In the World of Grains – Part 5

In the World of Grains – Part 5

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… and some more comnputer languages to be used to code granular synthesis, granular sound processing and granular sound design:

OpenMusic

To say it at once: OpenMusic is not mainly meant to manipulate sound. It is not a dedicated sound processing programming environment. Its main purpose is coding compositions, working with notes and notations and manipulating scores.

The Modules of the Vintage ARP 2500 – Part 8

The Modules of the Vintage ARP 2500 – Part 8

There are 3 modules in Cherry Audio´s software version of the original vintage ARP 2500 modular synthesizer from 1970, which didn´t exist in the real hardware. Cherry Audio has created these added additional modules to enable the user to stick to only the ARP 2500 software package even if there´s the need to comfortably patch something the Eurorack way of patching, which wouldn´t be possible because of the missing switches otherwise (dual 4 channel mixer module 1051).

Close Encounters of a Special Kind – Part 8

Close Encounters of a Special Kind – Part 8

Earthquakes – Part 2

As I told you in my last article of this series: Not every sound design experiment brings the expected or wanted results. And that´s the way I ended with my earthquake experiment. The sounds from throwing things at the pasta-rice,chickpeas-sugar mixture were excellent! They were excitingly superb and served – and still will serve – as great raw material for further design steps.

Thoughts on Semi-Modular Synths vs. Eurorack – Part 8

Thoughts on Semi-Modular Synths vs. Eurorack – Part 8

Alright, aspect 3 in this chapter about differences concerning the workflow now: MIDI and CV, how much do they love each other with semi modular synths? Well, there are a couple of Eurorack modules, that are equipped with MIDI as well. So the following is not valid only with semi modular synths. But the majority of Eurorack modules don´t have MIDI connectivity, whereas the majority of semi modular synths do. So, MIDI should be a matter in this series of articles about the differences “semi modular vs Eurorack”.

Thoughts on Generative Music - Part 8

Thoughts on Generative Music - Part 8

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Two More Decisions to be made

There are at least two other decisions to be made in generative music:

Decision 3:

Do I allow myself to intervene from time to time?

And

Decision 4:

Do I follow a clean puristic approach, or do I allow myself to record single pieces and put them together in a later production process?

In the World of Grains – Part 4 (contains embedded video)

In the World of Grains – Part 4

(contains embedded video)

Computer Languages with Graphical User Interfaces

Syntona

Syntona is the graphical user interface of the (Java based) language Jsyn (see last chapter).

To say it right at the beginning: You can do a lot more with the language Jsyn than you can do using its UI Syntona, and if you are only aiming for granular sound processing, well, don´t dive into Syntona then.

The Modules of the Vintage ARP 2500 – Part 7

The Modules of the Vintage ARP 2500 – Part 7

We are approaching the end of this series about the ARP 2500 modules, or better said: we would be approaching the end of the series, if I had not prepared a couple of interesting patches (schematics, explanation and video demonstrations). But let´s learn about the modules 1016 (Noise / Random Voltage), the module 1003 (Dual Envelope Generator) and the module 1033 (Dual Delayed Gate Envelope Generator) first.

Thoughts on Generative Music - Part 7

Thoughts on Generative Music - Part 7

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More Thoughts About Structure, Randomness and Compositional Strategies

Are the terms “composing“ and “generative“ mutually exclusive antipodes?

No, they are not. Composing in classic, neoclassic, pseudo classic, contemporary modern classic etc. ways is like walking a dog on a short leash. Composing generative music means walking this dog on a quite long leash – but not without a leash at all. There are some general decisions to make, the very first of which reads:

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