KVR Audio

Andrew Souter · Post by **Andrew Souter** » Sat Feb 21, 2015 5:11 am

...but if you insist, here you go:

This is a 1024*1024 Hadamard Matrix.... It is specifically constructed to be more "non patterned" or "non-repetitive" than a purely random noise signal... no single row or column is the same.

it's the "row to end all rows"...

lnikj · Post by **lnikj** » Sat Feb 21, 2015 6:36 am

dancingflare.png

Sampleconstruct · Post by **Sampleconstruct** » Sat Feb 21, 2015 7:24 am

TwoToneshuzz wrote:Love these last two examples Simon..

I'm looking and learning much here!

I'm working on banging togther a Tabula Rasa concerto for snaredrum and 7 Serum patches..

Loosely Tonal with tinges of polytonality.

It's the Snare drum part that I'm working on and researching this weekend, I want to make it as realistic as possible without actually going out and buying or renting a real snare drum! This last for the Sake of the NEiBoors. The Halion Symphonic library has a almost decent Snare in it, though I have a want for the VSL percussion extended library...

So I figure that one solo part will take the better part of two days to get at least bearable results..

Or maybe I could do all this in Kaleidoscope..

I learned to "like" atonality back in the day....

Hire a real snare drum, I just bought a plethora of percussion instruments myself, nothing beats the real thing (pun not intended).

lnikj · Post by **lnikj** » Sat Feb 21, 2015 8:07 am

Sampleconstruct wrote: Hire a real snare drum, I just bought a plethora of percussion instruments myself, nothing beats the real thing (pun not intended).

I have a premonition of a plethora of particular Patchpool percussion patches peculiarly played and processed.

Sampleconstruct · Post by **Sampleconstruct** » Sat Feb 21, 2015 8:09 am

lnikj wrote:
Sampleconstruct wrote: Hire a real snare drum, I just bought a plethora of percussion instruments myself, nothing beats the real thing (pun not intended).
I have a premonition of a plethora of particular Patchpool percussion patches peculiarly played and processed.

Ha, brilliant lyrics

Sampleconstruct · Post by **Sampleconstruct** » Sat Feb 21, 2015 8:59 am

Galbanum wrote:
jackmazzotti wrote:

hahaha. Pretty much sums up my thoughts on the subject...

I think these guys were ahead of their time, and looking for ways to expand the vocabulary at a time before electronic music was available... now we have many more options for novel "sonic architecture" and personally I think there are better ways to be "intellectual" while still maintaining some sense of functional aesthetics... nothing wrong with the fundamental laws of tonality IMHO... a I IV V chord progression in major key works for a reason... as trite as that may sound...

atonality is like a strong spice. It's great to use in small does to add some kind of novel surprise. But I would not generally want to eat a full meal consisting only of Tumeric... or listen to a full symphony of "melodies" made from Costas arrays or Hadamard matrices...

http://en.wikipedia.org/wiki/Costas_array
http://en.wikipedia.org/wiki/Hadamard_matrix

http://www.ted.com/talks/scott_rickard_ ... iest_music

I still prefer most atonal masturbations to any predictable Mozart I-IV-V vamp, but I agree that atonality, futurism and especially serialism in music did not and will never succeed and "take over", as the results neglect the actual purpose of music.

It's a common consensus that the more serialist rules you imply on music to determine which parameter does what, when and why, the more entropic/chaotic/alien and less enjoyable it will sound. In the time period after WWII, there was a broad acceptance for atonality and serialism (at least here in Germany and Europe), but more because it was en vogue to be avant-garde and extremely modern and less because people were actually enjoying it. Funnily this sort of futurism/modernism was and is much more successful in visual arts and even literature than it will ever be in music.

[/50 cents]

aMUSEd · Post by **aMUSEd** » Sat Feb 21, 2015 9:09 am

deastman wrote:The free version of Flame Painter is yielding some interesting results. The images are a little lower resolution, so you'll need to scale them up in Photoshop or whatever.
https://www.escapemotions.com/experimen ... /index.php

I opted not to upgrade my license of Corel Painter to the latest version because the new features just didn't seem relevant to my needs. But suddenly I'm getting curious about the particle brushes... hmm.

I have the iPad version of flame Painter but the Painter 2015 particle brushes are much more powerful (much better than the fx brushes they have had for some time too)

VariKusBrainZ · Post by **VariKusBrainZ** » Sat Feb 21, 2015 10:51 am

Dogwaffle Howler as a nice particle system

http://www.thebest3d.com/howler/

They also sell their older and cut down versions for less.

They sell a version with just the particle system

http://www.thebest3d.com/pdp/index.html

Twisted Brush can do some crazy stuff too, including pattern generation

http://www.pixarra.com/

Genetica is expensive but I got a version with some creative package for peanuts

deastman · Post by **deastman** » Sat Feb 21, 2015 11:20 am

aMUSEd wrote:
deastman wrote:The free version of Flame Painter is yielding some interesting results. The images are a little lower resolution, so you'll need to scale them up in Photoshop or whatever.
https://www.escapemotions.com/experimen ... /index.php

I opted not to upgrade my license of Corel Painter to the latest version because the new features just didn't seem relevant to my needs. But suddenly I'm getting curious about the particle brushes... hmm.
I have the iPad version of flame Painter but the Painter 2015 particle brushes are much more powerful (much better than the fx brushes they have had for some time too)

I'll probably upgrade when the next version of Painter comes out. Looking forward to the particle brushes though.

I hadn't noticed that there was an iPad version of Flame Painter, so I'll be sure to check that out.

In general, I'm pretty well sorted out for particle systems and painting/graphics already... Painter, Adobe Creative Cloud and especially After Effects with Trapcode suite, 3ds Max, Maya, Mudbox, Modo, ZBrush, Substance Designer, Substance Painter. And yes, those are all legal... some my work pays for, others I own myself.

VariKusBrainZ · Post by **VariKusBrainZ** » Sat Feb 21, 2015 11:29 am

Also very cool, if you like to code

http://www.contextfreeart.org

VariKusBrainZ · Post by **VariKusBrainZ** » Sat Feb 21, 2015 11:31 am

NodeBox

https://www.nodebox.net

lnikj · Post by **lnikj** » Sat Feb 21, 2015 11:39 am

Thanks for those two, they look really useful !!

TwoToneshuzz · Post by **TwoToneshuzz** » Sat Feb 21, 2015 12:08 pm

Thanks for posting the images here. I'll soon be giving these a try in the Kaleidoscope, taking a short break from it as it's been a busy week, and am working on the Serum Tabula Rasa Snare drum Concerto.

I think it's a good idea Simon to just rent the snaredrum. I know a percussionist that might have one to loan me as well give me some lessons to boot.. I have put in some time practicing some percussion figures using midi pads, but they miss the liveliness of the real thing, and were also pretty noisy. I go for a side snare so I could bike out to some remote spot to practice. Like I sometimes see bagpipe players do here in Copenhagen..

TwoToneshuzz · Post by **TwoToneshuzz** » Sat Feb 21, 2015 12:13 pm

I have had fair exposure to avantgarde streams in both arts, conceptualists like Joseph Beuys.

And the classical Avantgarde:
Elliot Carter, Alban Berg, Arnold Scheonberg, Edgard Varèse, Anton Webern (Five Movements)

Peter Maxwell Davies, Jacob Druckman, Barbara Kolb, Henry Cowell, Claude Debussy, Brian Ferneyhough, Alexander Goehr, Lou Harrison, Paul Hindemith, Karel Husa, Charles Ives, György Ligeti, Witold Lutosławski, George Perle, Sergei Prokofiev, David Raskin, Nikolai Roslavets, Hermann Schroeder, Alexander Scriabin, Charles Seeger, Igor Stravinsky, Fartein Valen, and Iannis Xenakis.

To be challenged as a human being by seeking out the productions of the forward thinking IMO builds up musical/creative/intellectual muscle..So as you develop and mature you can approach experience a problem from any angle thats necessary to either solve or at least illuminate it. I've done some editing/mixing of Avantgaurd compositions and found that after several repeated sessions that the works began to grow on me.. I began to understand the sense behind the kaos..

I don't like the phrases "Old and set in your ways" or "Only listens to_ _ _" "Doesn't Like_ _ _"

"Can't understand _ _ _"

Especielly Modern Dancers are into working with avantgard music, so through this synergy, more people have become exposed to for example Atonal music, they were hard at work for decades on making experiments bringing the aural visual, texts, physical movement arts together into a bubbling cauldron of ideas. To make fun of these efforts is cheap and unworthy, especielly from those of us that like to see ourselves as creative works producers .. Weneed just this sort of environment of openness to new ideas and approaches... This openess is a huge motivational force for the creative community.

I think a lot of Composers not known for practicing Atonality have dabbled in it and come back to more traditional harmonic forms with strengthened ear and increased fluidity..

rustman · Post by **rustman** » Sat Feb 21, 2015 2:44 pm

I have a very limited experience or famiarity with the more avant garde forms of music, but I definitely get it. I've always had an interest in creating something algorythmic from some scheme that I dream up. When I sit down blank slate (yeah, tabula rasa), I sometimes try to come up with a set of rules to proceed by. I might try polyrhythms and odd measures and work out when they all come around to the original sync. I'll likely never be absorbed by it enough to do anything that I will see as a truly developed piece. I always end up with more traditional elements that are more immediately accessible to the mainstream. I'm OK with that. As I said, I do truly get it, but I know too little about theory to quantify most of it. Perhaps the best rule is to have no rules, working by purely feel and emotion. The creative freedom appeals,to all who compose ( or try to do so). Who's to say what you did was "wrong"?

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