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Max/MSP/ Pure Data / SuperCollider / ChucK


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  • 2 weeks later...
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The Nord Modular sounds really idiosyncratic and weird though. Getting feature parity with it would be easy (as in, having access to all the "same" filter modules and stuff), but the box itself just sounds so goddamn weird and awesome. It might be a project to reverse-engineer all that personality?

  • 1 year later...
  On 10/26/2013 at 9:11 PM, logakght said:

there's a pretty neat course at Coursera about ChucK.

 

damn! why not sc?!

  On 10/27/2013 at 2:21 PM, xox said:

 

  On 10/26/2013 at 9:11 PM, logakght said:

there's a pretty neat course at Coursera about ChucK.

 

damn! why not sc?!

 

Hopefully soon. I've seen about Processing, now ChucK...

i hope so. i've started with the sc book but for someone who never programmed before it's very hard so i'm searching for any help i can get

 

  On 10/27/2013 at 7:36 PM, logakght said:

 

  On 10/27/2013 at 2:21 PM, xox said:

 

  On 10/26/2013 at 9:11 PM, logakght said:

there's a pretty neat course at Coursera about ChucK.

 

damn! why not sc?!

 

Hopefully soon. I've seen about Processing, now ChucK...

 

SinOsc sin1 => PRCRev a=> dac;


0.2 => a.mix;


while (true)

{

0.8 => sin1.gain;


for (1 => int i; i <= 5; i++)

{

311.127 => sin1.freq;

0.5 => sin1.gain;

0.2::second => now;


349.228 => sin1.freq;

0.5 => sin1.gain;

0.2::second => now;


466.164 => sin1.freq;

0.5 => sin1.gain;

0.2::second => now;


415.305 => sin1.freq;

0.5 => sin1.gain;

0.2::second => now;


277.183=> sin1.freq;

0.5 => sin1.gain;

0.2::second => now;

}


for (1 => int i; i <= 5; i++)

{

349.228 => sin1.freq;

0.5 => sin1.gain;

0.2::second => now;


311.127 => sin1.freq;

0.5 => sin1.gain;

0.2::second => now;


466.164 => sin1.freq;

0.5 => sin1.gain;

0.2::second => now;


277.183=> sin1.freq;

0.5 => sin1.gain;

0.2::second => now;


415.305 => sin1.freq;

0.5 => sin1.gain;

0.2::second => now;

}

}


so much fun! :D

this one's better:

 

SinOsc sin1 => PRCRev a=> dac;
1 => int con1;
0.2 => a.mix;
while (true)
{
while (con1 <= 2)
{
con1++;
0.8 => sin1.gain;
for (1 => int i; i <= 5; i++)
{
311.127*1.5 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
349.228 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
466.164 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
415.305 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
277.183=> sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
}
for (1 => int i; i <= 5; i++)
{
349.228 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
311.127 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
466.164 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
277.183=> sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
415.305 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
}
}
for (1 => int i; i <= 2; i++)
{
311.127 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
349.228 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
466.164 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
415.305 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
277.183=> sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
}
for (1 => int i; i <= 2; i++)
{
349.228 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
311.127 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
466.164 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
277.183=> sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
415.305 => sin1.freq;
0.5 => sin1.gain;
0.2::second => now;
}
0 => con1;
}
  • 6 months later...

can someone point me at composers/producers who use supercollider/csound/chuck or any similar language in their production which music doesn't sound like it could have been made in propellerhead's reason 2.0? ...cause i can't find any. they all talk smart but when they have to show their work it's a child's play, no art what-so-ever

 

pure data/max/msp/reaktor? plenty of them

  On 5/25/2014 at 5:59 PM, xox said:

can someone point me at composers/producers who use supercollider/csound/chuck or any similar language in their production which music doesn't sound like it could have been made in propellerhead's reason 2.0? ...cause i can't find any. they all talk smart but when they have to show their work it's a child's play, no art what-so-ever

 

pure data/max/msp/reaktor? plenty of them

 

The only thing I can think of is this. It was written in CSound.

 

What you said is definitely a problem for the text based programs you mentioned and I've had the exact same thought. WIth Max, PD, and Reaktor you can point to Exile, Squarepusher, Autechre, etc. to hear them used in solid pieces of music. Hearing examples of SC/CSound/ChucK, it usually sounds like academic wankery.

  On 5/26/2014 at 9:55 AM, Oscar said:

Hearing examples of SC/CSound/ChucK, it usually sounds like academic wankery.

 

 

Try this:

as i said; all of the examples sound like they could have been made in reason and they're nothing special artistically imo

second, bt worked 6 months (!!!) on the upper track (in csound). was it really worth it? cause he could have probably made it in logic in two weeks max.

 

the main problem with programming languages in general is that for programming dominant left brain (logic, linear and analytical thinking, non-visual) is a necessity while art requires dominant right brain (randomness, visual, intuition, creativity) and that's why programs like max/msp are more appropriate for music production imo.

 

i'm still in doubt about cost effectiveness of audio programming languages (in my work) for creating something artistically usable (meaning: to meet my expectations in art, meaning: to artistically justify all the travail). btw, i'm just a supercollider n00b so have that in mind (that i know shit).

well I'm learning those type of programming not for making a melody I could simply make in Reason, or whatever. I'm learning it to make my music/work "alive", to breathe. "Generative" is the usual termn, but I prefer "alive". Like, making decisions based on some parameters I "and the machine" think of. Changing music in infinite ways. And also to add interactivity. Yeah.

I don't really see artsy programming languages (about music) to "write music", but to add randomness and shit like that to an actual track made in a DAW or sheet music, yo.

  On 5/26/2014 at 7:59 PM, logakght said:

well I'm learning those type of programming not for making a melody I could simply make in Reason, or whatever. I'm learning it to make my music/work "alive", to breathe. "Generative" is the usual termn, but I prefer "alive". Like, making decisions based on some parameters I "and the machine" think of. Changing music in infinite ways. And also to add interactivity. Yeah.

I don't really see artsy programming languages (about music) to "write music", but to add randomness and shit like that to an actual track made in a DAW or sheet music, yo.

 

i hate randomness in most parts. i only use it sometimes to slightly vary velocity or similar parameters, to 'humanize' music, if that's what you mean.

on the other pole is 'machine thinking'. well, i'm not fan of 'machine thinking' either cause i usually want all the decisions to come from me i couldn't find useful situations for using preset rules; every situation requires different rules and if i have to change the rules all the time it's better not to have them in the first place, they just stand on the way of my intuition. so, as you can see, i live somewhere in between those poles and i have to find ways to justify all the travail. maybe i will. i still know too little to be sure in anything i guess.

 

regarding right/left brain, debunked or not - doesn't matter, certain dominant ways of thinking are more associated with programming while others more with creative-artistic outcome, especially in music production

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