Podcasts about csound

Lords: * Jonah * AC Topics: * When was the last time you listened to a song backwards? * Decentralized manufacturing * Are there other terms like "foodies," to describe those who are super into universal bodily functions? * The Bathroom Line, by Jesse Thurston * Playtesting legos Microtopics: * Pet Rock Dot Site * Whether rhythm is a kind of sound. * A rhythm synthesizer that produces control voltages. * All the things you could hypothetically like about New York City. * Crowded speculative real estate. * Canada's role as a fire hazard. * The power company in charge of all the wildfires. * What happened to Smokey the Bear. * Stopping for lobsters crossing the highway. * Whether Smokey the Bear died in his sleep. * Putting the oven on self clean and it cleans your whole house. * Bringing back Satanic Panic to make backmasking cool again. * Constructing a cliff that echoes backwards. * Musique Concrete. * The kind of people who would make an album in Csound. * Admitting that your music is hilarious. * Conlon Nancarrow's works for player piano. * Black MIDI. * Knowing that you should be adding a constraint to your assertion but not knowing what it should be. * If Conlon Nancarrow had only entered cryosleep. * Loading up a song in Sound Forge. * Squid Salmple. * Bluetooth: it works every time! * Virtual modular synthesizers with cool cable physics. * The etymology of backmasking. * If Wiktionary is so good, why isn't there a Wiktionary 2? * Franchising your rhythm box. * Doing each other's administrative work. * Doing a labor swap to get fresh eyes on your project. * Ubering to the trail head. * Imagine: paying rent for an office. * Poopsocking it on this family show. * The Armory. * Going back in time and having $14 million. * Selling your forehead as advertising space. * Joseph Circuit City Smith. * This man needs your help to remove his porn logo forehead tattoos. * Aspirational snake eye contacts. * Your contacts contact. * Antique sword knife bookmark charm sword knife pendants knife charms for bookmarks. * Going to the breathing club and breathing really hard. * The Hearty-Starty. * Trying to joke about a thing that turns out to just be a real thing. * A Facebook group for people who love shitting. * Blinkos and all the nuances of the ways they love to blink. * A whole world just for smelling. * How your heart doesn't stop every time you sneeze. * Green text vs. other colors of text. * The r/bluetext subreddit that's all about links to other web sites. * Nutty Gum and Fruit Spleggings. * Finding the one while in line to poop. * Going to college for like a year and one of the best things about it was the bathroom graffiti. * A chalkboard in the physics department's bathroom stall. * Help I'm trapped in the bathroom grout. * Peeing while trying to think of a poem. * Peeing your pants in the bathroom. * Don't Backmask Me, Bro. * Finding someone in a bar who wants to playtest your experimental game for three hours. * The movie Yesterday except for inventing Legos. * Following instructions as a way to fidget. * Trying to solve a difficult programming puzzle when someone comes up and starts biting you in the ass. * All the ways someone can be onboarded onto an experience. * Free HTML5 Games Tagged Idle. * Top Three Clickers. * Roguathia. * Waiting until you have more SP to select upgrades.

Closing the year 2023, Colone based Portuguese composer Luís Antunes Pena (Lisbon, 1973) reveals that, for himself, composing means to be able to dive into a domain that one does not control totally. Or perhaps this episode is about his addiction to buying books about anything. Anyway, have a listen to his beautiful analog synthesizer improvisation while discovering the his world.credits: improvisations with Serge Analog Synthesizer and Csound processing.vortextemporum.com

Paul Lansky is the most celebrated and musically influential of the computer musicians at Princeton, and it isn’t only because he was famously sampled by Radiohead on their classic album “Kid A.” His work expanded the boundaries of computer music and speech synthesis for art into territory far from the art’s musically difficult twelve-tone beginnings. In the words of current Princeton Music Professor Dan Trueman, “He invites you to listen however you want… It’s this place you go and your find your own way.” Or as his former student Frances White said, Lansky was able to bring “computer music into a much more open and beautiful place.” This episode is a celebration of the life’s work of Paul Lansky, as well his collaboration with a Princeton engineer, Ken Steiglitz, that made much of that work possible. We’ll hear a wide sweep of his computer music from throughout his multifaceted career. And we’ll look at Lansky’s work building software, as well as the similar efforts of fellow composer Barry Vercoe, whose CSound technology left a lasting imprint on software musicians still use today.

In today's episode of Dreams Not Memes I speak to Jason/Tsung-Yuan Lee. Jason is a Taiwanese classical/jazz/world music violinist, multi-instrumentalist (piano, bass, guitar, drum, erhu, cello), composer, sound designer and an electronic musician. In 2017 Jason appeared and composed music for the film “Accommodation”. He also appeared on Dream Theater's “Along for the Ride” tour and live released DVD “Breaking The Fourth Wall”. In 2015, Jason Lee toured in China with his Chinese/Jazz fusion quartet for the first time and was interviewed by Huaxia Magazine as the theme of the month- “The rising star of the music world”. And later on, went on a sold-out tour with Yo-Yo Ma's silkroad Ensemble branch project in 2018. In 2017, Tsung-Yuan join The Boulanger Lab as a musical software developer, directed by the creator of Csound computer language, Dr. Richard Boulanger. During 2018-2020 Jason was the co-leader of string revolution funk/rock band “2 Birds Band”, the great modern violin pioneer Jean-Luc Ponty has once commented on the band, “I'm glad to see young compatriots at a level that I rarely hear!”. The band is a unique strings-based ensemble with a rhythm section that explores the boundaries of violin and cello through different styles of music. Fusing classical tradition and contemporary styles, the band presents a new way of approaching strings with a sound both cultured and groovy. It has been performing and teaching clinics in Boston, New York, Toronto and France. The band has released 3 albums First Flight (2015), For Lack Of A Better World (2016) and String Groover (2017). Through recent years, Tsung-Yuan (Jason) Lee has worked and performed with many renowned musicians from modern jazz innovators such as, 4-time Grammy winner Terence Blanchard; 2-time Grammy winner Jacob Collier; modern drummer Jojo Mayer; Mark Guiliana, modern guitarist David Fiuczynski, to King of Chinese Pop Lee Hom Wang; to classical musicians including 4-time grammy winner Eugene Friesen; grammy-winning Yo-Yo Ma's Silkroad Ensemble, to Hollywood Oscar nominated composer AR Rahma, progressive rock band Dream Theater; electronic music composer Robert Rich; oud master Simon Shaheen and suona master Yazhi Guo. In our conversation, Jason and I speak about his experiences with playing the violin and exploring his love for music and how he has been able to work on music in New York and Taiwan. Learn more on Dreams Not Memes. https://www.instagram.com/jasonleety/

¡¡¡Muy buenas amante del Software Libre!!! Bienvenido a otra entrega de Podcast Linux, la número 110. Un saludo muy fuerte de quien te habla, Juan Febles. Hoy estamos con Carlos Arturo Guerra Parra, organista en la Catedral de Cuenca y profesor en el Conservatorio Superior de Salamanca. Le gusta mucho la informática, es programador amateur en lenguajes como C, C++, Python, Java para Android… En el campo de la música también programa, trabajando con SuperCollider, CSound o Pure Data.

In today’s episode Oliver was joined via Skype by Aaron McLeran, Lead Audio Programmer at Epic Games. Aaron’s first taste of audio programming was writing computer music in CSound while in graduate school at University of Notre Dame (when he was supposed to be doing astrophysics research). Realising his true calling, he left physics to study procedural and interactive computer music, audio synthesis, and audio analysis with Dr. Curtis Roads at the University of Santa Barbara. His first game audio experience was writing procedural music on Spore where he got to collaborate with Brian Eno and Maxis’ audio director Kent Jolly on writing much of the game’s truly procedural music. His next game audio gig was a sound designer on Dead Space 2 where he wrote much of the games interactive audio systems in Lua along with accomplished audio director Don Veca. He made the leap from technical sound designer to audio programmer at Sledgehammer Games where he worked on Call of Duty: Modern Warfare 3 and Call of Duty: Advanced Warfare. His next audio programming gig was at ArenaNet where he got to wrangle with the unpredictability and scale of game audio in the context of an MMO and developed some pretty cool tech around for player-created music and musical interaction. He’s currently working on a new multi-platform audio mixer backend for UE4 and developing new tech and approaches to game audio for VR. Aaron speaks to Oliver about all things Game Audio and Procedural Audio and his unusual entry into the industry. For more information follow: http://1618digital.com/immersive-audio-podcast-episode-7-aaron-mcleran/ Subscribe: 1618digital.com/#contact

Qu-Bit Electronix holds a special place in my heart: there was a time when I wouldn't do a gig unless I'd loaded up a thumb drive with some new samples for munging with a Qu-Bit Nebulae - that company's first product. Since then, they've gone on to do a lot of additional modules, including a new series of devices that are in 'sets of four' - which Andrew talks about in this chat. Talking with Andrew is also interesting because you find out about an accomplished musician that learned everything - design, programming, synthesis - out of a love of music and musical devices. Brought up under the tutelage of Dr. Boulanger at Berklee, Andrew took what he learned and made it concrete, literally wedging Csound code into a module so that he could further pursue his interests. At the forefront of bringing digital to Eurorack systems, Andrew remains excited and fascinated by synth tools, and has some pretty big plans for the future. Listen in and enjoy!

David Worral is a preeminent scholar regarding sonification. His doctoral thesis on the topic is one of the best resources available for anyone researching this area of study. This is an open and informal discussion of various topics related to sonification. David and Scot have known each other for decades so this an engaging and lively discussion.

next_generation 5.0: AKUSMATIK | Symposium 27.06.2013 - 30.06.2013 next_generation 5.0 − das größte, biennale Treffen der Hochschulstudios für elektronische Musik − geht in die nächste Runde: Das Festival am ZKM | Institut für Musik und Akustik (IMA) bietet den NachwuchskomponistInnen im Feld elektronischer Musik eine Plattform, ihre kompositorischen Neuentwicklungen zu präsentieren. An fünf Tagen und Nächten bietet das ZKM | IMA ein interessantes und dichtes Programm, das über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik« informiert: 27 anwesende Studios, 17 Konzerte, 19 Vorträge, 3 Gesprächsrunden, 6 Installationen und 106 aufgeführte Werke, darunter 30 Uraufführungen umfassen das Programm. Damit garantiert das Festival eine repräsentative Übersicht über das kreative Schaffen im Kontext von Technologie und Kunst. Sicherlich werden es spannende Tage, an welchen die unterschiedlichen musikalischen Ansätze im Bereich der live Elektronik, der Audiovisuellen Komposition oder auch der Installationen im Kubus sowie im Studiobereich betrachtet und in den Gesprächsrunden diskutiert werden.

Here's one that took a while to make. I was able to build Csound v5 under Linux on an IBM mainframe Integrated Facility for Linux (IFL), thanks to an IBM developer program. Csound is back on the mainframe after not seeing such an architecture for probably 40 years. It runs pretty fast, but that's not the reason to build it on the platform. I just wanted to understand the challenges of moving to the s390x architecture, since I sell mainframes for a living, and most of my customers have Linux today. Today's version of June Gloom was converted from my source code to Csound input on my PC under Free Pascal, shipped to the mainframe as drum12.csd, then processed by Csound on the mainframe to create a .wav file. I brought that back to my PC to create an MP3 file and posted here. Download or Play it here. Subscribe here:

Here's a version made on a Linux implementation on Amazon's Web Services. Now that my preprocessor has been ported to open source Free Pascal, it was a snap to compile it on an Ubuntu Linux instance. Csound only needed a simple install. It's my first try at Linux. Next stop: RedHat under z/VM on an IBM IFL at their developer sandbox. Unfortunately, there's no port of Free Pascal that supports the z architecture or instruction set, and I'll have to build Csound myself. I think the latter will be easier than the former. I can do the preprocessor work on my desktop and ship the Csound source to the cloud for processing. Download or Play it here. Subscribe here:

No music today, just the source code. Trying to set up a cloud instance and need to put the source somewhere to wget it. Samples the Csound preprocessorInput to the preprocessorAll the other files needed in a zip file.Impulse Response file.Result of the first Linux process using Amazon Web Services.

Here is the last version of June Gloom I will post. Today's run through the algorithm is a milepost of sorts. I finally was able to generate the whole thing without having to run either the preprocessor or Csound in that dreadful XP box on my Windows 7 laptop. Today I finished the port of the preprocessor to Free Pascal from Turbo Pascal. Most of the problems along the way were due to failing to check for Nil pointers and out of bounds arrays. Apparently Turbo Pascal circa 1989 let me do some bad things. I fixed those and the program compiled. After earlier porting the Csound code to a version of Csound that runs in Windows 7, I'm now free of the XP box. Today's post is the result. Nothing is substantively different, except it's another round through the algorithm, so everything has changed. Download or Play it here. Subscribe here:

Here is one more version of the June Gloom piece I've been working on. For the past eight years I've used an older version of Csound (4.19 from 2005) that only runs on Windows XP. I moved to a new version of Windows, and the old version stopped running. So I obtained a current version, Csound version (5.17.11 from May 2012). To my delight it worked with all my old opcodes with only minor problems with the install. This version of the piece was made with the Windows 7 version of Csound 5.17.11. My preprocessor, written in Turbo Pascal (filedate 1989), is another story. Turbo Pascal won't work in the current version of Windows 7. I had to create a virtual machine running XP, and that is working, but poorly. All things considered, my $90 investment in Turbo Pascal was worth it, since I have been able to use it for 23 years. My next task is to try to port the Turbo Pascal to Free Pascal. My first attempts resulted in code that compiles with minor changes, but fails at run time reporting memory issues. That conversion will take much longer. Download or Play it here. Subscribe here: Source code Input to the Csound: drum12Second stage for volume control: drum12aThird stage for convolution: convolv

This is a final version of the piece I've been working on lately. As with several recent works, this one takes six notes at a time out of a 10-note scale based on the undertone series. Here is a small chart that shows the pitches and ratios used and the order of the changes. The accidentals are in the Sagittal font. The six notes chosen are two triads. The first one in the first row is a just B flat major, played at the same time as a just C minor. This is a very consonant combinations, almost too sweet. The instruments play a melody and chords based on those two triads. The rhythm is 9/8 then 4.5/8, which is what makes the tempo sort of bouncy. After playing in the first key (Bb major, C minor), it moves to the next one in the series, a just G minor combined with sort of an A flat neutral with a messed up 5th. It gets worse from there. Eventually it comes back to the beginning, and then repeats the cycle two more times. It's the same basic melody and harmony in each chord, but the notes change with each change of key. Sometimes it sounds sweet, other times more challenging to the ear. Here is the full ten note scale, as I approximate it in 72-EDO: The instruments are trumpet, trombone, french horn, cello, and tuba playing the melody, and bassoon, clarinet, oboe, and flute on the harmony, with a rhythm section composed of balloon and tube drums. Download or Play it here. Subscribe here: Source code: Input to SamplesInput to Csound

Play it here Here's a final version of the piece I've been working on lately. It's scored for bass finger piano and lots of Ernie Ball Super Slinky Guitar string samples. The tuning is taken from a mostly utonal scale, but only six notes at a time. Here's the 10 notes in the scale, from which six note modes are pulled. The numbers across the top are the scale degrees out of the 10 available (actually only 10 in this case), and the next row is the 72-EDO note numbers. And here are the six note chords that are used. The numbers to the left are the scale degrees out of the 10 available: Notice that some of the ratios are conventional just major and minor triads. Others are much more xenharmonic. The Bb major and C minor are in the former category, sounding very consonant and easy on the ears. The B neutral and C supermajor are more challenging. When they come around, you know that something unusual is at work. The piece steps through the chords in a progression twice, in the following order. Sometimes the chords are taken two at a time, sometimes only one. And sometimes they move from one to another in a slide. One of the most attractive parts of this scale is the wide range of consonance to dissonance, from 12-tone-equal sound to xenharminoc. All from only 10 unique pitches. The format of the piece is that I only change the six notes that are input to the process, and the randomizer picks the notes to play. For example, it can chose a chord that slides from the first chord to the second, in one of a number of inversions, or trills, or straight chords, or many other combinations. For example, the piece might call for the strings to play a chord, and slide to the next one: .chox-0-b01a &pre-&n5..&slivd-&n5.-&n4.. &preu-&n5.-&n1..&slivd-&n1.-&n6.. &preu-&n1.-&n3..&slivd-&n3.-&n2.. .chox-0-b01b &pre-&n4..&slivu-&n4.-&n5.. &preu-&n4.-&n6..&slivu-&n6.-&n1.. &preu-&n6.-&n2..&slivu-&n2.-&n3.. .chox-0-b01c &pre-&n5..&slivu-&n5.-&n6.. &preu-&n5.-&n1..&slivu-&n1.-&n2.. &preu-&n1.-&n3..&slivu-&n3.-&n4.. .chox-0-b01d &pre-&n6..&slivd-&n6.-&n5.. &preu-&n6.-&n2..&slivd-&n2.-&n1.. &preu-&n2.-&n4..&slivd-&n4.-&n3.. .chox-0-b01e &pre-&n5..&slivd-&n5.-&n4.. &pred-&n5.-&n3..&slivd-&n3.-&n2.. &pred-&n3.-&n1..&slivd-&n1.-&n6.. This is called from the string section: .strx-16-a01a d4r0 &str1-ran*.d4h5z0e1&chox-0-a*. .strx-16-a01b d2h9z0e1v-3&chox-0-a*.d12 .strx-16-a01c d0h32e13v-5&chox-0-b*.d16 Which in turn is called by the individual string parts: .all-72-a02 &vel.d72r0 &str1.&strx-72-a01*. &str2.&strx-72-a01*. &str3.d72r0 &str4.d72r0 .all-72-a04 &vel.d72r0 &str1.&strx-72-a01*. &str2.&strx-72-a01*. &str3.&strx-72-a01*. &str4.d72r0 .all-72-a03 &vel.d72r0 &str1.&strx-72-a01*. &str2.&strx-72-a01*. &str3.&strx-72-a01*. &str4.&strx-72-a01*. And I start it all off by calling &all-72-a0*. I set the notes to specific 72 EDO tones here: .Bb-maj1 .n1 2x .Bb-maj2 .n2 3x .Bb-maj3 .n3 5x .Bb-maj4 .n4 7x .Bb-maj5 .n5 9x .Bb-maj6 .n6 1x .Bb-majb1 .bass1 9x .Bb-majb2 .bass2 5x .Bb-majn1 .nn1 7x .Bb-majn2 .nn2 8x .Bb-majn3 .nn3 9x .Bb-majn4 .nn4 Ax .Bb-majn5 .nn5 3x .Bb-majn6 .nn6 4x .Bb-majbn1 .bassn1 3x .Bb-majbn2 .bassn2 9x .Bb-maj &Bb-maj1.&Bb-maj2.&Bb-maj3.&Bb-maj4.&Bb-maj5.&Bb-maj6.&Bb-majb1.&Bb-majb2.&Bb-majn1.&Bb-majn2.&Bb-majn3.&Bb-majn4.&Bb-majn5.&Bb-majn6.&Bb-majbn1.&Bb-majbn2. I do that for all the keys. Then I just have to call the macro to set them all to the right notes. &Bb-maj. That sets &n1. to 2, &n2. to 3, &n4. to 7, and so forth. When it goes through the preprocessor, it resolves all that code into Csound input files. Full source code here: Input to preprocessor. input to Csound, output from preprocessor or download this linkSubscribe here:

This one is final for now. It's the 14th take through the algorithm. It uses the subharmonic series to the 15 limit, plus one more (36:19) beyond the 15-limit, and an additional note (27:20) which I added to be harmonious with the 9:5.18:18 18:16 18:15 18:14 27:20 18:13 18:12 18:11 18:10 36:19 36:18which can also be written as: 1:1 9:8 6:5 9:7 27:20 18:13 3:2 18:11 9:5 36:19 2:1 From that ten note scale, I pull six notes out at a time and play a set of chords and melodies. Or rather the computer picks out some chords and melodies from an array of choices. There are nine 6-note combinations chosen for this piece, each takes about a minute or two, and then it moves to the next one. Some are sweet, some are sour, some harsh, and a few just plain weird. The subharmonic series has always played tricks on me. The weird ones can be thought of as the sleeping wolves of the undertones. In this piece, they get up and dance.The instruments are the Ernie Ball Super Slinky Guitar String sample set I made earlier this year, finger pianos, balloon drums, tube drums, trombones, and trumpets. There are lots of slides and trills. Csound provides for function tables that can be multiplied by a note to make it go up or down at a specific rate to a specific pitch. I generated tables for all the possible combinations of the ratios in the scale, and then through some programming with Excel, the right f table is applied to each note to move to the right next pitch for each of the modes. That's the feature that can be heard as the slides and shakes of the instruments. Imagine a guitar player sliding up a note and giving it some vibrato when he hits the higher or lower note. Except it can be done for finger piano, trumpet, and strings, not just guitar.The rhythm is in nine, with stress on the 2 + 3 + 4 beats. The tempo moves around a bit as the algorithm can decide to speed up or slow down by around 15/16ths at random times, slowing way down at the end.Play it hereor download this linkSubscribe here:

097_I was playing around with the new CsGrain iPad App. It´s a Granular sysnth based on programming language Csound. 2012 I release one free sound per day. You´ll get free...