scheme-for-max VS glicol

Mine is Scheme for Max, now on it's fourth open source release, but really written so I could make computer music how I want to. It's an extension to the popular Max/MSP visual music programming environment that embeds an s7 Scheme interpreter and provides a substantial API/FFI to Max. It allows you to script Max (and thus also Ableton Live) with Scheme, enabling interactive coding, algorithmic music, live coding, macros, and just much more pleasant scripting than in JavaScript. It locks in with the scheduler so you can even use Scheme powered sequencers within Ableton Live alongside regular Live tracks, and you can build sophisticated Live control surfaces using the Live API.

Github page here: https://github.com/iainctduncan/scheme-for-max

The project page is here, with links to lots of documentation I've done: https://github.com/iainctduncan/scheme-for-max

To download Scheme for Max and for tutorials, documentation, and the cookbook, visit the GitHub page: https://github.com/iainctduncan/scheme-for-max

If you like things like Janet, you might also like s7 Scheme. It is also a minimal Scheme built entirely in C and dead easy to embed. I used it to make Scheme for Max and Scheme for Pd, extensions to the Max and Pd computer music platform to allow scripting them in Scheme. (https://github.com/iainctduncan/scheme-for-max) Janet was one of the options I looked pretty closely at before choosing s7.

The author (Bill Schottstaedt, Stanford CCRMA) is not too interested in making pretty web pages, ha, but the language is great!

Project page: https://github.com/iainctduncan/scheme-for-max

I created Scheme for Max and Scheme for Pure Data. They are extensions to the Max/MSP, Ableton Live, and Pure Data computer music environments that embed an s7 Scheme interpreter in the host so that you can script, automate, and live code the hosts with s7, a Scheme from the CCRMA computer music center at Stanford and the same one used in the Snd editor and the Common Music 3 algorithmic composition environment. This allows you to do things like write algorithmic music tools, sequencers, and use the Ableton Live API in Scheme, including with Common Lisp style macros. It has an API for integrating with Max to share data structures, hook into the scheduler, run in the high priority thread, and so on. S4M allows you to do all the goodness of high level music programming in a Lisp, without losing the ability to use modern commercial tooling and instruments. It's my thesis project for a Masters in Music Technology with Andy Schloss and George Tzanetakis at the University of Victoria, and I plan to continue to a PhD working on it. I tried submitting twice, but it never made the page, which surprised me a bit given Lisp interest here.

The github page is here: https://github.com/iainctduncan/scheme-for-max

The youtube channel with various demos is here: https://www.youtube.com/c/musicwithlisp

I've worked on Ambient Engine and now on the Bevy engine. I totally agree with these points, very valuable. I only make some comments from my professional (audio) perspective:

We need the highlight author's affirmation of cli. Rust's tui (ratatui) is great. I used it to make Glicol-cli [1]. If you are a Linux user, you are welcome to test the music production of the code.

Speaking of game audio, I actually think rust is perfect for audio. I have also continued to develop Glicol recently, and my recent goal (starting tomorrow) is the bevy_glicol plug-in. I want to solve bevy's audio problem on the browser.

All in all, even though I've had my share of pain with ecs, I still think rust is very valuable for game and app development, maybe not multiplayer AAA, maybe practical apps.

[1] https://github.com/glicol/glicol-cli

[2] https://github.com/chaosprint/glicol

Nice! Great project website styling and demo.

I had a WebGPU scope demo using vanila JS here, but it's not connected to AudioContext at all.

https://stackblitz.com/edit/vitejs-vite-cuc9vs

Still, I had to use the old WebGL solution for https://glicol.org since the WebGPU support seems to be pretty slow at the moment.

Suno is great and I already shared its potential back in v2. I have always believed that the essence of digital music is "organized numbers". I think what needs to be thought about is how to use AI in this process. If you look at the results (numbers) generated, then we are indeed very close. But there is another future I believe: I hope AI can compose music with me, like copilot. This is why I keep working on

https://glicol.org/

and the destination is:

https://github.com/chaosprint/RaveForce

Also want to hear your feedback.

Interesting!

Similar note-based expression can be found on TidalCycles/Strudel. although it's not valid MIDI format anymore, you can use notation like c4, f3, and make them as "pattern". Samples are also supported in the same manner:

https://strudel.cc/

And in my project Glicol, I use only numbers in the seq node. So 60 means middle C. Underscore means rest.

https://glicol.org/

I also applied with Glicol (https://glicol.org/) and got rejected, which is totally understandable. I am basically working this project on my own with almost zero extra funding.

I am currently working on a new website. The old stack is Vite, Svelte and Windi CSS (discontinued unfortunately). So this time maybe Astro + Solid + Tailwind.

And I am also trying to rewrite the whole Rust backend if possible, so there is quite some work to be done.

Let me know on GH or Discord if you are interested.

It's a good chance to try Rust, WASM, DSP, etc.

This is a really informative and inspiring article.

It hasn’t been 6 months (not 6 years) since I quit my full-time job as a Rust developer to start my own business.

As time goes by, I can feel the pressure of mortgage and car loans, and I can also feel the care and pressure of my family.

My original plan was to make an interface for Glicol (https://glicol.org), and to develop relevant hardware with firmware written in rust for school education.

I sent some cold emails to VCs, but most of them got no reply.

I also sent an email to the Norwegian Museum of Science and Technology, offering to perform for children for free, but they didn’t reply for two months. I shamelessly sent it again, and someone finally replied with a rejection.

Only one VC talked to me and thought that I should convince and validate a partner first, and he suggested that I go to an incubator.

Very good advice.

Later I learned that even Norwegian education startups skipped Norway and focused directly on the US market.

People from the incubator also told me that it is impossible for Norwegian schools to accept new things independently.

This is very enlightening to me because most of Glicol's visitors are indeed from the US. And it took me so long to discover this fact.

But if I don’t start, I’ll never get past those six months.

I picked up LOGO when I was 6 and leant Pascal and C later.

I didn't program for a few years because I wasn't interested in competitions. So I think interest is the most important, otherwise it will be easy to get lost and give up.

Later, I became very interested in programming, mainly because I came into contact with music technology.

I think since your child is interested in game development, it is a good choice to start step by step. For example, starting with threejs. I also recommend learning Rust and Bevy so you learn the underlying layers and ECS.

Last but not least, although it's not related to games dev but I sincerely invite you and your son to try Glicol (https://glicol.org), the project that I am developing.

I quite my job as well to work on

https://glicol.org

I have a lot of feelings, but I don't have a blog so far. But one of my feelings is that universities should alloc some of their funding to many of these open source projects and open source community should be better managed rather than donation. My plan is to start my own company and work on hardware .