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This is great! Super useful for visualizing the probability distribution! Thanks for sharing!!!
NodeProxy rule to create parallel versions of the same sound definition.
nice work. thanks kindly. ps. there's a _BufDur.kr(bufnum)_ Ugen you can use for this, instead of passing the value in.
Thanks so much for this, I'm finding this port very useful! However, I found a bug that should be a quick fix. I noticed that the stretch factor doesn't yield consistent results, such that longer buffers yield results significantly shorter in dura
Top-down space shooter for SuperCollider. It is probably too easy but (I think) it is still fun.
Cool sound. One nitpick - It does throw a deprecation warning on 3.11+, as `.asInt` has been deprecated in favor of `.asInteger`.
https://scsynth.org/t/galton-board-sim/6202
hi, do you have by any chance a piece of code for use with expert sleepers ES-9? Thanks, Dirk
This is great, thanks, but… it always overdubs? l.set(\t_trig, 1) does not do anything, there is no argument called t_trig?
and here is a (slightly simplified - not using sc3-plugins, for now) version running in a docker container in a VM and broadcasting over IceCast - so you can listen to it forever https://audio.spiderhats.com/airports
I initially misunderstood what I was doing here. Only one of 4 voices truly should cancel (the sine voice), the other 3 are due to running oscillators well below the intended rate, removing dc, and then amplifying the artifacts
https://scsynth.org/t/why-the-plot-result-of-summing-2-same-frequency-sinosc-with-phase-reversed-is-not-just-zeros/5805/6 quick proof of concept Results of a subtracting two identical out of phase signals from each-other, which should be silent
this is wonderful. Very much what I'm trying to do - only I want to make it responsive - to create ambient sound that changes in responses to environmental signals. Thanks for the inspiration and the example
thanks for this! in case anyone is wondering: `VadimFilter` is part of https://github.com/madskjeldgaard/portedplugins :)
I've created a descendant fork of the routine that creates a `Psloth` class. Thanks for sharing this. Any idea if there's an optimized algorithm that does not grow in memory usage at a linear rate? This would be cool for infinitely generative music.
Save this as an extension and recompile class library. You can now use `Psloth([0,1,0], 10)`, for example, instead of declaring a new routine for each pattern. I didn't persist the use cases, as this should be saved as a `.sc` file. Please refer t
Very Cool. I'm wondering if anyone has an idea of how to do something like this but lock the LFO to an instance of a TempoClock, and allow for tempo updates. Ideally, I'd like to lock a few LFSaw synths to a TempoClock at frequencies of each power of
fun patch using sloth canons to control places of a monzo
routine that takes a seed and generates a self-similar sloth canon with it by adding each term to each term, better explained in this blog post: https://www.science20.com/robert_inventor039s_column/blog/self_similar_sloth_canon_number_sequences-11368
function takes in collection as argument, and returns the ratio from the resultant monzo
function for working with xenakis' sieves made of residual classes/modules function takes a set of arguments for modulus, shifter and number of digits to compute, and returns a set, which can be used to construct sieves
function that extracts repeating digits in "basimal" representations of ratios
beat absolute locations rather than deltas meander randomly each cycle
Ndefs inspired by rob hordijk's twin peak filters, which can accomplish some formant-y fun
Added an example of automating a digital piano's sustain pedal from Panola.
I was not aware of that, though I was thinking of trying to implement something like that. Thanks for sharing!
Interesting. Did you know something like this exists already? https://swiki.hfbk-hamburg.de/MusicTechnology/763
This gradually changes the tempo of a TempoClock, each beat of a specified number of beats, and starting at the next bar. Personally, I was not able to heavily distinguish between `.linlin` and `.linexp` for reasonable musical tempos. There
I appreciate that this code still works, with minor tweaks, after like 8 years! I changed the keyboard layout and reposted, of course giving credit where it is due. Thank you, Sir!
This is just a different keyboard layout for the code I found called "Operator". Thank you Alexander Lunt, wherever you might be! I changed the weird/possibly wrong kind of keyboard layout first into something that resembled piano layout, then I cha
A GUI for animating summation of partials as simple harmonic motion, depicted as circular rotation correlated with a graph of amplitude vs. time.
for questions, it is better to use the SC forum: https://scsynth.org/ this site is for sharing finished/demo/working code. About your question it's not possible to have different \dur for a chord but you can have different \legato or \sustain, ju
Hello Everyone. This is my first post. I'm trying to transcribe classical piano music to SuperCollider. Here is my problem. In piano music, a chord is held down simultaneously. But then some voices can move while other notes are still held
good
This gradually changes the tempo of a TempoClock, each beat of a specified number of beats, and starting at the next bar. Personally, I was not able to heavily distinguish between `.linlin` and `.linexp` for reasonable musical tempos. There
this is exceptionally good, thanks for sharing!
This is a setup that allows you to plot a Synth() output, using a buffer. See https://scsynth.org/t/what-is-the-best-way-to-plot-a-synth/5160 .