Real-Time GENDYN Audiovisualisation | Ryo Ikeshiro
This is an ongoing project on the visualisation of a real-time implementation of Xenakis’s GENDYN, or its “audiovisualisation”. It aims to be functional both didactically – in depicting the processes behind dynamic stochastic synthesis – and aesthetically – in complementing the sounds produced so that it is suitable for use in an artistic context.
december 2017
Lab - Voltage Control Lab
Voltage Control Lab
Modular Synthesis Institute
september 2017
Korg monologue Video Overview Part 4: Sequencer, Microtunings, and User Scales [with CC] - YouTube
In this video, Korg USA product specialist Nick Kwas explains Korg monologue’s microtuning feature, and shows different scales, Aphex Twin presets and user scales.


Richard D. James a.k.a. Aphex Twin designed some presets for Korg's forthcoming Monologue synth…. The Scottish musician specifically helped out with creating unique scales, sounds, and sequences as part of the monophonic synth's micro-tuning function; you can hear his contributions starting at about 4:33 in the video.

september 2017
The Snail by IrcamLab
The Snail is a very high-precision frequency-domain analyzer that delivers an easy to understand representation of sounds based on the scales and notes aligned in spectrally active zones.

It offers a new way of tuning and analyzing an instrument in an extremely accurate way, displaying intonation and visualizing music and sounds in a way that can help anyone improve their listening and innotation!

Think of a film camera turning at 24 frames per second filming a bicycle wheel turning at 24 revolutions a second, the spokes will appear to be standing still. That means, for a Fourier analysis of frequency at 439Hz compared to a tuning reference of 440Hz, the demodulated phase will turn at 1Hz (as a slightly desynchronised stroboscope makes a rotating object have a slow movement). Think of audio signals ’beating’ as there is a interference between two sounds at slightly different frequencies.

Compared to standard spectrum analyzers based on Fourier-type analysis, the frequency accuracy is enhanced by a process based on the demodulated phase. This system is based on a recent patented technology, conceived at the laboratory of Science and Technology of Music and Sound IRCAM-CNRS-UPMC.
september 2017
Make Noise Co. | Wogglebug
The "WoggleBug" is a random voltage generator, originally designed by Grant Richter of Wiard Synthesizers. It is a continuation of the "smooth" and "stepped" fluctuating random voltage sources pioneered by Don Buchla within the Model 265 "Source of Uncertainty," expanding it to include the other-worldly Woggle CVs (stepped voltages with decaying sinusoids edges). The Wogglebug is a very musical random voltage generator where it is possible to synchronize all random signal to a Master Clock. Guaranteed to unleash your synthesizer's ID MONSTER!
modular  noise 
september 2017
Model 371 Dual Wogglebug Module
The Woggle Bug is an utterly unique module that produces complex random voltages and tones. It reproduces the set of random voltages available from the original Buchla Model 265 "Source of Uncertainty" module. This long out of production module is representative of the most musical random voltage generators produced in the first "Golden Age" of modular synthesizers.
modular  noise 
september 2017
266e Source of Uncertainty | Buchla
The 266e Source of Uncertainty provides a general source of musical unpredictability. Operation is divided into four sections, each of which perform a unique function.
Three type of noise are available, with corresponding dedicated outputs. White noise is electrically flat, but acoustically balanced toward the high end of the spectrum ( 3 db/octave). Integrated white noise has a low spectral bias (-3 db/octave). Musically flat noise has a flat spectrum (constant energy per octave) and is a particularly useful source for subsequent processing.
Fluctuating Random Voltages are continuously variable, with voltage control of bandwidth over the range of .05Hz to 50Hz, making possible changes that vary from barely perceptible movement to rapid fluctuation.
Quantized Random Voltages change upon receiving pulses. The number of states is voltage-controllable from two to 24, and their distribution can be varied both spatially and temporally.
Stored Random Voltages have three parameters under voltage control. Degree varies the amount of randomness; Chaos alters the distribution from just a little uncertain to total chaos; Skew biases the randomness toward one extreme or the other.
All settings of the 266e can be stored and recalled under control of the 225e or 206e Preset Manager.
september 2017
full bucket music KORG PS-3100
The FB-3100 is a software instrument for Microsoft Windows (VST) and Apple macOS (VST/AU) simulating the KORG PS-3100 Polyphonic Synthesizer from 1977. It is written in native C++ code for high performance and low CPU consumption. Main features are:

Close emulation of behavior and all controls of the original hardware
Band-limited oscillators, classic two-pole lowpass filters
Resonators section
Two Modulation Generators, Sample & Hold
Additional paraphonic Envelope Generator
Semi-modular patch panel
Micro-tuning option
Additional tweaks
MIDI Learn – all parameters can be controlled by MIDI CC
Plug-in supports Windows and macOS (32 bit and 64 bit)
korg  AU  tuning 
september 2017
Alternate Tunings With The [KRM-100] MIDI-CV-Arpeggiator - YouTube
This video shows how to set up alternate tunings with the [KRM-100] MIDI-CV-Arpeggiator. Select any tuning from 2-EDO to 60-EDO (2-TET to 60-TET) automatically, or program in any other tuning manually.

See also:
modular  tuning 
september 2017
Scala Home Page
Scala is a powerful software tool for experimentation with musical tunings, such as just intonation scales, equal and historical temperaments, microtonal and macrotonal scales, and non-Western scales. It supports scale creation, editing, comparison, analysis, storage, tuning of electronic instruments, and MIDI file generation and tuning conversion. All this is integrated into a single application with a wide variety of mathematical routines and scale creation methods. Scala is ideal for the exploration of tunings and becoming familiar with the concepts involved. In addition, a very large library of scales is freely available for Scala and can be used for analysis or music creation.
tuning  music 
july 2017
Richard D. James speaks to Tatsuya Takahashi
Richard D. James interviews Ex. Korg engineer about their collaboration on the Monologue, microtuning, geometry and dreams. 10/06/2017


I was going to ask you about SLOP, as you brought that up before in some old emails. I get you now. I mean, yeah, if it just sounds good in the first place then you don’t need that option, but I guess some people like their Osc’s drifty and others not so. It changes with the context I guess. Also, if you’re doing FM you might want to keep them dead on, and for analogue lead sounds, really drifty. Anyway I think I mentioned it before, but the drift on the monologue sounds REALLY nice. It seems to move, but then never go out. Care to explain? Sounds to me like it gets reset/synced at some point, but I’m probably wrong, haven't studied it in depth, just listened. Reminds me a bit of Arp oscillators, which have really nice driftyness, prob my faves! :)

TT: That's bang on! So same thing in the minilogue and the volcas too: the oscillators are re-tuned when they're not being used. I'm super glad you like it though because this is such a subjective thing. The autotuning was done in a way that felt nice to me, so it was a really subjective thing and you can’t present a report to convince others that it was OK. At least now I can say RDJ said it was alright!
music  tuning  synths 
july 2017
Algorave: algorithmic dance culture | Alex McLean | TEDxHull
june 2017
The difference between hearing and listening | Pauline Oliveros | TEDxIndianapolis
Sounds carry intelligence. If you are too narrow in your awareness of sounds, you are likely to be disconnected from your environment. Ears do not listen to sounds; the brain does. Listening is a lifetime practice that depends on accumulated experiences with sound; it can be focused to detail or open to the entire field of sound.
april 2017
Charles Babbage’s mouse pointer
Join Marcin on a tour of those early user interfaces one never hears about, from Charles Babbage’s 19th-century Difference Engine, to an ancient PC with an attached mouse and no idea what to do with it. What made them work, what made them fail, what can we learn from them, and who were the – sometimes invisible – people behind them?
april 2017

Write a chord in the input (try C13b9 or maybe Fsus4maj#11) above and hit enter. You can click and drag your way around the wave function.
march 2017
The staggering assortment of oscillator modules available for Eurorack synthesizers can make choosing the right module an exasperating process riddled with uncertainty. After all, the only way to find out how an oscillator is going to work in your Eurorack rig is by actually using it.

With that said, there are some simple ways to differentiate between oscillators, and choosing from there more or less becomes a question of what you need it to do. The simplest way to go about this is by first asking, “Do I want an analog or a digital oscillator?” and from there, “Do I want this to be more conventional or complex?”

We’ve broken down all of the major types of oscillators so that you can lay the right foundation for your entire system, whether that’s an all-analog West Coast inspired synthesizer, or something completely digital that makes sounds like a fight scene in the next Michael Bay robot melee.
march 2017
'Notes on Conceptualisms': A dialogue between Vanessa Place and Tania Ørum | Jacket2
Vanessa Place: I’ve done two versions of Cage’s 4’33”: the straightforward silence, where I overtly maintain the position of master, standing at the podium, looking at the audience, going through the performance of reading, page turning, sipping water, etc; and the neglectful master, where I left the room for 4’33”. In the former, the room becomes very tense with the effort of maintaining our positions despite the lack of performance, or rather, despite the failure of me to give something beyond the performance of performance—something that guises the relationship as being about something else. There’s no food at the dinner, so to speak. The second was fascinating: after a minute or so, during which there was apparently a discussion about what the audience “should” do, be silent or whatever, about 10 or 15 of the 100 audience members in the room came out to see what I was doing. The remaining participants resumed the conversation that had begun before my performance. So that given the opportunity to fill the performance with whatever aesthetic experience they chose, they chose to either follow the master or carry on with business as usual, to follow, in other words, an earlier master. This was my experience. They may have seen it quite differently.
march 2017
A collection of maths GIFs posted purely for aesthetic reasons.
january 2017 [ANDC] was created by composer Ryan Ross Smith in order to document the emerging field of animated music notation [a subset of dynamic scoring], and to situate the discourse within a broader historical context.

In the spirit of this field, ANDC provides me with a forum to share my research in as close-to-realtime as possible, to provide a platform by which a global dialogue can take place in a centralized location, and finally, given the speed at which new and novel approaches to animated notation occur, ANDC will hopefully provide a more-flexible approach to scholarship than traditional formats, and necessarily so. Thank you for visiting!

What is Animated Notation? [the quick and dirty explanation]

Animated notation is a subset of dynamic scoring that features perceptible contact and intersection between elements in a notational fashion.

Why animate notation?

Plenty of reasons, including alternative approaches to generating rhythmic complexity, electroacoustic synchronicity, open/modular form, among others. Please visit the 'Composers' page to learn more.

About the author: is run by composer Ryan Ross Smith out of his apartment in Troy, NY. Ryan is currently a PhD student [ABD] in Electronic Arts at the Rensselaer Polytechnic Institute, where he is studying with Pauline Oliveros, Michael Century, and Curtis Bahn. His compositional work can be found at
january 2017
Superintelligence: The Idea That Eats Smart People
Here’s the text version of my talk from WebCamp Zagreb, “Superintelligence: The Idea That Eats Smart People”
december 2016
We know what’s going on and we know what to do
Donald Trump is the President-Elect of the United States of America. What a catastrophe. I
november 2016
The Sound of Shapes
There are many parallels between sound and letters, music and typography. While interesting, these are often based on subjective perception and therefore rem...
Lissajous  Fourier  sound  shape 
october 2016
Marp - Markdown Presentation Writer
Features Marp is the simplest presentation writer with Markdown. Create slides by Markdown Cross-platform Live preview with 3 modes Theme supports (Default
presentations  markdown 
august 2016
Voices from within -- poems for her | Koleka Putuma | TEDxCapeTownSalon
This talk was given at a local TEDx event, produced independently of the TED Conferences. Using the powerful medium of the spoken word, slam poet Koleka Putu...
august 2016
A Conversation With Erik Spiekermann
Bio Erik Spiekermann is one of the most well-known and creative thinkers in design. A type, information and graphic designer by trade, he began his career teaching at the London College of Printing
august 2016
Web Design in 4 minutes
Let's say you have a product, a portfolio, or just an idea you want to share with everyone on your own website. Before you publish it on the internet, you want to make it look attractive,
webdesign  tutorial 
july 2016
Forside - Spor festival
18.09.: SPOR indkalder v
july 2016
Brian Christian: Algorithms to Live By - The Long Now
It is possible to be extremely astute about how we manage difficult decisions. With just a few mental tools we get the benefit of better outcomes along with release from agonizing about the process
july 2016
Brian Christian: Algorithms to Live By - The Long Now on Huffduffer
Solving hard decisions Deciding when to stop your quest for the ideal apartment, or ideal spouse, depends entirely on how long you expect to be looking, says Brian Christian. The first one you check
july 2016
A top audio engineer explains NPR’s signature sound |
A top audio engineer explains NPR’s signature sound via @currentpubmedia
june 2016
Artificial Intelligence | iA
Artificial Intelligence: Artificial Intelligence, or AI, is, together with
june 2016
The Talk Show ✪: Ep. 156, With Special Guest Merlin Mann
Merlin Mann returns to the show to talk about artificial intelligence and Eddy Cue
june 2016
People are who things happen to. Things are what they are; people are who they are. The real difficulty is not being a man or a woman, black or white, gay or straight, a man in woman's body or a
philosophy  being  becoming 
june 2016
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