101 research outputs found
Patches in a timeline with ossia score
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
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 patchâs 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
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 shipâs
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 âcodaâ 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
Recommended from our members
Automatic sound synthesizer programming: techniques and applications
The aim of this thesis is to investigate techniques for, and applications of automatic sound synthesizer programming. An automatic sound synthesizer programmer is a system which removes the requirement to explicitly specify parameter settings for a sound synthesis algorithm from the user. Two forms of these systems are discussed in this thesis:
tone matching programmers and synthesis space explorers. A tone matching programmer takes at its input a sound synthesis algorithm and a desired target sound. At its output it produces a configuration for the sound synthesis algorithm which causes it to emit a
similar sound to the target. The techniques for achieving this that are investigated are
genetic algorithms, neural networks, hill climbers and data driven approaches. A synthesis
space explorer provides a user with a representation of the space of possible sounds
that a synthesizer can produce and allows them to interactively explore this space. The
applications of automatic sound synthesizer programming that are investigated include
studio tools, an autonomous musical agent and a self-reprogramming drum machine. The
research employs several methodologies: the development of novel software frameworks
and tools, the examination of existing software at the source code and performance levels
and user trials of the tools and software. The main contributions made are: a method
for visualisation of sound synthesis space and low dimensional control of sound synthesizers; a general purpose framework for the deployment and testing of sound synthesis and optimisation algorithms in the SuperCollider language sclang; a comparison of a variety of optimisation techniques for sound synthesizer programming; an analysis of sound synthesizer error surfaces; a general purpose sound synthesizer programmer compatible with industry standard tools; an automatic improviser which passes a loose equivalent of the Turing test for Jazz musicians, i.e. being half of a man-machine duet which was rated as one of the best sessions of 2009 on the BBC's 'Jazz on 3' programme
The Bent Leather Band Ensemble : Children of Grainger
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
Tato prĂĄce se zabĂœvĂĄ nĂĄvrhem a realizacĂ softwaru pro digitĂĄlnĂ mixĂĄĆŸnĂ pult postavenĂ©ho na platformÄ Windows. Tento software umoĆŸĆuje vĂcekanĂĄlovĂ© zpracovĂĄnĂ zvukovĂ©ho signĂĄlu v reĂĄlnĂ©m Äase, pĆipojenĂ nÄkolika vstupnĂch a vĂœstupnĂch jednotek, smÄĆovĂĄnĂ signĂĄlu mezi tÄmito jednotkami a vklĂĄdĂĄnĂ a sprĂĄvu VST plug-in modulĆŻ. Software vyuĆŸĂvĂĄ zvukovĂĄ rozhranĂ pĆipojenĂĄ pomocĂ technologie ASIO. PrĂĄce je rozdÄlena na nÄkolik aplikacĂ. HlavnĂ aplikace provĂĄdÄjĂcĂ vĂœpoÄty 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 umoĆŸĆuje ĆĂzenĂ VST plug-in modulĆŻ dĂky svĂ© vlastnĂ implementaci ĆĂzenĂ.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
Graingerâs 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 Graingerâs 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 Bandâs latest collection of works âChildren of Grainger.â This paper discusses technical issues confronting the contemporary electronic instrument builder and presents Bent Leather Bandâs aim to develop playable instruments
FrameWorks 3D: composition in the third dimension
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
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. AnschlieĂend 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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