101 research outputs found

    Patches in a timeline with ossia score

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    Handling of time and scores in patchers such as PureData, Max/MSP has been an ongoing concern for composers and users of such software. We introduce an integration of PureData inside the ossia score interactive and intermedia sequencer, based on libpd. This integration allows to score precisely event that are being sent to a PureData patch, and process the result of the patch's computations afterwards in score. This paper describes the way this integration has been achieved, and how it enables composers to easily add a temporal dimension to a set of patches, by leveraging both the computational power of PureData and the temporal semantics of the ossia system, in order to create complex compositions

    Patches in a timeline with ossia score

    Get PDF
    Handling of time and scores in patchers such as PureData, Max/MSP has been an ongoing concern for composers and users of such software. We introduce an integration of PureData inside the ossia score interactive and intermedia sequencer, based on libpd. This integration allows to score precisely event that are being sent to a PureData patch, and process the result of the patch’s computations afterwards in score. This paper describes the way this integration has been achieved, and how it enables composers to easily add a temporal dimension to a set of patches, by leveraging both the computational power of PureData and the temporal semantics of the ossia system, in order to create complex compositions

    An invitation to listen: exploring engagement in technologically mediated music. A portfolio of compositions

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    This portfolio of compositions and its software appendix consists of acousmatic, instrumental, and electroacoustic pieces in the form of live electronics. What lies underneath and interconnects these eight compositions is the concept of having ideas in the core of each composition that everyone can engage with; regardless of whether they are performed by specialists or non musicians. The opening acousmatic pieces Peri-Phonis and Morir use one of the most familiar sound to everyone; the human voice and present it at various audiences such as university concerts and theatrical plays respectively. The instrumental piece Ice for small ensemble, undertakes the well known dramatic voyage of the Titanic and through complex compositional processes which are based on familiar sounds such as sea waves, a ship’s horn, and ice breaking into smaller pieces combines spectralism with tonality. The shift to live electronics comes with a trio of compositions: Alilepidrasi, Pandora, and Awakening which are based on a gestural approach to composition by using modern technology such as mobile phones, and motion sensors, along with custom software developed in Max-MSP, and performed by both specialists and non-musicians. By developing and reusing my ideas and sounds; a process I always undertake with great enthusiasm, these three pieces merge into the Strings On The Rocks; an acousmatic composition that embodies everlasting fluctuation. The “coda” of the portfolio comes with the acousmatic piece 7 Doors that combines the human voice of the opening works, and the gestural mobility of the later works. This portfolio presents my basic perception towards sound and music, my fascination about its interconnections with everything that surrounds us, and every inspiration I have had over the years by composers such as Tristan Murail, Iannis Xenakis, Andrew Lewis, and Denis Smalle

    The Bent Leather Band Ensemble : Children of Grainger

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    This paper discusses technical issues confronting the contemporary electronic instrument builder and presents Bent Leather Band\u27s aim to develop playable instruments

    Software for Digital Mixing Console

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    Tato prĂĄce se zabĂœvĂĄ nĂĄvrhem a realizacĂ­ softwaru pro digitĂĄlnĂ­ mixĂĄĆŸnĂ­ pult postavenĂ©ho na platformě Windows. Tento software umoĆŸĆˆuje vĂ­cekanĂĄlovĂ© zpracovĂĄnĂ­ zvukovĂ©ho signĂĄlu v reĂĄlnĂ©m čase, pƙipojenĂ­ několika vstupnĂ­ch a vĂœstupnĂ­ch jednotek, směƙovĂĄnĂ­ signĂĄlu mezi těmito jednotkami a vklĂĄdĂĄnĂ­ a sprĂĄvu VST plug-in modulĆŻ. Software vyuĆŸĂ­vĂĄ zvukovĂĄ rozhranĂ­ pƙipojenĂĄ pomocĂ­ technologie ASIO. PrĂĄce je rozdělena na několik aplikacĂ­. HlavnĂ­ aplikace provĂĄdějĂ­cĂ­ vĂœpočty zvukovĂœch vzorkĆŻ a vklĂĄdĂĄnĂ­ a sprĂĄvu plug-in modulĆŻ je naprogramovĂĄna v jazyce C++ s vyuĆŸitĂ­m technologie JUCE. Tu lze ovlĂĄdat skrze svĂ© vlastnĂ­ lokĂĄlnĂ­ rozhranĂ­ nebo webovĂ© ovlĂĄdacĂ­ rozhranĂ­ naprogramovanĂ© v jazyce TypeScript, kterĂ© vyuĆŸĂ­vĂĄ technologii React. WebovĂ© rozhranĂ­ umoĆŸĆˆuje ƙízenĂ­ VST plug-in modulĆŻ dĂ­ky svĂ© vlastnĂ­ implementaci ƙízenĂ­.This thesis describes the design and implementation of a software for digital mixing console built on the Windows platform. This software is designed to offer real-time multi-channel audio processing using multiple input and output units, signal routing between these units and insertion and management of VST plug-in modules. The software uses an audio interface connected with ASIO technology. The thesis is divided into several applications. Main application which computes audio samples and allows insertion and management of plug-ins is programmed in C++ using JUCE technology. This application can be controlled with its own local graphical interface or with web control interface, which is programmed in TypeScript with the use of React technology. Web interface allows user to control VST plug-in modules with its own custom implementation of plug-in control.

    The Bent Leather Band Ensemble: Children of Grainger

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    Grainger’s Free Music remains a rich source of discovery for contemporary Australian musicians. Free Music represents a significant departure point for electronic musicians and instrument makers searching for new musical language, form and expression. This paper presents research undertaken by the Bent Leather Band exploring Grainger’s Free Music ideas within a twenty first century music making context embracing live improvisation, instrument and software design. Research outcomes presented in this paper includes a range of creative works; Meta Serpent wind controllers, the fourth generation of the Light Harp controller, new MAX based software engines for signal processing, control-modes and strategies for the instruments and music including Bent Leather Band’s latest collection of works “Children of Grainger.” This paper discusses technical issues confronting the contemporary electronic instrument builder and presents Bent Leather Band’s aim to develop playable instruments

    FrameWorks 3D: composition in the third dimension

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    Music composition on computer is a challenging task, involving a range of data types to be managed within a single software tool. A composition typically comprises a complex arrangement of material, with many internal relationships between data in different locations - repetition, inversion, retrograde, reversal and more sophisticated transformations. The creation of such complex artefacts is labour intensive, and current systems typically place a significant cognitive burden on the composer in terms of maintaining a work as a coherent whole. FrameWorks 3D is an attempt to improve support for composition tasks within a Digital Audio Workstation (DAW) style environment via a novel three-dimensional (3D) user-interface. In addition to the standard paradigm of tracks, regions and tape recording analogy, FrameWorks displays hierarchical and transformational information in a single, fully navigable workspace. The implementation combines Java with Max/MSP to create a cross-platform, user-extensible package and will be used to assess the viability of such a tool and to develop the ideas furthe

    Klang, Handhabung und Potential softwarebasierter Studiotechnik im Vergleich zu Hardware

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    Nach einer kurzen EinfĂŒhrung in die technischen Grundlagen der digitalen Musikproduktion wird das Prinzip von Plug-ins und ihren verschiedenen musikalischen Einsatzgebiete in den Bereichen Klangsynthese und Klangbearbeitung mithilfe einfacher Programm-Code-Beispiele erlĂ€utert. Danach werden gĂ€ngige Formate und Schnittstellen sowie die Grundlagen von Sequencern behandelt. Anschließend werden verschiedene Antwortmöglichkeiten auf die Frage aufgezeigt, warum sich hardware-basierte Studiotechnik in ihren Klangeigenschaften von vergleichbarer Studio-Software unterscheidet. Des Weiteren wird das Handling von Plug-ins, zum Beispiel mit Controllern, und seine Auswirkungen auf die KreativitĂ€t beschrieben. Weitere Vor- und Nachteile im Einsatz von virtuellen Instrumenten fĂŒhren zu einem kurzen Ausblick auf die nahe Zukunft und das Potential der digitalen Musikproduktion
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