sounds, I'll be happy to include them in the default sound set, which currently still is mostly empty.

ics boosted

Hi #Fediverse!

Wir sind Hamburg Werbefrei: eine neue #Volksinitative, die #Hamburg aus den Klauen von Firmen wie #JCDecaux (#Wall) und #Ströer befreien will, die mit aggressiver #Werbung unsere Gedanken auf jedem Weg durch die Stadt zumüllen.

Also sozusagen der #Adblocker für die Stadt.

Wir setzen auf direkte Demokratie und planen einen Volksentscheid. Schon 2022 wird das Unterschriften sammeln beginnen und wir suchen kräftig Unterstützung! :boost_ok::boost_ok::boost_ok:

#neuhier #werbefrei

Here's a quick 'n dirty Saturday morning jam, just practicing to get a grip on all the moving parts.

This track again uses randomness from multiple sources and squeezes it into more-or-less musical forms by various means.

Bug content: Cicada 

Just got given a private concert by this big boy sitting outside of my living room window. First time I got to see a live one up close. They are impressive, and very very loud.

I recorded some of his song, hope there's not too much background noise.

And I wouldn't mind if he moved on now. He's really quite loud. But I don't want to rush him, he's got a tough enough life already.

Wasn't feeling creative today, so I spent the morning rearranging modules and optimizing the cabling. Pretty happy with the result.

I love using right-angle-plugs for the mostly static cabling (clock, reset etc.), keeps everything more accessible.

Moonwalking and Karplus-Stronging the delay buffer.

The main melody is white noise run through a resonant filter into a stereo delay. Bringing the delay time down and feedback up creates the waveguide sounds of the second melody voice, played by modulating the delay time.

The guitar riffs were 1 bar each of E7#9, E5 and just E. They were sliced up into bits of 16th notes. I can then (randomly or sequenced) switch between the three samples and their 16 slices, plus pitch the samples up/ down in a scale context, giving me three degrees of variation.

In this track, it was mostly looped randomness, I just hit the loop button when I thought it sounded good. Next I need to start using this in a more controlled manner. Random is fun, though.

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Sampler shenanigans: Recorded three simple guitar riffs, sliced them up in Sample Drum, then sequenced them tonally with Marbles and Pamela.

All sounds coming from the , so it's starting to be pretty self-contained. Only the bass sequencing is done by Ableton, still need a solution for that.

Fun with new tools. Here I'm sending a little sequence into Mimeophone, where it gets delayed, looped, reversed, washed and filtered and kept as background pad. New Pamela's New Workout does a little bit of bass sequencing and modulating, until Mimeophone does a gradual granular fadeout.

I have a house guest for a few days: A Tahitian . It's carved from a single piece of wood, and strung traditionally with nylon fishing line.

Sadly the bridge is glued on at the wrong position, so the intonation is way off beyond the 5th fret, but it works fine for simple chords.

My favorite feature is that covering the sound hole at the back can create a wha-wha effect. Just takes a third hand to do so.

Today's : I played around with 's beat slicing. The drum sounds come from a Mark Giuliana drum solo, sliced up in Ableton's Simpler, split out to separate MIDI notes and triggered to form new patterns.

Added some , , and a little line from the .

I built a track around today's patch, which plays with Plait's speech synthesis models. The track is called "Scraffur Araffur", for obvious reasons.

This is just a rough sketch again, it needs some cleanup in the sound design, some additional parts and so on. Knowing me I'll likely never touch it again, so I'm putting it out there in all it's raw beauty.

Loosely inspired by the Hang player in the park today, I started toying with a 11-notes-over-2-octaves scale that has a b2 in the lower and a 9 in the upper octave. This creates some nice dissonances and interesting chords.

Actually I had more plans for this (different sequence lengths, more harmonic shifting around), but man, have any of you ever noticed how short a day is? I guess this is all I'll manage for today.

Sitting in a nearby park for breakfast, and on the opposite bench a guy is practising his Hang drum. Very nice. Much more enjoyable than the guy with the tuba last week.

I just regret not having any recording device on me. I used to always carry a little Boss device for these occasions. Going to dig it out when I get back.

Feeling a bit melancholic today, which seemed like the right mood to do a little recording of Someday my Prince will come. Enjoy if you like.

Today's patch: Generating some pseudo DnB beats. BD produced by Neutron, SD comes from Plaits, HH is Neutron noise into Veils with an envelope by Tides. Marbles comes up with the beats.

The base of the beat is locked in, but Marbles takes some random values to shift the bias from BD to SD, causing the seemingly random variations. This makes the beat sound a bit more cohesive than pure randomness.

Another short generative sequence, with Marbles, Tides and Plaits triggering and modulating each other.

Been sitting here all day, just patching and listening. So much fun.

After getting to know the limits of my little semi-modular synth, I felt the time is right to expand it a little with some modules.

Here is my first patch, a little piece. Marbles created the sequence, Plaits makes it audible, and Tides modulates it, with Veils setting some limits. Those four are a pretty good team.

(Camera shaky on purpose, to visualize the random nature of the patch. Artsy.)

The greatest final chord ever recorded: It Bites - Screaming on the Beaches

"People, I dedicate this chord... to you all."

Searching for a free version of "Crime and Punishment", I came across a page comparing the different English translations, and showing the first three or four paragraphs of each of them. Fascinating to see how different in character they are. Now I'm torn between getting the classic (and free) Garnett, or the more modern Katz. Opinion, anyone?

Either way, I'm sure Dostoevsky's classic will sit well in my library next to Zoey punching Dicks.

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SoNoMu (Sound Noise Music) is a mastodon instance for musicians, sound-artists, producers of any kind of aural noise, songwriters, bedroom producers, sonic manglers and algorave livecoders. -> more...