here's an actual "track" made from three different layers of the pretty much same thing above (Lorenz attractor driving intervals/melody and durations)

learning a lot as I'm more and more comfortable with this amazing language.

I'm looking to creating a git commit over the old code on my gitea instance.

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devs are pleased to announce the release of SuperCollider 3.11. Downloads and release details are available here: github.com/supercollider/super

today it seemed like it was almost too easy to work with busses - audio and control ones - and map them to existing arguments of already running Synths. the last time I tried to do that, it just didn't work and I was lost and didn't know what is going on. I didn't know much I guess. But it seems these days things - the code I write - just works, often.

And I found out about Eulerroom Equinox livecoding event: toplap.org/eulerroom-equinox-c

these days, when I'm listening to electronic dance music tracks (not EDM!) I can't fight the urge to imagine how what I'm hearing could be done with Pbinds and SynthDefs in

special-request.bandcamp.com/

The performance was amazing, 60min long, full of feedback resonances produced modulated via piece of glass with various objects put and moved on it by two performers.

After it, in a short chat with artists, I found out not only is Ji using but she is on Linux, and using . Hello.

(... The funny thing is, this was the third time today that I'm coming across sound transducers [speakers that transform voltage (audio) into vibration] ....)

2/2

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bass layer, draft. I guess I could build something arround this at some point (beats, strings, chords, progressions)

"compromised" sctoot follows in thread. meanwhile full version is here: sccode.org/1-5cS

have figured out how to write the whole sequence that was previously done with \degree AND \mtranspose. now this whole thing is in \degree which meant I could use \mtranspose to more dramatic effect. here it switches modes in every second cycle (after 144 played notes) in a series of 3....

+ some more "tempo" improvements...

a 'fork' on sccode: sccode.org/1-5cR-D3dUq_h9ST

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had great fun with transpositions within Pbind.

I especially think "\mtransposition" - modal transposition is underexplored ATM.

not proper because code is more than 1000 characters, so outside link is necessary, but anyway.. enjoy.

sccode.org/1-5cQ

(SynthDef("plck", {|out,freq,cf|Out.ar(out,LeakDC.ar(Pluck.ar(PinkNoise.ar(1),Impulse.kr(0),0.1,freq.reciprocal,5,cf))*EnvGen.kr(Env.linen(0,5,0),doneAction:2))}).add;b=Bus.audio();play({var in=In.ar(b);Out.ar(0,in+JPverb.ar(in*0.5,t60:4))});Pbind(\instrument,\plck,\out,b,\scale,Scale.major,\octave,4,\degree,Pseq([1,3,7,8,Prand([7,10,11,13,14]),8,7,3],inf),\dur,Pseq([Pwrand([Pseq([0.2,0.2]),0.4,Pseq([0.1],4),Pseq([0.05],4)],[0.5,0.3,0.1,0.1])], 240),\cf,{1.0.rand}).play)//

if you are missing good echo delay and reverb UGens in , lately I'm using Greyhole and JPverb a lot. and they are pretty awesome to add some space quickly. you can dig into your own reveberation algos at any time, but when you just need to splash the dry annoying bleeps and blops and chirps and squeeks with some wet reverberating space, these two UGens are indespensable. they are in sc3plugins package.

some fun with chaotic generator.

(uncomment the line with Greyhole if you don't have sc3plugins)

(
// henonN synthdef FM to squarewave //

play({
var x = Pulse.ar(
HenonN.ar(
5000,
LFNoise2.kr(1,0.2,1.2),
LFNoise2.kr(1, 0.15, 0.15),
mul:0.6
).range(40, LFNoise2.kr(0.1).range(1000,10000)),
mul: 0.2).ring3(0.5).clip2(0.8);
x=LeakDC.ar(x).dup;
x= x+(Greyhole.ar(in:x, feedback:0.2, diff: 1, delayTime: 0.6) * 0.7);
})
)

some sctweeting there on birbsite, actually a friend Lukas Nystrand posted something but twitter garbled it but i was curious so i fixed it a little

gitlab.com/snippets/1937709

play{Splay.ar({SinOsc.ar(LFDNoise1.kr(11,0.012,0.75)*LFDClipNoise.kr(0.4!5).range(0,5).midiratio*[60,63,67,70,48].midicps,0,LFDNoise1.kr(1!5,0.25,0.4)).sum}!2*0.5)};

Four of the five moons of Pluto rotate chaotically.

(this is relevant to sound-making, because I'm exploring all the interesting chaos-based UGens - in because it seems chaos theory, emergent behaviour, strange attractors, somehow relate to biological behaviours in plants... researching how)

little bit from today's exploration.

imagine plant roots, soil, bugs, bacteria, fungi eating moving recycling...

does it makes sense to invest time and energy to write music in C (as in programming language, like C99/C11/C18) as opposed to write it in ? which of those will get obsolete or have too much backward incompatibility?

( inspired by @neauoire )

compiled 3.10.3 (from released tar.bz2) on ubuntu + sc3plugins (from git) into two deb packages that i can easily apt-remove thanks to checkinstall package.

now the chaos UGens are working again.

Yesterday I performed Interface Fractures V. (the fifth, the last episode) audio-visual performance/composition at IZIS festival in Izola, at the Slovenian seaside. Really warm and nice bunch of people - organizers and audience alike.

TFW you realise you have an emacs daemon running all this time in the background and there's some code in *Workspace* and you have no clue from when and how it got there.

$ uptime?

68 days.

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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...