Wall•E and the Rhythmic Synth from Gian Pablo Villamil on Vimeo.
Gian Pablo, maker of this sweet algorithmic synth forces Wall-E to rock out.
Via NYCR.
Wall•E and the Rhythmic Synth from Gian Pablo Villamil on Vimeo.
Gian Pablo, maker of this sweet algorithmic synth forces Wall-E to rock out.
Via NYCR.
Via GamesSound
Most people would never think of a touch-tone phone as being an additive synthesizer. Though it may be primitive, a phone does generate tones using two sine wave oscillators, which in my humble opinion, qualifies it as such.
However, I’m not here to debate the semantics of whether or not a phone is a synthesizer. Instead, I’m here to demonstrate how easy it is to emulate the sounds of the touch-tone phone.
More at The Csound Blog. For more information about Csound, please visit cSounds.com.
Beginning Csound
July 28, 2008 @ NYC Resistor
1 Session, 3 hours, with personalized post-session project with instructor via email.
Cost $75
Csound is the most powerful computer music language in the world, with a direct lineage to Max Mathews’ original Music-N languages. The focus of this class will be a synthesis of three topics: The Csound language, synthesizer theory, and composing weird alien music.
Together, we will demystify the assembly-like syntax of the Csound language. We will cover the fundamentals of synthesizer theory, including: oscillators, filters, envelopes, amplifiers and modulation. Finally, we’ll tie it all together by composing sounds in the vein of classic Sci-Fi movies.
Taught by Jacob Joaquin (that’s me.) Click here to enroll.
kindercrasher from Inigo Quilez on Vimeo.
This is my contribution to the realtime 4 kilobytes visuals (usually known as “4k intro”) competition for Inspire 2008 (held in Spain). It is a set of spheres with radious controlled by the Fourier Transform (without the “fast”) of the music. it contains some realtime ambient occlusion and depth of field. It’s done in C, using shaders (GLSL). Once again, it all fits in a 4 kilobytes executable (music, animation, rendering engine and effects).
Wicked awesome! Via Create Digital Motion.
Dr. Richard Boulanger asks Max Mathews about H.A.L. and why it sings Daisy in the Stanley Kubrick film 2001: A Space Odyssey.
Generative Music – Cellular automata and blip blops from batuhan on Vimeo.
A somewhat intelligent cellular automata system that I developed with some atari2600 style sonification.
Link via Processing.org.
Since friday, I’ve been spending all my free time learning as mush about Processing as I possible can. I made this video to prove to myself it was possible to integrate Slipmat with Processing. I guess this means I’m fully committed to learning the black arts of generative audio/visuals.
I just released a new Slipmat package at sourceforge. This latest version comes with three new examples, including one that uses a basic Java GUI. Four out of the five examples are now pre-rendered as CSDs for convenience. There are also a handful of new synth Modules to play with.
The documentation has been improved, including better Javadoc support. The Javadocs are not pre-rendered as to keep the size of the release to a minimum, so you’ll have to generate them yourself. Many IDEs, including NetBeans and Eclipse, will generate them for you.
There is also the PseudoTutorial example that gives a broad overview of the design of Slipmat and how to use it.
And in case you’re wondering, Slipmat is “A Java-based modular computer music library built on top of the Csound API.”
Posted to YouTube by twomore. Via Laughing Squid