M4L collection

M4L collection consists of 5 Max MIDI Effects dedicated to rhythmic and harmonic progression. Each module contains a varied collection of patterns.

You can download Collection-chordProgressions and Collection-EDMythms for free.

Collection-chordProgressions: https://maxforlive.com/library/device.php?id=7559

Collection-EDMythms: https://maxforlive.com/library/device.php?id=7560

To download Collection-BoomBap, Collection-ultimateChordProgressions and Collection-theDrummer, you have to make a donation of 5, 8 or 10 € on https://en.tipeee.com/sebastien-clara.

SuperCollider 3.12.1

We are pleased to announce SuperCollider 3.12.1! You can download it here: https://github.com/supercollider/supercollider/releases/tag/Version-3.12.1

The 3.12.1 release fixes compatibility with older macOS systems (10.13 and below). For the list of previous changes, see CHANGELOG.md.

SuperCollider 3.12.0

We are pleased to announce the release of SuperCollider 3.12.0! The release is available here: https://github.com/supercollider/supercollider/releases/tag/Version-3.12.0

CHANGELOG.md contains a more extensive list of changes. Notable improvements in this version include:

  • Supernova is now available on Windows
  • Supercollider is officially supported on Bela platform
  • macOS Big Sur is now fully supported
  • On macOS output signal won’t go over the system volume level
  • The method not found error in sclang now provides suggestions, using fuzzy array comparisons
  • Oppressive terminology has been updated throughout the project
  • CI has been updated to use GitHub Actions and now also runs our test suite

Big thanks to everyone who contributed to this release!

Musique générative sous contraintes (avec Max)

Dans ce document didactique extrait de ma thèse, je mets en œuvre un exemple de musique générative sous contraintes avec le langage de programmation graphique Max. Dans ce document, je me réfère aux autres chapitres de ma thèse. Par conséquent, cet exemple n’est pas reproductible in extenso sans les dictionnaires d’accords et de modes que j’ai rédigés pour ma thèse.

Toutefois, ce document révèle la genèse de mes modules Max for Live d’aide à la composition et à l’interprétation. L’objectif principal de cette publication est donc de comprendre la notion élémentaire de contrainte qui articule le développement de mes modules Max for Live. De plus, vous retrouverez le dictionnaire des modes dans ces modules Max for Live.

Musique générative sous contraintes (avec Max)

Chord by Degrees

Module pour créer une progression harmonique suivant une hauteur tonale, un mode et les degrés musicaux.

Ce module d’harmonisation peut être utilisé pour gérer les autres modules de la même famille, ceux dépendant des degrés. En cliquant sur le bouton sync, la hauteur tonale, le mode et les degrés seront transmis autres modules de cette série en temps réel.

Téléchargement sur https://maxforlive.com/library/device.php?id=7438

Si vous appréciez ce module, soutenez-moi en effectuant un don sur Tipeee. Ces dons me permettront de maintenir et de poursuivre le développement de ce module, mais aussi d’en créer de nouveaux.

Fonctionnalités

Kresge Artist Fellow Video


https://vimeo.com/564411282

Film by Ben Corona in collaboration with Joo Won Park
Produced by Lara Sfire and Kresge Arts in Detroit

I am pleased to share a short movie capturing my artistic practice. Ben Corona did a phenomenal job!





@@ENTROPY

”@@ENTROPY” is an EP of Schemawound’s work for the Disquiet Junto, compilation tracks and unreleased material.

Track Listing

  1. Poverty
  2. Abandonware Jazz
  3. Within My Means
  4. A History of Invisibility
  5. In an Abundance of Caution
  6. She Blinded Me With Silence
  7. A Touch of Silence
  8. Rush Toward The Flame
  9. A Breakdown in Negotiations
  10. Consider it A Message

Credits

Track 1 Originally released on Poverty Electronics Vol.2 compilation by Poverty Electronics

Track 2 Originally released on the datewithdeath album Last Date. All sounds sourced from loops provided by datewithdeath.

Track 3 Created for Disquiet Junto 0194. All sounds sourced from a ticking clock.

Track 4 Created for Disquiet Junto 0161. Samples: “Dog Kiss” by Chtin Mara, “Qif Kiff” by Ayato & Natalia Kamia and “Espasmo” by Lingering Last Drops

Track 5 Created for Disquiet Junto 0485. All sound sourced from windchimes created by Chris Kallmyer

Track 6 Created for Disquiet Junto 0450. All sounds created from field recordings made at Carlo Bernasconi AG utilizing stone working tools.

Track 7 Non-album track. Created in Reaktor.

Track 8 Created for Disquiet Junto 0354. All sounds created from samples of instruments built and recorded by Nathan Moody.

Track 9 Non-Album track. Created with tuba recordings created by Nate Trier

Track 10 Created for Disquiet Junto 0142. Created using the sounds of phone calls.

An Unreliable Narrator (Video Version)

From the album “Heart Removal Kit”. Created in Renoise.

Taming Probabilities in Bitwig

Anyone who has been following my blog for a while know I am a fan of probabilities and randomization in my music. While they are a great compositional aid they can become problematic later on in the creative process. It can be frustrating rendering out a piece multiple times in the hopes that the random seed generates something compelling. To deal with this in a recent piece I have used a system to allow me to “freeze” the randomization and hand edit where needed.

In my example I have created 3 tracks:

The tracks

After setting this up Arp will be sending MIDI to both the instrument track and the render track. The render track will also be sending MIDI to the instrument track.

MIDI and Audio flow

Set up your arpeggiator input on the Arp channel. When you are ready to “Render” the arpeggiator arm the Arp Render track and record. After you have recorded both your Arp and Arp Render track are still sending MIDI output to Inst. You should mute the arp track or deactivate the clips as needed.

The input (top) and output (bottom)

While testing this I found that tracks sending MIDI data work normally when they are muted, but ignore the solo button continue to send data. I would consider this a bug but perhaps there is some reason for this decision.

Another thing to note is that I first attempted to set this up by sending notes directly to the Inst plugin instead of the track. When doing this from multiple sources it only accepts input from one of the sources and completely ignores the other. To avoid this issue I suggest routing to the track unless you have a reason to do otherwise.

Lost inTime

Paru en 2021.

Lost in Time est mon dernier EP que l’on peut classer dans le sous-genre synthwave des musiques électroniques. L’inspiration du projet provient du film Blade Runner de Ridley Scott et il est constitué de 4 pistes : Voight-Kampff, Electric Sheep, Tears in Rain et Tannhäuser Gate.

Le Voight-Kampff est un test et un dispositif électro-mécanique permettant aux blade runners de déterminer si un individu est humain ou réplicant.

Electric Sheep fait référence au roman de Philip K. Dick. L’introduction de cette piste est constituée par des fragments sonores issus du film et d’une interview de Philip K. Dick.

Tears in Rain, Tannhäuser Gate et Lost in Time font référence au monologue des larmes dans la pluie, déclamé par Rutger Hauer à la fin du film.