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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. Update: Psloth2 created. Same output, memory usage decreased. I didn't persist the u
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 .
very nice ! do you mind if I integrate it in my quark ? (https://github.com/grirgz/param) I need a color picker
There is the .p method (see http://sccode.org/1-5aT) but here is also a way to retrieve the values directly
When sending MIDI clock out at a fast tempo, there may be fewer than 10 ms between clock ticks. If you're sending the clock messages from the same sclang that is sequencing musical events, any unexpectedly long-running sclang activity could cause clo
this is insane. How do you even get to this point lol
Lovely idea, but my cat's purring pulsates with the breathing. So here's a little variation (far from perfect): ( t = {0.08.rand2}!1024; e = { SinOsc.kr(0.5*LFNoise1.kr(10).range(0.9,1.1)).range(0.05, 1.0) }; r = { RHPF.ar(LPF.ar(Osc.ar(Buffe
You can listen to a two hour fragment here: https://youtu.be/piqsYzRKCr8
test to use some distortion UGens from Mads' Ported Plugins and ended up with this tootin fatso.
just a very limited attempt for reference purpose of a hoped for eguitar synth ´ based on https://sccode.org/1-5aC#c982
great sound!! Would you possibly mid to explain your mix of the SC-UGens a bit more? I would like to generate/have a stooges sounding eguitar synth that is possibly capable of strumming the G,F# and E of "I Wanna be your dog" somehow. Thanks for som
a go at making something like metaphysical function from NI reaktor in SC original instrument design by mike daliot based on ScopeView helpfile and https://www.youtube.com/watch?v=l-uuPlAk_FY
this is a infinite generative song based on Eno's Music for Airports. I realize this could be split up into different SynthDef's and sequenced with Pbinds, but I do like having everything inside one function (so I opted to use Demands). you can
Thank you!
Really good !
Cool patterns! Thank you very much.
This code shows useful ways of doing with granular synthesis. Thanks!
I think you've put this question in the wrong place! This site is a collection of examples of SuperCollider code. If you want to ask a question, you should post it on the forum at https://scsynth.org/