2

Slow moving ebb and flow dark ambience.

Made with GrainBuf.ar() - granular synthesis - in using two selfmade samples exported from Renoise.

@looptober

1

Reposting to fediverse-wide group @looptober (follow it and you'll get any post that @'s the group. Amd vice-versa, if you're posting looptober tracks, @ the group, please)

(
{
var snd = Pulse.ar(
LFPulse.kr(1/2, 0.5)
.range(40.midicps,
47.midicps)
*
LFPulse.kr(1/8)
.range(1,4)
)
*
LFPulse.kr(
8,
width: SinOsc.kr(0.05)
.range(0.1,0.9)
);

Pan2.ar(
in: snd,
pos: SinOsc.kr(1, 10).clip2,
level: 0.2);

}.play
)


:sccube:

Preparing for tonight's performance on 8 channels (here's just two for now) in . It's a 're-run' of improvised composition based on sound installation that was now running for three months in Steklenik gallery

steklenik.si/en/luka-princic-r <-> @fragmentscenario look so many stickers of yours!

And of course I'm now ambitiously thinking how to put it all down to be able to repeat it - in a sense creating a modest curriculum an introduction to computer music with practical and bits and pieces of cm history. It's true though that at the moment I'm lucky to have three very motivated participants on approximately the same beginner level but with already some experience with knob twiddling and circuit bending and music making.

Show thread

skillsharing meetups/workshop is going quite well. I'm learning a lot how to time and structure information. Today we went on a necessary little tangent to cover basics of acoustic, electric and digital sound in order to better understand the mul:/* argument with UGen generators. And with first practice with AM synthesis, now participants can already make actually complex noises. Next time I want to setup an stream, because sound through is too mushed-up.

watching various youtube videos about synthesizing drums in various (proprietary) virtual synths to get an idea how to do it in . I like how sharing different techniques opens up this area that seems like black magic at first but then you see there are some simple principles - oscilators, noise, filtering, distortion, and enveloping at different stages/layers.

// another version of drone with
// resonant low pass filters
(
150.do({{
RLPF.ar(
in: Saw.ar(
freq:71
+ [5.0.rand,
7.0.rand])
* 0.06,

freq: LFNoise1
.kr(0.1.rand + 0.01)
.exprange(50,10000),

rq: 0.5.rand
+ 0.1
)
}.play;})
)
// @LearnToMakeMusic

Show thread

when I saw ".do" method demonstrated in I decided to switch from PureData. if there was about 5-10 characters difference between one oscilator and 100 or even 1000 of them, that seemed to me THE power of a typed programming language versus patcher graphical programming language like Max/MSP and/or Pure Data.

Show thread

// how to quickly make
// a drone out of 100 sawtooth
// oscilators in

(
100.do({
{Saw.ar(
freq: 71
+ [5.0.rand,
7.0.rand])
* 0.08
}.play;
})
)

//

it's amazing to look at SynthDef for 808 cymbal and see that it is made of six squarewave oscilators that are filtered and enveloped multiple times.

TIL in #SuperCollider 

you don't have to use EnvGen + Env to generate envelopes, you can also use just Env().kr

instead of

{ SinOsc.ar(100!2)
* EnvGen.ar( Env.perc ) }.play

you can just

{ SinOsc.ar(100!2)
* Env.perc.kr }.play

Env.perc.kr can have arguments like:

({
SinOsc.ar(100!2) * Env
.perc(2,0.1,1,10)
.kr(doneAction:2)
}.play)

doc.sccode.org/Classes/Env.htm

SoundOnSound: "So there we have it: a simple bass-drum patch. [...] If you have access to a patchable analogue synth with three oscillators, cross-modulation, three suitable filters, a couple of contour generators, a mixer and a couple of VCAs, you're in business."

: *hold my beer*

Oh dear l-rd, Generative Jazz with Coltrain's Giant Steps as the skeleton. Looks like chord variations are random and some aspect of solos too. On top of that, it includes visual animation written in as well. ‼️

patchstorage.com/mm-giant-step

Ideologically, the scene differs from its international counterparts because of its foundation, which is built on trust and a desire to help one another, rather than competing for global exposure. [Many artists can loan equipment from] EMS via a trust-based system. Additionally, much of the code that artists create with , a programming language and environment used by many drone musicians in Stockholm, is open source and available for all to use.

daily.bandcamp.com/scene-repor

here's a sketch, coming from two tasks

1) I created a synthDef that oscilates buffers with single cycle waveforms - taken from Adventure Kid Wave Forms pack...

2) playing around with patterns again - especially making melodic repetition non repetitive but still repetitive.

(source without samples git.tmp.si/luka/ark_d.amorphic)

rerun of 's "Just For Today" performance tonight. We have reduced seating with 1.5m apart (cca).

I'm doing live sound via and , also using minibees (made also by @nescivi) and sensors on dancers bodies.

I created two 'music videos' for "Of Judy Stroat" from video footage from this piece: share.tube/search?search=Of%20

more about this (i think pretty awesome) work for 5 dancers:
emanat.si/en/production/maja-d

cc @0ssA

Show more
SoNoMu

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...