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 Now online (2)dariusgriffin ijonspeches ...and 153 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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who likes 2? |
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1 like 2 macking trax on my tosh |
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i attempted to mack trax with sox -n organ.wav and then some math bodge putty but then it's just abstract static gunk. next attempted to mack trax with just sox -n -r 44100 synth 1.0 sine 1000.0 and i get a garbled wreck that is definitely not a sine wave i gave up on attempting to get proper sounds out of my sox (obviously on wrong) and just macked trax with what i had in hed. they sound fine if i play them in audacity, but, no milkytracker turns them into a garbled mess. ok, cool, let's add vibrato and so we have which is made up entirely out of wav files that milkytracker is reading wrong. it is terrible and i would not recommend it. it has no sk-1 |
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I'm pretty sure the only worthwhile activity is numbing the pain of this loveless twisted realilty. This reality has already died, it's already a corpse. We can only seek out entertaining false lesser realities, movies, videogames, music, until we become corpses too. |
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is the one #fact of life |
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Is milky tracker good? I only ever use sun on because it's the only one I can seem to get my head around and you can get it on everything. |
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Sunvox |
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i sat there and used ffmpeg to convert my failed organ noise into lots of formats like pcm_s24le and mulaw-jawndice and you can tell they're the same failed organ noise but there's different levels and stylez of grong and i used this to construct an ode to who died exploring the ocean and a screentwat |
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milkytracker is terrible |
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have some with milkytracker |
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im just a fuckin and i don't know what im doing |
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Am enjoying these. My tracker stuff always turns out far more bland. |
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i did a few that sound exactly like sk-1 tracks (but with absolutely. no. sk-1. none. nope. nada) and then i said to myself: alright, enough shit, it's time to make the jungle music equivalent of a phone doodle. the obvious step from here is forge a second jungle doodle |
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don't go makin' any shout out to suspected / foul play |
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Me |
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do u liek 2 make trax |
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i like to make trax. |
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, why do you make me flap flap FLAP? |
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I like making tracks yes |
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i am feeling rather 180bpm today. how is your tempo? |
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im not obsessed with it. |
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My tempo I good, thank you. |
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. electrocricket had me slightly north of 180. eh wot john c. you got that cricket ringtone innit? my roommate's phone had that noise set as an alarm and i spent like 45 minutes trying to get it into my track. i was literally screaming and cursing after trying to direct record repeatedly failed. so i filmed his phone with my phone, then unpacked my laptop, transferred the video of his phone from my phone to my laptop with bluetooth. then i rsynced the mp4 to my desktop and used ffmpeg -vn to extract the audio from the video of his phone and then it was in my track. i went through almost as much agony getting the sample at the end of "furtive moves." i was on the porch and i started being twitchy just to irritate my buddy. "what're you doin?" "i'm making furtive moves" then i remembered the scene from the wire where mcnulty tells brodie: don't go makin any furtive moves. but i don't know which episode it is... i bash around on web search until i find it's episode 4x11. i load that up in VLC and find the relevant scene after, like, five or ten minutes (blah). then use ffmpeg to slice out the relevant section of audio. it goes in my track, i click upload, export to the internet, hooray |
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my roommate's phone had that noise set as an alarm and i spent like 45 minutes trying to get it into my crack. i was literally screaming and cursing after trying to filmed his my laptop then i desktop and used ffmpeg -vn to extract the audio from the video of his |
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did you do that yourself or is it a perl script or something |
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i was screaming because i couldn't manage to record a bargain cell phone alarm ringtone into mspaint jungle, byzantine maze of tech crap. that rant was a reflection on how absurdly driven i am to get these things right. i would describe making shitty jungle tracks as an all-consuming activity. it consumes me completely, to the point where time is no object and no signal chain is too much work if the thing i want is on the other end. otherwise, why bother? this is embarassing in and of itself so i'm puzzled why you're employing a much more mundane angle of attack |
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I did it myself, is perl a real language or is it a deliberately dumbed down and broken language like python, used as a walled garded to keep potential NWO competitors from doing too much harm to their monopoly? I remember back before the crack laced awakening when people were like "google uses python, ergo it's good". So you learn it, not knowing they herded you there to trap you in a local optima. I mean python is not going to be making Ino by Quite. A small 2d kaleidoscope has major lag. Speaking of google, AI's focus has become "deep learning" algorithms, which means just throw a crap ton of data at the current manifestion of Watson, the robot that won jeopardy publicly. So of course if you make a comment on a youtube video, you need a gmail account, and every single comment goes and feeds these deep learning algorithms. Just like you involuntarily pay taxes that are used to destroy you, you fuel the deep learning of the AI that will destroy you. |
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using perl to automate puerile xltronic posts is actually about the same thing as using a 9th generation photocopy of an amiga 500 program to make jungle tracks |
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perl is what we had before sheriff python cleaned up this fair quadranticle, and professor ruby taught us how to good by regular expression by clenching syntax objectively. there is an inherent zippy the pinhead feel to the perl language, but beyond that, it's best left in the past |
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Here's a trax that I macked with automation (and selected 8 favorites), just more of the time signature beats but kinda fixed a small bug and made small tweaks, might only sound "good" with headphones, since small clicky stuff gets drowned out in the air or something unless the volume's high. |
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you generating midi in python or what? sounds like tri repeatae without the percussion. you need a robotic sean booth to play drums on your jawns |
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Assuming I uploaded the right file, you heard fast clicky percussion stuff right? "sounds like tri repaetae without the percussion" but all it is is percussion. But the idea for these is a beat of a triple nested time signature. In other words "n time units, each divided into m parts, each divided into o parts". It chooses random(2-15) for each. So maybe 7/14/3 etc. a beat of a randomly chosen sound is made for each scale (the left 7 would be fastest, the 14 only potentially hits every 7 units, the 3 only potentially hits every 7*14 units. The hit percent was 25% usually, just random on/off at 25% on. Sounds are randomly chosen from a folder of pirate bayed wav drum sounds. sounds are resized to fit a 'time unit' of each scale. |
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i was half kidding about that, really -- it's all the little noises tri repeatae has but without the sense of macroscopic structure. a click or a blatt on that album will simultaneously be a drum kick and part of the bass and part of the melody, sort of like a three-way sonic pun. so when i say you need a robotic sean booth drumming, what i mean is you need some way for your spot-on blasts of clicks to cluster and lump around macroscopic structures so it sounds like a track with some sense of development. mostly, i'm just sitting there and saying: oh, was that a glitchy snare? lovely. it's like sitting in my car in the burger king parking lot watching all the drum hits go by and buy sandwiches. you have to call them sandwiches and say "just the sandwich" otherwise they give you the burger meal and you don't want the burger meal ok? this is a linguistic conspiracy to hold up my production of shitty jungle tracks |
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the hit percent sounds like the juicy spot. you have layers of time scales, if i understand correctly. perhaps, if that 25% chance of a hit, does generate a hit, then that jukes the stats so the next layer has a 50% chance of generating a hit as well. should it do so, the third layer also has a 50% chance... so events make more events more likely but no so much it goes open-loop and everything is just triggering 100% of the time that's starting to get towards feeding a mixer channel back into itself. |
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kick triggers snare. snare triggers bass. bass triggers melody. melody triggers stabs. stabs trigger house vocals. house vocals trigger air raid siren. air raid siren triggers a fuckin riot innit |
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A single snare (as opposed to beat) triggers a single bass, etc? Later in time? Would sound like a multicolored echo. Hmm, well, that time sig thing was one of the first sound programs I thought of and was capable of. I can currently only do what my shitty square wheel reinventions, coded with heavy use of dyslexia and expletives, and self absorbed humiliated embarrassment and inability. actually reading ur 2nd post makes sense. Seems like it would just sort of shift the hit density toward the next larger time units, but keeping it all snapped to the tiniest time sig. Kinda like sprinkle random black dots on a white screen, but instead slide density of 100% on left slid to 0% on right, randomly. I think autechre include time manipulation in their algorithms. So maybe 4 time units are repeating, but one of those time units slightly expands each rep until it reveals an inner blooming substructure of 3 time units. A ton of what they do is other dimensiony, and dimension is a good word for them. I don't think the word is super complicated, like it's easy to imagine a 5 dimensional. x/y/z coordinate. Ok, add color, that alone is 3 more dimensions red/green/blue. Add, size, another dimension. etc. basically an OOP programming object has variables, each variable can vary and is a dimension. I guess. |
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here's a quote from an with greg deocampo of : GD: I aspire to a certain kind of tool and art making…like working on AfterEffects and then using it to make EBN video..it sets up a kind of feedback loop inside which things can get rich and complicated… before this i had RDJ's quote that it was "satisfying" to write music on gear you'd built but this quote properly clarified the matter. |
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then there's , too. |
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sean booth said something like "it's a dialogue between us and the machines." building the machines is... er... the integral of log(dael)? you do some stuff, it turns out, you process and decide how it turned out, and this influences what you do next. this is a feedback loop you can enter with a casio or women or spiders or whatever. you wrote some software. it works. noise came out. this is where the computer stops and you say: is this any good? evaluate it as a fickle consumer of electronic music on the internet, or a bald german in an expensive anorak, or a post-apocalyptic hikikomori, or whatever. i heard: good textures. turns into wallpaper fast. needs macroscopic progression.... just like that perl script i wrote in 2004. i used perl to generate MIDI files from prime numbers. i was "chuffed" because it wasn't all random note blapp sdfjklsd splatt -- sounded pretty composed... and, instantly, i had more of it than i could listen to. a half hour of it. i got impatient and began skipping around. it started to feel claustrophobic, like being lost in a hedge maze. i gave up and just exported a slice that "seemed good" and fed it into cubase VSTs so, yes: the python script works. now you can generate hours of this crap. your ears will get sore from buzzy snare in 7/14/3. this marks the end of the technical phase, and moves you on to the objective, in which some unquantifiable sense of personal aesthetics indicates what you should code up next |
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the prime number MIDI after processing with cubase |
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I wrote an evolving melody generator, you can set parameters on it. It has up to six midi parts at once. I used to write more complex things that allowed key changes and song progression etc but I was never as satisfied with the results as I am with something that is far simpler. I can listen to the melody generator for a long time, just occasionally bringing in some effects or changing the chord type or key myself. |
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As in the more complex things generated their own key changes and progressed the song, added and removed elements, wrote percussion lines, bass lines and melody lines etc. and some very complex sample based stuff that made 2 minute songs from a bank of samples But I prefer the things that play a repeating motif and simply add and remove notes at random |
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raymond scott took a page from software development and kept telling motown "that electronium will be done next month, i'm sure of it." i'm sure he meant it. it was never done. always more things to tinker and fiddle with this is why i gave up on generative music: it generates reams and reams of "OK" music and i found myself repeatedly exhausted with sifting through the results... then tinkering with the code: is that more ok, or less ok? i'm not sure. can you show me again, iDoctor? i would argue that writing code to generate music is the same thing as writing music. the code is the composition. every time it's executed you get different results, the same way an orchestra plays things different every go. to me, coding up generative music is a maddening hedge-maze, while coding up music tools is a much more managable thing. something i can actually do some damage w/at humans compose music, you know? so when a human sits down and tries to simulate a human composing music the result is a human simulating a dog chasing its tail |
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speaking of that frequency ~ so when is mothersborg going to unveil the newly-restored electronium he's been tinker and fiddle with in his green saucer building since 2012 |
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then, of course, there's sascha k's perspective: "our music is written by machines because they don't make mistakes." i'm pretty sure he was talking about the futureretro 777. |
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The algorithm made the melody or the beat? How did it work, affected space between notes, which notes, both? "this marks the end of the technical phase, and moves you on to the objective" I disagree, the technical phase is just beginning. I have to do a lot of thinking and coding, by far mostly the former because you can't just sit and code without knowing what to code... and a good way to code that gives you maximum leverage with minimum shitfuckery. And fuckery is pretty much the default state of shit, like really only 1 in 100 possibilities is a good choice, and you have to think of a whole bunch of these without the computer or your brain catching on fire. But I can't really use advanced human imagination to create sound currently, I have to code a lot more in order to have more leverage, for example I still haven't created getMelody() and it's much tricker than getRandomNotes(). And it would likely be best to start with pure sine/square/saw waves and build everything from that. That way you can have a bunch of unique effect() functions and create new "dimensions" like echoyness or squagglyness other than the conventional pitch/volume/spacing/panning. I also kind of want to make a kongregate game to experiment and see how much the likely NWO kongregate screws over the creators, as I imagine they likely do as everything has gravitized toward destruction of the individual. This was one experiment that was possible w my current limited coding ability, there isn't even pitch/melody in it, all beat. But I think the random triple time signature dimensions and random sounds makes for quite a large set of interesting forms. Almost all music is 4/4 or 3/4 or whatever, so there's lots of "undiscovered" patterns due to the unique time signatures. I probably want to have time spacing be another dimension to toy with like autechre/bucephalus bouncing ball/etc. Also would be good to "change pitch without changing length". If I'm able to code more with good leverage I can do more imaginative stuff. |
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I'm finding making algorithms to create good melodies to be tricky. Since I've made like a bazillion melodies by hand though, I have some sort of complex "supercomputer/wetware" (my brain) ruleset I've come to subconsciously/intuitively. The trick is to now logically define what those rules are precisely. They seem to be a bit tricky but not overly unsolvable. Actually it's tricker if the rule is adaptable to any time signature. Maybe that's why I can never advance, I try to solve too wide of an umbrella instead of just coding something. I think I have it sort of half solved, but I hate working on it because "working on it" basically means just sitting and thinking instead of actually coding anything, and usually failing to think of anything good. Plus you usually have to masturbate instead after like 15 minutes of thinking. And then you think, fuck it, I'm just gonna die eventually anyway. No other human loves me so why should I contribute to culture at all. Then you just play videogames that someone else made all day instead. Or you have to go get some of those stupid "In Time" movie arm digits, or your depression/stress from not having enough of them in this rigged hellconomy makes you not motivated to do anything. So in short, python is a pile of fuck, and reality is a pile of fuck. A fuck shit stack. |
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"when a human sits down and tries to simulate a human composing music" Yeah, good summary of why it's tricky maybe, you're trying to simulate yourself... "every time it's executed you get different results" Probably what one would desire, but not necessarily. The game Doom was made with a cute minimal "random number generator". It simply had a list of only like 64 or so pre-computed random numbers, then it simply selected the next one each time a random thing happened. So it was all deterministic even though "random", that's why you can record a demo and have it play back the same each time, the deterministic "random" numbers occur the same on each replay. But obviously you probably want getUniqueStuff() which saves an ass load of time of making things by hand, by making a whole set of stuff, depending on parameters, instead of just 1 thing. "our music is written by machines because they don't make mistakes" I remember Dawkins describing some sort of error checking, maybe "relays" or something, I forget, but it makes computers even more accurate than DNA if desired. Memes on earth mainly flourish int he substrate of human minds, aside from whale songs and koala dreams and such, and they can severely morph and mutate why more dynamically than DNA. Anything that can be imagined by a human can enter the matrix of human culture, but there's probably amazingly sophisticated aliens that can imagine things so much more interesting that everything we've ever thought of would just comparatively be boring white noise. And maybe some of these aliens "out there"... are humans... from the future. |
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there are two core secrets to getting good at coding: 1) knowing how, when, and where to leverage other peoples' code to save yourself loads of effort 2) developing a personal repitoire of experience solving zillions of little problems that recursively show up all over, over and over, forever, learn to recognize them, and have a file folder of code blobs you can just bodge in on the fly. #1 ~ definitely an art to this. make wise choices, and a whole load of complicated shit you really don't give a bout is swept under the carpet inside a single functional call. you include some guy's library and call one thing, and that's all you have to understand. all the bees are off in some area of RAM you can't/won't bump into make poor choices, and you can easily spend twice as much time learning someone else's API than you would just hacking up your own thing from scratch. # 2 ~ you can get books to accelerate this ("design patterns") but most of it is just practical experience: python2.2 conflicts with gstreamer_ugly_plugin_0.10 on some systems and you have to run some obscure command to unbodge it and this reliably happens on one out of five computers. not enough to remember the command, but enough to remember you had a command that you don't remember. so you paste them in a badly-organized pile of text files and folders and then you can just grep for shit later: how did i get ruby to generate subtitle files that ffmpeg would understand? can't remember at all. but i have the script somewhere and i can just copy the guts of that out into another ruby script and this means i don't have to spend two hours figuring it out again enjoy these tips. welcome to hell |
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for learning to code :: #1 ~ do tutorials before i decided to dabble with ruby, i decided to . the tutorial is exceedingly deluxe and, i have to admit, cloyingly cute. #2 ~ read through real code from reality seeing how programmers who use ruby every day was my second priority after "try ruby" gave me the gist of the syntax. how does one print text to the console in ruby? well, i'm sure there are six ways, and a small ruby program by someone who ruby's all day will tell me what the slickest way to do print text is... along with a zillion other basic things. #3 ~ don't get lost in the function library docs the reason i went from a tutorial to haphazardly googling for other peoples' polished ruby code was because i knew the docs would lead me to hours of "let's try this text print function" and then another and another until i google it and find other peoples' polished ruby code so -- #1 guided handholding for the basic grammer, #2 immerse yourself in real-world examples #3 restrain yourself from bungling around in the docs like one would with wikipedia have a nice day. |
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