continuing live blogging the SC symposium
\nHe’s written Anti-aliasing Oscillators: BlitB3Saw – BLIT derived sawtooth. Twice as efficient as the current band-limited sawtooth. There’s a bunch of Ugens in the pack. The delay lines are good, apparently<\/p>\n
Auditory Modelling plugin pack – Meddis models choclear implants.(!)
\nTry out something called Impromptu, which is a good programming environment for audio-visual programming. You can re-write ugens on the fly.(!) <\/p>\n
(If Nick Collins ever decided to be an evil genius, the world would be in trouble)<\/p>\n
\n{ SinOsc.ar* ClangUgen.ar(SoundIn.ar)}.play\n<\/pre>\nThe Clang Ugen is undefined. He’s got a thing that opens a C editor window. He can write the Ugen and then run it. Maybe, I think. His demo has just crashed.
\nOk, so you can edit a C file and load it into SC without recompiling, etc. Useful for livecoding gigs, if you’re scarily smart, or for debugging sorts of things.<\/p>\n
Auto acousmatic<\/h3>\n
Automatic generation of electroacoustic works. Integrate machine listening into composition process. Algorithmic processes are used by electroacoustic composers, so take that as far as possible. Also involves studying the design cycle of pieces.
\nthe setup requires knowing the output number of channels the duration and some input samples.
\nIn bottom up construction, sources files are analysed to find interesting bits, those parts are processed and the used again as input. The output files are scattered across the work. Uses onset detection, finding dominant frequency, excluding silence, other machine listening ugens.
\nGenerative effect processing like granulations.
\ntop down construction imposes musical form. Cross-synthesis options for this.this needs to run in non-real time, since this will take a lot of processing. There’s a lot of server-> language communication, done w\/ Logger currently.
\nHow to evaluate the output: Tell people that it’s not machine composed and play it for people, and then ask how they like it. It’s been entering electroacoustic compositions. Need to know the normal probability of rejection. He normally gets rejected 36% of the time (he’s doing better than me).
\nHe’s sending things he hasn’t listened to, to avoid cherry picking.
\nExample work: fibbermegibbet20
\nA self-analysing critic is a hard problem for machine listening
\nthis is only a prototype. The real evil plan to put us all out of business is coming soon.
\nThe example work is 55 seconds long ABA form. The program has rules for section overlap to create a sense of drama. It has a database of gestures. The rules are contained in a bunch of SC classes, based on his personal preferences. Will there be presets, i.e., sound like Birmingham? Maybe.
\nScott Wilson is hoping this forces people to stop writing electroacoustic works. Phrased as “forces people to think about other things.” He sees it as intelligent batch processing.
\nThe version he rendered during the talk is 60 seconds long, completely different than the other one and certainly adequate as an acousmatic work.
\nWill this be the end of acousmatic composing? We can only hope.<\/p>\n","protected":false},"excerpt":{"rendered":"
continuing live blogging the SC symposium He’s written Anti-aliasing Oscillators: BlitB3Saw – BLIT derived sawtooth. Twice as efficient as the current band-limited sawtooth. There’s a bunch of Ugens in the pack. The delay lines are good, apparently Auditory Modelling plugin pack – Meddis models choclear implants.(!) Try out something called Impromptu, which is a good … Continue reading Nick Collins: Acousmatic<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"activitypub_content_warning":"","activitypub_content_visibility":"","activitypub_max_image_attachments":4,"activitypub_interaction_policy_quote":"anyone","activitypub_status":"","footnotes":""},"categories":[1],"tags":[76,54,64,90],"class_list":["post-259","post","type-post","status-publish","format-standard","hentry","category-uncategorised","tag-celesteh","tag-live-blog","tag-supercollider","tag-symposium"],"_links":{"self":[{"href":"https:\/\/www.celesteh.com\/blog\/wp-json\/wp\/v2\/posts\/259","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.celesteh.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.celesteh.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.celesteh.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.celesteh.com\/blog\/wp-json\/wp\/v2\/comments?post=259"}],"version-history":[{"count":1,"href":"https:\/\/www.celesteh.com\/blog\/wp-json\/wp\/v2\/posts\/259\/revisions"}],"predecessor-version":[{"id":2459,"href":"https:\/\/www.celesteh.com\/blog\/wp-json\/wp\/v2\/posts\/259\/revisions\/2459"}],"wp:attachment":[{"href":"https:\/\/www.celesteh.com\/blog\/wp-json\/wp\/v2\/media?parent=259"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.celesteh.com\/blog\/wp-json\/wp\/v2\/categories?post=259"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.celesteh.com\/blog\/wp-json\/wp\/v2\/tags?post=259"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}