erikschoster

Was it this? My coworker sent me this last week, I haven't tried it but it seems related: https://woob.tech

Legos; also the ender 3d printer. I had a nostalgic time putting the ender together. Felt like a lego set. That's not saying it was trivial (it challenged me) but that I trusted it every step of the way not because of previous experience, but because of the obvious well-designed aspects of the experience as I was putting it together. For example: I put on a part sloppily, and trying to attach anther part was the first real resistance I felt in the entire process -- physical that is, I had to study every page of the manual for a minute or two before even being able to figure out what the next step would need to be, but it was always clear after studying.

This happens to me all the time too. Seems to happen even when just muting / unmuting.

I had a very similar experience. IIRC I did 90 minute naps every 4 hours for a week. My first full night of sleep after a week of 90 minute naps felt like waking up after one really extremely long and weird day.

I'm finally reviving a little music label, mostly offline. Just mailed out the first batch of "catalogs" I printed at home (with an axidraw pen plotter, much fun to play with fluorescent inks and etc) to mostly friends and collaborators.

Ah, OK I was on the completely wrong track. Thanks for explaining!

Would you mind elaborating a little or pointing us toward where we can read more about this?

I just (more-or-less blindly, not grokking the actual math behind it) ported the yin algorithm from someone else's implementation this year and tau was defined as a range where tau min is samplerate / freq_max and tau max is samplerate / freq_min where freq_min and freq_max are the bounds of the detection algorithm, at least as I understood it. My port works but I never really understood tau (except as I described) -- if there's a way I can refactor this with a fixed tau that would be very interesting!

This looks really great, I'm looking forward to trying it out with my bandmates! (Who live in another state.)

That's an interesting approach. When I care to save every iteration of something I'm working on, I usually just put this functionality into the render script itself. For example something I was working on last year produced renders that were around 20 or 30 minutes long (I primarily work with audio) and I decided I wanted to save every permutation of the script as I worked on it, so I just added a few lines at the bottom to copy the script next to the render. A few hundred lines of python isn't a big deal to save when I'm already saving hours of audio renders.

I don't usually do this though... after 15+ years of doing generative audio work saving every iteration feels a little like hoarding.

Bhob Rainey's Peev attempts to do something like that: https://github.com/mphonic/peev

Yes it's actually paraphrasing the title of a nice piece she contributed to the second issue of the Spectres journal published by Shelter Press! The full title is "Instrument design is composition, resonance is harmony." It's an inspiring essay -- the Spectres issue on Resonances has a number of other nice essays from composers, sound artists etc loosely grouped around the subject.

It's nice to see this here -- as Ellen Fullman said, instrument building is composition.

Sound examples at the link below, this is a better overview of what segmod is about than the github readme:

> Segmod is a non-standard sound synthesis that embraces the discrete nature of digital sound. All sounds created with Segmod result from the concatenation of simple periodic waveforms, such as sine, triangle, and square waves. The sixteen contributing composers have employed a vast array of different compositional, aesthetic, and technological strategies, ranging from inaudible sounds, to neural networks, chaotic functions, careful micro-montages, and analysis-resynthesis techniques. While the results differ widely in sound, all lead back to the idea that synthesis can be seen as a form of composition.

https://dumpfedition.bandcamp.com/album/segmod

> For music, synthesis and DSP are basically solved problems.

This composer respectfully disagrees. For example, there is a world of synthesis research that Luc Döbereiner has called "non-standard" although I prefer his phrase "compositionally motivated sound synthesis" which is not concerned with the reconstruction of known sounds, but exploring the margins of the possible. I don't see an end for that project in our lifetime.

https://direct.mit.edu/comj/article/35/3/28/94344/Models-of-...

Artists typically don't get paid for their work unless they are working in a commercial field where their work is used to sell something else...

I make computer music!

This is an album I finished (mostly with Max/MSP and Ardour) during the end of the laptronica twee netlabel days: https://hecanjog.bandcamp.com/album/norwood-wisconsin

This is a more recent texture study using my own python-based computer music system: https://hecanjog.bandcamp.com/album/the-perfume-eater-from-s...

I follow a couple friends via the RSS feed created by nitter.net: https://nitter.net

I <3 finch too, though I haven't used it in quite a while. It has a really impressive TUI with windowing etc.

For example: https://inconsolation.files.wordpress.com/2013/01/2013-01-24...

Most instances I've seen are used to host music uploaded by the original authors, or collections of CC-licensed music, etc. I actually have yet to see anyone using funkwhale to share music publicly they didn't create themselves or have permission to share. It does have a private mode for that, so you could upload your music collection and share it with just a few friends or something.

(Edit: I tried funkwhale out as a way to privately share a small online radio station's music library with its DJs. It didn't suit our needs ultimately -- I felt the UI & search / filtering affordances were lacking for our use case -- but you could use it in a hybrid public/private way like that if you want. Libraries have some access control features.)

This looks really useful -- have you considered selling a print version?

Very nice to see this expressed, thank you! This is a trap so many folks fall into when starting out with generative work IMHO. There's this kind of natural instinct to anthropomorphize the data -- where the assumption is that some platonic representation exists that can be expressed with "the right choices" or some neutral choice -- while little attention is paid to the impact of the choices themselves on the representation.

FWIW Andrea Polli nicely shines a light on this during her Sonic Antarctica album (on the track "A Model is a Cartoon") where she superimposes her own sonifications & field recordings with an interview exploring the limitations of modeling data in a scientific context... https://www.gruenrekorder.de/?page_id=342

I’ve had a turntable in my life since I was six playing children’s 7”s on a Fischer price setup. My parents records were my introduction to music, basically. Learning how to operate the big turntable when I was old enough to be allowed to felt like a big deal, and I’d spend hours going through their small collection of 60s pop records, blues and random classical selections. They weren’t especially musical people but that experience made a big impact on me, and helped me get to know my parents better as well. Anyway, it happens.

Thanks for checking it out! Trevor Wishart & CDP have been inspirations, I've incorporated some of his ideas surrounding waveset synthesis & transformations into pippi.

Primarily, pippi is the environment I use to compose my own music, and its features and approaches are driven mostly by my own compositional needs & wants. I work often from a "microsound" approach so pippi does have more of a focus on manipulating concrete sound than maybe other systems do.

Do the oscs sound good? I think they sound fine, but I haven't worked with any of the products you mentioned. Commercial synths & DSP I think tends to be focused on providing instruments via opinionated complexes of osc, filters, presets etc as you mentioned. General purpose systems like ChucK etc tend more toward facilitating the user in building their own opinionated instruments, so the path from oscs, filters to a sound you like might take more doing, and some more background in synthesis to arrive at.

That's not to say some opinionated complexes haven't made their way into pippi... but my goal is to allow myself to build instruments in a flexible way just as much as being able to have an expressive way to orchestrate their movements. I sometimes keep a small personal library of instruments I return to with pippi, but it never tends to last very long. I have a hard time fully disentangling the instrument building side of things from the compositional side of things in my own work.

That said, I want pippi to be fun, and useful for others, so including some more preset-like instruments along with the lower level building blocks is definitely in scope for the project!

Edit: FWIW the osc I use personally most often is `Pulsar2d` which is an opinionated implementation of Curtis Roads' pulsar synthesis, where both the wavetable and window stacks can be morphed over time. I often feed this with a stack derived via `wavesets.Waveset()` -- which will split a sound at zero crossings into wavesets, optionally at some interval, offset or some limit, so you can for example tap single cycles of some transforming sound over time, and reconstruct the movement of the spectrum of it in some way by morphing the stack as you like with the `Pulsar2d`...

The next set of tutorials is overdue and will cover synthesis (microsound and otherwise) in more detail!

The closest thing I have right now are the first two tutorials in the docs: https://pippi.world/docs/tutorials/

These are meant to build toward a final example mixing aspects of all the tutorials into a more realistic project.

Having used pippi for my own music for about 9 years now I try to only move structures and patterns into pippi itself when I find myself writing the same things over and over in scores. In general each score tends to be structured very differently, depending on what it does. Hopefully I can communicate that in the tutorials by showing a variety of approaches, but it’s a work in progress!

Thanks! I’ve been performing with what I like to call a “just-in-real-time” approach with pippi now called Astrid, which allows for live coding (instrument modules reload when the file is saved) MIDI input, etc. It is in a works-for-me state though, and probably won’t be documented and packaged for others until after pippi itself is out of beta... if you are curious though it is here: https://github.com/luvsound/astrid

Edit: but to clarify yes pippi is meant primarily to facilitate writing generative musical scores in python. (Scores which produce sounds, not notation.) I have used it to perform from early on in its development, and IMHO it works fine for this, but the main use case is to render offline audio.

That made my day, I had no idea. :-)

(It is named after Pippi Longstocking FWIW.)

Pyo might fit the bill for you! http://ajaxsoundstudio.com/software/pyo/

It's nice to see this sort of thing here. FWIW in computer music parlance this is usually called an envelope follower.

Here's an example of a realtime implementation: https://ccrma.stanford.edu/CCRMA/Courses/220b:1998/220b-98-0...

Looks like it starts a thread that repeatedly hashes the content of the target script to poll for changes. Watchdog uses OS features like inotify and FSEvents and only uses polling and comparing hashes as a fallback.

You can add a breakpoint for larger screens and override properties using vw units with rem units that work for large screens. That’s basically how I structure most stylesheets anyway, vw units work great as a base for small screens.