We have everyone here! Musicians(the guy who told us what this piece was similar to). Developers(the one who said he was proud). Programmers (the one that told us this is emac). And audio tech(the guy who said the audio is corrupt, and another guy who corrupted him saying it’s more likely to be a chain problem)
Brilliant! It's really great seeing how the modern synths process data to make their sounds by watching this primordial approach. I was getting a lot of Simian Mobile Disco vibes (although they are mostly analogue, it's the way they layer their tracks up) and even some Orbital vibes too. I'll be using SuperCollider for a project i have in mind very soon!
@MomoTheBellyDancer oh you’ve got this! I believe in you! 😄 Admittedly, the installation process was the hardest part for me because their newest **looking** website is actually their oldest, complete with outdated information.
@@slowscape How I wish these other comments were not missing. I want to assume they are about the Public Library. I have not met many Radiohead fans in my life and the few, maybe 4 or 5 that I have unfortunately, have been horrible people. :( Excluding some very (only die hard fans would understand them), strategically placed stickers on the windows of my car, and my preserved impressive ticket stub & T-Shirt collection, I rarely talk about my need for their music.
I've been interested in creating a harmornizer with my keyboard by coding a program and installing it into by keyboard. I can't find anything on the market that can replicate your voice and playing more than 4 notes based on your notes your playing.ex. 1, 4, 3rd. 9th. 11th. Flat 13th + more.. how do you recomend i do this? Maybe you know someone that could help me?
@@Digiphex Not sure where you get "C variant" from; in this case it's just vanilla SuperCollider, as noted by Rukano (who I believe is on the right in this performance) in a reply to one of the other comments on this video. SuperCollider is closer to Smalltalk than it is to C, though it is not a fork or directly related to either language. On the other hand, SuperCollider itself is implemented a large part in C++. But that is not the language they are writing in this video.
No, it's SuperCollider. Similar in concept to CSound but built from the start with realtime performance in mind. I haven't used CSound much so I can't say how they compare other than that, though.
can anyone here find out if it's just SuperCollider (I'm afraid the asnswer it's probably "no") or there's something else goin' on under the SC mainframe?
Emacs is the editor they're using, and SuperCollider is what's being used to turn their code into sound. SuperCollider is also what's providing the waveform and other GUIs on the right side of the projected screen. The waveform view (scope) is a standard GUI in SuperCollider, while the others may be part of a specific Quark (SC speak for library) or perhaps custom code.
Is it that most live coding sessions are coincidently based on the same genre or is it so that music programming languages can only make this type of horrible music?
Thing is, music taste is subjective. What you think is "horrible music" others will like and what you like everyone probably hates. What you should try to do is have an open mind about things. All genera of music and art. You don't and won't like everything, but sometimes you will find something you can appreciate, or at least you should.
@@tristen_grant okay, I'll rephrase. Have music programming languages been used to make music in other genres, different than this one, which is ubiquitous in live music coding sessions? Say, some of the horrible genres that I like and everyone dislikes, such as jazz, blues, or rock? Or is it simply not possible to make music from other distasteful horrible genres in them, just this one?
The best thing about electronic music is that people can make whatever they want, with whichever tools they want to use. Why should there be only one genre created using software like this?
Regardless of whether or not this should be pigeonholed in the "EDM" style (I don't think it should-for me, that label is reserved for generic mainstream "bangerz" full of annoying sounds and stereotypical drops), I think it's all about context. If they'd launched into some abstract, post-tonal, sound design focused super-IDM, they would have likely alienated a large percentage of the audience. By creating something a bit softer and more melodic, it shows people that algorithmic music can be more than just aleatoric, atonal melodies over some mathematical rhythm tricks. Don't get me wrong, I love a lot of complex, avant-garde electronic music, but I just think it's weird to criticise someone for deciding to make something a bit simpler and laid back, no matter what tools are used. Think about the opposite-would you expect someone using FL Studio, or Ableton, or even Teenage Engineering products, to only ever make 4/4 dance music or lo-fi hiphop, and then berate them if they went more experimental using the same tools?
@riversandstones At first I didn't want to agree with you, but after listening for about 5 minutes I thought "I could just do this in Reason or Ableton Live with a midi controller." I agree to some extent with @Vague Robots that this is a demo for a group of people who may not appreciate something more experimental, but I don't think they really showed anyone why this approach is artistically unique. They basically wrote a bespoke sequencer and manipulated some synth parameters with code instead of preexisting software and hardware. Cool, and no, I can't do it (yet). It was a very pleasant listening experience but it didn't show me why live coding should be considered as a new musical art form. It only showed me that there is another technology available to do things that have already been done. Not to be overly critical though. The new often grows out of the old so perhaps live coding will be developed into it's own thing. I just don't hear that in this piece.
We have everyone here! Musicians(the guy who told us what this piece was similar to). Developers(the one who said he was proud). Programmers (the one that told us this is emac). And audio tech(the guy who said the audio is corrupt, and another guy who corrupted him saying it’s more likely to be a chain problem)
🤷🏼♂️idk, not an audio guy. Lol
dont forget the cables guy who the audio guy had a fight with thinking its the cables thats messed the audio
Flawless performance, with an early Trentemøller-like sound. Very nice!
*I was thinking the EXACT SAME THING!!!*
for those that we are not close to be a millennia, it is a little strange but it is as amazing as the classic music, it is art on action
as a developer i really proud of that
Can you explain what does that silent video mean ?
@@waleedbensumaidea3947 It's not silent c:
Brilliant! It's really great seeing how the modern synths process data to make their sounds by watching this primordial approach. I was getting a lot of Simian Mobile Disco vibes (although they are mostly analogue, it's the way they layer their tracks up) and even some Orbital vibes too. I'll be using SuperCollider for a project i have in mind very soon!
This is silently interesting TED Talks where no one is talking!
Impressive. Absolutely amazing. Thanks :)
Well, time to learn SuperCollider I guess
TidalCycles + SuperCollider is a nice option as well ^^
@MomoTheBellyDancer oh you’ve got this! I believe in you! 😄
Admittedly, the installation process was the hardest part for me because their newest **looking** website is actually their oldest, complete with outdated information.
@@slowscape How I wish these other comments were not missing. I want to assume they are about the Public Library. I have not met many Radiohead fans in my life and the few, maybe 4 or 5 that I have unfortunately, have been horrible people. :(
Excluding some very (only die hard fans would understand them), strategically placed stickers on the windows of my car, and my preserved impressive ticket stub & T-Shirt collection, I rarely talk about my need for their music.
Some neat supercollider live stuff!
6:30 is where it really starts sounding like your typical Gesaffelstein piece.
The audio of the video is corrupt, too bad i didn't get to live the experience to its fullest
Sounds like a bad audio cable somewhere in the chain, I don't think it's corrupt
Ah, so this is how Aphex Twin spent his time.
I came to this video because of aphex twin lol
@@conorgriffin2167 he codes music?
@@drlostcause4427 I think he codes some of his stuff
I think Aphex Twin started on music trackers
@@drlostcause4427 that would make sense tbh
cool, kind of sounds like aphex twin
Slow build up, but it starts getting interesting at 5:00.
Wow, WOW, mind-blown!
No Supercollider, no Haskell, simple Ruby-based open Source Sonic Pi of Sam Aaron - thanks to him!
The code they are using doesn't look like sonic pi though.
They're using Supercollider.
wow ~ see ~ the new world ~
I've been interested in creating a harmornizer with my keyboard by coding a program and installing it into by keyboard. I can't find anything on the market that can replicate your voice and playing more than 4 notes based on your notes your playing.ex. 1, 4, 3rd. 9th. 11th. Flat 13th + more.. how do you recomend i do this? Maybe you know someone that could help me?
I would check out waves ovox and waves harmony
Anyone knows what they used for the visuals superimposed to the supercollider code and interface?
Amazing! 💚
This is awesome
Sehr geil! (-:
This is so very interesting.
which language are they using?
@@Digiphex Not sure where you get "C variant" from; in this case it's just vanilla SuperCollider, as noted by Rukano (who I believe is on the right in this performance) in a reply to one of the other comments on this video. SuperCollider is closer to Smalltalk than it is to C, though it is not a fork or directly related to either language. On the other hand, SuperCollider itself is implemented a large part in C++. But that is not the language they are writing in this video.
Hermoso!
I thought it was Penn Jillette for a sec
Amazing !
Intresting. Where i can learn this? Is it Csound?
No, it's SuperCollider. Similar in concept to CSound but built from the start with realtime performance in mind. I haven't used CSound much so I can't say how they compare other than that, though.
@@defaultxr ❤
can anyone here find out if it's just SuperCollider (I'm afraid the asnswer it's probably "no") or there's something else goin' on under the SC mainframe?
Foxdot maybe
I think it could be TidalCycles on SuperCollider
@@julianflores326 I've been fooling around a bit with FoxDot and no, doesn't look like FoxDot at all..... I think it's just supercollider
@@MoeThermodynamics it's not tidalcycles at all
its just supercollider
what stack they use?
allright then, I m not getting some modular synth, eurack and just buy an HP laptop instead.
still loev it!!
Anyone know what software they used ?
SuperCollider
Amazing
¡Una delicia!
Amazing 😉
Good
Curious if anyone knows which Live Coding app(s) they're running on?
Like someone else here said, it's "Emacs" sir.
Emacs is the editor they're using, and SuperCollider is what's being used to turn their code into sound. SuperCollider is also what's providing the waveform and other GUIs on the right side of the projected screen. The waveform view (scope) is a standard GUI in SuperCollider, while the others may be part of a specific Quark (SC speak for library) or perhaps custom code.
Are they drawing from a pre recorded database for the snippets of sounds?
no, it's real time synthesis with supercollider, even the drums are made with synthesizers which are modified in real time.
are they using ChucK?
looks like supercollider
@@yogggo0gratt it is SuperCollider indeed. I just wish I could learn how to do this... :)
👽👽👽👽💪
😂❤🎉unique 😊🎉😂❤
Woooowww
Remember me Radiohead
I thought this was another free and very weak software, but I must keep my eye on it. Very interesting.
absolutely! Go for it
halo😊😊
But... I know this tune.
Is it that most live coding sessions are coincidently based on the same genre or is it so that music programming languages can only make this type of horrible music?
It's actually that you're an obnoxious pleb.
Thing is, music taste is subjective. What you think is "horrible music" others will like and what you like everyone probably hates. What you should try to do is have an open mind about things. All genera of music and art. You don't and won't like everything, but sometimes you will find something you can appreciate, or at least you should.
@@tristen_grant okay, I'll rephrase. Have music programming languages been used to make music in other genres, different than this one, which is ubiquitous in live music coding sessions? Say, some of the horrible genres that I like and everyone dislikes, such as jazz, blues, or rock? Or is it simply not possible to make music from other distasteful horrible genres in them, just this one?
Porque no están codeando algo productivo esos ciber-jornaleros?
Porque deberían?
Uslesssssssssss to watch.
*shrug*
its very complicated and capable software and u guys play pop
The best thing about electronic music is that people can make whatever they want, with whichever tools they want to use. Why should there be only one genre created using software like this?
@@0Fdigital My point exactly, 90% of the time all I hear is this EDM thing. Why demo complex software to do what a DAW already does?
Regardless of whether or not this should be pigeonholed in the "EDM" style (I don't think it should-for me, that label is reserved for generic mainstream "bangerz" full of annoying sounds and stereotypical drops), I think it's all about context.
If they'd launched into some abstract, post-tonal, sound design focused super-IDM, they would have likely alienated a large percentage of the audience. By creating something a bit softer and more melodic, it shows people that algorithmic music can be more than just aleatoric, atonal melodies over some mathematical rhythm tricks.
Don't get me wrong, I love a lot of complex, avant-garde electronic music, but I just think it's weird to criticise someone for deciding to make something a bit simpler and laid back, no matter what tools are used.
Think about the opposite-would you expect someone using FL Studio, or Ableton, or even Teenage Engineering products, to only ever make 4/4 dance music or lo-fi hiphop, and then berate them if they went more experimental using the same tools?
@riversandstones At first I didn't want to agree with you, but after listening for about 5 minutes I thought "I could just do this in Reason or Ableton Live with a midi controller." I agree to some extent with @Vague Robots that this is a demo for a group of people who may not appreciate something more experimental, but I don't think they really showed anyone why this approach is artistically unique. They basically wrote a bespoke sequencer and manipulated some synth parameters with code instead of preexisting software and hardware. Cool, and no, I can't do it (yet). It was a very pleasant listening experience but it didn't show me why live coding should be considered as a new musical art form. It only showed me that there is another technology available to do things that have already been done. Not to be overly critical though. The new often grows out of the old so perhaps live coding will be developed into it's own thing. I just don't hear that in this piece.