Digital Music Instruments (DMIs) with Character. A Series with code examples in SuperCollider.
-- work in progress --
Everyone wants to play musical instruments that have character. There's tons of toys out there that ain't got any, and everyone is after those that do. But what is it that gives them character, and how can we achieve it in our own designs?
The repo is structured in conceptual parts with reading material, and SC code.
Read:
- Heinz von Förster: Understanding Understanding.
short read:
http://www.cybsoc.org/heinz.htm - Louis and Bebe Barron: Soundtrack to "Forbidden Planet"
https://en.wikipedia.org/wiki/Bebe_and_Louis_Barron#Forbidden_Planet
https://www.youtube.com/watch? - Peter Blasser: Philosophical Paperz
https://ciat-lonbarde.net/fyrall/index.html
Realizations:
- simple examples in https://github.com/marcokuhn/DMI/blob/main/code/scd/8-trivial-nontrivial.scd
- feedback .ar
- feedback .kr
- logic from signals
- LFSR
- Rob Hordijk's Rungler
- Peter Blasser's Fyrall
- feedback via counters / frequency dividers etc.
- scsynth thread and lines forum thread on cybernetic music: do cybernetic music systems need to be goal-oriented?
- thermic drift
- aliasing. e.g. opal-rhythm-computor emulation on Bela
- distorsion
- irregular sample rate
- low battery audio effects / power draining in Circuit Bending
- linear drift aka aging - reboot to get back. Barron's Synths.
- mutation
- start conditions mutate: Rand()
- changing mapping - meta mapping
- SuperCollider Influx library
- Chikashi Myiama, Peacock 2009
The mapping between outputs from the sensors and the parameters of the synthesizer gradually varies as the piece unfolds. Thus, an identical movement of hands produces completely different musical results in different sections of the piece.
- stochastics