Chuck, un lenguaje para la programación de audio Los amantes de la síntesis de audio están de enhorabuena, ha llegado Chuck, para aquellos que tienen como hobby y/o trabajo la programación aunada con la música. Chuck, desarrollado en la Universidad de Princeton, nos permitirá a través de líneas de código, realizar composiciones, sintetizar sonidos, análisis de audio, procesamiento espectral,… en definitiva realizar diabluras con el sonido, en tiempo real, y a través de un lenguaje de programación. Este lenguaje es tan sencillo, que un minuto después de habértelo descargado, ya puedes estar generando sonido a través de los altavoces de tu ordenador. Como muestra un botón, el siguiente código: Debemos guardar el fichero con el nombre Ejemplo-chuck-1.ck, aunque cada uno puede ponerle el nombre que más le plazca, y acto seguido, desde la línea de comandos, introducir y ejecutar la siguiente linea: chuck Ejemplo-chuck-1.ck chuck Ejemplo-chuck-1.ck Ejemplo-chuck-2.ck Con lo cual se oirían todos los ficheros a la vez.
Beat Zampler MAALO Code Poetry Slam Vienna 2016 Programmierer und Poetinnen! Programmiererinnen und Poeten! Wir präsentieren euch: den Vienna Code Poetry Slam 2016 am 25. Mai 2016 um 19:30 Uhr im Festsaal der TU Wien. Für Interessierte wird nach Möglichkeit ein Workshop organisiert, um gemeinsam das Medium Code Poetry zu erkunden. Die Veranstaltung ist eine Kooperation der Fachschaft Informatik an der TU Wien mit dem Verein Literaturkreis Podium. Gesponsert von: Code Poetry ist in erster Linie, was ihr daraus macht: Von Gedichten, die in Pseudoprogrammiersprachen verfasst sind, bis zu Oden in C++, von Spoken Word Texten in Maschinensprache bis hin zu ausführbaren Shell Scripts, die euren Laptop in W.B. Wir würden uns über ästhetische ansprechende Texte freuen, die im besten Fall sogar noch ausführbar sind ― Zeilen, die für Menschen und Computern gleichermaßen lesbar sind. Hier zwei Beispiele für Code Poetry aus dem Finale des Stanford Code Poetry Slams: A While is not a But von Sophia Westwood I believe in the midnight snack. Tree
12 Reaper tips and tricks you need to know | Reaper | Tech Tuition MusicRadar users dig Reaper - in fact, you recently voted it your favourite DAW. This cross-platform application has a tiny installer (just 8MB, in fact), yet boasts powerful features that put it on a par with many of its more expensive rivals. What's more, those who've been frustrated by other DAWs frequently report that it's easier to use. If you're just getting acquainted with the software - or you're considering trying it for the first time - here are 12 things to bear in mind… 1. If you're stuck with a dodgy vocal take, don't panic - you might be able to get away without re-recording it. 2. When using lots of plug-in instruments and effects, you may find yourself running out of CPU power. 3. One cool way to streamline your workflow is to save commonly-used combinations of instruments or effects as FX chains. 4. Stuck for inspiration? 5. These days, many DAWs eschew multiple floating windows and instead opt for a single-window approach. 6. Need to beef up a track in a hurry? 7. 8.
Jazz und Blues - Live Konzert in Wien, Lokale und Clubs Perl Poetry (Programming Perl) The forgery in the attendant sidebar appeared on Usenet on April Fool's Day, 1990. It is presented here without comment, merely to show how disgusting the metaphors of a typical programming language really are. So much for anything resembling literary value. Larry's, er, corpus has fortunately been overshadowed by that of the reigning Perl Poet, Sharon Hopkins. #! Copyright © 2001 O'Reilly & Associates. Reworking of old classical rock with postmodern Dubstep | CCTP725: Cultural Hybridity: Remix and Dialogic Culture Aena Cho Zeds Dead is a Canadian electronic music duo from Toronto, Ontario composed of two members: Dylan Mamid, or DC, and Zach Rapp-Rovan, or Hooks (Wikipedia). They explore a diverse variety of genres that amalgamate aspects of electro house, hip-hop, glitch, and drum and bass into their largely dubstep platform. In “Gimmie Shelter”, they take The Rolling Stone’s music and deconstruct and fragment it, almost beyond recognition. This mix of the two completely different genres of music, the classical rock and roll of the 60s and the complete anarchy of dubstep, is definitely unique, and a very post-modernistic way of reworking the past from a historical perspective. Zeds Dead’s “White Satin” which is based on Moody Blues’s “Night in white satin” is another good example of such musical dialogic process. Dubstep, which Zeds Dead music is based on, is a new, hybrid music genre of the postmodernism era which came out of the modern electronic dance music in the late 90s. Zeds Dead.
Source Code Poetry 2015 Getting There: Which DAW Should I Use? When it comes to music software, there are a ton of different options out there. While it seems like there's a mountain of software to learn, most applications actually follow the same type methodology. Most DAW's operate basically the same with variations in functions and features. Then there are other types of software that don't fit our definition of a DAW but 'specialize' in specific approaches and functions. We've talked about the basics before here. Today we're going to discuss the similarities, differences, strengths and weaknesses of the various applications. Most of the time we refer to music applications as DAW's but this can misleading, and in some cases just wrong. What's A DAW? The official title is 'Digital Audio Workstation'. Workflow It's really just a question of work-flow. Which One For Me? So which do I want to use? The Standards The standards are of the 'regular' DAW's that we all familiar with. The Rebels Notation Programs Another type of DAW is the notation programs.
Code Poetry Slam Code Poetry means different things depending on who you ask. For a start, it can mean poems, written in a programming language, that are meant to be read purely as words on a page (see Code{Poems}); code that aims for elegant expression within severe constraints, like a haiku or a sonnet (see 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 or ChucKus), or code that generates automatic poetry (see OuLiPo for poetic background, or google for online examples- there are hundreds). Some definitions are directly at odds with each other. Obfuscated code (see the chapter on Obfuscated Code in Software Studies: a lexicon) brings attention to language by being creatively obtuse, whereas articles by Ward, Hoffmann, and Stewart talk about how code is poetic because it's so elegant and compact. With this series, we're particularly interested in code that is beautiful to read and simultaneously executable, in line with Ian Bogost's idea in Alien Phenomenology that creative projects should *do* something. #!
For composing movie/Tv scores? :: MakeMusic Forum First off, do not feel that buying from a single sample maker necessarily is the best strategy. Mixing and matching different libraries can often yield better results, though it is a bit trickier to mix different libraries from different manufacturers and have them blend together nicely, because they were recorded in different rooms, etc. I will first of all look at the full orchestral libraries from major manufacturers: - GPO: usually the first library that people work with because it is bundled with notation software and is very inexpensive. Nobody uses this for film scoring, except for doing drafts which will be replaced by better samples later. If you are mixing and matching.. we can look at options for individual sections (there are other options I haven't listed, but those are not as powerful or useful, or modern as these.. the ones I list are the ones most composers today are using): Strings: Brass: Woodwinds: - VSL Woodwinds - still the best. Orchestral Percussion: Pianos: