.. very definitely worth the effort to get it downloaded for offline reading, also.
It turns out that the free tier only gets you notifications when new content is published; to read that content, you have to pay.
I wouldn't mind paying, but dislike the bait and switch approach.
He chooses to utilize Patreon for his business, so it really is, at least partially.
I’ve been making electronic music since the 80’s and still find the regular updates from loopop titillating and inspiring.
"[...] a fascinating glimpse into the creative mind behind the Oramics machine. In this engaging account of the possibilities of electronic sound, Oram touches on acoustics, mathematics, cybernetics and esoteric thought, but always returns to the human, urging us to 'see whether we can break open watertight compartments and glance anew' at the world around us."
http://www.anomie-publishing.com/coming-soon-daphne-oram-an-...
But it won’t save you time.
Or money.
- Bytebeat: https://dollchan.net/bytebeat/ (https://greggman.com/downloads/examples/html5bytebeat/html5b... !Warning loud!)
- Cardinal: https://cardinal.kx.studio/live
- Glicol: https://glicol.org
- Kabelsalat: https://kabel.salat.dev
- NoiseCraft: https://noisecraft.app
- Strudel: https://strudel.cc (https://github.com/terryds/awesome-strudel)
- Tidal Cycles: https://tidalcycles.org
I'm sympathetic to some of what you're plugging. Really. I love VCVRack. But have mercy!
I love Ableton though. You can google any random thing about it and get an answer somewhere because it's so widely used. Dunno what OP has against it. It's not hard to come by Ableton Live Lite license for free. I think just buying their iphone app gives you access to Lite license.
I've gone through the tutorial and it was honestly the most fun I've had on the web in a while.
There's nothing wrong with playing around with Reaper, Garageband, BandLab, or any of the more entry level "instruments" in this analogy. Preferable even, if you don't want to blow hundreds of bucks on a program.
I have an old Gibson Marauder that rapidly gets out of tune. So far no shop has been able to do anything about that. It would probably go for $400 or more retail, to a beginner who doesn't notice (or thinks the problem is his/her fault). But it's no fun to play. Chords sound bad. And that kind of thing is not unusual.
If you really want to play you will play regardless of the instrument you have. Like many, I started with cheap instruments, so I figured out how to fix them or at least make them better. I was 12 and wanted to play guitar, my parents were not willing to spend money on it and just found some handme downs from the relatives, and I made it work because I wanted to play guitar. Ended up teaching myself lutherie, made some money, made some instruments. These days it is easier than ever to maintain your own instrument with the internet to answer all your questions, I had to learn to repair and maintain my guitar by working backwards from books on construction since that is all my library had.
>So far no shop has been able to do anything about that.
It is an issue with the bridge, the nut, and or the tuners, on a guitar of that age it is a fair chance it is a combination of all three. I am guessing you are bringing the instrument to normal guitar shops that primarily do sales and lack anyone even remotely competent when it comes to repair.
[0]https://www.guitarcenter.com/Gretsch-Guitars/G5210-P90-Elect...
If you don't want to use a computer, you could write and perform exclusively using hardware. Like a modular synthesizer, or a standalone synth, or an Elektron box (Digitakt, Digitone, etc).
If you want to make "experimental" music then ... you'll have to experiment. Most of the recommendations in these comments are aimed at experimental music.
Most things labeled "computer music" belong to a very specific retro experimental music aesthetic, literally dating back to the era when you could barely make music on a computer at all. Much of this music was heavily influenced by academic workers. That may be exactly what you're looking for! On the other hand if you're not quite sure what I'm talking about, then be aware that "computer music" is not the only, or even the sanest, way to make music on your computer.
https://mitpress.mit.edu/9780262044912/the-computer-music-tu...
I suggest having some kind of sequencer and synthesizers (one subtractive, one FM) available to play with while reading. Free VSTs in the free Reaper DAW are a fine starting point.
Also, if you want to play with synthesis, then VCV Rack, which is truly free (but also comes in a for-cost version with a few more features) is likely the right place to start, or its even free-er cousin/fork Cardinal (which can even be run in your browser)
[0] https://mitpress.mit.edu/9780262044912/the-computer-music-tu...
It's worth mentioning that "computer music" in the original sense was more about generative compositions and experiments with synthesis and DSP, all controlled and generated by hand-written software.
DAWs are much more emulations of a traditional recording studio that happen to run on a computer. So although a computer is involved, they're not "computer music" in the traditional sense.
The difference is that you can do far more with languages like Supercollider. Max, PD, and Csound, especially when controlled with custom code.
But they're much harder to work with. Unlike DAWs and VSTs, they're not optimised for commercial production values. This makes them more experimental and more of a niche interest.
There isn't a lot of notable pure computer music around outside of academia. The biggest success was probably the THX Deep Note. BT made some albums with (mostly) Csound. Autechre used Max quite heavily. Holly Herndon is another name.
So commercially, DAWs are everywhere, but there's no huge commercial computer music fan scene in its own right.
https://archive.org/details/electronotes-meh-ebgpcc-torrent
https://www.timstinchcombe.co.uk/synth/Electronotes_EN_index...
The full set is very rare--but what a treasure trove of high quality material.
I would say this text fails this test, which gives me pause. The description is: "The two conductors carry the same signal, but with reverse polarity (meaning that one conductor carries a signal that is the mirror image of the other). If external noise and interference enters the cable, it will probably affect both conductors equally."
Instead it goes down the midi path, which of course ultimately is the dominant commercial technology today. But I've always thought that the complexity and expense of a good midi setup is more of a prosumer-type thing.
Tracking gets you quick entry from chiptunes through extraordinarily expressive sampling to VSTs and even into midi at the edges, and there's trackers for pretty much every kind of computer that can make music.
You can very cheap/free/easily explore the main musical concepts presented here from synthesis to digital audio.
Bonus, most classical tracker files are a kind of "open source" music in that you can see all the note data, the techniques the composers used, and have access to all of their instruments. You get to "see" both composition and performance details down to the note.
I really wish that the academic computer arts educators would catch on to these core pieces of the demoscene -- which is now UNESCO recognized by now six countries as intangible cultural heritage for all of humanity -- and were developed to both challenge and wow the audience and make production by literally penniless children possible.
latexr•19h ago
dakiol•19h ago