“Students of music composition can explore algorithmic composition, while others can create musical representations of models for the purpose of aural interpretation and analysis. Here, the algorithmic process is used in a creative context so that users can convert sequences of numbers into sounds.”
– You have 6 minutes to build a Max-patch and do a performance with it.
– Start with an empty patch.
– Only use the standard objects that are part of Max/MSP/Jitter.
– Don’t use externals, pre-build external datafiles, help files, or anything of that kind.
Fritzing is an open-source initiative to support designers, artists, researchers and hobbyists to work creatively with interactive electronics. We are creating a software and website in the spirit of Processing and Arduino, developing a tool that allows users to document their prototypes, share them with others, teach electronics in a classroom, and to create a pcb layout for professional manufacturing.
This page is dedicated to those who have considered classifying their mp3 collection according to tempo, which is measured in beats per minute, or BPM. A great use of this musical measure is the creation of playlists: a playlist with fast music to play at the gym, a playlist with slow music to relax, etc.
I especially like this great MIDI tool/reference patch
National Science Foundation CCLI Grant
Linking Science, Art, and Practice Through Digital Sound
This project’s objective is to develop curricular material that explains the science and mathematics of digital sound in a way that makes their relationship to applications clear, using examples from theatre, movies, and music production. This is a collaborative project among computer science, education, and digital sound design professors at a liberal arts university and a performing arts conservatory.
The intention is to engage students’ interest in science by linking it more tightly to practice, including artistic applications. The vision is to draw more students to the study of computer science by means of its exciting connections with art and digital media.
“We have just released the first complete version of the SoundHack externals for PD & Max. These externals replicate most of the SoundHack plugins and are offered free of charge. Included in this collection are externals for amplitude shaping and distortion (+compand~, +chebyshev~ & +decimate~), single-head, multi-head, pitchshifting and granular delays (+delay~, +pitchdelay~, +bubbler~), and the spectral shapers, a set of spectral filters and dynamics processors (+binaural~, +morphfilter~, +spectralcompand~ & +spectralgate~). This package is available at http://www.soundhack.com/externs.php.”
Formed in 1969, Electronic Music Studios (EMS) quickly became innovators for the recording, production and advancement of electronic music. The ideas and designs that bubbled forth out of the ingenuitive minds of Peter Zinovieff, Tristram Cary, David Cockerell and others, led to the creation of some of the most wildly original musical/sound design equipment ever conceived. The VCS3, Synthi A + AKS, Synthi 100, Synthi E, Synthi Logik and the Soundbeam are among these, almost unworldly, devices.
It is often said EMS gear has attained cult status, reaching a fervor of near worship among its users. The Synthi Group is an example and collection of such users. United through the Synthi blog and forum (www.thesynthi.de) and located throughout the world, the group’s members have come together for a planned series of compilation volume releases where the individuality and approach of each member towards their EMS instrument is showcased and broadcasted for all to experience. The listener will hear wildly different examples of styles and sounds that this original, and oft times, vintage equipment can create.
EMS were true pioneers from the very beginning, always looking beyond the culture and times they were surrounded and seemingly trapped in. Still around today, thanks to Robin Wood and Ludwig Rehberg, they are one of the few companies involved with electronic instrument production that have had a continued run since their inception. The Synthi Group have honed the original pioneering spirit and DIY ethic of EMS with their Volume series, a collection of sounds encompassing beautiful dreamscapes, synaesthetic visions, dark ambience, aural abstractions, sonic absurdities, pulsating analog, glitch, ring modulators, and envelope shapers generating trapezoidal geometry. Beginning with Volume 1, the Synthi Group compilations aim to ensure the story of EMS continues well into the future of electronic music production.”
[Synopsis by Alka]