From phillipthomas at hotmail.com  Wed Sep  1 02:40:13 2010
From: phillipthomas at hotmail.com (Phillip)
Date: Wed, 1 Sep 2010 07:40:13 +0100
Subject: [microsound] Computer Sound Recordings & Machines recordings
In-Reply-To: <AANLkTiknGa8R4g7ZC3cAcXOX9jLS5vryT-K7jcJQkb-2@mail.gmail.com>
References: <AANLkTikD22ALQh6GYHW8-o9sz__sqyWvNiJDtNv+JwWR@mail.gmail.com>
	<411902.50376.qm@web52004.mail.re2.yahoo.com>
	<AANLkTiknGa8R4g7ZC3cAcXOX9jLS5vryT-K7jcJQkb-2@mail.gmail.com>
Message-ID: <BLU0-SMTP14806768D5B49D237FD1F87AB8B0@phx.gbl>

gras.dk produce a wide range of high frequency equipment.

Sent from my iPad

On 1 Sep 2010, at 02:33, Thierry Bernard Gotteland <thierrybernardgotteland at gmail.com> wrote:

> Thanks for all of you to get time to reply, let's continue...
> 
> On Wed, Sep 1, 2010 at 3:38 AM, guiver ben <benreviug at yahoo.com> wrote:
> i couls upload my hollywood edge comp to mediafire if you want any machine noises off of that...
> 
> --- On Tue, 8/31/10, alex olsen <alex.ookpik at gmail.com> wrote:
> 
> From: alex olsen <alex.ookpik at gmail.com>
> Subject: Re: [microsound] Computer Sound Recordings & Machines recordings
> To: microsound at microsound.org
> Date: Tuesday, August 31, 2010, 8:08 PM
> 
> 
> Hum. Sounds neat. Or should I say: sounds like it would sound neat.
> 
> 
> Alex
> 
> 2010/8/31 A????????? <contact at agxivatein.com>
> I recorded a lot of computer sounds for my last album a year ago,
> 
> I used inductive coils, electromagnetic receivers, ultrasonic sensors and film piezos - all of them gave excellent results !
> 
> I bought the inductive coils from maplin.co.uk - all the rest I soldered them myself - it' s not really difficult just remember to use a DI box or some buffer else you' re gonna loose all the bass !
> 
> m
> 
> 
> 
> On 31 ??? 2010, at 6:37 ?.?., Ernie Dulanowsky wrote:
> 
>> Vilson:
>> The actuator has no magnets in it. It's just a coil of wire. It doesn't
>> have very high output level, though, so some sort of preamp is required....
>> 
>> cheers,
>> ernie
>> ++++++++++++++++
>> Ernie Dulanowsky 
>> www.pulsewidth.ca
>> ++++++++++++++++
>> 
>> 
>> On Tue, Aug 31, 2010 at 9:16 AM, Vilson Vieira <vilson at void.cc> wrote:
>> Ernie,
>> 
>> I was thinking to use some coil and HD magnets to create a "guitar
>> pickup" but your idea is genial! The HD actuator has any kind of
>> magnet on it's center? I'll try that!
>> 
>> Cheers.
>> 
>> 2010/8/31 Ernie Dulanowsky <ernst at pulsewidth.ca>:
>> > hello:
>> > In this post I described (in not great detail, I must admit) how to detect
>> > and record electromagnetic radiations
>> > from a computer. Although not everyone will have a coil from a hard derive
>> > actuator handy, it may be possible
>> > to find an old telephone pick-up complete with suction cup. A guitar pickup
>> > would also do the trick rather nicely.
>> > A contact mic would also be handy to record mechanical sounds as well, I
>> > suppose...
>> > http://www.pulsewidth.ca/?p=186
>> > cheers,
>> > ernie
>> > ++++++++++++++++
>> > Ernie Dulanowsky
>> > www.pulsewidth.ca
>> > ++++++++++++++++
>> >
>> >
>> > On Tue, Aug 31, 2010 at 8:28 AM, Thierry Bernard Gotteland
>> > <thierrybernardgotteland at gmail.com> wrote:
>> >>
>> >> Well, thanks for your reply but I got that one already!
>> >>
>> >> On Tue, Aug 31, 2010 at 9:21 PM, Michal Seta <mis at artengine.ca> wrote:
>> >>>
>> >>> On Tue, Aug 31, 2010 at 9:05 AM, Thierry Bernard Gotteland
>> >>> <thierrybernardgotteland at gmail.com> wrote:
>> >>> > if you have any suggestions and link , I am here.
>> >>>
>> >>> and at least some sounds are there:
>> >>> http://www.freesound.org/
>> >>>
>> >>> ./MiS
>> >>> _______________________________________________
>> >>> microsound mailing list
>> >>> microsound at microsound.org
>> >>> http://or8.net/mailman/listinfo/microsound
>> >>
>> >>
>> >>
>> >> --
>> >> KindRegards
>> >>
>> >> TBG
>> >>
>> >> ----------------------------------------
>> >> http://universalport.tumblr.com
>> >> http://tbgotteland.tumblr.com
>> >>
>> >>
>> >>
>> >> _______________________________________________
>> >> microsound mailing list
>> >> microsound at microsound.org
>> >> http://or8.net/mailman/listinfo/microsound
>> >>
>> >
>> >
>> > _______________________________________________
>> > microsound mailing list
>> > microsound at microsound.org
>> > http://or8.net/mailman/listinfo/microsound
>> >
>> >
>> 
>> 
>> 
>> --
>> Vilson Vieira
>> 
>> vilson at void.cc
>> 
>> ((( http://automata.cc )))
>> 
>> ((( http://musa.cc )))
>> 
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
> 
> 
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
> 
> 
> 
> 
> -- 
> + + + + + 
> 
> 
> -----Inline Attachment Follows-----
> 
> 
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
> 
> 
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
> 
> 
> 
> 
> -- 
> KindRegards
> 
> TBG
> 
> ----------------------------------------
> http://universalport.tumblr.com
> http://tbgotteland.tumblr.com
> 
> 
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
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From gorgo at inbox.ru  Wed Sep  1 05:01:34 2010
From: gorgo at inbox.ru (gorgo)
Date: Wed, 01 Sep 2010 13:01:34 +0400
Subject: [microsound] Tiny Greatness
Message-ID: <E1OqjCI-0002lO-00.gorgo-inbox-ru@f57.mail.ru>


Hi everybody!

A new song has been uploaded. Enjoy ))

http://www.myspace.com/gorgo.shpak

gorgo

From benreviug at yahoo.com  Wed Sep  1 07:55:04 2010
From: benreviug at yahoo.com (guiver ben)
Date: Wed, 1 Sep 2010 04:55:04 -0700 (PDT)
Subject: [microsound] Computer Sound Recordings & Machines recordings
In-Reply-To: <BLU0-SMTP14806768D5B49D237FD1F87AB8B0@phx.gbl>
Message-ID: <701264.12750.qm@web52004.mail.re2.yahoo.com>

hello all,
these might help...
http://www.mediafire.com/?rc4efspc22aeldr#2


http://www.mediafire.com/?3rhwtph7dr710md


http://www.mediafire.com/?p47q5wd3eyq458i
best
ben
--- On Wed, 9/1/10, Phillip <phillipthomas at hotmail.com> wrote:

From: Phillip <phillipthomas at hotmail.com>
Subject: Re: [microsound] Computer Sound Recordings & Machines recordings
To: "microsound at microsound.org" <microsound at microsound.org>
Date: Wednesday, September 1, 2010, 7:40 AM

gras.dk produce a wide range of high frequency equipment.

Sent from my iPad
On 1 Sep 2010, at 02:33, Thierry Bernard Gotteland <thierrybernardgotteland at gmail.com> wrote:

Thanks for all of you to get time to reply, let's continue...

On Wed, Sep 1, 2010 at 3:38 AM, guiver ben <benreviug at yahoo.com> wrote:


i couls upload my hollywood edge comp to mediafire if you want any machine noises off of that...

--- On Tue, 8/31/10, alex olsen <alex.ookpik at gmail.com> wrote:


From: alex olsen <alex.ookpik at gmail.com>
Subject: Re: [microsound] Computer Sound Recordings & Machines recordings

To: microsound at microsound.org
Date: Tuesday, August 31, 2010, 8:08 PM

Hum. Sounds neat. Or should I say: sounds like it would sound neat.



Alex

2010/8/31 A????????? <contact at agxivatein.com>


I recorded a lot of computer sounds for my last album a year ago,


I used inductive coils, electromagnetic receivers, ultrasonic sensors and film piezos - all of them gave excellent results !
I bought the inductive coils from maplin.co.uk - all the rest I soldered them myself - it' s not really difficult just remember to use a DI box or some buffer else you' re gonna loose all the bass !



m


On 31 ??? 2010, at 6:37 ?.?., Ernie Dulanowsky wrote:
Vilson:The actuator has no magnets in it. It's just a coil of wire. It doesn't


have very high output level, though, so some sort of preamp is required....

cheers,ernie++++++++++++++++
Ernie Dulanowsky 
www.pulsewidth.ca
++++++++++++++++



On Tue, Aug 31, 2010 at 9:16 AM, Vilson Vieira <vilson at void.cc> wrote:




Ernie,



I was thinking to use some coil and HD magnets to create a "guitar

pickup" but your idea is genial! The HD actuator has any kind of

magnet on it's center? I'll try that!



Cheers.



2010/8/31 Ernie Dulanowsky <ernst at pulsewidth.ca>:

> hello:

> In this post I described (in not great detail, I must admit) how to detect

> and record electromagnetic radiations

> from a computer. Although not everyone will have a coil from a hard derive

> actuator handy, it may be possible

> to find an old telephone pick-up complete with suction cup. A guitar pickup

> would also do the trick rather nicely.

> A contact mic would also be handy to record mechanical sounds as well, I

> suppose...

> http://www.pulsewidth.ca/?p=186

> cheers,

> ernie

> ++++++++++++++++

> Ernie Dulanowsky

> www.pulsewidth.ca

> ++++++++++++++++

>

>

> On Tue, Aug 31, 2010 at 8:28 AM, Thierry Bernard Gotteland

> <thierrybernardgotteland at gmail.com> wrote:

>>

>> Well, thanks for your reply but I got that one already!

>>

>> On Tue, Aug 31, 2010 at 9:21 PM, Michal Seta <mis at artengine.ca> wrote:

>>>

>>> On Tue, Aug 31, 2010 at 9:05 AM, Thierry Bernard Gotteland

>>> <thierrybernardgotteland at gmail.com> wrote:

>>> > if you have any suggestions and link , I am here.

>>>

>>> and at least some sounds are there:

>>> http://www.freesound.org/

>>>

>>> ./MiS

>>> _______________________________________________

>>> microsound mailing list

>>> microsound at microsound.org

>>> http://or8.net/mailman/listinfo/microsound

>>

>>

>>

>> --

>> KindRegards

>>

>> TBG

>>

>> ----------------------------------------

>> http://universalport.tumblr.com

>> http://tbgotteland.tumblr.com

>>

>>

>>

>> _______________________________________________

>> microsound mailing list

>> microsound at microsound.org

>> http://or8.net/mailman/listinfo/microsound

>>

>

>

> _______________________________________________

> microsound mailing list

> microsound at microsound.org

> http://or8.net/mailman/listinfo/microsound

>

>







--

Vilson Vieira



vilson at void.cc



((( http://automata.cc )))



((( http://musa.cc )))



_______________________________________________
microsound mailing list
microsound at microsound.org
http://or8.net/mailman/listinfo/microsound





_______________________________________________

microsound mailing list

microsound at microsound.org

http://or8.net/mailman/listinfo/microsound





-- 
+ + + + + 



-----Inline Attachment Follows-----

_______________________________________________
microsound mailing list
microsound at microsound.org

http://or8.net/mailman/listinfo/microsound



      
_______________________________________________

microsound mailing list

microsound at microsound.org

http://or8.net/mailman/listinfo/microsound





-- 
KindRegards

TBG

----------------------------------------
http://universalport.tumblr.com

http://tbgotteland.tumblr.com



_______________________________________________
microsound mailing list
microsound at microsound.org
http://or8.net/mailman/listinfo/microsound

-----Inline Attachment Follows-----

_______________________________________________
microsound mailing list
microsound at microsound.org
http://or8.net/mailman/listinfo/microsound



      
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From thierrybernardgotteland at gmail.com  Wed Sep  1 09:56:54 2010
From: thierrybernardgotteland at gmail.com (Thierry Bernard Gotteland)
Date: Wed, 1 Sep 2010 20:56:54 +0700
Subject: [microsound] Computer Sound Recordings & Machines recordings
In-Reply-To: <701264.12750.qm@web52004.mail.re2.yahoo.com>
References: <BLU0-SMTP14806768D5B49D237FD1F87AB8B0@phx.gbl>
	<701264.12750.qm@web52004.mail.re2.yahoo.com>
Message-ID: <AANLkTinp+gGM096JiugprFZLtQHbL14Y8SUr67=nnX1y@mail.gmail.com>

Thanks a lot Ben,

Regards

Thierry

On Wed, Sep 1, 2010 at 6:55 PM, guiver ben <benreviug at yahoo.com> wrote:

> hello all,
>
> these might help...
>
> http://www.mediafire.com/?rc4efspc22aeldr#2
>
>
> http://www.mediafire.com/?3rhwtph7dr710md
>
>
> http://www.mediafire.com/?p47q5wd3eyq458i
>
>
> best
>
>
> ben
>
> --- On *Wed, 9/1/10, Phillip <phillipthomas at hotmail.com>* wrote:
>
>
> From: Phillip <phillipthomas at hotmail.com>
>
> Subject: Re: [microsound] Computer Sound Recordings & Machines recordings
> To: "microsound at microsound.org" <microsound at microsound.org>
> Date: Wednesday, September 1, 2010, 7:40 AM
>
>
> gras.dk produce a wide range of high frequency equipment.
>
> Sent from my iPad
>
> On 1 Sep 2010, at 02:33, Thierry Bernard Gotteland <
> thierrybernardgotteland at gmail.com<http://mc/compose?to=thierrybernardgotteland at gmail.com>>
> wrote:
>
> Thanks for all of you to get time to reply, let's continue...
>
> On Wed, Sep 1, 2010 at 3:38 AM, guiver ben <<http://mc/compose?to=benreviug at yahoo.com>
> benreviug at yahoo.com <http://mc/compose?to=benreviug at yahoo.com>> wrote:
>
> i couls upload my hollywood edge comp to mediafire if you want any machine
> noises off of that...
>
> --- On *Tue, 8/31/10, alex olsen <<http://mc/compose?to=alex.ookpik at gmail.com>
> alex.ookpik at gmail.com <http://mc/compose?to=alex.ookpik at gmail.com>>*wrote:
>
>
> From: alex olsen < <http://mc/compose?to=alex.ookpik at gmail.com>
> alex.ookpik at gmail.com <http://mc/compose?to=alex.ookpik at gmail.com>>
> Subject: Re: [microsound] Computer Sound Recordings & Machines recordings
> To: <http://mc/compose?to=microsound at microsound.org>
> microsound at microsound.org <http://mc/compose?to=microsound at microsound.org>
> Date: Tuesday, August 31, 2010, 8:08 PM
>
>
> Hum. Sounds neat. Or should I say: sounds like it would sound neat.
>
>
> Alex
>
> 2010/8/31 A????????? < <http://mc/compose?to=contact at agxivatein.com>
> contact at agxivatein.com <http://mc/compose?to=contact at agxivatein.com>>
>
> I recorded a lot of computer sounds for my last album a year ago,
>
> I used inductive coils, electromagnetic receivers, ultrasonic sensors and
> film piezos - all of them gave excellent results !
>
> I bought the inductive coils from <http://maplin.co.uk>maplin.co.uk - all
> the rest I soldered them myself - it' s not really difficult just remember
> to use a DI box or some buffer else you' re gonna loose all the bass !
>
> m
>
>
>
> On 31 ??? 2010, at 6:37 ?.?., Ernie Dulanowsky wrote:
>
> Vilson:
> The actuator has no magnets in it. It's just a coil of wire. It doesn't
> have very high output level, though, so some sort of preamp is required....
>
> cheers,
> ernie
> ++++++++++++++++
> Ernie Dulanowsky
> <http://www.pulsewidth.ca/>www.pulsewidth.ca
> ++++++++++++++++
>
>
> On Tue, Aug 31, 2010 at 9:16 AM, Vilson Vieira <<http://mc/compose?to=vilson at void.cc>
> vilson at void.cc <http://mc/compose?to=vilson at void.cc>> wrote:
>
> Ernie,
>
> I was thinking to use some coil and HD magnets to create a "guitar
> pickup" but your idea is genial! The HD actuator has any kind of
> magnet on it's center? I'll try that!
>
> Cheers.
>
> 2010/8/31 Ernie Dulanowsky < <http://mc/compose?to=ernst at pulsewidth.ca>
> ernst at pulsewidth.ca <http://mc/compose?to=ernst at pulsewidth.ca>>:
> > hello:
> > In this post I described (in not great detail, I must admit) how to
> detect
> > and record electromagnetic radiations
> > from a computer. Although not everyone will have a coil from a hard
> derive
> > actuator handy, it may be possible
> > to find an old telephone pick-up complete with suction cup. A guitar
> pickup
> > would also do the trick rather nicely.
> > A contact mic would also be handy to record mechanical sounds as well, I
> > suppose...
> > <http://www.pulsewidth.ca/?p=186>http://www.pulsewidth.ca/?p=186
> > cheers,
> > ernie
> > ++++++++++++++++
> > Ernie Dulanowsky
> > <http://www.pulsewidth.ca/>www.pulsewidth.ca
> > ++++++++++++++++
> >
> >
> > On Tue, Aug 31, 2010 at 8:28 AM, Thierry Bernard Gotteland
> > < <http://mc/compose?to=thierrybernardgotteland at gmail.com>
> thierrybernardgotteland at gmail.com<http://mc/compose?to=thierrybernardgotteland at gmail.com>>
> wrote:
> >>
> >> Well, thanks for your reply but I got that one already!
> >>
> >> On Tue, Aug 31, 2010 at 9:21 PM, Michal Seta <<http://mc/compose?to=mis at artengine.ca>
> mis at artengine.ca <http://mc/compose?to=mis at artengine.ca>> wrote:
> >>>
> >>> On Tue, Aug 31, 2010 at 9:05 AM, Thierry Bernard Gotteland
> >>> < <http://mc/compose?to=thierrybernardgotteland at gmail.com>
> thierrybernardgotteland at gmail.com<http://mc/compose?to=thierrybernardgotteland at gmail.com>>
> wrote:
> >>> > if you have any suggestions and link , I am here.
> >>>
> >>> and at least some sounds are there:
> >>> <http://www.freesound.org/>http://www.freesound.org/
> >>>
> >>> ./MiS
> >>> _______________________________________________
> >>> microsound mailing list
> >>> <http://mc/compose?to=microsound at microsound.org>
> microsound at microsound.org <http://mc/compose?to=microsound at microsound.org>
> >>> <http://or8.net/mailman/listinfo/microsound>
> http://or8.net/mailman/listinfo/microsound
> >>
> >>
> >>
> >> --
> >> KindRegards
> >>
> >> TBG
> >>
> >> ----------------------------------------
> >> <http://universalport.tumblr.com/>http://universalport.tumblr.com
> >> <http://tbgotteland.tumblr.com/>http://tbgotteland.tumblr.com
> >>
> >>
> >>
> >> _______________________________________________
> >> microsound mailing list
> >> <http://mc/compose?to=microsound at microsound.org>
> microsound at microsound.org <http://mc/compose?to=microsound at microsound.org>
> >> <http://or8.net/mailman/listinfo/microsound>
> http://or8.net/mailman/listinfo/microsound
> >>
> >
> >
> > _______________________________________________
> > microsound mailing list
> > <http://mc/compose?to=microsound at microsound.org>
> microsound at microsound.org <http://mc/compose?to=microsound at microsound.org>
> > <http://or8.net/mailman/listinfo/microsound>
> http://or8.net/mailman/listinfo/microsound
> >
> >
>
>
>
> --
> Vilson Vieira
>
>  <http://mc/compose?to=vilson at void.cc>vilson at void.cc<http://mc/compose?to=vilson at void.cc>
>
> ((( <http://automata.cc/>http://automata.cc )))
>
> ((( <http://musa.cc/>http://musa.cc )))
>
>
> _______________________________________________
> microsound mailing list
> <http://mc/compose?to=microsound at microsound.org>microsound at microsound.org<http://mc/compose?to=microsound at microsound.org>
> <http://or8.net/mailman/listinfo/microsound>
> http://or8.net/mailman/listinfo/microsound
>
>
>
> _______________________________________________
> microsound mailing list
>  <http://mc/compose?to=microsound at microsound.org>microsound at microsound.org<http://mc/compose?to=microsound at microsound.org>
>  <http://or8.net/mailman/listinfo/microsound>
> http://or8.net/mailman/listinfo/microsound
>
>
>
>
> --
> + + + + +
>
>
> -----Inline Attachment Follows-----
>
>
> _______________________________________________
> microsound mailing list
> <http://mc/compose?to=microsound at microsound.org>microsound at microsound.org<http://mc/compose?to=microsound at microsound.org>
>  <http://or8.net/mailman/listinfo/microsound>
> http://or8.net/mailman/listinfo/microsound
>
>
>
> _______________________________________________
> microsound mailing list
>  <http://mc/compose?to=microsound at microsound.org>microsound at microsound.org<http://mc/compose?to=microsound at microsound.org>
>  <http://or8.net/mailman/listinfo/microsound>
> http://or8.net/mailman/listinfo/microsound
>
>
>
>
> --
> *K*ind*R*egards
>
> *TBG*
>
> ----------------------------------------
> <http://universalport.tumblr.com>http://universalport.tumblr.com
>  <http://tbgotteland.tumblr.com>http://tbgotteland.tumblr.com
>
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org <http://mc/compose?to=microsound at microsound.org>
> http://or8.net/mailman/listinfo/microsound
>
>
> -----Inline Attachment Follows-----
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org <http://mc/compose?to=microsound at microsound.org>
> http://or8.net/mailman/listinfo/microsound
>
>
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
>


-- 
*K*ind*R*egards

*TBG*

----------------------------------------
http://universalport.tumblr.com
http://tbgotteland.tumblr.com
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From thinksamuel at yahoo.com  Fri Sep  3 10:57:04 2010
From: thinksamuel at yahoo.com (Samuel van ransbeeck)
Date: Fri, 3 Sep 2010 07:57:04 -0700 (PDT)
Subject: [microsound] sonification software for composition?
Message-ID: <311602.78401.qm@web34207.mail.mud.yahoo.com>

Hello

I am writing my PhD proposal and my project will be a sonification application 
for use in composition. In a sense it is an expansion of my old Stockwatch 
project (that you can find on www.samuelvanransbeeck.be). I have to write a 
state-of-the-art, existing research. There is a lot of information about 
sonification but the topic of sonification for composition is not so well 
covered. I have found maestro Frankentsein and Artwonk as two examples of 
existing software and I was wondering if you know more interesting software and 
research.

Thanks
Samuel


      
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From lfsaw at lfsaw.de  Fri Sep  3 17:40:45 2010
From: lfsaw at lfsaw.de (LFSaw)
Date: Fri, 3 Sep 2010 23:40:45 +0200
Subject: [microsound] sonification software for composition?
In-Reply-To: <311602.78401.qm@web34207.mail.mud.yahoo.com>
References: <311602.78401.qm@web34207.mail.mud.yahoo.com>
Message-ID: <69A6A26C-F0C2-446D-9519-131BED2DECDD@lfsaw.de>

HEy,

you may want to look at the http://sonenvir.at/ stuff, especially 
http://sonenvir.at/data/JugglingSounds
http://sonenvir.at/data/magellan

and the concerts that were part of the ICAD conferences:

http://www.icad.org/

(especially that London conference had a bunch of very interesting artistic sonifications)

hope that helps
	Till


On 03.09.2010, at 16:57, Samuel van ransbeeck wrote:

> Hello
> 
> I am writing my PhD proposal and my project will be a sonification application for use in composition. In a sense it is an expansion of my old Stockwatch project (that you can find onwww.samuelvanransbeeck.be). I have to write a state-of-the-art, existing research. There is a lot of information about sonification but the topic of sonification for composition is not so well covered. I have found maestro Frankentsein and Artwonk as two examples of existing software and I was wondering if you know more interesting software and research.
> 
> Thanks
> Samuel
> 
> 
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound


From contact at agxivatein.com  Fri Sep  3 17:54:55 2010
From: contact at agxivatein.com (=?utf-8?B?Qc6TzqfOmc6SzpHOpM6VzpnOnQ==?=)
Date: Sat, 4 Sep 2010 00:54:55 +0300
Subject: [microsound] sonification software for composition?
In-Reply-To: <69A6A26C-F0C2-446D-9519-131BED2DECDD@lfsaw.de>
References: <311602.78401.qm@web34207.mail.mud.yahoo.com>
	<69A6A26C-F0C2-446D-9519-131BED2DECDD@lfsaw.de>
Message-ID: <7BD9E4B6-4FEA-4ADE-A093-917C3A9DB76A@agxivatein.com>

I' m not sure what you want to sonify,

if one has adequate programming skills, he could use supercollider, chuck, pd, and the likes to sonify certain types of data..

m

On 04 ??? 2010, at 12:40 ?.?., LFSaw wrote:

> HEy,
> 
> you may want to look at the http://sonenvir.at/ stuff, especially 
> http://sonenvir.at/data/JugglingSounds
> http://sonenvir.at/data/magellan
> 
> and the concerts that were part of the ICAD conferences:
> 
> http://www.icad.org/
> 
> (especially that London conference had a bunch of very interesting artistic sonifications)
> 
> hope that helps
> 	Till
> 
> 
> On 03.09.2010, at 16:57, Samuel van ransbeeck wrote:
> 
>> Hello
>> 
>> I am writing my PhD proposal and my project will be a sonification application for use in composition. In a sense it is an expansion of my old Stockwatch project (that you can find onwww.samuelvanransbeeck.be). I have to write a state-of-the-art, existing research. There is a lot of information about sonification but the topic of sonification for composition is not so well covered. I have found maestro Frankentsein and Artwonk as two examples of existing software and I was wondering if you know more interesting software and research.
>> 
>> Thanks
>> Samuel
>> 
>> 
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
> 
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound


From greghpr at yahoo.com.au  Fri Sep  3 18:47:24 2010
From: greghpr at yahoo.com.au (greg hooper)
Date: Fri, 3 Sep 2010 15:47:24 -0700 (PDT)
Subject: [microsound] sonification software for composition?
In-Reply-To: <311602.78401.qm@web34207.mail.mud.yahoo.com>
References: <311602.78401.qm@web34207.mail.mud.yahoo.com>
Message-ID: <879878.75161.qm@web45313.mail.sp1.yahoo.com>

For the stuff I have done for ICAD I have used Matlab and miditoolbox and 
c-sound with excel as a front end
At the research end it is difficult to find anything off the shelf as you have 
to analyse the data and transform it in some way that is meaningful and off the 
shelf stuff is unlikely to have the analytic routines. If you are just looking 
for audification of the data or transforms that are not designed to reveal much 
about the processes underlying the data production, then it is easier as any old 
thing that sounds good to you will do.


 www.greg-hooper.com




________________________________
From: Samuel van ransbeeck <thinksamuel at yahoo.com>
To: microsound at or8.net
Sent: Sat, 4 September, 2010 12:57:04 AM
Subject: [microsound] sonification software for composition?


Hello

I am writing my PhD proposal and my project will be a sonification application 
for use in composition. In a sense it is an expansion of my old Stockwatch 
project (that you can find on www.samuelvanransbeeck.be). I have to write a 
state-of-the-art, existing research. There is a lot of information about 
sonification but the topic of sonification for composition is not so well 
covered. I have found maestro Frankentsein and Artwonk as two examples of 
existing software and I was wondering if you know more interesting software and 
research.

Thanks
Samuel


      
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From thierrybernardgotteland at gmail.com  Fri Sep  3 23:04:38 2010
From: thierrybernardgotteland at gmail.com (Thierry Bernard Gotteland)
Date: Sat, 4 Sep 2010 10:04:38 +0700
Subject: [microsound] sonification software for composition?
In-Reply-To: <879878.75161.qm@web45313.mail.sp1.yahoo.com>
References: <311602.78401.qm@web34207.mail.mud.yahoo.com>
	<879878.75161.qm@web45313.mail.sp1.yahoo.com>
Message-ID: <AANLkTik6x1PJutoF8fu5H-kBqM5r5yB_vD8OfY1tE4TD@mail.gmail.com>

Hello Samuel, well  I have no info related to your ask but your software
Sockwatch reminds me so much mine(developed with Virtools Dev) even that the
concept was completely different => stock exchange datas as a graphical
representation check this out if you are interested in.
http://www.lesiteducube.com/en/espace-pro/blobmeister-millennium-bash-thierry-bernard-gotteland_1047
http://www.lesiteducube.com/atelier/article.php3?id_article=35&lang=en
and of course http://tbgotteland.tumblr.com


Bye and have a good research time!
best
*TBG*

On Sat, Sep 4, 2010 at 5:47 AM, greg hooper <greghpr at yahoo.com.au> wrote:

> For the stuff I have done for ICAD I have used Matlab and miditoolbox and
> c-sound with excel as a front end
> At the research end it is difficult to find anything off the shelf as you
> have to analyse the data and transform it in some way that is meaningful and
> off the shelf stuff is unlikely to have the analytic routines. If you are
> just looking for audification of the data or transforms that are not
> designed to reveal much about the processes underlying the data production,
> then it is easier as any old thing that sounds good to you will do.
>
>
> www.greg-hooper.com
>
>
> ------------------------------
> *From:* Samuel van ransbeeck <thinksamuel at yahoo.com>
> *To:* microsound at or8.net
> *Sent:* Sat, 4 September, 2010 12:57:04 AM
> *Subject:* [microsound] sonification software for composition?
>
> Hello
>
> I am writing my PhD proposal and my project will be a sonification
> application for use in composition. In a sense it is an expansion of my old
> Stockwatch project (that you can find on www.samuelvanransbeeck.be). I
> have to write a state-of-the-art, existing research. There is a lot of
> information about sonification but the topic of sonification for composition
> is not so well covered. I have found maestro Frankentsein and Artwonk as two
> examples of existing software and I was wondering if you know more
> interesting software and research.
>
> Thanks
> Samuel
>
>
>
>
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
>


-- 
*K*ind*R*egards

*TBG*

----------------------------------------
http://universalport.tumblr.com
http://tbgotteland.tumblr.com
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From I.Orosa.Paleo at rug.nl  Mon Sep  6 10:15:01 2010
From: I.Orosa.Paleo at rug.nl (=?iso-8859-1?Q?Iv=E1n?= Orosa Paleo)
Date: Mon, 06 Sep 2010 16:15:01 +0200
Subject: [microsound] microsound in Quito
Message-ID: <web-149892214@mail3.rug.nl>

Dear microsounders,
I have temporariliy changed my residence, from the Netherlands to 
Ecuador's capital Quito, staying here until January 2011. I wonder if 
you know of interesting things, venues, exhibitions, performances, 
etc, taking place in the coming months. I'll appreciate any 
suggestion.

Salud,
io_

From js0000 at gmail.com  Tue Sep  7 11:20:37 2010
From: js0000 at gmail.com (john saylor)
Date: Tue, 7 Sep 2010 11:20:37 -0400
Subject: [microsound] 1 bit symphony
Message-ID: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>

hey

don't know how many are aware of this:
http://www.1bitsymphony.com/

well, i bit [ouch!] and got it. there are some interesting things
about the music, but to be quite frank, i prefer most of the chiptune
players to perich. when listening to it, i often felt that while his
understanding of how machines make music was not as deep as it could
be. i guess i could simplify it by saying i felt there was more
symphony than there was 1 bit.

also, while the code for generating the music [i think] was included
on the card there was precious little about meta issues [what the
software was like, how the programming was done, what were his
aesthetic aims with this music, and so on]. and from an engineering
standpoint, it seems like it was not designed to last very long or
take much abuse. people spill and drop things [and their kids tear
them apart ...] all the time. i don't think this package can take much
of that. there is something about a cd release that is kept by using
the same packaging, i get that; but as a bit of technology, it kinda
fails in my book.

don't misunderstand, i think it's an interesting project, and i put
out my currency to but it. so that says something in and of itself.

other opinions, comments?

-- 
\js : "verbing weirds language." -calvin ?[http://or8.net/~johns/]

From sofiadeglia at gmail.com  Tue Sep  7 11:31:06 2010
From: sofiadeglia at gmail.com (Sofia degli Alessandri)
Date: Tue, 7 Sep 2010 11:31:06 -0400
Subject: [microsound] 1 bit symphony
In-Reply-To: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
Message-ID: <F9E9CCB4-9002-448C-8E10-4877C5374910@gmail.com>

I was able to attend the premiere of 1 bit symphony at Roulette, NYC last month and it was fantastic. Not only was the sound system great, which brought out aspects of the 'music' that may be missed in earphone listening, but it felt like a truly new approach to symphonic music. The performance was coupled with four monitors which (somewhat) vaguely showed the patterns being used in the piece.
I now also own the actual manufactured 1 bit symphony 'cd' and I must say it doesn't sound as grandiose as it did at the premiere but still great.

Yes the idea of 1 bit sounding music isn't necessarily a new phenomenon but I thought it is well executed, especially if you consider a broader demographic of listeners' understanding of it.

On Sep 7, 2010, at 11:20, john saylor <js0000 at gmail.com> wrote:

> hey
> 
> don't know how many are aware of this:
> http://www.1bitsymphony.com/
> 
> well, i bit [ouch!] and got it. there are some interesting things
> about the music, but to be quite frank, i prefer most of the chiptune
> players to perich. when listening to it, i often felt that while his
> understanding of how machines make music was not as deep as it could
> be. i guess i could simplify it by saying i felt there was more
> symphony than there was 1 bit.
> 
> also, while the code for generating the music [i think] was included
> on the card there was precious little about meta issues [what the
> software was like, how the programming was done, what were his
> aesthetic aims with this music, and so on]. and from an engineering
> standpoint, it seems like it was not designed to last very long or
> take much abuse. people spill and drop things [and their kids tear
> them apart ...] all the time. i don't think this package can take much
> of that. there is something about a cd release that is kept by using
> the same packaging, i get that; but as a bit of technology, it kinda
> fails in my book.
> 
> don't misunderstand, i think it's an interesting project, and i put
> out my currency to but it. so that says something in and of itself.
> 
> other opinions, comments?
> 
> -- 
> \js : "verbing weirds language." -calvin  [http://or8.net/~johns/]
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound

From vze26m98 at optonline.net  Tue Sep  7 12:58:21 2010
From: vze26m98 at optonline.net (Charles Turner)
Date: Tue, 07 Sep 2010 12:58:21 -0400
Subject: [microsound] 1 bit symphony
In-Reply-To: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
Message-ID: <6965E4BC-1C24-48CC-95AE-C1426D3D1A86@optonline.net>

On Sep 7, 2010, at 11:20 AM, john saylor wrote:

> while the code for generating the music [i think] was included
> on the card

Hi John-

Can you post some (or all) of it? I'd say that therein would lie some answers to your questions...

Having watched only the Vimeo, I'd say the packaging is very much part (all?) of the appeal...

Best wishes, 

Charles


From mail at maxviel.it  Tue Sep  7 13:25:12 2010
From: mail at maxviel.it (Massimiliano Viel)
Date: Tue, 7 Sep 2010 19:25:12 +0200
Subject: [microsound] 1 bit symphony
In-Reply-To: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
Message-ID: <BF5B2050-AC2E-466C-B9A9-5F0123E4A311@maxviel.it>

Apparently it looks as a new mean used for old music thinking.
If lo-fi helped us to get rid of harmony and patterning coming from academic minimal style, there no point in resuming it once again.
Its' too early (IMHO) for it to be a style revival, it looks more like a style (attempt of) survival.
Nevertheless packaging is very nice and this is anyway just my opinion after the vimeo's video...

m

Il giorno 07/set/2010, alle ore 17.20, john saylor ha scritto:

> hey
> 
> don't know how many are aware of this:
> http://www.1bitsymphony.com/
> 
> well, i bit [ouch!] and got it. there are some interesting things
> about the music, but to be quite frank, i prefer most of the chiptune
> players to perich. when listening to it, i often felt that while his
> understanding of how machines make music was not as deep as it could
> be. i guess i could simplify it by saying i felt there was more
> symphony than there was 1 bit.
> 
> also, while the code for generating the music [i think] was included
> on the card there was precious little about meta issues [what the
> software was like, how the programming was done, what were his
> aesthetic aims with this music, and so on]. and from an engineering
> standpoint, it seems like it was not designed to last very long or
> take much abuse. people spill and drop things [and their kids tear
> them apart ...] all the time. i don't think this package can take much
> of that. there is something about a cd release that is kept by using
> the same packaging, i get that; but as a bit of technology, it kinda
> fails in my book.
> 
> don't misunderstand, i think it's an interesting project, and i put
> out my currency to but it. so that says something in and of itself.
> 
> other opinions, comments?
> 
> -- 
> \js : "verbing weirds language." -calvin  [http://or8.net/~johns/]
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
> 



__________________________________
M  a  s  s  i  m  i  l  i  a  n  o                   V  i  e  l 
MAIN SITE! -------------> http://www.maxviel.it
BLOG! -------> http://maxviel.wordpress.com/
 http://www.myspace.com/massimilianoviel

                     http://www.ssim-el.net
                      http://www.otolab.net
                   http://www.sincronie.org
__________________________________

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From js0000 at gmail.com  Tue Sep  7 14:23:52 2010
From: js0000 at gmail.com (john saylor)
Date: Tue, 7 Sep 2010 14:23:52 -0400
Subject: [microsound] 1 bit symphony
In-Reply-To: <6965E4BC-1C24-48CC-95AE-C1426D3D1A86@optonline.net>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
	<6965E4BC-1C24-48CC-95AE-C1426D3D1A86@optonline.net>
Message-ID: <AANLkTi=wvFTWfLjDntstCN9uiz1WrwNHVp_BzLtJq6y5@mail.gmail.com>

hi

On Tue, Sep 7, 2010 at 12:58 PM, Charles Turner <vze26m98 at optonline.net> wrote:
> Can you post some (or all) of it? I'd say that therein would lie some answers to your questions...

well, not all. and reverse engineering his assembly code is not my
idea of a good time.

i found this http://bombsite.com/issues/999/articles/3361:
"That?s why I work with my own hardware and write my own software. For
the new album, I rewrote the software in Assembly Language, which is a
programming language that fewer and fewer people use as time goes by,
but it?s also the language of the machine itself. Any instruction I
write in Assembly Language is directly interpreted by the machine
instead of being compiled into the code by other software. So I?m
working with the raw instructions that the machine executes, getting
one step closer to the flow of electricity through the microchip."

which is more what i'm talking about. the code itself may reveal some
of this, but it tells me very little about what is going on in the
mind of the programmer. perhaps i can induce some of it by looking at
the assembly code, but this is way too much work for what i'd get out
of it.

and yet [from the same article]:
TP There was a secret track on the first one! Didn?t I tell you about that?

NH No!

TP If you connect two pins together the right way when you turn it on,
it plays a hidden track. I don?t think anybody knows about that.

NH Oh, well, now we?re getting somewhere.

TP Anybody who actually tries to read the source code would figure it
out. It?s sort of my test, I guess.

but i think he's talking about an earlier release [1 bit music] ...
and assembly is not easy to read [as compared to c or perl or a pd
patch or just about anything else]. it's machine language, not
programmer language. of course, our brains can adapt, but i want to
spend my cycles elsewhere ...


>
> Having watched only the Vimeo, I'd say the packaging is very much part (all?) of the appeal...
>
> Best wishes,
>
> Charles
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>



-- 
\js : "verbing weirds language." -calvin ?[http://or8.net/~johns/]

From ndkent at optonline.net  Tue Sep  7 14:29:37 2010
From: ndkent at optonline.net (ndkent at optonline.net)
Date: Tue, 07 Sep 2010 18:29:37 +0000 (GMT)
Subject: [microsound] 1 bit symphony
In-Reply-To: <mailman.1786.1283880231.5607.microsound@or8.net>
References: <mailman.1786.1283880231.5607.microsound@or8.net>
Message-ID: <e6619ace7bcd.4c868491@optonline.net>

When discussing this new work by Perich, I think it's impossible not to compare and critique it in comparison to his 2006 work "1-Bit Music".? I thought that work was brilliantly conceptional (though I dropped and cracked mine and can't easily get a replacement). The form factor is that of a CD case minus the CD. Rather than a CD being read and decoded in 16 bit glory by an digital to analog converter in a player, he's simply programmed a fixed voltage to generated by a microcontroller to go on and off out of 2 outputs connected to a stereo jack. He has digital sound in perhaps it's most minimal form: binary, no D to A converter, timbre only obtainable by pulse width changes and maybe his only less than total minimalist concession is he has 2 channels going so he can create stereo and counterpoint.I've not really listened to more than previews of his new 1-Bit Synphony work, again he's re-arranged similar hardware components and has had time to come up with new compositional ideas I presume. I can't preview it again right now, is he using rapid frequency changes this time? I know that's how early games achieved quasi chords via fast arpeggiation and special effects with rapid alternating changes in frequency. He does set up a dichotemy calling it a "Symphony" choosing minimal limitations and then attempting what's for all intents a classic maximal form, perhaps it's closer to 1-bit Chamber Music?
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From vze26m98 at optonline.net  Tue Sep  7 15:58:52 2010
From: vze26m98 at optonline.net (Charles Turner)
Date: Tue, 07 Sep 2010 15:58:52 -0400
Subject: [microsound] 1 bit symphony
In-Reply-To: <AANLkTi=wvFTWfLjDntstCN9uiz1WrwNHVp_BzLtJq6y5@mail.gmail.com>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
	<6965E4BC-1C24-48CC-95AE-C1426D3D1A86@optonline.net>
	<AANLkTi=wvFTWfLjDntstCN9uiz1WrwNHVp_BzLtJq6y5@mail.gmail.com>
Message-ID: <733097CB-C5D7-41DE-A04B-C2E458612165@optonline.net>

On Sep 7, 2010, at 2:23 PM, john saylor wrote:

> On Tue, Sep 7, 2010 at 12:58 PM, Charles Turner <vze26m98 at optonline.net> wrote:
>> Can you post some (or all) of it? I'd say that therein would lie some answers to your questions...
> 
> well, not all. and reverse engineering his assembly code is not my
> idea of a good time.

John-

The point was if you would post a bit of it, I'd be happy to read what you post, and offer some interpretation. (Thanks to ndkent for suggesting it's pulse width; looks like 4-channels, two in each ear.)

> the code itself may reveal some
> of this, but it tells me very little about what is going on in the
> mind of the programmer.

Assuming the programmer knows what going on inside his mind. Or, assuming you prefer a very general description produced for publicity purposes.

Lemme know,

C.


From js0000 at gmail.com  Tue Sep  7 16:26:33 2010
From: js0000 at gmail.com (john saylor)
Date: Tue, 7 Sep 2010 16:26:33 -0400
Subject: [microsound] 1 bit symphony
In-Reply-To: <733097CB-C5D7-41DE-A04B-C2E458612165@optonline.net>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
	<6965E4BC-1C24-48CC-95AE-C1426D3D1A86@optonline.net>
	<AANLkTi=wvFTWfLjDntstCN9uiz1WrwNHVp_BzLtJq6y5@mail.gmail.com>
	<733097CB-C5D7-41DE-A04B-C2E458612165@optonline.net>
Message-ID: <AANLkTimiR=_wuBR_GEBNZHBOueJd7Ev60t9KBUEngZqg@mail.gmail.com>

hi

On Tue, Sep 7, 2010 at 3:58 PM, Charles Turner <vze26m98 at optonline.net> wrote:
> The point was if you would post a bit of it, I'd be happy to read what you post, and offer some interpretation. (Thanks to ndkent for suggesting it's pulse width; looks like 4-channels, two in each ear.)

well, it's on the fold out that comes with the package. and it's not a
'normal' paper size [like 'letter']. so i could scan or copy the code
to a message, but my interest is not sufficient to offset the work
required. i work as a software engineer, so copying someone else's
code for kicks is not something i am particularly interested in doing.
besides, if he wanted the code to be studied and discussed, there are
many ways to make it available to interested parties, but i have seen
nothing like that in the websites and web searches i have done on this
music.

and i have no idea, but i may be violating his copyright by posting
the code in a public forum [i didn't see anything like GPL in there].

> Assuming the programmer knows what going on inside his mind. Or, assuming you prefer a very general description produced for publicity purposes.

the interview link i posted earlier was along the lines of what i was
interested in.

-- 
\js : "verbing weirds language." -calvin ?[http://or8.net/~johns/]

From simonlongo at gmail.com  Tue Sep  7 16:59:27 2010
From: simonlongo at gmail.com (simon longo)
Date: Tue, 7 Sep 2010 21:59:27 +0100
Subject: [microsound] 1 bit symphony
In-Reply-To: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
Message-ID: <AANLkTi=KMZp2bAGVrkNwHqnJY+MYmOyE2Qrfo4n05TNj@mail.gmail.com>

Nice package and nice idea as item to buy and to own of course, but I am not
too sure what is the difference from this and a midi player built say in say
a mobile phone, we have plenty of such devices around its just that nobody
use them and exploit to make art...



On Tue, Sep 7, 2010 at 4:20 PM, john saylor <js0000 at gmail.com> wrote:

> hey
>
> don't know how many are aware of this:
> http://www.1bitsymphony.com/
>
> well, i bit [ouch!] and got it. there are some interesting things
> about the music, but to be quite frank, i prefer most of the chiptune
> players to perich. when listening to it, i often felt that while his
> understanding of how machines make music was not as deep as it could
> be. i guess i could simplify it by saying i felt there was more
> symphony than there was 1 bit.
>
> also, while the code for generating the music [i think] was included
> on the card there was precious little about meta issues [what the
> software was like, how the programming was done, what were his
> aesthetic aims with this music, and so on]. and from an engineering
> standpoint, it seems like it was not designed to last very long or
> take much abuse. people spill and drop things [and their kids tear
> them apart ...] all the time. i don't think this package can take much
> of that. there is something about a cd release that is kept by using
> the same packaging, i get that; but as a bit of technology, it kinda
> fails in my book.
>
> don't misunderstand, i think it's an interesting project, and i put
> out my currency to but it. so that says something in and of itself.
>
> other opinions, comments?
>
> --
> \js : "verbing weirds language." -calvin  [http://or8.net/~johns/]
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>



-- 
Skype: Dithernoise

UK: 0044 (0) 7887561945 / IT: 00393490910263

www.simonlongo.com / www.dithernoise.net / www.visual-rhythms.net
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From cyborgk at gmail.com  Tue Sep  7 17:33:25 2010
From: cyborgk at gmail.com (David Powers)
Date: Tue, 7 Sep 2010 16:33:25 -0500
Subject: [microsound] 1 bit symphony
In-Reply-To: <BF5B2050-AC2E-466C-B9A9-5F0123E4A311@maxviel.it>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
	<BF5B2050-AC2E-466C-B9A9-5F0123E4A311@maxviel.it>
Message-ID: <AANLkTikjRZtfagNLHfLecPEC2jnvvPP+nJb9PUuop6+d@mail.gmail.com>

"If lo-fi helped us to get rid of harmony" ... it did? why? Maybe
that's why so much music now lacks depth...

~David

On Tue, Sep 7, 2010 at 12:25 PM, Massimiliano Viel <mail at maxviel.it> wrote:
> Apparently it looks as a new mean used for old music thinking.
> If lo-fi helped us to get rid of harmony and patterning coming from academic
> minimal style, there no point in resuming it once again.
> Its' too early (IMHO) for it to be a style revival, it looks more like a
> style (attempt of) survival.
> Nevertheless packaging is very nice and this is anyway just my opinion after
> the vimeo's video...
> m
> Il giorno 07/set/2010, alle ore 17.20, john saylor ha scritto:
>
> hey
>
> don't know how many are aware of this:
> http://www.1bitsymphony.com/
>
> well, i bit [ouch!] and got it. there are some interesting things
> about the music, but to be quite frank, i prefer most of the chiptune
> players to perich. when listening to it, i often felt that while his
> understanding of how machines make music was not as deep as it could
> be. i guess i could simplify it by saying i felt there was more
> symphony than there was 1 bit.
>
> also, while the code for generating the music [i think] was included
> on the card there was precious little about meta issues [what the
> software was like, how the programming was done, what were his
> aesthetic aims with this music, and so on]. and from an engineering
> standpoint, it seems like it was not designed to last very long or
> take much abuse. people spill and drop things [and their kids tear
> them apart ...] all the time. i don't think this package can take much
> of that. there is something about a cd release that is kept by using
> the same packaging, i get that; but as a bit of technology, it kinda
> fails in my book.
>
> don't misunderstand, i think it's an interesting project, and i put
> out my currency to but it. so that says something in and of itself.
>
> other opinions, comments?
>
> --
> \js : "verbing weirds language." -calvin ?[http://or8.net/~johns/]
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
>
>
>
> __________________________________
> M ?a ?s ?s ?i ?m ?i ?l ?i ?a ?n ?o ? ? ? ? ? ? ? ? ? V ?i ?e ?l
> MAIN SITE! ------------->?http://www.maxviel.it
> BLOG! ------->?http://maxviel.wordpress.com/
> ?http://www.myspace.com/massimilianoviel
> ?? ? ? ? ? ? ? ? ? ??http://www.ssim-el.net
> ?? ? ? ? ? ? ? ? ? ? ?http://www.otolab.net
> ?? ? ? ? ? ? ? ? ??http://www.sincronie.org
> __________________________________
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
>

From cyborgk at gmail.com  Tue Sep  7 17:41:44 2010
From: cyborgk at gmail.com (David Powers)
Date: Tue, 7 Sep 2010 16:41:44 -0500
Subject: [microsound] 1 bit symphony
In-Reply-To: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
Message-ID: <AANLkTimoT1Ze1__hVyrW2WS6+bYEMNU0A+iDxjGSVtsT@mail.gmail.com>

Why does everything have to be meta? For some time now, it has seemed
that artists and musicians are more interested in talking about the
concepts behind their work than actually working.

If you were really immersed in your work, there is no need for
language to explain your thought. The work itself says all that needs
to be said; if you could put it into ordinary words, what would be the
point of creating the artwork?

By the way, Henri LeFebvre already diagnosed the problem with
metalanguage swallowing language and everything being discussed at one
remove in the late sixties. I think now we can see how spot on he was.

For him it is a byproduct of bureaucracy... which I think is exactly
right. The institutional art world is really just a vast bureaucratic
labyrinth (including but not limited to academia).

I think I will generate all my artistic statements via a random pomo
jargon engine software.

~D

On Tue, Sep 7, 2010 at 10:20 AM, john saylor <js0000 at gmail.com> wrote:
> hey
>
> don't know how many are aware of this:
> http://www.1bitsymphony.com/
>
> well, i bit [ouch!] and got it. there are some interesting things
> about the music, but to be quite frank, i prefer most of the chiptune
> players to perich. when listening to it, i often felt that while his
> understanding of how machines make music was not as deep as it could
> be. i guess i could simplify it by saying i felt there was more
> symphony than there was 1 bit.
>
> also, while the code for generating the music [i think] was included
> on the card there was precious little about meta issues [what the
> software was like, how the programming was done, what were his
> aesthetic aims with this music, and so on]. and from an engineering
> standpoint, it seems like it was not designed to last very long or
> take much abuse. people spill and drop things [and their kids tear
> them apart ...] all the time. i don't think this package can take much
> of that. there is something about a cd release that is kept by using
> the same packaging, i get that; but as a bit of technology, it kinda
> fails in my book.
>
> don't misunderstand, i think it's an interesting project, and i put
> out my currency to but it. so that says something in and of itself.
>
> other opinions, comments?
>
> --
> \js : "verbing weirds language." -calvin ?[http://or8.net/~johns/]
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>

From mail at maxviel.it  Tue Sep  7 18:09:22 2010
From: mail at maxviel.it (Massimiliano Viel)
Date: Wed, 8 Sep 2010 00:09:22 +0200
Subject: [microsound] 1 bit symphony
In-Reply-To: <AANLkTikjRZtfagNLHfLecPEC2jnvvPP+nJb9PUuop6+d@mail.gmail.com>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
	<BF5B2050-AC2E-466C-B9A9-5F0123E4A311@maxviel.it>
	<AANLkTikjRZtfagNLHfLecPEC2jnvvPP+nJb9PUuop6+d@mail.gmail.com>
Message-ID: <442C3897-ADED-4631-9A91-9DFD83FC9C63@maxviel.it>


Il giorno 07/set/2010, alle ore 23.33, David Powers ha scritto:

> "If lo-fi helped us to get rid of harmony" ... it did? why?

Same old reason: as an ear cleaner for a generation of musicians, so they later can turn back to give new meanings to new things... as von Foerster used to say "new knowledge generates new ignorance"...

> Maybe that's why so much music now lacks depth...

Maybe or maybe not... depth may also be in the listening ear.
Meaning that lack of listening habit to new practices (I would say stylistic patterns) may let us miss the spot where to find depth and that's why music we are not used to often appears to be boring.
But after all the musician is his own first listener...

massimiliano

From mail at maxviel.it  Tue Sep  7 18:14:11 2010
From: mail at maxviel.it (Massimiliano Viel)
Date: Wed, 8 Sep 2010 00:14:11 +0200
Subject: [microsound] 1 bit symphony
In-Reply-To: <AANLkTimoT1Ze1__hVyrW2WS6+bYEMNU0A+iDxjGSVtsT@mail.gmail.com>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
	<AANLkTimoT1Ze1__hVyrW2WS6+bYEMNU0A+iDxjGSVtsT@mail.gmail.com>
Message-ID: <6F31644F-F1F3-4EBC-AADE-AD5D41D87F32@maxviel.it>


Il giorno 07/set/2010, alle ore 23.41, David Powers ha scritto:

> If you were really immersed in your work, there is no need for
> language to explain your thought.

This would happen if music were a universal language, but it's not.

> The work itself says all that needs
> to be said; if you could put it into ordinary words, what would be the
> point of creating the artwork?
> 
> By the way, Henri LeFebvre already diagnosed the problem with
> metalanguage swallowing language and everything being discussed at one
> remove in the late sixties. I think now we can see how spot on he was.
> 
> For him it is a byproduct of bureaucracy... which I think is exactly
> right. The institutional art world is really just a vast bureaucratic
> labyrinth (including but not limited to academia).

Well music is part of a social behavior, it deals with communities.
And today communities are really mixed, so there must be some language issue around.

> I think I will generate all my artistic statements via a random pomo
> jargon engine software.

:-)

massimiliano

From trommer at sympatico.ca  Tue Sep  7 18:45:12 2010
From: trommer at sympatico.ca (michael trommer)
Date: Tue, 07 Sep 2010 18:45:12 -0400
Subject: [microsound] 1 bit symphony
In-Reply-To: <AANLkTimoT1Ze1__hVyrW2WS6+bYEMNU0A+iDxjGSVtsT@mail.gmail.com>
Message-ID: <BLU0-SMTP882BE38185E1DB4B8C91A1CF710@phx.gbl>

Well said.

...and there are actually a few random artist statement generators online,
like this one for example:

http://www.playdamage.org/market-o-matic/


On 10-09-07 5:41 PM, "David Powers" <cyborgk at gmail.com> wrote:

> Why does everything have to be meta? For some time now, it has seemed
> that artists and musicians are more interested in talking about the
> concepts behind their work than actually working.
> 
> If you were really immersed in your work, there is no need for
> language to explain your thought. The work itself says all that needs
> to be said; if you could put it into ordinary words, what would be the
> point of creating the artwork?
> 
> By the way, Henri LeFebvre already diagnosed the problem with
> metalanguage swallowing language and everything being discussed at one
> remove in the late sixties. I think now we can see how spot on he was.
> 
> For him it is a byproduct of bureaucracy... which I think is exactly
> right. The institutional art world is really just a vast bureaucratic
> labyrinth (including but not limited to academia).
> 
> I think I will generate all my artistic statements via a random pomo
> jargon engine software.
> 
> ~D
> 
> On Tue, Sep 7, 2010 at 10:20 AM, john saylor <js0000 at gmail.com> wrote:
>> hey
>> 
>> don't know how many are aware of this:
>> http://www.1bitsymphony.com/
>> 
>> well, i bit [ouch!] and got it. there are some interesting things
>> about the music, but to be quite frank, i prefer most of the chiptune
>> players to perich. when listening to it, i often felt that while his
>> understanding of how machines make music was not as deep as it could
>> be. i guess i could simplify it by saying i felt there was more
>> symphony than there was 1 bit.
>> 
>> also, while the code for generating the music [i think] was included
>> on the card there was precious little about meta issues [what the
>> software was like, how the programming was done, what were his
>> aesthetic aims with this music, and so on]. and from an engineering
>> standpoint, it seems like it was not designed to last very long or
>> take much abuse. people spill and drop things [and their kids tear
>> them apart ...] all the time. i don't think this package can take much
>> of that. there is something about a cd release that is kept by using
>> the same packaging, i get that; but as a bit of technology, it kinda
>> fails in my book.
>> 
>> don't misunderstand, i think it's an interesting project, and i put
>> out my currency to but it. so that says something in and of itself.
>> 
>> other opinions, comments?
>> 
>> --
>> \js : "verbing weirds language." -calvin ?[http://or8.net/~johns/]
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
>> 
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
> 

-- 




From cyborgk at gmail.com  Tue Sep  7 21:19:05 2010
From: cyborgk at gmail.com (David Powers)
Date: Tue, 7 Sep 2010 18:19:05 -0700
Subject: [microsound] 1 bit symphony
In-Reply-To: <6F31644F-F1F3-4EBC-AADE-AD5D41D87F32@maxviel.it>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
	<AANLkTimoT1Ze1__hVyrW2WS6+bYEMNU0A+iDxjGSVtsT@mail.gmail.com>
	<6F31644F-F1F3-4EBC-AADE-AD5D41D87F32@maxviel.it>
Message-ID: <AANLkTimJeKDJfD3Bar7o4-UUQJ3C18gm5M=1tyjsjdbf@mail.gmail.com>

On Tue, Sep 7, 2010 at 3:14 PM, Massimiliano Viel <mail at maxviel.it> wrote:
>
> Il giorno 07/set/2010, alle ore 23.41, David Powers ha scritto:
>
>> If you were really immersed in your work, there is no need for
>> language to explain your thought.
>
> This would happen if music were a universal language, but it's not.

What does "universal" mean? If you mean, everyone speaks it, then, no,
there is no language that everyone speaks.

But there are languages we can reasonably expect an intelligent human
being to be able to learn if they work at it. For instance, I don't
know sign language, but it's still universal in the fact that I COULD
learn sign language. Humans are relatively similar physically and
genetically, so that only makes sense.

Music is universal in that sense. I didn't understand Beethoven's late
sonatas when I was 18; you could say the music was a foreign
language... BUT later in my life I learned the language and now they
communicate a great deal to me. And if you have studied those late
works in particular, you will understand, that music need not rely on
words to express concepts; and that there can never be a 1-for-1
correspondence between a verbal commentary and what music say.

Any verbal statement could at most be a kind of rough translation of
what music is about, like the translation of a poem where the rhyme
scheme and sound of the original have been discarded.

If you need to PRIMARILY rely on words to explain art, you are more of
an art critic than an artist.

Actually, Boulez and especially Stockhausen already had this problem
where the discourse surrounding their compositions began to overshadow
the music. As if every new piece now has to announce some grand HUGE
IDEA about the nature of sound and music.

Very Hegelian view of art really, I can imagine the "Phenomology of
Conceptual-Art:"

"The absolute identity of the Artwork with itself is essentially not
an immediate, but is achieved through the canceling of sensuous
immediateness, and its exhibition as free and independent from the
Sensuous. Thus it shows itself in conformity with its Concept, which
gives reality to the Artwork."

~David

From bakhtlist at gmail.com  Tue Sep  7 22:50:54 2010
From: bakhtlist at gmail.com (Salman Bakht)
Date: Tue, 7 Sep 2010 19:50:54 -0700
Subject: [microsound] 1 bit symphony
In-Reply-To: <AANLkTimJeKDJfD3Bar7o4-UUQJ3C18gm5M=1tyjsjdbf@mail.gmail.com>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
	<AANLkTimoT1Ze1__hVyrW2WS6+bYEMNU0A+iDxjGSVtsT@mail.gmail.com>
	<6F31644F-F1F3-4EBC-AADE-AD5D41D87F32@maxviel.it>
	<AANLkTimJeKDJfD3Bar7o4-UUQJ3C18gm5M=1tyjsjdbf@mail.gmail.com>
Message-ID: <AANLkTi=m7TOx3iGud7j92chHE1wGjFpg4HkwANNvzuXy@mail.gmail.com>

hi, david. i'm a little lost regarding your comments. what are you
referring to when you say: "For some time now, it has seemed that
artists and musicians are more interested in talking about the
concepts behind their work than actually working"?

if you're referring to the 1-bit symphony work, i'm confused since it
is a work of art that exists as a sonic work and a physical object
and, as far as i can tell, as a result of the artist "working" on the
piece. so, from the little i know about the work (mostly what has been
said in this thread), i don't know what you're basing your statement
on.

and what does a work of art being "meta" have to do with having an
interest in talking about your work? i think you mean meta in the
sense of self-referential: art about art. there are works of that type
that function without being talked about. and there are plenty of
people that talk about (the concepts in) their work without their work
being meta.

personally, i think that artist should care more about art that the
acts of talking about or working on art . . . (okay. i don't really
think that. i don't think much about what artists should think. i was
just throwing that out there as another possibility.)

salman

From js0000 at gmail.com  Wed Sep  8 09:24:24 2010
From: js0000 at gmail.com (john saylor)
Date: Wed, 8 Sep 2010 09:24:24 -0400
Subject: [microsound] 1 bit symphony
In-Reply-To: <AANLkTimoT1Ze1__hVyrW2WS6+bYEMNU0A+iDxjGSVtsT@mail.gmail.com>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
	<AANLkTimoT1Ze1__hVyrW2WS6+bYEMNU0A+iDxjGSVtsT@mail.gmail.com>
Message-ID: <AANLkTi=LfKxeZo_nb+RcVnWup5OsLbXoVoAQCMUBoNK8@mail.gmail.com>

greetings

On Tue, Sep 7, 2010 at 5:41 PM, David Powers <cyborgk at gmail.com> wrote:
> Why does everything have to be meta?

nothing has to be meta. if you're not interested, just ignore it. one
size does not fit all.

> If you were really immersed in your work, there is no need for
> language to explain your thought.

"The best lack all conviction, while the worst
Are full of passionate intensity."

> I think I will generate all my artistic statements via a random pomo
> jargon engine software.

lorem ipusm. penis harmony.

-- 
\js : "verbing weirds language." -calvin ?[http://or8.net/~johns/]

From prolepsis at gmail.com  Wed Sep  8 09:40:53 2010
From: prolepsis at gmail.com (Al Matthews)
Date: Wed, 8 Sep 2010 09:40:53 -0400
Subject: [microsound] 1 bit symphony
In-Reply-To: <AANLkTi=TeqPBdVgSukexaocByqs5VMH2Dy2QO_Rr+bLt@mail.gmail.com>
References: <AANLkTin=sRau-VRpX_RXDuM=WeqXJZ_NkGv7BuMVr1k2@mail.gmail.com>
	<AANLkTimoT1Ze1__hVyrW2WS6+bYEMNU0A+iDxjGSVtsT@mail.gmail.com>
	<AANLkTi=LfKxeZo_nb+RcVnWup5OsLbXoVoAQCMUBoNK8@mail.gmail.com>
	<AANLkTi=TeqPBdVgSukexaocByqs5VMH2Dy2QO_Rr+bLt@mail.gmail.com>
Message-ID: <AANLkTi=x+MrRomN=DTZgy7RkQMYO6H7AELSRjGzh5=0+@mail.gmail.com>

Incidentally Perich is, I dunno, 1/3 of Loud Objects, which offers a
slightly more technical what-and-not http://www.loudobjects.com/kit/ random
code, etc.

On Wed, Sep 8, 2010 at 9:30 AM, Al Matthews <prolepsis at gmail.com> wrote:

> That's quite funny.
>
>
> On Wed, Sep 8, 2010 at 9:24 AM, john saylor <js0000 at gmail.com> wrote:
>
>> greetings
>>
>> On Tue, Sep 7, 2010 at 5:41 PM, David Powers <cyborgk at gmail.com> wrote:
>> > Why does everything have to be meta?
>>
>> nothing has to be meta. if you're not interested, just ignore it. one
>> size does not fit all.
>>
>> > If you were really immersed in your work, there is no need for
>> > language to explain your thought.
>>
>> "The best lack all conviction, while the worst
>> Are full of passionate intensity."
>>
>> > I think I will generate all my artistic statements via a random pomo
>> > jargon engine software.
>>
>> lorem ipusm. penis harmony.
>>
>> --
>> \js : "verbing weirds language." -calvin  [http://or8.net/~johns/]
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
>>
>
>
>
> --
> Al Matthews

--
> Programmer Support Specialist
> Archives and Special Collections
> Robert W. Woodruff Library
> Atlanta University Center
>
> google voice (337) 214-4688
>
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From milalea at gmail.com  Wed Sep  8 14:02:59 2010
From: milalea at gmail.com (mileece)
Date: Wed, 8 Sep 2010 11:02:59 -0700
Subject: [microsound] supercollider question
Message-ID: <AANLkTi=8+7ZaVUGEDsNTzbWMF7AQP2hZhCoEfQD=d6Lj@mail.gmail.com>

hello!

i'm working on an sc patch that has gone weird...

i have discovered that there are several cc's controlling parameters in
several synths they are not mapped to!

i have created new synths on new nodes in new groups. this has not helped. i
have even tried a new controller source and reprogrammed the cc's on my MIDI
keyboard to see if it was coming from there.

Nope!

anyone have any ideas what could cause cc's to override all the code i can
see on my patches?

thanks... i'm stuck and it sucks :/

From list at isjtar.org  Wed Sep  8 14:16:54 2010
From: list at isjtar.org (isjtar)
Date: Wed, 8 Sep 2010 20:16:54 +0200
Subject: [microsound] supercollider question
In-Reply-To: <AANLkTi=8+7ZaVUGEDsNTzbWMF7AQP2hZhCoEfQD=d6Lj@mail.gmail.com>
References: <AANLkTi=8+7ZaVUGEDsNTzbWMF7AQP2hZhCoEfQD=d6Lj@mail.gmail.com>
Message-ID: <A6C02AB6-4DA6-4DC0-A692-690E6113376A@isjtar.org>

are you instantiating a lot of new ccresponders without freeing them?
how is the code structured? are your variables in environments,  
classes??
without code it's very difficult to tell.

On Sep 8, 2010, at 8:02 PM, mileece wrote:

> hello!
>
> i'm working on an sc patch that has gone weird...
>
> i have discovered that there are several cc's controlling parameters  
> in
> several synths they are not mapped to!
>
> i have created new synths on new nodes in new groups. this has not  
> helped. i
> have even tried a new controller source and reprogrammed the cc's on  
> my MIDI
> keyboard to see if it was coming from there.
>
> Nope!
>
> anyone have any ideas what could cause cc's to override all the code  
> i can
> see on my patches?
>
> thanks... i'm stuck and it sucks :/
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound


From contact at agxivatein.com  Wed Sep  8 14:37:19 2010
From: contact at agxivatein.com (=?utf-8?B?Qc6TzqfOmc6SzpHOpM6VzpnOnQ==?=)
Date: Wed, 8 Sep 2010 21:37:19 +0300
Subject: [microsound] supercollider question
In-Reply-To: <A6C02AB6-4DA6-4DC0-A692-690E6113376A@isjtar.org>
References: <AANLkTi=8+7ZaVUGEDsNTzbWMF7AQP2hZhCoEfQD=d6Lj@mail.gmail.com>
	<A6C02AB6-4DA6-4DC0-A692-690E6113376A@isjtar.org>
Message-ID: <3F882209-320B-48CC-B338-B3FDA7C53AE4@agxivatein.com>

if you could post some code this would help...


m

On 08 ??? 2010, at 9:16 ?.?., isjtar wrote:

> are you instantiating a lot of new ccresponders without freeing them?
> how is the code structured? are your variables in environments, classes??
> without code it's very difficult to tell.
> 
> On Sep 8, 2010, at 8:02 PM, mileece wrote:
> 
>> hello!
>> 
>> i'm working on an sc patch that has gone weird...
>> 
>> i have discovered that there are several cc's controlling parameters in
>> several synths they are not mapped to!
>> 
>> i have created new synths on new nodes in new groups. this has not helped. i
>> have even tried a new controller source and reprogrammed the cc's on my MIDI
>> keyboard to see if it was coming from there.
>> 
>> Nope!
>> 
>> anyone have any ideas what could cause cc's to override all the code i can
>> see on my patches?
>> 
>> thanks... i'm stuck and it sucks :/
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
> 
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound


From rafal at zapala.com.pl  Wed Sep  8 16:43:05 2010
From: rafal at zapala.com.pl (Rafal Zapala)
Date: Wed, 08 Sep 2010 22:43:05 +0200
Subject: [microsound] Icst ambicontrol trajectory problem
Message-ID: <C8ADC1F9.3CD%rafal@zapala.com.pl>

Hallo everybody
Does anybody have a good method for dealing with ambisonic trajctories
recorded to ICST ambicontrol  Max5 patch?. I have no idea, how to edit it,
do some corrections, etc.
zapala

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From tobiasreber at sunrise.ch  Wed Sep  8 18:39:50 2010
From: tobiasreber at sunrise.ch (Tobias Reber)
Date: Thu, 9 Sep 2010 00:39:50 +0200
Subject: [microsound] OT: compliment for michael trommer
In-Reply-To: <BLU0-SMTP882BE38185E1DB4B8C91A1CF710@phx.gbl>
References: <BLU0-SMTP882BE38185E1DB4B8C91A1CF710@phx.gbl>
Message-ID: <7900417E-43F1-4123-A081-981E9FCE8985@sunrise.ch>

you, sir, share some very interesting views in that  
www.audiovoltaics.cc interview.

tobias


Am 08.09.2010 um 00:45 schrieb michael trommer:

> Well said.
>
> ...and there are actually a few random artist statement generators  
> online,
> like this one for example:
>
> http://www.playdamage.org/market-o-matic/
>
>
> On 10-09-07 5:41 PM, "David Powers" <cyborgk at gmail.com> wrote:
>
>> Why does everything have to be meta? For some time now, it has seemed
>> that artists and musicians are more interested in talking about the
>> concepts behind their work than actually working.
>>
>> If you were really immersed in your work, there is no need for
>> language to explain your thought. The work itself says all that needs
>> to be said; if you could put it into ordinary words, what would be  
>> the
>> point of creating the artwork?
>>
>> By the way, Henri LeFebvre already diagnosed the problem with
>> metalanguage swallowing language and everything being discussed at  
>> one
>> remove in the late sixties. I think now we can see how spot on he  
>> was.
>>
>> For him it is a byproduct of bureaucracy... which I think is exactly
>> right. The institutional art world is really just a vast bureaucratic
>> labyrinth (including but not limited to academia).
>>
>> I think I will generate all my artistic statements via a random pomo
>> jargon engine software.
>>
>> ~D
>>
>> On Tue, Sep 7, 2010 at 10:20 AM, john saylor <js0000 at gmail.com>  
>> wrote:
>>> hey
>>>
>>> don't know how many are aware of this:
>>> http://www.1bitsymphony.com/
>>>
>>> well, i bit [ouch!] and got it. there are some interesting things
>>> about the music, but to be quite frank, i prefer most of the  
>>> chiptune
>>> players to perich. when listening to it, i often felt that while his
>>> understanding of how machines make music was not as deep as it could
>>> be. i guess i could simplify it by saying i felt there was more
>>> symphony than there was 1 bit.
>>>
>>> also, while the code for generating the music [i think] was included
>>> on the card there was precious little about meta issues [what the
>>> software was like, how the programming was done, what were his
>>> aesthetic aims with this music, and so on]. and from an engineering
>>> standpoint, it seems like it was not designed to last very long or
>>> take much abuse. people spill and drop things [and their kids tear
>>> them apart ...] all the time. i don't think this package can take  
>>> much
>>> of that. there is something about a cd release that is kept by using
>>> the same packaging, i get that; but as a bit of technology, it kinda
>>> fails in my book.
>>>
>>> don't misunderstand, i think it's an interesting project, and i put
>>> out my currency to but it. so that says something in and of itself.
>>>
>>> other opinions, comments?
>>>
>>> --
>>> \js : "verbing weirds language." -calvin  [http://or8.net/~johns/]
>>> _______________________________________________
>>> microsound mailing list
>>> microsound at microsound.org
>>> http://or8.net/mailman/listinfo/microsound
>>>
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
>>
>
> -- 
>
>
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound

---

Tobias Reber
Freiburgstrasse 32
2503 Biel
Switzerland

mobile: ++41 (0)79 573 11 69
email: tobiasreber at sunrise.ch
www.tobiasreber.com




From milalea at gmail.com  Wed Sep  8 20:04:34 2010
From: milalea at gmail.com (mileece)
Date: Wed, 8 Sep 2010 17:04:34 -0700
Subject: [microsound] supercollider question
In-Reply-To: <A6C02AB6-4DA6-4DC0-A692-690E6113376A@isjtar.org>
References: <AANLkTi=8+7ZaVUGEDsNTzbWMF7AQP2hZhCoEfQD=d6Lj@mail.gmail.com>
	<A6C02AB6-4DA6-4DC0-A692-690E6113376A@isjtar.org>
Message-ID: <AANLkTinoQk+ifVu8BLznyDE-vVb5FeaERxT+YDq5goe+@mail.gmail.com>

you are probably going to hate this- but since i have been using
CCresponders AND freeing them everything i command., i have reset the pram
and even reinstalled SC, i just can't think of what the issue is - my only
thought is that it might be a node problem? please see below- and thanks in
advance for your help and patience! this is driving my nutty!! hi scott,

thanks so much for getting back to me...

it's quite a complicated (or rather lengthy) patch so i have been trying to
simplify it so i can get the whole issue across...
but briefly (or not so briefly) i am using messaging style (for pan as an
example) like this from my routines:


var pos1Spec, pos1=0;

~cc1 = CCResponder({|src, chan, num, val|
pos1 = pos1Spec.map(val/127.0);
}, nil, 0, 1);

~chord_rout1 = Routine({
var chordNotesArray = (#[ 34, 46, 53, 64]), nv2;nv2 = [~adsr,~adsr];

inf.do({|i|
var index;
index = 2.rand;
s.sendBundle(0.02,
["/s_new", "OneDeepOnce", chordNode1ID=s.nextNodeID, 0, tone_grpID, \outDry,
0, \outWet,44, \i_freq, (4 + (chordNotesArray @@ i)).midicps, \pos, pos1]
,[\n_setn,  chordNode1ID, \env, nv2[index].size]++nv2[index]
).yield; }); });


as well as a direct MIDIControl from inside my synth for other parameters:

(
SynthDef("OneDeepOnce", { arg outDry=0, outWet=42, i_freq=500, pos=0,
chord_allBuf=40000;
var klank, harm, amp, ring, env2, env2_cntrl, wetMix, dryMix, offSet, noise,
output, gate, tone, winde;

harm = Control.names([\harm]).ir([2, 6, 8]);
amp = Control.names([\amp]).ir([0.7, 0.6, 0.5]);
ring = Control.names([\ring]).ir(Array.fill(3,6));
env2 = Env.newClear(10);
env2_cntrl = Control.names([\env]).kr(env2.asArray);

offSet = MIDIControl.kr(0, 1, \lin, lag: 0.02, channel:0, control:7,
id:~port);
output = MIDIControl.kr(0.1, 1,  \lin, lag: 0.02, channel:0, control:8,
id:~port);
gate = MIDIControl.kr(0, 1,  \lin, lag: 0.02, channel:0, control:9,
id:~port);

noise = {GrayNoise.ar(Crackle.ar(1.5, 0.01))};

klank = DynKlank.ar(`[harm,amp,ring], Decay.ar(noise, 1, 0.001).dup, i_freq,
offSet, output);

klank = Pan2.ar(klank,pos) * EnvGen.kr(env2_cntrl, gate, doneAction:2);

Out.ar(outWet, klank*output);

}).load(s);
)

Now, this:
gate = MIDIControl.kr(0, 1,  \lin, lag: 0.02, channel:0, control:9,
id:~port);

is controlling ALL my synths (even one which doesn't have an env) !

this:
output = MIDIControl.kr(0.1, 1,  \lin, lag: 0.02, channel:0, control:8,
id:~port);

is controlling a couple of synths (it's not mapped to), but not all- ON
CHANNEL 1 AND 8

I have been using cc.remove in this patch since i wrote it, but it isn't
working!

i just reset the pram... that hasn't helped either- i have even reinstalled
SC...

Do you think it might be my Node allocations?

The synth that cuts off from the gate which doesn't have an env is in the
first group and the two which are both responding to the the output change
on CC1 are in the second and third respectively...

tone_grp = s.sendMsg("/g_new", tone_grpID=s.nextNodeID, 0, 0); //head of
node 0

popp_grp = s.sendMsg("/g_new", popp_grpID=s.nextNodeID, 3, tone_grpID);
//after pieces_grpI

drone_grp = s.sendMsg("/g_new", drone_grpID=s.nextNodeID, 3, popp_grpID);
//afterpopp_grppieces_grpID


the other thing is that i am triggering my routines with a CCresponder so i
the synthdef with all the triggers assigned as so:

s.sendMsg("/s_new", "trig2", trig2_ID=s.nextNodeID, 0, 0, \id, 100);

s.sendMsg("/s_new", "trigger", trigger_ID=s.nextNodeID, 3, trig2_ID, \id,
120);

here is the CCresponder:

OSCresponder(s.addr, '/tr', {|time, responder, msg|

switch(msg[2]

, 120, {space_rout.next}

, 4, {chord_rout1.next}

, 5, {drone_rout.next}


and the trigger sythdef:

(

SynthDef("trigger", {|id=120|

var midi, midi1, midi4, midi5;

midi1 = MIDIControl.kr(0, 127, \lin, channel:0, control:1, id:~port);

midi4 = MIDIControl.kr(0, 127, \lin, channel:0, control:4, id:~port);

midi5 = MIDIControl.kr(0, 100, \lin, channel:0, control:5, id:~port);

SendTrig.kr(HPZ1.kr(midi1), id); //space

SendTrig.kr((midi4>50), 4);//drone

SendTrig.kr((midi5>50), 5);//chord

}).load(s);

)

So there it is- if there is a culprit, it's gotta be here somewhere!!!

On Wed, Sep 8, 2010 at 11:16 AM, isjtar <list at isjtar.org> wrote:

> are you instantiating a lot of new ccresponders without freeing them?
> how is the code structured? are your variables in environments, classes??
> without code it's very difficult to tell.
>
>
> On Sep 8, 2010, at 8:02 PM, mileece wrote:
>
>  hello!
>>
>> i'm working on an sc patch that has gone weird...
>>
>> i have discovered that there are several cc's controlling parameters in
>> several synths they are not mapped to!
>>
>> i have created new synths on new nodes in new groups. this has not helped.
>> i
>> have even tried a new controller source and reprogrammed the cc's on my
>> MIDI
>> keyboard to see if it was coming from there.
>>
>> Nope!
>>
>> anyone have any ideas what could cause cc's to override all the code i can
>> see on my patches?
>>
>> thanks... i'm stuck and it sucks :/
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
>>
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
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From milalea at gmail.com  Wed Sep  8 20:46:18 2010
From: milalea at gmail.com (mileece)
Date: Wed, 8 Sep 2010 17:46:18 -0700
Subject: [microsound] supercollider question
In-Reply-To: <AANLkTinoQk+ifVu8BLznyDE-vVb5FeaERxT+YDq5goe+@mail.gmail.com>
References: <AANLkTi=8+7ZaVUGEDsNTzbWMF7AQP2hZhCoEfQD=d6Lj@mail.gmail.com>
	<A6C02AB6-4DA6-4DC0-A692-690E6113376A@isjtar.org>
	<AANLkTinoQk+ifVu8BLznyDE-vVb5FeaERxT+YDq5goe+@mail.gmail.com>
Message-ID: <AANLkTimxvLoN72VZeBFin85ZboSWi48P+uecb1m7K+jH@mail.gmail.com>

hmm...

now i am getting this message:

ERROR: Message 'map' not understood.

RECEIVER:

   nil

ARGS:

   Float 0.5984251968503937   3FE3264C 993264CA

CALL STACK:

DoesNotUnderstandError-reportError   163FC0D0

arg this = <instance of DoesNotUnderstandError>

Nil-handleError   1765A070

etc...
 (which i usually get if i forget to initiate the MIDIClient), ONLY on
controller 1, the controller which is phantom-style mapping itself to my
synths... and DESPITE the error message, it is still actually controlling
the parameter!

any ideas??

thanks peeps...





On Wed, Sep 8, 2010 at 5:04 PM, mileece <milalea at gmail.com> wrote:

> you are probably going to hate this- but since i have been using
> CCresponders AND freeing them everything i command., i have reset the pram
> and even reinstalled SC, i just can't think of what the issue is - my only
> thought is that it might be a node problem? please see below- and thanks in
> advance for your help and patience! this is driving my nutty!! hi scott,
>
>
> thanks so much for getting back to me...
>
> it's quite a complicated (or rather lengthy) patch so i have been trying to
> simplify it so i can get the whole issue across...
> but briefly (or not so briefly) i am using messaging style (for pan as an
> example) like this from my routines:
>
>
> var pos1Spec, pos1=0;
>
> ~cc1 = CCResponder({|src, chan, num, val|
> pos1 = pos1Spec.map(val/127.0);
> }, nil, 0, 1);
>
> ~chord_rout1 = Routine({
> var chordNotesArray = (#[ 34, 46, 53, 64]), nv2;nv2 = [~adsr,~adsr];
>
> inf.do({|i|
> var index;
> index = 2.rand;
> s.sendBundle(0.02,
> ["/s_new", "OneDeepOnce", chordNode1ID=s.nextNodeID, 0, tone_grpID,
> \outDry, 0, \outWet,44, \i_freq, (4 + (chordNotesArray @@ i)).midicps, \pos,
> pos1]
> ,[\n_setn,  chordNode1ID, \env, nv2[index].size]++nv2[index]
> ).yield; }); });
>
>
> as well as a direct MIDIControl from inside my synth for other parameters:
>
> (
> SynthDef("OneDeepOnce", { arg outDry=0, outWet=42, i_freq=500, pos=0,
> chord_allBuf=40000;
> var klank, harm, amp, ring, env2, env2_cntrl, wetMix, dryMix, offSet,
> noise, output, gate, tone, winde;
>
> harm = Control.names([\harm]).ir([2, 6, 8]);
> amp = Control.names([\amp]).ir([0.7, 0.6, 0.5]);
> ring = Control.names([\ring]).ir(Array.fill(3,6));
> env2 = Env.newClear(10);
> env2_cntrl = Control.names([\env]).kr(env2.asArray);
>
> offSet = MIDIControl.kr(0, 1, \lin, lag: 0.02, channel:0, control:7,
> id:~port);
> output = MIDIControl.kr(0.1, 1,  \lin, lag: 0.02, channel:0, control:8,
> id:~port);
> gate = MIDIControl.kr(0, 1,  \lin, lag: 0.02, channel:0, control:9,
> id:~port);
>
> noise = {GrayNoise.ar(Crackle.ar(1.5, 0.01))};
>
> klank = DynKlank.ar(`[harm,amp,ring], Decay.ar(noise, 1, 0.001).dup,
> i_freq, offSet, output);
>
> klank = Pan2.ar(klank,pos) * EnvGen.kr(env2_cntrl, gate, doneAction:2);
>
> Out.ar(outWet, klank*output);
>
> }).load(s);
> )
>
> Now, this:
> gate = MIDIControl.kr(0, 1,  \lin, lag: 0.02, channel:0, control:9,
> id:~port);
>
> is controlling ALL my synths (even one which doesn't have an env) !
>
> this:
> output = MIDIControl.kr(0.1, 1,  \lin, lag: 0.02, channel:0, control:8,
> id:~port);
>
> is controlling a couple of synths (it's not mapped to), but not all- ON
> CHANNEL 1 AND 8
>
> I have been using cc.remove in this patch since i wrote it, but it isn't
> working!
>
> i just reset the pram... that hasn't helped either- i have even reinstalled
> SC...
>
> Do you think it might be my Node allocations?
>
> The synth that cuts off from the gate which doesn't have an env is in the
> first group and the two which are both responding to the the output change
> on CC1 are in the second and third respectively...
>
> tone_grp = s.sendMsg("/g_new", tone_grpID=s.nextNodeID, 0, 0); //head of
> node 0
>
> popp_grp = s.sendMsg("/g_new", popp_grpID=s.nextNodeID, 3, tone_grpID);
> //after pieces_grpI
>
> drone_grp = s.sendMsg("/g_new", drone_grpID=s.nextNodeID, 3, popp_grpID);
> //afterpopp_grppieces_grpID
>
>
> the other thing is that i am triggering my routines with a CCresponder so i
> the synthdef with all the triggers assigned as so:
>
> s.sendMsg("/s_new", "trig2", trig2_ID=s.nextNodeID, 0, 0, \id, 100);
>
> s.sendMsg("/s_new", "trigger", trigger_ID=s.nextNodeID, 3, trig2_ID, \id,
> 120);
>
> here is the CCresponder:
>
> OSCresponder(s.addr, '/tr', {|time, responder, msg|
>
> switch(msg[2]
>
> , 120, {space_rout.next}
>
> , 4, {chord_rout1.next}
>
> , 5, {drone_rout.next}
>
>
> and the trigger sythdef:
>
> (
>
> SynthDef("trigger", {|id=120|
>
> var midi, midi1, midi4, midi5;
>
> midi1 = MIDIControl.kr(0, 127, \lin, channel:0, control:1, id:~port);
>
> midi4 = MIDIControl.kr(0, 127, \lin, channel:0, control:4, id:~port);
>
> midi5 = MIDIControl.kr(0, 100, \lin, channel:0, control:5, id:~port);
>
> SendTrig.kr(HPZ1.kr(midi1), id); //space
>
> SendTrig.kr((midi4>50), 4);//drone
>
> SendTrig.kr((midi5>50), 5);//chord
>
> }).load(s);
>
> )
>
> So there it is- if there is a culprit, it's gotta be here somewhere!!!
>
> On Wed, Sep 8, 2010 at 11:16 AM, isjtar <list at isjtar.org> wrote:
>
>> are you instantiating a lot of new ccresponders without freeing them?
>> how is the code structured? are your variables in environments, classes??
>> without code it's very difficult to tell.
>>
>>
>> On Sep 8, 2010, at 8:02 PM, mileece wrote:
>>
>>  hello!
>>>
>>> i'm working on an sc patch that has gone weird...
>>>
>>> i have discovered that there are several cc's controlling parameters in
>>> several synths they are not mapped to!
>>>
>>> i have created new synths on new nodes in new groups. this has not
>>> helped. i
>>> have even tried a new controller source and reprogrammed the cc's on my
>>> MIDI
>>> keyboard to see if it was coming from there.
>>>
>>> Nope!
>>>
>>> anyone have any ideas what could cause cc's to override all the code i
>>> can
>>> see on my patches?
>>>
>>> thanks... i'm stuck and it sucks :/
>>> _______________________________________________
>>> microsound mailing list
>>> microsound at microsound.org
>>> http://or8.net/mailman/listinfo/microsound
>>>
>>
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
>>
>
>
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From tjaredfriend at gmail.com  Wed Sep  8 20:55:07 2010
From: tjaredfriend at gmail.com (Jared Friend)
Date: Wed, 8 Sep 2010 17:55:07 -0700
Subject: [microsound] supercollider question
In-Reply-To: <AANLkTimxvLoN72VZeBFin85ZboSWi48P+uecb1m7K+jH@mail.gmail.com>
References: <AANLkTi=8+7ZaVUGEDsNTzbWMF7AQP2hZhCoEfQD=d6Lj@mail.gmail.com>
	<A6C02AB6-4DA6-4DC0-A692-690E6113376A@isjtar.org>
	<AANLkTinoQk+ifVu8BLznyDE-vVb5FeaERxT+YDq5goe+@mail.gmail.com>
	<AANLkTimxvLoN72VZeBFin85ZboSWi48P+uecb1m7K+jH@mail.gmail.com>
Message-ID: <AANLkTinycQRmgkg6T63ggSOc3D06Dua52AdeCqoYV26k@mail.gmail.com>

The sc-users mailing list is probably the best place to get help:
http://www.beast.bham.ac.uk/research/sc_mailing_lists.shtml

good luck.

On Wed, Sep 8, 2010 at 5:46 PM, mileece <milalea at gmail.com> wrote:
> hmm...
> now i am getting this message:
>
> ERROR: Message 'map' not understood.
>
> RECEIVER:
>
> ???nil
>
> ARGS:
>
> ???Float 0.5984251968503937???3FE3264C 993264CA
>
> CALL STACK:
>
> DoesNotUnderstandError-reportError???163FC0D0
>
> arg this = <instance of DoesNotUnderstandError>
>
> Nil-handleError???1765A070
>
> etc...
>
> ?(which i usually get if i forget to initiate the MIDIClient), ONLY on
> controller 1, the controller which is phantom-style mapping itself to my
> synths... and DESPITE the error message, it is still actually controlling
> the parameter!
> any ideas??
> thanks peeps...
>
>
>
>
> On Wed, Sep 8, 2010 at 5:04 PM, mileece <milalea at gmail.com> wrote:
>>
>> you are probably going to hate this- but since i have been using
>> CCresponders AND freeing them everything i command., i have reset the pram
>> and even reinstalled SC, i just can't think of what the issue is - my only
>> thought is that it might be a node problem? please see below- and thanks in
>> advance for your help and patience! this is driving my nutty!!?hi scott,
>>
>> thanks so much for getting back to me...
>>
>> it's quite a complicated (or rather lengthy) patch so i have been trying
>> to simplify it so i can get the whole issue across...
>> but briefly (or not so briefly) i am using messaging style (for pan as an
>> example) like this from my routines:
>>
>>
>> var pos1Spec, pos1=0;
>>
>> ~cc1 = CCResponder({|src, chan, num, val|
>> pos1 = pos1Spec.map(val/127.0);
>> }, nil, 0, 1);
>>
>> ~chord_rout1 = Routine({
>> var chordNotesArray = (#[ 34, 46, 53, 64]), nv2;nv2 = [~adsr,~adsr];
>> inf.do({|i|
>> var index;
>> index = 2.rand;
>> s.sendBundle(0.02,
>> ["/s_new", "OneDeepOnce", chordNode1ID=s.nextNodeID, 0, tone_grpID,
>> \outDry, 0, \outWet,44, \i_freq, (4 + (chordNotesArray @@ i)).midicps, \pos,
>> pos1]
>> ,[\n_setn, ?chordNode1ID, \env, nv2[index].size]++nv2[index]
>> ).yield; }); });
>>
>>
>> as well as a direct MIDIControl from inside my synth for other parameters:
>>
>> (
>> SynthDef("OneDeepOnce", { arg outDry=0, outWet=42, i_freq=500, pos=0,
>> chord_allBuf=40000;
>> var klank, harm, amp, ring, env2, env2_cntrl, wetMix, dryMix, offSet,
>> noise, output, gate, tone, winde;
>>
>> harm = Control.names([\harm]).ir([2, 6, 8]);
>> amp = Control.names([\amp]).ir([0.7, 0.6, 0.5]);
>> ring = Control.names([\ring]).ir(Array.fill(3,6));
>> env2 = Env.newClear(10);
>> env2_cntrl = Control.names([\env]).kr(env2.asArray);
>>
>> offSet = MIDIControl.kr(0, 1, \lin, lag: 0.02, channel:0, control:7,
>> id:~port);
>> output = MIDIControl.kr(0.1, 1, ?\lin, lag: 0.02, channel:0, control:8,
>> id:~port);
>> gate = MIDIControl.kr(0, 1, ?\lin, lag: 0.02, channel:0, control:9,
>> id:~port);
>>
>> noise = {GrayNoise.ar(Crackle.ar(1.5, 0.01))};
>>
>> klank = DynKlank.ar(`[harm,amp,ring], Decay.ar(noise, 1, 0.001).dup,
>> i_freq, offSet, output);
>>
>> klank = Pan2.ar(klank,pos) * EnvGen.kr(env2_cntrl, gate, doneAction:2);
>>
>> Out.ar(outWet, klank*output);
>>
>> }).load(s);
>> )
>>
>> Now, this:
>> gate = MIDIControl.kr(0, 1, ?\lin, lag: 0.02, channel:0, control:9,
>> id:~port);
>> is controlling ALL my synths (even one which doesn't have an env) !
>> this:
>> output = MIDIControl.kr(0.1, 1, ?\lin, lag: 0.02, channel:0, control:8,
>> id:~port);
>> is controlling a couple of synths (it's not mapped to), but not all- ON
>> CHANNEL 1 AND 8
>> I have been using?cc.remove?in this patch since i wrote it, but it isn't
>> working!
>> i just reset the pram... that hasn't helped either- i have even
>> reinstalled SC...
>> Do you think it might be my Node allocations?
>> The synth that cuts off from the gate which doesn't have an env is in the
>> first group and the two which are both responding to the the output change
>> on CC1 are in the second and third respectively...
>>
>> tone_grp = s.sendMsg("/g_new", tone_grpID=s.nextNodeID, 0, 0); //head of
>> node 0
>>
>> popp_grp = s.sendMsg("/g_new", popp_grpID=s.nextNodeID, 3,?tone_grpID);
>> //after pieces_grpI
>>
>> drone_grp = s.sendMsg("/g_new", drone_grpID=s.nextNodeID, 3, popp_grpID);
>> //afterpopp_grppieces_grpID
>>
>> the other thing is that i am triggering my routines with a CCresponder so
>> i the synthdef with all the triggers?assigned?as so:
>>
>> s.sendMsg("/s_new", "trig2", trig2_ID=s.nextNodeID, 0, 0, \id, 100);
>>
>> s.sendMsg("/s_new", "trigger", trigger_ID=s.nextNodeID, 3, trig2_ID, \id,
>> 120);
>>
>> here is the CCresponder:
>>
>> OSCresponder(s.addr, '/tr', {|time, responder, msg|
>>
>> switch(msg[2]
>>
>> , 120, {space_rout.next}
>>
>> , 4, {chord_rout1.next}
>>
>> , 5, {drone_rout.next}
>>
>> and the trigger sythdef:
>>
>> (
>>
>> SynthDef("trigger", {|id=120|
>>
>> var midi, midi1, midi4, midi5;
>>
>> midi1 = MIDIControl.kr(0, 127, \lin, channel:0, control:1, id:~port);
>>
>> midi4 = MIDIControl.kr(0, 127, \lin, channel:0, control:4, id:~port);
>>
>> midi5 = MIDIControl.kr(0, 100, \lin, channel:0, control:5, id:~port);
>>
>> SendTrig.kr(HPZ1.kr(midi1), id); //space
>>
>> SendTrig.kr((midi4>50), 4);//drone
>>
>> SendTrig.kr((midi5>50), 5);//chord
>>
>> }).load(s);
>>
>> )
>>
>> So there it is- if there is a culprit, it's gotta be here somewhere!!!
>>
>> On Wed, Sep 8, 2010 at 11:16 AM, isjtar <list at isjtar.org> wrote:
>>>
>>> are you instantiating a lot of new ccresponders without freeing them?
>>> how is the code structured? are your variables in environments, classes??
>>> without code it's very difficult to tell.
>>>
>>> On Sep 8, 2010, at 8:02 PM, mileece wrote:
>>>
>>>> hello!
>>>>
>>>> i'm working on an sc patch that has gone weird...
>>>>
>>>> i have discovered that there are several cc's controlling parameters in
>>>> several synths they are not mapped to!
>>>>
>>>> i have created new synths on new nodes in new groups. this has not
>>>> helped. i
>>>> have even tried a new controller source and reprogrammed the cc's on my
>>>> MIDI
>>>> keyboard to see if it was coming from there.
>>>>
>>>> Nope!
>>>>
>>>> anyone have any ideas what could cause cc's to override all the code i
>>>> can
>>>> see on my patches?
>>>>
>>>> thanks... i'm stuck and it sucks :/
>>>> _______________________________________________
>>>> microsound mailing list
>>>> microsound at microsound.org
>>>> http://or8.net/mailman/listinfo/microsound
>>>
>>> _______________________________________________
>>> microsound mailing list
>>> microsound at microsound.org
>>> http://or8.net/mailman/listinfo/microsound
>>
>
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
>

From trond.lossius at bek.no  Thu Sep  9 12:30:20 2010
From: trond.lossius at bek.no (Trond Lossius)
Date: Thu, 9 Sep 2010 18:30:20 +0200
Subject: [microsound] Icst ambicontrol trajectory problem
In-Reply-To: <C8ADC1F9.3CD%rafal@zapala.com.pl>
References: <C8ADC1F9.3CD%rafal@zapala.com.pl>
Message-ID: <64919EA0-A6F2-466A-B115-A5F0F151F77D@bek.no>

Hi Rafal,

the HoloEdit app, a timeline editor for spatial trajectories, might be of interest to you:

http://dvlpt.gmem.free.fr/web/static.php?page=HoloEdit_main

I'm not sure if it can be downloaded from the GMEM site, but it is available here:

http://github.com/Nilson/Holophon

If you don't mind reading a bit of scientific papers, there are two that might be of interest to you, presented at the Sound and Music Computing conferences last year and this year:

http://smc2009.smcnetwork.org/programme/pdfs/299.pdf
http://smcnetwork.org/node/1391


Best,
Trond


> Hallo everybody
> Does anybody have a good method for dealing with ambisonic trajctories recorded to ICST ambicontrol  Max5 patch?. I have no idea, how to edit it, do some corrections, etc. 
> zapala


From technohead3d at googlemail.com  Thu Sep  9 13:04:10 2010
From: technohead3d at googlemail.com (Adam Davis)
Date: Thu, 9 Sep 2010 18:04:10 +0100
Subject: [microsound] problem
Message-ID: <AANLkTik5q4zJziv08oGtGd2-f9NKWGCFGBD7GFLTTJFm@mail.gmail.com>

Hi folks,

I'm trying to upload a file to the repository, and all I'm getting is a
message saying "you must select a file". And yes, I did select a file ;)
What gives?

Best,
Adam
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From rafal at zapala.com.pl  Thu Sep  9 14:58:18 2010
From: rafal at zapala.com.pl (rafal zapala)
Date: Thu, 9 Sep 2010 20:58:18 +0200
Subject: [microsound] Icst ambicontrol trajectory problem
References: <C8ADC1F9.3CD%rafal@zapala.com.pl>
	<64919EA0-A6F2-466A-B115-A5F0F151F77D@bek.no>
Message-ID: <000901cb5050$fab6f090$6801a8c0@komputerdom>

Thanx for reaction
yeah, i know holophon project very well, it's going to be great tool, but 
untill now i'm finding it a little bit not stable [i use it connected with 
jamoma modules], than i decided to limit myself to max only . but here's 
problem with trajectory drawing?, recording?, editing? just working with it 
in ambicontrol - ambimonitor objects.

regards - zapala

----- Original Message ----- 
From: "Trond Lossius" <trond.lossius at bek.no>
To: <microsound at microsound.org>
Sent: Thursday, September 09, 2010 6:30 PM
Subject: Re: [microsound] Icst ambicontrol trajectory problem


> Hi Rafal,
>
> the HoloEdit app, a timeline editor for spatial trajectories, might be of 
> interest to you:
>
> http://dvlpt.gmem.free.fr/web/static.php?page=HoloEdit_main
>
> I'm not sure if it can be downloaded from the GMEM site, but it is 
> available here:
>
> http://github.com/Nilson/Holophon
>
> If you don't mind reading a bit of scientific papers, there are two that 
> might be of interest to you, presented at the Sound and Music Computing 
> conferences last year and this year:
>
> http://smc2009.smcnetwork.org/programme/pdfs/299.pdf
> http://smcnetwork.org/node/1391
>
>
> Best,
> Trond
>
>
>> Hallo everybody
>> Does anybody have a good method for dealing with ambisonic trajctories 
>> recorded to ICST ambicontrol  Max5 patch?. I have no idea, how to edit 
>> it, do some corrections, etc.
>> zapala
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
> __________ Informacja programu ESET Smart Security, wersja bazy sygnatur 
> wirusow 4923 (20100307) __________
>
> Wiadomosc zostala sprawdzona przez program ESET Smart Security.
>
> http://www.eset.pl lub http://www.eset.com
>
>
> 


From trond.lossius at bek.no  Thu Sep  9 16:29:09 2010
From: trond.lossius at bek.no (Trond Lossius)
Date: Thu, 9 Sep 2010 22:29:09 +0200
Subject: [microsound] Icst ambicontrol trajectory problem
In-Reply-To: <000901cb5050$fab6f090$6801a8c0@komputerdom>
References: <C8ADC1F9.3CD%rafal@zapala.com.pl>
	<64919EA0-A6F2-466A-B115-A5F0F151F77D@bek.no>
	<000901cb5050$fab6f090$6801a8c0@komputerdom>
Message-ID: <6CD54BA8-82F1-4E14-91C2-2EE51BEEC604@bek.no>

Hi,

if you think there is a bug in ambimonitor, I would suggest dropping a mail at the M4D (Max for Dinosaurs) mailing list, I think Jasch at least is on the list:

https://mail.bek.no/mailman/listinfo/max

Alternatively you could also drop a mail at the Jamoma-devel list. Nils Peters has been exploring the deeper meaning of ambimonitor more than me, I generally just use it for display and shuffling sources around manually, so he might be better than me at confirming if there is an issue.

Best,
Trond


On Sep 9, 2010, at 8:58 PM, rafal zapala wrote:

> Thanx for reaction
> yeah, i know holophon project very well, it's going to be great tool, but untill now i'm finding it a little bit not stable [i use it connected with jamoma modules], than i decided to limit myself to max only . but here's problem with trajectory drawing?, recording?, editing? just working with it in ambicontrol - ambimonitor objects.
> 
> regards - zapala
> 
> ----- Original Message ----- From: "Trond Lossius" <trond.lossius at bek.no>
> To: <microsound at microsound.org>
> Sent: Thursday, September 09, 2010 6:30 PM
> Subject: Re: [microsound] Icst ambicontrol trajectory problem
> 
> 
>> Hi Rafal,
>> 
>> the HoloEdit app, a timeline editor for spatial trajectories, might be of interest to you:
>> 
>> http://dvlpt.gmem.free.fr/web/static.php?page=HoloEdit_main
>> 
>> I'm not sure if it can be downloaded from the GMEM site, but it is available here:
>> 
>> http://github.com/Nilson/Holophon
>> 
>> If you don't mind reading a bit of scientific papers, there are two that might be of interest to you, presented at the Sound and Music Computing conferences last year and this year:
>> 
>> http://smc2009.smcnetwork.org/programme/pdfs/299.pdf
>> http://smcnetwork.org/node/1391
>> 
>> 
>> Best,
>> Trond
>> 
>> 
>>> Hallo everybody
>>> Does anybody have a good method for dealing with ambisonic trajctories recorded to ICST ambicontrol  Max5 patch?. I have no idea, how to edit it, do some corrections, etc.
>>> zapala
>> 
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
>> 
>> __________ Informacja programu ESET Smart Security, wersja bazy sygnatur wirusow 4923 (20100307) __________
>> 
>> Wiadomosc zostala sprawdzona przez program ESET Smart Security.
>> 
>> http://www.eset.pl lub http://www.eset.com
>> 
>> 
> 
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
> 


From paulo.mouat at gmail.com  Thu Sep  9 21:45:51 2010
From: paulo.mouat at gmail.com (Paulo Mouat)
Date: Fri, 10 Sep 2010 09:45:51 +0800
Subject: [microsound] problem
In-Reply-To: <AANLkTik5q4zJziv08oGtGd2-f9NKWGCFGBD7GFLTTJFm@mail.gmail.com>
References: <AANLkTik5q4zJziv08oGtGd2-f9NKWGCFGBD7GFLTTJFm@mail.gmail.com>
Message-ID: <AANLkTinGNVH1KFTiE=5ZP9+vt52P9zCxGi0jvsJxN3vO@mail.gmail.com>

Which type of file and which folder were you trying to upload to?

//p
http://www.interdisciplina.org/00.0

On Fri, Sep 10, 2010 at 1:04 AM, Adam Davis <technohead3d at googlemail.com> wrote:
> Hi folks,
>
> I'm trying to upload a file to the repository, and all I'm getting is a
> message saying "you must select a file". And yes, I did select a file ;)
> What gives?
>
> Best,
> Adam
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
>

From technohead3d at googlemail.com  Fri Sep 10 10:08:42 2010
From: technohead3d at googlemail.com (Adam Davis)
Date: Fri, 10 Sep 2010 15:08:42 +0100
Subject: [microsound] problem
In-Reply-To: <AANLkTinGNVH1KFTiE=5ZP9+vt52P9zCxGi0jvsJxN3vO@mail.gmail.com>
References: <AANLkTik5q4zJziv08oGtGd2-f9NKWGCFGBD7GFLTTJFm@mail.gmail.com>
	<AANLkTinGNVH1KFTiE=5ZP9+vt52P9zCxGi0jvsJxN3vO@mail.gmail.com>
Message-ID: <AANLkTin2zkwkNf1coGyYNxszVnRiPQsNWspaJK4vEFv4@mail.gmail.com>

Oh, just an MP3 from my dictaphone onto my new directory here:

http://www.microsound.org/repository/index.php?direction=0&order=&directory=user+audio/freefreethinker
&

:(
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From devel at thesaddj.com  Fri Sep 10 16:13:00 2010
From: devel at thesaddj.com (Marco Donnarumma)
Date: Fri, 10 Sep 2010 21:13:00 +0100
Subject: [microsound] contact in Belarus
Message-ID: <AANLkTimGysJ2UWEjBjUpPvWQSNxp3Q8vH=y0ZM0EpCmv@mail.gmail.com>

Dear microsounders,
I'm looking for contacts in Minsk, Belarus.

Anybody?

Feel free to contact me off-list, if you prefer.
Thanks in advance,

best,

-- 
Marco Donnarumma aka TheSAD
Independent New Media Arts Professional, Performer, Teacher - Edinburgh, UK


PORTFOLIO: http://marcodonnarumma.com
LAB: http://www.thesaddj.com | http://cntrl.sourceforge.net |
http://www.flxer.net
EVENT: http://www.liveperformersmeeting.net
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From paulo.mouat at gmail.com  Fri Sep 10 23:51:25 2010
From: paulo.mouat at gmail.com (Paulo Mouat)
Date: Sat, 11 Sep 2010 11:51:25 +0800
Subject: [microsound] problem
In-Reply-To: <AANLkTin2zkwkNf1coGyYNxszVnRiPQsNWspaJK4vEFv4@mail.gmail.com>
References: <AANLkTik5q4zJziv08oGtGd2-f9NKWGCFGBD7GFLTTJFm@mail.gmail.com>
	<AANLkTinGNVH1KFTiE=5ZP9+vt52P9zCxGi0jvsJxN3vO@mail.gmail.com>
	<AANLkTin2zkwkNf1coGyYNxszVnRiPQsNWspaJK4vEFv4@mail.gmail.com>
Message-ID: <AANLkTiniiaUvjmsgo0fjyPWWsLuAdH5=Ott+0vT6O0Xh@mail.gmail.com>

I just tried uploading a file into that same folder and it worked as expected.

Which browser and OS were you using?

//p
http://www.interdisciplina.org/00.0

On Fri, Sep 10, 2010 at 10:08 PM, Adam Davis
<technohead3d at googlemail.com> wrote:
> Oh, just an MP3 from my dictaphone onto my new directory here:
>
> http://www.microsound.org/repository/index.php?direction=0&order=&directory=user+audio/freefreethinker&
>
> :(
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
>

From pavementsands at gmail.com  Mon Sep 13 15:01:42 2010
From: pavementsands at gmail.com (Daniel Bennett)
Date: Mon, 13 Sep 2010 20:01:42 +0100
Subject: [microsound] Vid for my track on the vague terrain comp
Message-ID: <AANLkTikp9emLWn-LFow0xLmMXVczVUUemWQiXx22OjyB@mail.gmail.com>

Hi all,
I started mucking around with video processing the other week and put
together a vid for the tune I put forward for Kim's Microsound comp on
Vague Terrain (ages ago I know, but it's now part of an album which I
just finished). Thought some of
you might be interested and I'd appreciate opinions as it's my first
crack at digital animation/vid processing.

http://vimeo.com/14901626

(I retitled it because I wanted to make some aspects of its
construction more explicit - it's called Formes Rouges on the comp).

Cheers
Dan

--
http://www.skjolbrot.org

From gorgo at inbox.ru  Tue Sep 14 01:58:01 2010
From: gorgo at inbox.ru (gorgo)
Date: Tue, 14 Sep 2010 09:58:01 +0400
Subject: [microsound] A newe piece of music ))
Message-ID: <E1OvOWn-0002en-00.gorgo-inbox-ru@f207.mail.ru>

Hi everybody!

I suggest everyone listening to the new song Orch. New-art-rock or whatever it could be )) Enjoy! I hope you like it ))

http://www.myspace.com/gorgo.shpak

Have a nice day!

From technohead3d at googlemail.com  Tue Sep 14 11:50:57 2010
From: technohead3d at googlemail.com (Adam Davis)
Date: Tue, 14 Sep 2010 16:50:57 +0100
Subject: [microsound] problem
In-Reply-To: <AANLkTiniiaUvjmsgo0fjyPWWsLuAdH5=Ott+0vT6O0Xh@mail.gmail.com>
References: <AANLkTik5q4zJziv08oGtGd2-f9NKWGCFGBD7GFLTTJFm@mail.gmail.com>
	<AANLkTinGNVH1KFTiE=5ZP9+vt52P9zCxGi0jvsJxN3vO@mail.gmail.com>
	<AANLkTin2zkwkNf1coGyYNxszVnRiPQsNWspaJK4vEFv4@mail.gmail.com>
	<AANLkTiniiaUvjmsgo0fjyPWWsLuAdH5=Ott+0vT6O0Xh@mail.gmail.com>
Message-ID: <AANLkTinYSW9QFpXw5wb1VjOdt_Ot=+VdU9=bpvBOChHP@mail.gmail.com>

Never mind...I'll end up pressing it onto a CD anyway I reckon :) Thanks
very much for your help though.
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