Beep Tape – Josiah (G)Litch

I am excited to share with you a new project of mine that has launched today – ‚Beep Tape’. The idea is simple, each week I will release three loops made with the same sounds under Creative Commons license – free for commercial use as long as you credit me. When you contact me I’ll also share all the ‚.wav’ stems, so you can freely arrange the audio and use it in your productions – think of it as free construction kits.

Loops will last 16 bars each and will feature different theme with each tape. This time I made something I am comfortable doing – industrial/glitch beats. Let me know if you find them useful.

Have a nice one,
Mycelial Cords

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Grain Drop – Texture vs Clarity

Contextura

One of the musical traits that makes certain artists stick in the mind is the idea of a tension between two apparent polar opposites. Kanye West is a great example of this, as his music draws a fine line between arrogance and self-awareness. FKA Twigs splits the difference between pop catchiness and artsy experimentation. Grain Drop is an artist that, at any moment, may feature sprawling layers of ambient sound, or swooning pop piano and orchestral embellishments. The dichotomy between the various musical personalities of Tina Wu is particularly dramatic on her Soundcloud page, as her different projects are arranged without order, giving one the impression that any sound could come next.

The first two tracks in her original composition playlist have two entirely different personalities. The first – Near Celle – is a swampy, grooving experiment in texture as structure and melody, with the track’s development following ever increasing granular…

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Disquiet Junto 0220 – Rhythmic Arrhythmic

Disquiet Junto came to my attention some time ago through Shemawound. The concept is fantastic and I wanted to participate as soon as possible… it still took me a good couple of weeks. Anyway, to learn more about the project head to: http://disquiet.com/.
This weeks instruction were:

Step 1: Find or make an audio recording of the arrhythmic material of your choice and gradually reduce its loop length until rhythmic patterns begin to emerge.

Tip: This usually works well with loops that are no longer than about two seconds.

Tip: Good sources include: existing music, field recordings, and recordings of speech.

Tip: “Bad” or uneven loops can often yield the most interesting results. Don’t necessarily aim for loops with clean boundaries or that are aligned to zero-crossings.

Step 2: Use the inherent rhythm in these short loops as the basis for a piece of new music in which the “discovered” rhythm is clearly audible.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

SuperCollider:
I’ve started by developing four short sound generating functions in SuperCollider to later sample them and use in Reason. Ndef gui + Spec allowed me to quickly create a couple of sliders to control parameters in real time. Noise/Glitch vibe was my goal and to achieve the sound I’ve used simple oscillators with a lot of random lfos. You can check the code here:
Code

Reason:
Tempo  – 135 BPM, Time Signature – 7/4
All samples imported,  now is the time to cut out few pieces of aproximetaly 1 bar in length and loop them to create rhythm. Using raw recording from SC became boring after a while so I’ve applied quite heavy processing – mainly distortion and pitch changes – but the sources are still audible. After most of the composition have been laid down, I began to wonder whether it follows the instructions. Over the time lenght of some loops has shortened to emphasise the rhythm, especially the main tone and glitch stereo clicks. However, I am not sure if it is clear enough without the explanation beforehand. If so, I apologise.
Let me know if you’d like to get any of the audio. I am willing to send all the mixer channels and the sample I’ve used.

https://soundcloud.com/mycelialcords/stuffy-disquiet0220-rhythmicarrhythmic

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Beat Repeat (Part 3)

Code

There isn’t much changed compared to the previous code, except for change in some variable names and general tidying. NDef().set became a function, so there’s no need to repeat same stuff in the routine.

I write this post mainly to tell you what I plan to add in the following days to make the patch more interesting:

– First of all, I’ve got to fix the random choosing of filters as it stopped working after the changes.
– Add more sources. I want to keep everything in the SuperCollider, so no audio samples will be used for this project.

– Develop the routine into a 3-4 minute draft.

– MIDI Control

– Think of stuff that I can add. For now I am thinking of recording portions of the beat repeat output to be later used in GrainBuf but I want to get things above done first.

If you’ve got any questions or suggestions, please let me know. Cheers!

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Introduction to Live Coding Performance with Shelly Knotts and Joanne Armitage

Yorkshire Sound Women Network

We are extremely proud to announce this special day of live coding with two prominent practitioners, in collaboration with the AHRC Live Coding Research Network, and facilitated by The University of Huddersfield.

Using IxI Langand SuperCollider Shelly and Joanne with teach you how to code beats and edit sound synths. You’ll learn about ‚Mexicoding’ and ‚Mexican Roulette’ performances and develop an awareness of other languages such as Sonic Pi and Tidal. Participants do not need to have any prior knowledge in computer coding or even music composition! You will  develop new skills in live improvised composition and performance through computer coding languages, and learn about the live coding community, The AHRC Live Coding Research Network, the Female Laptop Orchestra and other linked communities.

When and where
University of Huddersfield
December 5th
10am to 4pm

ixi workshop leftjess singing

How to book
This event is absolutely free but there are just 20 places.
It…

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SuperCollider Beat Repeat (Part 2)

I’ve edited the patch from yesterday by adding new UGens and a more developed routine. The idea isn’t fully captured yet and this beat repeater sounds bad at time. You can still achieve some nice results with it, try a lot of different inputs. I’d be more than happy if you’re going to use it and share sounds..

When it comes to changes. For now I’ve added PitchShift, FreqShift and LPF/HPF/BPF as well as a pseudo-random routine to accompany the NDef. I planned to have a way of changing arguments over time without too much fuss. Arrays of arrays hold all the random numbers (0-127) for each argument of the UGen used. For example: LPF has frequency as well as mix arguments, therefore there are two arrays and a Pseq that reads from them. Hopefully it makes sense. If not, feel free to let me know.

Code (Most recent Beat Repeat at the top)

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SuperCollider Beat Repeat

Chopped drum breaks, eerie textures, rhythmic madness and crazy sound effects. That’s how I would define IDM based tracks I had pleasure to encounter. Now it’s time to take some of their ideas and build upon them with the help of SuperCollider.

For me the basic ingridient of interesting sample manipulation is a Beat Repeater. While its possible to quickly achieve it in ‚Reason’ with ‚The Echo’ I want to have more flexibility. Ring modulation, side-chaining, random sequences, feedback chains – all of this can be approached from different perspective through SuperCollider and potentialy yield unexpected but welcomed outcomes.

As a start I’ve built a simple Beat Repeat using LocalIn/Out approach and a short routine to play it. Tomorrow I am going to develop this idea by adding freqshifts, filtering, ring modulation and whatever else I come up with. For now, here’s the patch:

Code

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