Close Encounters of a Special Kind – Part 10
Close Encounters of a Special Kind – Part 10
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More About Random Rhythms
Thoughts on Generative Music - Part 10
Thoughts on Generative Music - Part 10
(contains embedded video – there are VCV rack presets mentioned in the text here and there. Owners of my book, this article is an excerpt from, will get the link to those presets. More about my book here: https://www.dev.rofilm-media.net/node/331) If you want to support my work, please make use of the "PayPal" button - thank you very much indeed!
Chapter 3.3:
Specific Compositional Techniques
In the World of Grains – Part 6
In the World of Grains – Part 6
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A First Attempt to
Classify and to Systemise Approaches to
Using Sonic Grains in
Music and Audible Art
(excerpt from my book: https://www.dev.rofilm-media.net/node/332)
The Modules of the Vintage ARP 2500 – Part 9
The Modules of the Vintage ARP 2500 – Part 9
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Close Encounters of a Special Kind – Part 9
Close Encounters of a Special Kind – Part 9
If you want to support my work, please make use of the "PayPal" button - thank you very much indeed!
Some Last Notes About the Earthquake
Thoughts on Semi-Modular Synths vs. Eurorack – Part 9
Thoughts on Semi-Modular Synths vs. Eurorack – Part 9
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Chapter 5: Special Technical Aspects
In this temporarily last chapter (chapter 6 will follow in some weeks, but not at once) I´m going to talk about some general technical aspects, which speak – unfortunately – mainlyagainst semi modular setups.
Thoughts on Generative Music - Part 9
Thoughts on Generative Music - Part 9
(contains embedded video) If you want to support my work, please make use of the "PayPal" button - thank you very much indeed!
Chapter 3.2.3 excerpt from my book:
https://www.dev.rofilm-media.net/node/331
Basic but Exclusively Generative Techniques
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
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Close Encounters of a Special Kind – Part 8
Close Encounters of a Special Kind – Part 8
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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.