sebastienclara, 19/06/2024 | Source: Sébastien Clara
Pro-800 Remote (aka Remote) is a VST3 plugin for Windows, Linux and macOS for remote control and editing presets of Behringer Pro-800.
Remote can control two units in two modes. PolyChain mode extends the Pro-800’s polyphony to 16 voices. StereoChain mode allows both units to be played simultaneously for stereo sound effect.
For additional information, you can consult the documentation.
And listen to my latest EP ^^
sebastienclara, 03/06/2024 | Source: Sébastien Clara
One blue summer evening, I went for a walk. Dreamy, I did not take care of the paths I was walking. A little lost and exhausted by the walk, I decided to take a few minutes of rest at a crossroads. Lulled by the gentle night breeze, I fall asleep.
Suddenly awakened, I saw above me a huge shadow, wearing a long hat. Frightened, I could not look at this apparition and I remained petrified. The shadow took my guitar without asking my permission, tuned it and pressed a knife on the strings. The effect was unforgettable. His song, too, struck me instantly: ‘Goin’ where the Southern cross the Dog. The singer repeated the line three times, accompanying himself on the guitar with the weirdest music I had ever heard.
He gave me back my guitar, finished his cigarillo and left without saying other word. I returned from my walk completely stunned and possessed by an inexhaustible inner melody. I took up my pen and composed Crossroads, the music you are about to listen to, before the end of the night.
But now, the payback time is coming.
joowon, 16/05/2024 | Source: 100 Strange Sounds
Dot Zip consists of 22 short electronic compositions. The tracks feature a synthesis technique or a compositional structure best realizable with code-based audio programs. They are samples of what one does after learning an audio coding program like MaxMSP and SuperCollider.
Dot Zip is a pedagogical project. Each track is an unedited render of a SuperCollider file available at www.joowonpark.net/dotzip. Download, evaluate, and customize them to see how music is created with numbers and codes. A tutorial video on operating the SuperCollider files is also on the link.
*There is a bonus track, Scramble and Sort, if you buy an album. Its BPM is 142.
joowon, 21/03/2024 | Source: 100 Strange Sounds
I wrote an endorsement for SuperCollider for the Creative Musician by Eli Fieldsteel.
"SuperCollider for the Creative Musician teaches how to compose, perform, and think music in numbers and codes. With interactive examples, time-saving debugging tips, and line-by-line analysis in every chapter, Fieldsteel shows efficient and diverse ways of using SuperCollider as an expressive instrument. Be sure to explore the Companion Code, as its contents demonstrate practical and musically intriguing applications of the topics discussed in the chapters."
The endorsement had a word count limit. This book deserves a more detailed review. I agree with Fieldsteel’s statement in the Introduction that the book is a “tutorial and reference guide for anyone wanting to create electronic music or experimental sound art with SuperCollider.” Musicians, media artists, and programmers will learn the fundamentals and practical applications of SuperCollider by reading the book from cover to cover. I especially recommend this book to musicians seeking the connection between creative coding and their artistic practice. Electronic musicians learn to express musical ideas in numbers and symbols when they code music. Coding trains users to think of music differently as a result, and the author does an excellent job of teaching how to do so.
Fieldsteel’s expertise in composing, performing, and teaching SuperCollider for over a decade is evident in every chapter. The author correctly anticipates common beginner challenges and provides the most efficient solutions. I love Tip.rand sections dedicated to troubleshooting and debugging. They are essential in increasing productivity and decreasing the frustration of learning a new environment. The book's biggest strength, as demonstrated in Tip.rand, is its accessibility. The language, style, and examples do not assume that the readers have previous programming, music synthesis, or audio engineering experience. Included figures, tables, and example codes are also effective and pedagogical. I was happy to see that the printed codes’ font is identical to the default font of SuperCollider IDE. It reconfirms the author’s effort in creating inviting chapters to learn a language with a considerable learning curve.
I spend the first month of my SuperCollider class helping students overcome the initial steep learning curve. The book will dramatically reduce the time and frustration of going over that hump. I don’t think other existing SuperCollider resources will help as much as Fieldsteel’s book for that purpose. Fieldsteel’s book will be a go-to reference for both the old and new SuperCollider communities.
joowon, 19/10/2023 | Source: 100 Strange Sounds
Here's a recording of a full set performance from Strange Beautiful Music 16 (September 9, 2023)
Related Article: How to Play a Solo Set
tedthetrumpet, 24/08/2023 | Source: J. Simon van der Walt
Just heard that my new piece ‘El laberinto’ for voice, bass clarinet and general MIDI is going to be performed by Stephanie Lamprea and Alex South at the Scottish Awards for New Music 2023 on 1st September.
I say ‘new piece’ – effectively this is revisiting and recontextualisation of an earlier piece ‘El laberinto de mi mente‘.
Here’s what I’ve written about the new version:
The world has changed a lot since 1998, and I feel much less comfortable about my place in it. Was I only able to become a ‘composer’ thanks to the the middle class white male privilege that gave me the confidence, agency and status to do so? Is there any value to my work, or is it just a self-indulgence? Am I privileged to be able to even ask that question?
The writing for the voice and clarinet is inspired by a tradition of wordless virtuoso unison lines most commonly associated perhaps with Carnatic/jazz fusions. The accompaniment makes self-consciously nostalgic use of General MIDI sounds in a Standard MIDI File, rewinding back to those naively happy days of plain text, ISDN dialup and minidiscs.
joowon, 20/07/2023 | Source: 100 Strange Sounds
How much time and energy does a musician spend on an interdisciplinary project? A three-month-long production period does not equal 90+ days of labor. How many days are spent on music, and how many of them are spent on meetings with the collaborators? How much of the music created for the show ends up in the show? I ask myself these questions to better understand the practical role of a music creator in a project involving performing artists of other fields. Answers to these questions require measurable data, such as the total working days and total minutes of music composed. These numbers lead to an insight into the productivity of music creators.
In 2023, Artlab J, Detroit Puppet Company, and I created a one-hour show titled Objects at Play. It was a non-verbal dance and puppet show aimed at young audiences. The first meeting was on February 18, 2023, and the show premiered on May 27, 2023, at the Detroit Film Theatre. I recorded my production process from the start of the project to study my collaboration productivity. I gathered and organized the data according to the numbers I worked and the minutes of music I produced as I composed, recorded, and mixed music. The analysis and statistics revealed that a fraction of the total collaborative period is spent on person-to-person interaction. About two-thirds of the total music communicated with the collaborators ended up in the show.
Full article is at https://joowonpark.net/musiciansproductivity/
Schemawound, 16/07/2023 | Source: Schemawound
I previously wrote about the Expert Sleepers ES-9 a “Eurorack 16-in/16-out USB audio interface, with DC-coupled inputs and outputs that can be used for both audio and CVs”. While it is advertised as having 16 outputs it can be expanded to much more than that. Recently I decided I wanted to expand the ES-9 and I figured I would write a bit about how I set it up because the documentation is unclear in a number of areas.
Everything in this post builds on my previous ES-9 post so if you have not yet read that I would suggest following through those instructions first.
As with all things involving hooking up Eurorack modules there is a risk of damaging this and other modules by hooking things up incorrectly. Anything I write here is documenting my own experiences. Take care and make sure you know what you are doing.
I have currently added three expansions onto my ES-9:
Midi Breakout – I won’t have a lot to say about this one. You plug it into the back of the ES-9 and you can access the Midi in and out that is already exposed through software. There is a version with 3.5mm jacks for those who want to save space.
ES-5 “ES-3 Expander” -The ES-5 is referred to as an ES-3 expander but can also be used with the ES-8 / ES-9. It provides an additional 8 gate outs from the ES-9 and supports other expansions of it’s own. It is connected to the ES-9 through a 10 pin cable and also requires it’s own power connection. The ES-5 has 6 headers to allow for other expansion modules to be connected to it. Connection 1 carries a copy of it’s own signal so realistically it can support 5 expanders.
ESX-8GT – This is an expansion module for expanding the ES-5. This module provides 8 additional gate / trigger outputs. As an alternative there is an ESX-8CV module that provides 8 additional CV outputs. This module is connected to one of the 6 expansion connections on the ES-5. In my case I set it as expansion 2 since expansion 1 is a copy of the ES-5’s outputs.
This is where things get a little bit weird. By using the ES-5 and expanders you can end up adding an additional 48 outputs onto your ES-9. If you followed along with my previous post about the ES-9 you will remember that the ES-5 is accessed through a single stereo audio connection. The ES-5 treats the audio single as encoded data that it decodes to make all these additional channels. Obviously these will be lower resolution than a true audio signal but should be sufficient for most CV purposes.
This audio encoding is handled by the Expert Sleepers Silent Way plugin suite. Even though this suite is a separate purchase the ES-5 controller VST plugin will run unregistered and allow you to control your ES-5. The suite is installed and located alongside all your other VST plugins and the ES-5 Controller will show up as a VST instrument.
This plugin appears to go very deep and I have only scratched the surface of it in order to get my work done.
This sets up our plugin to control the 8 outputs of the ES-5 by reading MIDI notes on Channel 1 starting at C2. The 8 outputs of the ESX-8GT is set to read the MIDI notes on Channel 1 starting at C3.
Theoretically at this step we should be able to assign our audio channel output to the ES-5 output and be good to go but we run into some strange behavior. The outputs will now respond to out MIDI notes but not quite in the way we expect. It took me an embarrassingly long time to figure out what was going on. Bitwig tracks leave extra headroom by default. Since this is encoded data we don’t want to manipulate it in any way. Ctrl + Click the channel fader, type 0 and hit enter to set the fader to exactly 0. Everything should now respond properly.
I added a couple extra enhancements to my ES-5 preset before saving it to my library
The following steps give you a device that is sending gates by default but can be converted to send triggers instead at the click of a button.
joowon, 13/07/2023 | Source: 100 Strange Sounds
I performed Elegy No.2, written in 2018 for violin and computer, with melodica at the SPLICE Inistute 2023. It is not a happy song, but I share what I can express only with music. Sarah Plum recorded the original version beautifully, but I have been playing the song as my solo shows since COVID.
If you own a melodica and want to play this, the score and SuperCollider file are available HERE. You don’t need to know how to use SuperCollider. The instruction to run the code is here. Please use the score as a guideline, and feel free to improvise.
Schemawound, 29/06/2023 | Source: Schemawound
Two on a Wire is Birds for Scale’s debut album. Birds for Scale is a new collaborative project from Kirk Wilson (Kiggler) and Jonathan Siemasko (Schemawound).
“Two on as Wire” is a journey through soundtracks for half remembered films and themes for video games that do not exist.
released June 29, 2023
All Songs Written and Produced by: Kirk Wilson + Jonathan Siemasko
Album Artwork by: Kirk Wilson
Photo by: Mahmoud Yahyaoui
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