Activity
Early experimentation with patterns. Attempt at recreating Piano Phase by Steve Reich with random part lengths.
This is a port of the basic Paulstretch algorithm to SuperCollider (no onset detection). Mono version, for stereo, use 2 instances hard panned. The sound buffer needs to be mono too, so use Buffer.readChannel to extract separate channels. The stretc
Grainsynth Sampler based on Example in the Documentation. Similar to cookiemonster v.1.1, with GaussTrig instead of randomized Impulse
Grainsynth Sampler based on the Example in the Documentation. Better version of v.1.0.
This version is flawed . Randomization happens outside the iterated function. Iterations are all the same. Check version 1.1 which more organic
Grainsynth Sampler based on the Example in the Documentation. I'd call it crumblesynthesis. "ME WANT COOKIE!!!"
Basic tone simulator of a stylophone. Sugestions//improvements are welcome :)
The second piece in this generative series. Note lengths are now variable within a line, but as the result the total duration of a pattern became variable too so lines are not always playing in sync. This, however, adds to overall unpredictabilty and
Aphex Twin's Avril 14th - SuperCollider transcription by Nicola Ariutti. From a music sheet by Micheal Jordan (https://www.sheetsdaily.com/piano/sheets/45931/Aphex_Twin_Avril_14th.html) The code is meant to send MIDI data to an external synthetiz
Random deep fryer. Can turn in to rain, waves and other stuff.
A rip off of «Beatboxing and Bach» by aahrens, whitout the drums plus some cheesy synths.
Variations of hijacked tweets. In Ndef-mode. Starting point was nathaniel virgo's tweet: {a=LFTri.ar(1);20.do{a=BAllPass.ar(a,80,1);a=((a+0.02)*LFNoise0.kr(1/2)*8).tanh;a=LeakDC.ar(a,0.995)};a*0.1!2}.play
Simple visualisation of the gain reduction for effects like compression. It can be run in its own editor window and requires only minimal modification of the original code. Uses OSC messages like in the example of LevelIndicator. There's an implem
see also https://sc-users.bham.ac.narkive.com/Qdtp11n7/risset-accelerando
Template to create a 2x3 FM Synth. There are two independent FM synths, of type `car(mod1(mod2))`. This is intended to be a starting point for further exploration.
A relatively lightweight way for me to quickly add effects. Not very advanced, but it gets the job done. The effect synths are supposed to do the job of mixing wet/dry signal and so forth. Usage: create an instance of FxChain, and then start addding
couple of cycles of wobbling bass (as in 'dubstep-wobble'): Saw+Squarewave through a MoogVCF filter. synthDef is 'tempo-agnostic' and there will be problems if you change the tempo (or rather interesting results). needs improvement to be reusable.
nice texture; also sounds good with other pluck noise types (e.g. BrownNoise)
some playing around with m/c/g-transpose in Pbind. this stops after it 2 repetitions, but it could start at the beginning and go on forever - just change the last "2" in \ctranspose to inf or however cycles you want. also, it uses a JPverb, so you ne
some playing around with m/c/g-transpose in Pbind. this stops after it has transposed 6 times a semitone up, but it could start at the beginning and go on forever - just change the last "1" in \ctranspose to inf or however cycles you want. also, it u
just a very simple but pretty bell like sound playing harmonies forever ;-)
using Pluck.ar with PinkNoise as input and Patterns - major scale with sequence: 1,3,7,8 and randomly 10,11,13,14 at some weighted random intervals. at 50bpm it becomes quite soothing. Needs JPverb from sc3_plugins.
The Scale Listener is a simple GUI that previews every scale provided in SC, except Ascending/Descending ones. Can also serve as a template for a graphical scale selector, or for didactic purposes.
Simple GUI to produce dirty ambient drones, based on the 'Mini' concept ( see https://sccode.org/1-5aY ). Really simple to use. Displayed words aren't even existing. Who reads the doc anyway ? Have fun making noise.
Example of the Graphical Tracker Functions usage ( https://sccode.org/1-5cA ). Both files should be saved inside the same folder. See internal documentation for more details.
Stores three functions inside global variables which can be used to create either a binary tracker, a probabilist tracker or a combination of these two inside the given view. The tracker is tied to an array referencing the probabilities for a given b
Enveloppes sizes are fixed. This means that if enveloppe's levels are equals to [ 1, 0, 0, 0, 0, 0, 0, 0 ] and times are equals to [ 1, 1, 1, 1, 1, 1, 1, 1 ], the synth UGens will take resources 8 seconds but will only be audible 1 second. To avoid t
(How I wish I could edit my comments...) I used [ n0, n2, n1, n2 ] + 12, with n0-n2 functions, which allows for applying intuitive, arbitrarily complex transformations on the chord degrees. In your approach I'm not sure how that would best be done.
(to clarify: the "nil" for a calculated degree eventually results in the first note of the chord being used instead of the expected degrees with transposition)
Ah I understand why your approach gives different notes now. In my approach I can do calculations on the "degrees" (e.g. I have a [ 0, 2, 1, 2] + 12 term in the "right" pattern). Since you rely on the indices in the Order object, it will return nil f
I see... you remove the notes from the table on noteOff. In my approach, I had an ~n which more or less corresponded to the "last active chord" and which remained intact even after the note off had come (this is more how autoaccompaniment works, and
hmm, on second thought your code produces a very different musical result from mine even though you didn't edit the pattern; it also stops the arpeggio when the notes are released. I'll need to examine in more detail why it's so different.
It looks much cleaner indeed. Great work! Thanks!!
I haven't found a quite satisfying code about birds, so here's a very simple SynthDef to start with
Re: Let me know if you have ideas for improvement! (code-wise or feature-wise) -> I used an object prototype to streamline the process of registering notes and getting sequences of them. Code looks simpler to me and easier to further develop :)
Proof of concept code for a midified arpeggiator/auto-accompaniment system, quickly reacting to chord changes Midi is received as input, and supercollider's default instrument (I know, I know) is generating the output. This code is accompaniment to
what was the sample? what can I sub it for? like just a tone?
this one is my favoutite, love how it builds in