Friday, May 30, 2008
amc
hey guys. if you get a chance you should check out amc. they do really simple remixes for their commercials and there's one that's been on this week for Troy.
Thursday, May 29, 2008
IX SOftware
Everyone, please download and install something from the IX software group.
xi audio is an experimental project concerned with the creation of digital musical instruments and environments for generative music. We are interested in the computer as a workshop for building non-conventional tools for musicians, i.e. not trying to imitate or copy the tools that we know from the world of acoustic instruments or studio technology. We currently work with open source software such as SuperCollider, ChucK and Pure Data, but our aim is to distribute our applications packaged in a way that allows everybody to use them. Simplicity and ease of use together with depth in interaction and expressive scope is the aim of our experimental music software.
We are interested in free and open music software in all senses. Free as in "free beer", free as in "free speech" and free as in "free jazz". The last "freedom" being the most important one. We acknowledge the constraints that software puts on the musician, the limits that the tool sets for the creative process and we therefore promote and try to disseminate technologies that open up the limits of software (or define new boundaries). We think it should be the artist that defines the scope of his or her instrument (and therefore music), not a commercial software company.
Our belief is that controlling musical structures graphically in screen-based instruments such as the ixi software, can be helpful and inspiring for the musician. We try to build "non-musical" interfaces, i.e. controllers that do not contain musical concepts from any tradition or cultureis can be liberating and open up for new directions. Visualising musical patterns is one of the main ideas here, but in a way that is open and not predefining the music. Intelligent interfaces is also one of our aims and we'd like to see instruments that understand and interact with the musician.
As part of our activities we have been giving workshops at universities and art institutions where we go into the problem of audio-visual programming and musical software. We are interested in instruments and tools, i.e. the environments we can create to use in our expressive work. Our workshops extend from 1 to 5 days, where we go into audio programming on the open source platforms Pure Data, SuperCollider and ChucK, visual programming platforms such as Python, Processing/Java, Director and Flash, and then OSC (Open Sound Control) for communicating between the audio and graphical environments. We also introduce concepts of analog to digital conversion by using hardware interfaces that take voltage signals from sensors and map them to digital information that become music or graphics. Questions regarding interactive music, generative music, algorithmic art and installations are dealt with and explored. The workshops have different emphasis depending on the situation, they can be highly technical, musical, theoretical or art based all according to the wishes and interests of the participants.
We provide the applications on this website as they are - there might be some bugs, some problems or inconsistencies - we try to code them properly, but we're not a company with customer support, we're a group of people that enjoy making music and artistic software and giving them for others to use as well.
So download the programs, test them out, use them, distribute them, crack them and do whatever you want except sell them. If you would like to participate in our mailing list which is a general list about interactive music and musical software, but with particular twist around ixi-software, then please subscribe.
This is another extremely powerful resource. Make some music with ix!
Patrick
xi audio is an experimental project concerned with the creation of digital musical instruments and environments for generative music. We are interested in the computer as a workshop for building non-conventional tools for musicians, i.e. not trying to imitate or copy the tools that we know from the world of acoustic instruments or studio technology. We currently work with open source software such as SuperCollider, ChucK and Pure Data, but our aim is to distribute our applications packaged in a way that allows everybody to use them. Simplicity and ease of use together with depth in interaction and expressive scope is the aim of our experimental music software.
We are interested in free and open music software in all senses. Free as in "free beer", free as in "free speech" and free as in "free jazz". The last "freedom" being the most important one. We acknowledge the constraints that software puts on the musician, the limits that the tool sets for the creative process and we therefore promote and try to disseminate technologies that open up the limits of software (or define new boundaries). We think it should be the artist that defines the scope of his or her instrument (and therefore music), not a commercial software company.
Our belief is that controlling musical structures graphically in screen-based instruments such as the ixi software, can be helpful and inspiring for the musician. We try to build "non-musical" interfaces, i.e. controllers that do not contain musical concepts from any tradition or cultureis can be liberating and open up for new directions. Visualising musical patterns is one of the main ideas here, but in a way that is open and not predefining the music. Intelligent interfaces is also one of our aims and we'd like to see instruments that understand and interact with the musician.
As part of our activities we have been giving workshops at universities and art institutions where we go into the problem of audio-visual programming and musical software. We are interested in instruments and tools, i.e. the environments we can create to use in our expressive work. Our workshops extend from 1 to 5 days, where we go into audio programming on the open source platforms Pure Data, SuperCollider and ChucK, visual programming platforms such as Python, Processing/Java, Director and Flash, and then OSC (Open Sound Control) for communicating between the audio and graphical environments. We also introduce concepts of analog to digital conversion by using hardware interfaces that take voltage signals from sensors and map them to digital information that become music or graphics. Questions regarding interactive music, generative music, algorithmic art and installations are dealt with and explored. The workshops have different emphasis depending on the situation, they can be highly technical, musical, theoretical or art based all according to the wishes and interests of the participants.
We provide the applications on this website as they are - there might be some bugs, some problems or inconsistencies - we try to code them properly, but we're not a company with customer support, we're a group of people that enjoy making music and artistic software and giving them for others to use as well.
So download the programs, test them out, use them, distribute them, crack them and do whatever you want except sell them. If you would like to participate in our mailing list which is a general list about interactive music and musical software, but with particular twist around ixi-software, then please subscribe.
This is another extremely powerful resource. Make some music with ix!
Patrick
Wednesday, May 28, 2008
Wednesday, May 21, 2008
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#X obj 19 105 t b b;
#X obj 90 166 f;
#X obj 128 166 + 1;
#X msg 112 138 0;
#X obj 19 134 until;
#X obj 11 194 sel 122;
#X msg 35 258 0;
#X obj 79 259 dbtorms;
#X obj 90 194 t f f;
#X obj 35 291 tabwrite dbtorms;
#X text 18 49 bang to recalculate dbtorms table;
#X text 356 50 bang to recalculate the mtof table;
#X connect 0 0 1 0;
#X connect 1 0 5 0;
#X connect 1 1 4 0;
#X connect 2 0 3 0;
#X connect 2 0 6 0;
#X connect 2 0 8 0;
#X connect 3 0 2 1;
#X connect 4 0 2 1;
#X connect 5 0 2 0;
#X connect 6 0 7 0;
#X connect 6 1 9 1;
#X connect 7 0 9 0;
#X connect 8 0 5 1;
#X connect 10 0 18 0;
#X connect 10 1 19 0;
#X connect 11 0 12 0;
#X connect 12 0 16 0;
#X connect 12 1 15 0;
#X connect 13 0 14 0;
#X connect 13 0 17 0;
#X connect 13 0 20 0;
#X connect 14 0 13 1;
#X connect 15 0 13 1;
#X connect 16 0 13 0;
#X connect 17 0 16 1;
#X connect 18 0 21 0;
#X connect 19 0 21 0;
#X connect 20 0 10 0;
#X connect 20 1 21 1;
#X restore 375 76 pd regenerate-tables;
#X restore 260 101 pd conversion-tables;
#X connect 1 0 9 0;
#X connect 2 0 1 0;
#X connect 3 0 1 1;
#X connect 4 0 7 0;
#X connect 4 0 8 0;
#X connect 5 0 2 0;
#X connect 7 0 10 0;
#X connect 8 0 12 0;
#X connect 9 0 0 0;
#X connect 10 0 3 0;
#X connect 10 0 5 0;
#X connect 11 0 9 1;
#X connect 12 0 11 0;
#X connect 13 0 4 0;
#X restore 39 114 pd test-input;
#X text 135 6 REVERBERATOR;
#X floatatom 40 84 0 10 130 0 - - -;
#X text 76 87 <-- pitch;
#N canvas 96 169 958 610 reverb 0;
#X obj 13 19 inlet~;
#X obj 13 43 reverb-echo echo-del1 5.43216;
#X obj 277 215 +~;
#X obj 319 215 +~;
#X obj 67 276 outlet~;
#X obj 137 276 outlet~;
#X obj 238 334 +~;
#X obj 347 335 +~;
#X obj 280 334 -~;
#X obj 387 334 -~;
#X obj 237 390 +~;
#X obj 281 391 +~;
#X obj 325 392 -~;
#X obj 364 392 -~;
#X obj 324 474 *~ 0;
#X obj 282 473 *~ 0;
#X obj 237 472 *~ 0;
#X obj 365 475 *~ 0;
#X obj 632 365 inlet;
#X obj 632 437 / 200;
#X obj 632 389 min 100;
#X obj 632 412 max 0;
#X obj 238 583 delwrite~ loop-del1 60;
#X obj 283 561 delwrite~ loop-del2 71.9345;
#X obj 364 515 delwrite~ loop-del4 95.945;
#X obj 298 154 delread~ loop-del1 60;
#X obj 340 179 delread~ loop-del2 71.9345;
#X obj 408 233 delread~ loop-del4 95.945;
#X obj 386 208 delread~ loop-del3 86.7545;
#X obj 325 538 delwrite~ loop-del3 86.7545;
#X obj 13 67 reverb-echo echo-del2 8.45346;
#X obj 13 91 reverb-echo echo-del3 13.4367;
#X obj 13 115 reverb-echo echo-del4 21.5463;
#X obj 13 139 reverb-echo echo-del5 34.3876;
#X obj 13 163 reverb-echo echo-del6 55.5437;
#X text 286 42 "early echo" generators \, which also increase echo
density. Open one to see what they do.;
#X text 300 115 Get the outputs of the recirculating delays. Add the
inputs to two of them.;
#X text 420 313 Do a power-conserving mix of them in pairs. First combine
(1 \, 2) and (3 \, 4)...;
#X text 402 385 ...then (1 \, 3) and (2 \, 4);
#X text 446 469 The two mixing stages have a combined gain of 2 \,
so the recirculation gain is limited to 0.5.;
#X text 586 542 Put the signals back into the;
#X text 584 557 recirculating delays.;
#X text 29 296 Tap outputs from here.;
#X text 708 381 0 to 100 to control reverb;
#X text 719 396 time.;
#X text 691 364 feedback gain on a scale of;
#X connect 0 0 1 0;
#X connect 1 0 30 0;
#X connect 1 1 30 1;
#X connect 2 0 4 0;
#X connect 2 0 6 0;
#X connect 2 0 8 0;
#X connect 3 0 5 0;
#X connect 3 0 6 1;
#X connect 3 0 8 1;
#X connect 6 0 10 0;
#X connect 6 0 12 0;
#X connect 7 0 12 1;
#X connect 7 0 10 1;
#X connect 8 0 11 0;
#X connect 8 0 13 0;
#X connect 9 0 11 1;
#X connect 9 0 13 1;
#X connect 10 0 16 0;
#X connect 11 0 15 0;
#X connect 12 0 14 0;
#X connect 13 0 17 0;
#X connect 14 0 29 0;
#X connect 15 0 23 0;
#X connect 16 0 22 0;
#X connect 17 0 24 0;
#X connect 18 0 20 0;
#X connect 19 0 17 1;
#X connect 19 0 16 1;
#X connect 19 0 15 1;
#X connect 19 0 14 1;
#X connect 20 0 21 0;
#X connect 21 0 19 0;
#X connect 25 0 2 1;
#X connect 26 0 3 1;
#X connect 27 0 7 1;
#X connect 27 0 9 1;
#X connect 28 0 7 0;
#X connect 28 0 9 0;
#X connect 30 0 31 0;
#X connect 30 1 31 1;
#X connect 31 0 32 0;
#X connect 31 1 32 1;
#X connect 32 0 33 0;
#X connect 32 1 33 1;
#X connect 33 0 34 0;
#X connect 33 1 34 1;
#X connect 34 0 2 0;
#X connect 34 1 3 0;
#X restore 58 179 pd reverb;
#X floatatom 134 155 0 0 100 0 - - -;
#X text 169 155 <-- feedback (100 maximum);
#X obj 37 209 output~;
#X text 342 317 updated for Pd version 0.37-1;
#X text 149 180 <-- open to see how it works;
#X text 34 269 Many improvements are possible. Much better reverberators
can be found in the "extras" library.;
#X text 29 30 Here is a simple recirculating reverberator. "Feedback"
should be between 0 and 100 - if 100 \, the reverberation lasts forever.
;
#X obj 17 147 adc~;
#X connect 0 0 4 0;
#X connect 0 0 7 0;
#X connect 2 0 0 0;
#X connect 4 0 7 0;
#X connect 4 1 7 1;
#X connect 5 0 4 1;
#X connect 12 0 7 0;
#X connect 12 1 4 0;
Monday, May 19, 2008
Moog for the Camera
Besides all the the nifty techno geeky things listed, Robert Moog's bio points to the interesting and vexing problem of an inventor/creator losing rights to use his name on products. This problem gets solved, in some senses, because Moog goes to work for Big Briar and they, after a legal battle, acquire the rights to the name Moog Music. It is not an uncommon problem for inventors to get locked out of using their names (both their given name and names they've given an idea).
The moogerfooger where interesting to explore, initially because of the name. The fabulous thing about digital is that while moogerfoogers are analog effects pedals, plugins were developed that simulated the effect of the pedals.
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