Our great sponsors
csound | Sonic Pi | |
---|---|---|
21 | 111 | |
1,185 | 10,512 | |
1.3% | 0.9% | |
2.6 | 8.8 | |
2 days ago | about 7 hours ago | |
C | C++ | |
GNU Lesser General Public License v3.0 only | GNU General Public License v3.0 or later |
Stars - the number of stars that a project has on GitHub. Growth - month over month growth in stars.
Activity is a relative number indicating how actively a project is being developed. Recent commits have higher weight than older ones.
For example, an activity of 9.0 indicates that a project is amongst the top 10% of the most actively developed projects that we are tracking.
csound
-
csound VS midica - a user suggested alternative
2 projects | 12 Aug 2023
-
How have you used coding in your setup?
Nobody has mentioned Csound.
- Little Languages for Music (1990) [pdf]
-
The Octave Divided into Five Parts in 50 edo
Thank you so much for your appreciation ! I'm planning a blog post abou that... but, meanwhile: I use the following free software: 1) Huygens Fokker Scala to tune files (see below which ones); 2) SynthFont (in combination with soundfonts) to play the files tuned by Scala; The files in 1) are text files essentially representing pitches and durations. I set them up by means of an electronic spreadsheet :) Here's a link to Huygens Fokker Scala: http://www.huygens-fokker.org/scala/ The underlying logic is definitely an "abc" one, rather than WYSIWYG. I'm still working under Windows, but I'm trying to switch to Linux, so I could need to replace Scala (which still doesn't install smoothly on recent distros) by Csound: https://csound.com/ 🙂 (Scala doesn't install smoothly on recent Linux distros).
- Interests in Generative, Electronic, Loop-Based, Computer Music?
-
Cheapest way to make music
Pure Data, cSound, and SuperCollider are all free and opensource. Incredible possibility, though the learning curb can be steep.
-
How did you guys get into synthesizers?
For fun, I took a class in computer music. I still did not know what a synthesizer was. Once class got under way, we started using this archaic horrible piece of software, Csound. Not long into the class, it finally kind of dawned on me that synths exist, what they are and how they work, and I started buying gear. Once I had gear, I really really hated Csound, and I wound up dropping the class (Covid had something to do with that). A lot of things started to make sense (Regular Show, for instance) and I got really interested in sound design.
- dub team but i think it means something else
-
Instrument design tools?
CSound looks interesting: https://csound.com
-
Is there an equivalent to shaders for audio-programming?
csound would be interesting to play with.
Sonic Pi
-
Anyone else using ChatGPT to make music?
I have wondered what grooves it could come with using https://sonic-pi.net/
-
I Need to Grow Away from These Roots
Something fascinating about seeing a 'score' for generative music written out as a sort of specification like that.
There's enough detail there that you can take those instructions and reimplement your own version of it, and you'll end up with essentially the same 'piece of music', but certainly a different interpretation of it. Because while the score lays out some details precisely, it leaves other choices less clear. What does 'all inversions' really mean when enumerating chords? Does it include open, spread voicings? What durations should we choose from for our random waveforms? How short is 'short' when deciding to repeat? And of course, what wave synths should you use, and how should you modulate them?
All those are similar to the decisions a traditional instrumentalist makes when interpreting a sheet music score for performance - here, a generative music coder can follow this 'score' and produce a program that represents their own interpretation of the piece.
Coding it up in Sonic Pi (https://sonic-pi.net/) was a fun exercise, and I feel like I was able to produce something along the lines of what the composer intended. It carries the same kind of mood that the recording in the video has. But it's my own 'performance' of the work, if that makes sense (even if it's actually Sonic Pi 'performing' it at runtime...)
All of which got me thinking about the relationship more generally between specification, and implementation. Considering different programmers' implementations of algorithms as individual 'performances' of scores from the overall design - and then thinking about developers building elements of a larger system architecture as individual performers working to deliver their part of the performance as part of a band or orchestra. Some groups, maybe they're directed by a conductor-architect; others maybe are improvisers, riffing off one another and occasionally stepping up to deliver a solo. And some are maybe solid session performers, showing up and delivering strong but unflashy performances to a producer's specification.
So overall, a nice meditative coding exercise for a Sunday afternoon, and a shift in perspective. Thanks for sharing it.
-
History of the Web - Part 1
On a seriously light-hearted note, Herve Aniglo, talked about teaching children to code with music using Sonic PI, a language agnostic platform that helps you learn recursions, looping, circuit breaking and functional programming by creating simple tunes.
-
Genuary 2024: Generative Art / Creative Coding Month
https://www.youtube.com/playlist?list=PLPYzvS8A_rTYEba_4SDvR...
- Sonic Pi is built on-top of SuperCollider, but it's MUCH easier to get started with making bleeps and bloops. Sam Aaron, who originally created Overtone (a Clojure front-end for SuperCollider) created Sonic Pi initially to teach kids computer programming and music, but now it's turning into a pretty nice live-coding setup. The language is basically a DSL extension of Ruby, and although it's very elegant, I feel like it's a little nerfed in terms of a full language when compared to SCLang, so I'm sticking with the latter for now. High recommend checking it out if you're new to making music or code. https://sonic-pi.net/
- This 'Intro To Live Coding' vid from Alex McLean is great. Gives a good overview of a few fun tools out there that I won't mention here for sake of time (check out Gibber and Hydra for web-based coding things. Gibber is really slick). Alex invented Tidal Cycles, which I feel is like god-tier in terms of power and conciseness. Maybe I'll tinker with Tidal someday, but I want to start with SC.
- Web FM synthesizer made with HTML5
-
Overtone – programmable, live music in Clojure
Strange dice that it seems to mostly be c++, sponsored by 3 prominent elixir shops, with an original OSC server implementation by Joe Armstrong.
https://github.com/sonic-pi-net/sonic-pi/tree/dev/app/server...
-
I really got traumatized
There is a programming language+IDE called SonicPI. It's designed to create music by writing code. You can install the program from the lin, then ask chatGPT to generate some sonic PI code that produces some nice melody. Then just copy the code and paste it into the sonicPI program, and run it by clicking the run button. Here's a conversation for example
- Como encontrar tema de tcc em ciência da computação?
- كورس sound engineer
- Annotated demo of basic capabilities of my rototem audio tool
What are some alternatives?
faust - Functional programming language for signal processing and sound synthesis
supercollider - An audio server, programming language, and IDE for sound synthesis and algorithmic composition.
FoxDot - Python driven environment for Live Coding
alda - A music programming language for musicians. :notes:
soundtouch-android - Android bindings for SoundTouch lib, focused on size optimization and real-time processing.
MuseScore - MuseScore is an open source and free music notation software. For support, contribution, bug reports, visit MuseScore.org. Fork and make pull requests!
overtone - Collaborative Programmable Music
Tidal - Pattern language
Coltrane - 🎹🎸A music theory library with a command-line interface
pure-data - Pure Data - a free real-time computer music system
Black candy - A self hosted music streaming server